2761

Thus, in the correspondence the concluding wishes are characterized by a high degree of emotionality and expression, the representatives of which are both superlatives and multi- dimensional (multi-component) expressive-and-intensified constructions with numerical components (hundert, tausend, etc.). Cf:

Meine herzlichsten Glückwünsche zum neuen Jahre, Ihnen und Ihrer lieben Familie, nebst tausend freundlichen Grüßen! [1*]; ( My heartiest wishes for the new Year to you and your dear family, together with the thousands of friendly greeting!) (translated by M.G Kochneva).

It should be noted that in their semantics comparative constructions with the numerals a priori contain certain quantitative characteristics. Cf:

Lieber Freund, Ihre Äußerungen […] sind von solcher Art, dass Sie das tiefste und gründlichste Studium der Kirchengeschichte gemacht haben müssten, um auch nur den hundertsten Teil derselben zu wagen [1*]; (Dear friend, your utterances are of such a type that you would desire to fundamentally study the history of church in order to dare make at least a hundredth part of the same thing) (translated by M.G Kochneva).

In this passage of the letter the question is about the hyperlative that is about the excessive form of sign intensification, as the same "amount" is initially present in the meaning of the original word.

It is characteristic that in the final part of Franz Bopp`s letter, the comparative constructions used in the superlative degree explicate emotive-and-personal attitude of the German scientist not only to the sender of the correspondence himself, but also to his nearest surroundings (family, friends, relatives, etc.). He obligatorily calls the family of one or another colleague as

«werteste Famillie» ("the most precious family", "teuerste Famillie" ("the dearest family"), whom he heartily (herzlichst) welcomes.

Leben Sie wohl, zärtlichst geliebter Freund! Ich bitte Sie mich bestens ihrer werthesten Famillie zu empfehlen, die ich herzlich grüße, wollen Sie auch die Güte haben meine Familie mir zu grüßen, und von meinem Wohlsein zu benachrichtigen [1*]. Ewig Ihr getreuer Freund Bopp (Farewell, dearly beloved friend! I ask you for a favor, send regards to my family and tell them about my health. Yours faithfully for ever, your friend Bopp) (translated by M.G Kochneva).

In the given passage of the letter, emphasis is placed upon Bopp`s strict observance of the polite forms. In some cases, Bopp replaces comparative constructions by expressive means to enhance the emotional impact and by the marked emotive-and-estimating words (Yours faithfully for ever, your friend BOPP).

Often, in the final part of the letter, the creator of Sanskrit Philology explicates the idea of his passionate desirability, his strong interest in receiving letters from his companion by correspondence in the future, which is expressed by Franz Bopp`s popular comparative superlative constructions. Cf.:

Leben Sie wohl, und erfreuen Sie mich recht bald mit einem erwünschtesten Briefe, und empfelen Sie mich vielmal ihrer mir teuersten Famillie [1*] (Goodbye, and gladden me with the most desired letters and also repeatedly greet your dearest family on my behalf) (translated by M.G Kochneva).

Cf. also:

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Entbieten Sie ebenfalls meine zärtlichsten Glückwünsche Ihrer theuersten Famillie. In der Hoffnung auf baldigen sehnlichst erwarteten Brief. Ihr ergebenster aufrichtiger Freund Franz Bopp [1*]. (Send also my tender congratulations to your dearest family. In hope of receiving a speedy letter from you, expected with thirst. Your most faithful sincere friend Franz Bopp) (translated by M.G Kochneva).

Traditionally, the founder of comparative-and-historical linguistics concludes his letter with an individual elative-type self-appraisal, aimed at demonstrating his friendly attitude to the person by correspondence and, above all, his personal devotion and sincerity:

Ihr treuester Fr. Bopp; Ihr aufrichtigster Freund Bopp; Ihr ergebenster aufrichtiger Freund Franz Bopp [1*]. (Your sincerest friend Franz! Your most sincere friend Bopp! Your most reliable and sincere friend Franz Bopp!) (translated by M.G Kochneva).

Studying Bopp`s correspondence changes somewhat the stereotype on the nature of the German emotional picture of the world, with respect to which the opinion has been made up as a predominantly rationally-oriented continuum.

Studying his correspondence proves convincingly a high degree of emotions and expressions, among them the discussion of a priori rational essences.

