Symphonic Works Research Articles

ПОСЛЕДНИЙ ОПУС АЛЕКСАНДРА СКРЯБИНА КАК МУЗЫКАЛЬНЫЙ «ЭСКИЗ» МИСТЕРИИ

The article is devoted to the last piano opus by A.N. Scriabin - Five Preludes Op. 74 - in whose music one can see a certain artistic intention associated with the general idea of Scriabin - a musician and thinker. For a number of years the composer was completely absorbed in the idea of the Mystery. The grandiose plan involved the involvement of all mankind in a synthetic action in which civilization and culture would come to an end of their existence. The ecstatic feeling was to become the condition of unity in the last act of creation. The obvious impracticability of the Mystery was expressed in a compromise - the creation of a Preliminary Action. In the last years of his life, Scriabin devoted more and more time to composing music and poetic texts for his mystery plan. Refusing to compose major symphonic works, Scriabin worked on piano miniatures and sonatas, the composition of which he considered an intermediate result on the way to his main goal. Researchers note a significant change in the musical language during this period of creativity. The circle of images that worried the composer at that time was connected with the Mystery. The poetic texts of the Preliminary Act and the music composed during the last year of his life resonate in a peculiar way. This is especially true of the cycle of miniatures - Five Preludes Op. 74. Their sound reveals an extra-musical content, in which one can see the ideas and images of the Mystery in a folded form or in "sketches".

Testament Leonarda Bernsteina – The Unanswered Question w świetle zagadnień dyrygenckich

Leonard Bernstein’s Testament — The Unanswered Question in the Light of Conducting Issues In 1973, Leonard Bernstein gave a series of six lectures at Harvard University, entitled The Unanswered Question: Six talks at Harvard. This interdisciplinary course, drawing on Noam Chomsky's theory of transformational-generative grammar, presented an original conception of music as a universal language based on tonality and outlined the history of its development, concluding with Bernstein’s personal credo regarding its future. The argumentation used, although encompassing fields as diverse as linguistics, literary studies, philosophy and art history, was based primarily on musical analyses presented at the piano, supplemented by recordings of the symphonic works being discussed, performed under the baton of Bernstein himself. The Harvard lectures thus represent the summa of his aesthetic reflections and performance experiences, providing a unique insight into his views on music and its interpretation. This paper focuses on synthesising these views, subjecting them to factual verification, and then showing their influence on Bernstein's art of conducting through the example of the recordings used in The Unanswered Question series, focusing in particular on the issue of expression.

Dohnányi's Orchestrations of Schubert's Fantasy in F Minor and the Moments musicaux Piano Cycle

Abstract Ernst von Dohnányi's brilliant instrumentation skills were already recognized by his contemporaries. His former disciple and first monographer Bálint Vázsonyi published an anecdote, according to which Béla Bartók considered the orchestral version of Ruralia hungarica (op. 32) as the first truly “orchestrated” Hungarian symphonic work. Nevertheless, neither Dohnányi's own orchestration practices nor the transcriptions he prepared for symphony orchestra from the works of other composers have been studied. This paper examines two of these orchestrations, made in 1928 on the occasion of the Schubert Centenary – Dohnányi's orchestral transcriptions of the Fantasy in F Minor, originally written for piano four hands, and the piano cycle Moments musicaux – both being virtually unknown to the public. The analysis also provides an insight into Dohnányi's interpretation of Schubert, including his approach to the Austrian composer.

“Unexpectedly British”: accentuation of THE nationally English in Edward Elgar’s “Fa lstaff”

