DOI: 10.36871/hon.202201015
Authors
S. A. Lyashova
Saratov State Conservatory named after L. V. Sobinov, Saratov, Russian Federation; Murmansk College of Arts, Murmansk, Russian Federation
Abstract
The article undertakes a study of performing interpretations of the work by H. Sommerro
(2000), which is being introduced into scientific circulation for the first time. The main material
are recordings of readings by S. Hoff (2000) and B. Andersen (2019). The study is based
on comparative and linguistic methods, interdisciplinary approaches, and special methods of
musical analysis. Among the principal conclusions that are new in character are the following:
the structure of the composition is defined by the tasks of conveying the multiple meanings of
Norwegian literary material through the unequal inclusion in the Requiem numbers, its different
correlation with the Latin text, emotional deepening and enrichment by the orchestra,
choir and singers; the emphasis is on the idea of sacrifice, which turns the "Offertorium" into
one of the most dramatically intense numbers.
The study of the logic of accents, pauses, and speech melody shows that the readers are
very similar in the meaningful interpretation of texts, but intonationally the actor from 2000 creates three different artistic images, bringing Norwegian poetry and prose to the fore, while
the performer from 2019 tends to a narratively restrained manner in all cases, which equalizes
Catholic and secular texts in meaning. Sommerro's Requiem demonstrates a distinct movement
towards new ways of actualizing traditional musical forms.
Keywords
"Offertorium", interpretation, Olsen, Norwegian text, patterns of artistic reading, contexts
