Edison Denisov Research Articles

Неизвестная опера Эдисона Денисова

Статья посвящена юношеской опере Эдисона Денисова, ранее неизвестной. Премьера состоялась в 2016 году, для исполнения опера была оркестрована Юрием Каспаровым и поставлена в Томске, на родине композитора. В статье кратко описаны жанр оперы, стилистические истоки, структура, особенности драматургии. Опера рассматривается в связи с традициями русской классической оперы, а также в контексте неофольклоризма — яркого направления отечественной музыки 1950 – 1960-х годов. The article focuses on the previously unknown оpera by young Edison Denisov. It premiered in 2016, the opera being orchestrated by Yury Kasparov and staged in Tomsk, the composer’s hometown. The article briefly describes the genre of the opera, its stylistic origins, structure, specific features of dramaturgy. The opera is regarded as having ties with the traditions of the Russian classical opera, as well as viewed within the framework of neofolklorism — a powerful artistic movement in the Russian music of the 1950s and 1960s.

Yuliy Meitus's Musical Ballads on Robert Burns's Lyrics as part of Soviet Musical Burnsiana of the 1940–50s

The article examines Yuliy Meitus's musical ballads on Robert Burns's lyrics as part of Soviet musical Burnsiana of the 1940–50s. Up to the present time the names of such Soviet composers as Dmitry Shostakovich, Tikhon Khrennikov, Georgy Sviridov, Yuri Levitin and Edison Denisov embody the perception of the national poet of Scotland's heritage by Soviet composers of the middle of the twentieth century. However, the musical compositions of such prominent Soviet composers as Dmitry Kabalevsky, Lucian Prigozhin and Yuliy Meitus on Samuil Marshak's translations of Robert Burns dating back to the same period have been neglected. The contribution of Yuliy Meitus deserves special attention as he was neither Shostakovich's pupil nor close friend, unlike the majority of the composers mentioned, and his ballads: ‘A small ballad’ on ‘There was a Bonny Lass’, ‘ Macpherson before execution’ after ‘McPherson's Farewell’ and ‘Love’ on ‘A Red, Red Rose’ were composed in less then a month. The aim of the article is to attract the attention of musicologists to encourage analysis of these musical pieces in comparison with other interpretations of the same songs by Robert Burns, e.g. Dmitry Shostakovich's ‘Macpherson before execution’ (‘McPherson's Farewell’), Yuri Levitin's ‘Love’ (‘A Red, Red Rose’) and Edison's Denisov's ‘A small ballad’ (‘There was a Bonny Lass’).

Shostakovich: A Coded Life in Music by Brian Morton

Reviewed by: Shostakovich: A Coded Life in Music by Brian Morton Cameron Pyke Shostakovich: A Coded Life in Music. By Brian Morton. London: Haus Publishing, 2021. [220 p. ISBN 978-1-913368-43-2. £9.99] The appearance of the first paperback edition of this 2006 volume is to be welcomed. Morton presents a clear overview of the composer's life while navigating and synthesising the key contours of the considerable scholarly literature. He draws upon a broad cultural understanding: there are perceptive references, for example, to Olivier Messiaen and Arnold Schoenberg as well as to Arshile Gorky and Boris Pasternak. While the author acknowledges that he is not a musicologist, a significant number of key works are discussed in terms of their music, as well as underlying meaning: this is particularly the case with the symphonies, which Morton identifies as 'the form in which his essence as a composer would be expressed' (p. 40), acknowledging that some works are 'capacious enough to sustain any number of contradictory interpretations' (p. 46). Morton's discussions of the opera Lady Macbeth of the Mtsensk District and Symphony No. 8 are particularly sensitive. Reporting the composer's excitement at the film version of Lady Macbeth (released in 1966–1967 as Katerina Ismailova), Morton comments that it was 'as if his entire musical history were somehow embedded in that great work's narrative of cultural paucity, betrayal, defiance, violence, and imprisonment' (p. 202). In contrast, Symphony No. 8 is viewed as 'a meditation on the whole idea of symphonism … a return to the modernist experiment of the equally unloved Fourth Symphony' (p. 124). Both arguments could be extended: the sympathetically drawn Katerina re-emerges in the tragic figure of Loreley in Symphony No. 14, while the composer's wider tendency to subvert symphonic form, as in the 'problematic' Symphony No. 6 (p. 105) culminates in Symphony No. 15, in the final coda of which, as the late Alexander Ivashkin argued, symphonic syntax is itself eroded. Morton himself notes 'a steadily deepening absorption in sound itself' in some of the late period works (p. 189). Morton correctly identifies the key characteristics of the composer's genius: his ability to write music, often under considerable psychological pressure, which could operate on different levels; his sardonic exploitation, drawn from Gustav Mahler and Nikolai Gogol, of the full potential of juxtaposition; his profound sense of social and ethical duty; and his stature 'among the very greatest exponents – and perhaps the last greatest exponent – of what we still uneasily call classical music' (p. 24). In presenting 'a straightforward narrative of the composer's life and the evolution of his music' (p. 22) and emphasising 'a basic consistency of attitude' (p. 14), more could have been made of what Edison Denisov called the 'arch' between the early and late works: for example, the 'unexpected revival' (Denisov) of percussion in the coda of the Cello Concerto No. 2 and subsequently. Indeed, the discussion of the 'late period' works is more cursory than that of the earlier and middle-period scores. Moreover, while Morton earlier acknowledges the 'intermingling of major works in his mind with smaller-scale works' (p. 150), it is in these final works that the cross-referencing becomes a significant stylistic feature in itself, as if the composer increasingly sought to create a personal narrative on his entire creative output, towards much of which he seems to have felt a profound dissatisfaction. I would not, then, agree that the works of the last decade are 'less obviously encrypted' (p. 199), particularly when one considers the chamber music, and notwithstanding the composer's partial return to word setting. I would also have valued acknowledgement of the influence of Gavriil Nikolayevich Popov (on Symphony No. 4) and of Mieczysław Weinberg (on the later string quartets). [End Page 347] The book is written in an accessible style, though on occasion sensationalist phrasing sits uneasily with its erudition and seriousness of purpose, and some will also find references to Shostakovich's numerology more convincing than others. The lack of footnotes and an index likewise do not do justice to the range and clarity of the book's cultural reference. Shostakovich's visit...

