‘Serious’ and ‘non-serious’ music by Natalya Khondo

The article is devoted to Natalia Hondo’s works, our contemporary, composer, Opera and symphonic conducting cathedra’s teacher of the Gnesins Russian Academy of music. Being the author of works in various genres, the author prefers music for orchestra of Russian folk instruments (below – ORNI). The material for the analysis were the works relating, it would seem, to the polar genres, formulated by the author not without a share of jokes as «serious» and «unserious» music. As a characteristic stylistic feature of the piece «The Lonely traveler» and three suites for ORNI, the emphasized democratic nature of the language and the simplicity of the forms are noted. Thanks to these qualities of the Suite are quite often performed, including the performance as competitive works. The focus on children's audience dictates the need for a synthesized form of concerts, in which they usually sound- literary and musical compositions. More «serious», according to the author, genres («Eight-eighths» for accordion with orchestra, «Bulgarian Concertino», «Dialogues» for two domras with orchestra, Concert-poem for balalaika with orchestra) are united by a rather complex work with thematism, polyphonic technique, dialogicity. The influence of the epic branch of the Russian Symphony school, which is clearly represented by the works of Borodin, Glazunov, Taneyev, and Myaskovsky, is noted. Emphasis is placed on the metrorhythmic skill of the composer. Mastery of the orchestra and the colorfulness of the orchestral writing are noted which is characterized by the contrast of tutti episodes and lightweight solo and ensemble ones, are noted. However, regardless of the «address» of the composition and the reason for its creation, all composing tasks are solved by it in the highest degree professionally. In this sense, Natalia Hondo is the successor of the Gnesin tradition, for which music for ORNI is one of the most important areas

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