Ru
EnA. Chekalin
B. Tishchenko’s string quartets as macrocycle
This article characterizes the problems associated with the “multi-level” cyclization of composers’ opuses, implemented both by the authors themselves and by later interpreters. Developing the idea of implicitly expressed macrocyclicity as a topic for researches the author of the article points to a number of features that allow us to consider the totality of individual musical works as a kind of “superstructure”. According to the researcher, the most important factor that allows us to substantiate the idea of such macrocycles is the detectable functional relationships between different works of the same genre (symphonies, quartets, sonatas, etc.). In addition, various hierarchical approaches to structuring in the field of musical syntax, formation, architectonics, etc. deserve attention. Six string quartets by Boris Tishchenko (1939–2010) were chosen as the object of such research. Based on the theory of B. Asafiev, the author of the article points out that the said quartet macro-cycle is characterized by a single logic of compositional development, which correlates with the well-known triad initio – motus – terminus. Along with this, Tishchenko’s string quartets can be interpreted as a kind of sonata form with a double exposition. In this context, the modaltonal interrelations between the various parts and sections of the corresponding cycles are covered in detail, and the functional relationships of these structures with each other are also touched upon. In conclusion of the article, the researcher briefly outlines the aesthetic principles characteristic of Tishchenko’s work over half a century (1950–2000) and implemented in string quartets. Thanks to this continuity, the illuminated quartet macrocycle most vividly reflects the evolution of the author’s style.
Key words
B. Tishchenko, chamber ensemble creative work, string quartets, cyclic musical forms, macrocycle.
For citation
Chekalin A. B. Tishchenko’s string quartets as macrocycle. In: South-Russian Musical Anthology. 2024. No. 3. Pp. 118–125.
