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Download Article Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) "Memory of Culture " in Memorial Music by Siberian Composers* Alena Zaozerskikh Mariya Chikhachyova Dmitri Hvorostovsky Siberian State Academy of Arts Dmitri Hvorostovsky Siberian State Academy of Arts Krasnoyarsk, Russia Krasnoyarsk, Russia [email protected] [email protected] Abstract—The paper deals with the realization of memorial "Etudes" for the orchestra in memory of V. Listovaya (2005) music phenomenon in the music by Siberian composers. and many others. "Music of memory" concept is an important thematic area in the creative activities of contemporary Russian composers. The To date, there has been a continued interest in memorial phenomenon is connected with the idea to memorialize. music phenomenon among Moscow and St. Petersburg Compositions might have various "addressees": history, composers and regional authors. This tendency causes the phenomena, and personalities. A peculiar feature of "in need to take a closer look at "in memoriam" music and study memoriam" music in regional conditions is not only a tribute it more carefully. to the memory of Russian and world-class significant figures, but also preserving "memory of regional culture". Since 1950- The heightened interest in memorial music among ies there has been a sustained interest of Siberian composers in composers has led to a greater attention of researchers to this that sphere. These are the composers from Abakan (A. Kenel, topic. However, this phenomenon is increasingly being G. Chelborakov), Barnaul (E. Kravtsov), Irkutsk (V. Tikhonov, considered by the example of works by lead authors from V. Karpenko), Krasnoyarsk (V. Beshevli, O. Meremkulov, O. Central Russia whereas the present study attempts to Prostitov, I. Fleisher), Novosibirsk (Yu. Yukechev, G. Ivanov, comprehend it in the context of Siberian region. Z. Blyakher, S. Kravtsov), Omsk (I. Kheifets), Ulan-Ude (J. The specific character of memorial music regional Batuev, P. Damiranov, Yu. Irdyneev, V. Usovitch). Dedications examples is a dedication to outstanding personalities who to people who have left a significant cultural mark at the regional level are the most important to the memory culture have contributed to the development of the Siberian region development in Siberia. The main memorial features found in culture. Siberian music reflect the all-Russian tendencies: range of The purpose of this paper is to bring the specificity of genres, musical expressive means. memorial music to light by studying the creative activity of Siberian composers as an object of keeping the regional Keywords—memorial music; contemporary Russian culture memory alive (keeping the memory of regional composers; memory of culture; Siberian composers; musical dedications culture). II. THEORETICAL BACKGROUND TO THE RESEARCH I. INTRODUCTION Memorial music concept as a phenomenon of preserving The methodological framework of the article was made memory of the past is an important thematic area in Russian up of theoretical works which provide justification for music. Between the last quarter of the 19th century and the memorial music concept (O. Sokolov, M. Lobanova, E. beginning of the 20th century Russian composers presented Nazaikinsky, L. Kazantseva, V. Kholopova), doctoral theses various examples of "in memoriam" music. For instance, on memorial music phenomenon (T. Andrushchak, N. Pyotr Tchaikovsky. Trio in A minor "À la mémoire d’un Sokolvyak), as well as the study of genres connected with grand artiste" (1882); Sergei Rachmaninov. Trio Elégiaque mourning rituals (S. Studennikova) and separate works for Piano, Violin and Cello "In Memory of a Great Artist" designed to promote better understanding of the phenomenon. (1893); Dmitri Shostakovich. Trio for Piano, Violin and Thus, V. Kholopova defines memorial music concept as Cello No. 2 (dedicated to the memory of Ivan I. Sollertinsky) a "special genre class"; E. Nazaikinsky introduces the notion (1944); Georgy Sviridov. Concerto in Memory of A.A. of musical "memorial monuments"; O. Sokolov considers Yurlov for unaccompanied mixed chorus (1973); Alfred memorial music phenomenon as a special "genre mood". L. Schnittke. Piano Quintet in Memory of Mother (1975); Kazantseva points to the widespread distribution of mournful Mieczyslaw Weinberg. Symphony No. 12 In memoriam D. musical offerings in the music of the last century, motivated Shostakovich (1976); Sergei Slonimsky. Northern Ballad to by "one of the general tendencies of 20th century music to the Memory of Grieg for piano (1999); Andrei Eshpai. express one’s attitude and express oneself" [1]. *Fund: The project "Composers of Yenisei Siberia: history, cultural heritage and human perspectives of the region" was funded by Krasnoyarsk Here is the definition by musicologist M. Lobanova: Regional Fund of Science. "Мемориал – жанр, олицетворяющий память в культуре, Copyright © 2019, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). 