PRELUDE AND FUGUE IN C MAJOR FROM THE CYCLE 24 PRELUDES AND FUGUES FOR GUITAR BY N. KOSHKIN: FEATURES OF THE INTERPRETATION OF POLYPHONIC TECHNIQUES

The article is devoted to The Prelude and Fugue in C major from Nikita Koshkin’s previously unexplored cycle 24 Preludes and Fugues for Solo Guitar. The Prelude and Fugue in C major is considered in the context of the increasing importance of polyphonic means in works for guitar in the second half of the XXth century. The properties of the instrument that contribute to the polyphony of the musical text are indicated. Counterpoint techniques can be found in compositions for the classical guitar since the beginning of the XXth century, the fugue genre appears in the guitar repertoire towards the end of the century in the works of M. Castelnuovo-Tedesco, L. Brower, I. Rechin, G. Japaridze. N. Koshkin’s mastery of the instrument allows him to reveal the full polyphonic capabilities of the guitar. Samples of contrast polyphony appear already in his early opuses, and imitative polyphony becomes characteristic of fugues. It is shown that The Prelude and Fugue in C major for guitar evokes allusions to a mini-cycle from the first volume of Bach’s Well Tempered Clavier written in the same tonality, which is manifested in the emerging figurative, thematic and compositional parallels. The composer uses various polyphonic techniques, including mobile counterpoint, stretta, inversion and rhythmic increase of the theme. The characteristics of the instrument become a source of thematic material.