Koncertmeisterio vaidmenų kaita: orkestro su dirigentu ir orkestro be dirigento atvejai

LTStraipsnio tikslas - atskleisti orkestro koncertmeisterio vaidmenis, lyginant grojimą orkestre vadovaujant dirigentui su grojimu be dirigento. Straipsnio uždavinys - įvertinus vieno ir kito atvejo muzikavimo principus, atskleisti, išryškinti ir pagrįsti koncertmeisterio vaidmenų panašumus bei skirtumus. Muzikavimo be dirigento principai straipsnyje yra sugretinami su kameriniu muzikavimu, kadangi muzikos atlikimo požiūriu orkestro be dirigento grojimas remiasi ansamblinio muzikavimo principais. Koncertmeisterio vaidmenų kaitos iliustracijoms panaudotos šios pozicijos polifunkcionalumą apibendrinančios charakteristikos: pirmojo smuikininko pozicija apibendrinta koncertmeisterio-tarpininko, koncertmeisterio-lyderio ir koncertmeisterio-tarnaujančio lyderio charakteristikomis. Straipsnyje nagrinėjami tokie orkestro praktinės veiklos specialieji atvejai ir probleminės muzikos atlikimo proceso situacijos, kuriose ryškiausiai atsiskleidžia koncertmeisterio vaidmenų skirtumai, grojant su ir be dirigento: interpretacijos sukūrimas, sinchronizavimas ir neverbalinė vadovavimo technika, įkvėpimas, muzikos skambėjimo kontrolė, spontaniškumas ir atlikimo laisvė, darbas repeticijų metu, vadovavimas repeticijoms. Šios situacijos yra išskirtos, remiantis ilgamete autorės patirtimi orkestro nario ir koncertmeisterio vaidmenyse.

ENThe article aims to reveal the similarities and differences between a concertmaster s roles by comparing playing in an orchestra led by a conductor with playing without a conductor. The differences and similarities between these roles of a concertmaster are identified by comparing the different music performance principles involved in the two cases. In the author s view, orchestral playing without a conductor is based on the principles of ensemble music performance, which make orchestral performance comparable to chamber performance. The article draws upon comparisons between publications by different authors on orchestral and chamber performance. The shift in a concertmaster's roles is illustrated by the features describing the polyfunctional nature of this position, which is summarised through the characteristics of concertmaster as a mediator, concertmaster as a serving leader and concertmaster as a leader. This generalisation draws upon the fact that a concertmaster covers the functions of a manager, an accompanist, a soloist, an educator and an orchestra representative, these going hand in hand with multifaceted vision, multifaceted listening/hearing, obedience to the conductor s or the art director s instruction and individual directing, playing and, when doing so, making important decisions for the orchestra.Based on her long-lasting experience in the roles of an orchestral player and a concertmaster, the author refers to cases and situations involving interpretation, synchronisation and non-verbal leading techniques, inspiration, control of music sound, spontaneity and freedom of performance to analyse the issue. Looking at these nuanced cases in orchestral practice and at the challenging situations in the practice of music performance has produced a vivid account of the differences between the roles of a concertmaster in orchestral playing with and without a conductor.