Trabzon University State Conservatory © 2017-2024

Volume 8 Issue 2 December 2024

Research Article
Musicologist 2024. 8 (2): 158-182
DOI: 10.33906/musicologist.1293177

ROKSANA NIKOLENKO
Kharkiv State Academy of Culture, Ukraine
nikolenko.roksana@gmail.com
orcid.org/0000-0002-4538-2095

Composition and Stylistic Features of Bagatelles

for Piano Op. 1-5 by Valentyn Silvestrov
ABSTRACT
During the last decades, V. Silvestrov’s creative interests have mostly KEYWORDS
focused on the creation of bagatelle. The artist turned to this genre in
the early 2000s, shortly after publishing the collection-cycle Bagatelles V. Silvestrov
for piano op. 1-5, which has not yet been fully explored from a Bagatelle
musicological point of view. We reveal certain features of the
compositional construction of the Bagatelle cycle: the unification of all Stylistic metagenre
the pieces from the microcycles into a single whole with the help of the
note attacca, the predominant use of strophic forms based on the Composer’s style
development of one musical image. Certain stylistic constants of
Bagatelles include the quasi-improvisational presentation of musical
material, the predominant use of timbral expressiveness of the piano’s
upper register and quiet dynamic nuances, which collectively help to
embody the fragile, lyrical and contemplative images of the pieces. The
given characteristics make it possible to attribute the bagatelles to the
lounge style. It was observed that bagatelles in V. Silvestrov’s creativity
can be considered as a stylistic metagenre, which implies the belonging
of bagatelle (as a metagenre) to the composer’s style.

Received: May 5, 2023; Accepted: October 15, 2024

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Introduction

The creativity of modern Ukrainian composer Valentyn Silvestrov is known not only in
Ukraine but also abroad. The artist’s original style works attract the attention of
performers and are heard at many international festivals. V. Silvestrov’s compositional
style underwent a certain evolution: at the beginning of his creative career, he preferred
avant-garde writing techniques, and in the 1960s he was a member of the ‘Kyiv Avant-
Garde’ group. However, the artist gradually moved away from the avant-garde and
became interested in the postmodern trend in art. Subsequently, the creatively rethought
foundations of postmodern aesthetics became the basis for the formation of his late style.
I. Melnichenko points to such changes in the creative paradigm. The researcher notes
that: “Silvestrov’s work is a truly unique phenomenon of modern art. Being in the very
center of the cultural era, being one of the key figures of postmodernism, and being, to a
certain extent, a legislator of style <…>, on the way to knowledge through creativity,
Silvestrov, formally fitting into the manner of expression inherent in modernity,
involuntarily contrasts his creative path with the ways of development of modern art”
(Melnychenko, 2017: 299).

Characterizing three periods of the composer’s creativity, the scientist points out that the
departure from avant-gardeism, which began in the 70s and 80s, was marked by the
appearance of elegiac, emotional, and humaneness in his works. (Melnychenko, 2017:
299). Also, according to I. Melnychenko, in the second period of his creativity, the
composer “began to form a religious worldview (with which, by the way, his music
revealed the depth of philosophical thought, became a synthesis of thought and feeling, a
synthesis of rational and emotional principles in a unifying method of cognition through
creativity), it was this that led the composer’s creativity to the concept of the presiding
principle of silence when creating music, when listening to it and playing it.”
(Melnychenko, 2017: 299). It should be noted that such a concept of silence is clearly
manifested in the bagatelle genre to which the artist turned in the early 2000s.

The philosophical orientation of the composer's style is also noted by N. Riabukha.

Exploring the specifics of the embodiment of the piano sound image in the composer’s
chamber-instrumental works, the musicologist notes that “The piano sound image in V.
Silvestrov’s works, starting from the mid-60s and ending with the last third of the

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twentieth and early twenty-first centuries, reflects two diverse ontological forms of
human existence − ‘human being playing’ (‘homo ludens’) and ‘human being
contemplating’ (‘homo meditans’). At the same time, the composer’s attitude to the sound
and its expressive properties works to reveal ‘eternal’ themes (‘human existence in the
macrocosm’, ‘the relationship between human and nature’, ‘human and the handmade
world of art’), which reveal to us, the listeners and interpreters, the meaning-image of
contemporary music” (Riabukha, 2012: 132).

Quite comprehensive information about the composer’s artistic and aesthetic views is
provided by the book Symposion (ΣΥΜΠΟΣΙΟΝ). Meetings with Valentyn Silvestrov
(Silvestrov, 2013), which is a collection of opinions about the art and creative activity of
the artist, expressed by well-known contemporary figures of culture and art, and Wait for
Music, which includes transcripts of V. Silvestrov’s public performances in Kyiv in 2007,
during which the artist reflects on the essence of modern music and reveals the specifics
of the composer’s work on opuses written in different years (Silvestrov, 2010). This book
also contains the composer’s remarks about the Bagatelle cycle, op. 1-5, which is the
subject of our study.

It should be noted that at the moment, studies devoted to the examination of various
aspects of V. Silvestrov’s compositional style are mostly presented in the works of
Ukrainian musicologists, while foreign researchers are mainly interested in the second
period of creativity, a comprehensive study of which is presented in the works of Peter
Schmelz (Schmelz, 2014; 2021). Also, there is a study devoted to V. Silvestrov’s creative
activity in the 2014–2022 years, during which the composer’s works reflected the events
of the Revolution of Dignity and the War in Ukraine (Gillies, 2023). However, the
mentioned works of Western musicologists, although they contain valuable observations
necessary for a deeper understanding of V. Silvestrov’s compositional style, still leave out
of the attention the principles of the bagatelle’s genre embodiment in the artist’s oeuvre.

