SONORIC TECHNIQUE OF COMPOSITION AND ITS MANIFESTATIONS IN THE CONCERT FOR TWO ACCORDIONS AND THE STRING ORCHESTRA BY ANNA SOWA

Abstract

Modern foreign accordion art is actively developing and being updated. Thus, among the considerable number of genres represented in the accordion art, a special place is occupied by the concert genre for accordion and orchestra, as one of the most complex and multifaceted genre forms of accordion music. The specified genre is currently being actively enriched with works written in particular using modern techniques of compositional writing. The sonoric compositional technique, which is clearly represented in the work of many artists around the world, is no exception. Thus, the Polish composer Anna Sowa should be called a bright representative of the avant-garde trend in modern music. Among the large number of works written for the participation of the accordion, her «Concerto for two accordions and string orchestra» is worthy of attention as an illustrative example of the use of the sonoric technique of composer writing in this genre. The purpose of the article is to reveal the peculiarities of the use of the sonoric technique of the composer’s writing in Anna Sowa’s Concerto for two accordions and string orchestra. The research methodology is based on a complex of theoretical and historical principles and methods, in particular: 1) the historical approach that contributed to the disclosure of the specifics of sonoric in the process of developing the composer’s thinking and the reflection of this writing technique in the genre nature of the accordion concerto; 2) the genre method – aimed at researching the genre of accordion concerto with orchestra as a complex, multifaceted phenomenon of musical art; 3) the method of stylistic analysis – which reveals all aspects of the artistic text in the unity of stylistic techniques and methods of compositional writing; 4) the systematic approach – which allowed to carry out a comprehensive musicological analysis of the mentioned concert. The scientific novelty consists in an attempt to reveal the peculiarities of the use of the sonorous technique of the composer’s writing in A. Sowa’s Concerto for two accordions and string orchestra and to update the question of the place of sonoric in the genre of concerto for accordion and orchestra in the work of modern foreign composers in general. Conclusions. The results of the research provide convincing evidence that the sonoric technique in A. Sowa’s Concerto for two accordions and string orchestra is represented by a wide range of sonoric timbre-textural and form-creating principles, as well as the use of various specific and percussive-noise performance techniques.