Ensembles with the participation of Belarusian dulcimer, guitar, percussion instruments: a single experiment or a new timbral paradigm?
The individualization of the chamber ensemble cast is one of leading trends which are significant to the development of modern chamber instrumental music. Belarusian dulcimer, guitar and percussion instruments found themselves in the epicentre of such ensemble experiments in the works by composers of Belarus. The intention of the article is to reveal the directions of timbre-sonorous searches in the works by Galina Gorelova: «Sudoku» for dulcimers ensemble and percussion, «Sad Ghosts of Disappeared Castles» for guitar and dulcimer, «Seven Elegies by Li Bo» for guitar and percussion. The examined works show a new mind on the expressive and technical potential of instruments. Static sonorous works and dynamic «Asian» compositions disclosed original timbre possibilities of dulcimer and guitar, which are caused by striking or plucking the strings, preparing, playing in the high register, body punches, and others. The search of more and more fine tones, the invention of new instruments and their combinations is the main tendency of enrichment the percussion range of expression. Ensembles of this kind are single in the Belarusian music yet, which allows reckoning them in experimental ones.
chamber ensemble, dulcimer, guitar, percussion, G. Gorelovа, timbre, sonorism.