It is noteworthy that V. Silvestrov’s composition work is very diverse and includes

symphonic, chamber-instrumental, choral, chamber-vocal works, opuses for solo piano,
as well as music for films. However, now the main attention of the artist is focused mainly
on piano opuses, among which works written in the bagatelle genre occupy a significant
place.

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At the moment, there are several sources containing information about the specifics of
the bagatelle genre in the composer’s creativity. An important scientific source in the
context of the topic is Motsarenko’s dissertation (Motsarenko, 2021). It should be
emphasised that at the moment this study and the article by this scientist (Motsarenko,
2019) are the only ones that comprehensively examine the genre of bagatelle in V.
Silvestrov’s creativity. In her dissertation, K. Motsarenko notes that bagatelles “acquires
a special significance for V. Silvestrov, bringing to life the phenomenon of bagatelle style
as a unique author's concept of the Ukrainian composer’s musical work and acquiring a
universal meaning in the scope of his creative thinking in general” (Motsarenko, 2021:
210). Also, K. Motsarenko sees signs of a metagenre in V. Silvestrov’s piano bagatelles and
reveals certain stylistic constants, among which is the placement of an idea in a small
form, which is a component of the macrocycle of an open fractal structure (“a bagatelle
as a kind of ‘module’ mounted with other similar ones, ‘invites’ with harmonious
incompleteness, establishes a connection, Meeting in a high sense”); bagatelle, as a
synonym of real (“a pure idea of a genre that can manifest itself in other genres”); the
saving function of the bagatelle (“the bagatelle is a kind of ‘talisman’ of musical culture,
its precious ‘gene pool’; a nucleus-cell from which, even with the total destruction of all
living things, valuable, original things can sprout”). (Motsarenko, 2021: 140). In this
study, the scientist addresses the consideration of the cycle Bagatelles op. 1–5 but limits
herself to a detailed performance analysis and issues of its interpretation without paying
attention to the compositional and stylistic features of the cycle.

Another important source for understanding the specifics of V. Silvestrov’s bagatelle is

the composer’s comments on his own opuses, given into brochures to CD-albums with
author’s recordings of bagatelles. It is worth noting that the composer's notes are quite
metaphorical, and some of them, which, in our opinion, most aptly describe the specifics
of the bagatelle genre, will be presented at the beginning of the next section of this article.
Also, some of the composer's reflections that reveal the inner essence of the genre under
consideration can be found in the book Waiting for Music. For example, V. Silvestrov
notes: “I realized that bagatelles are musical moments. They are similar to poems that
appeared as if by chance” (Silvestrov, 2010: 263). It is remarkable that K. Motsarenko
also emphasises “metaphoricality as an integral part of the genre idea of the bagatelle,
which is fully revealed only in the context of the composer's entire musical and

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philosophical universe” in her article (Motsarenko, 2019: 149). Such an approach to the
understanding of this genre, in our opinion, determines the entire compositional
specificity of these piano miniatures, which is connected with the conditional quasi-
improvisational nature of the development of the material and certain simplicity and
immediacy of the musical expression, which is embodied both in the textural and the
melodic-thematic levels.

Therefore, the review of the scientific discourse related to the study of the composer’s
style provides the necessary methodological basis, which helps to understand the essence
of the composer's interpretation of the bagatelle genre and the features of his bagatelle
style.

Analytical review of the cycle bagatelles for piano op. 1-5

Collection Bagatelles for piano op. 1-5 (2005-2006), to which “Silvestrov selected and
compiled five cycles from among his numerous ‘Bagatelles’ and assigned to them the opus
number 1-5” (see preface to the score (Silvestrov, 2009)), can be considered the first
example of a bagatelle cycle that gradually expanded, becoming part of the larger
Bagatelles − I cycle, which in turn is part of a single macrocycle. Evidence of the author's
desire to create a certain compositional unity of bagatelles cycles can be served by several
albums dedicated to bagatelles. The first CD-album Valentin Silvestrov Bagatelles
Performed by the author (released in 2015) contains a recording of 22 cycles (Silvestrov,
2015). On the next album, which was released in 2017, V. Silvestrov represented the
cycles Bagatelles − XXIV, Bagatelles − XXV, Bagatelles − XXVI, which “most accurately
reproduce the integrity and metaphoricity of these super-cycles.” (Silvestrov, 2017: 7). It
is interesting that the composer calls them “‘symphonies for piano’ (in the literal sense of
the word ‘symphony’ − consonance). He also metaphoricaly says about these works as
are “‘symphony of moments’, ‘melodies of silence’ made up of not only sounds, but also
pauses –which are music as well. Perhaps, in this works on of the functions of music shall
manifest itself − to be a consolation…" (Silvestrov, 2017: 7). As for the cycle Bagatelles –
XXIII, at the moment it is available only as a digital album on the ‘bandcamp.com website’,
where its release date is April 6, 2022. (Silvestrov, 2022).

