THE INTERPRETATION OF SCHUMANN’S «IM WUNDERSCHÖNEN MONAT MAI» BY LEI XU, C. SCHÄFER AND B. BONNEY

Abstract

The interpretation of chamber and vocal music of Western European composers by Chinese, German and American singers is considered. The views of various musicologists on the problem of vocal-performing style as a prerequisite for interpretive differences are analyzed. It is determined that the peculiarities of interpretations of the chamber-vocal work are influenced by epoch-making, national parameters of the performer's style, traditions of a particular performing school and peculiarities of his/her language. The concept of opera and chamber role of the performer is specified, which does not always show a direct dependence on the natural data of the singer. It is noted that the peculiarities of chamber-vocal performance are a subtle sense of ensemble interaction, accuracy of performance intonation and skill in the embodiment of the most intimate feelings. Emphasis is placed on the peculiarities of the German language, where prosody and phonetics come to the fore, which encourages performers to look for new sources of vocal expression. In accordance with the defined positions, the textual and musical features and performance versions of the first song «Im wunderschönen monat mai» from the vocal cycle «Dichterliebe» op. 48 by R. Schumann, made by Chinese singer Lei Xu, German singer C. Schäfer and American singer B. Bonney. It is concluded that all three versions are of high quality, but C. Schäfer stands out as close to the standard due to the speech parameter. The prospects for the development of the Chinese school of chamber singing are emphasized, given the professional quality and individuality of Lei Xu's interpretation of the famous Schumann romance.