TRENDS OF MODERNISM IN THE WORKS FOR CLASSICAL GUITAR BY RUSSIAN COMPOSERS (60S OF THE XXTH CENTURY)

UDC 780.614.131
DOI: 10.36871/hon.202402129

Authors

Yulia A. Finkelstein,
Russian State University named after A. N. Kosygin Institute “Maimonides Academy”, Moscow, 115035, Russian Federation

Abstract

The article examines the works for guitar written by Soviet composers in the 60s and analyses the degree of development of this problem in Russian musicology. It also studies the influences of Western European masters. The analysis of the “Suite of Mirrors” by A. Volkonsky is provided. It is revealed that an ensemble with guitar becomes the creative laboratory of the author, who does not master the instrument professionally enough. The composer makes experiments with serial technique and visual capabilities of instruments in the conditions of original composition. An interesting example is the use of the guitar in the orchestra in the second movement of Andrei Eshpai’s Symphony No. 2 “Praise to the Light”, where the melody from the author’s music for the film acquires a second life and a new interpretation. The experience of creating compositions for solo guitar by I. A. Bogdanov-Brodsky, S. A. Gubaidulina is considered. It is shown that the authors have different approach to the use of guitar timbre, which determines its influence on the formation of the thematicism of the work. Musicians’ understanding of the instrument’s properties evolves from the romantic interpretation to the search for a different interpretation of it. There is an increase in attention to the specifics of the guitar sound and textural features of the guitar. The composition for the instrument is enriched with new resources, such as dodecaphony, serial technique.

Keywords

Russian guitar music, six-string guitar, classical guitar