Thus, to date, the composer has 26 cycles of bagatelles, which are combined into a large
macrocycle, and called by V. Silvestrov as the ‘Cycle of Cycles’. However, despite the

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presence of such a large number of opuses of bagatelles created by the composer, a rather
extraordinary situation arises regarding the absence of scores for these works, since at
the moment only the first published Bagatelles op. 1–5 is available for purchase. Other
opuses have not yet been officially published by the author and are not made available to
the general public.

The collection Bagatelles for piano op. 1–5, or as we think it is more appropriate to call it
− the first sample or a kind of predecessor-prototype of the future Bagatelle − I cycle,
contains pieces of the bagatelle plan, which, however, are quite different in terms of their
genre definitions, indicated in their titles. Such genre synthesis and penetration of genre
features of bagatelle into other genres, such as Waltz, Lullaby, Pastoral, Postludium,
which allows to consider bagatelle in the work of V. Silvestrov as a metagenre. This
feature of the composer's understanding of bagatelle style is indicated in the work of K.
Motsarenko. She interprets the concept of metagenres in a broad context since, in her
opinion, “’genetic traits’ that bring a ‘trifle’-bagatelle into the sphere of metagenre mostly
lie in the zone of non-musical, interdisciplinary, general cultural context” (Motsarenko,
2021: 141).

Bagatelles for piano op. 1-5 opens with ‘3 Bagatelles’ op. 1 (2005), which creates a kind
of microcycle of three miniatures that, according to the composer’s intention, should be
performed continuously, one after the other, as indicated by the attacca remark at the
end of the first and second miniatures.

Bagatelle I has a light, lyrical-contemplative, even in a certain sense carefree character,

like a spring morning, when the radiant glow of the sun envelops everything around. Such
a fragile musical image is formed primarily thanks to interesting harmonic findings. In
this miniature, the composer uses an extended tonality, which provides an opportunity
to emphasize and diversify the major scale that is felt quite well in this piece1.

According to its compositional structure, Bagatelle I is a rounded binary form with a coda,
based on the material of the first section of the miniature. The first section is written in a
parallel period. Its feature is that in the interval plan, each of the two sentences is marked
by following a single rhythmic-intonational pattern, which changes somewhat at the end

1
In this case, the emphasis is on the scale of C major.

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of the second sentence. This way of working out the musical material corresponds to the
specifics of the folk song tradition, which is also usually based on the variable
development of the melodic line with multiple repetitions of the same musical structure.
This (variable) way of working with thematic material, combined with small changes in
harmony at the end of each sentence, gives the composer the opportunity to find various
facets of the theme sounding and thereby enrich the figurative and substantive side of the
miniature.

The beginning of the second section does not bring a significant contrast to the overall
development, but it is somewhat different in terms of intonation. If in the theme of the
first section the alternation of ascending and descending intonations prevailed in the
melodic line, then descending intonations prevail here. In Bagatelle I, V. Silvestrov
exclusively uses the dynamic nuance p in its various gradations, and the most vivid
nuance found in the sheet music is mp. It should be noted that the use of quiet dynamic
nuances in combination with the ability to perform a piece on the una corda2 can be
considered not only as one of the features of V. Silvestrov’s bagatelle style. In our opinion,
such intimacy of musical expression can be a hint that the composer in these works seeks
to express certain rather secret thoughts and impressions, to emphasize the presence of
a certain subjective, personal aspect in their dramaturgy.

The next Bagatelle II is in contrast to the previous miniature, as it is close to a lyrical-

heroic folk song in terms of its figurative and melodic-intonation structure. Such an
impression is facilitated by the sing-song nature of the thematic material and the use of
certain melodic and harmonic turns inherent in the style of Ukrainian song. Also quite
eloquently in this sense is the fact that for this miniature the composer chooses a verse-
chorus form, which is quite common in folk music. For a better understanding of
Bagatelle’s form, let’s give its diagram: a+a1+b+b1+a +c +a1 coda.

The first section is a period of two sentences, the second of which contains certain slight
changes of the melodic line. The use of such a variable development of the melody can
also serve as indirect evidence of the composer’s intention to rely on the specifics of the
folk song tradition. In the interval ratio, both sentences of this first theme of the piece are

2
The remark una corda is placed by V. Silvestrov in parentheses at the beginning of all the pieces
of this cycle.

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marked by the predominance of ascending quarto-fifth intonations, which give the
thematism a sublime-declamatory, decisive, even heroic character. A rather interesting
compositional and dramaturgical solution in this microcycle is the presence of a certain
intonation affinity between the themes of Bagatelle I and Bagatelle II. This similarity is
manifested in the construction of phrases that begin with upward movement and end
with a downward movement.

As for the themes in ‘b1‘ and ‘c’, they do not constitute a significant contrast to the
thematic material of the first section and can be perceived as its logical extension. In the
theme ‘b1‘, the lyrical-song basis is more revealing. Its feature is the use of hidden
polyphony in the part of the right hand: the upper voice is marked by a downward
movement at second intervals, and the second voice complements these lamenting
intonations with a double repetition of the sounds e, b, c. At the same time, the left-hand
part always performs only a harmonic function and does not contain any polyphonic
development techniques.

Figure 1. Bagatelle II op. 1. A hidden polyphony in the right-hand part (Silvestrov, 2009: 7).

