A New "sounding image" of the Piano in the Domestic "Female" Vocal Cycle of the 1960s and 1970s

Abstract

The subject of the study is a new "sounding image" of the piano in the chamber-vocal cycles of Russian composers of the 1960s and 1970s. The chosen perspective is "female" vocal cycles, i.e., those that should be performed exclusively by female voices. The author examines the piano parts in the vocal cycles of B. Tishchenko, D. Shostakovich, A. Knaifel, A. Schnittke, E. Denisov, G. Banshchikov, V. Gavrilin and other Russian masters, reveals the new, original, fresh that they brought to the music of piano accompaniment in the wake of the Khrushchev "thaw". First of all, in the field of texture, rhythm, avant-garde performance techniques, timbral-register organization of musical fabric. The main conclusion of the study is the idea that the fruitful synthesis of the achievements of the European avant-garde and domestic experience led to the emergence of a new "sounding image" of the piano in Soviet music of the 1960s, which was fully in demand in the vocal cycle. Each of the composers followed his own unique path in art, individually refracted tradition, but the overall panorama of musical art, chamber vocal creativity turned out to be rich and saturated with outstanding achievements. The novelty of the study lies in the fact that the piano accompaniment of the Russian vocal cycle was first subjected to a separate and fairly broad analysis.