Features of R. Makarenko's Gothic Triad series interpretation

Creative works of composer Rodion Makarenko (1931-2012) cover a wide range of genres and forms of orchestral and instrumental music. The composer created a lot of original music for accordion, which is supposed to fully identify the expressive possibilities of the instrument and the talent of the performer. Today, accordionists' mastering of new composing and performing art is a topical issue. However, there is a noticeable shortage of musical-theoretical analysis of contemporary works for accordion, of analytical interpretation allowing the performer to look completely differently at the features of performance. Therefore, an attempt is made to analyze R. Makarenko's Gothic Triad series (1990 / 2005) for a multi-timbral free bass accordion. The piece is written in a virtuoso expressive style with various composing, performing and instrumental techniques. Musical and analytical methods are used for the study. A new approach in the composer's use of the technical capabilities of the musical instrument is reflected in the use of register equipment which helps imitate the sounds of different instruments. In Gothic triad register 'organ' in the first part corresponds to a choral episode and simulates the organ sound: the possibilities of the musical instrument timbre become much richer. The virtuoso coloristic features of the instrument in Triad are expressed in the sonoric effects depending on performance techniques. This work has elements of microtonality with an untempered change of any sound, different sound effects: slapping the bellows with the right hand; knocking with a fist on the left box; tattooing with the left hand, ricochet, etc. In this paper, we consider a system of various kinds of oppositions that combine free forms and classic-romantic forms. With respect to performance techniques of the Gothic Triad the composer uses specific technical features of the instrument: virtuoso passages, chord progressions in a wide range, timbre changes (via timbral registers), dynamic work inside the sounding tone, poly-articulation, untempered glissando, ricochet, vibrato and tremolo. Unfortunately, the works of the composer are little known in Russia; his works have not previously been the subject of research. Meanwhile, R. Makarenko's knowledge of Performing Arts bases, his composer's technique are an interesting material for the formation of creative thinking and the development of the technique of a performer.

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