UDC 78
DOI: 10.36871/hon.202402110
Authors
Roman V. Chistyakov,
Moscow Pedagogical State University (MPGU), Moscow, 119991, Russian Federation
Abstract
This article is devoted to the early work of the French composer André Jolivet, which harmoniously combines the traditions of different cultures. It is primarily an interaction of Eastern and African traditions based on the rhythmic component and modality, as well as trends of French music of the first half of the twentieth century in all their diversity — from the impressionism of C. Debussy and M. Ravel to modernism and avant-garde. This material examines in detail the composer’s central work “The Song of Linos” for flute and piano, created on the border of the early and mature periods of creativity, in which the interweaving of traditions is considered in the context of technical methods and means of sound representation in playing wind instruments. André Jolivet, as did Olivier Messiaen, was a member of the Young France group of French composers. Unlike Olivier Messiaen, who always looked towards God and Heaven in his music, A. Jolivet strove to reveal the diversity of human passions through the prism of the mystical essence of music. The main aspiration of A. Jolivet was to return music to its ancient meaning — the magical beginning that unites people. Thanks to A. Jolivet, the artistic horizons of musical performance and pedagogy were significantly expanded, including the growth of the technical level of performers and the emergence of new performance techniques.
Keywords
André Jolivet, instrumental music, chamber ensemble, French musical culture, Young France group, African traditions, works for flute
