Музично-виразові властивості труби в симфоніях Петра Чайковського

Abstract

У статті досліджено особливості застосування партії труби в симфоніях Петра Чайковського. Розглянуто специфіку використання її музично-виразових властивостей та технічних можливостей. Охарактеризовано функції партії труби в симфонічних творах П. Чайковського.

В статье исследовано особенности применения партии трубы в симфониях Петра Чайковского. Рассмотрено специфику использования ее музыкально-выразительных свойств и технических возможностей. Охарактеризовано функции партии трубы в симфонических произведениях П. Чайковского

In the article the features of application of trumpet in Petro Tchaikovsky’s symphonies are investigated. The specific of using its musical and technical properties is considered. Musically and performing findings of P. Tchaikovsky as a composer-symphonist in interpretation of party of trumpet became a standard for the next generation of composers and performers. In six symphonies P. Tchaikovsky applied two chromatic trumpets, not always using them in all movements. Tuning of trumpets is different in all works of a composer. Modern trumpeters, performing P. Tchaikovsky’s works, tune orchestral parties of trumpets in the tuning in В. Cornets with pistons in the P. Tchaikovsky’s symphonies are absolutely absent (accept the Manfred Symphony, where additionally are added two cornets). P. Tchaikovsky used trumpets at his symphonic scores leaning on a certain creative conception. They are absent not only in some movements of early works (Symphonies No. 1, 3) but also at some works of a mature period. In an early and mature periods composer used trumpets that transpose upwards (in С and in F), in late years of his life he used trumpets that transpose downwards (in А and in В). Trumpets in the P. Tchaikovsky’s symphonies are used in a different way: often as an accents of two instruments in an octave ff in tutti, or harmonic accents, underlining sf harmony with wooden, roll-calls with wooden instruments and horns, octave pedals and harmonic voices with a horn, underlining of pedals of strings etc. P. Tchaikovsky used trumpets sufficiently often, however some special conception of its using is absent. P. Tchaikovsky considerably dramatized sounding of trumpets, its solo episodes in his symphonies are filled with large internal tension maintenance, for example, themes of fate, destiny. Especially responsible role of trumpets is in his last three symphonies. In the Symphony No. 4 a trumpet plays a theme of anxious and ominous destiny. In the Symphony No. 5 party of trumpets is connected with a sullen and severe character, especially in the finale of this work. In the Symphony No. 6 the laconic and victory remarks of trumpets strengthen and make more prominent the tragedy of a Finale. On the whole, in P. Tchaikovsky’s symphonies trumpets appear wherein musical development reaches an apogee: in culminations, in tutti, as a support of orchestral growths, and, at the same time, as a brilliant orchestral sounding, in moments where a special dramatic effect is needed.