The “Stellar” Decade of Georgiy Sviridov
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Abstract
Georgiy Sviridov’s ultimate attainment of his style took place in the mid 1950s, starting from his vocal cycle “Songs to the Texts of Robert Burns” (1955). This composition opened up an absolutely new phase in Sviridov’s creative biography, when in a number of positions he turned out to be an undoubted leader in Russian music. It was Sviridov, in particular, who was able to express with the greatest power the spirit of social enthusiasm prevalent in the country at that time, which appeared during the time of the so-called “cultural thaw,” which received vivid expression in the “Poem in Memory of Sergei Yesenin” (1956) and the “Pathetic Oratorio” (1959). In the first half of the 1950s Sviridov intrinsic responsiveness to the influences of the time gave rise to a regular and extremely radical transformation of his artistic system. At that, at a number of instances he was able to give a more impressive putting into practice of new influences, the main bearers of which at that time were new authors, who comprised the following generation of Russian composers. Thus, one of the most vivid artistic initiatives was put forward by Sviridov in the vein of the “new folkloristic wave” that appeared at that time – the significant composition representing it was the “Kursk Songs” (1963). Together with his young “Russophile” colleagues from the 1960s Georgiy Sviridov broadly extended the horizons of perceptions about boundaries and manifestations of national traits, stronger and more significantly than anybody else, disclosing in his musical images his essence, an example of which may be served by the musical score that concluded the trajectory of the “stellar” decade – the “Little Triptych” (1964 ).
Keywords: Georgiy Sviridov, musical culture of Russia, new folkloristic wave, vocal cycle, oratorio
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References
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