Kuchurivsky Y. Genre tradition of Requiem in the work of composers in Great Britain in the last third of the 20th and beginning of the 21st centuries

The dissertation is devoted to the study of the existence of the requiem genre tradition in contemporary British composer creativity, which is indicative of its evolutionary dynamics. Creative interpretations of the requiem genre by British composers of the last third of the 20th and beginning of the 21st centuries considered in the aspect of systemic interaction of various levels of manifestations of the genre tradition. The appeal of contemporary British authors to requiem is explained by objective factors in the historical context of European musical culture, which are associated with the moral and ethical aspirations of modern musical art and in combination form the sociocultural level of the genre tradition. For the era of the turn of the XX-XXI centuries, when the questions of the future of humanity are especially acute, the requiem takes on the function of a musical genre that can comprehend reality, identify its key contradictions associated with the problems of human existence in the modern world and the coexistence of different cultures in a “single world ". The musical-lexical level of the requiem genre tradition is realized in the work of British composers through the use of structural-semantic, melodic, intonational-rhythmic, timbre and textural indicators, which were assigned to the requiem as canonical in the course of its historical evolution. The individually-authorial level of the requiem genre tradition is an extremely significant factor in its evolution: it is associated with a variety of creative interpretations by the composers of Great Britain of the genre of the memorial mass. It is noted that the individual style of composers 1970-2000. formed in a completely different national-cultural context than the work of their outstanding predecessor B. Britten. Their work is focused on other languages of musical expression, and in many ways - on the “pure”, without academic intellectualism, revival of national traditions, as well as on the aesthetics of the “new sacredness” that has been relevant from the last third of the last century. If we understand sacredness traditionally as an attribute of a person’s communication as a member of the Christian community with the Transcendental, then the interest of modern British composers in the liturgical genre of the memorial mass is explained from the point of view of the main stylistic trends in musical art of recent decades. If we consider the requiems of B. Chilcott, J. Rutter and J. Tavener in the context of artistic and aesthetic, rather than religious, then these works demonstrate the characteristic features of the “new sacredness” as a special direction of musical creativity (appeal to the liturgical genre, use in it canonical liturgical texts, focus on concert performance).