Opuses-versions in M. Ravel`s creativity
The article considers the the author’s transcriptions, instrumentations of piano compositions and suites based on theatrical and film music as the artistic forms to present his previously written works. Being the versions of the original sources with the differences in timbre and genre, the newly created works gain the new function in the cultural space as independent creations equivalent to their original sources. The article makes an attempt to determine the specifics of timbre and genre re-intonation of one’s own previously written material from the viewpoint of its impact on the semantic plan of the source text. In accordance with the methods of working with the previously written material and the degree of closeness of the new work to the source, the opus versions were divided into three groups: a) versions that differ from the source text only in terms of text and texture parameters; b) opus created as a result of “truncation” and compositional reorganization of the “previous” text; c) genre variants, including both previously written and new material. A functional, historical-typological, comparative, complex method of analysis was used, a wide culturological approach was used. As examples of timbre and genre re-intonation of the previously written works, the article analyzes the works of M. Ravel: the orchestral version of “Pavane for a Dead Princess”, two orchestral suites from the ballet “Daphnis and Chloe” and the ballet “Florina`s Dream”. The selected musical material is considered from the position of an analytical identification of the timbre-color and composition-dramaturgical means involved in the formation of a new artistic integrity.
opus-versions, transcription, arrangement, suite, orchestral version, compositions by M. Ravel.