FORMATION OF CHAMBER AND PERFORMING SKILL OF STUDENTS IN WORK ON ROMANCES BY N.A. RIMSKY-KORSAKOV
Presenting the structure and content characteristics of the performing skills of the musician, the authors reveal the possibility of its formation in the process of working on early romances N. Ah. Rimsky-Korsakov. On concrete examples the authors reveal specificity of three types of romances: with cantilene or humming-reciting vocal melody and background type accompaniment; with recitative melody and picturesque instrumental accompaniment; cantilene concert romances. They draw attention to the need for subtle dynamic and emotional guanziroli, sound, timbral diversity, attentive auditory self-monitoring. Defining technical and expressive tasks separately for vocalist and pianist, the authors pay special attention to ensemble complexities. In the first type of romances the soloist should realize himself to be a bearer of a certain timbre, one of the instruments of the score, and the pianist should master the palette of orchestral sound. The romances of the second type determine the necessity of achieving full line unity, creating episodic dueling of vocal and piano parts. Expressive vocal and piano dialogues and duets, a complete harmonious combination of vocal and piano parts require cantilene concert romances. The work of the singer and pianist over the early romances of Rimsky-Korsakov is a school of education of professional skills chamber performer.