The principle of polyrefrainity in Concerti grossi by A. Schnittke
Abstract
The purpose of the article is to study the functions of the refrain form in the genre of neo-baroque orchestral concert. The article for the first time focuses on the problem of polyrefrainity and its implementation in a modern multi-part instrumental cycle. The research methodology includes comparative, system-structural, historical methods. The substantiation of the terminology is based on the theoretical provisions of Russian musicologists on rondo-like, ritornello, refrain and polyrefrain compositions. The object of the study is the Concerti grossi of the outstanding composer of the last third of the 20th century – Alfred Schnittke (1934–1998). The author of the article considers the multi-level implementation of the refrain form principle: in individual parts of the cycle and at the level of its integral organization. The genres, styles of refrains, their intonational and thematic content are differentiated, their dramaturgical and compositional functions are considered. As a result, it is determined that the tragic concept of A.Schnittke’s works subordinates the baroque form-building principles of polyrefrainity to the personal psychological aspect, embedding them in the meditativeconflict type of modern dramaturgy. In each of the six concerts, the concept acquires a special appearance. The author’s provisions are illustrated by a table and diagrams.
Keywords
A.Schnittke,
baroque,
neo-baroque,
Concerto grosso,
refrain,
ritornello,
cyclic form,
polyrefrain form
About the Author
M. N. Ostanina
Glinka Novosibirsk State Conservatoire; Murov Novosibirsk Music College
Russian Federation
Russian Federation
Maria N.Ostanina, postgraduate; teacher of music theoretical disciplines
Novosibirsk
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Review
For citations:
Ostanina M.N. The principle of polyrefrainity in Concerti grossi by A. Schnittke. ARTE. 2025;(1):5-16. (In Russ.)
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