The theme ‘c’ (mm. 39-44) is in a certain sense the opposite of the theme ‘b1‘ in its
intonation structure: second intonations are used there in an upward movement and
create the effect of a gradual, decisive rise. At the end of this theme, certain openness and
incompleteness of the musical thought is felt, and its last, questioning intonation seems
to hang on in the air with the help of tre corde pedal, on which, according to the
composer’s intention, it should gradually fade out during the pauses in the right-hand

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part. After that, the composer returns to the theme ‘a’, which from a compositional and
dramaturgical point of view can be perceived as an answer to the question posed earlier.
The coda of the piece is based on the intonations of the theme ‘c’, from which only two
motives remain in the process of development, which should gradually disappear in the
pedal overtone haze.

Regarding the tonal solution of this miniature, it is worth noting that here, as in the
previous Bagatelle, V. Silvestrov uses the expressive possibilities of extended tonality (or,
as V. Silvestrov himself points out, “tonal atonality” (Silvestrov, 2010: 278). Without
setting out any key signs at the beginning of the work, the artist, however, preserves the
feeling of a certain tonal basis, marking signs of alteration directly in the musical text
itself. Thus, in Bagatelle there is a perceptible reliance on the tonality scale of E minor in
the theme of the first section (a+a1) and its appearance during the piece, deviations from
A minor in theme ‘b+b1‘ and C-sharp minor in theme ‘c’, as well as E major in the coda.

The last piece of the microcycle op. 1—Bagatelle III, has a lyrical, light dance character
and resembles a sophisticated waltz, which is facilitated by the advantage of the triple
meters (3/8) over the other meters used in this miniature. One of the features of Bagatelle
III is the use of various agogic deviations, small delays and accelerations of tempo, which
appear throughout the development of this miniature. It should be noted that such an
agogically saturated, quasi-improvisational way of presenting the thematic material is
characteristic not only of Bagatelle III but also of all previous and subsequent miniatures
from op. 1–5 and helps to create the impression of changeability and immediacy of
musical images, each of which as if whip out from life under the influence of a momentary
creative inspiration 3. Bagatelle III is also quite interesting in terms of its compositional
structure, since here the artist again uses the verse-chorus structure, which transferred
to a purely instrumental environment. Schematically, it can be represented as follows:
a+a1+b+a2+a1+b+a.

Since the specifics of this form deserve some comment, let’s turn to a more detailed
consideration of each of its sections. The theme of the first section (а+а1) is graceful,
lyrical and dancely. It is written in a parallel period form. Here the composer uses the
principle of variable development of musical material. In this sense, it is very interesting

3
This corresponds to the composer’s idea of the bagatelle as a cult of the moment.

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to compare the first and second sentences, in the first measures of which the composer
uses both minor and major sounds (see m. 3 − G minor, m. 11 − G major). This is easily
embodied in the extended tonality in which this work is written. It should also be noted
that the thematic material of the second sentence, which in a certain sense is similar to
the first one in its intonational structure, is presented in major. Thus, due to the modal
change of these two sentences within the same period, there is a certain modification in
the figurative-emotional coloring of this theme.

The theme of the next section of Bagatelle III (‘c’ according to the scheme), like a1, sounds
in the key of G major. There is also a certain tempo change in this section of the form
because the author's note provides for a more mobile tempo (Allegretto instead of the
initial Moderato). Fast, bright and light, this new theme is an organic continuation of the
previous development. From the intonation point of view, this section is marked by the
predominance of the sequential downward movement of the melodic line, which is
broken only at the end of this theme by the introduction of an ascending three-tone
motive (mm. 32-35). Also, in the second part of the theme, there is a gradual return to the
minor sound, which is obviously due to the further appearance of the theme of the first
section in the minor version. Despite the fact that in some sense there is a return to the
initial theme of the bagatelle’s first section, the composer avoids literal repetition and
again makes slight corrections to the first sentence (‘a2‘ according to the scheme). The
thematic material in ‘a2‘ is represented with small harmonic transformations that occur
due to the introduction of the e-flat sound into the melodic line, which changes the
harmony of the major major seventh chord used in the first sentence of the first section
to the sound of the minor major seventh chord. (Compare mm. 3-4 and 39-40 in Bagatelle
III (see Silvestrov, 2009:10, 12)).

So, the first microcycle from the cycle Bagatelles ор.1-5 is completely complete from a
compositional and dramaturgical point of view and is organized quite monolithically,
since all miniatures according to the author’s intention should be performed attacca. The
common unifying factor here is the use of extended tonality, mixed meter, and small
agogic deviations (rit., accel.), which collectively create the impression of quasi-
improvisational development of the musical material. Also, all these miniatures are
characterized by the use of quiet dynamics, a tendency towards a certain simplicity,
transparency of textured presentation, which collectively creates the effect of

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chamberness, intimacy of musical expression and allows to observe in these pieces the
features of the lounge style.

It should be noted that the lounge style is characterised by chamberness, improvisation

and jazz influence, which in this case is realised through the use of the expressive
possibilities of extended tonality, in particular a somewhat unexpected juxtaposition of
the sounds of major and minor, and harmonic saturation. Besides, in this context, it is
worth pointing out the variable development of the thematic material, which in our
opinion is harmoniously complemented by the already mentioned quasi-improvisation
and creates the effect of a spontaneous musical performance, as if it were born under the
influence of immediate inspiration. It should be emphasised that similar composer's
decisions regarding the textural, dynamic, tonality, metre and rhythmic organisation of
the musical material can be observed in the following four microcycles (op. 2, op. 3, op. 4
and Postludium op. 5), which also allows us to consider them through the prism of the
lounge style.

