Abstract
Statement of the problem. The works of Serhii Petrovich Turnieiev – Honoured Artist, composer, professor – have made a significant contribution to the musical culture of Ukraine. His creativity attracts the attention of musicologists from different generations and needs more extensive study. The novelty of the research. The article makes up for the shortage of scientific works covering the orchestral style of S. Turnieiev in connection with his compositional thinking. The work highlights the leading role of orchestration – an important expressive and logical-constructive tool in the music of the twentieth century – in organizing the artistic integrity of the Symphonic Frescoes “Taras Bulba”. Literature review. The theoretical basis of the article is the work on the study of orchestration and orchestral style (Kars, 1990; Blagodatov, 1963; Shabunova, 2008; Korobetskaya, 2011, Halmrast, 2000; Hundsnes, 2010;. McAdams 2019; Monel, 2012; Otto, 1983; Rakochi, 2020; Urniecius, 2018; Wallmark, 2019). In addition, the paper refers to the articles defining the term “Symphonic frescoes” (Tikha, 2009; Tishchik, 2019; Belova, 2020). The aim of the article is to study Symphonic Frescoes “Taras Bulba” by S. Turnieiev from the standpoint of orchestral style. The article uses analytical, genre, style, historical, structural-functional, comparative, systematic generalization methods of research. Results and conclusions. The orchestration of Symphonic Frescoes “Taras Bulba” by S. Turnieiev is characterized by: 1) a variety of orchestral texture as a supplier of semantics, which gives the orchestration semantic and logical-constructive functions in organizing a large-scale work; 2) a combination of functional and coloristic orchestration; 3) orchestral flavor, sound, picturesqueness; 4) large strokes, avoidance of details, which is motivated by the genre of the work. The orchestration analysis of S. Turnieiev’s large-scale symphonic work “Taras Bulba” made it possible to draw the following conclusions regarding his orchestral style: 1) the composer’s orchestration is determined by the principles of his compositional thinking and aesthetic ideas; 2) the orchestration of the work is influenced by the genre of the work and the individual genre decision; 3) the composer chooses the orchestral ensemble сonsidering the practicality of the performance and the concept of the work; 4) there is an interpenetration of functional and coloristic orchestration in accordance with synthetic composer’s thinking. The composer operates with different types of texture, which has an important form-making and dramatic role, and applies traditional and innovative techniques.
Highlights
Турнєєва: 1) оркестровка детермінована принципами його композиторського мислення і естетичними уявленнями, що обумовлює чітку прив’язаність до художнього задуму, вивіреність, логічність застосування оркестрових засобів; 2) оркестровка знаходиться в прямому взаємозв’язку з жанром твору і індивідуальним жанровим рішенням; 3) оркестровий склад, обраний композитором, обумовлений практичністю виконання і адекватністю втілення концепції твору; 4) відповідно до синтетичності композиторського мислення, наявне взаємопроникнення прийомів функціональної та колористичної оркестровки; це виявляється в оперуванні різними типами оркестрової фактури, які відіграють важливу формотворчу і драматургічну роль, застосуванні традиційних та інноваційних прийомів і засобів
Turnieiev is characterized by: 1) a variety of orchestral texture as a supplier of semantics, which gives the orchestration semantic and logical-constructive functions in organizing a large-scale work; 2) a combination of functional and coloristic orchestration; 3) orchestral flavor, sound, picturesqueness; 4) large strokes, avoidance of details, which is motivated by the genre of the work
Turnieiev’s large-scale symphonic work “Taras Bulba” made it possible to draw the following conclusions regarding his orchestral style: 1) the composer’s orchestration is determined by the principles of his compositional thinking and aesthetic ideas; 2) the orchestration of the work is influenced by the genre of the work and the individual genre decision; 3) the composer chooses the orchestral ensemble сonsidering the practicality of the performance and the concept of the work; 4) there is an interpenetration of functional and coloristic orchestration in accordance with synthetic composer’s thinking
Summary
Під оркестровим стилем розуміють: а) методи та прийоми оркестровки, вживані композитором для реалізації художнього задуму (Urniezius, 2018); б) стиль оркестрування, який відіграє домінуючу роль в організації музичної тканини та корелює, перш за все, з власним композиторським стилем (Hundsnes, 2010). З огляду на жанр обраного для аналізу твору (фрески), до джерельної бази статті додані наукові праці, присвячені осмисленню специфіки цього жанру в музиці (Тиха, 2009; Тищик, 2019).
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