On the History of Russian-French Cultural Ties: A French Mark on the Life and Artwork of the Composer Edison Denisov

The subject of research in the article is the life and work of the composer Edison Denisov in the context of connections with French culture. The study of these over-the-half-century-long ties makes it possible to fill «white spots», first, in the broader subject of Russian-French cultural relations: Soviet and post Soviet contacts and influences studied on the representative material of musical art, second, in the topic of local but no less important: the role of France and its culture throughout E. Denisov’s life. The life and work of E. Denisov is a largely successful and multifaceted presentation of the French «footprint» in Russian culture in the second half of the 20th century. The material to be analyzed is multidimensional: biographical references to French art (music, literature, painting) and language; various contacts with French culture: writers, composers, musicians, ensembles and orchestras; Literary texts (B. Vian, G. Bataille) when writing music; the immersion in philosophical and humanitarian texts (R. Bart, M. Foucault, J.-P. Sartre); influence of mathematics and the structuralist method on the composer’s mastery (H. Poincaré, C. Lévi-Strauss) ; creative dialogue with works of a composer and theorist P. Bulez; the role of France in promoting Denisov’ music in the West; active educational activity of Denisov in promoting French music in Russia. A separate section of the article analyzes the influence of French composers on Denisov, and also highlights his participation in the restoration and orchestration of the unfinished opera of Claude Debussy «Rodrigo and Ximena». The article focuses only on the composer’s vocal works. The author thoroughly exqamines the works on poetry of French poets (Ch. Baudelaire, G. de Nerval, B. Vian, R. Char, H. Michaud, G. Bataille), the opera “Froth on the Daydream” based on the novel by B. Viana, the opera “Four Girls” on the play by Pablo Picasso.

The influence of the converter system on the contemporary accordion performance

Abstract. In the second half of the XX century the accordion experienced significant changes that would change the instrument’s destiny, its practice, sound range and potential. One of these changes was the creation of a converter system that opened doors to performance on this instrument, such as: hands independence, polyphony realization, new compositions, technical and artistic development of the performer’s skills. In addition to highlighting the mechanisms and aspects related to the performance of the converter system, the study discusses some techniques common in modern accordion compositions (clusters, glissando, ricochets, vibrato, portamento, percussion effects, etc.) and ways of their notation, identifies benefits and limitations of performing different types of articulation and sound effects on the instrument. It is concluded that the use of the converter system in the accordion has expanded the range of possibilities of the instrument and made its study much more interesting for performers, composers and listeners; fruitful collaboration with outstanding masters (Sofia Gubaidulina, Edison Denisov, Franco Donatoni, LucianoBerio, Magnus Lindberg, MauricioKagel, ToshioHosokawa, Salvatore Sciarrino, Christopher Bochmann and others) led to the cultural rise of the instrument. Finally, the inclusion of the accordion with a converter system in the programs of chamber and symphony concerts has accelerated the process of introducing the accordion into classical music.

