«LIAN SHANBO AND ZHU YINTAI» («THE BUTTERFLY LOVERS») VIOLIN CONCERTO BY HE ZHANGHAO AND CHEN GANG IN AUTHOR'S TRANSCRIPTIONS: IMAGERY-SEMANTIC AND GENRE TRANSFORMATIONS

Abstract

The article examines for the first time the differences between the original musical text of the Concerto for Violin and Orchestra "Liang Tanbo and Zhu Yingtai" by He Zhanghao and Chen Gan and the transcription for violin and string quartet created by Chen Gan, from the standpoint of the variability of the embodiment of musical images in accordance with the semantic roles of different instruments and the laws of different instrumental genres. The figurative semantic and genre transformations of the original musical material are traced, as well as changes in the approach to the interpretation of textural development in the original symphonic and chamber versions of the work. It is established that changes in the textural design of the material also lead to transformations of the figurative content and genre features. In particular, in the lyrical sections of the concerto (introduction, side part or coda), the monologic nature of the statement, the coloristics of the timbres and the pastoral figurative mode of the original version are transformed into dialogicity, graphic lines and a lyrical-psychological content mode in the transcription for the chamber ensemble, and in the main part the epic sublimity of the orchestral original gives way to a dance-scherzo figurative plan in the chamber transcription.The juxtaposition of solo and tutti as the main factor of textural development and the driving force of musical drama in the symphonic score of the Concerto partially gives way to a textural crescendo and the principle of textural contrast between the large sections of the form in the chamber version (the juxtaposition of a transparent, deliberately simplified quartet texture of the exposition and a condensed musical fabric in the development and coda).It is shown that if the original for violin and symphony orchestra is dominated by features of concertity and regularity of symphonic thinking, then the transcription for violin and string quartet acquires typical features of the chamber genre, including detailing of musical material, economy of means of expression, equality of voices, deepening of the psychological principle.Thus, Chen Han's version for chamber ensemble is not just an arrangement of a symphonic score for chamber ensemble, but also a completely independent artistic interpretation of the original composer's idea.