ADAPTATION OF SYMPHONY WORKS FOR BAYAN: «SCHERZO» FROM THE OPERA «LOVE TO THREE ORANGES» BY SERGII PROKOFIEV

Abstract

Over the past decade, the arsenal of original compositions for the accordion has considerably expanded, but a significant place among the performing repertoire is the genre of translation of works from the repertoire of other instruments, ensembles or orchestras for the accordion. Adaptation of orchestral works occupy a considerable part in the educational and concert repertoire for bayan. The specificity of this type of adaptation depends primarily on the composition of the orchestra for which the original was created. In addition to a number of stylistic features, the translation reproduces a multilevel orchestral texture, polytimbre and a palette of techniques for sound formation on various instruments. Adaptation of orchestral works for accordion, to a certain extent, play an important function of "accessible" and "compact" promotion of symphonic pieces. The purpose of this article is to highlight the peculiarities of the adaptation of the work from the repertoire of the symphony orchestra – "Scherzo" from the opera "Love to Three Oranges" by S. Prokofiev for bayan. Since the translation of symphonic works for bayan has not yet become the subject of musicological research, the scientific novelty of the article is to highlight the basic principles of this kind of genre on the example of the proposed piece. The following methods were used in the study of the topic: analytical, stylistic, comparative, theoretical. The conclusions of the study summarize the main parameters of the translation of "Scherzo" from the opera "Love to Three Oranges" by S. Prokofiev in the timbre-expressive conditions of bayan. The presence of a palette of timbre registers of bayan, range, dynamic potential, a wealth of specific techniques of sound and blasting determine the ability of the instrument to reproduce the orchestral polytimbre. The expressive arsenal of the bayan allows to display certain instruments as fully as possible, following their individual characteristics: timbre, tessitura, method of sound formation, specific audio-expressive techniques, etc. The contrasts of the bayan registers (“clarinet”, “bassoon”, “picolo”, “tuti”, etc.) successfully enhance the timbre juxt-aposition of orchestral groups and reproduce the sound of many orchestral instruments. One of the varieties of creative interpretation of the bayan is "orchestra in miniature". Comprehensive analysis of the musical piece and methodological recommendations are the basis for a deeper understanding of the specific adaptation of the symphonic composition for bayan, rethinking textured, positional, applicative and timbre-register transformations, and therefore the quality of the musical piece.