Znamenny Monody in the Contemporary Сhamber Instrumental Сomposition Context: A. Schnittke’s Experiences
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Abstract
Znamenny Monody by performing centuries-old transmission in the Russian cultural tradition invariably demonstrates its inexhaustible axiological and artistic potential. The chamber opuses
by Alfred Schnittke: “Hymn I for Cello, Harp and Timpani” and “The Second String Quartet” covering in the article are the composerʼs first experiences in using echoes chant intonation and allow reveal a whole range of specific artistic techniques of “reintonating” of the cited primary sources
in the context of a secular chamber composition the structure of which is determined by searching for medieval and contemporary types contact points of musical thinking. Considering the works
as a kind of creative laboratory where Schnittkeʼs principal attitude to adapting the chant in new genre and style conditions are formed, the author comes to a conclusion about the special semantic and text-forming function of Ancient Russian monody in new art object.
Its influence covers different levels of poetics in the whole, starting from the most profound ones, connected with discovering the peculiarities of national intonation and melodic thinking and finishing with structural-compositional and dramaturgical solutions.
The analysis also reveals diverse types of dialogical links between the source text and the artistic object created anew on its basis: from introduction of everyday chant in a well-recognized form
up to the diffuse interpenetration of the authorʼs stylistic means and separate parameters (intonation, harmony, syntactic) of the primary source.
Keywords: the 20th century Russian musical culture, Alfred Schnittke, chamber music, echoes chant, religious, secular, ancient in modern, adaptation, quotation.
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