Statement of the problem. The relevance of the article lies in revealing the peculiarities of the composer’s way of appeal to the national cultural heritage. The aim of the study is to determine the principles of embodiment of “the nationally English” in the symphonic etude “Falstaff” by Edward Elgar. The main method of the research is drawing parallels, on the one hand, and between the embodiment of the English national character through the image of Falstaff in musical and dramatic works, on the other. Research results. A conclusion is made that the main factor creating strong ties between the “symphonic etude” and the national tradition is spectacular national characterisation. Moreover, for the sake of applying the “English” the composer consciously and significantly changes his musical language. The author turns to very detailed programme (unlike general type of programness in most of his works), and that allows him to scrupulously depict the plot of Shakespeare’s chronicle on which he focuses on. Elgar also portrays overtly humoristic situations, for the first time in his symphonic works, because it would be impossible to disregard this side of Falstaff’s character, as it is the contrast of comical in the beginning and solemn in the denouement that create the tragic effect. The structural side of the composition is also unprecedented as it is formally has one movement, but the composer himself divides it in four parts (ignoring the arrangement of events in “Henry IV” in two parts) while all the parts are connected in various ways. As a result of this, “Falstaff” becomes the longest single-movement symphonic composition of Elgar. The composer favours linear type of musical thinking, integrating it with sudden “flashes” of thematically significant elements in different strata of the texture, and this all combined provides completely lush, unpredictable sonority of the orchestra. On the top of this, the author extensively uses themes with obvious genre genesis, especially in order to depict Shallow’s Gardens, although it is possible to find more traditional for Elgar passages with generalised type of intonation. Such characteristic for Elgar principles, as multi-thematism and elusion of the tonal centralisation (while using quite traditional chords in every given moment) find their new meaning regarding illustrative role of the music. A conclusion is made that the “Britishness” of the symphonic etude lies not in the use of folk intonations or allusions to the past of professional music, but in meticulous attention to W. Shakespeare’s text: both on levels of portraying or interaction between the “characters” and form-creating according to the scenes. Despite the fact that E. Elgar’s musical language seems to be quite distant from Falstaff’s comical essence, the composer was able to find means adequate to the character’s image, such as “wandering” tonal structure; superficial, but rather important analogy between quite large scale of a single-movement work and Falstaff’s body image; narrative orchestration.

PRINCIPLES OF ORCHESTRAL STYLE IN SYMPHONIC FRESCOES “TARAS BULBA” BY SERHIY TURNIEIEV

Statement of the problem. The works of Serhii Petrovich Turnieiev – Honoured Artist, composer, professor – have made a significant contribution to the musical culture of Ukraine. His creativity attracts the attention of musicologists from different generations and needs more extensive study. The novelty of the research. The article makes up for the shortage of scientific works covering the orchestral style of S. Turnieiev in connection with his compositional thinking. The work highlights the leading role of orchestration – an important expressive and logical-constructive tool in the music of the twentieth century – in organizing the artistic integrity of the Symphonic Frescoes “Taras Bulba”. Literature review. The theoretical basis of the article is the work on the study of orchestration and orchestral style (Kars, 1990; Blagodatov, 1963; Shabunova, 2008; Korobetskaya, 2011, Halmrast, 2000; Hundsnes, 2010;. McAdams 2019; Monel, 2012; Otto, 1983; Rakochi, 2020; Urniecius, 2018; Wallmark, 2019). In addition, the paper refers to the articles defining the term “Symphonic frescoes” (Tikha, 2009; Tishchik, 2019; Belova, 2020). The aim of the article is to study Symphonic Frescoes “Taras Bulba” by S. Turnieiev from the standpoint of orchestral style. The article uses analytical, genre, style, historical, structural-functional, comparative, systematic generalization methods of research. Results and conclusions. The orchestration of Symphonic Frescoes “Taras Bulba” by S. Turnieiev is characterized by: 1) a variety of orchestral texture as a supplier of semantics, which gives the orchestration semantic and logical-constructive functions in organizing a large-scale work; 2) a combination of functional and coloristic orchestration; 3) orchestral flavor, sound, picturesqueness; 4) large strokes, avoidance of details, which is motivated by the genre of the work. The orchestration analysis of S. Turnieiev’s large-scale symphonic work “Taras Bulba” made it possible to draw the following conclusions regarding his orchestral style: 1) the composer’s orchestration is determined by the principles of his compositional thinking and aesthetic ideas; 2) the orchestration of the work is influenced by the genre of the work and the individual genre decision; 3) the composer chooses the orchestral ensemble сonsidering the practicality of the performance and the concept of the work; 4) there is an interpenetration of functional and coloristic orchestration in accordance with synthetic composer’s thinking. The composer operates with different types of texture, which has an important form-making and dramatic role, and applies traditional and innovative techniques.

