The specificity of timbre expressiveness in N. A. Rimsky-Korsakov's orchestral program compositions

Romashkova Ol'ga Nikolaevna PhD in Art History Associate Professor, Department of History and Theory of Music, Tambov State Music Pedagogical Institute named after S.V. Rachmaninov 392000, Russia, Tambov region, Tambov, Sovetskaya str., 87 o.romashkova@mail.ru

The scale of the talent of Nikolai Andreevich Rimsky?Korsakov, of course, was most evident in his operatic work. And, nevertheless, the genius of the composer, the originality of his musical language affected all areas of musical art. Of particular importance in the evolution of Russian music is his symphonic heritage. It was in orchestral compositions, as well as in the symphonic fabric of opera scores, that such a feature of the composer's musical performances as timbre hearing manifested itself, which directly affected the style of orchestral writing, namely in the instrumentation of symphonic works.

The music of N. A. Rimsky Korsakov is constantly under the close attention of art critics. Modern musicology has accumulated a large number of works by researchers of different generations, in which, in parallel with the questions of the significance of the composer's work, some features of his orchestral style are considered and problems of orchestration are touched upon. For example, monographic works by L. G. Barsova ^[1], A. A. Gozenpud ^[4], A. N. Kruchinina ^[6], M. P. Rakhmanova ^[9], A. A. Solovtsov ^[14]. Very valuable observations about the figurative structure of individual instruments in the orchestral scores of the composer are contained in the research of AM . Veprika ^[2], F. E. Vitachek ^[3], A. I. Kandinsky ^[5], A. S. Oskolkov ^[7], E. P. Prokopieva ^[8], E. V. Stepanova ^[15]. The peculiarities of the orchestral style, as a rule, are considered on the examples of iconic works (the Symphonic Suite "Scheherazade" or famous symphonic episodes from operas), unfortunately, other program orchestral opuses of the composer are not always in sight. To date, the issues of timbre dramaturgy in the context of the author's musical language have been poorly studied in these compositions. There are practically no works in foreign musicology dealing with the problems of timbre dramaturgy in the composer's program orchestral compositions. The attention of some foreign researchers of Rimsky-Korsakov's work is focused on particular issues of the peculiarities of his orchestral style (R. Taruskin ^[16], M. Frolova-Walker ^[17]). 

This article seeks to fill the gap that has been created. The purpose of the work is to reveal the peculiarities of orchestral writing in the program symphonic compositions of N. A. Rimsky-Korsakov in the aspect of the manifestation of the author's unique timbre thinking. In this regard, the article is supposed to solve the following tasks: 1) to identify the leading components of timbre dramaturgy in the composer's orchestral opuses; 2) to differentiate the author's approaches in the use of orchestral solos and techniques of timbre mixes.N. A. Rimsky-Korsakov, endowed by nature with a colorful timbre ear, in his works demonstrates a special attitude to instrumental timbres, subtly feeling their figurative and expressive possibilities, making the most of their technical potential.

The composer is a remarkable master of coloristic writing, and the color of his works carries something festive, "major", bright tones prevail in the colors. Hence the abundance of virtuoso solo individual orchestral instruments, demonstrating all the brilliance they are capable of. As orchestral colors N. A. Rimsky?Korsakov uses instrumental mixes, masterfully combining different timbres.

This attitude is most clearly manifested in his programmatic symphonic works. Starting from the first program opuses "Sadko" and "Antar", timbre paints are not only elements of sound recording, creating a visual pictorial image. Instrumental timbres are actively included in the plot narrative, and timbre variation is one of the main techniques of N. A. Rimsky's symphonic development?Korsakov.

In the 1880s in the works of N. A. Rimsky?Korsakov is experiencing an incredible rise, he writes his operatic masterpieces "The Snow Maiden", "Sadko", and also the best orchestral compositions appear from his pen - "Fairy Tale", "Sinfonietta on Russian themes", Piano Concerto, "Spanish Capriccio", Concert overture "Bright Holiday", Symphonic Suite "Scheherazade". In addition, in the 1880s he edited his first symphonic opuses (the First Symphony, the Second Symphony "Antar", the Third Symphony, "Sadko", Overtures on the themes of three Russian songs, Serbian fantasy).

