DOI: 10.36871/hon.202103017
Authors
I. V. Alekseeva
Ufa State Institute of Arts named after Zagir Ismagilov, Ufa, Republic of Bashkortostan, Russian Federation
Abstract
Individualization in music art at the turn of the XXth – XXIst centuries affected not only the concept of the composer's opus, but also the style, manner of writing, and composition of performers. At the same time, the focus on novelty coexists with the actualization of artistic experience of the near and distant past. In addition, the junction of these trends includes "excursions" to other art forms. In this sense, particularly interesting are the works by the composers at the intersection of cultures, epochs and languages. Such examples include the poem for viola and piano "The Agony in the Garden" (based on El Greco's painting) by Margarita Zelenaia (born 1954) — composer, pianist, teacher, organizer, uniting the traditions of Russian and Western schools. The article deals with the specifics of the musical implementation of the eternal Gospel story depicted in the painting "The Agony in the Garden" by the Renaissance artist El Greco. The concept of Margarita Zelenaia's unique programme work is born at the "crossroads" of various types of art and the Gospel word, modernity and Baroque. Her dramaturgy is based on a system of symbolically loaded leitentonations — the author's reinterpretation of the rhetorical figures of the Baroque.
Keywords
poem, viola and piano, Margarita Zelenaia, biblical theme, El Greco painting, intonation drama
