Padre Martini’s fugue theory in the projection on Maksym Berezovsky’s work
DOI:
https://doi.org/10.31318/2522-4190.2022.135.271001Keywords:
the fugue theory of J. B. Martini, found spiritual concerts of M. Berezovsky, twohorns, final fugues, auditory perceptionAbstract
Relevance of the study. The theoretical views on the fugue of the famous Italian composer and teacher J. B. Martini are presented in the treatise "Esemplare, o sia saggio fondamentale pratico di contrappunto fugato" (1775). This treatise, well-known in Italy and little-known in Ukrainian scientific circles, systematizes the principles of teaching fugue counterpoint, which were the basis of Padre Martini's pedagogical system. The extrapolation of the main provisions of the treatise to the work of Maksym Berezovsky, who studied the basics of counterpoint with Padre Martini, gives grounds for identifying a group of choral concerts written under the influence of the Italian maestro's pedagogical method. This can become an argumentative basis for dating these works and clarifying the periodization of M. Berezovsky's work.
Main objective of the study is to review the main provisions of J. B. Martini's treatise on the theory of fugue counterpoint through the prism of their reception in the spiritual works of M. Berezovsky.
Methodology. The methodological basis consists of general scientific methods: study and generalization, abstraction and formalization, system analysis and synthesis.
The results and conclusions. The main provisions of the second part of the treatise on fugue counterpoint by J. B. Martini have been studied. It is indicated that the treatise was written as a study guide to help young composers in creating choral music, with an explanation of the specific features of fugue counterpoint and the principles of its composition, with annotated samples of choral fugues of different numbers of voices — from two to eight, as they grow. Spiritual concertos of M. Berezovsky, written under the influence of the main ideas of the fugue counterpoint theory of Padre Martini, were determined, and they turned out to be two choral concerts of the Ukrainian artist. The study of the theoretical provisions of the treatise took place in the projection on the peculiarities of the composition of the final fugues. The main attention was paid to the articles of the Italian teacher about the theme of the fugue, methods of contrapuntal work with the initial material and methods of polyphonic formation. The influence of the main theoretical provisions of Padre Martini's fugue counterpoint treatise on the composition of the final fugues in M. Berezovsky's two-choral concerts was revealed. The time of writing of these concerts has been clarified, the version regarding their appearance in the early period of creativity under the influence of the traditions of Partes polyphony has been refuted. The importance of auditory perception in the attribution of the style of M. Berezovsky's two-choral concerts is indicated, which turned out to be extremely distant from the party polyphony, where this performance composition was extremely widespread.
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