The National Subject Matter in the Chamber Instrumental Music of Composers of Buryatia
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Abstract
The author notes that during the recent decades in the music by composers of Buryatia more and more attention is being paid to chamber instrumental genres. This can be explained by the effort of the process of revival of the national Buryat culture, as well as the closeness of chamber music with the traditional folkloristic forms of music making. Aspiring to the creation of a national musical color, composers traverse along different paths: they use genuine folk melodies for their thematic material; they construct original themes on the basis of intonations of Buryat folk music; they base their music on timbres of folk instruments. The article examines the chamber instrumental compositions of contemporary composers of Buryatia: V. Usovich, P. Damiranov, L. Sanzhiyeva and D. Korkina. Several compositions diverse in their genres are chosen for analysis: V. Usovich’s fantasy “Uragshaa!” (“Onwards!”) for the national instrument “khur” and piano and short piano piece “Suburgan” (“Buddhist stupa”); L. Sanzhiyeva’s piano pieces “Shaman”; “Naadan” (“Festivity”) by P. Damiranov and the concert fantasy “Baikal” for 33-string yataga solo. Study of these compositions makes it possible for the author to come up with the following conclusions: composers search for new forms of manifestation of national musical thematicism; the national palette of means of musical expressivity becomes enriched; the national modal foundation of Buryat music – anhemitonic pentatonicism – is combined by composers with various diverse harmonic and contrapuntal techniques; hence, the craft of musical composition perfects itself.
Keywords: composers of Buryatia, chamber instrumental genres, yataga, chanza, khur
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References
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