Sonata for Violin and Piano by Vladimir Martynov
The Violin sonata of Vladimir Martynov (1973) is paradoxical in many ways. The composer himself characterizes it as a paradox: “This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machaut’s hoquet, its minimalism, I mean that something happens there and nothing happens at the same time.” It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the strictest dodecaphony: “There is not a single free note in it.” On the serial technique, the features of Martynov’s composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.
- Boulez, P. “Schoenberg Is Dead.” Orientiry I. Izbrannye stat’i [Landmarks I. Selected Articles]. Moscow: Logos-Al’tera, 2004, pp. 16–21. (In Russ.)
- Katunyan, M. “Parallel Time of Vladimir Martynov.” Muzyka iz byvshego SSSR [Music from the Former USSR]. Issue 2. Moscow: Kompozitor, 1996, pp. 41–74. (In Russ.)
About the author: Margarita I. Katunyan, Candidate of Art Criticism, Associate Professor, Music Theory Department, Tchaikovsky Moscow State Conservatory