Genre and style dramaturgy of vocal cycle
Objectives. The objectives of this study are to determine genre and stylistic features of Nicolas Bacri’s composer style and to consider problems that performers of "Drei Romantische Liebesgesange" are faced with. Body text. Drei Romantische Liebesgesange, op. 126, is a vocal cycle written by Nicolas Bacri in April-May 2012 for the Ninth International Chamber Music Competition in Lyon, France. This work consists of three songs (for a high voice and a piano), which together with the use of "Romantische" in the title allows us to draw a conclusion that this work’s style is neo-romanticism. Moreover, this is confirmed by other factors as well. Firstly, each of the three songs of the cycle uses the lyrics already had been used by romantic composers in their famous vocal works: "Widmung" (from R. Schumann’s "Myrthen), "Suleika" (F. Mendelssohn, op. 31) and "Nun hast du mir den ersten Schmerz getan", the final song of R. Schumann’s Dichterliebe. Secondly, the subject of poetry corresponds to typical romantic ideas of longing for beloved one (in the first two songs) and of a tragic loss (in the last one). Thirdly, the melody in the vocal part is mostly smooth and aria-like. Fourthly, Bacri uses romantic principle of the balance between the voice and piano: in his vocal works, as in Schubert’s, the piano is essential member of the ensemble, performs an expressive function. The first song in the cycle is "Du Meine Seele", lyrics by Friedrich Ruckert. If one does not take verbal text to account, one could conclude that the form of this song is ternary, with reprise. The composer clearly marks the recapitulation — by the remark Tempo primo and the repetition of the thematic material of the introduction and the first part. However, it would not be accurate to unambiguously classify the form of this song as ternary, because the last line of poetic text, "Mein guter Geist, mein be?res Ich!", is already in the recapitulation, that allows us to conclude that there is a discrepancy between verbal and musical forms, and that they are relatively independent from each other. The movement by the sounds of a triad after an upper neighbouring tone, which firstly appears in Introduction to the first song, reoccurs in the main section, although it is slightly changed. The first motive appearing in the left hand in the introduction begins the middle section of the form. It should be noted that both of these motives in the main section of the form are written in double rhythmical value. Initial tonal development consists of the modulation from the E minor of the Introduction to D minor of the first section, executed by the gradual change of the characters of the alteration. It is noteworthy that the transition to the middle section is the only case where composer allows himself to treat the poetic text freely – the line "Mein Himmel du, darein ich scwebe" is omitted. The main difference between the parts of the first song is the intensity of tonal development. The first section of the form entirely belongs to the key of D minor, and does not have any accidentals (else than b-natural, a variant of sixth degree). The middle section contains various modulations in distant keys. Appearance of the main motive in the backwards movement marks the beginning of the transition to the recapitulation, and here Bacri uses rather unusual method, he repeats the introduction to the song. In the Coda more radiant atmosphere is achieved by modulation to A major as well as by the long arpeggio that symbolizes desire of woman to meet her beloved — even if it is only in her dreams. The theme of the longing for love is developed in the second song "Suleika" (the author of the lyrics is stated as "J. Goethe and Marianne von Willemer", since the issue of attribution of this work has not been resolved). This is the only fast part of the cycle (the composer emphasizes that the tempo should not be slower than 138 quarters per minute), and only this song uses principle of perpetuum mobile — the figure in the left hand of the piano part represents the wind. The heroine asks wind to comfort her sorrow and to tell her beloved, that "His love is her life" ("Seine Liebe sei mein Leben"). The form of the song is binary: AB AB1 + Coda. This song is the only one using a reprise sign. Therefore, if one performs this piece as demanded by author, the form is as follows: ÀÂÀÂ1ÀÂÀÂ1+Coda. The sound "e" is present in the bass during the whole À section, and no dissonances that are formed with upper voices make the composer refuse this pedal point, although the vocal part has fewer dissonances with the bass than the upper voice of piano, which makes this work easier to perform. After 5-bar Interlude, section B appears. It contains melody "of broad breath", and thus can be defined as a center of vocalness. In Recapitulation section À is not changed – unlike section Â1. Coda summarizes music material from sections A and B. Tremolo in piano part represents gentle blowing of Wind. The last song of cycle «Nun hast du mir den ersten Schmerz getan» (lyrics by Adelbert von Chamisso) brings a striking difference to emotional state. Here composer abandons traditional principles of melody, harmony, structure an texture. This song consists of three phases, marked by theme of Introduction («Grave, quasi cadenza»), that is a succession of three chords. Although another variants of division are possible. The vocal part is predominantly dissonant — both in vertical and horizontal treatment. Section piu largo contains usage of "stream of consciousness", as there are three parts, not coordinated in any way with each other (with marking «quasi ipnotico»). The most important word, «Den Todesschlaf», is repeated thrice, last time with a pitiful motive. A second phase is a culmination of the whole song, as it is the most filled with dissonances and the words «Die Welt ist leer» are desperately repeated. Third phase is introduced with sharp-dissonant pedal point. It must be noted that it is not a Recapitulation, because the idea of song, that is to portray emotional changes of woman who lost her beloved one, does not tolerate repetition. Conclusion. Drei Romantische Liebesgesange is a result of usage of neo-romantic style in globalized culture of 21st century. Integrative features of neo-romanticism can be seen in combining of two national styles, that are French (origin of the composer), and German (verbal text of the songs).