At the end of the letter, saying goodbYe to his friends, Bopp once again expresses his deep respect and reverence, wrapping his emotional feelings in a bright form of an absolute superlative construction. Cf.:

Beehren Sie mich bald mit einem Briefe, es wird mir viel Freude machen. Ich verbleibe mit tiefster Hochachtung Ihr ergebenster Freund [1*]. (Favor me with a letter in the near future, which will bring me a lot of joy. I remain with the deepest respect. Your most faithful friend) (translated by M.G Kochneva).

In the final part of Bopp's letters to his teachers, colleagues and students one of the most frequent words is the lexeme "HERZ" and its numerous derivatives used, as a rule, in the clichéd superlatives. Here are some examples:

Leben Sie wohl, herzlichst geliebter Freund, und grüßen Sie mir vielmal Ihre meinem Herzen theuerste Famillie. Ihr treuer Freund Bopp. 11. Aschaffenburg 16. März 1815. ) [1*]. (GoodbYe, hearty beloved friend, and welcome your dearest family, dear to my heart. Your faithful friend Bopp) (translated by M.G Kochneva).

Viele zärtlichen Grüße an Ihre liebe Familie; wie auch an Merkel. Leben Sie recht wohl Ihr aufrichtigster Freund [1*]. (A lot of hearty greetings to your beloved family and Merkel, as well. Your most faithful friend for ever!) (translated by M.G Kochneva).

... mit den herzlichsten Grüßen an Ihre liebe Familie [1*]. (With hearty greetings to your dear family) (translated by M.G Kochneva).

Franz Bopp`s epistolary discourse is characterized by a rather frequent use of superlative adverbs, i.e. adverbs explicating the meaning in the superlative degree (Cf.: bestens, wenigstens, mindestens, etc.).

Göthe'n und Friedrich Schlegeln, der in Frankfurt sein wird, empfehlen Sie mich bestens bey Uebersendung eines Exemplars[1*]. (When passing the copy to Goethe and Friedrich Schlegel, who will be in Frankfurt, introduce me best) (translated by M.G Kochneva).

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Ich wünsche, daß Ihnen meine Arbeit so einleuchten möge, daß Sie wenigstens sie einiger

Anerkennung werth halten, was mir als von einem Sachkenner kommend erfreulich und erheiternd seyn würde, dessen ich doch auch bedarf, so lange ich noch ein Mensch bin [1*].

(I would like my work to make such an impression upon you, after which you would, if only at very least, recognize its value, that would be very joyful and hopeful for me– to get an appreciation of such a connoisseur as you, in which I still need, as long as I am a man) (translated by M.G Kochneva).

The comparative constructions analyzed by us show, on the one hand, a high degree of Franz Bopp`s emotional richness of the language picture of the world and, on the other hand, underline the similarity of the style of his writing to prolegomena of the ancient (Greek) and Byzantine epistolary art. It is traced, in particular, the dominance of philophronesis (friendly tone of the letter), homily (the presence of a conversation of religious-and-moral trend) and parusy (fine speech formulas peculiar to antiquity) [6].

In Franz Bopp`s correspondence, the grammatical category of comparison is realized on the basis of broad and heterogeneous range of axiologically oriented descriptors of different types used for the determination of the phenomena and concepts that characterize the German scientist`s linguistic picture of the world, and for the explication of appeals.

Among emotive-and-estimating descriptors, being determinants of the above realias (objects), there dominate 10 types of estimating predicates, which include:

1) emotional-and-psychological estimates (zärtlich (tender), herzlich (hearty), innig (sincere), aufrichtig (open-hearted), ergeben (devoted), lieb (loved), lebhaft (living), eifrig (diligent), sehnlich (passionate),etc.):

Ich habe dasselbe mit Bedacht und dem lebhaftesten Interesse gelesen und die Tiefe der Gedanken bewundert [1*]. (I carefully read the same with the liveliest interest and admired the depth of thought) (translated by M.G Kochneva).

Only in this one sentence, there are revealed several estimating predicates, differentiating between each other by a various degree of reflecting intensity/expression, resulting in cognitive sublimation of the emotional relation to the described object. Cf.: mit Bedacht, mit dem lebhaftesten Interesse, die Tiefe der Gedanken, bewundern. The semantic content of the verbal estimates given induces a priori the presence of emotional-and-estimating words with a high degree of sensational potential.

