Presentation: "Famous composers. Works." Outstanding interpreters Name 5 famous composers and interpreters

Yesterday, April 15, 2003, I turned on the TV and saw Edward Radzinsky again. He has hardly changed since the end of the last century, when he began telling his stories on the screen. Except that my hair turned white.
Then, in the past, the impression of the first moment was repulsive - a thin, broken voice, waving hands, vague smile. “Some kind of eunuch,” I thought. The recognition process, fortunately, did not last long - half a minute at most. And then I drowned in the world of Plato and Seneca, in the passions of bygone times and in the charming appearance of the narrator. History looked at me through mocking eyes, the movements of her hands fascinated me.
Radzinsky is undoubtedly a man of the brightest gift. For the sake of objectivity, it would be necessary to look for shortcomings, but for me, who is in love with his work, it is difficult to do this. I enjoy the pictures of the world that it reveals. His story connects scraps of school knowledge, book plots and personal experience. I begin to understand the logic of events and the motives of actions.
He transforms instantly. Now into a king, now into a poet, now into an official, now into the people. His story is better than any movie. He himself is like an endless historical movie. And another language. Almost forgotten among everyday cliches and garbage like “cool”, “cool”, “wow”. Pure, lively, capacious and precise Russian language, which I adore, and which I greedily absorbed from the books of Goncharov, Kuprin, Chekhov. His speech is pure and free. I listen as if I were drinking water from a cool, ringing spring.
Once someone close to academic circles, with a slight expression of contempt and a hint of dedication, said that in scientific world They don't like Radzinsky. He confuses the facts and invents a lot. And that the real historical truth is located in a completely different place. “Obviously, in the works of unrecognized geniuses of historical science and at the forefront of the pen of young dissertators,” I thought. Maybe so. It remains to wait until they are worthy to convey their truth to me.
Yesterday he talked about Alexander II , Liberator. The program ended, and I suddenly remembered that in my life there had been no less talented person. A man from the galaxy of Great Interpreters.
His name was Roman Ilyich Kruglikov. I ended up in his laboratory in 1981. He was over fifty then. He was heavyset and limped quite a bit due to a bad leg. It was rumored that he had injured his leg in the camp while working as a military medic. But no one really knew about his past. It was known that he was a Jew, a doctor of medical sciences, the head of the laboratory and the chairman of the party bureau of the institute.
What we were doing was looking for the “memory molecule,” to put it simply. The logic, however, was quite simple. If, for example, you meet a person, you remember his face, gait, and speech. The next time you meet, you will recognize him, because something has changed inside you, something new has appeared. Where to look for this new thing? Obviously in the brain. That's where we were looking for it.
We got to know each other gradually. Discussing work plans, experiments, results. But it was especially interesting to listen to him at scientific councils. Biological science, like any other, is specific and confusing. Hundreds of times I have come across a situation where a scientist, giving a report, could not explain anything to his colleagues. Actually, this happened in most cases. The speaker sprinkled terms and numbers, pointed at tables and graphs, showed with all his appearance that he was on the threshold of a great discovery... and the audience was silent. Taken out of the context of life, the picture said nothing.
Then Roman Ilyich came up to the podium, stood for a minute, bowing his head, as if preparing the audience to listen attentively, and, looking to the side, began to speak in a quiet voice.
Unlike many, he already had a thoughtful, structured space into which another part needed to be added. And I watched with pleasure as he outlined the canvas, applied the main contours to it, which were beyond doubt, and then, as if consulting with the public, looked for the most suitable place for a new element. He succeeded. Everything found its place. This could be only one of the options for the structure of the world, but the option is coherent, convenient for further development.
Then I found out that Roman Ilyich has another talent. Two days before the collapse of the wall, we walked around East Berlin, and he read Mayakovsky and Pasternak from memory. He remembered all their poems! And he recited with great feeling.
Our last meeting was sad. I returned from a year-long business trip to the States, only to leave again soon. I found Roman Ilyich in the clinic where he was being treated for depression. It was a severe form of endogenous depression, which had not yet been treated. “Here I am,” he greeted guiltily. We were silent. I spoke briefly about my achievements, but he did not listen. As I left, I looked back and nodded. An old man in a gray hospital gown was sitting on the sofa.
A week later he was gone. The Great Interpreter, the man who understood and created the world, was gone. There is one less in the great cohort of people who know how to think, speak and convey their knowledge to others.
May your memory be blessed, Roman Ilyich.
Many years to you, Mr. Radzinsky.

