Оркестрове письмо в опері «Соловей» І. Стравінського як засіб об’єктивації просторово-часових відносин

Abstract

The aim of the article is to study principles of orchestral writing (that is individual system of technological devices and principles, aimed at objectivation of certain spacetime relations in timbral and textural structure of the work) in the opera “The Nightingale” by I. Stravinsky. In this research the author uses such methods as functional, comparative, stylistic. Scientific novelty of the article lies in the following: 1) in examination of orchestral writing in opera “The Nightingale” from the standpoint of stylistic turning point; 2) in comparative analysis of principles of orchestral writing in C. Debussy’s “Nuages” (“Clouds")” and I act of “The Nightingale”; 3) in revealing of specifics of orchestral writing in the II and III acts of beforementioned opera as a tool to objectify spacetime relations. Conclusions. In the I act the orchestral writing inclines to follow impressionistic writing (C. Debussy’s “Nuages”), which can be seen in creation of the spatial characteristic of the sound matter, obscuring the distinction between the relief and background, simultaneous usage of several elements bearing different functions, constructing of continuity through variant transfiguration of the motive invariants as well as by sustaining texture and timbres. It is stressed, that multi-figure principle functions from the I act. In the orchestral texture of II and III acts (written after acquiring experience of ballet composing) multi-elemental structure is applied, due to usage of timbre mixtures (often presented as rhythmical or intonational variants), splitting of orchestral functions, principle of multifigure composition and complementarity, thematization of the background, causing complex organisation of space and “dense” time, rich with events. Some principles of impressionistic writing are developed by I. Stravinsky in accordance with his individual stylistic beliefs. His orchestration shows further development of such principles, as: 1) modelling of heterogeneous sonic space; 2) obscuring of the border between the relief and background due to thematization of the musical texture.