Ye.Chigaryova, doctor of arts
Faith, creativity, fate: composer Alexander Neduev
1
Faith and creativity… This problem has worried composers since olden times. But it may be a particularly pressing issue today when the subject of religion has become so attractive.
The possibility of treating this subject openly emerged in the wake of perestroika and was a powerful stimulus for the country's composers. Such works cropped up in galore in the late 80s following celebration of the millennium of Russia's baptism. This wave literally swept the composers' community of today's Russia and this is a very mixed wave indeed.
Various composers come to the subject of religion differently, same as people come to church each in his own way. For some this is resurrection of the national tradition, while for others this is a result of a painful search, whereas others do it in compliance with
the latest fashion (this too happens). However, if this is genuine and achieved through suffering, then the composer somehow or other faces the problem (sometimes a dilemma) of "faith and creativity". How compatible are these two spiritual facets of human existence and consciousness? Can a devout believer give himself over completely to the creative endeavors? If so, in what genres and forms should he pursue his creativity? What is the ratio of modern works on spiritual subjects to those based on religious canons?
And what are the canons now? Have they remained unchanged or undergone essential transformations? These and other questions arise before composers who turn to the spiritual music.
They answer those questions variously. However, let's give the floor to composers themselves.
We should start here with the most radical attitude that had emerged supposedly from within the church charter. Vladimir Martynov, studying in his book the history of Russian worship chant, sharply delineates the notions of "to sing" and "to play"
in accordance with a tradition that prevailed till the 17th century. As he puts this, "The opposition of the sacral and the profaned concealed by the words "singing" and "playing" is very characteristic of the traditional Russian thinking". Roughly by the 17th century
the words "play" and "playing" were gradually replaced by the words "music" and "musicking". "Thus the word "music" took in all
the elements of meaning contained in the word "play" and turned into a notion opposite to the notion of "worship singing". That is why
the word combination "church music", so habitual to our ear, was absolutely unthinkable and absurd in the framework of the old Russian tradition" [2, pp. 6, 7-8, 8].
Therefore Martynov sees no chance of resurrecting liturgical singing in our days (in a sense in which this notion and phenomenon was perceived over the centuries). "In our time and in our world, no worship chant can exist" [same source, p.179]. The author believes that at issue here could be only "the illusion of existence of worship chant in conditions of the modern world". This illusion "is one of
the essential features of modern awareness and the appearance of this illusion is, in the context of the Orthodox tradition, testifies to
the entry of the global history into its terminal stage" [same source, p.181]. This apocalyptic view of today's life and art is formed by
the composer in the toughest of terms: "Degradation of the old Russian singing system is not just a historical process, but … an individual case of the general process of dissolution of church's influence and growth of secularism across the globe" [same source, p.183]. So pessimistically Vladimir Martynov appraises the state of modern spiritual music.
Different views on this are expressed by Alfred Schnittke. He, too, confronted the problem of interaction between faith and creativity, the more acutely in the early 80s as he was baptized (1983). The issue cropped up before him as a dilemma. According to him, his creative endeavors made imperious demands of him, forced him to soar up spiritually and concentrate, as a human being, so intensely that the inevitable hypertrophy of the personal foundations came to conflict with the religious principles that implied self-restriction and self-discipline. "In work you must be sure of what you are doing," reflected the composer. "The work itself implies observance of certain rigid principles. On the other hand, however, one always needs "a stick" for urging and "cold water" for strict control. It is only religion that reminds you all the time of how imperfect is everything you have created". In 1989, at the tenth festival of modern music in Gorky, in answer to the listeners' questions Schnittke said: "At one time faith used to lead me away from music. But I returned to this more sinful and less saintly matter because I couldn't help being a musician". [quoted as per: 5, p.16-17]
Later on, in the 90s in dialogues with A.Ivashkin, Schnittke expressed himself in still clearer terms. Involuntarily provoked by Ivashkin's statements, Alfred Schnittke took up an in absentia dispute with Martynov.
"Vladimir Martynov, for instance, opines that the true and sinless music is that composed for church. He repeatedly voiced this opinion, including on the pages of his book about history of Russian liturgical singing."
