The Theme of the Sea in the Interpretation of Iraida Yusupova

Abstract

The article considers the sea theme as an integral part of the cultural core that defines the features of artistic images by Iraida R. Yusupova, one of the leading representatives of the Moscow school of composition at the turn of the 20th–21st centuries. The relationship between the verbally expressed constant foundations of culture and various forms of their realization in the chamber-instrumental works by I. Yusupova (cantatas "And there is no sea anymore, or a new journey of sound" based on the poems of A. Vvedensky, 1998; "Stella Maris" for choir, organ, piano, string group, 2016; "Stella Maris. Prayer of the Sailors" for voice and ensemble, 2017). It is proven that in the cantata "There is no sea anymore, or a new journey of sound", the concept of the sea acquires new semantic shades due to the accentuation of the theme of time in the composition (the introduction of the sound of a working metronome, the voicing of a digital code). Based on the analysis of the cantatas "Stella Maris" and "Stella Maris. Prayer of the Sailors" it is concluded that the axiological significance of the sea theme in the musical texts of the compositions is enhanced by the conceptual convergence of natural and sacred images (the starfish and the Virgin Mary). The author defines compositional techniques that contribute to the creation of spatial sensations (the "echo" technique), the transmission of the dynamics of seascapes (sound-like undulating continuous swings and declines in the piano part, etc.). It is concluded that the range of images associated with marine themes should be attributed to the global concept of "Man-Nature", which is one of the leaders in Yusupova's work. It combines numerous semantic and figurative variants ("Earthly Nature – Heavenly", "Earthly World – Universe"), and also has a variable development in dichotomous images ("Bird in a cage – Bird at liberty", "Calm Sea – Sea storm".).

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