Semantics and compositional functions of instrumental timbre in the works by G. Ustvolskaya (on the example of Composition № 1).

Семантико-композиційні функції інструментального тембру у творчості Г. Уствольської (на прикладі композиції № 1).

Abstract

The purpose of the work is to identify the specificity of the individual and author’s implementation of the instrumental timbre in G. Ustvolskaya’s work, as well as the timbre peculiarity of the composer’s works on the example of Composition No. 1. The methodology of the research basis of this study is the system-analytical and genre-style approaches. Textual and performing stylistic analyzes are attracted. Scientific novelty. The presented in the article side of the composer’s handwriting of the composer today remains beyond authoritative studies devoted to the peculiarities of G. Ustvolskaya’s style. This research perspective helps to reveal a qualitatively new sphere of imagery, different from the others, formed in the composer’s work; expands the idea of the nature of music G. Ustvolskaya by determining the timbre qualities of her works. The timbre side of the composer’s works also manifests itself in the author’s invariable preference for certain instrumental timbres, among which the timbre of trumpet plays a significant role, which acquires a special structural and semantic significance in the development of the playwriting of G. Ustvolskaya’s works. Conclusions. The author’s interpretation of the timbres of instruments in Composition No. 1 is formed in the context of Ustvolskaya’s concentrated compositional thinking, which does not even allow thought to be anything but superfluous, but simply about additional details. This orientation determines the importance of the features of thematic, rhythmic, vertical structure and dynamics in the alignment of the images of instrumental score.
Keywords: instrumental timbre, timbre dramaturgy, instrumental music, Сomposition, timbre of trumpet.