PIANO SUITE DU MING XIN «MERMAID» AS AN EXAMPLE OF THE COMBINATION OF THE PRINCIPLES OF NATIONAL AND EUROPEAN MUSICAL LANGUAGE

Abstract

The article deals with the piano suite Do Ming Xin «Mermaid» in terms of identifying features of the composer's musical language. It was revealed that the aspiration for its creation was the desire to expand the national piano repertoire and to popularize the melodies of the dance numbers from the ballet of the same name; that the basic theme of the suite was 6 folk dance tunes from fantastic and fantastic scenes of ancient traditional Chinese operas. This determined the appeal of the composer to the means of European impressionistic coloristic (mastery of techniques of sound recording in drawing fantastic images of Ginseng and Water flower, fairy-tale mystical Sea corals, magic hat). The use of the principle of mixing elements of traditional national music with Western European means of musical language has been proved. This is defined as a distinctive feature of the composer's stylistics, manifested in constant experimentation, the desire to assimilate the assets of another musical culture and their involvement in national music practice. As a new qualitative change in the approach to the choice of musical expressive means (in particular, for the reproduction of sounds of nature), the conclusion of pentatonic folk melodies in European musical forms and the superiority of Du Ming Xin in the use of new for Chinese composers by the means of piano and the techniques of traditionalist imitation European instruments. In this connection, the problem of creating a plurality of performing interpretations and playing the instruments of the European Symphony Orchestra by pianists – the mysterious fantasy of the oboe, the sadness of the bassoon, the tenderness of the horn, the brilliance of the trombone – is actualized.