THE PERSPECTIVE IMPORTANCE OF A SET OF TWENTY-FOUR PRELUDES AND FUGUES ОР. 87 IN THE CREATIVE WORK OF D.D. SHOSTAKOVICH
UDC index:
78.083.2
DOI: 10.31773/2078-1768-2019-46-38-44
Article ID in the RSCI:
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Information about authors: Liu Zhe, Applicant of PhD in Art History, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation; Baotou, Chine). E-mail: galkax@ mail.ru
Annotation: The article is devoted to the study of influence of the Twenty-four Preludes and Fugues, Op. 87 by Dmitri Shostakovich on his works in the period of 1951–1975. A series of works in all genres during these years served as a research material. The idea expresses and proves that this cycle not only concentrates the features of Shostakovich’s style but also becomes a kind of a benefactor for further evolution of the composer’s work. Examples of citing the fragments from Op. 87 are given in the work of the author and other composers. It is noted that neoclassicist tendencies, found in the works of the last period of creativity, go back to this opus. The standards of figuratively thematic, stylistic antithesis, characteristic of many Preludes and Fugues, are characterized in the works of these years. A special detailing of lyrical utterances in the chamber-vocal compositions and quartets of 1951–1975 is connected with Op. 87. Preludes and Fugues became the encyclopedia of Shostakovich’s intonation dictionary, which is mostly revealed through the genre semantics. The most diverse is the genre semantics of vocal genres, which was consonant with the further evolution of Shostakovich`s creative style – strengthening the vocal and vocal-verbal element. At the end of this article, there is the following conclusion: the last period of creativity of Shostakovich bears the stamp of both, open and indirect impact of the Twenty-four Preludes and Fugues. It is largely due to the universal concentration of images, traditions, and most importantly, intonation-genre models in Op. 87. Expanded polyphonic work in Op. 87 became an impulse for even more large-scale inclusion of the polyphonic element and polyphonic methods of working with musical material in works of all genres.
Keywords: creativity of D.D. Shostakovich in 1951–1975, intonation-genre models, semantics of vocal genres, vocal genres, string quartet, thematism, figurative and thematic antithesis.
DOI: 10.31773/2078-1768-2019-46-38-44
Article ID in the RSCI:
Article file: Download
Information about authors: Liu Zhe, Applicant of PhD in Art History, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation; Baotou, Chine). E-mail: galkax@ mail.ru
Annotation: The article is devoted to the study of influence of the Twenty-four Preludes and Fugues, Op. 87 by Dmitri Shostakovich on his works in the period of 1951–1975. A series of works in all genres during these years served as a research material. The idea expresses and proves that this cycle not only concentrates the features of Shostakovich’s style but also becomes a kind of a benefactor for further evolution of the composer’s work. Examples of citing the fragments from Op. 87 are given in the work of the author and other composers. It is noted that neoclassicist tendencies, found in the works of the last period of creativity, go back to this opus. The standards of figuratively thematic, stylistic antithesis, characteristic of many Preludes and Fugues, are characterized in the works of these years. A special detailing of lyrical utterances in the chamber-vocal compositions and quartets of 1951–1975 is connected with Op. 87. Preludes and Fugues became the encyclopedia of Shostakovich’s intonation dictionary, which is mostly revealed through the genre semantics. The most diverse is the genre semantics of vocal genres, which was consonant with the further evolution of Shostakovich`s creative style – strengthening the vocal and vocal-verbal element. At the end of this article, there is the following conclusion: the last period of creativity of Shostakovich bears the stamp of both, open and indirect impact of the Twenty-four Preludes and Fugues. It is largely due to the universal concentration of images, traditions, and most importantly, intonation-genre models in Op. 87. Expanded polyphonic work in Op. 87 became an impulse for even more large-scale inclusion of the polyphonic element and polyphonic methods of working with musical material in works of all genres.
Keywords: creativity of D.D. Shostakovich in 1951–1975, intonation-genre models, semantics of vocal genres, vocal genres, string quartet, thematism, figurative and thematic antithesis.
