Features of baroque in the symphonic works of the far eastern composer Alexander Novikov

The work of the Far Eastern composer A. V. Novikov reflected the change of neo-baroque. The purpose of this work is to study the genre, intonation-style, compositional features of his symphonic manifestations: the Concert “Viva la academia” and Concertino’s “Afterword”. The task of observation includes the assimilation of the Baroque tradition, the transformation of intonation, genre and compositional prototypes. The features of the refraction of musical rhetoric, genre and structural synthesis are revealed. The comparison showed that the expansion of the Baroque concert cycle to a single movement was accompanied by the inclusion of new forms. The outlines of the invention and concerto forms are individualized through the features of the crescendo and sonata forms, respectively. In the Concerto this leads to structural modification. In the vivid juxtaposition of Concertino’s affects, the logic of a fused suite and a French overture is visible, which is closer to the principle of compositional deconstruction. The reflection of the style of early music is felt in the introduction of modal patterns into the tonal and polyphonic context, which is complicated in the rethinking of the artist of the 20th century, as well as in concert techniques. The author’s interpretation of Baroque style recalls the reconstruction (Concerto) and deconstruction (Concertino) of the semantics of a bygone era, enriched with allusions to the monumental Handelian and Romantic style. The functions of ancient models, which interested the composer as a means of obtaining new trends in meaning formation, as an expression of the cult of innovation of the Baroque and modernity, in the presentation of A. Novikov are expanded and aimed at the goals of artistic communication of high art with the listener.

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