“Solo for oboe” by Edison Denisov: the features of the stylistics and performing interpretation
Abstract
The article is devoted to the study of the stylistic and performing features of the “Solo for oboe” by E. Denisov that is one of the most popular works in the contemporary performing practice of this wind instrument playing. In the article we have analyzed composer’s music stylistics that have reflected in the opus in question and that have manifested through appeal to the elements of the twelve-tone system, to the microchromatics and outofbar rhythm. For the first time we have characterized the new performing techniques that are widely represented on the “Solo for oboe”, we have defined their musical and dramaturgical role as well as their performing specificity. We have revealed the characteristic features of two interpretational versions of the work by E. Denisov. In the article we have produced the comparative analysis of the performances of this opus by German oboist C. Hommel and Portuguese musician J. Miguel. This makes it possible to set the sound specificity of the new playing techniques in each of the interpretations as well as to reveal the possible variants of the tempo and metro-rhythmic decisions of the “Solo for oboe”.
About the Author
E. V. Mashkovskaya
Belarusian State Academy of Music
Belarus
Belarus
Elena V. Mashkovskaya, Cand. Sc. (Art Criticism), Lecturer of the Division of Woodwinds
Minsk
References
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Review
For citations:
Mashkovskaya E.V. “Solo for oboe” by Edison Denisov: the features of the stylistics and performing interpretation. ARTE. 2021;(4):50-56. (In Russ.)
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