Epigraphs’ functions as a part of concerto for bayan and orchestra by O. Meremkulov
Abstract
The study is devoted to the analysis of epigraphs for parts of the Concert for bayan and symphony orchestra O. Meremkulov. The author discusses the content of epigraphs, based on the semantics of the lexical units used in them, proposes their interpretation based on an appeal to the works of Russian philosophers, ancient beliefs of European peoples, Christian anthropology, traditional motives of European fine art of past centuries. It is noted that the use of universal symbols led to the introduction into the process of intonation deployment of elements of parable poetics that take the conditional musical plot beyond any chronological and geographical framework. The article also addresses how poetic lines preceding parts relate to musical thematism and its development. The observations made it possible to comprehend the role of epigraphs for the composer’s creative process and for listening perception.
About the Author
N. M. Nayko
Dmitry Hvorostovsky Siberian State Academy of Arts
Russian Federation
Russian Federation
Natalia M. Nayko, Cand. Sc. (Art Criticism), Professor, Head at the Department of Music Theory and Composition
References
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Review
For citations:
Nayko N.M. Epigraphs’ functions as a part of concerto for bayan and orchestra by O. Meremkulov. ARTE. 2022;(4):28-35. (In Russ.)
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