Revising “La Divina Commedia” I used to ask myself the following questions. What was the reason of Dante to have lost Beatrice? What led him to loneliness, banishment and journey to the other world? The answers came to me partially in “The New Life”, partially in the descriptions of Dante’s and his contemporaries’ earthly life scattered all over the “Commedia” and even more in Beatrice’s monologue-reproach addressed to Dante, when she meets him in the other world. (Purgatory, Canto 30). I tried to imagine Dante himself, his life in details, the sequence of events having inspired these eternal lines:
And passing earth existence to the half
I found I was placed in sulky wood…
What could be his nature? He must have been reckless and vulnerable, like many gifted persons, inclined to vivid keen reaction, perceiving everything ardently and insatiably — no matter, the game, or political hippodrome.
There are special sacrament figures of Dante, i. e. 3 and 9, acting symbolically throughout the whole symphony. The starting point is the E — the third key, the inverted triad. 3+3+3, or 3х3=9. Being nine Dante meets Beatrice, who is about nine. The thirds and the nines dominate in the “Commedia’s” structure, sparkling and rising, shrilling all around in the brief introduction like sudden lightening of rhythm and intonation. Further they occur to be inculcated inside the whole substance of the symphony.
Two children meet. Beatrice is the first one to appear, and then Dante comes to the stage. Every personage is given his own thematic material, blissful and adolescent for Beatrice and pensive one for Dante (odd even structures alternate in Dante’s rhythmic). Other teenagers are getting involved to the game. Insatiable Dante can’t help overcoming his passion, thus he escapes with the other youngsters unable to cease playing. Beatrice is left abandoned.
The next time being already a young gentleman Dante meets the young lady Beatrice. Reality invades their world as some fantastic carnival of lads and lassies, engrossing the poet. Beatrice seems more vulnerable about being abandoned. This feeling is expressed by the theme B-E-A-[t]-R-I-C-E of adult Beatrice.
She fades away to non-existence being only 25. Dante mourns her desperately. Here the theme of his maturity is getting formed (D-A-nt-E). However, the high society is ambushing him. Dante heads his adherents (“the white”). He is involved to the political struggle with the accomplices of Pope Bonifacius VIII (“the black”). He is doomed to defeat, banishment and exile deprived of Love, motherland and refuge. Such tragic circumstances stir up this eager for the infernal journey.
The symphony is based on three apexes — the infant, adolescent and mature one.
Boris Tishchenko
Translated by Asya Ardova
Revising “La Divina Commedia” I used to ask myself the following questions. What was the reason of Dante to have lost Beatrice? What led him to loneliness, banishment and journey to the other world? The answers came to me partially in “The New Life”, partially in the descriptions of Dante’s and his contemporaries’ earthly life scattered all over the “Commedia” and even more in Beatrice’s monologue-reproach addressed to Dante, when she meets him in the other world. (Purgatory, Canto 30). I tried to imagine Dante himself, his life in details, the sequence of events having inspired these eternal lines:
And passing earth existence to the half
I found I was placed in sulky wood…
What could be his nature? He must have been reckless and vulnerable, like many gifted persons, inclined to vivid keen reaction, perceiving everything ardently and insatiably — no matter, the game, or political hippodrome.
There are special sacrament figures of Dante, i. e. 3 and 9, acting symbolically throughout the whole symphony. The starting point is the E — the third key, the inverted triad. 3+3+3, or 3х3=9. Being nine Dante meets Beatrice, who is about nine. The thirds and the nines dominate in the “Commedia’s” structure, sparkling and rising, shrilling all around in the brief introduction like sudden lightening of rhythm and intonation. Further they occur to be inculcated inside the whole substance of the symphony.
Two children meet. Beatrice is the first one to appear, and then Dante comes to the stage. Every personage is given his own thematic material, blissful and adolescent for Beatrice and pensive one for Dante (odd even structures alternate in Dante’s rhythmic). Other teenagers are getting involved to the game. Insatiable Dante can’t help overcoming his passion, thus he escapes with the other youngsters unable to cease playing. Beatrice is left abandoned.
