Some Features of Concert Inventions for Piano and Orchestra by Gagik Hovunc
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Abstract
The article examines the features of dramaturgy and morphogenesis in Concert Compositions for Piano and Orchestra Op. 8 by Gagik Hօvunc – one of the most interesting Armenian composers of the 20th century, who is often called in Armenia the last classic, closing the galaxy of such outstanding composers as A. Babajyanyan, E. Mirzoyan, A. Harutyunyan, L. Saryan and E. Khudoyan. The aim of the article is to identify the characteristic compositional features and means of artistic expression of the work. Despite the recognition of the authorʼs musical works, both in Armenia and abroad, a lot of G. Hօvunc’s works still remain insufficiently studied. This article is an attempt to fill this gap.
G. Hօvunc’s concert inventions have become a new, significant word in the Armenian compositional art of the 20th century. They have taken a worthy place in the concert and pedagogical repertoire of both conservatory students and venerable pianists. Special attention is paid to the analysis of the techniques of G. Hօvunc’s compositional writing. The article includes musical examples demonstrating the key aspects of the work with the aim of showing the features of the unconventional interpretation of this genre in the composerʼs work. From the characteristic features of concert inventories, as well as the authorʼs work as a whole, are distinguished the ladoharmonic subordinate systems created by the composer and used in one way or another in almost all of his works. System-forming elements occupied a special place in the composerʼs work which allowed the author to create original musical constructions and harmonic articulations.
Keywords: Gagik Hovunc, cycle, concert inventions, contrasting dramaturgy, concertness, ladoharmonic system, symmetrical fret, registers, ostinato.
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