E. E. Komarova,
Candidate of Art Criticism, Associate Professor of Musicology and Instrumental Performance,
Dostoevsky Omsk State University,
55а Mira Ave., Omsk, 644077, Russian Federation
Introduction. In accordance with current comparative trends in modern humanities, the article reveals the peculiarity of creative dialogue of the Russian poet, Lermontov, and composers of the nineteenth century. It traces the musical embodiment of the peculiarities of style and figurative world of Lermontov’s poetry and affirms the influence of his poetry on the formation of the genre of lyrico-dramatic psychological romance.
Materials and Methods. The methodology is based on the provisions of modern comparative studies. The main methods of analysis are historical and cultural, genre-based, and semiotic ones.
Results. Lermontov’s poetry played a special part in discovery of new expressive potential of Russian music of the romance genre; it is largely due to the poet’s musicality, flexibility and substantial versatility of his verse. The article considers the features of the embodiment of a complex lyrical hero, as well as the con-trasting, “montage” imagery of Lermontov’s verses, their genre merging of elegance with the odic pathos in the music of composers, who, as a rule, did not belong to the “forward echelon” of Russian classical music. Thus, a special consideration has been given to Varlamov’s novel “Sail”. The author formulates a hypothesis on the penetration of the Lermontov principle into the text and partly into the image of one of the main char-acters of Tchaikovsky’s opera based on A. S. Pushkin’s novel “Eugene Onegin”.
Conclusions. With a successful embodiment of Lermontov’s poetry in the romance music of the nine-teenth century, when translating his works from one language of art to another, the basic poetic image deepens and the expressive potential of musical language enriches. One may state that the appeal of composers to a complex lyrical hero, to the multifarious figurative content of Lermontov’s poetic work contributed to the tran-sition of the Russian romance from domestic to an artistically expressive lyrico-psychological romance of indi-vidual character.
Recitative and arioso melody, montage narrative, ode, elegy, romance works of Varlamov, lyrics.