The profession of a composer requires musical talent and deep knowledge of musical composition. We can safely say that the composer is the most important figure in the musical world. Therefore, every famous composer in the history of music had a significant influence on the development of music at each specific stage. Composers of the 18th century In the second half of the 18th century, two great composers lived and worked - Bach and Mozart - who influenced the entire subsequent development of musical art. Johann Sebastian Bach (1685-1750) is the most prominent representative of the musical tradition of the 17th and 18th centuries, classified by historians as the Baroque era. Bach is one of the most significant composers in the history of music, who wrote more than a thousand musical works in different genres during his 65-year life. Johann Sebastian Bach is the founder of one of the most famous dynasties in the world of music. Wolfgang Amadeus Mozart (1756-1791) is a prominent representative of the Vienna School, who masterfully played many instruments: violin, harpsichord, organ. In all these genres he succeeded not only as a performer, but primarily as a composer of music. Mozart became famous thanks to his amazing ear for music and talent for improvisation. The third most important name for the history of music is Ludwig Van Beethoven. He worked at the turn of the 18th and 19th centuries in all the then existing musical genres. His musical heritage is extremely diverse: sonatas and symphonies, overtures and quartets, concerts for his two favorite instruments - violin and piano. Beethoven is considered the first representative of romanticism in classical music. These works were written by Ludwig van Beethoven 01-Für Elise 02-Sonata No.14 Lunar 03-Symphony No.5 04-Sonata Appasionata No.23 05-Sonata No.13 Pathétique 06-Egmont Overture 07-Sonata No.17 Tempest 08-Symphony No.9 09- Sonata No. 21 Mozart wrote “The Imaginary Simpleton” “The Dream of Scipio” “Misericordias Domini” Mocarta 40. simfonija, 4. temps Overture to Don Giovanni “Figaro kāzu” uvertīra Concerto in D for Flute I.T 1 Vocal works 2 Organ works 3 Works for harpsichord 4 Works for solo non-keyboard instruments 5 Works for duet of harpsichord with another instrument He is the author of 90 operas Author of more than 500 concerts Author of over 100 sonatas for various instruments with basso continuo accompaniment; secular cantatas, serenades, symphonies, Stabat Mater and other church works. Operas, pasticcios, ballets Terpsichore (prologue to the 3rd edition of the opera The Faithful Shepherd, 1734, Covent Garden Theater); oratorios, odes and other works for choir and voices with orchestra, concertos for orchestra, suites, concertos for instrument and orchestra for an ensemble of instruments - for piano in 2 hands, for piano in 4 hands for 2 pianos, for voice accompanied by a piano or with another instrument for unaccompanied choirs, music for dramatic performances - In the history of musical art XVIII century has gained enormous significance and is still of paramount interest. This is the era of the creation of musical classics, the birth of major musical concepts with essentially secular figurative content. Music not only rose to the level of other arts that had flourished since the Renaissance, to the level of literature in its best achievements, but in general surpassed what had been achieved by a number of other arts (in particular, the visual arts) and by the end of the century was capable of creating a large synthesizing style of such high and lasting value, like a symphony of the Viennese classical school. Bach, Handel, Gluck, Haydn and Mozart are recognized peaks on this path musical art from the beginning to the end of the century. However, the role of such original and searching artists as Jean Philippe Rameau in France, Domenico Scarlatti in Italy, Philip Emanuel Bach in Germany, not to mention the many other masters who accompanied them in the general creative movement, is also significant.

