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I. Koposova

Program and its interpretation in the works for domra by Grigory Zaitsev

Program has become one of the characteristic features of modern instrumental music. The features of the interaction of different kinds of programs are shown in the article on the example of the music by Grigory Zaitsev (born 1983). We have considered three compositions for domra belonging to the most significant part of Zaitsev’s work – music for folk instruments: Sonata-caprice “Herodias” for small domra solo (2010), Concert-symphony “Pardes rimonim” for small domra and symphony orchestra (2012) and Sonata “Tria Prima” for small domra and bayan (2019). In the analysis the author raised the questions about the features of the program, its variants and functions in the musical text. Accumulated observations allowed us to conclude that the composer, on the one hand, interprets the program and its possibilities quite traditionally, he actively turns to the commonly used in the history of music visual arts (pictures and paintings) and verbal plots. On the other hand, the composer’s opuses have a number of specific features. His commentary, for various reasons, is quite ambiguous, so that each opus is open to an active interpretation of a performer, a listener or a researcher. The wide scope of program ideas becomes one of the means to achieve the depth and conceptuality of the used genres – sonata and symphony. The program becomes an incentive to expand the usual thematic sphere of domra music and expand the performing techniques used in the repertoire of the instrument. Finally, the program titles represent the composer’s identity and, in particular, give certain grounds to consider Zaitsev an author, who reflects the spirit of the meta-modern era, which is manifested in his proximity to such ideas as the revival of sincerity, narrative and neo-romanticism.

Key words

Grigory Zaitsev, program music, Sonata-caprice “Herodias”, Concert-symphony “Pardes rimonim”, Sonata “Tria Prima”, meta-modern.

For citation

Koposova I. Program and its interpretation in the works for domra by Grigory Zaitsev // South-Russian Musical Anthology. 2022. No. 4. Pp. 13-24.