The Semiotics of Spiritual Space in the Choral Music of Georgy Sviridov

PhD OKSANA ALEKSANDROVA Associate professor at Kharkiv Humanitarian Pedagogical Academy

Throughout the history of human thought, the concept of ìspiritî and its derivatives (ìspiritualî, ìspiritualityî) were accompanied by an attempt of understanding their transcendental nature by the experience of naming the levels of existence, which, being the highest for a human, does not belong to him and is beyond human life abilities. The spiritual symbolics is not invented by someone, it does not arise through conditioning, it is opened by a spirit in the depths of our being. Sviridovís music is a bottomless art world, where the composerís creative thought searches, selects, and asserts itself on the way of realization of deep foundations of existence. Keywords: semiotics, spirit symbols, art, methodology of analysis, choral works.

The thought of composer achieves of giving names to that rival of being which, by ìtransfiguringî strength in the idea being the highest for the human, does not belong of everlasting growth, in ascension, to him and is beyond human possibilities of per- in spiral (as a symbol), but not in circle ception. On the one hand, the spiritual is determined (Асафьев 1970: 118). as a life-giving source, a godlike attribute, The Spirit; on the other hand, is an attribute of God- like in human individuality, consciousness (pro- perty of human consciousness which is different INTRODUCTION from affection). Topicality of the research theme is dictated Every national culture is a spiritual space that by hot-button necessity of further goal-seeking develops under its own laws and that could be developments in musicology according to the estimated only by its inner criteria. National con- problems of spiritual content analysis taking into sciousness and spiritual experience of a nation, account the experience in musical semiotics. The ideals and its whole culture reference points are comprehension of Sviridovís art senses in the aspect formed to the extent of this space. of spiritual symbolics and choral music connection Musical sound is a unique message-code is the most important task of musicology of the whereby God talks with human and vice versa. beginning of the 21st century. Music is a unique bridge between the earthen and Degree of knowledge. The priorities of spiritual the divine. Music is the highest form of the immediate categories of Divine Liturgy and Vespers vigil in perception of Truth. The phenomena of spiritual modern time-space are defended by Nina Gerasi- harmony are more delicately transferred by musical mova-Persidskaya (Герасимова-Персидская methods which from the second part of the 20th 2012); Natalja Gulyanitskaya (Гуляницкая 2002) century are perceived as scientific synergy of the reconstructs the panorama of genres nova musica human and God. The value of spiritual experience sacra. Ljudmila Shapovalova (Шаповалова 2010) of music is in discovery and mastering of human- confirms liturgy as archetype of homo credens creatorís unity. art. Ljudmila Romenskaya (Zaitseva) develops Throughout the course of history of human the discourse of Christian anthropology (Ромен- thought and music, the notion spirit and its deriv- ская 2010). The synergy conception of musical atives (spiritual, spirituality) escorted the under- work in view of the accordance of world scientific standing of their transcendental nature by experience aspect to composerís art and outlined synthesis

76 O. ALEKSANDROVA. THE SEMIOTICS OF SPIRITUAL SPACE IN THE CHORAL MUSIC OF GEORGY SVIRIDOV of exact sciences and humanities of the 2ndñ3rd and melody is typical) in new sociocultural and millennium frontier is stated in Nadezhda Varav- genre-stylistic conditions. The prayerfulness of kina-Tarasovaís dissertation. However, the methods choral singing restores, in its turn, the spirit of of spiritual investigation are not taking up the unity which is a keynote of Slavic culture spiritual priority position in research; they are not apprec- life. Unity as a world outlook principle, which is iated as generally evidentiary and thus, have not realized at the level of musical genotype (which entered universally the academic activity of musical includes Sviridovís music), is a special method of establishments. The comprehension of Sviridovís spiritual communication that is based, on the one music in the aspect of the connection of spiritual hand, on interpersonal communication (choir ñ symbolics in vocal-instrumental works with listeners) and spiritual vertical of communion with Christian tradition is the aim of the present article. God on the other hand. Within the boundaries Semiotics is a cross-disciplinary science that of the only creative method, Sviridov managed gives an opportunity to analyse absolutely dissimilar to