Should a composer with sufficient performance ability be the best interpreter of his own music?

It is difficult for me to give a definite answer to this question. There may be reasons to prefer the performance of an interpretive composer to that of an artist with purely performing talent. But I would not categorically assert that this is invariably the case and not otherwise, despite the fact that the two greatest pianists in history - Liszt and Rubinstein - were both composers. As for myself, I feel if my performance own compositions differs from performing other people's works, this is only because I know my music better.

As a composer, I have already thought so much about it that it has become, as it were, a part of me. As a pianist, I approach it from the inside, understanding it more deeply than any other performer can understand it. After all, you always study other people’s works as something new, located outside of you. You can never be sure that with your performance you are correctly realizing the intention of another composer. I became convinced, while practicing my works with other pianists, that it can be very difficult for a composer to reveal his understanding of the work, to explain to the performer how the piece should be played.

In my opinion, there are two vital qualities inherent in the composer, which are not required to the same extent for the performing artist. The first is imagination. I don't want to suggest that the performing artist is not imaginative. But there is every reason to believe that the composer has a great gift, for he must imagine before creating. To imagine with such force that a clear picture of the future work appears in his mind, before even a single note is written. His finished work is an attempt to embody the very essence of this picture in music. It follows that when a composer interprets his own work, this picture emerges clearly in his mind, while any musician performing someone else's work must imagine a completely new picture. The success and vitality of the interpretation depends to a large extent on the strength and vivacity of his imagination. And in this sense, it seems to me that the composer-interpreter, whose imagination is so highly developed by nature, can be said to have an advantage over the artist - only the interpreter.

The second and even more important gift that distinguishes the composer from all other musicians is a finely developed sense of musical color. They say that Anton Rubinstein knew how, like no other pianist, to extract from the piano an amazing richness and variety of purely musical colors. Those who listened to Rubinstein play sometimes imagined that he had all the means in his hands. big orchestra, for, being also a great composer, Rubinstein had an intense sense of musical color, which extended both to his performing and to his creative activity. Personally, I believe that having a keen sense of musical color is the greatest advantage of a composer. No matter how wonderful a musician the performer is, I think he will never be able to achieve the full depth of sensation and reproduction of the full range of musical colors, which is an integral property of the composer’s talent.

For a composer who is also a conductor, this acute feeling color can be a hindrance when interpreting other people's works, because it

perhaps he will introduce colors into the performance that are different from those intended by the composer.

The composer is not always the ideal conductor and interpreter of his compositions. I had the opportunity to hear three great creative artists - Rimsky-Korsakov, Tchaikovsky and Rubinstein - conduct their works, and the result was truly deplorable. Of all musical vocations, conducting stands apart - it is an individual talent that cannot be acquired. To be a good conductor, a musician must have enormous self-control. He must be able to remain calm. But calmness does not mean serenity and indifference. High intensity required musical feeling, but it must be based on perfect balance of thought and complete self-control. When conducting, I experience something close to what I feel when driving my car - an inner calm that gives me complete control of myself and those forces - musical or mechanical - that are subordinate to me.

On the other hand, for a performing artist, the problem of mastering one's emotions is more personal. I am well aware that my game varies from day to day. The pianist is a slave to acoustics. Just after playing the first piece, experiencing the acoustics of the hall and feeling general atmosphere, I know in what mood I will spend the entire concert. In some ways this is not good for me, but perhaps it is better for an artist to never be sure of his performance in advance, than to achieve some constant level of performance that can easily turn into a mechanical routine.

Does the performing artist think that the life of a performing artist has an adverse effect on his work?

