Феномен співацько-виконавського стилю Йонаса Кауфманна
Ескіз недоступний
Дата
2021
Автори
Назва журналу
Номер ISSN
Назва тому
Видавець
Харківський нац. ун-т мистецтв ім. І. П. Котляревського
Анотація
Дисертацію присвячено формулюванню основних рис співацько-виконавського стилю Й. Кауфманна з точки зору феноменологічного підходу. Актуальність теми полягає також у розробці в межах інтерпретології концепції феномену особистості. Наукова проблематика пропонованого дослідження зумовлена відсутністю наукового опису творчості Й. Кауфманна як найяскравішого представника сучасного вокального виконавства. Співак перебуває на злеті своєї кар'єри і в його доробку – оперні ролі та камерні програми з творів майже всієї світової класики, співпраця з видатними виконавцями, режисерами, диригентами. Другий аспект актуальності теми полягає в дослідженні процесу формування виконавського (зокрема, співацько-виконавського) стилю. Методологія дослідження базується на теоретичному обґрунтуванні аналізу виконавського стилю через позиції феноменології творчості (дослідження Е. Гуссерля, О. Лосєва, М. Аркадьєва, Г. Ципіна, Т. Іваннікова). Застосування системного підходу обумовило залучення теорії виконавського стилю (дослідження І. Єргієва, О. Катрич, В. Медушевського, В. Москаленка, Ю. Ніколаєвської, О. Стахевича, І. Сухленко, Л. Шаповалової) у ракурсі специфіки вокальної творчості на сучасному етапі. Матеріалом дослідження є аудіо-, відеозаписи опер за участі Й. Кауфманна: «Осудження Фауста» Г. Берліоза, «Фіделіо» Л.ван Бетховена, «Кармен» Ж. Бізе, «Лоенгрін», «Валькірія», «Зігфрід», «Парсифаль» Р. Вагнера, «Травіата», «Трубадур», «Аїда», «Дон Карлос», «Сила долі», «Отелло» Дж. Верді, «Фаyст» Ш. Гyно, «Андре Шеньє» У. Джордано, «Так діють всі» В.А. Моцарта, «Ніна» Дж. Паізіелло, «Богема», «Тоска», «Дівчина з Заходу» Дж. Пуччіни, «Фьоррабрас» Ф. Шуберта; окремі арії з опер Дж. Пуччіні, Г. Доніцетті, Дж. Верді, Р. Вагнера, У. Джордано та ін. (концертні виконання, сольні альбоми), оперет (Й. Штраус), CD-записи «Зимового шляху», «Прекрасної мірошниці» Ф. Шуберта, «Арії веризмy», Arias from Mozart, Schubert, Beethoven and Wagner (2009); лідерабенди з пісень Ф. Шyберта, Г. Малера, Р. Штраyса, Г. Вольфа; також залучені аудіозаписи окремих партій та арій у виконанні Л. Браунлі, П. Бечади, Ван Чуаньює, Ші Іте. Наукова новизна отриманих результатів полягає у тому, що у дисертації вперше досліджується співацько-виконавський стиль з точки зору феноменологічного підходу; сформульовано аспекти дослідження феноменології особистості через позиції інтерпретології; запропоновано періодизацію творчої біографії Й. Кауфманна; проаналізовано основні приклади виконавських версій Й. Кауфманна; сформовано стильову систему як єднання стабільних та мобільних рис виразності та метасистему співацько-виконавського стилю Й. Кауфманна. В результаті представлено його творчість як феномен музичного мистецтва межі ХХ-ХХІ століть; з точки зору виконавського аналізу та порівняльної інтерпретології запропоновані описи виконавських версій Й. Кауфманна, Л. Браунлі, Ші Іте, П. Бечади, Ван Чуаньює.