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

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.

Постскриптум. Ещё несколько композиторских имён

In the previous lectures, which made up the cycle “Classics of Russian Music of the 20th Century”, the works of Sergei Rachmaninov, Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitry Shostakovich, Aram Khachaturian, Georgy Sviridov, Rodion Shchedrin and Alfred Schnittke were examined. Let us supplement this panorama with two final lectures: the first is intended to extend the range of composers’ names, the second will be devoted to an overview of 20th century music with an outlet into the universal space. As it is well-known, since the time of Peter the Great, who established St. Petersburg, two capitals coexisted in Russia, each of which possessed its own face and style, among other things, in the creation of music. By the end of the 19th century, two compositional schools had developed: the St. Petersburg school, the core of which was the “Mighty Handful”, and the Moscow school, headed by Piotr Tchaikovsky. During the 20th century, these schools continued their fruitful interaction. Among the names presented in the main sections of my lectures, Stravinsky, Prokofiev, Myaskovsky, Shostakovich, Sviridov began their activities in St. Petersburg- Petrograd-Leningrad, and later they became Muscovites (except for Stravinsky, who lived abroad from the early 1910s). In the second half of the 20th century, the leaders of the musical process in Russia were the Moscow composers Rodion Shchedrin and Alfred Schnittke, along with whom many other names can be mentioned, including Edison Denisov, Sofia Gubaidulina and Vladimir Martynov. Representatives of the Leningrad school continued to make a significant contribution to the treasury of Russian music. The following short overviews of the works of Sergei Slonimsky and Valery Gavrilin will testify to this. In addition to the two capitals, composers from a number of other cities in Russia, primarily, those with conservatories, have worked tirelessly in the field of the art of music, which has significantly expanded the scale of the panorama of the musical art in our country — the creative heritage of Elena Gokhman is cited as a characteristic example.

ОПЕРА ЭДИСОНА ДЕНИСОВА «ИВАН-СОЛДАТ»

The article gives a complete analysis of Edison Denisov's early opera "Ivan the Soldier". Some signs of the "new folklore wave" and early manifestations of the composer's future style are considered. In the 50s – 60s of the twentieth century, for man young Russian composers, turning to folklore was the only opportunity for self-expression and renewal of the musical language. In the second half of the twentieth century, the problem of saving the national in creativity is topical. The opera "Ivan the Soldier" attracts attention with its "non-perfomed" after its premiere in Tomsk more than half a century after its writing. Separately, it should be noted that there is no detailed analysis of "Ivan the Soldier" in professional literature, although this work unexpectedly shows us "another" Denisov: more "easy" to perceive, filled with folklore elements.

“From Dusk to Light – an approach to the music of Edison Denisov”

“From Dusk to Light – an approach to the music of Edison Denisov”

THE RUSSIAN COMPOSER EDISON DENISOV – FAR OR CLOSE TO THE WESTERN CULTURE

19 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors – Gubaidulina’s meditative concept, the mystic beliefs of Schnittke, the sublimity of art in Denisov’s works and their different spiritual insight into art. The article also gives specific evaluation of the connection between the members of the Moscow Triad and the way they perceived each other’s personalities and work through a series of their own quotations. Their difficulties in communication with foreign Western composers and the wish to bring their work to the knowledge of the younger generation of Russian composers is observed, as well as the friendship between Denisov and another legendary French avant-garde composer Pierre Boulez. It briefly explores the effect of the contemporary political situation that led to the prohibition of the distribution and performance of the music of the three composers. The article addresses the way the art of Denisov was perceived in the past and today, the reception of his music in the West and in his homeland, his legacy and the future of his music in the context of the global culture.

Четверостишия Бо Цзюй-и в вокальном цикле Эдисона Денисова «Ноктюрны»: творческий метод русского композитора середины ХХ века при работе с древнекитайской поэзией

The article is devoted to studying correlation of music and poetry in Edison Denisov’s vocal creative work. The problem is examined on the basis of comparing the “Nocturnes” vocal cycle and the poetical source - poems of the ancient Chinese poet Bai Juyi in L. Z. Eidlin’s translation. The researcher describes the “thaw” period in the Soviet art as a period when the cycle was created. Political cause for revival of the Russian-Chinese relations at the end of the 1940s - the beginning of the 1950s is identified. Denisov’s methods to work with Bai Juyi’s poetry are examined, the Russian composer’s attitude to images of the Chinese culture and musical stylistics of the composition are analysed.

