Instrumental expressive resources in «Three pieces» for clarinet solo by I. Stravinsky
The article characterizes the cycle «Three Pieces » for clarinet solo (1918) by I. Stravinsky. The author deals with the history of creation and correlations between this triptych and musical-theatrical, orchestral, chamber-ensemble works by I. Stravinsky in 1910s («Petrouchka», «The Song of Volga Barge Haulers», «The Canto Without Name» and others). The researcher’s attention focuses on the imagery and emotional order of the «Three Pieces», its dramaturgic logic and the individual reading of the genre of instrumental miniature (the latter is nearly connected with the paradoxicality of thinking which is inherent in the composer). Hence the most significant principles of the performing phrasing and articulation, dynamics-of-loudness relief of the every piece are examined in the article, and the tempo-metronomic directions by the composer are analysed. The many-sided representation of clarinet’s timbre-phonic means which comes true owing to the ingenious comparison of two varieties of this instrument, in A and in B flat, is of particular interest. At the same time, the researcher aspires to mark the priority elements of musical thematism and syntax, that are grown from traditions of national folklore music-playing. These elements cause quite a number of interpreter’s solutions conformably to the «Three Pieces».
I. Stravinsky, «Three Pieces» for clarinet solo, genre of instrumental miniature, performing interpretation, resources of performing expression.