The Eleventh Symphony of Alexander Lokshin as a Type of Nonlinear Development of the Symphonic Concept
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Abstract
The article is devoted to the music of Russian 20th century composer Alexander Lazarevich Lokshin (1920–1987),
his final Eleventh Symphony for symphony orchestra and soprano (1976).
This composition incorporates into itself all the major features of the composer’s style: an original interpretation
of the large-scale symphonic form as a variational one-movement cycle, the use of the poetic text, a special attitude
towards the orchestral fabric and a diversity of timbral palette, event-driven saturation and full-fledged participation
in the development of primary and subsidiary intonational elements. The aim of the article is to reveal an important
feature of Lokshin’s symphonic method – a peculiar nonlinearity of the unfolding of events in their concisely set course
of theme and variations.
Integral analysis of the score of the symphony touches upon the most important aspects of form, harmony and
orchestration. On this basis the author contemplates about the non-linear principle of symphonic development.
Nonlinearity signifies a process of free intercommunication within the musical space of events similar to each other,
regardless of the direct (unidirectional) order of their occurrence. The musical text is perceived as a sort of manifestation
of unity of all possible correlations of its semantic elements, as a certain similitude to a referential text with a system
of cross-point references, where the pattern is determined by the reader or the listener. Thereby, already the first section
of the symphony (the introduction) contains a most important intonational element – the sound complex, which in the
opinion of the author of the article is perceived in the subsequent development as a certain hyperlink.
The answer to the main question – which elements are the most important in Lokshin’s Eleventh Symphony:
the theme of the variations, the theme of the introduction or the final variation, where the entire furcated network of
intonational signs are gathered together by the literary text – is viewed by the author as the goal of perceiving, and then
verbalizing the connections with which the sensually perceived symphonic fabric of the composition is permeated, in
a nonlinear, according to the principle of the hypertext.
Keywords: Alexander Lokshin, symphony, sound complex, nonlinearity, hyperlink, orchestration, hypertext, Luis
de Camoens.
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