The next microcycle, ‘4 Pieces’ op. 2 (2006), is somewhat different from the previous one.
Most of the works from op. 2 do not have a genre definition of ‘bagatelle’, however, if we
rely on the idea of K. Motsarenko about the metagenre interpretation of bagatelle in V.
Silvestrov’s creativity and the opinion of the researcher that “into its life-giving ‘orbit’ can
enter even less universal genres that are close in terms of the structural principle of
creating an image of the world and/or the philosophical and aesthetic basis”
(Motsarenko, 2021: 141), this way of interpretation and genre content of this cycle
Bagatelles op.1-5 turns out to be quite natural.

However, let’s return to the analytical consideration of the compositional and stylistic
features of the miniatures from the microcycle ‘4 Pieces’ op. 2. For the compositional
embodiment of the first miniature − Lullaby − the composer chooses a verse-chorus form,
which is determined by its song genre basis, indicated in the title. The Lullaby opens with
a short introduction based on descending third’s intonation in the right-hand part, which,
when repeated, creates a swaying, lulling effect and introduces to the musical image of
the piece. The theme of the first section of the form (а+а1) is lyrical and fragile in nature.
Here, as in the previous pieces from op. 1, V. Silvestrov develops the theme of the melodic
line (right-hand part), using mainly the sounds of the upper registers of the piano (one-

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line − three-line octaves), which are light in their timbral nature. This composer’s
intention helps to create rather unique sound images endowed with lightness,
weightlessness, a certain detachment, fantastic, and at the same time sublime.

In terms of rhythm and intonation, the theme of the first section of Lullaby is marked by
a certain repetition. For example, quite often the artist uses a rhythmic pattern of four
sixteenths − dotted eighth − sixteenth in 4/8 meter.

Figure 2. The beginning of Lullaby op. 2 (Silvestrov, 2009: 15).

This rhythmic pattern permeates all sections of the form, relating them to each other and
creating the impression of monolithicity, the unity of musical development. It is worth
noting that in Lullaby V. Silvestrov again uses a variable development of musical material,
as well as small agogic deviations and mixed meter, which in the aggregate is
characteristic of the specifics of the compositional organization of folk songs and in this
case helps to emphasize the genre basis of the work. However, the work with thematic
material in this miniature is somewhat different from what we have seen before. In
Lullaby, the composer is not limited to making certain slight corrections to the melodic
line but also more actively uses various modes and harmonic modifications, in particular
certain unexpected transitions from minor to major sound. These juxtapositions are
especially evident in the introduction and coda, where immediately after the minor
sounding of similar motives, their major version is given.

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The second miniature from the op. 2 − Pastorale, which should immediately follow the
Lullaby (remark attacca), turns out to be quite contrasting in its figurative structure to
all previously considered miniatures. Its introduction immediately attracts attention with
its solemn, exalted-majestic character. In it, the composer abandons the quiet sound and
chooses a wider dynamic palette from f at the beginning of the introduction to p at its end.
From a melodic and intonational point of view, the introduction of Pastorale is based on
the sequential development of the descending motive in the right-hand part, which, in
combination with the sustained organ point on the A-flat note in the contra-octave,
actually gives the theme a solemn prelude character. Such a feature of thematic material,
completed in the subsequent use in the main section of the work of a whimsical melodic
line enriched with melismatics, allows us to make an assumption that V. Silvestrov relied
on the stylistics of the clavier-organ samples of this genre.

In this piece, V. Silvestrov also uses the harmonic expressive possibilities of extended
tonality without indicating the key signs at the beginning of the piece, but at the same
time preserves a vivid sense of a certain tonal basis. In the first sentence of the first
section4, one feels the reliance on G minor, and in the second on G major. The theme of
the second section does not introduce a significant contrast to the overall development
of the piece and, by nature, is close to the theme of the first section. In our opinion, the
use of a similar scale-like ascending movement in the melodic line in the right-hand part
at the beginning of these themes is quite revealing in this sense. However, the composer
avoids the literal identity and slightly changes their rhythmic patterns. The first theme
uses a smooth sixteenth-note movement, while the second theme uses a dotted eighth
and three sixteenth notes (mm. 11 and 47).

4
This miniature is written in the rounded binary form.

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 Figure 3. Pastorale op.2. The beginning of the first theme (see from m. 11) (Silvestrov, 2009:
18).

Figure 4. Pastorale op.2. The beginning of the second theme (see from m. 47) (Silvestrov, 2009:
19).

The coda is built on the theme of the introduction, from which only individual intonations
gradually remain at the end of the work, as if echoes of the previous development.

In the next piece from op. 2 − Bagatelle, lyrical light and pastoral imagery also prevail.
This miniature begins with a small introduction (1–5 mm.), whose texture is based on the
arpeggiated chords of F major, D minor, B-flat major, and G major in an ascending melodic
movement in the upper light register of the piano. Such a peculiar game with the
alternation of major-minor modes gives the character of the introductory theme
brightness, which thus shines like a gemstone and sparkles in the sun with different

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colors. When moving from the introduction to the presentation of the main theme of
Bagatelle, the composer changes the meter signature from 4/4 to 2/4. Quite interesting
is the fact that, unlike all the previous pieces, in this Bagatelle the composer uses a change
of meter quite rarely, only twice during the entire work, going to the meter 1/8. Perhaps
such a stricter style of writing is dictated by the nature of thematiс material, in which one
feels the manner of writing of French harpsichordists. This is evidenced by the capricious
melodic line, the use of melismatics, the transparency of the texture and the gracefully
pastoral, carefree character of the musical theme.

