Cпіввідношення композиторського задуму й виконавської інтерпретації (на прикладі «Котекана» П. Свертса)

Abstract

У статті розглянуто композиційно-стилістичні особливості твору «Котекан: для взаємопов’язаних альтового саксофона та струнних» П. Свертса (Бельгія). Проаналізовано реалізацію авторського задуму, його узгодження на прикладі двох виконавських інтерпретацій твору – А. Казаулкаса (Литва) й М. Уварова (РФ).

В статье рассмотрены композиционно-стилистические особенности произведения «Котекан: для взаимосвязанных альтового саксофона и струнных» П. Свертса (Бельгия). Проанализировано реализацию авторского замысла, его согласование на прмере двух исполнительских интерпретаций произведения – А. Казаулкаса (Литва) и М. Уварова (РФ).

The article deals with stylistic features of the embodiment of the author's conception and its coordination with two performing interpretations of the musical work uder the titile of Kotekan: Interlocking for Alto Saxophone and Strings, (further «Kotekan») by Piet Swerts (Belgium). Two executive interpretations of the given work by A. Kazaulkas (Lithuania) and M. Uvarov (Russian Federation) are analyzed. The author gives a special attention to the problems of interpretation of wind repertoire of the XX and the beginning of the XXI century. It is concentrated on the problems of the comprehension of the composer’s conception and his corresponding message to the listener through the practice of the concert and performing activities. The scientific novelty of the publication consists in the attempt of the musicological and interpretatation analysis of «Kotekan» by Piet Swerts, the appraisal of which has not been consolidated in the musical science so far. The article gives some information about Piet Swerts (1960) who is a modern Belgian composer, the conductor and the pianist, the professor of Institute of Zh.-N. Lemmensa (Lemmensinstituut), the honourable professor of the European higher education institutions of the Netherlands, Great Britain, Portugal, Finland, Spain, Italy. The article analyses Kotekan: Interlocking for Alto Saxophone and Strings, (further «Kotekan») by Piet Swerts which is part of the obligatory programs of many international contests which stimulates the emergence of its numerous performing interpretations and, in its turn, the necessity of the survey of some accurate criteria of the evaluation of the musical performing mastery. In particular the article is devoted to the analysis of music works «Clone» and «Kotekan» (2006) which were created by Piet Swerts for some international saxophonic competitions. The article presents the term kotekan which has the meaning of the performing style of the fast interconnected instrumental parties in many ensembles of the percussion instruments which are better known under the collective name of a bale orchestra of the Gamelan. The music work by Piet Swerts demands a high technical level of the performance (the saxophone in partuicular), due to its superfast tempo of its second part. Similarly, not less important is the appropriate application of contecan’s manner of performance. The article gives the comparison of two performing versions of the work under consideration: by a Lithuanian A. Kazaulkas and a Russian M. Uvarov. A. Kazaulkas’s performance (2007) accompanied by a chamber orchestra Sinfonietta Riga under the direction of the conductor of Normunds Šnē. A. Kazaulkas’s performance shows the ease and unconstraint which is inherent in this genre. It is expressed by a faster tempo of the performance and its liberal and improvisational interpretation of the given piece which is characterized by an exclusive melodiousness, a paradoxical combination of technical accomplishment and the ease of the implementation of the musical text. The «Kotekan» was performed by D. Uvarov accompanied by the Chamber orchestra of the State Academic Chapel of St. Petersburg under the direction of M. Valkov in 2012. D. Uvarov’s performance was more dramatized, intense and with a low tempo. The authentic style of kotekan’s performance and the ease which is naturally inherent to the saxophone was completely excluded. Piet Swerts, the author of the musical work, recognised A. Kazaulkas’s performance as one of the best ones. The success was achieved due to the musician’s taking into consideration the principles of the performing style of kotekan. The article highlights «Kotekan» as highly artistic work, representing modern saxophonic literature, which fully opens a masterly potential of the saxophone. Being often included into the basic performing repertoire it is repetedly performed at different stages of the mastering of the saxophone performance both by students of music colleges and higher educational institutions. The preparation of the concert performance of «Kotekan» presents some interest and challenge for highly skilled saxophonists as well.