Genre and Style Metamorphoses of German Choral Cantata of 18th-19th Centuries

The purpose of the work is to reveal the genre-stylistic and spiritual-content instructions of the German choral cantata and the peculiarities of its existence in the musical-historical tradition of the 18th-19th centuries. The methodology of the work has a complex nature and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, art history and genre-stylistic research methods. The scientific novelty of the work lies in the fact that, for the first time, it offers a generalisation of the poetic-intonational specificity of the German spiritual cantata of the 18th-19th centuries and its genre-stylistic metamorphoses in the specified period. Conclusions. The genre specificity of the German spiritual cantata is determined by its contact with the liturgical practice of the German Protestant church. This genre is directly related to the church sermon and therefore was called "sermon music", "motet", "concert", "dialogue", summarised by the concept of Hauptmusik ("Main music of the day"). The contact of the German spiritual cantata with its Italian analogues and opera did not exclude the presence of original features in it, among which the Protestant chorale, based on traditional for the 18th-19th centuries, dominates. polyphonic forms, on the significant role of the instrumental beginning. An essential feature of the genre can be considered its figurative and semantic focus on the reproduction of the sacred aspects of a person's life path, their spiritual ascent-transformation, interpreted in the context of the instructions of the Lutheran faith. The German romantic cantata, represented in the works of R. Schumann, F. Mendelssohn, R. Wagner, and J. Brahms, on the one hand, reflected a wide genre and style spectrum of the creative searches of the named authors, within the framework of which the cantata was synthesised with the typology of various genres – from chamber a vocal cycle, a leader's play up to an oratorio, a dramatic scene (in the works of R. Schuman). On the other hand, the romantics' appeal to the poetics of the choral cantata symbolised the revival of the German spiritual and musical tradition, summarised by the name of J. S. Bach, which was directly reproduced in the cantata compositions of F. Mendelssohn, R. Wagner ("The Brotherly Meal of the Apostles") and works of Y. Brahms. Despite all the differences in the textual basis of the works of the named authors and their aesthetic guidelines (Y. V. Goethe, M. Horn, T. Moore, paraphrases of biblical texts), their unifying quality is the "memory of the genre", focused on the reproduction of the individual's spiritual path and the high didactic and ethical meaning of their inner transformation.