Abstract: This article examines the relevant issue pertaining to Russian, European, and world practice of using the musicological notion of “symphonic music”. The author notes the differences in the versions and peculiarities of interpretations of the term “symphonic music” in both, literature of strictly musicological profile, as well as within the broader culturological discourse. The author determines and analyzes the level of aesthetical, semantic and referential correlation between symphonic music and performing attributes of symphonic orchestra. The article presents multiple example of musical works that although attributed to the symphonic music, are in no way substantiated by the specificity or the expressive means and capabilities of symphonic orchestra. In the process of locating the various musicological aspects of the notion “symphonic music”, the author gives its adequate etymological and cultural-historical correlation with the core lexeme “symphony”. The author reveals the key and “cementing” role of constructive category of “symphonism” in this process. It is stated that the “symphonicity of the form” of musical works is determined not by some established “canonical” schemes, but by a complex internal organization of their musical texture, which is linked, first and foremost, with the continuity of development and overall process of the formation.

Keywords: symphonic music, conventionally symphonic music, quasi-symphonic music, symphony, symphony, Symphony Orchestra, symphonic form, tonal richness of the palette, Organ Symphony, symphonic electronic music

Abstract: This article examines the issue of style definition in the work of the renowned XIX century Belgian violinist-virtuoso and composer Henri Vieuxtemps. The subject of this research is Henri Vieuxtemps’ concerts for violin with orchestra, reviewed from the position of determination of the “symphonization” principles of the musical dramaturgy of these oeuvres. The theoretical analysis is conducted on the First, Fourth, and Fifth violin concerts, in which, based upon synthesizing the virtuoso-romantic and symphonic origins, the composer vividly expounds the principles of dramaturgical development that reflect the essence of musical aesthetics of the Romantic era. The scientific novelty is defined by several factors: based on the analysis of his compositions, this article is first to give the typology of style coordinates of the work of Henri Vieuxtemps; the author introduces the details of the peculiarities of the musical dramaturgy of his concepts, which allow substantiating the conclusions about the innovative aspects of the interpretation of the violin concert genre in the work of Henri Vieuxtemps. As a result of the conducted research, the author creates an analytical base, which contains the conclusions on the maneuvers of symphonization of the musical dramaturgy of Vieuxtemps’ violin concerts.  

Keywords: Henri Vieuxtemps, Art of the Violin, Violin Concerto, romanticism, musical drama, musical aesthetics, symphony, elements of symphonic development, concert form, virtuoso romantic style

Abstract: The subject of this article is the comparison of the work of renowned Polish composers of the XX century – Andrzej Panufnik (1914-1991) and Roman Palester (1907-1989). By the early 1950’s both composers were successful not only at home, but also in the countries of the Western Europe. But the desire for freedom of creative expression motivated them to elect the difficult path of being emigrants. From the mid 1950’s the work of Panufnik and Palester became banned in Poland, and all their future works faced the uneasy path of winning new audiences, first in England and Switzerland, and then, from the 1980’s, at home. The novelty of this research consists in the comparison of the creative paths and compositional principles of both composers, and presentation of their work to the Russian readers. A special emphasis is made on the fact that in continuing their path of emigration, the composers referred not only to new techniques of composition, but also to the traditions of Polish music. Preferring traditional genres of symphonic music, both have demonstrated remarkable creative innovation in their individual approach towards dodecaphony. We can certainly state that the works of Panufnik and Palester written during emigration have substantially enriched the scene of development of modern Polish music.

Keywords: Andrzej Panufnik, Roman Palester, Polish music, serial technique, dodecaphony, Polish avant-garde, aleatory, panufnikovskaya sound box, "Warsaw Autumn", Polish symphony

Abstract: This article is dedicated to the research of the peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. As a result of the conducted musicological analysis, the authors determine the role of the composer’s work in the musical culture of the early XX century, and define the innovative attempts of aligning the expressional capabilities of the symphonic and choral scores, aimed at strengthening the coloristic and expressional capabilities of the choral sound. It is substantiated that the symphonization represents the dominant principle of development of the musical dramaturgy of the symphonic cantata for mixed chorus a cappella “In the Temple of Golden Dreams” of peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. The authors prove that in the cantata the lyrical-dramaturgical principle of symphonism is realized at the level of musical dramaturgy and system of expressional means. They substantiate that peculiarities of the interpretation of the choral genres in the work of Arthur Lourié uses the methods of monothematic development and creates a system of thematic arches, which contribute to the structurization of the musical material and establish the opening intonation-impulse; he also implements innovative methods that help align the expressional capabilities of the choral and orchestral scores.

Keywords: musical art, Russian music, choral music, Arthur Lourie, symphonic cantata, interpretation, monothematicism, sonoristicheskoe sound, musical drama, nature of the vote

Abstract: This article explores the peculiarities of the musical language of a composer that distinguish the music of modern artists and stylistic differences of modern choral works from the works that preceded them. Examining the questions of musical composition, we go into more detail on the “plane of content” and “plane of expression”, discovering the specificity of implementation of musical-expressive means. At the center of the examined musical material are the choral oeuvres that are based on the material of Russian folk songs. At the same time, it is important to determine the individual stylistic traits of the works created for the original texts, from other choral works of the 2000’s. The “idiostyle” of Larin’s choral music manifests itself in the genre variety of folklore sources. In this article, the author attempts to classify the genres of the used songs by the initiation aspect, attributes of rustic or urban environment, ethno-musical orientation of the theme and musical solutions. The important role for the timbre and texture sides is manifested in both the constructive role of the methods of musical syntax (more precisely, allocation of the melody between choral voices), as well as the various means of multi-plane texture, revealed in layering.

Keywords: individual author's style, "Plan the content", "Expression of the plan", musical composition, genre, the source, folklore, texture, timbre, sonority