DOI: 10.36871/hon.202101008
Authors
A. N. Merzlov
Urals State Conservatory named after M. P. Mussorgsky, Yekaterinburg, Russian Federation
Abstract
The article is devoted to the peculiarities of the musical content and form of one of the most ambiguous and difficult to perform vocal opuses by Sergey Rachmaninoff — "Six Poems", Op. 38. By the time he created the cycle (at the age of 1916), Rachmaninoff had long been established as a master of chamber and large forms of various genres. It is not surprising that the "Six Poems" cycle, dating from XNUMX (the last chamber-vocal work in Rachmaninoff's oeuvre), differs in many respects from the composer's previous vocal works. First of all, this is due to the fact that the artistic problems of the work, its main literary and musical images are fairly typical for the culture of Art Nouveau — a movement with which Rachmaninoff's composer's legacy is not usually associated. For a deeper understanding Rachmaninoff's interaction with the Art Nouveau literary heritage of Symbolism, the article provides a detailed analysis of both poetic basis and musical language, establishing compositional and semantic links between different numbers of the cycle.
Keywords
musical poem, vocal cycle, Rachmaninoff, Symbolism, Art Nouveau, art trends of the XXth century