accomplish modulation from the secular objects. Semiotics analyses cognitive structures culture sphere (the poetry of Alexander Pushkin, that are operated by human. Spiritual symbolics Sergey Yesenin, Alexander Blok) into the temple- is not thought out by whomever, does not appear religious sphere of art where spirituality is under- at random, it is opened as a spirit in the depths stood as life in God and deisis in front of Him. of human consciousness. The basis of symbolics The artistic entirety of Sviridovís compos- is a secret nature of the human creature: the itions is determined by straight or mediated language of symbols is behind the creative person, submission of all the ways of musical compos- it is an integral part of his nature a priori. The ition. The synthesis of word and music (structural universalism of symbol as art category has religious and semantic simulation of the world ñ spiritual basis; therefore it should be explained in prorated reality) is life and artistic credo for the composer. context. In every religious tradition (incidentally This is determined by the composerís worldview in Orthodox), a symbol is not only semiotic but position which he posed in such a way: I am also an ontologistic category, the sense of which favoured to word as the beginning of beginnings, Флоренский (as stated by Pavel Florensky: 2010) a secret essence of life and world (Свиридов is that every existence is space and symbol. As far 2002: 47). The cycle Chants and Prayers, which as existence manifests itself as a symbol, in so far belongs to the late period, is a key to understanding as the symbol is a method of Existence perception: the whole conception of Sviridovís art. The words a human as spiritualized and sensual creature has of Saint John Chrysostom reveal the composerís to do with only one reality which is A Symbol attitude to Christianity: Holy Bible is spiritual (Ефимова 2008: 159). In the same way that easy food which beautifies mind and makes soul strong, words acquire symbolsí meaning, in such a way determined and wise (cit. by Гилярова 1994: easy sounds should convey the symbolical (Сви- 112). The cycle Chants and Prayers by Sviridov ридов 2002: 162). is the evidence of the spiritual understanding of Body of the paper. At the beginning of the the world: music of the last work of the great 1990s, Sviridov proposed the following classific- ation in his diary notes: Music is: a) ecclesiastic Russian musician-visionist besides sensually (is destined for execution in Church and is a part tangible intonation imagery discloses something of canonical, traditional, strictly institutive cerem- greater which is spiritualized reality. ony); b) secular (is performed in a concert or The difficult dialectics of spiritual and secular theatre); c) spiritual (a combination of both. Music is observed in the history of European music which is marked by influence of the Holy Spirit, tradition. On the one hand, the contrast in the spiritual art in secular forms. A very solemn spirit worldview paradigms between them is obvious, of Orthodox divine worship prevails in it (Сви- on the other hand, their one-wayness in the move ридов 2002: 205). Many of the composerís works to spiritual vertical is found. Analytical argumen- refer exactly to the third category. tation in the sphere of secular tradition is based The spirituality of Sviridovís music is based on the search for music sense at primary, certain on religious feeling which is impressed in his level in the sphere of semantics. All the additives choral music stylistics. For example, the demons- of musical language ñ melody, harmony, rhyth- tration of spiritual connections with the Ortho- mics, composition, syntax ñ line up autonomous dox culture is felt in the synergism of Old Russian laws of movement and the logics of cooperation cantus (for which inseparable unity of Logos-Word towards seeable, deep-felt intonation. Intonation

77 MUSIC SCIENCE TODAY: THE PERMANENT AND THE CHANGEABLE ñ 1 (9) is able to create portraits and space, events and The prayerfulness of choral singing, in its turn, different types of moves. renews the spirit of unity as the keynote of Slavic Musical sound refers to the world of human culture spiritual life. Realized at the level of geno- culture symbols: musical work is a peculiar mes- type, unity is a special method of spiritual com- sage-code. With the help of music a human com- munication which is based, on the one hand, on municates with the spiritual world. Music is a the interpersonal communication (choir ñ listeners) peculiar bridge between the material and the and the spiritual vertical of communion with God celestial. Spiritual symbolics codified in musical (human ñ God) on the other hand. work most frequently are delivered with the help The opening phase of the musical work sets of the same kind