Music and Time Annotation << Back «1&#232;re Gymnop&#233;die» by E. Satie, «Hymn I» by A. Schnittke: Interpretation of Genre, Forms, Compositional Techniques N.A. Petruseva, A.A. Vyimova The relevance of the topic is due to the continuing interest of both performers and researchers in the work of two twentieth-century cultural figures: the French composer Eric Satie (1866–1925) and the Russian composer Alfred Garrievich Schnittke (1934–1998), whose music continues to be heard not only on theater stages, but also in modern cinema. One of their points of contact is the genre of the anthem and their interest in modal techniques. The article highlights the genre, structural and ladoharmonic aspects of the "First Hymnopedia" by E. Satie and "Hymn I" by A. Schnittke. To do this, it was necessary to consider the forms and compositional techniques of the hymns. The conclusions emphasize the difference in the forms of the hymns: the double stanza in Satie's piece; variations with the rond-like appearance of sonorous aggregates in Schnittke's "Hymn I". In terms of the interpretation of genre and compositional techniques, it is shown that Satie's dancing vector is organically combined with modal and tonal modes, while Schnittke's religious spirituality interacts with sonorous-fret layers and polystylistic techniques. At the same time, in “Hymn I” the contrast between modal-diatonic variations and regularly introduced chromatic units testifies to the confrontation between diatonicism and chromaticism, as multi-vector narratives in the dialogue of the past and present. The work uses an integrated approach as a combination of structural-musical and elements of biographical, comparative and narrative-hermeneutic methods. Keywords: «1ère gymnopédie» by E. Sati, «Hymn I» by A. Schnittke, binary sentence, variations with a rond-like appearance of multi-timbre aggregates, genre interpretation, modal techniques, the tetrachord system, diatonics and chromatics as "agents" of musical narrative. DOI: 10.25791/music.3.2025.1347 Pp. 03-12.