EDWARD ELGAR’S MARCH NO. 1, OP. 39 IN THE INTERPRETATION OF LONG YU : COMPARATIVE ASPECTS

Abstract

The aim of this paper is to determine the peculiarities of the interpretation of E. Elgar's orchestral music performed by Long Yu in comparison with the versions of European conductors.
The research methodology is a combination of historical-cultural, phenomenological, interpretive, genre-stylistic and comparative analysis.
Results. The article examines the method of the outstanding Chinese conductor Long Yu. There are determined the features of the development of the art of symphonic conducting, which is characterized as a fairly young art branch in China. The bio of Long Yu is studied, who was developing under the conditions of the period of openness so had the opportunity to study abroad, that influenced his career. The peculiarities of his creative method are determined by a peculiar position of the conductor, which is aimed at restoring lost during the cultural revolution in the field of musical art. On the example of the analysis of E. Elgar's «Pomp and Circumstances» op. 39 No.1 demonstrates the peculiarities of Long Yu's reading of the author's text. Attention is focused on the particularities of the genre and the musical parameters that create a pompous and celebratory music that has a connection with the royal life of Great Britain. Through a comparative analysis of the performance versions of the March, a conclusion is made about the perceived
freedom of Western performers, the addition of theatrical effects (Simon Rattl) and the use of multimedia tools (Sakari
Oramo). It is noted that in the performance of Long Yu, the focus is on a concert performance form with elements of
chamber due to the absence of an organ, choir and closed space.