Tatyana N. Krasnikova – Doctor of Arts, Professor, Professor of the Department of Music Theory of the Gnessin Russian Academy.
Gnessin Russian Academy of Music, Moscow, Russia, mailbox@gnesin-academy.ru, ORCID: 0000‑0002-2051-8697
Abstract
The author reveals some important features of the development of the symphony genre in the 50s-70s of the twentieth century, taking into account the fact that similar trends can be found both in Russia and Poland. A wide variety of problem decisions of the symphonic genre is registered. The tendency of neoclassicism based on Baroque structures, modality is emphasized, which does not contradict the use of modern means of composing. Attention is drawn to the symphonies of K. Sikorsky, in which traits of different style eras are obvious: Renaissance, Baroque, Classicism. The author concentrates on the Fourth and Fifth Symphonies of Sikorsky, in which the features both of this trend and of late Romanticism and modern era (monothematism, polytonality, chromatic tonality) are most clearly represented. The role of polyphony in symphonic cycles is emphasized, attention is focused on discoveries in the timbre-sound sphere. The article as well reveals meditative style principles characteristic of the symphonies by G. Kancheli, H. M. Guretsky, V. Chalonek, A. Pärt and other composers. The major features of the "Symphony of Sad Songs" by H. M. Guretsky, the Seventh Symphony by A. Eshpai are considered. Some special features of the poetics of A. Terteryan's symphonies are registered. The Fourth and Seventh Symphonies of this composer are highlighted, which combine the principles of development and meditation, aleatorics and rehearsal technique.
Keywords
symphony genre in the middle of the twentieth century, similar trends in Russia and Poland, neoclassical and meditative symphonies
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