Transfer of the algys blessing genre in the V. Ksenofontov’s opera “Aar Toyonno Algys” (analysis effort)

Abstract

This article addresses the issue of using algys blessing genre in operas by Yakut composers. The structural features of algys as a ritual action and the implementation of the algys genre in the plot and composition of the opera “Aar Toyon Algyha” (“Blessing of the White Sacred Master”) by composer V.V. Ksenofontov are analyzed. The article analyzes the features of the application of the algys genre for each character, as well as in the compositional structure of the opera itself. In addition, innovative features in synthesizing classical genres and forms with national traditional genres of Yakut folklore are determined. The main features of the algys genre, according to the author, are also being, performing, targeting, addressing and character series and compositional structure. The targets of algys are most often deities of heaven; in the opera there are twelve led by Urun Aar Toyon (White Holy Lord). Other non-residents who are the addressees of “Yhyah Algys,” Utilitarian Algys “and” Shamanic Stone Algys” are represented by the following characters: Kun Kubay Khotun (Sun Mother, Wife), Odun Khaan, Chynis Khaan, Dyylga Toyon, Uhun Jurantai Suruksut (messenger of Aar Toyon, performing all his commands), Syun Jaahyn Toyon (God of Thunderstorms and Lightning), Kuruo Jehegey Toyon (patron of humans and horse cattle), Khoti Aiyy (Eagle Deity, symbol of power), Ala Malakhsyn (Goddess of Land and Cattle), Akhtar Ayyyhyt (Goddess-Creator Promoting Childbearing and Livestock Addition), Ejen Iekhsit (Creator Goddess accompanying and protecting man throughout his life).