Kompromisinės atlikimo strategijos: Sofijos Gubaidulinos Sonatos 'Et expecto' akordeonui interpretacijų analizė
LTVienas fundamentaliausių muzikos atlikėjo uždavinių – visus partitūroje kompozitoriaus užfiksuotus ženklus (artikuliaciją, dinamiką, išplėstinių technikų efektus ir t. t.) kuo tiksliau transformuoti į girdimus muzikinius įvykius. XX amžiaus partitūrai, pasižyminčiai virtuoziška, sudėtingos ritmikos, ekstremalios dinamikos, įvairių išplėstinių technikų prisotinta muzikos kalba, neretai pranokstančia netgi paties instrumento technines galimybes, reikalingas ypatingas atlikėjo preciziškumas. Tokiais atvejais atlikėjai turi pasirinkti, į kuriuos partitūros ženklus atsižvelgti labiau, o kurių nepaisyti. Taip sukuriamos kompromisinės atlikimo strategijos, kurios tampa ne tik kiekvieno atlikėjo pasirinktu techniniu sprendiniu, bet ir unikalios muzikos kūrinio interpretacijos dalimi. XX a. pabaigos akordeono repertuaro kūriniuose dar formavosi įvairios akordeono galimybes praplečiančios atlikimo technikos, tad toks kompromisinių strategijų fenomenas itin dažnas. Ne išimtis ir Sofijos Gubaidulinos kūryba. Nors kompozitorė gerai pažino akordeono galimybes, jos kūriniuose taip pat galima aptikti atlikėjams iššūkius keliančių epizodų. Taigi, siekiant apžvelgti ir palyginti atlikėjų naudojamas kompromisines strategijas partitūros atžvilgiu ir įvertinti šių strategijų meninį rezultatą, straipsnyje bus analizuojamos Sofijos Gubaidulinos Sonatos 'Et expecto' atlikimo interpretacijos. Reikšminiai žodžiai: Sofija Gubaidulina, Sonata 'Et expecto', interpretacija, kompromisinės strategijos, spektrograma.
ENOne of the most fundamental tasks of a music performer is to transform as accurately as possible all the composer’s marks in the score (articulation, dynamics, effects of advanced techniques, etc.) into audible musical events. The score of the 20th century requires a special precision of the performer. It is characterized by the language of music, which is virtuoso, consists of complex rhythms, extreme dynamics and various extended techniques. in this way, it often surpasses even the technical capabilities of the instrument itself. In such cases, performers have to decide which signs to take into account more, and which ones they can ignore. This creates compromise performance strategies which become not only the technical solution chosen by each performer, but also it is part of a unique musical interpretation of a piece. The main goal of the article is to analyze interpretations of Sofia Gubaidulina’s Sonata Et expecto. There were nine interpretations of 'Et expecto' selected for the research: Friedrich Lips (1992), Geir Draugsvoll (1995), Harald Oeler (2007), Semion Shmelkov (2008), Iñaki Alberdi (2011), Francesco Palazzo (2013), Javier López Jaso (2015), Vincento van Amsterdam (2017) and Nikola Tanaskovich (2019). The object of the article is technically difficult movements of Sofia Gubaidulina’s Sonata 'Et expecto', the problems of their performance and compromise solutions. When performing clusters in pp dynamics, performers try to mask the inaccuracy of sound attacks due to the specifics of the air distribution in the bellows by using dynamics that are more pronounced than in pp (subjectively speaking), but the effect of successive attacks is only partially reduced. In many cases the acoustic properties of individual performers’ instruments also influence the sound quality of the cluster and performers’ decisions.The complex use of ricochet with szf piano and vibrato cause problems for the performers due to excess air in the bellows, thus trying to achieve ricochet smoothness performers use strategies related to acceleration of tempo or dynamic levelling. The airbutton effect is exploited in the Sonata as an emancipated element with rhythmic structure, dynamics, tempo, and bellows change signs, but in spite of the numerous signs in the score, here too most performers rely on only some of them: some of them highlight the phrasing or the rhythmic structure more, or they interpret this section very loosely in relation to all the signs. The complexity of all the problem discussed for accordionists manifests itself in the context of bellow management. The simultaneous implementation of articulation, dynamics and the tasks of various techniques in the analyzed sections of the work is often impossible, regardless of the performer’s skill. Keywords: Sofija Gubaidulina, Sonata 'Et expecto', interpretation, compromise performance strategies, spectrogramm.