Here a lot depends on the individuality of the artist. For example, Strauss is active as a composer and conductor. Rubinstein worked on composing music every morning from seven to twelve, spending the rest of the day at the piano. Personally, I find such a double life impossible. If I play, I can't compose; if I compose, I don't want to play. Maybe it's because I'm lazy; Maybe.

incessant piano practice and the eternal bustle associated with the life of a concert artist take too much energy from me. Maybe it's because I feel like the kind of music I'd like to make isn't acceptable today. Or maybe the real reason what I'm into recent years I preferred the life of a performing artist to the life of a composer, which is completely different. After leaving Russia, I lost the desire to compose. Having lost my homeland, I lost myself. The exile, who has lost his musical roots, traditions and native soil, has no desire to create, no other consolations left except the indestructible silence of undisturbed memories.

“The surest and highest remedy

service to great composers

consists in bringing them complete

artist's sincerity"

(Alfred Cortot).

Since the appearance of a musical work recorded in a certain notation system, the creative relationships between the main carriers of music - composers and performers - have been in the process of constant modification. In this community, two tendencies are fighting - the desire for merging with the desire for self-expression. Since the mid-19th century, Russian pianism has become one of the most progressive groups in the world performing art. In Russia, earlier than anywhere else, they understood the need for a careful study of the author's text in combination with a creative attitude towards it. The first four decades of the 20th century are the time of the most harmonious resolution of the issue of attitude to the author's text; pianists began to comprehend much more deeply the essence of the work and the style of its creator. Soviet musicians made a worthy contribution to the world performing Bahian. M.V. Yudina worshiped Bach throughout her entire life creative life. This is evidenced by the number (about eighty) of his works played by the pianist - almost unique for artists of her generation. In Bach's repertoire, she abandoned many expressive romantic means, including specifically piano ones; it was characterized by a more historical, in comparison with the interpretations of the romantics, reading of Bach. Yudina was one of the first to realize that Bach’s work and the modern piano belong to different eras as living artistic reality, which presents the interpreter with difficulties. The innovative features of Yudina's style can be judged by her performance of the Chromatic Fantasy and Fugue, distinguished by linear figurations, ascetic coloring and energetic harpsichord-like dismemberment of articulation. Noteworthy are the “registration” in the old keyboard spirit, with a touch of organ, as well as the slow, “sovereign” tempo and strict agogics. The pianist’s desire for style never turned into museum-like “dry” performance. In Yudina’s interpretations, the ability to express long-term immersion in one thing, lost in romantic readings, began to return to Bach’s works. emotional state: revival of the principles of keyboard-organ registration; the disappearance of the diminuendo in the final bars; rejection of the tradition of gradually increasing the strength of sound in fugues from their beginning to the end, the absence of impulsive rubato. It is worth noting one more “clavier” feature in Yudina’s performing decisions – the increased importance of articulation.

Among Soviet musicians Svyatoslav Teofilovich Richter became a classic of the post-romantic stage of the history of pianism, an artist whose work concentrated the leading trends of the new performing era. He created interpretations without which the history of the performance of Bach's music is unthinkable. Decisively breaking with the tendencies of a romanticizing interpretation of this composer's work, Richter crossed out transcriptions from his programs. In the Preludes and Fugues from the HTC, which occupy the main place in Richter’s Bach discography, he contrasts romantic freedom and subjectivity of interpretations with the desire for maximum objectivity and, as it were, “goes into the shadows,” wanting to let “the music itself” sound. These interpretations are imbued with a careful, chaste attitude towards the author. Self-absorption here completely dominates external manifestations of feelings; the emotional intensity is discernible only in the enormous intellectual tension. His unique skill is reflected in his invisibility, in the laconicism and asceticism of his pianistic means. We hear in Richter the possibility of organ, vocal, orchestral, orchestral-choral and harpsichord sound and bell sound. “I am convinced that Bach can be played well in different ways, with different articulations and with different dynamics. As long as the whole is preserved, as long as the strict outlines of the style are not distorted, as long as the execution is sufficiently convincing” (S.T. Richter).

