SYMPHONY

SYMPHONY, a musical piece for symphony orchestra, usually in the sonata‑cyclic form. The appearance of S. in the Bashk. music art is associated with the creative activity of R.A.Murtazin who followed the classic model of S.

In the 1970s, rethinking of the classic model of the genre was observed in the symphonies of the Bashk. composers. S. becomes one of the leading genres of instrumental music. In their creative work R.H.Gazizov, R.R.Ziganov, R.G.Kasimov, R.N.Sabitov, D.D.Hasanshin mainly follow the aesthetics of neo‑folklorism, connecting the archaic forms of the Bashk. folklore with the techniques of the composition of the 20th century, with jazz, resulting in changes in musical language, poetics, drama, and form. Composers turn to philosophical topics: East and West, Man and Religion, Nature and Civilization, etc. Ethnomusical descriptiveness and genre characteristic decorativeness are replaced in S. by synthesis of epic, lyrical, and drama elements. The change in the concept of the genre is evidenced by the appeal to ancient rituals, special interpretation, rethinking of images, etc.

The Bashk. S. of late 20th — early 21st centuries is characterized by deep changes in the range of images and themes. Monologic and epicodramatic types of symphonism arise, as well as multiphase crescendo, extensive and assembly types of dramaturgy. The new trends in the musical form of modern Bashk. S. are the multiplicity of compositional solutions, rethinking of cyclicity, attraction to contrast composite and one‑part compositions, predominance of procedural element over the architectonic one, weakening of the role or abandonment of the traditional sonata form, enhancement of the role of 3‑part and multi‑part cycles, slow framing, the principles of rondo and concentric forms, poetry. Intra‑genre varieties of S. appear (vocal and chamber S.). Interaction of S. with othergenres gives birth to mixed genre structures: S. concert, concert S., S. oratorio, S. requiem, etc.