Innovative trends in the symphonic works of Soviet composers of the 1960s and Symphony No.3 by B. Tishchenko. Part 2

The subject of this research is the period of Russian symphonic music of the 1960s. A new generation of composers – the “Sixtiers” – introduced a fresh modern musical language and remarkable artistic achievements. In first part of the article, the author dwell on several fundamental symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, N. Karetnikov, as well gives general characteristics to this period. The second part of the article examines the compositions by A. Schnittke and L. Prigozhin. Special attention is turned to the Symphony No.3 by Boris Tishchenko, who opens new stylistic horizons and encompasses the key trends of modern music, including the avant-garde, into his stylistic orbit. This article is first to consider B. Tishchenko's outstanding Symphony No.3 in the context of stylistic and linguistic innovations of the 1960s, which defines the scientific novelty. Analysis is conducted on the role and place of the youngest composer of the “Sixtiers” B. Tishchenko in the struggle for the “new music”. The conclusion is made that Tishchenko was one of the leaders in revival of the Russian music of the late XX century, and his Symphony No.3 reflects the pursuits of the postwar generation of Soviet composers to the fullest.

Intonation image of the home area in «Reminiscences» chamber symphony by V. Telychko

The purpose of the article is to identify the peculiarities of the intonation plot deployment in Reminiscences chamber symphony by V. Telychko in terms of the genre interpretation peculiarities. This study is particularly focused on the analysis of V. Telychko’s musical language components, the principles of its formation, as well as the stylistic peculiarities. The methodology includes the methods of stylistic, historical-comparative, system-structural, and hermeneutic analysis aimed at understanding the features of this genre in the composer’s legacy. Scientific novelty. The article theoretically substantiates the individual-style model of the chamber symphony genre in art by V. Telychko. Conclusions. Reminiscences chamber symphony is a unique artistic phenomenon in the symphonic works not only of V. Telychko but also of the Transcarpathian professional school of composers. Continuing the line of lyrical-psychological meditative symphonism inherent in modern music, the work represents the moment of human touch to the inviolable, eternal, where not only intonational images of the past but also their relationship and lifestyle become extremely important. Meditative images of Transcarpathian musicians are organically embedded by the composer into several thematic formations: the author's topics of reminiscences and the relentless cluster of time. The use of quotations and monograms, along with the other means of expression, introduces programmatic features, symphonic plots. The intonation plot of the chamber symphony formed an individual genre model of the work, which combines a symphony and a lyrical monologue. Symphony is characterized by a cyclical structure, the logic of musical drama, intonation connections between the parts. The confessional nature of the author's statement reveals the features of monologue.

SENFONİ İLE TÜRKÜLER

In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement initiated by Atatürk after the foundation of the Republic. For the first time, the arrangements of our folk songs written by Turkish Fives were performed by symphony orchestras. Unfortunately, the symphonic arrangement works, which started to be made thanks to the Turkish Fives, had a long pause. Since the beginning of the 1990s, symphonic Turkish folk song arrangements; It has been reworked and continued by composers such as Turgay Erdener, Oğuzhan Balcı, Yusuf Yalçın, Murat Çelebi and Musa Göçmen. Since the arrangements in the Republican period had a complex harmonic structure, they did not attract much attention from the public. In addition, since the copyrights of many symphonically arranged Turkish folk songs belong to Western countries, the folk songs included in the concert programs remained very limited. Symphonic arrangements of our folk songs; It is of great importance in terms of being performed, announced and promoted both in national and international arenas. Keywords: Turkish Folk Song Collections, Symphonic Folk Songs, Polyphonic Turkish Folk Songs

Novel trends in the symphonic work of Soviet composers of the 1960s and B. Tishchenko's Symphony No.3. Part 1

