A Comparative Study of Musical Composition in Lieutenant Kij (1934) and Enthusiasm: Symphony of the Donbas (1930)

The article examines the distinctive features of musical composition in two significant works of early Soviet sound cinema. Using the films Lieutenant Kij (dir. A. Fainzimmer, comp. S. Prokofiev) and Enthusiasm: Symphony of the Donbas (dir. D. Vertov, comp. D. Shostakovich) as case studies, the paper analyzes the interaction between the technical capabilities of the Tager and Shorin sound recording systems. The primary focus is on investigating the relationship between the technological constraints of these sound recording systems and the composers’ creative choices. Special attention is given to a comparative analysis of timbral and dramaturgical solutions and their role in achieving audiovisual synthesis. The transitional period from silent to sound cinema in the early 1930s in the Soviet Union was a complex process that combined technological innovations with the search for new artistic forms. In this context, two fundamentally different works—the narrative film Lieutenant Kij and the documentary Enthusiasm—are of particular scholarly interest, as they demonstrate diametrically opposed approaches to musical composition in cinema. The relevance of this study lies in the need for a comprehensive understanding of these works from multiple perspectives. First, it is important to analyze how the technical limitations of early sound recording systems influenced the composers’ creative decisions. Second, the specific interaction between the musical score and the visual component in each film requires examination. Third, the question of how the chosen artistic strategies influenced the subsequent development of film music in Soviet cinema presents a significant research interest. This study employs an integrated approach combining several scientific methods. Structural analysis of the musical scores reveals the distinctive features of Prokofiev’s and Shostakovich’s compositional techniques. A historical-technical investigation of sound recording systems helps clarify the technological conditions under which the soundtracks were created. A comparative analysis of the films is conducted with consideration for their genre-specific and artistic objectives. The study also relies on archival materials, including technical documentation from film studios, as well as memoirs and correspondence of the filmmakers. This multifaceted approach allows for a comprehensive exploration of the research problem and well-substantiated conclusions.