A.Sh. … Clearly, Martynov's standing is defensive. It provides defense against what may come from very high. This is expressly why there are many ways out here since the height per se assures protection. It may be an accessible method for him. But for me
it is not. I know that the Devil is everywhere and you can't get away from him by slotting yourself into something clean. He's there, too. The solution is not in avoiding this in some cleaned space, but in living with and struggling against it all the time" [2, p.146].
Another solution to this problem is directly contrary. The German composer Alfred Helmut Wolf (born 1959), of whom I already wrote [4], on accepting Orthodoxy (an extraordinary act for a German) encountered a very complex creativity problem. He could not compose music as previously (on man's difficult search for and the finding of God) because he was done with the past, whilst the time for "new songs" had not yet come. And that was when the period of silence and quietness set in the composer's creativity. In his own words, that period was "beyond music" and the silence he heard within himself seemed to reach him from a newly opened world.
In a letter of 2 July 2004, written after publication of my article [4], A. Wolf reflects about different causes, internal and external, of his silence in creativity. "Right now I just don't compose. As it happens, my previous music had ceased within me. But I start hearing new tunes, which, however, I am unable "to launch into the world". I am now ("only") 45, so the situation may change in several years.
But it is also possible that I shall plunge deeper and deeper into "the spiritual life" and the prayer… On the one hand, an artist is a spiritual man (der geistliche Mensch) while on the other… I don't know how to bring this together. How does Neduev manage to do it? How does Arvo Pärt? Or is the artistic and the spiritual one for them? I imagine, they perceive their art as spiritual life."
The questions and conjectures in the quote of Wolf's letter outline another way of bringing together faith and creativity. We should note his mention in this context of some names, to wit, a little known name of Alexander Neduev whose music he appreciated and whose artistic standing he genuinely respected. Indeed, few composers can say of themselves: "All my life is Church. All earthly and cosmic life is Church to me, while music is my prayer and my reply to the Lord".
2
I have known Alexander Neduev for a long time. He is a modest, hardworking and devoutly believing person. He is gifted in many aspects, a nugget of sorts. He has golden hands that he keeps permanently busy rebuilding various churches. But what matters above all else is that he is a composer and a musician by the grace of God. All the music he produces (as his statements testify) comes from God and is addressed to Him. Despite this, the creative work of this outstanding author, having his circle of enthusiastic admirers, is not yet known to the public at large.
It was only on 14 April 2002 that the author's first concert was held at the Glinka Museum where for the first time three of his works were performed, including the "All-Night Vigil Chants". At one point, in 1998 four items of the "Vigil Chants" received awards at
the IBLA GRAND PRIZE international music competition in Ragusa whose laureate he became. A year ago, the author had the whole piece recorded on CD. Also, several transmissions of various radio stations were devoted to the Neduev music. And still this is too little for a mature and fully developed composer of such a stature, reaching over fifty.
Alexander Neduev is an outstanding personality. Talking to him is always interesting since this always triggers thinking about all sorts of things, be it a cultural revolution in Russia, or music art in the historical prospective, or issues of individual faith, or personal responsibility to God. Therefore I wish to build my story about this composer largely on his statements, including into them some extensive passages from my interview with him on 16 July 2002.
The music biography of A.Neduev is unusual. Music had attracted him since childhood, but in those days his family could not afford to give him musical training. "I improvised all the time, never stopped crooning, always heard something within me," he recalls. In order to record what he hears, Alexander devised his own method of music notation – reinvented the wheel! What he invented was very much like a tabulated arrangement in which sharps were + and flats -. However, he realized that with the universally accepted system there's no point in using newly designed arrangements. So he applied himself to textbooks and learned the standard musical notation. Thus his love of composition gave rise to his music education. Alexander started learning the piano rather late, at 16. And that was when he dared to show his first endeavors in composition (in the spirit of Russian folk music and in Glinka style) to his teacher who noted in them his lust for the pre-Glinka type of music.
Till the age of 22 to 23 years Alexander took private lessons, after which he pursued self-education. So he studied the scores of favorite composers and learned composing from the masters. In the meantime he continued to compose his own pieces, trying himself in different genres and forms (he even started composing a symphony). However, a sense of dissatisfaction gave him no peace.
The inner voice kept telling: "That's not your stuff. That's not true." The turning point in his life and work took place as he linked all his life to Church.