To create such a light character of the sound, V. Silvestrov completely abandons the bass
register, placing the part of the right and left hands in the upper registers of the piano,
namely from one-to three-line octaves. With this technique, the artist also, in a certain
way, brings the timbral sound of the piano closer to the specificity of the light, bright
timbre of the harpsichord. At the same time, from the point of view of the harmonic
language, expressive means characteristic of both the romantic tradition prevails in
Bagatelle, in particular, the presence of a significant number of deviations in various keys,
and the use of extended tonality, which is already traditional for V. Silvestrov’s bagatelle
style. Also, in this piece, the composer uses a structure of two repeated periods, which
can be denoted by the ‘Introduction AA Coda’ scheme, and thus interpreted as a strophic
form. All the specified compositional and stylistic features of this miniature make it
possible to see signs of stylization in it. In this case, there is a synthesis of stylistic features
of different eras (the era of French harpsichordists, the romantic era and modernity).

Completes the microcycle ‘4 pieces’ op.2 miniature, called Postludium, which has a
sublimely light, lyrical character. Like the previous miniature from this microcycle,
Postludium opens with a short introduction and ends with a coda, the thematic material
of which is identical to the introduction. This creates the effect of a certain frame within
which the main musical material of the piece develops. An interesting compositional find
in the theme of the introduction (and, accordingly, the theme of the coda) is the use of an
echo reception, which is formed by repeating the same motive in the dynamic nuances of
f and pp. The need for performers to create such a sound effect is indicated in particular
by the author’s note in mm. 2 and 5.

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 Figure 5. Postludium op. 2. Introduuction. (Silvestrov, 2009: 25).

In addition to both miniatures having an intro and coda, there are a few other significant
similarities between the two that are worth noting. One such key point that brings these
pieces together is the almost complete lack of meters’ change. Like the Bagatelle, the main
section of Postludium is almost entirely sustained in a single metro-rhythmic pulsation
(in this case in 3/8). Exceptions in this sense are the themes of introduction and coda, as
well as the small fragment at the end of the first section of the Postludium, based on the
intonations of the mentioned themes. The form of these two miniatures also turns out to
be similar, since V. Silvestrov again chooses a strophic form (Introduction AA Coda).

The main theme of Postludium, which develops during the first section (period), has a
rapid, light character, and its metro-rhythmic organization suggests a waltziness, which
is facilitated by the triple meter (3/8) and a certain swaying created in the left-hand part
by the use of ascending arpeggiated chords with repetition of the rhythmic formula two
sixteenths − eighth − quaver rest. Also, this effect of swaying, a certain internal
movement, is completed by the specificity of the motive-intonation structure, namely, the
gradual alternation of the upward and downward movement of the melody. Thus, this
miniature can be considered as one of the vivid examples of metagenre since it contains
a synthesis of several genre features (waltz, postludium, bagatelle).

The next microcycle is placed by the composer in Bagatelles op. 1-5 – ‘3 Waltzes with
Postludium’ op. 3 (2005–2006). An interesting difference of this microcycle is the
presence of a dedication at the beginning of the work5. As in the previous microcycles, the

5
V. Silvestrov dedicated this microcycle to his friend and composer André Volkonsky.

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composer connects the miniatures in a single continuous line of development, using the
attacca remark after each piece. Another feature of this microcycle, which relates it to the
previously discussed opuses 1 and 2, is the metro-rhythmic freedom (quasi-
improvisation), noted by the composer himself in the sheet music, which is manifested in
the use of mixed meter and microagogic. Certain parallels with other cycles can also be
found in the predominance of quiet dynamics, the transparency of the texture, and the
predominant use of the upper registers of the piano. In addition, in ‘3 Waltzes with
Postludium’, V. Silvestrov continues to use extended tonality, obviously, trying to find a
wide range of harmonic colors to embody his musical images.

Waltz I has a light lyrical character. This work is written in the strophic modified form
and consists of two periods and a coda (scheme AA1 Coda). Noted that a similar principle
of form organization is used by the composer in the following waltzes, which gives this
microcycle compositional and dramaturgical unity. The theme of the Waltz I op. 3 draws
attention to its emphatically vocal nature. The artist chooses a very smooth development
of the melodic line, avoiding frequent jumps and preferring seconds and thirds in the
interval ratio. In the second section (mm. 25-51), the composer uses a variable
development, making slight corrections to the repetition of the main theme, which
concern only the melodic line and do not change the general harmonic framework. A
small coda, based on the initial intonations of the Waltz I, ends with the sounds of the F-
sharp major chord. However, in terms of intonation, this chord is not perceived as stable,
and its last c-sharp sound, repeated several times, creates the effect of incompleteness
and dramaturgical openness, as if putting a question mark and making you expect what
will happen next.