In the late period of N. A. Rimsky's work?Korsakov's main attention is focused on the opera genre, and he fully applies his mastery of orchestration in the creation of opera scores. Almost all of the composer's operas contain symphonic scenes. Orchestra in the operas of N. A. Rimsky?Korsakova has not just an accompanying function, but paints entire symphonic canvases. At the same time, many symphonic fragments of operas are so vivid and thorough that they have found an independent concert life outside of operas. The most striking of them are "The Battle of Kerzhentz" from Act III of "The Legend of the Invisible City of Kitezh and the Virgin of Fevronia" and "Three Miracles" from "The Tale of Tsar Saltan". In addition, the composer composed suites from symphonic fragments of operas "The Snow Maiden", "The Young", "The Nights before Christmas", "Tales of Tsar Saltan", "Pan Voevoda". With a dominant attitude to the opera genre, in the 1900s N. A. Rimsky?Korsakov also wrote some symphonic works: "Over the Grave" (prelude in memory of M. P. Belyaev, 1904), "Toast" (1907), "Neapolitan Song" (1907).

In all symphonic works, including opera scores, the hand of the master of orchestral writing is clearly visible. If you look at all the symphonic works of N. A. Rimsky?At a glance, Korsakov's special attention to program compositions can be clearly traced. The brightness, colorfulness and sometimes figurative concreteness of his program symphonic canvases are akin to "musical painting", and in them the creative imagination, unique timbre hearing and musical ingenuity of the composer were especially manifested.

N. A. Rimsky?Korsakov tends towards specific programming. As a rule, the composer prescribes the program. These are the symphonic painting "Sadko", the symphonic suite "Antar", the one-part works "Fairy Tale" and "Bright Holiday". The exception is the Symphonic Suite "Scheherazade", in which the author removed the previously conceived program explanations of the parts, leaving only the generalizing title of the entire work. Opera symphonic fragments also have a specific program. It should be noted that even non-programmatic symphonic compositions by N. A. Rimsky?Korsakov's images are sometimes so specific that it can be said that they contain elements of a hidden program. A vivid example of this is the "Spanish Capriccio".

One of the most important means of creating concrete images, "musical paintings" for the composer was orchestration. Careful study of instruments in parallel with pedagogical activity and composing practice prompted N. A. Rimsky?Korsakov to create his own textbook — "Fundamentals of Orchestration" ^[12]. In this work, the composer not only discusses and gives specific recommendations regarding instrumentation in general, but also sets out his auditory ideas regarding orchestral timbres and their connections. This work is still a fundamental manual for modern composers.

A special role in the orchestration of N. A. Rimsky?Korsakov devotes woodwind instruments. "In the woodwind group ... the difference in the timbres of its individual representatives: flutes, oboes, clarinets and bassoons is much more noticeable, as well as the difference in registers in each of these representatives. In general, the woodwind group has less flexibility compared to the bow group in terms of mobility, the ability to shades and sudden transitions from one shade to another, as a result of which it does not have the degree of expressiveness that we see in the bow group" ^{[12, p. 17]}. In other words, the timbre originality of woodwind instruments is in itself an expressive means. In addition, the composer highlights the "area of expressive playing", this is mainly the middle register of instruments, beyond which "... the instrument rather has colorfulness" ^{[12, p. 17]}.

Of the woodwind instruments, the composer pays special attention to the flute and clarinet. Since the time of "The Snow Maiden", the opera that N. A. Rimsky?Korsakov himself considered the most successful in terms of orchestration, specific images were firmly fixed behind these instruments: the character of the cold beautiful Snow Maiden is associated with the timbre of the flute, and the shepherd Lel with the lyrical pastoral clarinet. The personification of timbres also penetrates into orchestral compositions, becoming one of the techniques of figurative dramaturgy.

