ПОЛЯРНОСТЬ СТИЛЕВЫХ ОРИЕНТИРОВ С. СЛОНИМСКОГО В ИНСТРУМЕНТАЛЬНЫХ КОНЦЕРТАХ «ВЕСЕННИЙ» И «ТРАГИКОМЕДИЯ»

Abstract

This article is devoted to the comparative description of two string concerts by Sergei Mikhailovich Slonimsky (1932–2020): the violin "Concerto Primaverile" (1983), focused on the Romantic style of the XIXth century, and the viola "Tragicomedy" (2005), related to the avant-garde line of the composer's work. Each of the opuses embodies different types of programmaticity: a generalized one in "Concerto Primaverile" for violin and string orchestra, and more concretized one in the concert on "Crime and Punishment" by F. Dostoevsky for viola and chamber orchestra. Thus, Slonimsky also turned to both types of programmaticity in solo compositions for these instruments, for example, figurative specificity becomes the main characteristic in the dramaturgy of the final piece for violin "Legend" (based on the novel by I. Turgenev). On the contrary, the Viola Sonata and Variations for a solo instrument rather address a generalized compositional approach. Comparison of the two concert scores follows the lines of their stylistic difference: programmaticity, specificity of dramaturgy and technical implementation, and in particular problems such as complex melodic figuration, contrapuntal saturation of homophonic monodic texture, the role of micropolyphony, the introduction of third and quarter tones and other non-standard principles of sound production.