The article analyzes for the first time the timbre‑poetic morphology of the final chamber‑instrumental score of one of the greatest Russian composers of the 20th century — B. Chaykovsky (1925–1996). The Sextet for harp and wind instruments embodying the semiological properties of the super‑chamber and orchestral palette is considered in the context of the composer’s phenomenology, style attribution, and adequate interpretation of the work. The main principles of timbre‑poetic analysis are the lexical elements of instrumental‑ensemble and wider — orchestral writing, which form the style of B. Chaykovsky: spatial perspective thinking; typology of timbre thinking (which is not equivalent for B. Chaykovsky to stable chrono‑ and tempo‑metric measurements); color palette and etymology of instrumental painting; specificity of timbre “optics”; timbre texture and plastic; timbre tectonics; sound‑timbre divisionism; luminescent, light‑and‑shadow accentuation of the palette. For the first time, B. Chaykovsky’s evaluative judgments concerning various issues of the theory and practice of instrumental (orchestral) writing are published, revealing the individual properties of the composer's timbre poetics.
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