"If, figuratively speaking, artistic creativity is a tree, then it started bearing fruit for me when I came to Church. Sure enough,
I composed before that, too, trying to turn out some music miniatures, and to learn various music forms (sonatas, concerts). I wrote song lyrics and music for them. Later still, I did more sophisticated things like pieces for chorus and concert to the poems of different poets who appealed to me then. However, the creativity in which I began to really believe began late. It began after I laid my hands on a book by Pavel Florensky "The pillar and the assertion of truth". That was at the outbreak of perestroika and I bought the book easily at a bookshop. Since that moment Christianity started to open up before me. As per tradition, I was baptized, which rite had been performed on me, on the initiation of my grandmother in Omsk, when I was a year old child. But I was not churched." This happened in 1991 when Alexander was forty. What preceded this was a protracted and intense spiritual search combined with the study of European, old Indian and old Chinese philosophies. "Once I went through all that, I realized I had no required fullness of experience to live up to my concepts. So, as if groping, but actually being guided by Providence, I came to the books by Florensky."
Alexander takes his coming to Christianity as the second birth. "It was then that the depth of human soul opened up to me and
it was then that the entire world became quite different to me." Neduev describes his recovery of a new vision ("I woke up at last") very figuratively:" It's like entering a dark room with a weakly glimmering lantern, where you start giving light in different directions and gradually piece together the room's setting. My soul is precisely in this condition, as if by the dim light of the lantern in a dark room it looks into itself, snatching out some bits and pieces, arranging them in a pattern of its internal life and presenting an image of itself. Suddenly, somebody swings open the window, sunshine rushes in and you perceive the picture all at once, instantly". Here Alexander remembers a verse by Juan de la Cruz (1542-1591), a Spanish poet of mysticism and a Carmelite monk, based on whose texts he had composed works for soprano and chamber orchestra:
I know a font in the dark of the night
Full of clean water that runs in a jet.
Its run is eternal and ripple is light,
Its route's final station I will never forget.
"I discovered that night and the terrible darkness in myself," continues Alexander. "I also discovered the light and the terrifying duality of human nature". Alexander perceives this duality painfully. He strictly judges himself, his thoughts and actions. For him, a Christian is not a solidly petrified notion. For him this is an eternal flux, a permanent struggle against sin, endless repentance and faith and movement towards Christ. "Honestly looking at myself, I can't say I'm a Christian in every sense of the word as I understand it, and as I imagine some people are."
This internal honesty and uncompromising stance, innate features of Neduev, manifest themselves in his works. He mercilessly destroyed everything he had written before his spiritual rebirth, leaving only what little he believed to be consonant with his new outlooks ("I've buried all that"). It doesn't mean, however, that following this, Neduev composed music only for church or somehow
related to the religious theme. The process of his evolution was far more complex, more profound and reached the very essence of his existence. Just like previously, when life and music were inseparable for him, so now his being is indivisible from Church (remember "For me, all my life is Church"). Thus music, through its emotional and spiritual contents and hence in the sonic expression, became one with faith and God.
Reflecting on Holy Writ, Alexander says: "As for creativity as such, man is made, as we know, in God's own similitude, which definition had long been a mystery to me until I realized that God is a personality, and given to creativity at that. I may be wrong, but I think that God just can't help creating. He is so full of creative power that through creation of the world and man in it he, in a sense, goes out of Himself. For if man did not exist, who would discover God and would tell Him that He does exist in answer to His address to Israel "I am". To my mind, if there is no creation, then there is no creator. Creation is an act, an urge of love. And love is a surfeit. Christ is a word by which the Lord creates the entire world. Killed on the cross for sin and blindness of man who, choosing the way of knowledge of good and evil, the way of willful existence without God, Christ dies in feuds and in "I will" assertions. Christ the Savior came to rescue
the sinners, such is the Gospel's message. In the chief commandment Christ the Creator says: love one another as I loved you.
Love, that is, sacrifice yourself for others, go beyond your confines, and open yourself. This is expressly human creativity, i.e. the act of love, dedication, and sacrifice for the fellow creature."
When asked what creativity is to him personally, Alexander answered so: "I think that creativity stems from surfeit obtained.
By this act the artist goes beyond himself. I enjoy being alive. By pursuing my creative endeavors I rid myself of what oppresses me,
I remove confines, opening myself to God and perceiving His nearness".
