DOI: 10.36871/hon.202203020
Authors
M. A. Lebedeva
Chelyabinsk State Institute of Culture, Chelyabinsk, 454091, Russian Federation
Abstract
The article deals with the one-part Concerto-Symphony for domra and orchestra of Russian folk instruments by the Ural composer M. D. Smirnov. The composition, as one of the first original opuses written in the genre of the concert, marked a new stage in the formation of Russian academic folk instrumental music for domra. The purpose of the work is to determine the specific timbre-coloristic means ("timbre-textured equivalent" — the term of A. M. Veprik) used by the composer in the work. The author defines the role of the solo instrument in the orchestral musical fabric and reveals the successive connections of M. D. Smirnov's music with the Russian school of composition of M. I. Glinka, P. I. Tchaikovsky and S. V. Rachmaninov. The results revealed a close relationship between the orchestral musical fabric in the work and the timbre features of the Russian folk instrument — the domra. The composer chose a weep-pardon, which had not previously appeared in such a context, as the figurative basis of the emotional sphere of the entire work, which led to a search for new technical means. As a result, the importance of M. D. Smirnov's work is emphasized, both in terms of his special contribution to the creation of the Concerto-Symphony, and for the development of Russian academic folk instrumental art.
Keywords
concerto-symphony, domra, timbre, orchestra of Russian folk instruments
