Genre and Style Interactions in E. Denisov`s Sonata for Solo Violin
The article by attempts to present the genre and style interactions in the Sonata for solo violin By E. Denisov. The author offers his vision of the concept of the whole, emphasizes the relationship of macro-and micro-scales, reveals the role of Bach`s, Berg`s, E. Denisov`s and L. Kogan`s monograms in creating a single rhythm-intonation development. The first part is dominated by rotational movement, the Third spiral, interrupted by stochastic inclusions of “zones of silence“ and silence in the ”ragged“ partial rhythmic flow. With the reestablishment of the constant conflict, the spiritual and the temporal, unspiritual, identify this conflict within the consciousness of the artist-Creator and the galactic expanse of alien existence the important role of the performer, his reading of the rhythmic, harmonic and genre interactions. The Sonata is a synthesis of genre varieties of ancient and modern sonatas, concert, fantasy, improvisation. Baroque rhetorical figures and monograms, being the intonational basis of the work, have a double symbolic meaning. In the context of twentieth-century music, they act as signs of the Cross, Faith, Apocalypse, suffering, chaos and space. They interact with the thematic design, serial and aleatoric technique.
sonata, violin, monogram, rhetorical figure, partial rhythm.