of lyrical modus of statement, the tone to the whole further exposition as a key not in horizontal (interpersonal) communication, initial program of perception. Many cases of but rather in prayerful, cold-water and ascetical writerís or composerís special anxiety about the focus on the Other-in-Oneself (God). The methods first accords of their work confirm the foregoing. of analytical detection of musical semiotics are The equal periodic syntax, especially in the unhur- determined by such components as melos, syntax ried movement, creates regular breathing, brings (a kind of breathing which naturally follows the in distanced and ethical narrative to tone present- musical speech); metro-rhythmic modes, fret har- ation. As an opposition to it, the changeable mony, textural-timbre complexes. syntax, which is uneven breathing, is connected The symbols in Sviridovís music are rather with transfusion and split. complicated and sometimes cannot be interpreted Pavel Florensky has mentioned that genuine unambiguously. Thus, the character of Christ is great work has a special energy of genuine Fair- a symbol of general life renewal, spiritual trans- ness (as the centre of attraction and justification formation. Exactly in such meaning it appeared of the rest) in spite of all the additives sum (Фло- in the cantata Light guest. The character of revol- ренский 2010: 25). Consequently, sensuality and ution is interpreted as a symbol of spiritual fight affection do not possess fullness. In the best works with the old world and aiming to the new world. not only aesthetic (hedonistic, at bottom) form The choir Peace with the Saints in the middle of of fairness, but also its ontologistic depth is exuded. Pathetic Oratorio opens a deep sense of the work, The phenomenon of this Fairness is no longer raising hymn sounding to spiritual symbol altitude. semantic, but symbolic in the religious context of Creativity psychology, internal world of music this word. Its evidence depends on both the logos is integral of the authorís intonation. In this case which is included in text as well on researcherís we perceive contradiction between creative function skill to hear spiritual space which is disposed by of self-consciousness (I of creator) and spiritual musicologist over a work, transforming many altitude of music as the language of communion particulars of the text, opening the new capability with God and knowledge of God. In this context to art transformation. Everything in great musical Sviridovís music as the art of one of the greatest works is filled with manifested and discovered composers, philosophers and visionists of the glory of Fairness: it is the symbol of genuine per- Newest history of musical culture, claims scientific fection, freedom and beauty. Temporary expansion grounding from adequate constructive methods of music testifies to spiritual transformation by positions which is spiritual analysis of music based virtue of special kind of musical works finishing on the experience of humanitarian sciences and which symbolizes personal spiritual feat of the spiritual practices (philosophy, semiotics, theology, human which is the transformation of corpor- liturgics). ality, its spiritualization. The cycle Chants and Prayers of Sviridov, in The mental disallowance of the author from spite of sensuously tangible intonation imagery, the sensuous narcissism allows building a special reveals something more which is spiritual reality. symbolic space in sacred music. This is not the The spirituality of the composerís music is based art symbolic, but authentic religious-mystical on religious feeling, which is fixed smoothly by space and imagery. The denial of the sensuous at the composer in choral writing and is revealed in the moment of prayerful singing (or icon con- art stylistics. For example, the manifestation of templation) is the departure from artistic aura of the choral music spiritual connections with Orth- work of art and standing immediately in front of odox culture is felt through the synergy of Old Godís face. This departure outwards the sensuous Russian znamenny chant, for which the insepar- is not only the psychological condition of pray- able unity of Word-Logos and chant is typical. erful soul. The religious chastity of chant, which

