Mirror Suite (Volkonsky)

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Mirror Suite
автор Andrei Volkonsky (1933—2008)
См. Russian music, Сюита зеркал. Источник: разные • Vocal cycle. 1959. Poems by Federico García Lorca from "Suite de los espejos" (Mirror Suite, 1921). Russian translation from Spanish by Vladimir Burich. Note by Yuri Kholopov. YouTube.
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Содержание


The opening of the score


Movements



  1. Символ / Symbol
  2. Великое зеркало / The Great Mirror
  3. Отражение / Reflection
  4. Лучи / Rays
  5. Отклик / Echo
  6. Синтоизм / Shinto
  7. Глаза / Eyes
  8. Начало / Beginning
  9. Колыбельная уснувшему зеркалу / Lullaby for the Mirror which Fell Asleep


Note



MIRROR SUITE (1959) for soprano and instrumental ensemble, set to the texts of Federico Garcia Lorca (in translation by V. Burich) is a composition, which in its own time presented itself as an impressive historical document, an assertion of the young composer’s spiritual strength and independence. The opening outcry “Christ” became a challenge to the undivided rule of the Marxist-Leninist dogma of Soviet art. Volkonsky did not intend to “epater” the Soviet “bourgeois,” he was just being himself – not merely independent of the constraints of the ideology, but already decisively by himself ahead of everybody else.

The musical-artistic conception of the “Mirror Suite” was decisively ahead of the dominating folkloristic-neoclassical style of Soviet music. Volkonsky’s new sound world turned out to be saturated with bright, transparent, light sonorities and permeated with radiant intonations both in the soprano and in the instrumental parts, with exquisite and colorful percussion sounds (the percussion performer had six timbres at his disposal). The text of Garcia Lorca is truly poetical in its nature, containing elements of surrealistic irrationalism. In the text there is a virtual development of the idea of mirror-symmetry, reflection, multiplications (the human being is adorned in colors of “the great mirror”, i.e. heaven; the lunar colors, i.e. mercury, the fire-fly, a lantern; God in the partition of brotherly embraces; the Finale involves the mirror’s “falling asleep”). The eight-note series at the basis of the musical composition also has qualities mirror-symmetry.

Each of the movements presents itself as a poetic picture, inspired by the individual idea of its respective text. All movements are presented as a “series,” each piece with a distinct timbral color. Thus, the final Lullaby is carried out in the delicate colors of harmonic pluckings of the guitar and a mysterious network of temple-blocks.

The orientation towards innovative compositional techniques is connected with the care for a cantilena lyrical quality of the vocal party, which would appeal to the singer.

Yuri Kholopov: Andrei Volkonsky the initiator: a profile of his life and work[1]

Text[2]




I. SIMBOLO

Cristo
tenía un espejo
en cada mano.
Multiplicaba
su propio espectro.
Proyectaba su corazón
en las miradas
negras.
¡Creo!

II. EL GRAN ESPEJO

Vivimos
bajo el gran espejo.
¡El hombre es azul!
¡Hosanna!

III. REFLEJO

Doña Luna.
(¿Se ha roto el azogue?)
No.
¿Qué muchacho ha encendido
su linterna?
Sólo una mariposa
basta para apagarte.
Calla... ¡Pero es posible!
¡Aquella luciérnaga
es la luna!

IV. RAYOS
Todo es abanico.
Hermano, abre los brazos.
Dios es el punto.

V. REPLICA

Un pájaro tan solo
canta.
El aire multiplica.
Oímos por espejos.

VI. SINTO

Campanillas de oro.
Pagoda dragón.
TiIín, tilín,
sobre los arrozales.
Fuente primitiva.
Fuente de la verdad.
A lo lejos,
garzas de color rosa
y el volcán marchito.

VII. LOS OJOS

En los ojos se abren
infinitos senderos.
Son de encrucijadas
de la sombra.
La muerte llega siempre
de esos campos ocultos.
(Jardinera que troncha
las flores de las lágrimas.)
Las pupilas no tienen
horizontes.
Nos perdemos en ellas
como en la selva virgen.
Al castillo de irás
y no volverás
se va por el camino
que comienza en el iris.
¡Muchacho sin amor,
Dios te libre de la yedra roja!
Guárdate del viajero,
Elenita que bordas
corbatas!

VIII. INITIUM

Adán y Eva.
La serpiente
partió el espejo
en mil pedazos,
y la manzana
fue la piedra.

IX. BERCEUSE AL ESPEJO DORMIDO

Duerme.
No temas la mirada
errante.
Duerme.
Ni la mariposa,
ni la palabra,
ni el rayo furtivo
de la cerradura
te herirán.
Duerme.
Como mi corazón,
así tú,
espejo mío.
Jardín donde el amor
me espera.
Duérmete sin cuidado,
pero despierta,
cuando se muera el último
beso de mis labios.




Notes — Примечания

  1. Yuri Kholopov: Andrei Volkonsky the initiator: a profile of his life and work, in «Ex oriente...II» Nine Composers from the former USSR: Andrei Volkonsky, Sergei Slonimsky, Alemdar Karamanov, Valentin Silvestrov, Nikolai Karetnikov, Roman Ledenyov, Faraj Karaev, Victor Ekimovsky, Vladimir Tarnopolsky, Edited by Valeria Tsenova, English Edition only, (studia slavica musicologica, Bd. 30), 245 pp., music illus., ISBN 3-928864-91-2 (Format 21 x 14,8 cm)
  2. See Russian translation by Vladimir Burich here: Сюита зеркал. Текст.

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