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E. Ponomareva

Principles of creative co-operation of a singer and a concertmaster (on the example of romance «If I Had Known» by P. I. Tchaikovsky)

The article is called for identifying the most important problems of formation as applied to ensemble consciousness of a singer and an accompanist, constituting equal tandem. Based on her own experience of teaching, the author seeks to clearly and completely submit to the creative youth the specific laws of the profession and, above all, the specific mechanisms of the creative partnership. Moreover, the possibility to overcome the common prejudices about the «secondary» and «subordination» of accompanist’s profession in relation to a soloist-vocalist is accentuates. In the high-school course of training, the two ensemble members receive unlimited prospects of development their partnership skills in a close consolidation. With the example of specific composition – the romance «If I’d known...» by P. Tchaikovsky – the researcher presents the principles of «multi-focus» and associative-imagery thinking, which assist the partners to cope successfully with mastering of the artistic text: to comprehend and intone the three-line «score» of romance, to build a performing dramaturgy with joint efforts, to provide and realize in detail the intonation scenario of work (not forgetting that the poetic text in vocal music equally defines the artistic intentions of the singer and accompanist). Improving associative, tonal and textural hearing, mastering the rules of ensemble creative activity and achieving fusion of performance, the interpreters attain vast horizons of creative searching and happy insights in an organic union.

Key words

chamber singing, art of accompanist, «multi-focus» attention, associative imagery thinking, dramaturgic performing plan, intonation analysis.