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Abstract
The article explores the principles of narrative thinking in R. Strauss’s "Metamorphoses" — a composition for twenty-three string instruments. The main focus is on the examination of the author’s method of working with thematic material, formed by Strauss in previous symphonic compositions, as well as the study of intonation dramaturgy. Intonational connections between Strauss’s musical writing and Beethoven’s compositions, in particular the funeral march from the Third Symphony, are identified. The idea of metamorphoses is traced through the development and transformation of the intonation-harmonic core of the composition. A narrative theory approach allows for the analysis of the sequence of musical events in a composition dedicated to the departure of the late romantic era.
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