A special area of expressiveness belongs to the oboe. The composer will define his timbre as "ingenuously cheerful in major and touchingly sad in minor melodies." Relative to the registers, the oboe sound is "rough, thick" in the low, "tender, juicy" in the middle, and "liquid, sharp" in the high registers.

Also N. A. Rimsky?Korsakov notes that "instruments of nasal timbre: oboe and bassoon, for reasons that lie in the method of making sound through a double cane, have relatively less mobility and flexibility in shades... These instruments are still mostly melodic in the broad sense of the word, that is, more calmly melodious..." ^{[12, p. 22]}.

The first program orchestral opus by N. A. Rimsky?Korsakov is a musical painting "Sadko", written in 1867, but has been repeatedly edited by a mature master. The final revision of the work was carried out in 1891-1892 . Comparing the instrumentation of different editions is the task of a special study, so we will focus on the latest edition of Sadko ^[13].

In the score of this work, the author prescribes a rather detailed program, where he retells an episode from the epic "Sadko". To reveal the plot in the "musical picture" by N. A. Rimsky?Korsakov uses various means of expression, but the main ones are lado-harmonic and timbre paints.

Thus, the theme of the sea, based on a three-tone motif, is associated with the timbre of strings. And the theme of the sea king (the famous gamma of N. A. Rimsky?Korsakov's tone-semitone) passes at the strings, but is supported by a parallel movement in the third of the flutes, then the oboes, while both the flutes and the oboes begin a descending movement from their highest, sharpest register.

An elegant, "brilliant" theme of goldfish, colored by the glare of foreshocks and trills, sounds in light graceful violins, and then in flutes, piccolo and clarinets in a high register. The following broad melodious melody is the theme of the underwater kingdom, intonationally repeating the theme of goldfish, sounds like a duet of cello and clarinet, in the second conducting with octave duplication at the flute. In the development of the two phrases of this duet are combined in the lyrical soulful melody of the oboe solo. Subsequently, in the opera of the same name, this theme will become the theme of the Princess Volkhova.

Another important timbre color is harp chords imitating the sound of gusli. The first performance of Sadko's short dance theme is entrusted to the violas. And the next great one, which Sadko sings to the Sea King, is presented first by violins with a mute, and then by a solo clarinet. Already in this early composition, the composer's attitude to timbre is clearly traced both as a musical paint for creating a visual image, and as a means of musical characterization.

The following program symphonic composition by N. A. Rimsky?Korsakov's Symphony No. 2 "Antar", created in 1868, was repeatedly edited by a scrupulous author, as a result of which the composer changed the genre definition, calling it a symphonic suite. Indeed, following the program and relying on genre thematism takes this work beyond the classical sonata-symphonic cycle. As the author himself wrote, "... calling Antara a symphony, I was wrong. My "Antar" was a poem, a suite, a fairy tale, a story or anything, but not a symphony" ^{[10, p. 78]}. The final edition of the work was made in 1897 . "Antar" is based on the plot of the eastern fairy tale of the same name by O. I. Senkovsky. The preface to the score contains the author's detailed program (the four parts of the suite correspond to the four episodes of the fairy tale) ^{[11, p. 2]}.

Interest in the images of the fabulous east is generally characteristic of composers-kuchkists. In this they follow the traditions of "Ruslan and Lyudmila" by M. I. Glinka. N. A. Rimsky?Korsakov adds his vision of the East, colored with timbre colors.

