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Music and Time

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Some Peculiarities of the Use of the Bayan in the Solo Compositions of Sergey Berinsky
S.S. Popov

The purpose of the article – to identify and describe the features of accordion interpretation and in the solo bayan works by Sergey Berinsky. Three pieces will be analyzed: Thus Spoke Zarathustra, Three Pieces in the «bad» style, Cinema. The pieces are analyzed in chronological order, that allows us to trace an evolution in his working with accordion. Berinsky continues the line of bayan music going from Vladislav Zolotarev and Sofia Gubaidulina. Especially many similarities found him with Sophia Asgatovna – the relation to the accordion as a «monster» mystical, sacred, unearthly, sacrificial tragic. Thus Berinskiy introduced in world of bayan many new things. Maybe it has not revolutionized the music that once music by Sofia Gubaidulina did, rather – a deep and comprehensive enrichment. In contrast, Berinskiy not limited to the interpretation of the bayan only in the sacred way. All three pieces are very different: in the images, means of expression and peculiarities of working with accordion. This instrument is presented very multifaceted in the works by Berinsky. There are paradoxical things in the interpretation of the accordion. Understanding these paradoxes, as well as showing of diversity of solo accordion in the works by Berinsky is the main problems of this article.

Keywords: Sergey Berinsky, bayan solo, Thus Spoke Zarathustra, Three Pieces in the «bad» style, Cinema.

Contacts: E-mail: s-popov87@mail.ru

Pp. 53-59.

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