M. Dyadchenko, G. Tarayeva
Mahler today – a problem of perception of symphonies
The article reveals the problem of Mahler’s music perception, which was the subject of comprehension both for many generations and the composer’s contemporaries. The authors attempt to explain that the unpopularity of serious symphonic music, including Mahler, is the result of the loss of meaningful orientations by the audience. Its perception is hindered by a completely different culture, the rupture of the genetic connection between instrumental music and theater (described in the well-known work by V. D. Konen “Theater and Symphony”). Active theoretical development of problems of musical content (by V. N. Kholopova, L. P. Kazantsev, L. N. Shaymuhametova) at the moment leaves open the question of updating the interrelationships of various types of art in new types of synthesis. And that is why the culture tries to restore these ties in a new way, attracting new theatrical and cinematic genres. The article contains a list of the most significant choreographic incarnations of Mahler’s works (R. Petit, J. Neumeier, P. Bausch, M. Bejart, and others) as the examples of actualization of the content representations of his music: characters and subject collisions. The analysis of the ballet by A. Preljocaj “Snow White” is presented as a sample of the perception of Mahler’s music, the characteristics of its modern reception. The authors consider in details the most original figurative interpretations by the choreographer of the fragments of Mahler’s symphonies, which he not only radically changed, but continued and modernized with his visual-plastic series. New forms of music reception of symphonies by Mahler provide material for the study of historical metamorphoses of musical content in the new socio-cultural reality.
Mahler’s symphonies, “Snow White” by Preljocaj, content of instrumental music, Mahler’s choreographic projects.