In 2023, Elena Sokolovski created a work called "To Stravinsky…", one of her favorite composers (by the way, this is not her first reference to the name of Stravinsky). The composition is a suite in three parts for soloists and small orchestra.
The composition contains some very interesting features. One of them is a general encrypted tonal plan: it is based on the initials of Stravinsky (I.F.S.) and Sokolovski herself. So, the first part is written in the key of E-dur (in English, in some cases, the letter "E" is pronounced as "I"). The second part is in F-dur (F). The finale begins in the key of G minor (Sol minor), but the work ends in the key of F major, and thus the extreme parts of the suite outline the keys E-F, that is, the initials of the composer Elena Filatov (Sokolovski's maiden name).
In this interweaving of ciphers, numerous allusions to several well-known works by Stravinsky appear and disappear, replacing each other and repeating again. This second feature of the work of Elena Sokolovski gives rise to the third – an unusual dramatic plan of the work. It is built on the gradual "germination" through all three parts of the allusion to Stravinsky's penetrating, wonderful theme – this theme from the "Symphony of Psalms". It literally blossoms in the postlude in conjunction with the opening theme of the first part of the suite.
The amazing integrity of the composition and, at the same time, the unusual stylistic conglomerates of Russian and American, baroque, ancient and modern, puppet, fantastic, shamanic and ritual – all this immensely wide range of creativity of the great master Stravinsky is directed by the composer. XXI century to the victory of the sublime and beautiful.
The cycle of Elena Sokolovski contains a number of some "irregularities" that give it a special originality. So, the work begins with the introduction of the bassoon, which timbre echoes the opening phrase of the bassoon in "The Rite of Spring" and sounds so Russian! This technique reflects the Russian component in the work of Stravinsky ("The Firebird", etc.).
However, after the “Russian” introduction, the old dances “Allemande” and further (part 2) “Courant” appear, which seems to promise a typical four-movement old suite of baroque dances, recalling Stravinsky’s interest in the music of the past (for example, the C-dur symphony). But the promise is deceptive: there are only three parts in the cycle instead of four (or more), which violates the rules of the old cycles.
The stylistic violation is aggravated: the "Allemande", which goes to 4/4 instead of the usual ¾, is given the name "Chocolate", which alludes to Stravinsky's repeated appeal to American jazz ("Ebony Concerto") in his compositions. Slow, slightly sad and languid "allemande" Elena Sokolovski gives signs of the "Spirituals" genre.
This conglomeration of different stylistic layers, which arose in the "Allemande", is enriched with another very important dramatic element: in the fabric of the piece, as already noted, the intonations of the theme from the "Symphony of Psalms" appear. So far, they only emerge, slipping in the parts of the English horn, bassoon and piano, and then dissolve to reappear quite distinctly in the second movement and, finally, crown the whole cycle.
Such a "crescendo" of Stravinsky's theme is a remarkable creative solution of the composer Sokolovski. And this process is further enhanced by a special timbre technique: in the second movement and in the postlude, the melody of an allusion to Stravinsky's theme is performed by a vibraphone playing with a bow. This creates a feeling of human singing – as if the voice of an invisible singer is coming from somewhere (or is it the singing of angels?..).
The second part – "Romantic Courante" – continues to develop the polystylistic tendencies of the cycle. The very name of the movement contains a duality: the ancient dance of the Baroque era arises in the era of romanticism, which is quite distant from the Baroque. At the same time, the interlude before the "Courante" seems to confuse the genre and style picture even more: the allusion to the "cheerfully stomping" march from Stravinsky's "L'Histoire du soldat" unexpectedly leads to the elegant "Courante"! However, the graceful dance is repeatedly, as it were, obscured by the sounds of a "singing voice" – this is a newly emerging allusion from the "Psalms" (the theme is given in inversion). And finally comes the finale, called "From shamanism to the light."
…In the beginning, the quiet muttering of witchcraft spells is replaced by a deafening noise, screams and even the screech of shamans. The sorcerers are trying to "conjure" the first theme from Stravinsky's "The Wedding". But instead of the bride's crying, her gentle girlish voice, we hear a bass trombone and a shrill piccolo trumpet! Everything is coming to a climax. However… something didn't work out, everything tail off. The same "bewildered" theme sounds on the English horn.
The sorcerers are trying to try a second time – now they are conjuring on the theme of the shadow of "Petrushka". Yes! Yes… But again, something didn't work out – the shadow of "Petrushka" runs away, not wanting to conjure with the shamans! The shamans are even more confused…
Well, let's try again – now a theme has been chosen for witchcraft – an allusion to the opening phrase of the bassoon from "The Rite of Spring". Shamanism should certainly turn out – after all, ancient sorcerers conjure in the "Rite of Spring"! However, the powerful blows of the timpani order to stop the evil action of the unsuccessful shamans, make them shut up and disappear.
In the very vividly depicted process of witchcraft, the composer Sokolovski puts the idea that the attempts of the unsuccessful divination of sorcerers sound not so much “terrifying” as humorous. And indeed, is it possible to "re-conjure" the musical images of Stravinsky himself? No! Nothing can change the images of the great composer.
And now the sounds are heard from afar, they are approaching, as if climbing a ladder, lining up in a chord – and finally the theme of Light sounds! This allusion to a theme from the "Psalms" is striking in its power of influence on the listeners, it literally stuns and fascinates… Passing from register to register from one instrument to another, the voice of the “singing” vibraphone floating above everything connects with the theme of the introduction from the first part of the suite, and this theme of the composer of the 21st century frames the entire cycle. Here, in the postlude, while “climbing the stairs”, the musicians address Stravinsky aloud three times with the words “Igor Fyodorovich!”.
The dramatic idea realized by Elena Sokolovsi in her work is original and deeply meaningful. It aims at the idea that no force can overcome the power of the great works of art, belonging both to Stravinsky himself and to other brilliant composers in the history of music.
The author of the work "To Stravinsky…" Elena Sokolovski bows before the genius of Igor Fedorovich. In this composition, the skill and high professionalism of the composer of the 21st century stand out especially brightly.