According to the composer’s intention, the following miniature with op. 3 – Waltz II
should be performed immediately after Waltz I and thus can be perceived as some
continuation of the development of the previous light-lyrical musical image, now in a
calm and contemplative perspective. This piece is also based on the formation of one
musical image, and its compositional structure can be described as modified strophic
(scheme A A1 Coda). In the theme of Waltz II, the composer uses a rather interesting
melodic and intonation solution. Building a melodic line that has an emphatically
instrumental character, the composer constantly alternates motives that sound in

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different octaves6 and acquire different timbre shades. Such a timbre-register find creates
the impression of a dialogue, as if the lyrical heroes of the Waltz exchange lines while
dancing.

Figure 6. Waltz II op. 3. The theme with an imaginary dialogue in the melodic line. (Silvestrov,
2009: 30).

Coda Waltz II is also based on the initial intonations, and, as in the previous piece, it ends
on an unstable interrogative second intonation, d natural – e-flat, which seems to hang in
the air, gradually melting in the overtone haze, which is formed thanks to the pedal
sustained until the end of the piece.

In the Waltz III, which is also preceded by the note attacca, V. Silvestrov again returns to
the moving tempo. In its compositional structure, this Waltz is similar to the two previous
ones, as it is entirely devoted to the development of one musical image, presented in the
first section of the form. However, here the composer somewhat expands the general
form by using small connections-transitions between sections, the thematic material of
which slightly changes with each new appearance. Completes the entire composition of
the coda, which combines the thematic material of the beginning of the Waltz III and the
connection-transition. The main theme of the Waltz III is elegant, lyrical and light. The
emphasized grace of the theme is provided by a capricious melodic line and
accompaniment based on arpegged chords, the continuous alternation of which creates
an effect of a certain swaying. Also in Waltz III, V. Silvestrov already traditionally for the
bagatelle style uses an extended tonality, this time relying on the sound of A-flat major.

6
For example, one-line – two-line octaves or one-line − small octaves.

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The next compositional feature of this work, which also acts as a certain marker of V.
Silvestrov’s bagatelle style, is a flexible metro-rhythmic basis, quiet dynamics, as well as
the combination of one piece with another with the help of attacca.

The considered microcycle ends with a piece identified by V. Silvetsrov as Postludium IV,
which differs in its compositional and dramaturgical specificity from previous miniatures
from op. 3. Postludium is written in rounded binary form. The main theme of Postludium,
written in the form of contrasting period (mm. 1-17), has a light lyrical, somewhat
nostalgic character. From the intonation point of view, it is characterized by
declamatoryness, which is manifested by the presence of an intonation rise within
musical sentences followed by a fall, as well as a flexible metrorhythm, which actually
allows to imitate the effect of live speech.

The next opus, placed by the composer in the Bagatelle cycle op. 1-5 – ‘3 Bagatelles’ op. 4
(2006). An interesting feature of this microcycle is the ratio of pieces according to the
principle of tempo contrast, thanks to which a fairly balanced compositional and
dramaturgical structure of the whole is formed. In op. 4, it is also possible to note some
stylistic constants that were already observed in other miniatures of the cycle op. 1-5.
These include: the use of expressive possibilities of extended tonality, with the absence
of key signs but with a noticeable reliance on a sound line of a certain tonality; mixed
meter, small accel. and rit. within phrases, and predominance of quiet dynamics; the
presence of small cresc and dim, sometimes even within a single measure
(microdynamics); the predominant use of timbre colours of the upper registers of the
piano. Such stylistic constants give the pieces chamberness, conditional improvisational
character, which, as already mentioned, allows us to see in them a certain manifestation
of the specificity of musical expression inherent in the lounge style. However, in terms of
form and figurative structure, the pieces from this microcycle do not always fall under
any one specific criterion, so it is worth dwelling on this issue in more detail.

Bagatelle I op. 4 is written in a strophic form and consists of two similar sections. The
nature of its theme is lyrical and light, with an emphasized waltzness, which is formed
both by the predominance of the triplet movement in the right-hand part and the use of
an ascending movement on arpeggiated chords. Bagatelle II being an example of
sophisticated, bright, somewhat excited lyrics, is in a certain sense similar to Bagatelle I

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in its pronounced waltziness. However, in relation to the form and intonation component
of the melodic line, it differs somewhat from the previous miniature. Bagatelle II is
written in strophic form with a coda, and its theme, in contrast to the theme of Bagatelle
I, has a rather capricious melodic line, saturated with jumps on wide intervals.

Bagatelle III is characterized by a different compositional and dramatic solution than the
two previous miniatures from op. 4. Here V. Silvestrov chooses rounded binary form with
a codetta. The theme of the first section of the form has a lyrical-narrative character, and
its melodic line is approached by the composer to the specifics of live speech thanks to
smooth rises and falls of intonations, micro-dynamics and agogic within phrases. The
second section of Bagatelle III adds major modal colors to the minor sound of this piece,
but from the thematic point of view, it does not contain a significant contrast and is
perceived as a further development of the musical image presented in the first section.
When the thematic material of the first section is repeated, it is not presented in the initial
version but has small correlations in the melodic line, which makes it more expressive.

The last microcycle from the considered cycle Bagatelles op. 1-5 consists of only one
miniature − Postludium op. 5 (2005). It is devoted to the exposition of one musical image,
represented within the period that constitutes the first section of the form and then
repeated again without changes (scheme: Introduction A A Coda). The melodic line of the
theme of the first section is quite smooth and compact in range, which suggests its vocal-
speech nature.

