Abstract: Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as: the timbre-texture embodiment of thematic invention (the peculiarities of orchestra compositions); the ensemble combinations of instruments and their meaning. The authors also analyze the composer’s favorite timbre-texture techniques. The authors define and consider the phenomenon of “timbre pointillism” typical for the timbre writing of the composer. The original symphonic works by Tchaikovsky have been studied many times. In 2019 a research by Yu. Abdokov was published in which the author considers the peculiarities of an orchestra in Tchaikovsky’s theatrical music. The orchestra in his symphonic compositions also has theatrical features, however with some peculiarities. The features of Tchaikovsky’s timbre-orchestra writing haven’t been analyzed yet, and this fact determines the scientific novelty of the research. The authors attempt to generalize the peculiarities of the timbre writing of the composer. Tchaikovsky himself always emphasized the necessity of a single and final variant of orchestration. 
 

Abstract: The article studies the symphonic art of the modern Tatarian composer Rashid Kalimullin. The author analyzes 7 symphonies created by the composer in 2000 - 2015. Special attention is given to the orchestra and timbre-texture techniques used by the composer. The author considers only a small part of issues connected with Kalimullin’s orchestra scripts, namely the orchestra parts of symphonic music; solo timbres; typical ensemble combinations integrating timbre-texture techniques (“cliches”). Orchestration is by all means in the focus of the study, but the author also analyzes it in combination with other means of music language. The author uses the ideas and concepts contained in the works of foreign and Russian researchers of orchestration and the composers themselves, including I. Barsov, G. Berlioz, A. Blagodatov, A. Kars, N. Rimsky-Korsakov and others. The author comes to the following conclusions. Vivid and picturesque orchestra scripts of Kalimullin is one of the most important components of his creative style. The diversity and individuality, typical for the symphonies, are created in many respects by means of his timbre-texture characteristics. The author finds out the set of the most favourite composer’s timbres used by him as “soloists”, and the typical timbre combinations. The detailed analysis of Kalimullin’s symphonies for full orchestra helps reveal the set of timbre techniques (“cliches”) used in various works of the composer. 
 

Abstract: The article studies the symphonic art of the modern Tatarian composer Rashid Kalimullin. The author analyzes 7 symphonies created by the composer in 2000 - 2015. Special attention is given to the orchestra and timbre-texture techniques used by the composer. The author considers only a small part of issues connected with Kalimullin’s orchestra scripts, namely the orchestra parts of symphonic music; solo timbres; typical ensemble combinations integrating timbre-texture techniques (“cliches”). Orchestration is by all means in the focus of the study, but the author also analyzes it in combination with other means of music language. The author uses the ideas and concepts contained in the works of foreign and Russian researchers of orchestration and the composers themselves, including I. Barsov, G. Berlioz, A. Blagodatov, A. Kars, N. Rimsky-Korsakov and others. The author comes to the following conclusions. Vivid and picturesque orchestra scripts of Kalimullin is one of the most important components of his creative style. The diversity and individuality, typical for the symphonies, are created in many respects by means of his timbre-texture characteristics. The author finds out the set of the most favourite composer’s timbres used by him as “soloists”, and the typical timbre combinations. The detailed analysis of Kalimullin’s symphonies for full orchestra helps reveal the set of timbre techniques (“cliches”) used in various works of the composer. 
 

Abstract: The article considers choral works by He Luting (He Luting, 1903-1999) — a great Chinese composer, musician-theorist, teacher, public figure, who had a considerable influence on the development of musical culture of China, the author of a large number of diverse works for orchestra, piano, and chorus (approximately 48 pieces). He Luting also wrote music for films. There are several works in Chinese focused on his life and work, but there is no such a research in Russian. The choral works by the composer haven’t been given any special consideration both in Chinese and Russian musicology. The first section of the article describes the main biographical landmarks of the composer, the second section analyses the choral works by He Luting. "The Collection of Choral Works" is a collection of twenty-three works written in the forty-four years period, which were collected and prepared for publication by the composer himself. The article analyses themes, features of the performing line-up, composition, musical language, as well as choral texture of the compositions.

Abstract: The article considers choral works by He Luting (He Luting, 1903-1999) — a great Chinese composer, musician-theorist, teacher, public figure, who had a considerable influence on the development of musical culture of China, the author of a large number of diverse works for orchestra, piano, and chorus (approximately 48 pieces). He Luting also wrote music for films. There are several works in Chinese focused on his life and work, but there is no such a research in Russian. The choral works by the composer haven’t been given any special consideration both in Chinese and Russian musicology. The first section of the article describes the main biographical landmarks of the composer, the second section analyses the choral works by He Luting. "The Collection of Choral Works" is a collection of twenty-three works written in the forty-four years period, which were collected and prepared for publication by the composer himself. The article analyses themes, features of the performing line-up, composition, musical language, as well as choral texture of the compositions.

Abstract: The article considers the piano works by the famous Chinese composer Du Mingxin (Du Mingxin, born in1928).  Due to the fact that few Russian readers know this name, the first part of the article presents a brief summary of the biography of the composer. The main attention is paid to the events that influenced the composer's creative personality. The second part of the article deals with the analysis of one of the last compositions for piano - 'The Album for the Youth of the New Century' suite. In the process of analysis the author identifies a number of features that allow us tocall the compositions a cycle. Each of the four pieces of music that make up the suite has been examined in detail: figurative structure, features of the genre, form, musical language. In the musical language of the suite 'The Album for the Young of the New Century' the composer combines features of national music (intonation, modal features) and traditional Europeantechniques in music composition.