A deep and comprehensive, truly artistic approach to the HTC cycle is characteristic of Richter. Listening to Richter's performance, it is not difficult to detect two main tendencies in him, which sometimes fight with each other. On the one hand, his performance seems to be within the boundaries predetermined by the peculiarities of the clavier art of Bach's time. On the other hand, it always deals with phenomena that go beyond these boundaries. “In it, as it were, Bach’s harpsichord, clavichord, and organ sympathies, and his brilliant insights of the future are “soldered” together” (Ya. Milshtein). It combines expressive, constructive and linear elements into one whole. That is why in other preludes and fugues Richter brings to the fore the intellectual, constructive-polyphonic principle and connects their figurative structure with it; in others – emphasizes philosophical depth Bach's music and the associated organic balance of all means of expression. Sometimes he is attracted by the expression of smoothly flowing melodic lines (coherent legato articulation), sometimes, on the contrary, by the sharpness and clarity of the rhythm, the dismemberment of articulation. At times he strives for romantic softness and plasticity of play, at times for sharply emphasized dynamic contrasts. But he, of course, is not characterized by “sensitive” roundings of phrases, small dynamic shades, unjustified deviations from the main pace. It is also extremely alien to the highly expressive, impulsive interpretation of Bach, asymmetrical accents, sharp emphasis on individual notes and motifs, sudden “spasmodic” acceleration of tempo, etc. His execution of HTC is steady, large in plan, organic and seamless. “His highest happiness is to dissolve in the will of the composer he has chosen” (Ya. Milshtein).

The main impulse behind Glen Gould's remarkable interpretations, which have conquered the world, is the amazing intuition, the irresistible force of the musical emotions living within him. Gould's Bach is the greatest peak of performing art of the second half of the 20th century. The harpsichord palette of Gould's pianism, his melismatics and much more testify to the intellect and deepest penetration into the culture of Bach's time. Gould's interpretations of Bach's inventions, partitas, Goldberg variations and other works became an artistic treasure, perceived by our contemporaries as masterpieces of performing art, as a stylistic standard cleared of all accumulated layers. However, the master’s creative dominant was never imitation of Bach. He obeys his intuition, but does not hesitate to change the direct data of Bach’s “white” text. Gould performs Bach's works with varying degrees of artistic conviction. Not all fugues from Volume I of the HTC are performed at Gould's usual artistic level. In the master's playing there are often direct deviations from the text, its rhythmic and pitch variations.

Gould's playing amazes with its original and highly expressive melismatic quality. Their location is also original - many have been added, others are not executed. Without them, the artist’s Bach interpretations would have lost a lot. The artist often resorts to rhythmic variations of the text. But if the above-mentioned features of the master’s playing do not introduce far-reaching changes into the character and meaning of the works, then Gould’s other transformations invade the very essence of the works. The Canadian master’s interpretations cover a rich figurative spectrum. He plays many things with deep lyricism, rhythmic freedom unusual for Bach, and short phrasing. His playing amazes with the perfection and prominence of his voice. The entire fabric of the music is clear “at a glance.” The music seems to be enriched by the expressive intonation of all voices.

The master's line painting of the game is very developed, varied, and refined. His touches give the motivic structure of Bach's melodies the most varied appearance. The unusual technique of varying strokes in the same melodies, including the themes of fugues, inventions and other works, is of particular interest and opens up new performance problems. The study of Bach's orchestral works, in which there is a certain number of author's leagues - strokes, shows the possibility of such an example. The great composer himself varied his strokes, and not so rarely. The Canadian freethinker created the most compelling Bach of our time. He is a different Bach: not the one who was during his lifetime, and not the one who, changing, appeared different generations, but he seems to Gould's contemporaries to be the most authentic Bach.

In the field of instrumental music, the work of J. S. Bach opened up a whole new era, the fruitful influence of which extends to this day and will never dry up. Unfettered by the ossified dogma of a religious text, the music is broadly oriented towards the future, directly close real life. It is closely connected with the traditions and techniques of secular art and music-making.