3
Naturally enough, such a perception of creativity, based on the essentials, on the core of the person couldn't help touching Neduev's music. A key piece of the new period of his life was, in my opinion, the All-Night Vigil. He had worked on it for three years (1993-1995) and was closely linked with the author's churching and active involvement with the rebuilding of the church of Saints Cosmas and Damian, unmercenary healers in Shubino. According to the composer, as he began to familiarize himself with the service texts, some of them rang out on their own. Thus four parts appeared: psalm 103, The Gladdening Light, Christ's Resurrection, and My soul doth magnify the Lord, following which the composer desired to continue work and to duly complete the cycle.
The sequence of the piece's parts tallies with the arrangement of the traditional All-Night Vigil, except sticheron "Revealing to
Thee the Pre-eternal Counsel" that sounds annually on the eve of the Theophany. According to A.Neduev, it was this, plus the desire to add up in the future a few more parts, that determined the work's title (All-Night Vigil Chant (not the Night Service).
In his music the composer doesn't use tunes of the plain chant. This is a wholly author's work, based on his personal experience of Divine Service and musical hearing of the text that is a leading factor of the form generation. Related to this are also the through-going development, the fluidity of the form, and the incessant melodious expansion. The "chanted" word is the key element in this music. The choral fabric of the work is transparent and tuneful throughout. Its audio component is perceived as a continuous melody, from beginning to end. Imitation of motifs in different voices only enhances this sensation while stringent sound combinations seemingly compliant in their conjunction to a supreme directive, create a stem that holds the entire composition together. The harmony,
despite the ostensible traditionalism, is very fresh. Like a score texture it complies with the melody currents and, eventually,
with the word. Such, for instance, are conclusion of the chants like "Gladdening Light" ("…therefore all the world doth glorify Thee") or culmination of "Glorify Name of Lord" (… confess to the Lord for He is good". In both cases, in upward movement, there is the ancient rhetoric figure anabasis aglow with major triads (fairly few in the piece) which are crowned with the C major. The same role – levitating the word – is played by the soloing soprano and tenor as if hovering over the choral fabric (for example, psalm 103,
where the recitative G of soprano's second octave is particularly pronounced ("glory to Thee, Lord") featuring the same terminal
C major ("for ever and ever, amen"). However, minor – but not major – creates the special tone, clear and penetrating.
This minor passes through the entire piece. Permeated by unobtrusiveness and grace, the music sounds loftily and lightly, giving rise to the sensation of the outer world and eternity.
4
I know very well and am fond of the All-Night Vigil. When I listen to it, it seems to me that this is not a composition of a composer
of the 20th century, but something that exists per se, beyond man, at the will of Nature or God. Therefore, talking to Neduyev,
I involuntarily asked him the perpetual question about the creative process.
I knew Alexander has a fine ear and excellent music memory. Due to these assets he "bears" his works for a long time, rendering them to sounds by virtue of his inner hearing. He is able to "simultaneously" hear all the works at once ("this is an unbelievably shocking experience"). The answer was: "How do I compose? I don't compose, that's just it! I never ever take a text with a message in order to compose something based on it… Take, for instance, Psalm 103. It just passed through me as if in an instant. Of course, I had read it lots of times. Some time elapsed and as I reread it, say, for the 55th time everything suddenly arranged itself in the due pattern, from beginning to end. That's when I'm gripped by the desire to record it, at least the basics, as soon as possible. It's like an explosion to me, if not a revelation. Suddenly, everything sounds, all voices at once, along with harmony and supporting voices. However, I don't sit down to finally register this. I wait till this settles down in my mind".
Compared to the ideal image that comes to the composer's mind, the record appears to be inaccurate and vague. It doesn't suit Alexander and depresses him. Says he: "When this somehow materializes, it turns into something very far from what it originally sounded. And once its performance starts, then it's not like anything. I assured myself of this lots of times. Our performing skills look to me not quite adequate. So I have to make a tremendous effort to explain my style to the performers, because it radically differs
from the style of today and from modern music."
Here Alexander touched upon an important issue related to the timeframe of his music in terms of composition and drama.
Naturally, the Vigil's focus is church canons, i.e. pre-classical music radically differing from canons of the European musical art
of the New Time. The meditative tone of the music implies no sharp contrasts. What prevails here are slow tempos and soft sounds.
