Li Eryong
Department of Music, Musicology, College of Arts, Jiangxi University of Finance and Economics, Nanchan, China. E-mail: li.eryong@uoel.uk
Volume 13, Number 1, 2021 I Full Text PDF
DOI: 10.21659/rupkatha.v13n1.44
Oronyms of Monsalvat and Valhalla in Dramaturgy of Wagner’s New Myth “Lohengrin”
Abstract
The relevance of the study is determined by the fact that the main field of Rachmaninov’s vocal creativity was lyrics, the world of personal feelings and moods. In its origins, it is associated mainly with Tchaikovsky’s legacy, which is also manifested in the general emotional “openness”, sincerity and immediacy of expression, and in some more specific stylistic characters. The novelty of the study determines that, like Tchaikovsky, Rachmaninov sought above all to capture the basic mood of a poetic text in a bright melodic image, showing it in growth, dynamics and development. Therefore, there are those long lines of rise, growth and pathetic climax, which Rachmaninov’s romances abound with. The authors show that he did not miss the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude to the poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary permutations of words or repetitions that violate the form of the verse, his vocal declamation, as a rule, is accurate and distinct. In this regard, he was quite at the level of his time – the era of the highest, most refined poetic culture. The practical significance of the research is determined by the fact that the study of the heritage of the art of Rachmaninov will be important for the general study of the flow of musical culture of the period under study.
Keywords: Rachmaninov, musical culture, romance, composer, heritage.