Феномен целостности как определяющая доминанта в композиторском творчестве С. Танеева (На примере хорового цикла "двенадцать хоров а cappella для смешанных голосов" ор. 27)
Integrity phenomenon as a distinguishing dominant in composer creativity of S. Tanieyev (based of cjoir cycle "Twelve choires a cappella for mixed choires" or. 27)

Summary/Abstract: The article deals with the research of S. Tanieyev's creative thinking, peculiarities of his individual style, specific ways of ideas' implementation both together with one of the leading trends of the time and the concept of barocco integrity. The whole set of technical means, composer's mastery, were subordinated to the logic of conceptual thinking, his thought flow from understanding general consistencies to its partial manifestation, realisation of dialectical interaction between general and single. The main purpose of the article was to study those moments which underline the legal right to use the notion integrity of composition in relation to the cycle. The sequence of rhymes built up by S. Tanieyev and written in different years, is an evidence of a certain idea, the scales of which are much wider than ideologic and figurative content of each poem. Common aesthetic requirements, their philosophic deepness, allegory, contextual connections shown in thorough development of imaginary themes, definite plot ties, and, finally, compositional conformities of a massive concept were of great importance in the process of selection. Chosen by S. Tanieyev logic of literature texts, which became a so called libretto or. 27, stipulated musical and dramatic regularities of a massive composition in many areas. Each of the sections differs in its type of figurativeness, logic of dramatic development, peculiar principle of uniting into microcylce. The first section – expositionative: it has its bright composition and dramatic logic according to which two main moods are composed by the principle of contrast and continue on a new level. Chorus "Ruins of the tower" – is undoubtedly the climax of this microcycle, dramatic top synthesising both contasting beginnings in their development: philosophy, deepness driven to dramatic, pathetic sound (main theme) and lyrics in active appearance (episod F-dur). The second section is a new type of the microcycle, significantly different from the previous one in a number of marks. Firstly, there is a new kind of figurativeness – the sphere of heroism, struggle, dramatism with the preservation of philosophic deepness of the saying. Secondly, this group of choires is organised into a different composition in comparison with the first one due to a different principle of contrast raised in it. If there was a rotation of choires of different figurative content in the first microcycle, in the second one they are groupped in reverse correspondence, which gave symmetry, roundness of the composition. Contrast in the second microcycle is not sush a defining principle of dramaturgy as it used to be in the first one. What is place forefront is the principle of eventness, thorough development of dominating figurativensss. And this is the third and most important factor of differences between the first and the second sections. Dynamics of the second section, developments of the main dramatic spheres, the stage of overcoming of counteraction in the zone of golden cross section are pointed to the third section of the cycle, which became the stage of utmost importance in understanding of what happened, generalization with the use of large scale images and demonstration of the new balance of power after climax. Chorus groupping in the section is expository: not a contrast rotation as in the first one, not a reverse and symmetric disposition as in the second one, but a contrast combination of large layers: two chorus embedding a wide range of lyrics are opposed to two heroic and dramatic sheets. Shaping the concept of the work, selecting definite texts for the third section the author includes leading intonational complexes into new scope – large, endless spaces of universal scale, terrestrial and cosmic, material and immaterial, liberating from habitual, concrete essence, overcoming final, limiting, frail in eternal, over extreme limit, immortal, opening the way to renewal, human's feeling as a part of the world. Concentration of through themes and images, philosophic deepness and inclusiveness of poetic allegories informs the poems of the last section about the meaning of conceptual conclusion, final of the whole composition

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