Ru
EnN. Khorobrykh
On the manifestations of monologue in the instrumental work by M. Tariverdiev
Mikael Tariverdiev, the author of music for widely known films and theatre plays, went down in history of Russian academic music primarily as the author of chamber vocal works and operas. Their popularity was significant during the composer’s lifetime, which was facilitated by the democratic nature of his musical language, and it remains so today. At the same time, M. Tariverdiev’s academic instrumental works have not been studied by musicologists and interpreted by performers in an exhaustive manner to date. One of the possible approaches to the modern interpretation of M. Tariverdiev’s instrumental music, proposed in this article, is based on monologue as a priority factor in the composer’s style. Beginning in the 1950s, instrumental works have recreated the inner flow of M. Tariverdiev’s thought, his worldview, expressed through various types of monologue statements. In particular, over the course of decades, the evolutionary processes characteristic of M. Tariverdiev’s artistic thinking have been embodied in his instrumental concertos. Referring to the appropriate opuses by M. Tariverdiev, composed in different periods of his creative work (Concerto for voice and orchestra, First and Second Violin concertos, Viola concerto, etc.), the author of the article examines the structural-compositional and dramatic features of these works as characteristic examples of the neo-romantic style. Characterizing the corresponding manifestations of monologue, the researcher comes to the conclusion about the significant role of improvisational tendencies inherent in M. Tariverdiev’s melodic writing. Improvisational processes, realized in the themes-monologues of vocal and instrumental type, direct the non-linear development of the intonation form, which can be called one of the priority features of the composer’s individual style.
Key words
M. Tariverdiev, instrumental music, monologue, neo-romanticism, composer’s style, instrumental concerto.
For citation
Khorobrykh N. On the manifestations of monologue in the instrumental work by M. Tariverdiev. In: South-Russian Musical Anthology. 2024. No. 4. Pp. 58–66.
