| Popis: |
The penetration of properties of the principles formed in one of the art forms of one or another aesthetic-style trend into adjacent species – one of the laws governing the development of artistic culture. Similar processes in the history of French art in the last third of the nineteenth and early twentieth centuries are observed, for example, in the fi eld of impressionism, symbolism. However, if the named style trends have received a fairly wide interpretation in musicology, then the infl uence of French Parnasism on its contemporary musical art and, above all, the chamber-vocal work of J. Massenet, has not yet become the subject of a special musicological study. At the same time, the composer’s consistent appeal to the work of the French Parnasian poets characterizes the verbal basis of many of his chamber-vocal works. This means that the aesthetics of French Parnasism met in the chamber-vocal work of J. Massenet a refl ection, specifi c to the original compositional style and thinking. In the chamber-vocal heritage of J. Massenet a special place belongs to “The Pastoral Poem”. One of the external indicators of this uniqueness of the studied cycle lies in the fact that J. Massenet only once involved in his poetic context the poems of two French poets representing different historical epochs – Jean-Pierre Claris de Florian (1755–1784) and Armand Silvestre (1837–1901). The composer was able to unite into one vocal cycle poems of French poets of the different historical epochs with the help of the style and thematic affi nity of French poetry which was inherent to the middle of the eighteenth and the last third of the nineteenth centuries, namely, a passion for pastoral, that is observed in the relevant plot, symbolism and poetics. Appeal to the pastoral imagery is typical in the French national style as a whole, combining in a certain unity both different historical epochs and different types of art. Pastoralism, as a type of artistic thinking, characterized French art at various stages of its genre-style development. If in the eighteenth century pastoralism was one of the symbols of both baroque and classicist-preromantic musical art of France, then in the last third of the nineteenth century it represented a range of artistic and aesthetic interests of the constructive period, refl ected in the work of the association of poets-Parnasians formed at that time. The very name of the poetic movement indicates that the basic principle in the process of forming a set of its inherent aesthetic positions was the cult of inspiration, a dialogue with the Muses, the dwelling of which, as is known, was Mount Parnassus. The Parnasian poet himself acted as a kind of Apollo – the leader of the Muses, which, in turn, were for him a source of inspiration. J. Massenet, who feels a deep inner affi nity both with the aesthetic principles of French Parnasism and with the Parnasian poets, as the author of chamber-vocal cycles, many of which are inspired by the French Parnasian Muse, can be attached to that incarnation of the artist of the last third of the 19th century, which is defi ned by the concepts “Olympian”, “leader of the Muses of Apollo”. J. Massenet chamber-vocal creativity allows us to determine the essence of his creative individuality by defi ning the composer-parnasian. According to the ancient Greek symbolism, a system of aesthetic principles of French Parnasian poets was formed. The poetic art of the Parnassian poets in the last third of the XIX century included not only declared analogies and ancient Greek poetic art, but also a hidden system of ancient allusions. Antique symbols of a pastoral nature, arcade-like landscape, enlightened love theme contributed to expression of the French poets-Parnasians aesthetic credo in the last third of the XIX century. Poetic searches of French Parnasians were not only retrospective, imprinted in a kind of “small” Revival of ancient aesthetics, but also met the task of innovative achievements in context of the modern historical period. It is possible that Massenet’s appeal to the chamber-vocal cycle genre is due to the composer’s deep interest in aesthetics of the contemporary literary and poetic national movement that entered the history of French art as modern Parnasism («Le Parnasse Contemporain»). Conclusions.The established relationship between the French poetic Parnasism of last third of the XIX century and chamber-vocal creativity of J. Massenet allowed to detect Parnasian infl uences on the composer`s musical art. On this basis, the hypostasis of J. Massenet, the author of chamber-vocal cycles, was defi ned as a parnasian composer. The discovery of the pastorale genre features in the chamber-vocal work of French Master is the basis for revision about the pastoral genre deactualization in Western European art of the last third of the XIX century of expression that has developed in the history of literature and music. The establishment in the J. Massenet cycle a complex of genre features of dramatic pastoral makes it possible to conclude that the composer’s chamber-vocal heritage belongs to classic for the national French art pastoral genre-style vector. |
