Musicology Annotation << Back Intertextuality as a Composition Method of A. Lourie’s Piano Cycle «Five preludes fragile» (Cinq preludes fragiles) op. 1, 1908–1910 Aleksey I. Chekmenev The relevance of the study of piano works of Arthur Lourie explained the undoubted interest of performers in works of the composer and the lack of extensive theoretical research of heritage of the composer, his musical thinking. The object of the study was the piano creativity A. Lourie, refl ecting the evolution of the composer’s musical thinking. The poetics of musical language of A. Lourie as refl ection of style interactions became an object of research. The purpose of the study – revealing stylistic coordinates of the early stage of creativity Arthur Lourie on the example of the cycle «Five Preludes fragile», fi nding determinants of intertextual relations between cycles «Five Preludes fragile» op.1 A. Lourie (1908–1910) аnd Five Preludes op.16 A.N. Scriabin (1895).For the most complete explanation of the artistic image was considered the concept of «fragility» as a key characteristic of the beginning of XX century attitude that fi nds expression in philosophy, art, literature and music. It is revealed, that musical language have a specific features, which allow to study the cycle from the position of the late romantic style. It is proved that A. Lourie continues the development line of the national musical art, using and developing A.N. Scriabin’s semiosystem. It allows to classify A. Lourie as one of the postskryabinist composers. The research proved that the cycles have intertextual relations at the level of the tonal and compositional logic, and on the level of a thematic, musical texture solutions, harmonic language, metro-rhythmic organization. Keywords: musical art, Russian music, piano music, Arthur Lourie, Cycle of piano miniatures, postskryabinism (postscriabinien), intertextual interactions. Contacts: E-mail: Vertekscom@rambler.ru Pp. 03-12.