Концертмейстерська інтерпретація вокальних циклів «Сім віршів Фредеріко Гарсіа Лорки» та «Два вірші Дзюна Такамі» Богдана Сюти

The aim of the article is to highlight peculiarities of artistic and musical interpretation of vocal works by the Ukrainian composer Bohdan Siuta to the words of foreign poets in the aspect of a concertmaster’s performance. Results. Features of the composer’s interpreting of the interaction of poetic and musical texts, as well as their understanding and transmission by the concertmaster-performer are revealed. A hermeneutic approach to understanding the content of vocal cycles grounds on the aesthetics of symbolism of Federico Garcia Lorca’s and Jun Takami’s poems. Musical-expressive and pianistic means by which the composer conveys his artistic interpretation of literary texts are characterised. One of the main components of reproducing the essence of poetic fundamentals are the genre and style peculiarities of compositions, sound representation, the master’s individual harmonic language, formative features of romances. The interaction between the piano presentation and the vocal ground is highlighted. It is determined that the melodic performance of the soloists is characterised by declamation and recitativeness. At the same time, the pianistic texture of the accompaniment is marked by sound colourful illustration. Delving deeper into these musical components of the romances should become an interpretive reference point for concertmasters during the stage performance. Scientific novelty. For the first time in modern national musicology, a performance analysis of B. Siuta’s vocal works as models of the Ukrainian chamber-vocal cycle, based on the poems of world poets of the 20th century, is carried out. The aspects of musical interpretation that can be useful for accompanists-practitioners in their practical activity are outlined. Conclusions. It is grounded that the plot and sense dimension of the poetic basis of the vocal cycles Seven Poems of Federico Garcia Lorca and Two Poems of Jun Takami by B. Siuta model the choice of the artistic and musical means based on neo-romantic stylistic principles and symbolic images. The performance components of vocal parts and piano accompaniments, which can become a basis for creating an individual concertmaster’s interpretive model, are grounded.