SIXTH SYMPHONY OF AVET TERTERIAN AS A METAPHOR FOR THE UNIVERSAL REQUIEM

Abstract

The research objective is determined the peculiarities of the composition and dramaturgical organization of the Sixth Symphony of A. Terterian, taking into account the specificity of the pivotal-volume structure of the material. To solve this goal, is selected the structural-functional method of analysis. In the article is identified the peculiarities of the development of the symphony genre in the Armenian musical culture. The origins of the genre and the period of the flowering of the classical national symphony, which is associated with the works of composers A. Khachaturyan, A. Babadjanyan, A. Haroutyunyan, E. Mirzoyan, L. Saryan, J. Ter-Tatevosyan, K. Orbelian are named. The features of the symphonic style of A. Terterian are considered on the example of his single-movement symphonies. The main feature of Terterian's creative work is synthesized – a synthesis of the technical arsenal of linguistic innovations of the twentieth century with deep, archaic strata of domestic culture – and it is defined as an innovative idea of the composer. Dramaturgical and compositional parameters of the Sixth Symphony are analyzed. A connection was found in the concept of symphony with the semantic core of the requiem. It is determined that music does not inherit structural models of the genre and is free from church regulations, but the composer retains the semantic codes of the funeral mass. The peculiarities of the musical symbols of the spiritual genres, to which the composer appeals in the symphony, is established. Sonographics and microchromatics are defined as the main composer techniques in the construction of the compositional profile of the work. The principles of reproduction of archaic symbols of national culture through the use of the phoneme of Old-Armenian vocabulary is researched. The significance for the concept of the symphony of the use of tape recordings of orchestral voices and choral voices is analyzed.