«БЕЗЫМЯННАЯ ЗВЕЗДА»: МУЗЫКА ЭДИСОНА ДЕНИСОВА В ДИСКУРСАХ НЕОБЫКНОВЕННОЙ ИСТОРИИ

Abstract

The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century.