78 O. ALEKSANDROVA. THE SEMIOTICS OF SPIRITUAL SPACE IN THE CHORAL MUSIC OF GEORGY SVIRIDOV is coordinated with courageous and generous way The variation of melodic movement of sacred of thoughts, is approved in the removal of the music harks back to deep antiquity, to the system sensuous. Intonation generality of themes (voices) of eastern Christian eight church modes, by laws in sacred music genres forms a special spatio- of which canto gregoriano was based on. The temporal development which differs from goal- symbolic structure of Gregorian Choral is con- setting of musical development in secular con- nected with the technique of combining the ceptual genres (symphonies, sonatas) with their variant (modus) which lives in inner space. The transparent way of moving to the final. melodic material of voice in eastern Christian In the context of sacred music, the notion church is also chanted in different ways depending symbol is used in connection with ecclesial (Biblical) on office categories and celebrations. This melodic allegory. Choral texture in sacred works, which hierarchy, as Vladimir Martinov writes, distributes symbolically sounds religious, world outlook fills melodic material of voice on different complexity the sounding voices with special sense through levels, beginning with the easiest psalmodies on vertical and hierarchal structure of space and one sound and finishing with extremely developed time. Horizontal reading of the sense is difficult; melodic constructions with the involvement of the sounding of melodic lines of voices is in the individuals and fits (Мартынов 1997: 13). In general texture context. In such conditions hearing eastern European church prayerful singing holds seen and unseen fixes the fact of voices prelude, changes of texture in storage the dialectics of . Chants and Prayers is a spiritual devise of the exposition. Such are the antiphons, the vertical composer, however, it was not written immediately correlations of which are symbolical, filled with for using during Divine offices. Choirs are suffused religious sense. with deep prayerfulness, but it is not stylization. The sense of music is concentrated not only Liturgical influences in his music manifest them- in the theme, but also in the idea of hierarchic selves in connections with genres and ways of sequence by vertical. The theme serves not as writing footing on ecclesiastic chants, which, by artistic information, but rather its formulas that remelting in genius artistís life experience, are provide the subject of conversation are a combined, reflected in inimitable spiritual beauty of Sviridovís communal praying-expression. One might note style intonation. the intonation clarity of the theme which points The linchpin in Sviridovís music is the character at other, becomes a sort of entrance of spirituality of Messiah that is introduced as a set of pre- without accenting attention on itself. From here dicatory choirs which discover teachings of Christ the mood of singing soul is not accented at the and Messiahís character that had appeared in acrostically visible voice-theme but rather at the secular works of the composer. One should only individual coherence with the World. think about These Poor Settlements (to the words As far as it is known, from the religious point of Fyodor Tiutchev), that is why Sailed Away of view, spirituality is not a refusal of body but Russia and cantata Light Guest (to the words of its transformation. In musical space of sacred works Sergey Yesenin). In the majority of these works a special method of conciliar statements is manif- the character of Christ is constantly connected ested while maintaining personal-intonational with the character of Russia. His presence is con- (spiritual) singing which is a sort of complement- stantly thought in its space, among poor settle- ariness: vociferous texture combines all the singular ments and endless horizons. From here comes statements into one harmonic unit. The artistic- the unity of Sviridovís music and symbolic unity philosophical depth of choral texture as a sound- of God and human (spiritual/sacred vertical) for proof of spiritual space is seen in it. which all the stylistic methods ìworkî to reflex The intonational analysis of sacred music the spiritual centre of Orthodoxy. proves that almost every work of Russian sacred The Christian system of values passes histor- music (on the grounds of znammeny chant) evolves ically formed spiritual semiotics that consists of on the basis of the single intonational code. The characters and symbols and art characteristics whole melodic development is based on the given which are fixed in mental structures of liturgy to intonational complex, creating the infinite set of next generations. The structural-semantic cha- variants-combinations concerning the theme that racteristics which are all rolled into one, allow is ideally conceivable in consciousness. Every to realize their paradigmatic meaning in relation voice, every chant amounts to variative trans- to human creativity, mentions Ljudmila Shapo- formation of the ìinvariantî code. valova (Шаповалова 2010: 98). In this context