Timbre dramaturgy plays an important role in this work. She is part of the transformations of the main leitmotif of Antar — a typical romantic hero, a kind of "Faust". The first performance of the Antara theme in the first part is entrusted to the violas, then to the cellos. In the second part of "The Sweetness of Revenge", the theme of Antar passes to the wind instruments, acquiring a powerful belligerent sound first of bassoons, and then of brass instruments — trombones, trumpets and French horns. Only in conclusion, the theme sounds ghostly in a high register, first for the flute, then for the violins, as the hero's reaction to the battle that took place. In the third part, "The Sweetness of Power", the theme of Antar appears at the center of the development of two main themes and is entrusted to the formidable harsh trombones. And in the fourth movement, the leitmotif sounds at first bright and sonorous for bassoons and cellos, and then more softly for cellos. Thus, the hero, having passed the test of "copper pipes", returns to his original timbre.

In this composition, the composer attaches particular importance to the timbres of woodwinds. It is with them that the image of the captivating east is associated. So, in the introduction of the first part, the image of a sultry desert is drawn by the hidden theme of bassoons and the ascending motif of the flute. Next, it is the flute that is entrusted with an ornamental oriental melody, which will receive timbre development from clarinets, and then from violins.

In the second part, woodwind instruments mainly have a sound-imaginative function, complementing the picture of the battle. The third part opens with a theme symbolizing the well-being and brilliance of the sultan's power, this is also facilitated by a somewhat "soulless" woodwind choir. The second, more lyrical theme, originally set forth in the strings, finds its timbre development in the flute and clarinet.

The fourth part of "Antara" deserves special attention. The main theme of this part — the languid, elegant theme of love — is entrusted to the English horn. N. A. Rimsky?Korsakov deliberately replaces the oboe with its viola variety to create a special flavor of this theme, the flavor of the captivating sensual east. It is in this capacity that the composer perceives the timbre of the English horn. Thus, in the symphonic suite "Antar" N. A. Rimsky?

Korsakov actively uses orchestral paints to reveal the plot program, create colorful images associated with oriental themes, as well as to draw vivid paintings. This composition shows such characteristic features of timbre development for subsequent opuses as a masterful mastery of orchestral solos and techniques for mixing timbres. Orchestration together with texture is N. A. Rimsky-Korsakov's powerful means of variation, the most important conditions for the variational development of musical material, which the composer knows how to refresh timbre, putting his inexhaustible imagination into it.As noted earlier, the 1880s in the works of N. A. Rimsky?

Korsakov is marked by the heyday of his symphonic creativity. One of the first works of this period is "Fairy Tale" for symphony orchestra. The composer also provides a program for this work. In this case, in the form of a poetic epigraph, the famous Pushkin prologue to "Ruslan and Lyudmila" — "Lukomorye has a green oak". But at the same time the composer notices: "I'm telling my musical fairy tale… My fairy tale is, firstly, Russian, and secondly, magical ... Let everyone look in my fairy tale only for those episodes that will present themselves to his imagination, and does not require me to list in Pushkin's prologue" ^{[10, pp. 184-185]}. Nevertheless, the images of the "Fairy Tale" are often compared with Pushkin's characters, for example, the image of the narrator-cat in the prologue, Kashchey in the main part, the princess in the side, etc.

In this work there is no opposition of "real" and "fantastic". Here all the images are mysterious and mysterious — from the initial saying to the ghostly epilogue. It is noteworthy that the author does not give a genre definition to this work. Indeed, in the "Fairy Tale" there is no picturesqueness, there is no consistent narrative, and there is no conflict that could differentiate the genre of this one-part work. The drama of the "Fairy Tale" can be defined as a kaleidoscope of musical fiction, whimsically emerging and disappearing themes and motifs, while enclosed in a complicated sonata form with an introduction and an epilogue.

In this work, this feature of N. A. Rimsky's orchestral style is most evident?Korsakov, as a fusion of thematism with timbre. Almost all themes and motifs are assigned to a certain timbre. For example, the initial theme, which in further development appears on the edges of the form, always sounds in the bassoon and low strings, and the angular staccato motif in the connecting part sounds in the oboe, clarinet and bassoon.

