МУЗИКА РЕЧИ И РЕЧ У МУЗИЦИ

The text re-examines the comoser’s relationship to the written word he uses as inspiration, a kind of metalibretto, a formative idea and, literally, as text that is sung and spoken. As one of the possible example of work with poetry, the author presents her cycle of compositions Sonnets for mezzo-soprano, cello, piano and electronics. The initial idea of this work is to examine possibility of transposing the poetic form of the sonnet into a corresponding musical form. The author describes the levels and phases of work with the text: placing the collected poetic treasure in concentric circles (according to the melody of language and emotional charge); sorting songs based on theme, atmosphere, rhytm and “keywords”; drawing parallels between songs through noticing similar and contrasting themes and motifs. Each procedure with the text is conditioned by the type of sonority of verses, phrases and individual words, as well as their mutual agreement (harmony). In the research phase of the electronic section material, the idea arose to write to spoken verses as a classical musical dictation. The resulting motifs and phrases are assigned to the voice and /or instruments, so that all layers of the work are imbued with “connective tissue “ of the same origin. With this “hypercontextual” approach to poetic content, word and sound are connected on a physical, psichological and ontological level.