79 MUSIC SCIENCE TODAY: THE PERMANENT AND THE CHANGEABLE ñ 1 (9) it is difficult to separate Sviridovís sacred works works is that it sounds like a bell; its semantics is from the secular ones. The evidences of this are connected with Orthodox world, with the character the presence of evangelic figures and characters, of dear land. Peal of bells, Sviridov mentioned, quotations from Psalter and New Testament, re- is not material sounds: it is a symbol, sounds which ligious symbolics and motives in the poem Sailed are filled with a deepest spiritual sense that is Away Russia, the cantata Light Guest, the choir beyond words (Свиридов 2002: 40). Sounding- A Soul is Sad about Heavens (all to the words of like-bell in Russian worldview is A Word and Sergey Yesenin), in the choral cycle to the words Conscience at one time (Бекетова 2004: 65). The of Alexander Blok Songs of Timelessness. effect of sounding-like-bell is reached by means The first work, which could be referred to a of using different methods of textural-harmonic kind of ìliturgical musicî with good reason, is complex significance. It personifies a single sound the draft titled Cant (1949), which was mentioned as well as an interval, common chord, seventh by Alexander Belonenko (Белоненко 2001). Later, chords, chords with side tones, and polyharmonic according to the researcher, Sviridov reproduced verticals. An example is the cycle Kursk Songs: by heart the theme Cant in the choir Saint Love, No. 1 Green Oaklet ñ the timbre decision of bell which was included into the music to incidental peals are the piano, the harp, the celesta; No. 2 music of Aleksey Tolstoyís stage play Tsar Fedor You Praise ñ ostinato solos in high range (flutes, Ioannovich in the Maly theatre (in addition to trumpets) are simulated by trichord bells with two of the other ones, in the late 1960ís). The major second (cñdñfñg); No. 3 Bells are Ringing text of Penitential Poem served as one of those in the Town ñ an organ point on d in low register texts that are examples of Russian sacred lyrics is present in the harp, the piano, the tom-tom, of the 16thñ17th centuries, the words of other one the cello and the contrabass during the whole are taken from the liturgical text Songs of Most performance. Holy Mother of God. As such, Sviridovís litur- Another example is Poem to the Memory of gical music begins upon ìThree choirsî from the Sergey Yesenin ñ No. 8 Peasant Boys is a peal of music to the tragedy of Aleksey Tolstoy ìTsar bells with couplet elements; No. 10 The Sky is Fedor Ioannovichî (1973) (Белоненко 2001: 2). Like a Bell a peal of bells sounds like global Chime One of the fundamentals of spiritual/sacred (the poet clangs a bell of creation, according to symbolics is the use of mainstream scale in works the words of the composer). The archetype of that are absolutely not involving the revelation bell-likeness has its own associative array that of ecclesiastic imagery. Such manifestations are determines the general keynote of artistic inten- especially meaningful from the point of view of tion beyond the specifics of its particular details. the exposure of national-original sources of the Symbolics appears in the nature of peal of composerís music. Thus, the community with bells, in its function of determining something extended everyday system is visible in modal metaphysical, which is inexpressible by any other organization of such works of Sviridov as Pathetic methods, and brings the Good News. A bell is a Oratorio which are far away from religious symbol of informing, of Chime. A peal of bells is attitude. absolutely not material sounds, it is a symbol, The savor of the key intonation in Sviridovís sounds which are filled with deepest spiritual sacred works is its draft semantics which is focused content which is beyond words (Свиридов 2002: on a humanís conscious self-determination. The 128). expansion of intonation in the choir It is truly Bell-likeness has united nature, a bell is gener- meet determines it as figurative and sense bearing ally valid; its signal always announces something keynote of the conception of the work. The equally important for everyone, beyond statuses dynamism of processual aspect of the form and classes; the addressee of bell signal is the achieves the principle of chain intergrowth with whole Generation as entirety (Свиридов 2002: constant intonational renewal which is broadly 128). analogous to melodic principle of varied anaphora In general, all the above-mentioned is relevant in znamenny chant. Suchlike intonational expan- to Sviridovís musical policy. It would be a sim- sion symbolizes the process of spiritual searching, plification to search for some single narrative a way to inner human essence and his soul per- figure of bell-likeness. The innate possibility of ception. ostinato repeating symbolizes endless repeat/ One of the most significant sides of musical renewal of the Existence. The thematic complex, and sense-bearing semiosphere of Sviridovís which simulates a peal of bells, is a musical symbol