The form unfolds not dynamically and centrifugally, but contemplatively and evenly. I deliberately avoid saying "static" since "statics" is an unsuitable word for the living process full of flexible elusive nuances. Andrei Lazarev, one of the best conductors, pointed out that
the common feature of his and church music is "the fluidity of form". This fluidity derives from an internal fullness of each instant
of the musical time, which in no way can be registered by music notation. This creates certain difficulties for performers and conductors since agogic hues, dynamic nuances, articulation and phrasing in such music are no less important than the noted text.
I remember the words of Alfred Schnittke concerning his Choir Concerto based on the text by Gregory of Narek "Book of Lamentations": "Each detail is prompted by the message, by emphasis and something else I am not entitled to disclose".
This seeming liberty calls for a complete realization of the text and its adequate understanding. With reference to this Neduev says thus: "Here every sound and word must be felt and merged into a single whole, for which purpose one needs personal experience.
That's when the sounding, expressiveness, and arrangement of the music will be quite different. One must have an experience of what the music is about and ought to feel what it stems from. That is why all its flow sounds differently from that in many other modern works"
5
The special nature of the flow of time in music, originating from the old Russian church music (what is now often referred to as "meditativeness", a rather indistinct notion and much too inexplicit) is also characteristic of other works by A.Neduev, which are not directly related to church genres, for example, the mentioned composition based on Juan de la Cruz texts, the organ-performed fantasies, a concerto for the organ and a string orchestra (On Rivers of Babylon), Symphony No.2 ("Light"), and chamber composition based on the texts by Silouan the Athonite ("Silouan"). This is an essential feature of the composer's music thinking, and the language he uses is the language he speaks to people and God.
The author's composition entitled "In the Dark of Night" (Fantasy for soprano and chamber orchestra based on selected stanzas from the works by Juan de la Cruz, 1986-1996) is also worth a few lines. To me this piece seems very meaningful since it reveals a new facet of the composer's talent. The choice of the poetic source is per se remarkable for this is not a collection of canonic church texts and not lyrical poetry, but works of a mystic poet, and a monk persecuted by the Inquisition and canonized after death by the Catholic Church. Here is how the composer himself writes about Juan de la Cruz: "The Song of the Spirit" is a title of one of the verses written by him in confinement. The Song of the Spirit can be a title of his entire short earthly sojourn.
The way of a poet who had left for posterity just a bunch of poems and who had later been declared patron of poets.
This is a way of a monk who had written just a few spiritual treatises and was subsequently recognized as Doctor of the Church [6].
In stillness serene,
In time of awaiting,
Being rid of chance visions,
The pure soul heeds the word of the Father
That sounds eternal
In peace never-ending.
These words open a whole cycle as they convey the message of the composition. So begins man's soul's movement toward God. This internal path (six parts of the cycle, following one another in the attacca fashion, is completed by acquisition –
"in the dark of the night" – of a pure source (see quote on p.5-6). The motif of water in the last part is polysemantic and symbolic:
it implies both water which must be drunk "in order to exist", and "the flow of love unbounded", and "living water:
of faith of which the last line testify thus:
How I long for living water,
For bread that gives life,
And is by You generated.
Only you provide harmony in everything
And bring everything together.
Everything in the world is you,
You who move invincibly in the middle of the night.
The meditative conception creates a special artistic realm in which time flows differently, hence the plunge into each instant
of the music, slow tempos, conjunctions of protracted accords, minor hues permeating the music fabric…
Like in the "All-Night Vigil", the melody prevails here. But this is not just a vocal melody stemming from the word. Here it is a multiple melodious fabric made up of singing and vibrant lines that live a life of their own. The orchestrated introduction, instrumental preludes, and postludes play a no less important role than the parts involving soprano. Especially expressive, beautiful, and meaningful are solo episodes (flute, celesta) and their tuneful "messages" pointed upward to heaven.
The music language seems to be very simple. Here harmony is tonal, consonant accords prevail (sometimes with complications), and the diatonic scale is more precise than poly diatonic counterpart since all supportive elements change all the time.
However, this simplicity is far from elementary as deviations from "the mainstream" are hardly perceptible, the shifts are sudden and special melodious turns bespeak the author's individuality which is always conspicuous in Neduev's works. His music sounds poetic and beautiful without compromising the naturalness! This is naturalness of nature itself and of never-ending time flow.
The realm of intonation is quite different from that in the All-Night Vigil. Here it is far from the Russian tradition, and from any tradition in general, though we feel all the time its down-to-earth substance and spiritual acceleration. This is truly "Song of the Spirit".
