Romanticism without Boundaries (About the Music of Elena Gokhman)
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Abstract
The conventional view is that 20th century art began its evolution under the sign of anti-romanticism. Thereupon it
is tacitly proliferated on the entire subsequent trajectory of the contemporary arts. However, the real compositional
practice confirms the fairness of the thought expressed in Yu. Kremlyov’s book “Proshloye i budushcheye romantizma”
[“The Past and Future of Romanticism”]. In this article the attempt is made to comprehend the “present state” of
romanticism, on the example of a number of compositions by Saratov-based composer Elena Gokhman (1935–2010).
As in the case of a number of other composers, many of her compositions are marked with romantic features. It is
important to look through the prism of the markedly individualized and the subjective. One distinct romantic feature
is the sharpness and unpredictability of contrasts, the tendency of their growing over into direct antitheses in the guise
of the dramatization of the story line. Another frontier of artistic aspirations of the art of music from the late 1970s is
Neo-Romanticism, which presumes a direct rapprochement with the genre system and styles of the artistic culture of
the 19th century. In Elena Gokhman’s case it manifested itself as the natural result of the tremulous emotionality and
impassioned lyricism inherent in her music. Neo-Romanticism is also characterized by the revival of vocal lyricism,
which received manifestation in a number of the composer’s song cycles.
Keywords: contemporary musical oeuvres, Saratov-based composers, Elena Vladimirovna Gokhman, Romanticism,
Neo-romanticism.
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