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Music and Time

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Between Avant-Garde and Tradition. Infernale for Violin and Piano A. Izosimova
N.V. Klimova

The article discusses the relationship between avant-garde and traditional techniques in the work of the modern Petersburg composer Alexander Izosimov. The focus is on the «breathing fret» system created by the author, which is transformed and modifies new ideas in the pro-cess of birth. On the example of the analysis of the composition for violin and piano Infernale (2006), which arose under the impression of the sculptural group of the Austrian scientist R. Steiner «Representative of humanity between Lucifer and Ahriman» (Dornach, 1923) and his poem «Rules of Evil» (1914), we consider ways non-traditional embodiment of Evil. In the article, Evil appears as a transcendental category, which is not a product of human activity, and therefore lacks genre vocabulary. Evil in the work is expressed by sono-modal means, spatial-acoustic fields. The central element in the structure of the whole becomes the only «dark» row of the «breathing fret». The sound process of composing takes place in seven «thought form», as the composer outlined for himself the stages of its development, in which the lack of modal movement is compensated by the active rhythmic, textured, timbre, and dy-namic transformation of the material. Evil is born from “silence”, from the silence of Eternity and acts in an airtight space.
Keywords: avant-garde, tradition, «breathing mode», Infernale, Evil, cluster and tone elements sound systems.

Pp. 30-36.

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