2) Essential estimates (wesentlich (essential), nötig(needed), notwendig (necessary), etc.).

Cf:

Obgleich wir noch eine wesentliche Differenz untereinander haben, so hoffe ich doch, daß wir selbst von dieser noch manches beseitigen werden, so weit es unsere Verschiedenheit im religiösen Standpunkte zuläßt [1*]. (Though between them there are significant differences, however, I hope that we ourselves can eliminate some part of them to the extent permitted by the difference in the religious aspect) (translated by M.G Kochneva).

The German thinker, using in his investigations the basic philosophical strategies of thinking and, above all, the analysis and synthesis, often refers to the estimates, allowing him to oppose primary and secondary, necessary and unnecessary , that is achieved, first of all, with the help of estimating lexemes of an essential type. It is interesting to note that in Fr. Bopp`s epistolary discourse the lexeme wesentlich (essential) dominates in various forms of usage, which should indicate the importance of the significant properties of the description object.

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3) Aesthetic estimates (fein (exquisite), schön (beautiful), vollkommen (perfect), etc.):

•... ..aus einigen der schönsten Stellen von Schlegel ... [1*]. (from some of the most beautiful places of Schlegel) (translated by M.G Kochneva).

•Die Weissagung des Dhritarâshtra's ist ja etwas ganz herrliches. In Ihrer Grammatik habe ich manche feine Bemerkungen, auch einige mir neue gefunden [1*]. (Wisdom of Dhritarashtra - is something especially great. In your grammar, I have discovered some nice observations, and I have found new ones) (translated by M.G Kochneva).

It is necessary to note that Fr. Bopp often uses the aesthetic estimates, designed to express his admiration and delight to a wide range of realias (Indian philosophy, Sanskrit, the Vedas, and many others) which have become the subject of his study. Like Humboldt, Franz Bopp favors mainly the three above-mentioned estimating lexemes (fein (refined, elegant), schön (beautiful, nice), vollkommen (perfect)), that points, on the one hand, to the absolute priority of aesthetic maxims in his picture of the world, and on the other hand, to their use as the highest measure of evaluating various spiritual vs. material realias. From this position, the creator of Sanskrit Philology can be regarded as an aesthetic linguistic personality.

4) Quantificational-and-physical estimates (groß (big), tief (deep), hoch (high), klar (clear), hell (light), warm (warm), gerade (straight), schwer (heavy), auffallend (noticeable), vielfältig (versatile), vereint (isolated), etc.):

Ich sehe nun zu meinem Entzücken ein, daß ich im Stande bin der schönsten, wichtigsten, wohl auch einer der schwersten Sprachen des Orients ohne alle fremde Hülfe vollkommen mächtig zu werden [1*]. (To my delight, I realize that I am able to master the nicest, the most important and also one of the most difficult languages of the East without any help)

(translated by M.G Kochneva).

The above estimates are mainly used by Fr. Bopp in the metaphorical understanding and are associated with a positively marked quantificational characteristics (size (gross), depth (Tiefe), difficulty (schwer), with the concepts heat (warm), light (hell, klar), with the philosophical categories of single (vereint) and plural (vielfältig), etc. The estimates being explicated by the similar lexemes allow us to qualify the essences considered by Bopp, volumetrically and multidimensionally, they promote their ontological visualization and emotional perception.

5) Social estimates (edel (noble, refined);

Ihr lieber Brief hat mir eine außerordentliche Freude gemacht. ... Ich werde ihn immer als ein mir theures Kleinod betrachten, weil die edelsten, freundschaftlichsten Gefühle darin ausgesprochen sind [1*]. (Your valuable letter gave me an extraordinary joy. I will consider it as the most expensive jewel, because it expresses the most noble and friendly feelings) (translated by M.G Kochneva).

In Fr. Bopp`s epistolary discourse the lexeme «edel» gets a wide application and correlates not only with the estimated characteristics of Bopp`s adherents themselves, but also with the results of their activities, in particular, Bopp admires the letter, which reflects " the most noble feelings".

