Third Symphony by Igor Pinkhasov. Some stylistic features

Abstract

The given article is devoted to the creative work of the famous composer of Uzbekistan – Igor Pinkhasov. His Third Symphony - the composition of 2020 - is considered and analyzed in the context of the main trends of music of the XXI century.

The task of the work is to show the main stylistic techniques and musical expressive means of the composition, which are given in accordance with the most noticeable phenomena in the world symphonic music of the XX and XXI centuries.

Therefore, a free sonorics combined with tonal episodes creates a picture of an active thematic movement. Aleatorics, a beneficial environment for the emergence of melodic material, tonal in fact, itself also undergoes a deep transformation and development throughout the work. Despite the composer's active use of aleatoric principles and elements of sonorics, the melody underlying many of his themes still occupies its central place in the hierarchy of musical expressive means.

Genre transformations, as the next stage of the stylistic complex, also take place as a look towards the great symphonists of the XX century. These are genre allusions that illustrate very accurately the fractures of the worldview, express themselves, for example, through the march, which is one of the most recognizable and representative genres for several centuries. Such semantic references allow the listener to navigate in the ongoing event series.

The analysis in the light of these trends makes it possible to identify common problems in the system of expressive means of the musical language of the modern symphony in various countries.

Together with the emotional aspect of the symphony, they play an important role in the musical "reflection" of people's aspirations and hopes, their negative and positive expectations from the events of reality.