A.Meleshkina

“Anthem in memory of H.Purcell” of Oleg Paiberdin:
it is new decision of the old genre

Anthem is an English church genre of hymn solemn character. It is not by chance Oleg Paiberdin called his work as Anthem, giving back tribute to great English composer H.Purcell. It becomes clear, when anyone closer meets with the music, which is already written in XXI century that in the music has been found by the composer new decision of the old genre.

Biography of O.Paiberdin began in Altai, where he was born in 1971. In Kazakhstan, where O.Paiberdin’s parents lived, he learnt from his father to play on bayan in the Karatau Children Music School. Then he attended the Asbest music college. In 1996, he graduated and postgraduated from the Ural State Conservatoire as a composer. (But O.Paiberdin’s interest to compose aroused enough early). Since 1997, Paiberdin is a member of the Russian Composers’ Association. Being by laureate of competitions and fellow of different grants, participant of festivals and seminars, O.Paiberdin is a composer of new generation.

Survey of O.Paiberdin’s works shows that instrumental music attracts of the composer above all. Among works, written by Paiberdin already during of studies, are chamber and symphonic works, such as, for example, “Choral” for string quartet (1992) and “Symphonic movement” for large symphony orchestra (1994). Afterwards Paiberdin composed “Sinfonia” for orchestra (1998),
Organum “A-nn-A” for string trio (2000), “Before or After” (2003) for alto-saxophone quartet and others.

All his searches and finds in sphere of creative work are conditioned by priority of instrumental music and organically combined with it. Every time, experimenting with instrumental staff, inventing new timbre, texture or in his own way using already well-known techniques of composition, he creates astonishing works, which in their own way are “breathing” music spaces. Composing his works, Paiberdin investigates nature of sound at the same time; he wants to sense natural sound as such. Therefore, it becomes important for him to take into account specific area and conditions of performance. Such combination as knowledge of history of music culture and practical use of new composition’s methods makes his music openings claimed by the present.

“Anthem in memory of H.Purcell” (2002) is one of such composition. During of H.Purcell’s epoch cantata-oratorio genre consisted of some parts with interchange of solo and chorus partitions with instrumental accompaniment. As for O.Paiberdin’s Anthem, it is especially instrumental work. In many respects, peculiarities of the work’s structure are stipulated by the work staff—12 violas. This piece was composed for the well-known ensemble “Viola” in Yekaterinburg. One-part construction of Anthem, made with use of serial technique, presents concentric circular composition. It is nothing of the kind with anthem genre! We can see link with more close traditions of musical culture as I.Stravinski’s Funeral Canons in memory of D.Tomas or E.Denisov’s and A.Shnitke’s Canons in memory of I.Stravinski.

In O.Paiberdin’s Anthem twelve sounds of series are entrusted to 12 viola parts (voices). Voices enter alternately, forming canon in their own way. At the expense of gradual inclusion and stopping of sounds the series gets not horizontal-linear, but vertical-diagonal incarnation. Colorful stereophonic effect of many-storied combination of layer-voices arises. Premised epigraph, taken by the composer from M.Heidegger, gives information about internal construction of Anthem, but not about external program:

We are moving in a circle.
The circle is inescapable.
It is necessary to move in the circle
Instead of attempts to avoid it
As supposedly logical contradiction.

Actually, treatment to symbol of circle is revealed on different levels.

The series of the composition is legibly considered.

	1		4		2		4		3		5		1		4		2		4		3
f		e		as		b		d		h		fis		g		es		des		a		c
Primus												Inversus

It consists of two six-sound segments. Second segment is exact inversion of first one, but the inversion is transposed. This reason and fifth range of the serial row (an interval is generated between utmost series sounds) make for principles its further using. Twelfth sound becomes as first for next one. A fifth circle arises; movement in the circle doesn’t give any possible locking, while all twelve carryings out go. Inasmuch as every sound of series is attached with every separate viola part, external circle emerges between performers as well. Twelfth viola becomes as first one, but first viola becomes as second one and so on. The composer uses twelve pitch positions (Primus versus) by fifths upwards, forming a circle from “f” to “f”, and twelve pitch positions (Retro versus) by fifths downward, enclosing a circle the more high level. Some such circles contain 58 carryings out, in which are used the only 24 variants of the series instead of 48. Building up square of the series, we can see that inversion carryings out could lead to unnecessary repetitions of basic ones, but with transpositions of segments.

   I

f	e	as	b	d	h	fis	g	es	des	a	c
fis	f	a	h	es	c	g	as	e	d	b	des
d	des	f	g	h	as	es	e	c	b	fis	a
c	h	es	f	a	fis	des	d	b	as	e	g
as	g	h	des	f	d	a	b	fis	e	c	es
h	b	d	e	as	f	c	des	a	g	es	fis
e	es	g	a	des	b	f	fis	d	c	as	h
es	d	fis	as	c	a	e	f	des	h	g	b
g	fis	b	c	e	des	as	a	f	es	h	d
a	as	c	d	fis	es	b	h	g	f	des	e
des	c	e	fis	b	g	d	es	h	a	f	as
b	a	des	es	g	e	h	c	as	fis	d	f

In process of unrolling the author achieves of gradual pressure of time, concentration of development and acceleration at the expense of diminution of duration of every series sound and rests between sounds inside of every voice (right up to disappearance of rests). It takes place twisting of substance, thanks to that unusual resonant phonations arise and thickness increases. Surprising differentiation of every voice strikes by subtle dynamic nuances, use of various methods of play (vibrato, harsh string gritting, sul tasto and sul ponticello). Highly sensitive rhythmical drawing indicates pointillism. Resonant space complicates during of each carrying out. Dynamic crescendo provokes alteration of tone pitch, linked with micro-chromatics (glissando in the range of quartertone). General dynamic of the composition leads to origin of such device as play by quart flageolets. Thus, ultimate circle, which cannot be considered the same inasmuch as movement is unlimited, visually condenses the series and contains two carryings out, simultaneously sounding. This final circle the author doesn’t close. The composition dries up by tenth sound of tenth carrying out in original variant of the series. Such dynamic circulation can be kept on endlessly, finding new refined components.

Therefore, Anthem as an old genre acquires new quality thanks to O.Paiberdin’s execution. There is some problem of correspondence of the work title with real sounding. Here is comprehension of Anthem in context of contemporary outlook. With peculiar invention, the composer outlines some circles of sound substance (phonic, structural and compositional), treating idea of circle as return of ancient tradition on new coil of spiral. The author achieves of gradual pressure of these circles by various means, responding to present-day reality, which accelerates every time. Paiberdin steps aside from the declared genre as far as possible and at the same time restores to its primary meaning as an anthem. Anthem in memory of H.Purcell is a hymn for H.Purcell and his epoch, when composition invention had been estimated. We can speak about skilful representation of epoch dialogue in the work, presented at all times and actualized at present as never before.

—to listen to Anthem in memory of H.Purcell for 12 violas [8 mb]