6) Estimates of truth (wahrhaft (veritable);

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Es ist Ihnen nun gelungen, theuerster Freund, durch Ihre wahrhaft väterliche Sorgfalt und Bemühung mir die erfreuliche Sicherheit zu verschaffen, mich mein ganzes Leben lang einem Studium zu widmen das mir Von Tag zu Tag theurer wird ... Nur ihr edles Herz kann Sie für ihre Freundschaft belohnen [1*]. (My dearest friend, you have managed, by your true fatherly care, to create the joyful confidence in me in the fact that I will be able to devote my entire life to studies, which every day becomes more and more dear to me .... Only a noble heart can reward you for your friendship) (translated by M.G Kochneva).

As a rule, the estimating word wahrhaft is used by Bopp as the intensification of feelings and emotions expressed by him, and also as the intensification of the importance of actions and qualities of his nearest surrounding (thanks to your true fatherly care).

7) Theological estimates (heilig (sacred), heilsam (healing);

Unser nächstes Bändchen wäre dann wohl der ganze Bagavatgita? nicht wahr? wenn irgendein Buch in dieser Zeit auf die gehörige Art erläutert u. nach der Wahrheit dargestellt heilsam und zurechtweisend wirken könnte, so wäre es dieses[1*]. (Our next volume would probably be the full Bagavatghita? If any book can currently be properly commented and truthfully presented, and which could affect healing and point the way, then, that would be it) (translated by M.G Kochneva).

In Fr. Bopp`s epistolary discourse, the theological evaluating means are predominantly used in the function of metaphorical estimates. Thus, in the above example, the question is about a healing (holy) affect of the book Bagavatghita, in the case of completing the full work on it.

8) Temporal estimates (jung (young, new), alt (old), dringend (urgent), etc.);

H. u. Schumacher haben mich dringend gebeten, sie Ihnen auf das hochachtungsvollste u. angelegentlichste zu empfehlen [1*]. (Humboldt and Schumacher immediately asked me to recommend it to you in the most respectful and the greatest possible way) (translated by M.G Kochneva).

Juvenile and gerontological estimates (young and old, early and late, and the like), as well as the evaluations with the seme "urgency, transience" of performing any action take an important place in Bopp`s epistolary discourse, because the German thinker, working primarily on antiquities and publishing new scientific works, constantly appealed to the temporal point of reference, the use of which allowed him to distinguish between the newest and the oldest requiring the urgency of training, and the things that might be postponed indefinitely. Therefore, the estimating vector of temporality presents inevitably in his correspondence with colleagues and students.

9) Unitary estimates (bequem (convenient), hilfreich (useful), etc.):

Auch gefällt mir die äußerliche zum Citiren sehr bequeme Einrichtung sehr wohl [1*]. (I also like an outer, very convenient arrangement for citation) (translated by M.G Kochneva).

As befits a truly German, Franz Bopp sees a pragmatic sign of convenience and expediency in everything. This approach also concerns the estimate of any intellectual work, the reasonableness of its arrangement, the possibility of convenient perception.

10) Indefinite estimates (unaussprechlich (inexpressible), unwiderstehlich (irresistible), etc.). Cf:

18

und Sie werden mehr und mehr erkennen lernen, daß auch die unaussprechlichste Zartheit, die unwiderstehlichste Kraft und Stärke der Phantasie ...... nicht zu beschreiben und zu fassen vermögen die einfache Größe und Herrlichkeit des göttlichen Wortes, das uns verliehen ist in der Kirche [1*]. (And you will be more and more convinced that even the most inexpressible tenderness, the most irresistible power and the force of imagination ...are unable to describe and reflect a simple grandeur and splendor of the divine word, which is given us in the church) (translated by M.G Kochneva).

For Bopp`s epistolary discourse, negative words-estimates are rather relevant, their meanings actualize the semes of negation of the very possibility of performing any action that is explicated by the negative prefixes (in-, ir-) (cf.: the most inexpressible tenderness, the most irresistible power and the force of imagination, etc. ). The estimates of this type express the highest (limiting) degree of the manifestation of emotions, when a person believes that the point of the essence characterized by him can not be covered (transferred) by the language words, i.e., a priori there is recognized "the powerlessness" of the language in reflecting the thought on some of the essences and their representation in the mind.

Key cognitive-and-epistemological maxims structuring Franz Bopp`s linguistic epistolary discourse correlate mainly with a positively marked essences.

