Commentary on Sergey Slonimsky’s essay “An Unwilling Scandalmonger: A Chronicle of Chronic Stress – 1972-1991” from the book “Notes in the Margin of a Music Score”

The article continues the publication and commentary of S. M. Slonimsky’s 2002 essay “An Unwilling Scandalmonger: A Chronicle of Chronic Stress – 1972-1991” from the book “Notes in the Margin of a Music Score”. Due to space limitations, the entire material of the essay is divided into three parts: the first article is dedicated to the post-war period of the author’s life until the beginning of the 1970s. The second (this) article explores events from the composer’s life and work in 1972-1991. The following, third article will cover the last decade of the 20th century and the beginning of the 21st century, 1992-2002. The focal points of the author’s reflections in the second essay of the “chronicle of chronic stress – 1972-1991” are also themes of moral and ethical issues within the composer’s society. These themes are explored in a different light – in direct connection with S. M. Slonimsky’s life in chronological order. The essay covers the second half of the 20th century and the beginning of the 21st century. The writing of this commentary is driven by the intensifying crisis of moral values in contemporary society. The author concludes: one should “focus on only one painful moment, quite typical of my creative and life path. Perhaps scandalous storms are my cross, the fateful predetermination of my destiny. Perhaps it is a fatal necessity for an independent person walking their own path, not wanting to prudently submit to those in power, to what promises peace, recognition, success, prosperity, and happy success. That is how I am, and that is how I will remain until the end <…> In my work, my philosophical worldview, personal traits of my emotional temperament, and my attitude towards many people inhabiting Russia, Europe, Asia, our entire earth are absolutely obvious.” As a result of the study, Slonimsky’s unwavering commitment to the established moral and ethical order and his uncompromising stance against manifestations of evil, envy, and betrayal in the composers’ milieu and music teaching have been identified and confirmed.