The subject of this research is the period of Russian symphonic music of the 1960s – a new generation of composers, the “Sixtiers”, who brought remarkable artistic achievements and modern musical language. The author dwells on several key symphonic works by R. Shchedrin, S. Slonimsky, E. Denisov, Y. Falik, A. Schnittke, N. Karetnikov, and L. Prigozhin, who made an immense contribution to the revival of the Russian music culture. Special attention is given to Boris Tishchenko’s Symphony No.3, which encompasses the key trends of modern music into its stylistic orbit and opened new musical horizons. The scientific novelty lies in the fact that this article is first to examine the outstanding composition Symphony No.3 by B. Tishchenko in the context of stylistic and linguistic novelties of the 1960s. Detailed analysis is conducted on the role and place of the youngest out of the “Sixtiers” – the prominent Russian symphonist of the XX century Boris Ivanovich Tishchenko (1939–2010) – in the struggle for “new music”. The conclusion is made that Tishchenko became one of the leaders in the revival of the Russian symphonic style of the late XX century, and his Symphony No.3 fully reflected the rigorous pursuits of the entire generation of Soviet composers.

Symphonic Creative Activity of Rufat Ramazanov

The article analyzes several works related to the symphonic work of Rufat Ramazanov, a middle-aged representative of the modern Azerbaijani school of composition. The article also examines Ramazanov’s symphonic works against the background of the development of Azerbaijani music culture and examines his symphonic works in terms of genre diversity. Also, the article considers the characteristics of music and harmonic language in the symphonic works of the composer, the methods of using orchestration. The article emphasizes the unique stylistic features of Rufat Ramazanov’s symphonic works, their connection with folk art, and his tendency to modernize within the traditions. The purpose of the research is to analyze certain symphonic works of Rufat Ramazanov and to study the individual stylistic features of the composer. The main touches are the emergence of the characteristic features of the composer’s symphonic work and the discovery of its connection with modern Azerbaijani music culture. The basis of the research is the involvement in detailed scientific research of several valuable symphonic works of R. Ramazanov, a worthy representative of the modern generation of Azerbaijani composers, which have not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s work has undergone stylistic changes in the process of development, and modern technical methods have uniquely manifested themselves. At the same time, based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists, the article forms the methodological basis. The scientific novelty of the research is that for the first time as special research work, the article is devoted to the symphonic work of R. Ramazanov, a representative of the modern school of the composition of Azerbaijan, and the study of general creative features associated with it. The presented article for the first time scientifically analyzes the symphonic works of R. Ramazanov, which are important in his work but have not been studied so far. Conclusions. A comprehensive analysis of Ramazanov’s symphonic works in the presented article allows one to draw important conclusions about the features of the composer’s creative style. It was noted that the richness and deep content of the musical language of the bright and individual symphonic works created by Ramazanov, one of the modern Azerbaijani composers distinguished by his original creative style, in various years of his creative life are important in our national music art. It was noted that the composer’s insistence and seriousness towards himself are also felt like his works. From this point of view, Ramazanov’s symphonic music and modern writing techniques with rich images were chosen from his contemporaries and recognized in our music society and were welcomed not only in his homeland but also far beyond its borders. It should be noted that several of Ramazanov’s works have been successfully performed not only in his native Azerbaijan but also in Turkey, England, Norway, Israel, Canada, Georgia, and other countries. Ramazanov is currently experiencing a period of growth in his creativity, enriching our professional music art by creating new modern works.

“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism

There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively.
 The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers.
 The main objective of this study is to explore how the realization of the traditions of the piano concerto genre in the opus of J. Marx is combined with the composer’s thinking as a late romantic and his individual creative style.
 Scientific novelty lies in an attempt to spread the scientific understanding of the existence of late romanticism in the musical art of the early twentieth century and to determine features of its embodiment in the genre of a concert for piano and orchestra on the example of the “Romantic Concert” by J. Marx.
 The research methodology is based on the methods of holistic and stylistic analysis described in the works by M. Mikhaylov and Ye. Ruch’yevskaya. Also this article is based on the concept of late romanticism by L. Nebolyubova, which is supplemented by the theses set forth in the works of Russian musicologist O. Sheludyakova.All three parts of the “Romantic Concert” were analyzed in detail, which made it possible to produce the findings set out in article. In his work, J. Marx reproduces in detail the type of piano concerto of the Romantic era, using almost all possible genre-compositional and style parameters. “Romantic Concert” is an example of an instrumental concert of a symphonic type, where the soloist and orchestra act as a comprehensive whole, and the cycle itself is based on the dramatic basis of the symphonic work. The musical fabric of the concert is based on a huge number of style allusions to the work of composers of different eras and styles, which is a vivid manifestation of the synthetic, conclusive character of the late stage of musical romanticism. Piano concert of J. Marx played a part in the formation of “romantic-centric” trends in the musical art of the twentieth century.

