Мистецтво спілкування соліста й акомпаніатора у вітчизняному виконавстві

Abstract

У статті здійснено аналіз можливостей мистецтва спілкування соліста й акомпаніатора на матеріалах історії вітчизняного виконавства. Аналізуючи проблеми, які можуть виникнути на кожному етапі роботи, автор статті намагається показати шляхи їх подолання, познайомити з «евристичними» відкриттями, дати поради починаючим акомпаніаторам, яким належить працювати з вокалістами в навчальних закладах ІІІ ‒ ІVрівня акредитації ‒ музичних інститутах, консерваторіях, музичних академіях.

The article analyzes the possibilities of the art of communication between the soloist and the accompanist on the materials of the history of the national performance. Analyzing the problems that can arise at each stage of the work, the author tries to show how to overcome them, to introduce the «heuristic» discoveries give advice to beginners accompanist, who will work with singers in schools of III – IV level of accreditation ‒ music institutes, conservatories, music academies. Summarizing the above, concludes study work to be meeting with the singer; sometimes singer can demonstrate their vision and work to advance these tips should listen and pick up on his tone type of work; need to learn the art of transposition, attentive to the word libretto; imagine phonetic difficulties which may meet singer depending on the choice of theme; remember that between the pianist and soloist must always be equal musicians dialogue, not debate, fighting for someone’s dominance. Accompaniment ‒ the foundation, which is based on the role solo. If the «foundation» is not defined, is not sustainable, then the whole «building» work shaken, destroyed. This problem is not limited to those articles that are today. Her following directions are the colorfulness and flicker of accompaniment of vocal works by K. Debussy, and the complexities in the accompaniment of opera music of Russian composers, and the peculiarities of the accompaniment of vocal music of Ukrainian composers of different eras, etc. A separate discussion deserves the study of new works and opera parties with vocalists, because the work of the accompanist and the singer is very interesting, multifaceted, full of wonderful musical finds.