B. Bayakhunov's vocal cycles (performance analysis)

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Authors

Nailya Bayakhunova

Diploma winner of international competitions, associate professor of the department of ensemble art

Kurmangazy Kazakh National Conservatory

Kazakhstan

Abstract

This article will focus on three cycles: «Monologue» for tenor (soprano) and piano to words by O. Khayyam (1977), «8 Japanese three-verses» for soprano and piano to lyrics by M. Basho (1991), «From the Lyrics of Chinese Poetesses» for soprano and piano (1994). Cycles are based on texts in Russian translation. In each cycle, the vocal and piano parts, the artistic content are analyzed in detail, the performance features are noted.
In the second cycle, a special place is occupied by the use of Japanese modes, complex intonation structures, the character of the text is fully reflected in the music, which requires the performer of the vocal part to master a new intonation sphere inherent in Japanese music. "8 Japanese three-verses" is an original example of chamber-vocal lyrics, which sets special tasks for the performer and represents one of the images of musical orientalism.
The vocal cycle "From the Lyrics of Chinese Poetesses" is more complex and larger than the previous ones. In this work, the pentatonic scale develops freely, passing from one scale to another, chromatism is also used by the pentatonic scale.
With all the difference in images and compositional tasks, the cycles chosen for analysis, a number of common points unites vocal cycles: intonation, texture, embodied elements of the compositional technique of the 20th century: modality, sonority, pointillism, and minimalism.

Keywords

Bakir Bayakhunov
vocal cycle
performing analysis
vocal miniatures