Expressive, synthesizing and dramaturgical functions of orchestration in Gershwin’s Concerto in F

Abstract

Relevance of the study. The orchestration of G. Gershwin’s Concerto in F is a goal of the study. This orchestration became the first such experience in the composer’s life. There is practically no special literature on the Concerto in F in Ukrainian and Russian languages, and very little attention has traditionally been given to the orchestration by Gershwin in the research works. Revision of innumerable studies of the Concerto in F in English revealed that the musicologists generally focus on the interpretation of musical form of concerto, harmony and rhythm, while the analysis of the orchestration and the definition of its role in classical music and jazz merge have not been considered in detail until now. The above allows actualizing the study of the Concerto in order to reveal the peculiarities of the author’s orchestration and to determine its synthesizing value. Main objective of the study . There is a role of the orchestra in the process of unification, refraction and interaction of classical music and jazz in the focus of the study because the synthesis of these two sources has become a distinctive feature of G. Gershwin’s symphonic compositions. Methods of research. 1) Complex score analysis to reveal the difference between the author’s and not author’s orchestration. 2) Comparative method to distinguish interdependence in genre-style pair, comparative-typological and semantic analysis to understand the meaning of jazz’s elements and features established at the symphonic orchestra’s platform. 3) Analytical review of the references. Results . Thanks to the analysis, it is possible to distinguish three main fields of interaction between the classical art and the jazz, in which the unifying role of the orchestration turned out to be the most significant: the orchestra itself; the rhythm; the solo. The expansion of the percussion section and the inclusion of typical instruments for the band have allowed it to bring a characteristic “jazz” tone to the sound of the symphony orchestra. The use of complex rhythmic formulas in the principle and secondary melodic lines, as well as the calling for “classical” flutes and violins to perform “jazz” melodies is the second field of the two elements synthesis. The improvisational nature of solos in combination with the use of the numerous timbre and visual effects possible in the orchestra has become the third interaction platform. Conclusion and significance . The author’s orchestration allowed us to convey the composer’s view the most fully and accurately. The “distinct inventiveness” of orchestration became the platform for classical and jazz art synthesis. It was shown thanks to the jazz percussion instruments inclusion to the symphonic orchestra; the prevalence of an improvisational and relaxed manner of the play of solo over the academic nature of the performance; an active use of special timbre and visual effects; presentation of Charleston-specific rhythmic formulas by the bassoon, the violins, the oboe. Gershwin’s inventiveness of the Concerto’s orchestration combined with his inspiration and expressiveness has contributed to the popularization of the symphony jazz orchestra throughout the world.