One of the relevant features of F. Bopp`s epistolary discourse is the use of nominative elatives (or absolute superlatives) being formed by conversion on the basis of adjectives/participles. Cf.: das Wichtigste (the most important), das Dringendste (the most urgent), das Nötigste (the most necessary), das Notwendigstee (the most needed), das Höchste (the highest), das Tiefste (the deepest), das Größte, das Beste (the best), das Hervorragendste (the most outstanding), and many others. Cf.:

Der Titel der Schrift, die große Epoche die sie veranlasst, und Sie, wie ich Sie kenne, lassen mich das Schönste davon erwarten [1*]. (As far as I know you, the title of the manuscript and you make me expect from this (something) the most beautiful) (translated by M.G Kochneva).

The essential components of Fr. Bopp`s individual picture of the world as a linguistic personality, are numerous types of emotives, expressives, culturemes, mythologemes, metaphors, comparisons, etc. demonstrating the richest and varied, the fundamental and profound in its meaning, stylistically refined, emotionally intense, bright and creative system of linguistic resources used by Bopp to reflect his views on the human world, the world of languages, cultures and civilizations. Compare, for example, Bopp`s enthusiastic utterance about the poets of Persia and India with the use of metaphors:

Bald hoffe ich Ihnen manche Blüthe persischer und indischer Dichter in Übersetzungen mittheilen zu können [1*]. (Soon, in translations, I hope to inform you about some bright blossoming of Persian and Indian poets) (translated by M.G Kochneva).

The study of Franz Bopp`s correspondence shows, on the one hand, a high degree of emotional richness of Franz Bopp`s linguistic picture of the world, and on the other hand, emphasizes the similarity of the style of his writing to prolegomena of ancient (Greek) and Byzantine epistolary art. It is traced, in particular, the dominance

•of filofronesisa (friendly tone of writing)

•of homily (the presence of the conversation of religious-and-moral trend) and

•of parusy (fine speech formulas inherent in antiquity).

If we pay attention to the beginning and the end of Franz Bopp`s letter, it becomes clear that any message begins and ends with emotional comparative constructions, which, in our opin-

19

ion, perform not only the function of observing a certain ritualism corresponding to a certain stylistic norms and rhetorical canons, but semiotically points to the form of a circular writing, in which the symbol of a circle by itself is intended to embody the fullness, integrity, completeness and harmony.

Thus, the conducted research shows that Franz Bopp appears in the epistolary discourse primarily as emotional, volitional, arguing, convincing, estimating, and aesthetic personality. Key cognitive-and-epistemological maxims, structuring Franz Bopp`s epistolary discourse, correlate mainly with a positively marked essences.

Compared to the analytical and suppletive methods for forming comparison, the synthetic method prevails (-st, -est). Purposeful statements, personal attitude of Franz Bopp to the subject of the research, as well as to a wide range of adherents are realized with the help of ternary and binary hyperlative, elative and superlative constructions, allowing him to translate the language of emotions, feelings and experiences into the language of words [3].

The analysis of the epistolary discourse of the founder of Sanskrit Philology refutes the stereotype on the nature of the German emotional picture of the world as a predominantly rational- and-oriented national-and-cultural continuum. Franz Bopp`s correspondence with a wide range of outstanding individuals, nationally important for the German culture, demonstrates an extremely high index of emotions, a high degree of expression, among them the discussion of a priori rational essences. At the same time it can be assumed that such a type of writing is explained by the specific character of the so-called Byzantine style, on the one hand, and by the specific nature of the Romantic trends, i.e. the epoch in which Franz Bopp lived - on the other hand.

Bibliographic list

1.Ivancova E. V. O termine «jazykovaja lichnost'»: istoki, problemy, perspektivy ispol'zovanija // Vestnik Tomskogo gosudarstvennogo universiteta. — Tomsk: TGU, 2010. — № 4 (12). — S. 24-32.

2.Desnickaja A.V. Franc Bopp// Russkij jazyk v shkole, M. -1941, № 1. – S. 85-93.

3.Dmitrieva E.I. Kategorija komparativnosti v raznostrukturnyh jazykah (na ma-teriale anglijskogo, russkogo i nemeckogo jazykov). - M., 2012. URL.:http: //www. dissercat. com/ content/ kategoriya-komparativnosti-v-raznostrukturnykh-yazykakh) (data obrashhenija 22. 02. 2016).

4.Fomina Z.Ye. Grammaticheskaja kategorija komparativnosti v jepistoljarnom dis-kurse Franca Boppa // Grammaticheskie kategorii v kontrastivnom aspekte. Mezhd. sb. po materialam konferencii, Moskva, MGPU, 11 – 14 maja 2016 goda. – 2016. –S. 19-24.

