Znamenny chant in the musical stylistic space of early symphonic pieces of S. Slonimsky
The article is devoted to the early symphonic pieces of Sergei Slonimsky (1932-2020) "Dramatic Song" and "Symphonic Motet" from the perspective of adaptation of znamenny chant. The pieces are examined, on the one hand, from the viewpoint of formation of the principles of artistic thinking that consequently became constant and defining in the works of the composer, and on the other - in the context of dialogue poetics that manifest itself on the levels of intonation, language, text, style and connection between the epochs. The article's primary focus is discovery of the author's approach to the "re-intonation" of the cult chant in the texture of the secular instrumental pieces and its role in the meaning-making and text formation processes in such works. Moreover, monody, in variety of its forms, is the key element of artistic thinking of Slonimsky, it serves an important compositional, dramaturgical and semantic role and has a considerable impact on the texture organisation in his pieces. As a result of undertaken analysis of "Dramatic Song" and "Symphonic Motet", the author concludes that there are various types of dialogic connections between the source text and the recreated on its basis work of art: from inclusion of the chant in a well-recognizable form to the diffusion of author's stylistic features and particular parameters of the chant (intonational, modal, syntactical). Furthermore, the author attempts to identify the system of dialectical relationship between the two fundamentally different types of musical thinking - monodic and polyphonic of the composer in the examined pieces.