WAYS OF INCARNATING OF PLASTIQUE AS A “UNIVERSAL” OF I. STRAVINSKY’S ORCHESTRAL THINKING (ON EXAMPLE OF “DANSES CONCERTANTES” AND “SCENES DE BALLET”)

Abstract

The aim of the research is to systemize orchestral principles through which plastique is incarnated as one of the “universals” of I. Stravinsky’s orchestral thinking and as a principle of his orchestral writing. The author relies on such methods of research as analytical, functional and comparative. The scientific novelty of the article lies in the fact that for the first time in Ukrainian musicology I. Stravinsky’s orchestral writing is examined in aspect of plastique, its characteristics and ways of embodiment. Conclusions. In the given article we understand plastique as one of the “universals” (in the terms of S. Savenko) of I. Stravinsky’s orchestral thinking (alongside multi-figure and combinatorics) and as a qualitative characteristic of his orchestral writing. We define plastique as the elements of orchestral texture, which (according to N. Koliadenko and A. Shmelkova) call for synaesthetic reception, founded on visual and kinaesthetic images: they create expressive sensation of movement (in different directions), volume (of different amount and content), graphic expression of the lines, diversified density (texture becoming more and less compressed), detachment of elements constituting orchestral texture, spatiality. We state that plastique of orchestral texture transpires in dialectical unity of opposites as it implies simultaneous unity of clarity, defined shape, relief, flexibility and “instability” (statics and process). As a principle of orchestral writing, plastique interacts with the principles of multi-figure composition and combinatorics. As the analysis of “Danses concertantes” and “Scènes de Ballet” shows, incarnations of plastique is done through a complex of codependent orchestral devices: flexibility of timbral dove-tailing of figures; active movement and rhythmically-intonational expressiveness of bass; usage of figures with different functions (figures of complex configuration, of movement in different directions, swirling, rounded ones); occasional “illuminating” duplication of lines; heterophonic splitting of lines forming the texture.