ACCORDION THROUGH THE LENS OF MODERNITY: TANGO AND FANTASIA GALICIANA BY THE LVIV COMPOSER BOHDAN SEGIN

Abstract

The article analyzes the works of contemporary Lviv composer B. Segin, in which the author addresses the accordion. FANTAZIA GALICIANA (for seven accordions and symphony orchestra) and Tango (for accordion, city sound (fild recording), brass and rare record of B. Vesolovsky’s smash hit) are an example of a new approach to interpreting technical capabilities and the original timbre of the instrument. Also, B. Segin’s compositions for the accordion are one of the few examples of the accordion not being a practitioner, but actually a composer. The purpose of the article is to perform a musical-stylistic analysis of the opuses for the accordion of the Lviv composer Bohdan Segin through the prism of his work, as an example of a talented involvement of the instrument in the direction of "new music". The methodology of the research is based on a complex combination of different methods: performing and musicological analysis, studying the source-based base. The scientific novelty is to cover not only the features of interpretation of the instrument in the composer’s concert creativity, but also the presentation of a biographical essay about the composer, as well as an overview of the creativity. Conclusions: In the last decades, a solid accordion-accordion school was formed in Lviv, which could not but strengthen the demand for the actual performing repertoire. Unlike the pedagogical repertoire, which has been fully developed and tested in long-term practice, there is an urgent need to expand the range of concert works. In the XX century, the authors of new opuses for accordion were usually practitioners, and in the XXI century. we have the opportunity to observe a revival of interest in the instrument by professional composers: A striking example of this approach is the work of Bohdan Segin – a distinctive composer, an active music manager, who with his extraordinary compositional ideas and surprisingly talented ways of realizing them in this instrument. Turning to the accordion, B. Segin creates an up-to-date concert repertoire that emphasizes the serious academic nature of the instrument without over-concentrating on demonstrating the performer’s technical skills and accumulating innovative techniques.