The dissertation is devoted to the formulation of the main features of the singing and performing style of J. Kaufmann from the point of view of the phenomenological approach. The relevance of the topic also lies in the development within the interpretology of the concept of the phenomenon of personality. The scientific problems of the proposed research are stipulated by the lack of a scientific description of the creative work of J. Kaufmann as the brightest representative of modern vocal performance. The singer is at the peak of his career and in his works there are opera roles and chamber programs compiled from the compositions of almost all world classics, collaboration with outstanding performers, directors, and conductors. The second aspect of the relevance of the topic is to study the process of formation of performing (in particular, singing- performing) style. The research methodology is based on the theoretical substantiation of the analysis of the performing style through the positions of the phenomenology of creativity (research by E. Husserl, O. Losev, M. Arkadyev, G. Tsypin, and T. Ivannikov). The application of a systematic approach led to the involvement of the theory of the performing style (research by I. Yergiyev, O. Katrych, V. Medushevsky, V. Moskalenko, Y. Nikolayevska, O. Stakhevych, I. Sukhlenko, and L. Shapovalova) in the perspective of the specifics of vocal creativity at the present stage. The material of the research is audio and video recordings of operas with the participation of J. Kaufmann: «Condemnation of Faust» by G. Berlioz, «Fidelio» by L. van Beethoven, «Carmen» by J. Bizet, «Lohengrin», «Valkyrie», «Siegfried», «Parsifal» by R. Wagner, «La Traviata», «Troubadour», «Aida», «Don Carlos», «The Force of Fate», «Othello» by G. Verdi, «Faust» by S. Gino, «Andre Chenier» by U. Giordano, «This is How Everyone Works» by V. A. Mozart, «Nina» by G. Paisiello, «Bohemia», «Longing», «Girl from the West» by G. Puccini, «Fiorabras» by F. Schubert; separate arias from operas by G. Puccini, G. Donizetti, G. Verdi, R. Wagner, U. Giordano, and others (concert performances, solo albums), operettas (J. Strauss), CDs of «Winter Road», «The Miller’s Beautiful Wife» by F. Schubert, «Arias of Verism», Arias from Mozart, Schubert, Beethoven and Wagner (2009); Liederabends from songs by F. Schubert, G. Mahler, R. Strauss, G. Wolf; also involved audio recordings of individual parts and arias performed by L. Brownlee, P. Bechadi, Wang Chuanyue, and Shi Ite. The scientific novelty of the obtained results is that in the dissertation for the first time the singing-performing style is investigated from the point of view of the phenomenological approach; we have formulated aspects of the study of the phenomenology of personality through the positions of interpretology; the periodization of J. Kaufmann's creative biography has been offered; the main examples of J. Kaufmann's performance versions are analysed; we have formed a stylistic system as a combination of stable and mobile features of expression and a metasystem of singing and performing style of J. Kaufmann. As a result, his creative work is presented as a phenomenon of musical art at the turn of the 20th- 21st centuries; from the point of view of the performance analysis and comparative interpretology, the descriptions of the performance versions by J. Kaufmann, L. Brownley, Shi Ite, P. Bechada, and Van Chuanyue have been proposed. Section 1 presents the theoretical aspects of the study. The generalization of scientific literature devoted to the formation and development of European schools has made it possible to outline the main features of the most famous ones, whose representatives now dominate the world stage, and to identify the features of globalization inherent in modern creative processes. The following latest trends in vocal performance at the turn of the 20th-21st centuries have been formulated: demarcation of borders, mixing the traditions of vocal schools, the presence of several representatives of different schools simultaneously within the performance. There are three components of the singing style which have been defined. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of «dialogue» and communication between the performer and the composer (in the words of V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of performing style (component 2) it is important to remember V. Kholopova’s definition that style is an «introvert category» and the concept of «creative personality style» (S. Shyp), «musical creativity style» (V. Moskalenko), «type of creative personality» (M. Lieberman), «archetype of a musician» (O. Katrych), which are aimed at individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his/her own creative thinking and personality type. Thus, the definition has been proposed: the singing and performing style is 1) the integrity of the highest level, which determines the phenomenon of the artist's personality; 2) the type of music playing, based on the characteristics of the timbre colour of the voice (sound colours) and the formed vocal techniques that characterize its sound (phonetics, rigor or improvisational freedom, expression, phrasing, rhythmics, etc.). Section 2 proves that Kaufmann's singing and performing style is a system of interconnected stable and mobile components. On the basis of journalistic research, interviews and materials of the autobiographical book the periodization of J. Kaufmann's creativity has been offered: the first stage – mastering the schools of singing (German and Italian), search of own manner; the second stage – the beginning of his career and early style (1998-2006) – characterizes