The specific of the interpretation of the timbre of the classical guitar in the works of S. Gubaidulina «Toccata» and «Serenade»

Abstract

The article deals with the previously unexplored only work by Sofia Gubaidulina for guitar solo - cycle «Toccata» and «Serenade» (1969). These pieces were not investigated earlier. The cycle has been studied from the point of view of the interpretation of the instrument by composer. The study showed that the composer discloses possibilities of the guitar in a couple of plays in different ways. The guitar sounds massive and powerful just as orchestra in the «Toccata». But it appears lyrical and intimate instrument - in «Serenade». The results of the study show that the tone and structure of the classical guitar determined the genre and the concept of the cycle, and its themes, methods of development, dramatic composition and characters, and, of course, a whole range of musical features and techniques of the performance. S. Gubaidulina uses the guitar cliche. However, the characteristics of the style of the composer are present in the music. Determined that «Toccata» and «Serenade» by Sofia Gubaidulina are an integral part of the heritage of the composer, accumulating the features of her style and artistic thinking.