5.Smetanin V. L. Jepistolologija Pozdnej Vizantii, Projelevsis (konkretno-istoricheskaja chast')/ URL: http://hdl.handle.net/10995/2317 (Vremja obrashhenija – 13.10.2016).

6.Vizantijskij slovar': v 2 t. / [sost. Obshh. Red. K.A. Filatova]. SPb.: Amfora. TID Amfora: RHGA: Izdatel'stvo Olega Abyshko, 2011, t. 2, s.173.

7.Fomina Z.Ye. Nemeckaja jemocional'naja kartina mira i leksicheskie sredstva ee verbalizacii. Voronezh: IPC VGU, 2006. -336 s.

8.Fomina Z.Ye. Jemocional'nYe koncepty v russkoj, nemeckoj, avstrijskoj i shvejcarskoj hudozhestvennoj kartine mira (kollektivnaja monografija) Lingvokonceptologija: perspektivnYe napravlenija " Luganskij nacional'nyj universitet imeni Tarasa Shevchenko, Lugansk, Ukraina, 2013 g. –S. 247-274 (soavtory: A.Je. Levickij, O.P.Vorob'eva, V.K. Shherbin i dr.).

9.Fomina Z.Ye. Jetnokul'turnye osobennosti nemeckogo nacional'nogo haraktera v skazochnom diskurse brat'ev Grimm// Lingvostranovedenie: Metody analiza, tehnologija obuchenija. Vos'moj mezhvuzovskij seminar po lingvostranovedeniju. V 2-h chastjah. Chast' 2. Otrazhenie nacional'nogo haraktera v jepose i narodnyh skazkah M.: MGIMO - Uni-versitet . – 2011, chast' 2, S. 3166.

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10. Fomina Z.Ye. Koncept "Dusha" v nemeckoj i russkoj lingvokul'turah. Jazyk i jemocii: lichnostnye smysly i dominanty v rechevoj dejatel'nosti. Sb. nauch. tru-dov. Volgograd, 2003.- S. 223-234 .

Analyzed sources

1*. Lefmann, Salomon. Franz Bopp, sein Leben und seine Wissenschaft / von S. Lefmann. - 1. Häfte. - Berlin: Reimer, 1891. – 176 S: Ill.URL

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UDC 81’42

Science and International Relations Vicedirector of Modern Languages Institute, MCPU, professor of Roman Philology department of Modern Languages Institute of MCPU,

Doctor of Philology, full professor Larissa Georgievna Vikulova e-mail: vikulovalg@mail.ru

Institute of Philology, Foreign Languages and Media Communications

of Irkutsk State University,

post-graduate student of the Translation and Translatology Department

Nadezhda Leonidovna Shevchenko

e-mail: nadezhdashevchenko86@gmail.com

L.G. Vikulova, N.L. Shevchenko

XVII CENTURY MUSIC PIECE IN THE XXI CENTURY DISCOURSE: REVISITING MUSIC REPUTATION AND AUDIENCE PERCEPTION IN THE GENRE

OF REVIEW

The question about music reputation of a XVII century French composer, which is defined by a historical period and music critics, is discussed in the article. The lexical means of evaluation, used by music critics of the BBC Music Magazine to influence the postnonсlassical period readers are analyzed. Using positive (Positive Thinking) and negative (irony) word imagery means of evaluation Anglophone reviewers create J.B. Lully music and personal reputation in modern audience as well as reflect their perception of his works, sometimes breaking the canons of the genre of review.

Key words: music reputation, audience perception, music critic, review, positive/negative evaluation, music performance.

A composer’s reputation of any historical period is defined by his compositions being in social demand. Following S.V. Denisenko [1, p.3], writing about theatrical reputation, when a literary writer’s works are in demand and this is reflected through a number of theatrical performances, we consider it necessary to introduce the term music reputation of a composer. Under this term we understand the view of a composer and his musical works, which are in the repertoires and are performed by authoritative music bands. It is impossible to investigate the question of music reputation without addressing the problem of audience perception (which includes music critics as well) of the composer’s theatrical and music stagings. In order to do so it is important to draw on critical reviews as the material, which are published in periodicals and develop tastes in modern listeners by addressing the works completely forgotten.

