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Music and Time

Annotation
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Gerard Pesson’s «Nebenstuck»: Notebooks of Musical Memory
M.M. Buloshnikova

This article deals with two instrumental pieces of contemporary French composer Gerard Pesson with the headline «Nebenstück», written at different times and representing the transcriptions of the music of Brahms and Bruckner. The author seeks to examine how these works reflect the main stylistic qualities of the composer. The emergence of the plays in the work of retrospective focus Pesson special treatment due to the notions of time and memory. It manifests itself in constant contact, and the contact of the composer in this music of the past. It is reflected in the principle of dialogue of styles that is always present in virtually every essay, noting the inevitable reinterpretation of borrowed material, the merger of the original style with the style Pesson. His transcriptions of novelty musical image is recreated thanks to sophisticated work on instrumental timbre and articulation that is the next essential feature of the music of the French composer. In this regard, the article discusses the concept of «instrumental gesture», which uses Pesson, and its application in the analyzed plays. The article also focus on titles and abstracts, are endowed with special artistic force in relation to the music works. In conclusion, the author comes to the confirmation of the thesis of the special role of transcription in the works of Gerard Pesson. Also auteur confirms the independence of the author’s work and style of its presentation.
Keywords: Gérard Pesson, Nebenstück, Brahms, Bruckner, French contemporary music, dialogue of styles, citation, timbre and articulation.

Contacts: E-mail: mariyatikhonova@mail.ru

Pp. 31-38.

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