The concept of the ‘Tonal Centre’ in the Tonal Atonality system

Using the example of Vyacheslav Kazarin’s violin concerto

‘From the Heart to the Sun’

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1. The soloist as the source of the Tonal Centre [the initial stage towards clarifying the concept of the Acoustic Centre in the Tonal Atonality system]
·    Here, tonality = structure

In V. Kazarin’s work, tonality is not expressed through chords, cadences or functional relationships. It arises from the soloist’s line.
Soloist:
~   maintains stable intervals [fourth, fifth, third],
~   often relies on open strings [A, D, G],
~   repeats key notes,
~   creates a ‘vector’ of movement.

This is the structure upon which the entire work rests.

The orchestra may be entirely atonal, but if the soloist holds the centre — the ear perceives the music as directional and meaningful.


2. The soloist sets the direction of the form
·    Here, form = the development of the line

In classical music, form is built on:
~   themes,
~   phrases,
~   cadences.

With Kazarin, it is different. Form arises from:

~   changes in the soloist’s character,
~   changes in their registers,
~   changes in the density of the orchestral texture around them,
~   energetic ‘flashes’ and ‘moments of clarity’.

The soloist is the heart that sets the rhythm for the whole organism.


3. The soloist initiates polyphony
·    Here, polyphony = a mechanism of integration

In Kazarin’s work, polyphony is not thematic but energetic.
The soloist:
~   sets the movement in motion,
~   the orchestra picks up on his rhythmic or intervallic gestures,
~   the layers begin to ‘breathe’ together,
~   micro-polyphony emerges.

This is not imitation in the classical sense — it is the propagation of energy.


4. The soloist forms the vertical
·    Here, the vertical = a cross-section of movement

In Kazarin’s music, chords are not written as chords. They arise as the result of intersecting lines.

Soloist:
~   sets the interval,
~   the orchestra responds,
~   a vertical line emerges,
~   but it is not functional — it is energetic.

This makes the harmony alive, rather than mechanical.


5. The soloist creates a contrast between structure and texture
·    Here, atonality = a radiance surrounding the structure

The orchestra often plays:
~   sul tasto,
~   pp–ppp,
~   divisi in 3–4,
~   micropolyphony,
~   polyrhythm.

This creates an atonal environment.

But the soloist:
~   sings,
~   leads the line,
~   holds the centre,
~   creates clarity.

This is precisely why the music sounds natural, even when the texture is incredibly complex.


In summary:
~   the orchestra creates a gentle atonal micro-polyphony,
~   the soloist holds the tonal centre,
~   polyphony binds the layers together,
~   the structure emerges from the soloist’s line,
~   the texture — from the orchestra.

This is a perfect example of the construct of Tonal Atonality.


Why does the soloist sound so natural?

Because his line is:
~   singing,
~   direct,
~   intonationally clear,
~   based on natural intervals,
~   does not jar the ear,
~   does not clash with the orchestra.

It is a human voice within the cosmos.



Conclusion: The Role of the Soloist in a Violin Concerto
V. Kazarin

The soloist:
~   establishes the key,
~   shapes the structure,
~   defines the form,
~   initiates the polyphony,
~   organises the vertical texture,
~   holds the centre,
~   guides the listener,
~   illuminates the atonal environment.

He is the source of light – the tonal centre – the anchor from which the entire work is born.

Arina Ryazantseva, art historian and biographer of composer Vyacheslav Kazarin

Russia, Moscow 2026

 

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