525 Advances in Social Science, Education and Humanities Research, volume 368 предполагает непосредственную связь различных стилей, is reflected in the creative activities of Siberian region эпох индивидуальных манер, опирается на "технику authors. These are the composers from Abakan (A. Kenel, G. припоминания" (в частности, принцип монограммы, Chelborakov), Barnaul (E. Kravtsov), Irkutsk (V. Tikhonov, приемы анаграммирования), символику, V. Karpenko), Krasnoyarsk (V. Beshevli, O. Meremkulov, O. устанавливающую ассоциации с "прошлым", "чужим Prostitov, I. Fleisher), Novosibirsk (Yu. Yukechev, G. словом" [Memorial is a genre that embodies the memory in Ivanov, Z. Blyakher, S. Kravtsov), Omsk (I. Kheifets), Ulan- culture, it involves a direct link between different styles and Ude (J. Batuev, P. Damiranov, Yu. Irdyneev, V. Usovitch) periods of individual manners, it is based on the "recall and others (for more details, see: [7]). technique" (in particular, the monogram principle, anagramming devices) and symbols establishing associations A large number of scientific studies are devoted to the with the "past", "someone’s word"]" [2]. works by Siberian composers (such as I. Belonosova, S. Voitkevitch, L. Gavrilova, S. Goncharenko, O. Kunitsyn, N. Specific figurative, informative and musical features of Nayko, L. Pylneva and others). However, only a few of them memorial music are analyzed in the doctoral theses by T. refer to memorial music phenomenon. Andrushchak ("Memorial Russian Music of the Last Third of the 20th Century (to the study of the phenomenon)") and N. The works by Siberian composers represent each of the memorial music groups listed above. Dedications to Sokolvyak ("Memorial Quartet in Russian Music: History, historical events can be found in the following pieces: Evolution, Style"). When covering memorial music in the 1 research literature, various authors highlight such main Symphonic overture "Memory" concerned with the Great informative features as thematic motives of lamentation, Patriotic War by G. Chelborakov; Trio-requiem for violin, memories of the past, comparison of philosophical categories cello and piano "In Memory of 6,000,000" (1985) created in of life and death, the tragic and the enlightened, the memory of the victims of the Holocaust by I. Kheifets; subjective and the objective (for more details, see: [3]). Terzetto for two violins and piano dedicated to victims of the events of October 1993 by O. Prostitov (1993); Vocalise "In The memorization process is a central idea for memorial Memory of the Fallen" (2004) written in anticipation of the works that often manifests itself as a program dedication. 60th anniversary of Victory in the Great Patriotic War by Studies on memorial music present various examples of Igor Fleischer. thematic dedication group classification. For example, musicologist T. Andrushchak identifies the following groups: The second group includes dedications to loved ones: works that have a collective "addressee"; "in memory of an Three-part String Quartet No. 2 (dedicated to the memory of artist" compositions; "personal dedications" to relatives, my uncle E. Ganzherli) by V. Beshevli (1980); Sonata for friends [3]. Researcher N. Sokolvyak writes that "the main cello and piano in memory of N. Damiranov by P. types of funeral dedications had already been made at the Damiranov (1985); "Buryat and Mongolian sacred songs" early stages, those types originated from the classification of (fragment No. 58 "In Memory of..." – "Little Requiem" in funeral services into individual and universal ones: personal memory of my deceased friends: poets, musicians and commemorative dedications (where definite people were singers") by Yu. Irdyneev (1989-1993); Symphony No. 1 "In indicated by the authors) and generalized ones (where a Memory of My Parents" by G. Ivanov (1991-1992). certain collective image of an artist, a painter, or a hero, etc. The last and the largest group comprises dedications to was indicated as the addressee)" [4]. outstanding personalities. There are memorial dedications to Researcher S. Studennikova in her work named "The icons of the period (including cultural figures). For instance, Requiem Genre in Russian Music: History, Traditions, Concert for piano and orchestra "In Memory of Vladimir Modernity" considers the development of this genre in the Lenin" by A. Kenel (1958);
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