Техніко-організаційна партитура як складова сценічно-виконавської інтерпретації хорового концерту Г. Сегал "Душе моя"
Technical arrangement score as a component of scenic-performing interpretation by choral concert H. Segal "Dushe moya"

Summary/Abstract: The Ukrainian contemporary choral groups increasingly turn to use the scenic action elements within the context of the concert-academic choral performance. They virtuously combine the classical training of musicians with modern scenography, different methods of the newest performance in their creation of the choral scene-view based on the composition. Here is the first presentation of the scenic-performing incarnation by H. Segal "Dushe Moya" ("My soul") choral concert, for which the starting point is the criterion of conducting and directing interpretation of the musical and poetic material. The choral theatre, its types and components – that are the choral performance, the theatrical "mixed" choral concert, the choral theatricalization, the scenization – are the phenomena which are intensively disseminated in the modern Ukrainian choral art. Its manifestations are various and they depend on the artistic intentions of the personalities – the composers and performers, that treat the concert-choral genre as the principal representative of this newest musical theatre art. The masters searching is toward from traditions – that is the concert for choir with its theater potential – to the performances, where the theatrical symbol acts as a components of the score works. It all demonstrates the actuality and prospectivity of the phenomenon viewed in the current article for further development of national and global choral culture. The choral concert by H. Segal "Dushe moya" (2003) based on the poems of religious poet-monks (ХVІ century) from the collection "Virshi pokayanni" has found its original interpretation of unordinary choral sounding in connection with the strict canonicity of literary text. Such type of the choral music interpretation, considering the combining of modern music language and stylization with the theatrical creative vision basis, are supposed to be the relevant and novel. The concert "Dushe moya" could be difficult to classified completely as any genre subtype of the choral concert. Here is the multi genres synthesis, typical for the modern choral concert, is observed. There are no direct indications by possible theatricalization in the original Concert text. The way to the Concert theatricalization in the performing synthetic version is coming through the detailed composition analysis and dramaturgy of the musical text offered by the composer. It’s typical that the author herself calls the Concerts parts as "songs". It indicates the specific feature of genre interpretation that is represented in composition. The music vocabulary basis of the author’s language that inspires the scene-performing interpretation are represented by the tonal and technical, from the vocal and choral performance’ point of view, virtuosity and complicacy, the polyphonic uncovering techniques, the unity of musical and timbre-acoustic dramaturgy, the dialogical structure of genre, that is related with the prayer structure as the communication form, the spiritual energy, the thematic mentality principle, the commitment to reflect the vivid human feelings and spirits, emotionally reinforcement. The profound philosophical sense and theatrical spectacle of musical action is concealed behind the external complicacy. The semantic logic of "Dushe moya" potentially contains the extensive range of properly conducting and directorial interpretation, that is generalized in such term as "theatrical and choral explication". The composition of H. Segal "Dushe moya" is considered not only from the musical but also from theatrical point of view. The basic theme of the Concert is the fight for human soul, its purification for the sake of Divine deliverance and commitment of verity quest. The common principles of conducting-interpretive perception of the choral concert as a staged action, is implemented in technical and organizational score. This is the detailed directing part of the choral performance, that is integrated in the musical score itself in form of the proper notes for choral members, facial ensemble, ballet, decorators, illuminators, costume designers, face-makers, property masters, basically all the people involved in theatrical and choral performance. The creation of theatrical version for the choral concert depends on relevance of interpretive-creative basis that is chosen by the conductor-choirmaster and that is better – in cooperation with the composer and director. The other kind of circumstances connected with the objective factors that are the presence of the talented conductor, highly skilled staff, professional directing and scenography, the financial support means for performance. Depending on existence of the mentioned circumstances, the conductor-directing ideas are implemented, the staging version is created either in the most complete variant or in edited, simplified to the necessary minimum version. This method does not apply for inclusiveness but targets just the possible ways of choral concert staging through the example of particular composition. The offered author’s creative method for performance of staging version by choral concert of H. Segal "Dushe moya" is open for theatricalization from review of the following circumstances such as: absence of the definite genre model; basing on the choral music origin as the syncresis of singing and action; complicacy of musical-poetic context, which revealing demands the visual row imposition. Keeping the "high style" of the Concert, orienting on the impressiveness, the concert-choral composition of H. Segal shows the stable tendency for scenic representation’s accent that is neo-romantic but reveals itself in the extensive stylistic range.

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