Naples As Seen by Musicians: Intus Et Extra Cultura

Svitlana Anfilova, Olga Mykhailova

Özet


The influence of Neapolitan culture on the work of G. Donizetti and F. Poulenc is the main issue and purpose of this paper. Peculiarities of the southern region of the Apennine Peninsula, distinguished by the beauty and poetry of nature, mild climate, richness of the folk song tradition that arose at the crossroads of various ethnic groups and languages, inspired the creative imagination of artists, musicians, and writers from different countries. The artistic heritage contains many examples of works dedicated to Italy and Naples, in particular. In contrast to the processes of mixing heterogeneous elements and continuous renewal, universalism remains a permanent feature of Italian self-identity. Having been formed in antiquity, it was actualized in the era of humanism in a number of creative projects. One of them is the spread of the essentially regional genre of villanella (or Canzone alla napolitana) throughout the entire European music area in the 16th century. The cycle "Nuits d’été à Pausillipe" by G. Donizetti becomes a kind of "response" to the processes of the past, demonstrating the sustainability of the Neapolitan song traditions in view of romantic vocal music and romanza genre. The composer’s deep comprehension of the features of national melos and character, with its characteristic poetry of experiencing nature and emotionality, determined the psychological mood of the composition. The hymnal praise of love and joys of life, the exaltation of the lyrical expression testify to the high degree of G. Donizetti’s immersion into the atmosphere of the city, which became his second small homeland. A different view of Naples appears in the piano suite "Napoli" by F. Poulenc. It is remarkable for the picturesque language and the immediacy of emotional expression, determined by deep interpenetration of the Italian and French cultures. The position of an onlooker is seen in composer’s praise of natural beauties of the city, liveliness and energy of its population, theatricality of events. The study makes it clear that the differences in the individual perception of Naples by G. Donizetti and F. Poulenc, who represent two types of Neapolitan images retranslation in music, are predetermined. The involvement of G. Donizetti tradition, acquired at the genetic level, is expressed in the choice of vocal type of expression, a special sense of musical and verbal intonation. F. Poulenc, representing a different national culture, focuses on the external representativeness of Neapolitan life, capturing it in a series of instrumental sketches.


Anahtar Kelimeler


Neapolitan culture, Canzone alla napolitana, Vocal cycle, G. Donizetti, F. Poulenc, Piano suite, Night chronotope

Tam Metin:

PDF (English)

Referanslar


Anfilova, S. G. (2019). In the shade of "beautiful style": talking about the chamber vocal music pieces by G. Donizetti. Aspects of Historical Musicology, 15, 99–119.

Bedush, E. A. (2007). The Song Genres of Italian Renaissance: villanelle, canzonette, balleto (Ph.D. dissertation in Art). Tchaikovsky Moscow State Conservatory, Moscow.

Buslayeva, N. (2011). Images of Italy in piano compositions by F. Liszt. Relevant issues of higher musical education, 5(21), 26–30.

Donatti-Petteni, Dzh. (1980). Gaetano Donizetti. Leningrad.

Dyko, L. (1989). Fundamentals of composition in photography. Retrieved from http://www.photoline.ru/books/diko-osnovikompozicii.pdf.

Gaetano Donizetti. (2005). 20 Songs [Piano score]. John Glenn Paton (ed.). Alfred Music.

Gaidukova, I. (2016). The influence of urban socio-cultural space on creativity. Relevant issues of socio-humanitarian and scientific-technical knowledge, 2(7), 22–26.

Kostyir, M. (2004). The night landscape in Western European painting of the 17th century (Ph.D. dissertation in Arts). St. Petersburg: St. Petersburg State University.

Kuzmina, N. (2016). A man in a metropolis: social creativity, culture, traditions. Public Service, 4(104), 116–119.

Lebedeva, O. (2007). The image of Naples in "Journey of P. Tolstoy’s Stolnik (Inspector of the Imperial table) around Europe": "... and it is impossible to give a true description of it ...". Bulletin of Tomsk State University. Philology, 1, 45–57.

Long, K. (n.d.). The art of doing nothing. Retrieved from https://vadimkurkin.com/blog/biblioteka-psikhologii/iskusstvo-nichegonedelaniya/.

Medvedeva, I. (1969). Francis Poulenc. Moscow.

Mellers, W. (2003). Francis Poulenc. Oxford: Oxford university press.

Muratov, P. (1923). The images of Italy. Retrieved from http://az.lib.ru/m/muratow_p_p/text_0010.shtml.

Rome is a city of love and Dolce far niente. (n.d.). Retrieved from http://www.studyitalian.ru/support/lib/rim_gorod_ljubvi.html.

Shevlyakova, D. (2011). Dominants of Italians national identity. Doctoral dissertation (Study of Art). Moscow State Lomonosov University. Moscow.

Shpakov, V. (2000). Exhibition to celebrate the Centenary of the French Revolution, Paris, 1889. Russian Union of Exhibitions and Fairs. Retrieved November 27, 2019, from: http://www.uefexpo.ru/?id=44965.

Shtern, M. (2012). "Night" cycles in Romantic literature: "Russian Nights" by V. F. Odoyevsky and "Florentine Nights" by G. Heine. Herald of Omsk University, (2), 403–407.

Sidneva, T. (2011). Umberto Eco's "The Open Work" and the Problem of Border in Art. Relevant issues of higher musical education, 5(21), 44–49.

Vanechkina, I. (1987). On the synesthetic thinking of B. Asafiev. Synthesis of art in the era of scientific and technological revolution. Proceedings of the scientific and technological seminar, September 20–30, 97–99.

Vanechkina, I. & Galeev, B. (1987). "Color hearing" in the creative work of N. A. Rimsky-Korsakov. Russian music and tradition: (Interuniversity Collection of research papers), 182–195.

Wexler, U. (2011). Alban Berg and Italy. Relevant issues of higher musical education, 5(21), 8–12.

Zhukova, O. A. (2009). Piano creativity of Francis Poulenc in the context of French cultural traditions (Ph.D. dissertation in Art Studies). Kyiv.




DOI: http://dx.doi.org/10.7596/taksad.v9i1.2415

Refback'ler

  • Şu halde refbacks yoktur.




Telif Hakkı (c) 2020 Journal of History Culture and Art Research

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.