Прийоми імітації звучання національних інструментів у фортепіанних транскрипціях китайських композиторів

Abstract

У статті досліджено фортепіанні транскрипції китайських народних інструментальних п’єс, в яких відтворені тембральні особливості звучання китайських народних інструментів. Розглянуто специфіку відтворення прийомів звучання національних інструментів у фортепіанних транскрипціях композиторів Китаю ХХ ст. Охарактеризовано застосування прийомів імітації звучання народних інструментів на прикладі окремих творів малих форм.

В статье исследованы фортепианные транскрипции китайских народных инструментальных пьес, в которых отображены тембральные особенности звучания народных инструментов. Рассмотрена специфика отображения приёмов звучания национальных инструментов в фортепианных транскрипциях композиторов Китая ХХ века. Охарактеризовано применение приёмов имитации звучания народных инструментов на примере отдельных произведений малых форм.

The first examples of author composing creativity in China, which appeared in VI century, show their attention on the tight connection of the national instrumental musician with poetic word. Till the end XIX century already have been existed a lot of author music compositions for national instruments, the most usable were brass and strings. While the improvement of music instruments the very important became the aspects of finical conformity of timbre sounding separate of them with some direct images and mood. Combining European composing art traditions and Chinese national music is expressed in the art of such composers: Cho Lu Tin, Ma Sy Tsun, Lui Tszy, Ma Ke, Lee Chuan Chzsy and others. Their art is intended mostly around program cyclic and small music forms. Fastly comprehended the “orchestra” possibilities of fortepiano, composers of China tried to recreate these impressions in the national art. They were attracted by fortepiano versatility, which has the wide amplitude of dynamic and technical possibilities, can fully perform colors of some national instruments sounding, can occupy the widest diapason of tessiture sounding and dynamic shades. An important became the possibility of wealth of technic piano methods – wide accords placing, usage of accord and interval passages glissando, repetitions, melisms and others. This caused the genre processings and translations emphasis for fortepiano in the art of Chinese composers and their willing to imitate the sounding of native instruments: Van Tszyan Chgon – native songs and instrumental compositions translations “Lyuyan River”, “Hundred of birds bows to phoenix”, “Colorfull clouds in the moonlight”; Chgou Guan – cycle of variations on the native songs themes of the northern region Shansi; Lee Inn Hai “The moonlight and flowers on the spring river”, “Three goodbyes with Yanguan outpost”; Chen Pey Sun – the student of Russian composer and pedagogue Vepryk – famous as the unbelievable master of fortepiano recreation of timber specialties of Chinese native instruments: “The Autumn moon under the silent lake”, “Flowers of jasmine”, “Thunder while the dry season”, cycle “Variations on the Guandun native melodies themes”. An example of arrangement by Chu Van Chua of the play “Moon image in two sources” is most significant in essense of instrumental Chinese music imaging sense, directed by the timber characteristics instrumentalities to thinly detalize the figurative meaning of the composition, willing to recreate the resting state, endless and unhurried visioning of the nature pictures and reflections on its background about existence and structure of the universe. Also this example is a significant in the sense of deep willing of Chinese composers to recreate national instrumental traditions with the instruments of European fortepiano and to adapt it into continuum of the national culture of China.