the existence of a large number of roles of different genres, acquaintance with prominent directors and conductors who influenced the formation of the artist (A. Pappano, M. Krushey); the third stage – take-off and recognition (since 2006 – the debut of Alfred's part in J. Verdi's «La Traviata», performance of the Metropolitan Opera) and recognition – is characterized by the formation of conceptual Liederabends programs, recordings of operas, concerts, performances with prominent singers, work with outstanding directors, which allows us to realize the integrity of his performance style and highlight the phenomenal features of his creative work. Based on the guidelines of the phenomenology of creativity (G. Tsypin, Yergiyev, T. Ivannikov) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. • Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer's interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by G. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer's interpretations in the compositions by S. Gounod, F. Busoni, G. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe's poem), which forms the integrity of the singer's interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of Liederabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk's Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. From the point of view of drama, the singer's performance ofany composition or cycle is always integral and aimed at catharsis (this is the quality of the final songs or numbers of his Liederabends). • Commitment to the director’s theatre. J. Kaufmann shares the views on the dominance of the director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist's personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director's interpretations). The director's type of thinking is also reflected in the creation of concert programs. • Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann's interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann's performance, masculinity always prevails. The Conclusions summarize the observation of the musician's singing and performing style through the positions of: timbre, performing culture (combination of German and Italian singing schools), performing thinking (predominance of intellectualism), performing poetics (features of timbre, work with text, tempo- rhythm, agogics). On the basis of constant features of interpretation J. Kaufmann is represented as a singer of the universal type.
The dissertation is devoted to the formulation of the main features of the singing and performing style of J. Kaufmann from the point of view of the phenomenological approach. The relevance of the topic also lies in the development within the interpretology of the concept of the phenomenon of personality. The scientific problems of the proposed research are stipulated by the lack of a scientific description of the creative work of J. Kaufmann as the brightest representative of modern vocal performance. The singer is at the peak of his career and in his works there are opera roles and chamber programs compiled from the compositions of almost all world classics, collaboration with outstanding performers, directors, and conductors. The second aspect of the relevance of the topic is to study the process of formation of performing (in particular, singing- performing) style. The research methodology is based on the theoretical substantiation of the analysis of the performing style through the positions of the phenomenology of creativity (research by E. Husserl, O. Losev, M. Arkadyev, G. Tsypin, and T. Ivannikov). The application of a systematic approach led to the involvement of the theory of the performing style (research by I. Yergiyev, O. Katrych, V. Medushevsky, V. Moskalenko, Y. Nikolayevska, O. Stakhevych, I. Sukhlenko, and L. Shapovalova) in the perspective of the specifics of vocal creativity at the present stage. The material of the research is audio and video recordings of operas with the participation of J. Kaufmann: «Condemnation of Faust» by G. Berlioz, «Fidelio» by L. van Beethoven, «Carmen» by J. Bizet, «Lohengrin», «Valkyrie», «Siegfried», «Parsifal» by R. Wagner, «La Traviata», «Troubadour», «Aida», «Don Carlos», «The Force of Fate», «Othello» by G. Verdi, «Faust» by S. Gino, «Andre Chenier» by U. Giordano, «This is How Everyone Works» by V. A. Mozart, «Nina» by G. Paisiello, «Bohemia», «Longing», «Girl from the West» by G. Puccini, «Fiorabras» by F. Schubert; separate arias from operas by G. Puccini, G. Donizetti, G. Verdi, R. Wagner, U. Giordano, and others (concert performances, solo albums), operettas (J. Strauss), CDs of «Winter Road», «The Miller’s Beautiful Wife» by F. Schubert, «Arias of Verism», Arias from Mozart, Schubert, Beethoven and Wagner (2009); Liederabends from songs by F. Schubert, G. Mahler, R. Strauss, G. Wolf; also involved audio recordings of individual parts and arias performed by L. Brownlee, P. Bechadi, Wang Chuanyue, and Shi Ite. The scientific novelty of the obtained results is that in the dissertation for the first time the singing-performing style is investigated from the point of view of the phenomenological approach; we have formulated aspects of the study of the phenomenology of personality through the positions of interpretology; the periodization of J. Kaufmann's creative biography has been offered; the main examples of J. Kaufmann's performance versions are analysed; we have formed a stylistic system as a combination of stable and mobile features of expression and a metasystem of singing and performing style of J. Kaufmann. As a result, his creative work is presented as a phenomenon of musical art at the turn of the 20th- 