ВИТАЛИЙ МАКСИМОВ И ЭДИСОН ДЕНИСОВ

ВИТАЛИЙ МАКСИМОВ И ЭДИСОН ДЕНИСОВ

«ПЬЕСЫ ДЛЯ ДЕТЕЙ» («PIECES POUR ENFANTS») Э. ДЕНИСОВА

The article discusses the specifics of children's music on the example of the collection "Pieces for Kids" by Edison Denisov. The authors use the example of the analysis of the musical language of this collection to define the specifics of music for kids of the second half of the twentieth century in general and some features of the author's style of Denisov in particular. Despite the traditional nature of the chosen means of musical expression, based on the basic principles of tonal organization (functionality, connection between harmony and form creation, etc.), the pieces sound very fresh and modern. This explains the fact that the pieces in the collection are difficult to enter into the pedagogical repertoire. At the same time, the composer expands the tonality by means of various types of major-minor (of the same name, parallel, one-point), and also uses the means of chromatic tonality. Updating the musical language is associated with updating the chord. Denisov uses not only chords of the third structure, but also fourth, second chords and accords. The modal structure of the pieces is also diverse. Along with major and minor, the collection contains examples of using a natural diatonic modes.

ЭДИСОН ДЕНИСОВ КАК КОМПОЗИТОР ТЕАТРА НА ТАГАНКЕ: ВЗАИМОСВЯЗЬ ПРИКЛАДНОГО И «ЧИСТОГО» ТВОРЧЕСТВА

The article is devoted to the problem of interrelation of music and theatrical action. The problem is analysed by the example of creative cooperation of the composer Edison Denisov and the Taganka Theatre directed by Yuri Lyubimov. The paper summarizes information on the Taganka Theatre’s performances with Denisov’s music. Theatrical music is considered as a special sphere of the composer’s creative work. To illustrate the influence of theatrical music on Denisov’s “academic” music, his “Blue Notebook” on D. Kharms’s and A. Vvedensky’s poetry and the song “The Steamer Passes by the Marina” are examined.

How Soviet Music Became “Patriotic”, or: Re-inventing the Avant-garde in Late and Post-Soviet Socialism, 1970–1998

During the last decades of the Soviet Union, composers and musicians witnessed a dissolution of the contexts in which they were used to inventing and performing music. “Soviet Music”, a vague but inclusive umbrella term for serious music production, took one of two different directions: on the one hand, it increasingly became part of a global musical avant-garde, on the other hand it was forced to adapt to increasingly narrow, Russocentric and even nationalistic attitudes. This contribution investigates ambiguities surrounding these attributes as well as the concrete problems they created for three composers - Sofia Gubaidulina, Alfred Schnittke and Edison Denisov. In particular, it concentrates on fictions of authenticity created by a milestone of Soviet cinema: Farewell to Matera by Ėlem Klimov and Larisa Shepitko. In doing so, the article questions “1991” as an important caesura and instead makes a case for conceptualizing late and post-Soviet socialism as one common period in Russian musical history.

Interval-Class Succession Graphs in Edison Denisov's Sonata for Alto Saxophone and Piano

Interval-Class Succession Graphs in Edison Denisov's Sonata for Alto Saxophone and Piano

Composer’s Word

Composer’s Word

The principles of translating the motif-monogram DEsCH in the work of Edison Denisov

The purpose of the article is a comprehensive consideration of the problem of compositional-semantic functioning of the motif-monogram DeSCH in a number of selected works of Edison Denisov, namely the play «DЕSCH» for clarinet, trombone, horn and piano, sonatas for saxophone and piano and flute concerto. Methodology. The work uses a complex method, including itself historical-biographical, semiotic, comparative and analytical approaches. The scientific novelty of the study is that for the first time the works of Edison Denisov’s offerings to Dmitry Shostakovich are regarded as a holistic phenomenon and an important component of the composer’s creative legacy. The functioning of the monogram motif in Denisov’s works is presented as a systemic phenomenon in the context of the early period of creativity. Conclusions. The monogram DеSCH is used by E. Denisov in his work as an element semantically significant, which indicates the composer’s conscious/ntentional approach to it. In its application, the priority of the serial method is evident. In addition, there is a definite evolution of the functioning of DeSCH in the early works of E. Denisov. The author’s «I» by E. Denisov is not so much opposed to «alien» monograms, as to how they relate to them as different, but possible variants of the solution of a single artistic task.