Symphonic compositions of Boris Tishchenko and the world music culture

The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1

The research subject is the scope of symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article continues a brief analysis of all 17 symphonies of the composer, and considers his works of the 1980s - the 2000s: French Symphony, Pushkin Symphony, Dante Symphonies, and Symphonies No 7, 8, 9.  The author considers in detail such aspects of the topic as Tishchenko’s innovatory role in the renewal of Russian symphonism of the second half of the 20th century, the interrelation between and poetry in his large orchestra compositions, the significant impact of literary concepts on the development of his symphonism. Special attention is given to Tishchenko succeeding to the great Russian symphonic tradition. The main idea of the article is that Tishchenko is one of the few in his generation who remained committed to the genre of a large “pure” symphony and succeeded to his genius teacher D. Shostakovich. A special author’s contribution to the development of the topic is a detailed consideration of all symphonic works by Tischenko. Such a research has never been held in the history of Russian music before. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonism with his time and the controversial cultural and social processes suffered by the composers of the sixties.  

Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach

Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).

Symphonies by B. Tishchenko: in tune with the times, against the troubled times. Part 1

The research subject is the symphonic works of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The article considers his compositions of the 1960s - 1980s: the first six symphonies with numbers and some symphonies with titles. The author studies such aspects of the topic as Tishchenko’s innovatory role in the renovation of Russian symphonic style of the 1960s, the interrelation of music and poetry in Tishchenko’s large orchestra compositions, and the significant influence of literary concepts on the development of his symphonic style. Special attention is given to the issue of Tishchenko taking over from the large Russian symphonic tradition. The main contribution of the research is the idea that Tishchenko is among the few of his generation who held true to the genre of large “pure” symphony, and took over from the symphonic line of his genius teacher D. Shostakovich. The author’s special contribution is the analysis of all symphonic works by B. Tishchenko. Such a detailed study is the first in Russia. The scientific novelty of the research consists in the fact that the author proves a close connection between Tishchenko’s symphonic style and his epoch, the controversial cultural and social processes suffered by his generation.

Music for the ballet “The Twelve” by Boris Tishchenko in the context of the revival of Russian symphonic style of the 1960s

The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939–2010). The article analyzes the composer's first major ballet based on the poem “The Twelve” by A. Blok, which was requested in 1963 by the outstanding Soviet choreographer L. Yakobson for production design in the Kirovsky Theater in Leningrad. The author examines such aspects of the topic as Tishchenko's innovative role in the revival of Russian symphonic style in the second half the XX century, interrelation between music and poetry in the orchestral compositions of B. Tishchenko, as well as strong influence of the literary concepts upon the development of his symphonic style. Special attention is given to the topic of B. Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko's ballet “The Twelve” is the first truly contemporary ballet performance in the Soviet musical theater. The author’s special contribution to this research consists in comprehensive examination of the works of the prominent Russian composer that have not receive due attention of the musicologists. The novelty lies in demonstration of the important role of Boris Tishchenko in the overall process of the revival of the Russian symphonic music of the 1960s on the example of the ballet of his early period. Developing his original artistic concepts, Tishchenko symphonized the ballet performance, paving the way for many Soviet composers in this direction.

