PERFORMANCE ANALYSIS OF VSEVOLOD RYBALCHENKO’S SOLO SINGINGS ON POEMS BY TARAS SHEVCHENKO

Abstract

The article presents a performance analysis of V. Rybalchenko's solo singings, collected in a cycle “Six romances to the words of Taras Shevchenko: for a high female voice accompanied by a piano” (1966). It is determined that the cycle consists of romances that are diverse in their figurative content and dramatic nature, each of which reflects the genre characteristics of the Ukrainian solo singing: couplet form, interpenetration of poetic words and music, simplicity and sincerity of emotional content, aesthetic beauty and perfection of musical thought. Found out that V. Rybalchenko in his cycle “Six romances to the words of Taras Shevchenko” builds the dramaturgy of each number on the principle of contrast for the multifaceted disclosure of the poetic text, emphasizing the timbre and dynamic characteristics of the vocal sound, harmonic language work as important factors of dramaturgical development and musical expressiveness in revealing poems of the Great Kobzar: psychologically in-depth, philosophically contemplative, lyrically thoughtful, epic. An analysis of the performance manner of the modern Ukrainian singer Valeria Tulis in the interpretation of V. Rybalchenko's solo singins, which gained fullness of expression due to the formed sound culture defined by the school of Professor Valentina Antonyuk, as well as her artistic worldview, level of aesthetic development, was carried out. It is noted in the work that the search for ways of expressing musical thought corresponding to the author's idea in V. Rybalchenko's vocal cycle “Six romances to the words of Taras Shevchenko” determined the development of performance features that affect the nature of the presentation of the musical image and are manifested in soloist’s performance tendency to detail psychological states and moods, strengthening of intonation and phonic nuances of musical speech, and in general – personification of the performing manner of reading and stage embodiment of the composer's idea of the work.