DOI: 10.36871/hon.202203017
Authors
A. M. Anuchin
Magnitogorsk State Conservatory (Academy) named after M. I. Glinka, Magnitogorsk, 455036, Russian Federation
Abstract
This article explores the influence of the Gregorian chorale on the compositional language of
Marilyn Shrude on the example of her work "Lacrimosa" for piano and alto saxophone. Using three chorales from the "Requiem", the composer created a work expressing grief for the
students who had passed away prematurely. The most important is the chorale "Subvenite
sancti Dei", which serves as the main source material for the entire composition. Most of the
musical text of "Lacrimosa" emphasizes the natural minor mode of this chorale. In addition,
the composer refers to the Gregorian chorale "In Paradisum", using the Mixolydian mode in
which the chorale is written. M. Shrude also uses the verse "Lacrimosa dies illa" from "Dies
Irae" in the final part of the composition.
Attention is also focused on the use of heterophony and unison by the composer as ways to
imitate the reflected nature of music performed in resonating spaces. Abroad — in the USA and
Europe — there is a considerable amount of research on Marilyn Shrude's music. Based on the
analysis of her works, around a dozen doctoral dissertations were written. In Russia, at present,
the works of this major American composer are little known, and there are no studies of her work.
This article is a continuation of the author's research on the composer's style of Marilyn Shrude.
Keywords
"Subvenite sancti Dei", "In Paradisum", mixolydian harmony, verse, "Lacrimosa dies illa", "Dies Irae", heterophony and unison, resonant space, reverberant space
