THREE SONGS BY G. DONIZETTI FROM THE CYCLE “NUIT D’ÉTÉ À PAUSILIPPE” IN THE ASPECT OF MUSICAL-THEORETICAL AND INTERPRETATIVE ANALYSIS

Abstract

The aim of the work. The article is dedicated to the musical-theoretical and interpretative analysis of three songs from the cycle «Nuit d’été à Pausilippe» by Gaetano Donizetti, a prominent representative of the Italian Romantic opera school, who, in addition to his prolific opera work, also turned to the genre of song. The chamber works are an example of the composer’s vivid creative talent, which undoubtedly sparks the interest of performers of his vocal legacy as well as researchers of his activities in this area of compositional achievements. The methodology of the research is dictated by the nature of the problem under investigation and consists of a combination of methods – theoretical, textual, descriptiveanalytical, and traditionally musicological – which make it possible to reveal the specifics of Donizetti’s song genre. The scientific novelty is determined by the angle of the declared topic, its relevance, and its place in the structure of both music-theoretical and performance processes. The problem is being explored for the first time from the perspective of interpretative analysis of the selected works. Conclusions. Gaetano Donizetti’s chamber vocal works are examples of the composer’s remarkable gift and have attracted the interest of researchers and performers of his vocal legacy. This is especially true for Chinese musicians and singers in the sense of understanding and studying European cultural traditions, which is seen as an essential area for expanding artistic horizons in the modern stage of creative contacts between the East and the West. In the chamber works by Donizetti from the vocal cycle «Nuit d’été à Pausilippe» under consideration, a detailed music-theoretical analysis reveals the traits of the composer’s vivid melodic talent, his deeply poetic gift, and his sense of theatricality. In each of the analyzed songs, there are expressive features of genre differentiation as well as the evident influence of the composer’s operatic aesthetics, bel canto style, and methods of form creation. The prospects for further scientific research lie in continuing the study of the rich vocal legacy of the outstanding Italian composer Gaetano Donizetti through the prism of music-theoretical analysis and performance processes.