The sound world of Bach's instrumental music is marked by its unique originality. Bach's works have become firmly entrenched in our consciousness and have become an integral aesthetic need, although they are played on instruments different from those of those times.

Instrumental music, especially Köthen, served as Bach’s “experimental field” for improving and honing his comprehensive compositional technique. These works have enduring artistic value; they are a necessary link in Bach’s overall creative evolution. The clavier became for Bach the everyday basis for musical experimentation in the field of structure, harmony, and form-building, and more broadly connected the various genre spheres of Bach’s work with each other. Bach expanded the figurative and expressive sphere of the clavier and developed for it a much broader, synthetic style, incorporating means of expression, techniques, thematics, learned from organ, orchestral, vocal literature - German, Italian, French. With all the versatility figurative content, requiring a different manner of performance, Bach’s keyboard style is distinguished by some general features: energetic and majestic, content and balanced emotional structure, richness and variety of texture. The outline of the keyboard melody is expressively melodious, requiring a cantabile style of playing. This principle is largely associated with Bach's fingering and hand placement. One of characteristic features style - richness of presentation with harmonic figurations. Through this technique, the composer sought to “raise to the sound surface” the deep layers of those grandiose harmonies, which in the fused texture on the clavier of that time could not fully reveal the treasures of color and expression contained in them.

Bach's works not only amaze and irresistibly captivate: their impact becomes stronger the more often we hear them, the more we become acquainted with them. Thanks to the enormous wealth of ideas, we always discover something new in them that causes admiration. Bach combined a stately and sublime style with the finest finishing, extreme care in selecting the details of the compositional whole, for he was convinced that “the whole cannot be perfect if the details of this whole are not “fitted” to each other precisely enough” (I. Forkel).

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The article presents a theoretical analysis of the problems of performing interpretation piece of music. The concept of “interpretation” is considered as in in a general sense, and in the context of musical art, as well as the process of the emergence of the idea of ​​​​perceiving the performance of a work as its interpretation. The role of the performer-interpreter is outlined, the necessary psychological and professional qualities of a musician are identified, contributing to a correct understanding of the author's intention and the identification of personal meaning. The problem of objective and subjective interpretation of a musical composition, as well as various approaches to understanding the “correct” interpretation of a work, are explored. A general plan for working on a piece of music is given for a more accurate comprehension and transmission of the artistic image. Particular attention is paid to working on vocal works in a foreign language due to the presence of specific linguistic features.

personal meaning

creative initiative

performer's individuality

musical performance

improvisation

artistic image

creative interpretation

1. Gadamer G.-G. The relevance of beauty. - M.: Art, 1999. - 368 p.

2. Ovsyankina G.P. Musical psychology. - St. Petersburg: Union of Artists, 2007. - 240 p.

3. Stanislavsky K.S. Collected works: monograph in 9 volumes - M.: Art, 1991. - 4 volumes - 400 pp.

4. Feinberg S.E. Pianism as an art. - 2nd ed. - M.: Music, 1969. - 608 p.

5. Kholopova V.N. Music as an art form: textbook. allowance. - St. Petersburg: Lan, 2000. - 320 p.

6. Shalyapin F.I. Mask and soul. My forty years in theaters. - Paris: Modern Notes, 1932. - 357 p.

S.E. Feinberg, a Soviet pianist, music teacher and composer, wrote: “The musical text is the wealth bequeathed by the composer, and his performance instructions are the accompanying letter to the will.” His immortal words reflect one of the approaches that guides musicians when reading a piece of music. However, it is well known that there is not only a text, but also a subtext of a work that conveys a special mood that is not always amenable to musical notation. And it is precisely “getting into” this mood that opens the way for the performer to comprehend the artistic image of the entire work.

The ambiguity of the issue of defining an artistic image in the art of music lies in the fact that one must always maintain a balance between the “correctness” of the author’s intention and the creative initiative of the performer.

