THE CONCEPT “REBEL” IN V. N. SALMANOV’S ORATORIO “THE TWELVE”

UDC 784.5
DOI: 10.36871/hon.202402119

Authors

Ekaterina V. Beriglazova,
Magnitogorsk State Conservatory (Academy) named after M. I. Glinka, Magnitogorsk, Chelyabinsk region, 455036, Russian Federation

Abstract

This article is devoted to the study of the concept “Rebel” — the central element of the concept sphere of V. N. Salmanov’s Oratorio “The Twelve”. The reason for turning to its analysis was not only the insufficient study of the Oratorio in musicology, but to a greater extent the existing contradiction between the positive interpretation of the image of the “twelve” (as the driving force of the revolution) in the literature of the Soviet period and the refusal of awarding the Lenin prize to the composer, reasoned by the “ambiguity” and “inconsistency” of revolutionary images with the ideology of the time. In connection with the above, the purpose of the work is to determine the content of the concept “Rebel” created by Salmanov. Consequently, the semantic fields surrounding the core of this concept are also in the focus. They are connected with the study of the national identity of the image of the “twelve”, with the comparison of its human and devilish beginnings. This research allows us to get as close as possible to understanding the essence of the character and its axiological guidelines. The result of the conceptual analysis is the reconstruction of the image of the “twelve”, a key image in terms of comprehending the semantic essence of Salmanov’s work, representing the composer’s attitude to the typical personality traits of active participants in the tragic events of 1917 — the red guards.

Keywords

V. N. Salmanov’s Oratorio “The Twelve”, concept “Rebel”, concept core, semantic field, twelve red guards