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GENRE CHARACTERISTICS OF ROMANTIC FANTASY FOR THE GUITAR ON A BORROWED THEME BY F. TARREGA

The purpose of this article is to identify the individual-style features and genre characteristics of romantic fantasy for the academic professional guitar. The methods of the research are based by investigator on the application of a comprehensive approach, namely: evolutionary and historical methods – in the disclosure of the processes of formation and subsequent evolution of the genre under study; analytical – in the study of different genre literature, concerning the chosen problem and others. The scientific novelty lies in the fact that fantasies for F. Tarrega’s guitar is analyzed by researcher for the first time. On their example, the individual-style features of the fantasy genre are revealed by scholar. Conclusions. In the course of the work, the genre characteristics of F. Tarrega’s romantic fantasy were analyzed, and it was discovered that virtuosity comes to the forefront as a mandatory quality of fantasy, which was associated with the emergence of virtuosos of composers and performers Napoleon Costa and Francisco Tarrega. Thanks to them, the guitar falls a focus of attention of famous virtuosos who study its chamber and orchestral capabilities. Fantasies for the guitar are improved in form and thematism, using as exclusively original thematism, and borrowed. In the era of romanticism, fantasies on a borrowed topic get the most development, a prerequisite for which was the growth of a virtuoso style of performance, which undoubtedly led to revolutionary achievements in the field of expressive means. One of the main features of guitar fantasies on a borrowed topic was the superiority not of composing, but of performing means of expression: agogics, dynamics, intonation and others. Fantasies for the guitar are extremely virtuosic and require considerable performing skills. However, virtuoso techniques are only of a subordinate nature, and borrowed themes become only an impulse for creating a new artistic integrity. From the point of view of the actual musical structure, such works are characterized by a combination of the form of fantasy with the variational principle of material development.