The specifics of orchestration in Concertos for Bayan and Orchestra by E. Podgayts
The article deals with the features of orchestration and its relationship with the figurative sphere of concertos for bayan and orchestra by E. Podgayts. The specifics of the composer’s interpretation of the instruments of the orchestra, the features of their interaction with the solo bayan are analyzed. The characteristic of traditional and new methods of organization of solo and orchestral texture is given. Orchestration in the concertos by Podgayts becomes the means to implement the principle of game, an effective dramaturgic instrument. With the help of orchestration composer additionally “lights” the gaming interactions between the soloist and orchestra, intonational combinatorics, original thematic “inclusions”, gives parallels with the music of other eras and styles. The feature of E. Podgayts’s orchestration is the personalization of orchestral instruments, when individual instruments play the role of certain “characters” of the concerto action. Woodwinds, brass and percussion instruments are the most often to act in such roles. In the sphere of solo texture the composer reinterprets traditional bayan techniques, interprets in a characteristic game modus. The soloist’s part is very virtuous, it accentuates elements of competitiveness and improvisation typical for the instrumental concerto. The author actively uses the chord technique, supplementing it with various glissanding effects, accent rhythm, playing techniques with bellows. Orchestration for the composer is a way of self-expression, emphasizes the stylistic and imaginative openness of his music.
Podgayts, concerto, accordion, orchestra, imaginative sphere, orchestration, thematism.