Viola in the Russian musical art of the second half of the twentieth century: works by composers of the Moscow advance-guard

In the Russian musical art of the second half of the XX century, compositions for viola were a reflection of the cultural processes of modern society and its thinking practices, a radical turn towards previously unexplored artistic territories. The formation of a new sound environment and its aesthetic settings significantly influenced the formation of traditional and experimental facets of the viola repertoire. Each of them has its own emotional color and a range of images, vividly and powerfully embodied by the technical arsenal of the viola and the variety of its timbre means. Due to the unprecedented rise of the performing arts, the appearance of a whole galaxy of outstanding performers, in the second half of the XX century. There is great interest in the instrument among innovative composers, bright representatives of the Soviet avant-garde. This trend turns out to be, in many ways, a succession. Starting with the music of N.A. Roslavets, continuing in the works of A.M. Volkonsky and further, S.A. Gubaidulina, E.V. Denisov, A.G. Schnittke («Moscow Troika”), asserts the solo status of the viola and its ability to convey subtle nuances of psychological states, the depth of creative intent, to accumulate a space of high mental tension around itself. In concert and symphonic genres, in chamber music, real discoveries occur, which have become symbols of the epoch, its landmark events. Thus, an organic relationship of the composer's generations is established, which is not interrupted to the present day.