Composer Valentyn Borysov. Symphony of life

Background. The aim of the article is examination and presentation of Valentyn Borysov’s creative life, who was a celebrated Ukrainian composer (1901–1988), a classic of Kharkiv composition school, author of vivid and profound works in such spheres as symphonic, choral, chamber, vocal and piano music; his 120th anniversary in 2021 will be a big milestone for artistic community of Ukraine. Valentyn Borysov’s creativity is an indispensable part of national music, one of its treasures. He belonged to artists who had defined ways of development of Ukrainian professional music in XX century. In his creative outcome we can see influences of numerous artistic tendencies, characteristic for extremely controversial, but also prolific epoch. Composer being a part of quite ambivalent period of Ukraine’s cultural history conditioned usage of diverse research approaches; his works are regarded both in the light of existing musical traditions and on the background of his contemporary cultural environment. This is the novelty of the study. Integrity of presentation of Valentyn Borysov’s creative life is supported by the fact that this article considers his pedagogical activity in his alma mater, nowadays Kharkiv I. P. Kotlyarevsky National University of Arts, which resulted in bringing up a constellation of well-known Ukrainian composers, as well as his public and aimed at cultural enlightenment work. Results and conclusions. For V. Borysov, stage of accumulation of professional and personal experience coincided in time with a turning point in development of Ukrainian musical art. In these years composer attended classes of S. S. Bogatyrov, forefather of Kharkiv composition school; he studied alongside with M. Koliada, H. Tumeneva, D. Klebanov, V. Barabashov, M. Tits, who constituted a brilliant generation of Ukrainian composers several decades later. Symphonic and chamber works of this time showed such features of V. Borysov’s creative method as large-scale thought, leaning towards epic and heroic images, skilful usage of advanced composition techniques. At the same time, under the influence of external factors V. Borysov turned to relevant genre of his time, such as mass song and choral music. As early as on the primary stage of his development as a composer, V. Borysov defined Ukrainian folklore as one of the main sources for his inspiration. Folklore component of musical language became one of the prominent features of his style, its presence is conspicuous on each stages of his evolution. Submission of individual to collective, national conditioned V. Borysov’s interest to monumental forms of symphony, oratorio, cantata, poem, defined their leading role through late style of composer’s creativity. Unique combination of already existing aesthetic premises, high level of moral imperative, relevance of musical language created phenomenon of “V. Borysov’s late style”. The article regards the most original works, which were received very well by the contemporaries: “Divertissement” for symphonic orchestra, “Music for strings”, concert compositions for piano, violin, viola, sets of piano miniatures, composed on late period (70s–80s). Singularity of musical language in these works is created by the fact that V. Borysov succeeded to create a unique mixture of folklore tradition with “sonic field” of avantgarde musical art; with this musical language incredibly relevant, “eternal” problems of existence are embodied. This article was inspired by a desire to draw attention to V. Borysov’s legacy, to revive profound and immensely talented works of the composer, to enrich culture of modernity with them, to remind people of XXI century about such a treasure, that his works are.

SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN

SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN

The impact of literature-centric concepts on the development of the symphonic creativeness of Boris Tishchenko in the 1960s

The research subject is the symphonic creativeness of an outstanding Russian composer of the late 20th century Boris Ivanovich Tishchenko (1939 - 2010). The author studies his works of the 1960s inspired by classical and modern Russian poetry. The author focuses on such issues as the interrelation between music and poetry in Tishchenko’s orchestra compositions, and the significant influence of literature concepts on the development of his symphonic style. Special attention is given to the four outstanding works of the composer: “The Twelve”, a ballet based on A. Blok’s poem (1963), Symphony No.2 Marina to M. Tsvetaeva’s lyrics (1964), Requiem to the poem by A. Akhmatova, and a dramatic music “The Death of Pushkin” (1967). The author arrives at the conclusion that the most part of Tishchenko’s symphonic creativity was based on his love of literature, words, artistic image begotten by literature and poetry. The author’s special contribution to the research of the topic is a detailed study of large symphonic works by Tishchenko of the 1960s based on poetry. The scientific novelty of the research consists in the fact that literature-centric works by Tishchenko are being for the first time considered in the context of the development of his symphonic creativeness; the article detects a close connection between the author’s style and the composer’s language and the non-music confluence on his creative thinking.   

About the orchestral embodiment of dialogic musical drama in the symphonic works by G. Dmitriev

About the orchestral embodiment of dialogic musical drama in the symphonic works by G. Dmitriev