Music and Time Annotation << Back «Synthesis» Five Pieces for Piano, op. 16 (1914) Arthur Lourie: Originality in Composition Solutions M.L. Zaytseva, A.I. Chekmenev The article is devoted to the analysis of the piano cycle «Syntheses» (1914) by Arthur Lourie, an outstanding russian composer and music figure of the early twentieth century. The scientific novelty of the article is the identification of the main compositional and dramatic principles of the work. It is generalized that the cycle is based on different modern techniques. It is scientifically grounded that the main dramatic principle of «Synthesis» is «germination», the rebirth of the initial «primary element» containing the impulses of further development, and the final attainment of a «comprehensive» sound. It is shown that in "Syntheses" the logic of a musical composition is based on the principles of interaction between the audio and visual text series. The characteristic features of the composer's musical thinking were determined, the formation of which occurred under the influence of Scriabin art. As a result of the analysis of the aesthetic and artistic principles of A. Lurie, the influence on their formation of Eurasian ideas that are at the center of cultural discourse at the turn of the XIX–XX centuries and avant-garde searches of the beginning of the XX century is revealed. Keywords: Arthur Lourie, russian musical art, russian music of the XX century, piano music, «Syntheses», russian musical avant-garde. Contacts: E-mail: marinaz1305@mail.ru, E-mail: vertekscom@rambler.ru Pp. 14-19.