chapter  18
4 Pages

A wind of change: film music of the post-Stalinist period.

In the Soviet republics, national film industries were gradually gaining confidence and experience. But in spite of the obvious 'warm spell' in the political, social and spiritual climate of the country, and the beginning of Soviet cinematic revival, the time for change in film music was yet to come. True, certain principal differences in the functional treatment and in the typical musical devices of the pictures released by film schools in the republics were already clearly marked. Most of the studios preferred introducing folklore material in its original shape, with careful preservation and reconstruction of the forms of folk music styles. Thus, the rich national culture of the Moldavian people, the uniqueness and originality of ceremonial rites, and fiery temperamental dance melodies, created a vivid musical background to the action in one of the early feature films of the 'MoldovaFilm' studio, Lyana (1955, directed by Barnet, music by Aranov). This carried on the traditions of the musical comedy films of Pyriev - Dunayevsky. Of interest also was the Kazakh film His Time Will Come (1958, directed by

Begalin, music by Brusilovsky), built on symphonic development of Kazakh folk songs. It brought to an end the genre of the historic-revolutionary biographical film, on the Stalinist model. In Georgia and Armenia, film music was feeling its way, searching for an organic synthesis of authentic music and the ancient melos of the people.