PYOTR ILYIC TCHAIKOVSKY’NİN 4. SENFONİSİNDEKİ FAGOT PARTİLERİNİN İNCELENMESİ
EXAMINATION OF THE BASSOON PARTS IN PYOTR ILYIC TCHAIKOVSKY'S 4TH SYMPHONY
Author(s): Hande GünalanSubject(s): Music, 19th Century, Sociology of Art
Published by: Sanat ve Dil Araştırmaları Enstitüsü
Keywords: Pyotr Ilyic Tchaikovsky; Bassoon; Symphony;
Summary/Abstract: Pyotr Ilyic Tchaikovsky, one of the important romantic composers of the 19th century, is counted among the most important composers of his period with his musical instruments, chamber music and orchestral works. The harmonic structure, which approaches the chromatism in his works but preserves his tonal line, and the use of colorful and deep orchestration are some of the most important elements that distinguish Tchaikovsky from his contemporaries. Unlike the national Russian school, Tchaikovsky, known for his closeness to European composers, did not refrain from using local themes and benefited from the elements of Russian music. The composer's 4th Symphony is an important orchestral piece that carries these elements. It is seen as one of the most productive works of the composer with its orchestration originality and melodic structure reflecting the Slavic tone. The attention of the composer to the orchestration is also clearly seen in the bassoon parties. Reflecting the characteristics of the bassoon, which is called the cello of wind instruments, in the bassoon's bass and bass region, both parties are sometimes given the task of solo but generally accompaniment. It is thought that this study will be a guide for bassoon performers and performer candidates who want to study the bassoon parties in Tchaikovsky's 4th Symphony.
Journal: İdil Sanat ve Dil Dergisi
- Issue Year: 12/2023
- Issue No: 109
- Page Range: 1338-1345
- Page Count: 8
- Language: Turkish