In addition, the author uses timbre variation as a technique that reveals new facets of the image. Especially noteworthy and relevant for the study is the timbre change in the second chant theme of the side part, which was originally performed by the solo clarinet, and in the reprise it sounds at the oboe, losing its pastoral coloring, becoming more intimate and sensual. The same theme of the oboe against the background of the ghostly flageolets of the harp and the light figuration of the solo violin sounds in the last bars of this orchestral piece, becoming a kind of epilogue of the "Fairy Tale".

The heyday of N. A. Rimsky's symphonic creativity?Korsakov falls in the second half of the 1880s and is associated with the appearance of two masterpieces - "Spanish Capriccio" (1887) and "Scheherazade" (1888). In these works, the author reveals himself to be a mature master of orchestral writing, subordinating the external brilliance of the orchestration to the programmatic and ideological intent of the compositions. Both compositions are distinguished by the composer's attention to "pure" timbres, instrumental solos sound especially bright. In addition, the author freely uses timbre mixes, most often a combination of woodwind and strings to create a new imaginative shade or coloristic paint, as well as to seal the sound of the string band of the orchestra. One of the important orchestral techniques that serve to embody the program idea is the personification of timbres, that is, fixing a certain theme—the image of an instrument.

The features of the generalized program of the "Spanish Capriccio" leave their mark on the use of orchestral techniques. Here N. A. Rimsky?Korsakov uses much less techniques of sound acuity in comparison with other orchestral compositions and opera scores. The composer does not set the task of describing the Spanish nature, although it is invisibly present. The main task of this work is to show the way of life and customs of Spain, its color, Spanish temperament. The shades of this temperament are melodies of various orchestral timbres. Rimsky Korsakov is characterized by frequent soloing of individual instruments, the identification of their specific properties, their individuality. And for each orchestral group, as well as for each instrument, the composer finds his own theme, his own image.

The fourth part is indicative in this respect — "The Scene and the song of Gitana". It is based again on the authentic melody of the Spanish gypsies from the collection of Jose Inzenga. The singing of sustained tones, whimsical rhythms, syncopations, accents and forschlags — all this is the traditional ornamentation of oriental themes. According to the title, the fourth part consists of two sections. The first, the "stage", is a series of performances of individual instruments of the orchestra or their individual groups; the second, the "gypsy song", is built on alternating multiple holding of two themes, similar to the chorus and chorus.

The first section contains a series of solo cadences. There are five of these cadences, but there is a small interlude between the second and third. In each cadence, an instrument of the orchestra (and in the first of them - a whole ensemble of instruments) demonstrates its virtuoso capabilities and its specific abilities, as if it "flaunts" spectacular techniques. It should be added that each solo instrument performing a cadence is accompanied by a tremolo of one of the percussionists, which forms a background that not only supports the soloist, but also creates an additional effect of his performance.

The first cadence is assigned to trumpets and French horns (2 trombe, 4 corni), which perform the main theme of the part in a chord presentation — the melody of the Spanish gypsies. The background for trumpets and French horns is a snare drum (ta mburo).

The next cadence is a solo violin playing the same melody. The violin improvisation is based on playing three and four—tone chords, and at the end of the cadence another spectacular technique is demonstrated - playing flageolets. The violin, as well as the ensemble of brass instruments preceding it, stands against the background of a snare drum, but if the dynamics f was used to accompany the pipes and French horns, then here, accompanying a low-power instrument compared to "copper" and a more "delicate" instrument, it trembles already on pianissimo (ppr), which is a fine detail.

This is followed by an interlude, which is built on the same theme, entrusted in this case to the flute and clarinet playing in the octave. But even before their introduction, an accompanying background with remarkable instrumentation is established: first, for two bars, only percussion (timpani, snare drum and cymbals) play, determining the rhythm of the accompaniment, then violins join them, playing alternately a gso (saltando stroke), then pizzicato (four—tone chord), and only then do the flute and clarinet join in.

The third and fourth cadences are performed by instruments that have been entrusted with the melody in the interlude that has just sounded: in the third cadence, the flute is soloed, in the fourth, the clarinet. Having shown themselves together in one ensemble, they now demonstrate what each of them is capable of individually.

