Vocal genres in music of A. Konchalovsky’s films: dramaturgic functions
The article is devoted to stylistic aspects of director Andrei Konchalovsky’s artistic work, and these aspects manifest through the choice of the song material and its functioning in the film structure. By analysing the director’s works of the three periods (soviet, foreign and contemporary) the author examines the characteristic closely connected with the ways of adoption, semantic purpose and dramaturgic functions of vocal genres such as songs (folk, variety art, mass-music, rock) and romances (classic, sentimental). This characteristic is considered to be insufficiently studied both within the framework of A. Konchalovsky’s style and in film music as a whole. The author of the article proves that song themes represented by music quotes from B. Adams, B. Mokrousov, V. Okorokov, A. Pakhmutova, Y. Petersburski, N. Rudina, V. Shainsky, Yu. Haight and others, as well as music for films composed specially by E. Artemyev, A. Gradsky, V. Ovchinnikov, – all these appear as leitmotifs. For instance, “Siberiade” (tango “Weary Sun” as the leitmotif of love, song “Whether my beauty” as the leitmotif of will), “The Postman’s White Nights” (“Oh my God, what a man!” as Tryatsipin’s leitmotif). Examples of climax means are “House of Fools” (B. Adams’ song “Have You Ever Really Loved A Woman?”), “Gloss” (A. Pakhmutova’s song “Hope”), “A Nest of Gentry” (V. Ovchinnikov’s romance “Willow by the Road”). Songs characterise the time period and recreate the emotional atmosphere of the film. All these emphasise the dramaturgic significance of vocal genres in the films by A. Konchalovsky.
song, romance, film music, style, dramaturgy, climax, periodization of works.
Shak T. Vocal genres in music of A. Konchalovsky’s films: dramaturgic functions // South-Russian Musical Anthology. 2020. N 1. PP. 36–41.