The problems of conception and genre interactions in G. Kancheli’s liturgy «Mourned over the wind»
The author of the article considers G. Kancheli’s Liturgy in context of sacral cyclical works by Soviet and post-Soviet composers of 1970–1990s. The conception of religious and philosophical tragedy and conception of the double portrait are exposed. Hierarchical features of dramaturgy and poly-genre specificity which peculiar to Liturgy as result of some interactions (between genres of concerto, requiem, liturgy, symphonic poem, and sound-track of contemporary film) are exposed.
G. Kancheli, «Mourned over the Wind», artistic conception, religious and philosophical tragedy, poly-genre specificity, concerto, liturgy, requiem.