The fifth and last cadence is solo harp. The harp here demonstrates two typical techniques for it: the first is arpeggio and the second, especially spectacular, is glissando. In this section, the composer, following the stated program, unfolds a real performance, where the actors are instruments of a symphony orchestra, each with its own character and capabilities.

Speaking about the orchestration of the "Spanish Capriccio" as a whole, first of all it should be noted that it belongs not just to a mature master, but to a connoisseur of the instruments of the symphony orchestra. Relying largely on the traditions of M. I. Glinka, N. A. Rimsky-Korsakov prefers "pure" timbres, transparent orchestral texture. The composer pays special attention to instrumental solos, which reveal the timbre and technical capabilities of the instruments. The composer also uses mixed timbres (more often it is a combination of wood and strings), while each mix is deeply thought out by the author, carries one or another figurative or coloristic load.Having reached the highest degree of mastery in the field of orchestration in the late 1880s, the composer almost does not turn to orchestral genres in his further work, focusing all his energies on opera.

However, the opera scores are so vivid and expressive, far beyond the accompaniment, that they completely compensate for the absence of purely orchestral works. In addition, mature and late operas by N. A. Rimsky?Korsakov's works are filled with spectacular orchestral episodes that have acquired an independent concert life.Nevertheless, in the 1900s N. A. Rimsky?

Korsakov writes several small orchestral pieces — "Toast" and "Over the Grave". Together with the overture "Bright Holiday", created in the same year as the Symphonic Suite "Scheherazade", these compositions form a group of orchestral compositions in which the specifics of orchestral writing and the specifics of the disclosure of the program plan are associated with the embodiment of the spiritual principle and traditions of Orthodox music.

From the above, it can be concluded that in the symphonic work of N. A. Rimsky?Korsakov fully reveals such an important feature of his musical and creative nature as timbre hearing. As a result, the composer's special attitude to musical timbres is manifested. This includes timbre-shaped synthesis, special mixed compounds in unison and counterpoint, as well as timbre variation as a method of image development.

One of the features of N. A. Rimsky's program symphonism?Korsakov — the use of vivid genre thematism, up to quoting specific topics. The composer uses woodwind instruments with their individual timbre to emphasize genre, as well as to complement the images of genre themes.

Special attention N. A. Rimsky?Korsakov pays attention to woodwind instruments, linking their timbre with a certain imagery, sometimes using the technique of personification of timbre. In addition, in his works, the composer shows the greatest variety of orchestration techniques combined with wind and strings. This is the counterpoint of one of the timbres to another, the connection of strings and wind instruments in unison, the playing of one group against the pedal background of another, as well as more complex relationships between representatives of different groups.

The magnificent master of orchestral writing, N. A. Rimsky?Korsakov pays special attention to the sound of orchestral timbres and the technical capabilities of the instruments. Both the timbre color of the instruments and their technical specifics in the composer's orchestral works are directly related to imagery, the nature of the themes, their genre, and the peculiarities of melodism. Orchestral instruments for the composer are like characteristic actors, performing each in their own role, but at the same time interacting with each other. This is especially true of woodwind instruments, because each of them has an individual bright timbre and its own performance specifics.The analytical excursion of N. A. Rimsky-Korsakov's orchestral program compositions contributes not only to the replenishment of information about the composer's creative appearance as a whole, but also to a deeper understanding of his artistic principles in the field of timbre dramaturgy.

The materials of this article, in the light of the general increased interest in the phenomenon of timbre, may be in demand by modern musicologists studying the principles of instrumentation and timbre filling of symphonic scores.This composition shows such characteristic features of timbre development for subsequent opuses as a masterful mastery of orchestral solos and techniques for mixing timbres.

  Orchestration together with texture is N. A. Rimsky-Korsakov's powerful means of variation, the most important conditions for the variational development of musical material, which the composer knows how to refresh timbre, putting his inexhaustible imagination into it.