M. Nalbandyan, S. Khvatova
Musical humor in D. Shostakovich’s vocal cycle “Satires” on the poems by Sasha Chernyj
The article deals with the specific techniques of musical expressiveness inherent in Shostakovich’s musical satire in the context of his musical style. On the example of the vocal cycle “Satire” on the poems by Sasha Chernyj, humorous techniques are analyzed – the connection of the incompatible, the grotesque exaggeration of details, the citation of children’s folklore at the moments of the narration of love languor, confession of serious feelings. It is suggested that it is in the work by D. Shostakovich that such an aesthetic phenomenon as banter appears, and the grotesque exaggeration of the essential features of the image, distorting or even disfiguring it, sometimes leads to its value reduction, belittling, which is predetermined by poetic texts addressed by the composer (Ivan Krylov, Sasha Chernyj, F. Dostoevsky, Kozma Prutkov, some letters from the magazine “Crocodile” readers). The purpose of the article is to identify humorous techniques for creating musical banter in the cycle “Satires” based on the verses of Sasha Chernyj and their artistic expressiveness. “Satires” became a kind of manifesto of the era of the early twentieth century, consonant with both the entire era of decadence poetry and the psychological state of the composer himself, a sensitive, socially responsive artist, an inner dissident who was helped to survive by a peculiar sense of humor. Such writings remain today the most relevant accusatory documents of the era, the importance of which has yet to be assessed.
Dmitri Shostakovich, “Satires” on the poems by Sasha Chernyj, musical humor, satire in music.
Nalbandyan M., Khvatova S. Musical humor in D. Shostakovich’s vocal cycle “Satires” on the poems by Sasha Chernyj // South-Russian Musical Anthology. 2022. No. 2. Pp. 103-109.