Abstract
The article is devoted to analyzing the symphonic Poem about eternal love “Peter and Fevronia” by the modern Russian composer Victor Ulyanich, who is among the few authors who turn to hagiographic literature in his work. Understanding the category of love through the Christian worldview, perceiving it not as a game of passions, but as a feeling of Divine origin, determines the composer’s appeal to hagiography. However, the musical work itself is not an illustration of Life, but a generalized picture of the eternal confrontation of Heaven and Earth, Love and Enmity. The Poem is characterized by figurative concentration, sufficient density of musical material, an unusual form modelled on the Golden Ratio point system, and a principle original for a musical work based on cinematic montage as a succession of frames. The thematic material of the Poem is based on five main elements, which are continuously modified. Depending on the context, they can form various, including opposite figurative beginnings. The article reveals the features of form construction, timbre-orchestral dramaturgy, as well as the spiritual and aesthetic connection between the musical work and the literary source.
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