D. Kabalevsky's vocal cycle "Ten Shakespeare sonnets" in the context of a coaching approach to solving the concertmaster's performing tasks

The article is devoted to the study of D. Kabalevsky's vocal cycle «Ten sonnets of Shakespeare» from the point of view of the concertmaster and his performing tasks. The relevance of the topic is determined not only by the appeal to the creative heritage of D. Kabalevsky, insufficiently studied in the aspect of chamber-vocal genres, but also by the involvement of a relatively new coaching approach in music education to solve performing tasks in the accompanist class. In the course of the analysis of «Sonnets» their structural-semantic and performing features are revealed, possible final goals of performance are defined and depending on them the choice of methods of work on specific numbers of a vocal cycle is proved. The author of the article draws conclusions about the specifics of the implementation of Shakespeare's poetry in the conditions of the chamber-vocal genre, figurative-thematic and intonation relationships within the cycle, the nature of the piano texture. The important role of the piano part in Shakespeare's Ten sonnets is particularly emphasized, which entails a high degree of creative responsibility assigned to the concertmaster during the performance of D. Kabalevsky's vocal cycle.