Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)

Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals (S. Savenko) of orchestral thinking and orchestration as a set of technological methods. Analysis of recent research and publications. The theme of time and its specificity in Igor Stravinsky’s works is studied discreetly in the monograph by S. Savenko (2001), which discusses it in connection with the study of meter and rhythm, motif technique, musical form. The notion of space is not a scientific problem in the monograph, but the author discusses it in relation to texture and orchestration. The separate sections of the monograph by M. Druskin (1982) are devoted to the issues of time (Motion) and space (Space). In the first one, the musicologist emphasizes the importance of the visual images and body movements for the composer. The author distinguishes two approaches of I. Stravinsky to the course of time: the first approach evenly regulates it, the second one constantly violates it, because it is full of emotions and psychic states (Druskin, 1982: 135). In the section Space, M. Druskin (1982: 140–141) emphasizes the composer’s intended attitude to the issue of space organization, in which he continues the discovery by Claude Debussy. The essence of innovation lies in the creation of a multicenter composition that involves the coexistence of many points of view (1982: 143–150). O. Sokol (1974) also discusses the above concept of time but in order to substantiate the principle of similarity in the creative method of the composer. A special study on the issue of rhythm and time in I. Stravinsky’s works is the doctoral dissertation by A. Makina (2010). The analysis of the rhythmic and temporal structures and the rhythmic technique of the Symphony of Wind Instruments allows the author to conclude that “Stravinsky’s innovation is to strengthen the structural rhythmic component of the composition as an alternative to tonal development...” (Makina, 2010: 12). Objectives of the researching. In the above works, the orchestration by I. Stravinsky as a system of technological methods of organizing material in time and space does not become a subject of special study. Therefore, the aim of this article is to study the specifics of the spatial and temporal organization of I. Stravinsky’s composition as exemplified by the work of his neoclassical period (the ballet Apollon Musagète) in the aspect of orchestral composing. Discussion and results. In the early works, I. Stravinsky develops the orchestral technique of composing based on the multi-figure principle. It allowed the composer to embody in his artistic system new ideas about time and space according to the worldview, which has changed dramatically in the modern culture. The figure in the orchestral texture means, as we define it, a formula that is delineated with intonational, rhythmic, texture, register, and timbre means, or with a set of means outlined in a plastic-characteristic, visual way. It can be repeated accurately (ostinato) or alternatively. The multifigure technique in horizontal projection is realized at microand macro-syntactic levels. In the organization of time, it generates increased eventfulness, semantic density. In vertical projection, the multifigure technique is manifested in the combination of different figures in a polysyllable texture organized on the principle of complementarity. This enriches the orchestral texture with spaciousness. The preservation of the multifigure technique as a constant of I. Stravinsky’s composer thinking comes from the peculiarities of his style system. The style of the composer, according to many researchers, is based on the dialectical interaction of universal (stable) and variant (mobile) aspects at different levels of stylistic integrity. The orchestration parameter contains new “neoclassical” qualities and stable orchestra composing techniques (the multifigure technique). Let us turn to the ballet Apollon Musagète (1928). The selected composition of the orchestra is expressly “classical”: the string orchestra forms a timbre-soldered organism, devoid of the bright color of woodwind and brass instruments. The result is a monochrome sound, essentially continuous, because it does not change its timbre throughout the ballet. In the works of the neoclassical period, the composer reproduces certain qualities of the model (Savenko, 1977). We assume that purposeful continuous time and homogeneous space are also subject to simulation. A powerful means of modeling continuous time is the “long” melody that the composer designs. Its unfolding in the context of timbre monochromaticism really creates an auditory illusion of a timeless expression that goes on in time. However, a visual analysis of the score testifies to the effect of the multifigure technique, which imparts a process of discreteness. The figures help break the melody line, register contrasts, timbre interception. Vertically, based on the figure composing, counterpoints and duplications (usually inaccurate) are built, which violates the homogeneity of the space and gives it a variable density. Conclusions. The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique. The multifigure technique undergoes modifications, as it interacts with the techniques that matured in the neoclassical period (“long” melody, monochrome timbre), and it aimed at modeling the “classical” directed continuous time and homogeneous space. As a result, the multifigure technique breaks the continuity of time by giving it discreteness; creates an inhomogeneous space. The author sees the prospects of the study in the analysis of opera scores, in which the multifigure technique comes in the complex interaction with the words.