The next time being already a young gentleman Dante meets the young lady Beatrice. Reality invades their world as some fantastic carnival of lads and lassies, engrossing the poet. Beatrice seems more vulnerable about being abandoned. This feeling is expressed by the theme B-E-A-[t]-R-I-C-E of adult Beatrice.
She fades away to non-existence being only 25. Dante mourns her desperately. Here the theme of his maturity is getting formed (D-A-nt-E). However, the high society is ambushing him. Dante heads his adherents (“the white”). He is involved to the political struggle with the accomplices of Pope Bonifacius VIII (“the black”). He is doomed to defeat, banishment and exile deprived of Love, motherland and refuge. Such tragic circumstances stir up this eager for the infernal journey.
The symphony is based on three apexes — the infant, adolescent and mature one.
Boris Tishchenko
Translated by Asya Ardova
В этом сочинении известный петербургский композитор Борис Тищенко попытался восстановить хронологическую цепь событий и поступков, связанных с импульсивным, увлекающимся характером Данте, который, подобно многим высокоодаренным людям, на всё реагировал живо, остро, жадно участвовал в жизни, будь то детская игра или политическое ристалище.
Симфония имеет три кульминационные волны: "детскую", "юношескую" и "взрослую".
Содержание:
1. Вступление
2. Беатриче 9 лет
3. Данте 9 лет
4. Беатриче и Данте вдвоем
5. Игра
6. Данте и Беатриче окружают дети
7. Общая игра
8. Дети вместе с Данте убегают
9. Беатриче одна (12 лет)
10. Беатриче удаляется
11. Данте один (15 лет)
12. Появляется Беатриче (18 лет)
13. Упреки
14. Беатриче и Данте (18 лет). Прощение
15. Игра
16. Появление юношей и девушек (карнавал)
17. Бастарда
18. Карнавал удаляется вместе с Данте
19. 1290 год. Беатриче одна. Ей 25 лет
20. Беатриче умирает
21. Данте 25 лет
22. Скорбь
23. "Черные" под предводительством папы Бонифация VIII
24. "Белые" под предводительством Данте
25. Схватка
26. "Белые" разгромлены
27. Данте загнан
28. Данте изгнан
29. 1300 год. "Середина жизни". Данте в полном одиночестве
30. Голос Беатриче с неба
31. Голос Беатриче
32. Голос Беатриче
33. Данте заблудился в сумрачном лесу
V etom sochinenii izvestnyj peterburgskij kompozitor Boris Tischenko popytalsja vosstanovit khronologicheskuju tsep sobytij i postupkov, svjazannykh s impulsivnym, uvlekajuschimsja kharakterom Dante, kotoryj, podobno mnogim vysokoodarennym ljudjam, na vsjo reagiroval zhivo, ostro, zhadno uchastvoval v zhizni, bud to detskaja igra ili politicheskoe ristalische.
Simfonija imeet tri kulminatsionnye volny: "detskuju", "junosheskuju" i "vzrosluju".
Soderzhanie:
1. Vstuplenie
2. Beatriche 9 let
3. Dante 9 let
4. Beatriche i Dante vdvoem
5. Igra
6. Dante i Beatriche okruzhajut deti
7. Obschaja igra
8. Deti vmeste s Dante ubegajut
9. Beatriche odna (12 let)
10. Beatriche udaljaetsja
11. Dante odin (15 let)
12. Pojavljaetsja Beatriche (18 let)
13. Upreki
14. Beatriche i Dante (18 let). Proschenie
15. Igra
16. Pojavlenie junoshej i devushek (karnaval)
17. Bastarda
18. Karnaval udaljaetsja vmeste s Dante
19. 1290 god. Beatriche odna. Ej 25 let
20. Beatriche umiraet
21. Dante 25 let
22. Skorb
23. "Chernye" pod predvoditelstvom papy Bonifatsija VIII
24. "Belye" pod predvoditelstvom Dante
25. Skhvatka
26. "Belye" razgromleny
27. Dante zagnan
28. Dante izgnan
29. 1300 god. "Seredina zhizni". Dante v polnom odinochestve
30. Golos Beatriche s neba
31. Golos Beatriche
32. Golos Beatriche
33. Dante zabludilsja v sumrachnom lesu
