Translation of the symphony-ballet “Green Week” by Vitaly Hubarenko as a form of renewal of a creative project

Abstract

The study is devoted to the peculiarities of the translation of Vitaliy Hubarenko’s symphonyballet “Green Week” for piano duo from the point of view of the composer’s renewal of his creative project, which is a very important direction of the composer’s work, which is aimed at replenishing the repertoire of piano music with an example of the synthetic genre of domestic stage drama. The research methodology is based on the application of source studies, analytical, genre-stylistic, semantic methods, which made it possible to identify the main component specifics of translations of choreographic works for a duet of pianists. Scientific novelty is determined by the identification of Vitaly Hubarenko’s personal projection on the transformation of the stage idea into an instrumental version. The existence of ballet performances set to “non-ballet music” and author’s translations of ballet music or parts of it for instrumental performance (for solo piano, for piano ensembles of various types, for chamber ensembles) is analyzed. As a result of the analysis of the author’s translation of the ballet “Green Week” for piano duo, it was found that while preserving the artistic whole symphonic-choreographic work, the interpreters are faced with purely executive tasks: disclosure of the program-fixed plan for the unfolding of the choreographic action; reproducing timbres of orchestral instruments; transfer of plasticity of dance movements and gestures; the choice of strokes depending on the figurative and emotional content; thematic and dynamic distribution of musical material between piano parts; determination of the plan of pedalization as a factor of activation of the timbre-colored sound space of the work. In the form of a conclusion, the importance of the translation of a ballet work for instrumentalists is indicated as a preservation of the musical text in a new perception and its continued existence in the concert and pedagogical and educational practice of instrumentalists.