Compositional methods of arrangement in the context of moderndirections of ensemble performance on folk instruments

The article examines the trends that have developed in the field of ensemble performance on folk instruments and are reflected in compositional methods of arrangement. It is noted that the arrangement, becoming an independent kind of creativity, close to the composer, raises the problem of professionalization of approaches in the work with the original source. The main features of modern interpretation of folk instruments in the field of ensemble performance are revealed. One of the lines of ensemble performance is associated with the development of academic orientation in the interpretation of folk instruments. The main means of fine transmission of the figurative structure of the performed music is the timbre-register palette, original factual finds and the use of a wide range of sound retrieval techniques. An interesting experience of expanding the expressive possibilities of arrangement was the search for timbre identity of folk instruments - Russian (domra, balalaika) and Iranian (tar, setar), in the creation of the ensemble “Skaz”. In particular, to speak of their kinship, belonging, in accordance with the generally accepted scientific classification of musical instruments, to a group of stringed plucked (chordophones) allows. However, the similarity of constructive elements, the timbre semblance, the version of the origin of domra and the techniques of sound extraction bring them closer together. The sphere of intonation turns out to be completely polar: the mobility of the tare and the setar is due to the peculiarities of the structure of the macam - the melodic model with elements of microchromatics, which does not correspond to the European system of the tempered system. Nevertheless, the organological identity manifested in “generalization through timbre” allows one to experiment boldly with Iranian melody, without interfering with the microamatics of the maqam. Another direction in the field of ensemble performance is directly related to the ancient layer of Russian culture - buffoonery. However, representatives of this current have only internal outlines of this phenomenon of national culture. Russian folk instruments are used as symbols of folk musical art that are stable in the minds of consumers of mass culture, in which one can see signs of speculation in the values of truly popular culture. This approach was also reflected in the means of arrangement, where the virtuosity and installation of external effects comes to the fore. This involves the use of fairly primitive instrumental solutions. At the head of all pseudo-artistic decisions is commercialization, and not a “new look” at Russian folk instruments, as declared by the adepts of this direction.

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