Musicology Annotation << Back Timbre layers in the cantata «History of Dr. Johann Faust» A. Schnittke Rybkova Irina V. The article discusses the interaction of timbre layers in the cantata "The History of Dr. Johann Faust" A. Schnittke. This composition is significant in the work of the composer, who for many years was attracted by the figure of Faust. Various literary sources allowed him to create a capacious musical portrait of a character, which has become a symbol of the modern era. In stereoscopic interpretation the composer combined different genres, styles, and eras in the score, each of which speaks with its “own” voice. The following independent timbre layers stand out in the score: soloists; saxophone and guitars; wind instruments; brass instruments; drums and piano; choir, organ and string group; celesta and harpsichord. Timber layers are separated, it leads to their mutual attraction and repulsion, as well as their distribution between the poles of the tragedy. Binary drama leads to the appearance of double timbers, head-timbres, which allows us to conclude that the poles are many-sided in the plot of the cantata. Cultural codes of timbres become the key to understanding the content of Alfred Schnittke’s composition. Keywords: Alfred Schnittke, cantata “The History of Dr. Johann Faust”, timbre, cultural code, differentiation of timbres, scope of dramaturgy Good – Evil. DOI: 10.25791/musicology.12.2019.1093 Contacts: - Pp. 14-20.