Good execution is a synonym for the word “creativity”. And it depends only on the performer whether he will spiritualize a piece of music or, conversely, degrade it. It is the individual interpretation of the work that elevates performing activity to a creative level. After all, even the most detailed and replete with remarks recording is relative, and it remains to be not only read, but also “revitalized,” that is, a “creative translation” of the author’s recording-scheme into real sound images must be made.

But how can this be achieved? Is it enough to simply carefully follow the musical text and the author's notes?

On the one hand, the score guarantees a performance identical to the author’s, but on the other hand, it is just a schematic reproduction of the author’s work. Any performance of a musical text created by a composer is subjective and represents the performer's interpretation or treatment. However, in the historically established special professional understanding of performing interpretation, not every reproduction of a musical text is considered to be considered.

The term “interpretation” itself comes from the Latin word “interpretario” - interpretation, interpretation, disclosure of meaning. Moreover, the process of interpretation is associated not only with establishing an objective meaning, but also to a greater extent- with the identification of the personal meaning of the interpreted objects. In the field of musical art, interpretation refers to the variant multiplicity of individual reading and reproduction of a musical work, revealing its ideological and figurative content and new meanings.

Initially, the word “interpretation”, which appeared in the Russian language, and its European analogues (“interpretation” in English, “interpretation” in French, “Auslegung” in German, etc.) had nothing to do with music at all. The idea of ​​perceiving the performance of a work as its interpretation appeared not so long ago. In the times of Bach, Mozart, Chopin or Schubert, for example, no one could imagine a dispute about how to correctly interpret a piece of music. After all, at that time composers, as a rule, performed their works themselves. The development of interpretation as an independent art became possible at the beginning of the 19th century, after the popularization of concert activities and the emergence of a new type of musician-interpreter - a performer of works by other composers. Traditions of original performance also emerged. Such interpretive musicians were F. Liszt, A.G. Rubinstein, S.V. Rachmaninov. From the second half of the 19th century, a theory of musical interpretation began to take shape, studying the variety of performing schools and aesthetic principles of interpretation. By the 20th century, this theory had become a branch of musicology.

Like good performance, the process of working on a piece of music is also a creative process. Moreover, creativity here is associated not only with the disclosure artistic features work, but also with the realization of various individual qualities of the performer, who is assigned rather contradictory tasks. On the one hand, the most accurate disclosure of the author’s intention based on his style, genre features, emotional content, etc., and on the other hand, the expression of one’s own emotions and feelings. In this case, a direct connection between the personality of the author and the personality of the performer is clearly manifested, and the interpretation of the work can be represented as dialogues between the composer and the performer, the performer and the listener, with the personality of the performer playing a decisive role in this process.

Any interpretation requires an individual approach to music performed, and in this case the composer’s plans are reproduced through the prism of the performer’s individuality, through his inner freedom. However, freedom in art must also be strengthened by internal discipline.

The artistic embodiment of interpretation depends on psychological and professional qualities musician: his musical and auditory perceptions, intelligence, temperament, emotional responsiveness, musical experience, performing endurance, concentration, mastery, ability to control his playing.

In modern musicology, there is a classification of performers according to their manner of interpreting a work into so-called “interpretive types.” If a musician reproduces the musical text as accurately as possible, this interpretative attitude is called attribution.

If, due to his passion and emotional outburst, a musician begins to change the musical text and figurative atmosphere of the work, then such an interpretative attitude is called an invention. In the case when the performer “deviates” his interpretation from the exact execution of the directions indicated in the musical text, as a rule, this leads to a distortion of the stylistic and genre content of the music and indicates an unprofessional interpretation of the musical work.

The inclination towards one or another type of performing art is determined by the internal qualities of the musician: character, temperament, priority of certain mental functions. It is known that some performers may have predominant imaginative thinking, while they cope well with the performance of visual and program music. For others, it is logical, which contributes to better performance of works of a philosophical, deeply felt nature.

