THE SECOND SYMPHONY OF G. CHERNOV AS A PHENOMENON OF CHAMBER SYMPHONY
UDC index:
7
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Krasnikova Tatyana Nikolaevna, Dr of Arts History, Professor of Departament Theorie Music, Russian Gnesins Academy of Music (Mosсow, Russian Federation). E-mail: krasnikova-tn2016@ yandex.ru
Annotation: The article is on the Second Symphony for the Russian folk orchestra composed by G.V. Chernov. The Second Symphony is considered as a result of interaction of traditions and innovation in the fi eld of the symphonic genre, in the context of the composer’s creativity and even wider – of the heritage of the domestic professionals who worked in this fi eld. It is presented as a full-fl edged component of the contemporary orchestral repertoire, performed at the most prestigious concerts and festivals in Russia and abroad, as well as the historical fact and the result of collaboration of outstanding musicians in the Gnesins Russian Academy of Music. The content plane of the symphony is presented as the result of a unique synthesis of the philosophical attitude with lyrical revelations, images of nature with folklore. Great attention is paid to the expressive means. The article reveals specifi cations of the form, texture, dramatic art, composition that establish the concept of symphony style for the folk orchestra specifi cs of its interpretation. `the process of analysis reveals such features of the opus style as the alternative and variational development, vicinity to folklore sources, use of quotations, and attraction to the synthesis of forms. The emphasis is put on the principles of monothematic invention, symmetry, manifested at the level of morphogenesis and tonal cycle plan, thematic synthesis, diversity of polyphonic techniques, strokes and articulatory techniques, timbre citation. The mode and tonal arrangement of the work, based on an organic combination of tonal style with modality and polytonal episodes, is also described. The article also explains the excellence of orchestration manifested in the unexpected and fresh timbre interactions of instruments that enriched the musical score with new shades. Particular attention is paid to the experiments in the fi eld of orchestral coloristics, related to the discoveries in the fi eld of correlation of the Russian folk instruments with the symphony orchestra instruments. The timbre and textural variability is considered as the most important style indicator of the creative attitude of the composer and an integral part of the transformational poetics inherent to his creative method. The article is devoted to the anniversary of Gennady Chernov who is a bright representative of the cohort of domestic experts of the symphonic genre.
Keywords: Chernov, аnniversary, symphony, orchestra of folk instruments, composition, form, dramatic аrt, тexture.
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Krasnikova Tatyana Nikolaevna, Dr of Arts History, Professor of Departament Theorie Music, Russian Gnesins Academy of Music (Mosсow, Russian Federation). E-mail: krasnikova-tn2016@ yandex.ru
Annotation: The article is on the Second Symphony for the Russian folk orchestra composed by G.V. Chernov. The Second Symphony is considered as a result of interaction of traditions and innovation in the fi eld of the symphonic genre, in the context of the composer’s creativity and even wider – of the heritage of the domestic professionals who worked in this fi eld. It is presented as a full-fl edged component of the contemporary orchestral repertoire, performed at the most prestigious concerts and festivals in Russia and abroad, as well as the historical fact and the result of collaboration of outstanding musicians in the Gnesins Russian Academy of Music. The content plane of the symphony is presented as the result of a unique synthesis of the philosophical attitude with lyrical revelations, images of nature with folklore. Great attention is paid to the expressive means. The article reveals specifi cations of the form, texture, dramatic art, composition that establish the concept of symphony style for the folk orchestra specifi cs of its interpretation. `the process of analysis reveals such features of the opus style as the alternative and variational development, vicinity to folklore sources, use of quotations, and attraction to the synthesis of forms. The emphasis is put on the principles of monothematic invention, symmetry, manifested at the level of morphogenesis and tonal cycle plan, thematic synthesis, diversity of polyphonic techniques, strokes and articulatory techniques, timbre citation. The mode and tonal arrangement of the work, based on an organic combination of tonal style with modality and polytonal episodes, is also described. The article also explains the excellence of orchestration manifested in the unexpected and fresh timbre interactions of instruments that enriched the musical score with new shades. Particular attention is paid to the experiments in the fi eld of orchestral coloristics, related to the discoveries in the fi eld of correlation of the Russian folk instruments with the symphony orchestra instruments. The timbre and textural variability is considered as the most important style indicator of the creative attitude of the composer and an integral part of the transformational poetics inherent to his creative method. The article is devoted to the anniversary of Gennady Chernov who is a bright representative of the cohort of domestic experts of the symphonic genre.
Keywords: Chernov, аnniversary, symphony, orchestra of folk instruments, composition, form, dramatic аrt, тexture.
