Two Sonnets by Shakespeare in Reflection of Symphonic Allegory. The Fifth Symphony of Alexander Lokshin
Article Sidebar
Main Article Content
Abstract
The article is devoted to the musical legacy of 20th century Russian composer Alexander Lazarevich Lokshin
(1920–1987). At the focus of the article’s attention is the composer’s Fifth Symphony “Shakespeare’s Sonnets” for string
orchestra and baritone (1969). Lokshin’s symphony, which continues the Shakespearean line in Russian music of the past
few centuries, may be placed on the same level with the outstanding works of the composers of the 1960s. Presenting a
unique specimen of a “bilingual” (English and Russian) musical manifestation of Shakespeare’s world famous sonnets,
this composition also demonstrates an example of the post-modernist double coding, where beyond the primary layer
of the poetry of the British classic it is possible to decipher the symphonic allegory of Lokshin the composer. Lokshin
attempted to avoid reducing the all-embracing meaning of the philosophical lyrics to mere subjective categories. By
emphasizing in the allegory a concrete plan, he brought out the instrumental image of the friend to whom the composition
is addressed and, singling out the viola part in the string section of the orchestra, he ascribed to it an important role in
the dramaturgy of the symphony. In the context of the intensive search for a new image of Russian symphony-drama,
Lokshin’s musical score presents a unique example of interpretation of large-scale conceptual form.
Keywords: Alexander Lokshin, William Shakespeare, Boris Pasternak, sonnet, chamber symphony, Rudolf
Barshai, viola, “Hamlet.”
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. A. L. Lokshin – kompozitor i pedagog: sb. st. [Alexander Lokshin – Composer and Teacher: Compilation of Articles]. Edited by A. A. Lokshina. Moscow: Kompozitor, 2005. 144 p.
3. Anikst A. A. Poemy, sonety i stikhotvoreniya Shekspira [Shakespeare's Long and Short Poems and Sonnets]. Shekspir U. Polnoye sobraniye sochineniy. V 8 t. T. 8 [Shakespeare W. Complete Works. In 8 Volumes, Volume 8]. Moscow, 1960, pp. 559–569.
4. Aranovskiy M. G. Simfonicheskiye iskaniya [Symphonic Searches]. Leningrad: Sovetskiy kompozitor, 1979. 287 p.
5. Dvoskina E. M. Otechestvennyy simfonizm posle Shostakovicha i novyy oblik simfonii-dramy [The Russian Symphonic Tradition after Shostakovich and a New Guise of the Symphony-Drama]. Istoriya otechestvennoy muzyki vtoroy poloviny XX veka [The History of Russian Music of the Second Half of the 20th Century]. St. Petersburg, 2010, pp. 234–252.
6. Demchenko A. I. Concerning the Issue of Interaction between Personality and the Environment in Shostakovich’s Late Instrumental Concertos. Problemy muzyikal'noj nauki/Music Scholarship. 2016. No. 4, pp. 48–57. DOI: 10.17674/1997-0854.2016.4.048-057.
7. Rudnev V. P. Slovar' kul'tury XX veka [Dictionary of Culture of the 20th Century]. Moscow: Agraf, 1999. 384 p.
8. Tarakanov M. E. Simfoniya i instrumental'nyy kontsert v russkoy sovetskoy muzyke [The Symphony and the Instrumental Concerto in Russian Soviet Music]. Moscow: Sovetskiy kompozitor, 1988. 271 p.
9. Kholopova V. N. Formy muzykal'nykh proizvedeniy [Forms of Musical Compositions]. St. Petersburg; Moscow; Krasnodar: Lan, 2006. 496 p.
10. Ein unbekanntes Genie: der Symphoniker Alexander Lokschin: Monographien – Zeugnisse – Dokumente – Würdigungen. Beitr. und Texten u. a. von Rudolf Barschai; Hrsg. von Marina Lobanova. Berlin: Kuhn, 2002. (Studia Slavica Musicologica, Bd. 26).
11. Finscher L. Symphonie. MGG Prisma. Verlage Bärenreiter (Kassel) und J. B. Metzler (Stuttgart), 2001. 364 р.
12. The Cambridge Companion to the Symphony. Horton, Julian. Cambridge and New York: Cambridge University Press, 2013, pp. 118–134.