Vocalize genre in the Sergey Rachmaninoff’s works
Abstract
The purpose of the study is to determine the semantics of vocalize in the S. Rachmaninoff’s works. An integrated approach, combining general aesthetic, source studying, historical and stylistic and systemic genre ones, allowed considering such a capacious concept as vocalise. On the basis of the method of complex analysis the results about the uniqueness of vocalize as an artistic definition are obtained. Vocalize has gone a long historical path of development from the original form (as a technical exercise to develop the voice) to its concert kind of solo vocalise, which appeared in the S. Rachmaninoff’s work. Not limited to an independent genre, vocalize penetrates into chamber vocal music. Based on the analysis of these works, the conclusion is made about the uniqueness and universality of the expressive properties of choral vocalise. Special attention is paid to choral vocalize as a means of choral texture. Based on the analysis of the works “Liturgy of St. John Chrysostom”, “Nightlong vigil”, choral scenes of the opera “Francesca da Rimini”, cantata “Spring”, poem “Bells”, “Three Russian songs” the conclusion about the manifestation of instrumentality in the choral texture is made. In general, the analysis of Rachmaninoff’s musical heritage allows affirming vocalize in the status of the artistic universe.
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