The Antinomies of Musical Language and Style in Galina Ustvolkaya’s 12 Preludes for Piano
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Abstract
The article demonstrates that the attribute of antinomy as a way of thinking in contradictions presents an essential feature of Galina Ustvolskaya’s compositional thinking. The example of analysis of the Twelve Preludes for Piano reveals the manifestations of antinomy of the composer’s thought on the level of style and within the system of means of musical expression and artistic imagery. It is stressed that Ustvolskaya’s pairs of polar opposites and artistic antinomies serve as an embodiment of the main existential meaning of her music – the theme of spiritual freedom.
Keywords: composers of Russia, musical language, Galina Ustvolskaya
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