Inclination to the synthesis of the various techniques as well as the genres and related musical-linguistic techniques is characteristic for Nicholai Korndorf’s creative process. The point of the article is the specific use of the human voice in Korndorf’s compositions. Singing without words in the instrumental pieces, which is entrusted to the performer (not singer) is interpreted as an excess of the achieved level of expression and going beyond what is possible in this genre. A voice in Korndorf’s instrumental works is a symbol of a WORD, an address to us, a message to us loaded with meaning, which is not expressible in verbal language (in this case we can speak on the non-verbal semantics). Thus, for Korndorf the word (in its broad sense) is not at all a formal element of the composition, it’s a semantic phenomenon: the intonation-word, as well as in his work we find the intonation-timbre (a specific, sonoristic plan) and the intonation-gesture (in the case of instrumental theater).
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