«ORCHESTRA CLASS» IN THE EDUCATIONAL COMPONENTS SYSTEM OF THE PROFESSIONAL TRAINING OF SECOND-LEVEL HIGHER EDUCATION APPLICANTS MAJORING IN «MUSIC ART»

The article deals with the peculiarities of ensemble playing in groups of orchestral instruments as part of an orchestra. The authors of the article show that there are a number of specialized educational institutions in Europe, where performers are divided into orchestral instrumentalists, chamber performers, and soloists. According to these rather specific specializations, there is a considerable list of highly specialized occupations, because not every orchestra player will be able to become a teacher or a performing soloist. Future artists of the orchestra in separate groups of instruments should realize that for the orchestra it is necessary to deeply study the timbre of the sound of their instrument and its capabilities, to be attentive to the timbre coloring of the performers with whom synchronization occurs directly during playing in the orchestra, and the ability to adapt to different groups of instruments during a joint solo. It should be noted that during auditions for European orchestras, the following skills are tested: playing smoothly in an orchestra, intoning; playing all the notes in time, with the correct duration and strokes; "reading" the notes immediately, performing the indicated nuances and agogics; be flexible in interpretation and be able to instantly depict the conductor's wishes in the game; not to have an opinion about the interpretation. These key points, unfortunately, are not often given enough attention by performers at the stages of training in institutions of secondary and higher education. The necessary skills for a symphony orchestra artist are: 1) the skill of pure intonation vertically and horizontally; 2) the ability to feel the dynamic balance of all participants in the ensemble playing of a flute group in a symphony orchestra; 3) the need for timbral fusion of the flute group and full sounding in different registers; 4) unity of understanding in performing strokes in groups of flutes; 5) expressiveness and brightness of phrasing of the ensemble playing of the flute group as part of the symphony orchestra; 6) metrorhythmic sense in ensemble playing; 7) collective understanding of style by a group of flautists in a symphony orchestra. All these skills in their unity will allow the group of flutes to sound like a single harmonious whole.