History and Theory of Musical Performance
Shevtsova A.V. —
Genre evolution of the Russian viola repertoire
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// PHILHARMONICA. International Music Journal.
– 2020. – ¹ 4.
– P. 70 - 84.
DOI: 10.7256/2453-613X.2020.4.32769 URL: https://en. nbpublish.com/library_read_article.php?id=32769
The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.
domestic composers, viola repertoire, hero-performer, Bashmet, Druzhinin, Borisovsky, viola, timbre, technical emancipation, coauthor
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