21st centuries; from the point of view of the performance analysis and comparative interpretology, the descriptions of the performance versions by J. Kaufmann, L. Brownley, Shi Ite, P. Bechada, and Van Chuanyue have been proposed. Section 1 presents the theoretical aspects of the study. The generalization of scientific literature devoted to the formation and development of European schools has made it possible to outline the main features of the most famous ones, whose representatives now dominate the world stage, and to identify the features of globalization inherent in modern creative processes. The following latest trends in vocal performance at the turn of the 20th-21st centuries have been formulated: demarcation of borders, mixing the traditions of vocal schools, the presence of several representatives of different schools simultaneously within the performance. There are three components of the singing style which have been defined. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of «dialogue» and communication between the performer and the composer (in the words of V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of performing style (component 2) it is important to remember V. Kholopova’s definition that style is an «introvert category» and the concept of «creative personality style» (S. Shyp), «musical creativity style» (V. Moskalenko), «type of creative personality» (M. Lieberman), «archetype of a musician» (O. Katrych), which are aimed at individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his/her own creative thinking and personality type. Thus, the definition has been proposed: the singing and performing style is 1) the integrity of the highest level, which determines the phenomenon of the artist's personality; 2) the type of music playing, based on the characteristics of the timbre colour of the voice (sound colours) and the formed vocal techniques that characterize its sound (phonetics, rigor or improvisational freedom, expression, phrasing, rhythmics, etc.). Section 2 proves that Kaufmann's singing and performing style is a system of interconnected stable and mobile components. On the basis of journalistic research, interviews and materials of the autobiographical book the periodization of J. Kaufmann's creativity has been offered: the first stage – mastering the schools of singing (German and Italian), search of own manner; the second stage – the beginning of his career and early style (1998-2006) – characterizes the existence of a large number of roles of different genres, acquaintance with prominent directors and conductors who influenced the formation of the artist (A. Pappano, M. Krushey); the third stage – take-off and recognition (since 2006 – the debut of Alfred's part in J. Verdi's «La Traviata», performance of the Metropolitan Opera) and recognition – is characterized by the formation of conceptual Liederabends programs, recordings of operas, concerts, performances with prominent singers, work with outstanding directors, which allows us to realize the integrity of his performance style and highlight the phenomenal features of his creative work. Based on the guidelines of the phenomenology of creativity (G. Tsypin, Yergiyev, T. Ivannikov) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. • Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer's interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by G. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer's interpretations in the compositions by S. Gounod, F. Busoni, G. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe's poem), which forms the integrity of the singer's interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of Liederabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk's Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. From the point of view of drama, the singer's performance ofany composition or cycle is always integral and aimed at catharsis (this is the quality of the final songs or numbers of his Liederabends). • Commitment to the director’s theatre. J. Kaufmann shares the views on the dominance of the director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist's personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director's interpretations). The director's type of thinking is also reflected in the creation of concert programs. • Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann's interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann's performance, masculinity always prevails. The Conclusions summarize the observation of the musician's singing and performing style through the positions of: timbre, performing culture (combination of German and Italian singing schools), performing thinking (predominance of intellectualism), performing poetics (features of timbre, work with text, tempo- rhythm, agogics). On the basis of constant features of interpretation J. Kaufmann is represented as a singer of the universal type.
Опис
Ключові слова
феноменологія виконавської творчості, феномен особистості, творчість Й. Кауфманна, співацько-виконавський стиль, інтерпретація, оперна виконавська творчість, Liederabend, phenomenology of creativity, phenomenon of personality, creativity of J. Kaufmann, performing-singing style, interpretation, opera performance
Бібліографічний опис
Ян, Хаосюань Феномен співацько-виконавського стилю Йонаса Кауфманна [Текст] : дис. на здобуття наук. ступеня доктора філософії : [спец.] 025 "Музичне мистецтво" / Ян Хаосюань ; М-во культури та інформ. політики України, Сумський держ. пед. ун-т ім. А. С. Макаренка ; [Харківський нац. ун-т мистецтв ім. І. П. Котляревського] ; наук. керівник Ю. В. Ніколаєвська. – Харків, 2021. – 200 с.