The Poetics of Georgy Sviridov’s Choral Style: New Type of Artistic Thinking

Abstract

The aim of this paper. The phenomenon of Georgy Sviridov has no equal in the 20th century world music history. There was no other composer except this great artist who had so much influence on the music creation, performance, research ideas, music pedagogy and the formation of music views of the entire 20th century era. His works still affect composers, musicians and listeners. In future our descendants shall discover the true in-depth Sviridov who in his lifetime created alive “moving” tradition. The analysis of artistic processes in the contemporary music culture of the last 50 years due to the new cultural situation requires new comprehension of new cultural context. Research methodology. Main methodological paradigm of contemporary music study and education is culturological in aesthetic and artistic aspect of music specific character. Results. Nowadays the new spirituality of the 20th century and new millennium appears. The “artistic picture of the world” with humanitarian study dominance is being formed. The new types of interaction between music works and listeners have appeared. Under the contemporary style pluralism conditions new aesthetic fund is being formed. And this fund is not just about the genres and author styles, it is a “fund of soul and thought” that contains music history emotional chronicles of the 20th century era. Sviridov appeared to be first in the line of composers who formed new tendencies in developing of genres of vocal-choral music. Novelty. The novelty of Sviridov’s chorus style with its polysemantic functions in figurative and semantic polysemy and contrast association is specified. The new era of sociocultural context transforms polystylistics into the culture of new synthesis with new genres, new forms, new types of factures, and acquires ontological interpretation. Sviridov’s chorus style poetics requires new analysis approaches, suggests culturological immersing into the style, disclosure of “codes” and “symbols” of timbre-texture semantic complexes in the chorus cycles based on lyrics by S. Yesenin, A. Blok, F. Sologub, A. Pushkin. The composer’s entire heritage needs revision in the context of embodiment of soul motives and folk-song sources. Nowadays, a different methodological apparatus that is an intonation-style analysis of style’s elements, music language, texture and form in the correlation with new cultural and geopolitical context is required. The practical significance. Sviridov is a dramatist-composer who has his own system of working with lyrics. He creates his conceptually-semantic contexts on the pre-music level including into dramatically lined-up text of his own musical and semantic complexes. His finalized idea turns out to be the sum of those contexts.