Interpretation of Texts in Other Languages in Dmitri Smirnov’s Vocal Cycles
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Abstract
The author of the article examines twelve chamber-vocal cycles written by Dmitri Smirnov from 1973 to 2017
to texts by William Shakespeare, William Blake, Samuel Taylor Coleridge, James Joyce, Kathleen Raine, Matsuo
Basho, Kobayashi Issy, Friederich Holderlin. A large portion of text in other languages in music by Smirnov by
the fact that the problem of intersemiotic translation, which is most significant for the composer, is realized in it by
various means.
The article analyzes the lexical and semantical peculiarities of the poetical texts of the vocals cycles, which are
performed in English, Japanese and German, and the influence of these peculiarities on the choice of certain musically
expressive means and compositional techniques. Thus the parallel between verbal and musical poly-linguity is found,
the impact of the lexical-semantic field of “nature” on broad usage of sound-depictive, sonar and aleatory techniques, the
reflection of the aspiration of the poets towards myth-creation and symbolism in the usage of visual signs and elements
of instrumental theater. An important role in the formation of the special fascination on the part of Smirnov to the serial
technique was played by his lessons with Philip Herschkowitz, the continuer of the traditions of the composers of the
Second Viennese School. The methodology, means of work with the twelve-tone series, the contrapuntal qualities, and
the miniature forms demonstrate the manifestation of the influence of the music of Anton Webern.
Keywords: composer Dmitri Smirnov, song cycle, poly-lingual text setting, serialism, modality, sonorism, soundpictorial
quality, instrumental theater, William Blake, Matsuo Basho.
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