ABSTRACT
The rehabilitation of the song type of dramaturgy was accompanied by a sharp reduction in symphony orchestra dramaturgy. This was replaced by a more flexible new model, which used a mixed or chamber-instrumental composition of the orchestra. Its birth cannot be considered a spontaneous fact, or even one conditioned only by directors declining to put up with the domination of symphonic music. Besides, there were also other reasons for changing stylistic orientations. Film music is like a fine barometer, responding to all the fluctuations of fashion and the processes directing the development of autonomous musical genres. It was one of the first to put into practice the new systems of intonational-imaginative thinking and progressive composition techniques, showing an increased interest in the expressive potentialities of individual elements, such as rhythm, texture, timbre, dynamics etc. Again in this way it emphasized its special status in musical art, where composers could enjoy freedom of choice and do their creative work outside of the 'sacred' canons of socialist realism without fear of persecution, and acquire a reputation as adherents of western musical conceptions, which were then considered to be 'ideologically alien to Soviet art'. These were dodecaphony and serialism, pointillism and sonoristics, concrete and electronic music. Even such a distinguished master as Georgy Sviridov could not overcome the temptation to see himself in a new role, as a destroyer of stereotypes. Having made his debut in the cinema of the '50s, he earned great popularity as the author of excellent music for the screen versions of Russian classical literature — Tolstoy's novel Resurrection (1960-1962,2 parts, director Shweitser) and Pushkin's story The Snowstorm (1965, director Basov) 2 . Nevertheless, in 1966 he surprised his admirers by accepting Mikhail Shweitser's proposal to write music for the film Forward, Time!, which was innovative in style and in its principles of montage organization. The film described the strenuous working life and the suffering of the inspired collective labour of the workers on one of the greatest construction sites in the period of the first five-year plan — Magnitogorsk 3 .
