Intertextuality as a form of dialogue in the symphonic work of Andrei Eshpai

The article continues the author's research on the phenomena of symphonic creativity of Andrei Yakovlevich Eshpai, an outstanding master of modern Russian musical art. The composer's selected opuses are considered in the aspect of intertextuality, which is one of the most in-demand in the humanities, including in musical science. Due to the variety of existing scientific interpretations and the availability of a wide range of research perspectives, this aspect of the study seems to us particularly relevant. The article attempts to comprehend intertextuality as a significant, but not the only form of dialogue functioning in the musical and textual space of Eshpay's compositions, and thus apply a differentiated approach to such an ambiguous phenomenon as intertextual dialog interactions. Within the framework of this work, it seems necessary to turn to Mari folklore as one of the fundamental axiological guidelines of the composer's work. The object of the study is quotations from Mari folk songs used in the Second Symphony "Praise the Light!", as well as in the Third and Eighth Symphonies dedicated to the memory of his father, Ya.A. Eshpai. When studying the mechanisms of integration of Mari folklore into the author's text and identifying strategies for the functioning of the corresponding textual elements, an integrated approach was used, including a system-structural method, as well as methods of comparative and semiological analysis. As a result of the research, the role of intertextual strategies in the implementation of artistic concepts of symphonic compositions is revealed. It is established that the cited material concentrates the deep content and has significant potential for its deployment, activating the processes of mutual influence and contrast. The transformative effect of the folklore component on the linguistic mechanisms of texts and on their compositional and dramatic solutions is significant. At the same time, intertextual dialogue is realized through intonation transformations as well as through timbre-textured and harmonic "voicing" of folk melodies. At the same time, the composer's careful attitude to quotations turns out to be a very remarkable stylistic marker. In conclusion, it is emphasized that the intertextual dialogics of the texts of symphonic scores is close to the phenomena of stylistic synthesis. Strategies of this type become one of the clearest indicators of the author's style. They define the poetics of the genre and create a unique aura of Andrei Eshpai's works.

Intertextuality, dialogical strategies, Andrei Eshpai, symphony, symphonic dramaturgy, conceptuality, contemporary music, Mari folklore, citation, musical genre