Semantic function of the choral counterpoint in Canticum sacrum by Igor Stravinsky
Background. The substantiation of the logic of stylistic synthesis in the light of the choral component of the dramaturgy of this composition opens up the prospect of studying choral counterpoint of the twentieth century as universals and also helps to identify patterns of artistic thinking. Objectives. The article is devoted to the identification of semantic function of the choral counterpoint in the context of the overall dramaturgy in Canticum Sacrum ad honorem Sancti Marci Nominis by Stravinsky. Methods. The author used hermeneutic, structural-functional, semantic research methods. The performing approach to the studying fragments of Stravinsky’s compositions reflects the specificity of choral art. Results. Choral counterpoint in the context of the overall dramaturgy Canticum sacrum develops into a separate layer, which is more than others, depends on strict norms of counterpoint. Stravinsky, relying on the traditions of the cantata genre, distinguishes the choral component into a peculiar counterpoint, which contrasts with others layers of the dramaturgy (orchestra, organ, soloists). It has been found that the solo parts of the score have a more subjective embodiment, in which there are both an expressive recitation of lyric lines (Song of Solomon 4:16, 5:1) and an emotional appeal to the God (Mark 9:23-24) while the choral layer of dramaturgy represents the main tenets of the Faith: Preaching the Gospel and Three Christian Virtues – Love, Faith and Hope. The counterpoint as a reflection of the idea of “absolute harmony” in the context of the composition is the Divine Word and the main precept with which there is sacrificial Love, Faith and Hope for the salvation. Features of the pitch organization are the result of the composer’s reference to the serialism. The combination of the principles of the classical 12-tone technique with the elements of serialism determines the specific interpretation of melodic material, intervallic structure and voice leading. Conclusions. Analysis of the fragments of Canticum sacrum score set that the choral counterpoint performs the function of objectification to express basic postulate ideas. That is why the norms of poetics of the strict counterpoint are the dominant stylistic components in the choral writing of Stravinsky. They appear in the symmetry or proportionality of the forms, the partial usage of the textural features of the samples of this stylistic direction, as well as the whole apparatus of canonic techniques.