The life and works of Sergei Bortkievich (1877-1952), part 3 – Dance idiom in Bortkievich’s oeuvre
Journal Title: Notes Muzyczny - Year 2017, Vol 1, Issue 7
Abstract
Manifestations of dance inspirations can be found in most of Sergei Bortkievich’s works. Among them are both numerous examples of different stylisations, frequent references to the suite form and pieces in which the composer used dance elements characterised by short references to some dance. In order to analyse how “dance” influenced his creative output, the author of the article attempted to do a research to find and determine the dance idiom in Bortkievich’s works. One of the topics analysed in the article is the way how the artist elaborated on various types of folk and national dances. In his works, we can notice stylisations of dances from almost all European countries. Their analyses show that in his pieces Bortkievich does not use just one well-tried way of elaborating on them. These processes seem very deliberate, which without any doubt proves his high-level composition skills. The number and variety of such references is in turn a proof for his deep interest in dance, which became an almost infinite source of inspiration for him. Bortkievich’s works also include numerous cycles, both of dance and non-dance character. In some of them, separate movements are greatly integrated, in others they are less coherent but of dance-like character. There are collections which, despite their freer form, are in fact cohesive and sometimes even inseparable in terms of construction. These compositions often have a title given by the composer, which rarely refers to dance tradition. The cycles frequently have a programme nature. Due to such a diversity in this composer’s oeuvre, the article also characterises the form of suite in Bortkievich’s works. Their analyses show that Bortkievich wrote suites with different numbers of movements, not always preserving their dance-like character. Despite that, danceability often plays a dominant role in their construction as a whole and influences the specificity of a piece. The way of integrating a cycle is interesting as well as each of the suites has coherence features but they can manifest themselves in different ways, e.g.: clear key dependencies of separate movements one upon another, common thematic material, and there are also collections connected by an extra-musical concept.<br/><br/>
Authors and Affiliations
Agnieszka Kościelak-Nadolska
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