We will presume that the text of music critic’s review is based on the XVII century work’s interpretation by music ensembles in collaboration with audience. The text of a critical review has the following components: the text of a music work, its realization on the stage and XXI century audience perception of this piece. Although this article connects musicology, it has philological content, because the texts of the music criticism are analyzed.

_______________________________

© Vikulova L.G., Shevchenko N.L., 2016

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Historically, a musical work of a classical period is always connected to the problem of a reader’s/listener’s evolution in different epochs. Researchers of “music” phenomenon verbal representation Z.Ye. Fomina and L.E. Korobko note that music is endued with controversial character and this is revealed through antinomies, among which prioritized are the antinomies of intellectual, emotional and of other types [2, p. 74]. It is thought, that a music text and music critical texts existence in the cultural space of their historical period result in their perception by musicians, critics and listeners.

Let us address the problem of XVII century French classical music performance culture and its perception of belonging to the Anglo-Saxon culture music critics. Music culture in France of XVII – the beginning of XVIII centuries experienced genuine classical and rich period – from the first lyrical tragedies of Lully (1670-s) up to 1764, when the last lyrical tragedy of Jean-

Philippe Rameau “Les Boréades” was created and this composer died [3, p.3]. French opera of

XVII century was in a sense “the spring” of the period of Classicism. Before this France did not know any operatic art except Italian.

Jean-Baptiste Lully, nicknamed “Florentine” due to his Italian roots, is rightfully considered the creator of French national opera (Giovanni Battista Lulli, Jean-Baptiste Lully, 1632-1687). The composer wrote fifteen operas and created the canon of this art (so called l’opéra lullyste). German and Italian composers followed this opera canon (mythological plot, five scenes, prologue and music overture) for a long time: “Il fixe les règles de l’opéra qui seront adoptées notamment par les Allemands et les Italiens pendant des décennies: le sujet doit être mythologique, présenté en cinq actes, précédé d’un prologue et d’une ouverture instrumentale” [1**]. Being not only a talented composer, but also a conductor, a clavecinist, a violinist, a gifted theatrical manager, Lully held the high position of a music counselor at the court of Louis the Fourteenth and had great influence not only on the music life in Paris, but the whole of France and even outside. For his time Lully had an unusual acumen and in many aspects was an innovator. In his orchestra, musicians for the first time acquired the status of professionals, they had castings to become a part of the orchestra; regular rehearsals and the conductor position were also new. The choir began to play a great role [4, p.18].

The main criterion of any music work is its evaluation by the audience of listeners and spectators. In 1911 French music critic (JEAN MARNOLD) wrote, that Lully’s works had a great success among French court and city audience of that period, because they reflected specific national mentality of that epoch [1**]. His success was enormous up to the French Revolution of 1789. After that his name was forgotten for two centuries and therefore that influenced the destiny of Lully’s music heritage [5].

In the meantime, it’s possible to judge a composer’s music reputation by the statements of his contemporaries, who listened to and saw his ballets, lyrical tragedies and other compositions:

“Music is beyond any compliments: Baptiste made King’s orchestra larger”, “We admire Baptiste,” wrote Madame de Sévigné in her letters [6, p. 159, 195-196], “Monarch of music arts,” told Jean de La Fontaine [cited by: 7, стр. 57], “Lully’s style ‘is characterized by accurate intonation, smoothness and flatness, clear and firm touch of the whole orchestra, taking the first chord (so called the first bow touch) with compulsion and highly distinctive tempo changes, power and flexibility in harmony, beauty and vividness” (unknown author) [cited by: 3, p. 34], “the father of true music <…> all of them, who were after him, such as Campra, Colass, Destouches are just his imitators,” said Voltaire about Lully [cited by: 7. p. 53].

J.B. Lully was in many ways a remarkable, inventive and even genius person. He was creating his compositions, taking into consideration the will and requirements of the King. However, by staging theatrical performances, the composer was thinking about a broader French audience. Enriching stage space with decorations and thus improving visual effects, Lully realized, that French people first watch, and then – listen [7, p. 57-58]. So, during his life J.B. Lully had a positive music reputation, all his works were popular, staged and highly visited.

Nowadays music genius of J.B. Lully touches spectators’ and listeners’ feelings, because his works, despite the change of several epochs, are still staged. It becomes evident through

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