In terms of imagery, this miniature is full of sadness and nostalgia. Its thematic material
is dominated by second intonations and shaded, gloomy of the minor mode colors, which
are sometimes colored in the light shades of the sound of the major. Despite the fact that
this miniature placed at the end of the cycle with the eloquent title Postludium can be
interpreted as a certain afterword or final word from the author, from a dramaturgical
point of view, it lacks a pronounced completeness. After returning in the coda to the
alarming intonations of the introduction (nona sounding in great and contra octaves), the
composer uses the intonation of the beginning of the theme, which does not receive any
logical conclusion but seems to hangs in the air and gradually melts in the overtone pedal
haze.

Another compositional feature of Postludium, which distinguishes it from other

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miniatures, is the almost complete absence of timbral colors in the bright upper register.
Basically, the theme of Postludium is presented in a soft, richer timbre range of the one-
line − small octaves, and the highest point here is the E note of the two-line octave.
However, in general, this work fully fits into the specifics of V. Silvestrov’s bagatelle style
and is similar to the previously considered miniatures of the cycle Bagatelels op. 1-5, as
it also has the already mentioned metrorhythmic freedom, quasi-improvisation, the
presence of micro-dynamics and a quiet general dynamic palette.

Conclusions

So, a detailed analytical examination of the cycle Bagatelles op. 1-5 by V. Silvestrov made
it possible to reveal certain stylistic and compositional regularities concerning both the
structure of the cycle as a whole and each of the miniatures that make it up. At the
compositional and dramaturgical level, the composer unites each microcycle into a single
whole with the help of the remark attacca. In terms of forms, V. Silvestrov prefers the
strophic form devoted to the development of one musical image. At the same time, the
composer manages to avoid a certain monotony by using variable development of the
thematic material, which quite often manifests itself precisely in small corrections of the
melodic line of the theme when it is repeated. Working with the musical material of each
miniature, the composer chooses certain similar ways of its representation: the
predominant use of quiet dynamics, which only sometimes reaches the mf sounding level,
quasi-improvisation, which is manifested in the use of mixed meter, microdynamics and
microagogics (small ritenuto and accelerando sometimes even within two measures), the
predominant use of light timbral colors of the sound of the instrument (the upper
registers of the piano), the predominance of calm, light-lyrical images. In addition, the
artist actively uses the possibilities of extended tonality, which allows him to create
unexpected changes and juxtapositions of major and minor sound, quite typical for jazz
music, as well as to enrich the harmonic basis of the pieces, which would be somewhat
limited within the traditional tonality system, with clearly defined mode and harmonic
relations. Together, all the specified means of expression give the piano miniatures of the
cycle a sense of chamberness and allow them to be attributed to the lounge style.

It is also worth mentioning separately the interesting combination of improvisation and

quiet dynamic nuances in Bagatelles op. 1-5. Such a ratio gives the dramaturgy of

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Bagatelles the immediacy of musical expression and creates the impression that the
musical image, reflecting the fluidity of the moment, is in a constant elusive movement
and the process of becoming and unfolding (relatively speaking in the process of finding
oneself), gradually revealing the entire spectrum of intimate personal experiences (quiet
dynamics, as if a conversation in a whisper) and emotions laid by the composer in each
miniature.

The following observation regards the specifics of the bagatelle style in V. Silvestrov’s
creativity. Based on the fact that bagatelles play a leading role in the composer’s work,
and when trying to name modern composers who turn to the bagatelle genre, we are most
likely to have an association with the work of V. Silvestrov and his style. We can attribute
bagatelles not only to the category metagenre but also interpret them from the standpoint
of stylistic metagenre. The concept of stylistic metagenre refers to the belonging of
bagatelle metagenre to the style of V. Silvestrov, or the connection in our minds of
bagatelle (as a metagenre) to the style of the artist. A somewhat similar situation arises
with the work of another artist − F. Chopin. When we think of the mazurka in classical
music, it is more than obvious that what comes to mind are F. Chopin’s mazurkas, which
also occupied a significant place in the composer’s work and are firmly fixed in our
consciousness in connection with the name of the Polish master. However, in the case of
F. Chopin’s creativity, we will not be talking about a stylistic metagenre (which is a
characteristic feature of V. Silvestrov’s style), but about a stylistic genre.

Continuing this idea, it is worth noting that despite the considerable number of works
devoted to the study of Chopin's style (in particular, among rather recent studies it is
worth mentioning such works as the fundamental monograph (Rink, 2018) and article
(Venli, 2018)), this aspect of understanding the mazurka genre in Chopin's work is still
out of the focus of researchers' attention.

However, in our opinion, this concept of ‘stylistic genre’ can be considered in a broader
sense and applied not only to the works of a particular composer but can be interpreted
more broadly. For example, the features of a stylistic genre can be observed in the works
of many romantic composers. For F. Mendelssohn, such a stylistic genre can be Songs
Without Words, for R. Schumann − the genre of piano miniatures, for G. Verdi − the genre
of opera. Yet, it should be emphasised, that today musicologists quite often turn to the

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consideration of various aspects of the concept of metagenre (in particular, pastoral (Lei,
2021) and world music (Nenić, 2006) are considered as metagenres) or even propose the
model of “meta-genre form” (Popov et al., 2022), which helps to reveal the semantic
content of modern and postmodern works. But at the same time, the concept of a stylistic
genre, or a stylistic metagenre, has not yet received scientific comprehension and
requires further research.

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