The artistic universe of O. Meremkulov's concerto for bayan and symphony orchestra
Abstract
This article examines the Concerto for Bayan and Symphony Orchestra, composed in 2014 by the Krasnoyarsk composer Oleg Meremkulov. It presents the first musicological analysis of the Concerto's artistic world, exploring its spatio-temporal characteristics, psychological environment, and ethical oppositions. These aspects emerge through distinct imagery-intonational spheres, each characterized by specific genre and stylistic markers, melodic-rhythmic-harmonic complexes, as well as textural-register and orchestral solutions. The study emphasizes how sonority and timbral colors generate physical sensations and evoke associations that distinguish between the infernal realm and Divine reality. Each imagery-intonational sphere operates according to its own laws within a distinct dimension, possessing unique spatio-temporal parameters, each representing a separate world. The composer's consciousness as the nexus where these worlds intersect, revealing to listeners the drama of end times while determining its emotional intensity, trajectory, and internal logic.
About the Author
N. M. Naiko
Dmitry Khvorostovsky Siberian State Academy of Arts
Russian Federation
Russian Federation
Natalia M.Naiko, Cand. Sc. (Art Criticism), Docent, Professor at the Department of Music Theory and Composition, Head of the Department of Music Theory and Composition
Krasnoyarsk, 660049
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Review
For citations:
Naiko N.M. The artistic universe of O. Meremkulov's concerto for bayan and symphony orchestra. ARTE. 2024;(4):90-102. (In Russ.)
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