At the same time, this is not just a praying address to God, but the entire world in all its beauty and completeness.
Thus, as God's creation, this is "the solitary bird flying high" and "the waters' song calling silently" to a shady bank ("Come and drink in order to be and to be, heaven and land"). All this world, born into sounds and represented by them lives on the works, attracting
the listeners and guiding them.
6
People come to church each in his own way. So composers differently treat the issue of "faith and creativity". Of course, there are other ways in addition to those I mentioned in the beginning of the article. By the same token, the position of Alexander Neduyev, both in life and creative endeavors, is not the solely possible solution to this problem.
What I believe is important in his perception of the world is that he treats faith and creation as a single harmonic whole, not as opposed entities, still less as conflicting components. "The poet is not he who conveys his love to people and calls upon them. Through images prompted to the poet, a seeking man approaches what he seeks and comes immediately close to Him for Whose sake and by Whose love we come into being from non-being" [6]. These words of Neduev are not a sort of a theoretical postulate, but the feeling born by
the life's ordeal that illuminates all his creative works ("This is my prayer. My answer to God").
I wish to finish this small essay depicting the composer Alexander Neduev with penetrating words of Alfred Wolf (on whom I dwelt in the first part of the article) who defined his impression of the All-Night Vigil thus: "In some places he touches upon the ultramundane, something that only music can convey. It calls for repentance and triggers the deepest emotions, and this is the very best that music can trigger in human soul."
P.S. On completing this article, I received a letter from Alfred Wolf in which he describes the Fantasy by Neduev based on the texts by Juan de la Cruz "In the dark of night".
"Every time I intently listen to this music, it impresses me immensely. It is seldom that any other music has had such an impact on me in the last 15 years. It literally catches my breath, snatches me out of my normal surroundings and out of this world. It penetrates my heart and moves me to tears."
I believe Neduyev succeeded in doing here something really significant and rare, that is, to convey in terms of music the soul's innate longing for union with the Divine, all-embracing and infinite Love. Surely, there is something supreme in it for this is totally convincing music and absolutely authentic. However, perhaps this music is accessible to and can be duly appreciated by only those who are as deeply wounded by Love as this is described in the third text (the fourth part of Neduev's work – Ye.Ch.).
In addition, this is music for those who can give heed to a musical language which combines the old and the new.
For me, this music is especially comforting. This is indeed a comfort in the face of impossible ampleness of mundane temporal love
in which, time and again, we sustain losses, failures, impossibilities and incompatibilities. Only comfort by the endless love of God is
the sole true comfort. At the same time, this music contains a vow of God's eternal presence. Here, on earth, in this impossible life
we still roam in the dark of the night, into which the music finally sinks and total silence sets to reign supreme.
What then? What occurs to me, in answer to this music, is the word "hesychasm" (quietness, silence), i.e. a clear-headed way to communion with God implemented via God's enduring appeal to Christ's prayer as this is depicted in The Philokalia and as this was subsequently propagated by reverend Seraphim of Sarov, John of Kronstadt, Silouan the Athonite and others. Music does not sound there at all. But its contents matters much more since this implies a face-to-face encounter with God (and God per se is more than any music). However, before we attain this, such music, as a work by Neduyev, is a great gift and a superior comfort. My cordial thanks go to him for this work."
Bibliography
1. Talks with Alfred Schnittke. Compilation and introduction by A,V.Ivashkin. M., 2003.
2. V.I.Martynov "Singing, playing and praying in worship songs and service". M., 1997.
3. A.Neduev. Annotation to CD "Fantasy for soprano and chamber orchestra for selected texts from works by Juan de la Cruz".
Conductor Oleg Khudyakov, soprano – Svetlana-Polyanskaya.
4. Ye.Chigaryova. Composer Alfred Wolf (Reflections on the creative process). Processes of musical creation. Issue 6, M., 2003.
5. Ye.Chigaryova "The sense of infinitely continuing life…" Soviet Music. 1999. No.9
6. Dr. Evgenia Cigareva. Ein Komponist im heutigen Russland und sein Werk: Band 9. Stptember 2004.
The article is published in "Collected works": No.166/ Russia's Gnesins' Academy of Music – M., 2005.
"Processes of musical creation". Issue 8.