80 O. ALEKSANDROVA. THE SEMIOTICS OF SPIRITUAL SPACE IN THE CHORAL MUSIC OF GEORGY SVIRIDOV denoting impersonal generally valid events, a code of transformation of Russian existence was accus- of Christian world in the context of national tomed: to live in the deepest integrity and sincerity, worldview. to live by godlike content in a perfect form Let us systematize the thematic signs-symbols (Ильин 1993: 57). Natalja Beketova proposes which are educed from the choral works by Svi- the conception of Transformation as a fact of ridov in the 1950ñ1970s (secular kind): a symbol secular Orthodox culture, from its roots directed of time and Eternity; genre (dignifying, requiem); to the problem of inner human; summarizes its prayerful (the Lordís, Magnificat); a lot of psalms; stages: from initial material ñ celestial, peculiar ñ nature = Existence; sun (the sun of the Truth); other to qualitative bounce (the transference from light; spatial ones. Thus, the architecture of cross- the other to the foreign) and to the resulting coping domed temple unites two very important moments: the foreign by the general, the secular by the sacral the cross (a symbol of Christianity) and the dome (Бекетова 2001: 110). Alike Rachhmaninov (ac- (the centre or the head of composition, the per- cording to Beketova), the personality of Sviridov, sonification of Christ as the head of the church). to our mind, is also the symbol of cultural mind The sky is the personification of temple dome. (Бекетова 2001). By learning to comprehend ìthe past in the presentî, the composer searched for creatively adequate reading of the Word of God. Thus, osti- nato contains properties of the spiritual symbol CONCLUSIONS of circle. In the choir Snow Falls from the cantata, compositional form is based on closed harmonic Sviridovís creativity is genial with its easiness turnovers, on the structure adequacy and strict and the depth of its expression, musical inter- proportionality, culmination of harmonic kind. pretation of figures and plot that are connected On the grounds of repeatability as the prin- with Christian ideology. By trying to understand ciple of development in sacred music of Sviridov and explain its main ideas, we encroach on the the procedures of working with musical material secret sphere of creativity (to the most holy) where (variational repeatability, ostinato) are formed. the composer meets God and where a symbol Variation technique is observable in the inner rules in the polysemy of senses. Spiritual symbols decoration of Orthodox temple, where numerous are conveyed in living language of music, in inton- variants of images of Messiah, Holy Mother, ation and dramaturgic organization of musical Saints, adders, walls of temple are included into works. The whole creativity of Sviridov could be the composition of iconostasis. The principle of accounted for as the way of spiritual ascension: variation technique promotes the abstracting to the holy Lap of its Orthodox egress, from the from specifics of the substantial world and educes secular treatment of spirituality to Christian- atemporal essence of spiritual phenomena. Orthodox. The type of polyphonic development, which consists of thorough progress of variationally A special point in Sviridovís interpretation renewed musical material, is often used by the of the Prayer book is the selection of prayers of composer. A parallel could be drawn between absolution only. The choral Christology is one identity, residence in a single sound space with of the most visible occurrences among all the the visage of Orthodox temple which does not liturgical music of the composer. The definite remain from the selected point of view and always expression of features of united thinking in the remains identical to itself. It is the idea of Eternity, poetics of Sviridovís choral creativity is charact- out-of-timeness, celestial figure of the world. He erized by the presence of the Transfiguration gathered the energy of transformation in secular concept, the prototype of which is the Theandric genres and at the new coil of history, at the new feat of Christ-Messiah. boundary of centuries, as Rachmaninov, he revives The penetration to the sense of Sviridovís Old Russian singing tradition in Chants and music is an endless process and the given article Prayers (and other works on spiritual/sacred is only an experience of personal involvement in thematics). it. It is clear that the understanding of his music Active absorption of Pushkinís heritage meant as an event of national self-consciousness of Orth- a housel to the secret of Russian word as revel- odox culture is impossible without appealing to ation of spiritual life for the composer. Through spiritual analysis as a cognitive method of music- the poetís personal spiritual search the experience ology.

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