'Beneath the shadow of politics': Reception of the music of Edison Denisov in Poland

The music of Russian composer Edison Denisov was frequently presented in the Warsaw Autumn festival. Between 1964 and 2005, Polish audiences heard his pieces 21 times, including three world premieres. This music was widely received, especially in the 1960s and the 1970s, when Polish culture was strongly influenced by politics. The following decades brought changes in the context of politics and style in the arts, but Denisov's compositions continued to be performed in Warsaw. The aim of this paper is to present the opinions formulated by Polish music critics as evidence about the reception of Denisov's music.

ОСОБЛИВОСТІ ВЗАЄМОДІЇ КОМПОЗИТОРА ТА ВИКОНАВЦЯ У ЖАНРІ МУЗИКИ ДЛЯ ІНСТРУМЕНТА СОЛО (на прикладі духового музично-виконавського мистецтва

The author of this article gave problematic representation interactions of composer and performer in the genre of music for instrument’s solo. The writer does it on an example of wind performing arts. As a rule, music only begins with musicians. These are composer and player. They make creative contents of piece, determine its style, quality of reverberation and sound, configuration, all means of expression. The genre of music instrument’s solo is very popularity among musicians on the wind instruments. Composers and performers need knowledge about particularity of this genre. One of main questions is interaction writer and player of music compositions. History of music performing art have got very many famous musicians’ names who combined play instruments with compose of music. These are Niccole Paganini, Henrik Winiawskiy, Louis Spohr, Eugene Ysaye. Among the instrumentalists of wind performing art these are flutist Johann Quantz, clarinetist Anton Stadler, hornist Frederic Duvernoy, oboist Frederic Ramm. Performers’ musicians wrote a lot of compositions for their instruments. That were music in famous genre of concert, sonata, suite and also music for instrument’s solo. Hornist Yan Stich’s skill got high mark from L. Beethoven. French horn player Joseph Leutgeb acknowledged V.A. Mozart. Clarinet player Anton Stadler had respect from V.A. Mozart too. Flute player Johann Quantz was loved by Domenico Scarlatti. Legendary composers transcribed very many piece for well-known musicians on the wind instruments. Great knowledge of all wind instruments, their means of expressive makes the foundation for high work of composers. Performers’ creative work and composers’ original think find special unification into the genre of music for instrument’s solo. As a rule, musician integrates these two categories of creative activity. Bella Kovach is a professor of clarinet at the F. Liszt Academy of music Budapest. He was a clarinetist’s solo at the Hungarian State Opera House and the Budapest Philharmonic orchestra. Instrumentalist is also very famous composer. He wrote a lot of artistic works for clarinet’s solo. Among them series Dedications where each of the pieces devoted to famous composer (J.S. Bach, N. Paganini, C.M. Weber, C. Debussy, M. de Falla, R. Strauss, B. Bartok, Z. Kodaly, A. Khachaturian). All of them are very popular on the concert stage, at very many students and teachers of clarinet. Malcolm Arnold is one of popular composers at the round of performers on the wind instruments. He is also famous trumpet player. Musician was solotrumpetist at the London Philharmonic orchestra and BBC Symphony Orchestra. Malcolm Arnold’s creative list has a lot of compositions for instrument’s solo. The author of this scientific article emphasizes series Fantasies for wind instruments’ solo. They were written special for International competition of musicians on the wind instruments in Birmingham (England) in 1966. At that date Malcolm Arnold composed Fantasies’ solo for oboe, flute, clarinet, bassoon and horn. Composer very well knew the dramatic means of wind instruments because long time he played on the trumpet into the highly professional orchestras. Famous clarinetist Ivan Olenchik is a professor of music at the Gnessin State Music College (Russian). He is winner of many international competitions. Instrumentalist also played on the clarinet at the State Academic Symphony Orchestra of the Russian Federation (Svetlanov’s Symphony Orchestra) and the Moscow State Symphony Orchestra (Kogan’s Symphony Orchestra). Twenty caprices for solo clarinet take special place in his musical list. Composer uses creative folk music based on the melodies from the world. As a rule, very strong musician play these caprices. Composer and performer always complement each other. Each of them leans very much new peculiarities about the expressive means of instrument, his creative capitals, strong and beauty of sound, timber and intonation. The creative unions of writers and players are very popular in the modern music. For example we can tell about brilliant artistic combinations of composer Edison Denisov and bassoonist Valeriy Popov, composer Vladimir Runchak and clarinetist Andrey Dyomin and others. The author of this article used historical, comparative, deductive methods of research. Compositions of this genre strongly activate emotional and creative potential of instrumentalists and composers. Central factor the genre of music for instrument’s solo is integrated and bright creative operation of composer and performer. Music for instrument’s solo is synthetic genre of modern music performing art.