DOI: 10.36871/hon.202004015
Authors
S. S. Terentyev
Moscow State Tchaikovsky Conservatory, Moscow, Russian Federation
Abstract
The article is devoted to the embodiment of Dante's "Divine Comedy" in the music of the Saint
Petersburg composer Boris Tishchenko (1939–2010) using his "Dante Symphonies", op. 123
(1997–2005) as an example. There are several studies, analyzing various aspects of the implementation
of the immortal Dante's masterpiece in the field of musical art. Among these works
it is worth mentioning the research essays dedicated directly to "Dante-symphonies", which
are authored by A. N. Knyazev, G. P. Ovsyankina, M. S. Samarina, S. Yu. Sumin. The present
research lies in the plane of the local key problem, which brings relevance and novelty to the
sphere of modern musical dantology — synthesis of numerical codes and biblical symbols in
"Dante-symphonies".
The article reviews biblical symbolism as the forming element of Boris Tishchenko's "Dantesymphonies".
The analysis reveals the principles of synthesis of composer's techniques of the
XXth century, sacred symbolism of the Holy Writ and numerical codes. The accompanying
text to the symphony is studied. The author examines characteristic features of the composer's
style as applied to the musical language of "Dante-symphonies".
Keywords
symphony, sacred symbolism, semiosphere, intertextuality, Boris Tishchenko, Mikhail Lozinsky