However, which interpretation is considered correct? In musicology there are different opinions on this matter. Some researchers believe that it is possible to have as many interpretations as there are performers who perform them. Others argue that, like a scientific, artistic interpretation can be either correct or incorrect, and the correct one is only the one that coincides with the author's.

But how can you find out what the composer wanted to convey, especially if he lived many years ago?

There is a belief that once music is written, it no longer belongs to the composer, it belongs to the performer. Moreover, this is the opinion of not only some performers, but also some composers. The Greatest Composer Richard Strauss was just one of them. Acting as a conductor, he never showed the performer his specific mistakes and always concentrated on the overall impression of the sound.

Of course, not all great composers had this approach. Some demanded strict accuracy of reading from the performers. Thus, Giuseppe Verdi, especially in the last years of his life, even fired singers who did not clearly follow the musical text.

The great Italian conductor Arturo Toscanini said: “Why search when everything is written? The notes contain everything, the composer never hides his intentions, they are always clearly expressed on the music paper...” What the composer wrote was something sacrosanct for him, and this was his principle of interpreting music. Toscanini never went beyond the author's requirements.

Why in different times Were the composers' approaches different? Here you can remember the history of the early “bel canto”. At that time, bel canto singers were not just vocalists, they were well-educated musicians and composers, and they were even allowed to improvise when performing works. The singing profession was very popular and very profitable. And the need for as much as possible fast learning also increased. Knowledge of the basics of composition was no longer so necessary, and the number of vocalists grew, but not the quality. Singers were produced as if on an assembly line, but they were not sufficiently educated. Learn for short time hitting high notes has become more profitable than getting proper vocal training.

Naturally, the attitude of composers and the style of their writing also changed. Composers have lost faith in the performer's ability to interpret correctly.

There were some exceptions, such as Enrico Caruso, who were allowed to interpret. There were also those who abused such “permissions”. It’s worth remembering the great Fyodor Chaliapin, who, if he didn’t like the conductor’s tempo, could throw an angry look at him and start conducting himself.

It is obvious that freedom of interpretation is directly dependent on the traditions that have developed in a given culture. And one of the most important points on the path to the correct interpretation of a work and, accordingly, the creation of the correct artistic image is a correct understanding of the uniqueness of the time (era) when it was written. Composers embody different ideals in music, reflect aspects of life characteristic of a particular period, national characteristics life, philosophical views and concepts, i.e. everything that we call “style features”, and accordingly they use different means of expression.

In this case, a very indicative example is the different designation of tempo and different eras. In the pre-classical period, the tempos “Allegro”, “Andante”, “Adagio” indicated not the speed of movement, but the nature of the music. So, Allegro Scarlatti is slower than Allegro among the classics, at the same time Allegro Mozart is more restrained Allegro in its modern understanding. Andante Mozart is more mobile than we understand him now.

The performer’s task is to correctly determine the relationship of the work with its creator and time and take into account all stylistic features in the process of working on the work. Sometimes even mature masters - professional musicians- comprehend art world a musical work is mainly sensual and intuitive, although it is known that the subjective interpretation of a work often turns out to be inadequate to the composer’s intention and can lead to the substitution of the content of the work with the content of the interpreter’s perception.

Therefore, work on even a small piece of music should be based on a comprehensive study of it. This will allow you to delve deeper into the figurative sphere, maintain the performer’s interest in the work and, finally, understand the author’s intention.

It is difficult to divide the process of working on a work into certain stages. However, many musicologists and teachers conditionally divide the whole process into three stages.

At the first stage, upon preliminary acquaintance with the work, the performer creates a mental artistic image based on the mode, melody, harmony, rhythm, form, style and genre of the work, means musical expressiveness, as well as on the basis of studying the history of the creation of the work, listening to other performing samples. At the same time, along with information analysis, the contractor also identifies technical difficulties.

At the second stage, the technical difficulties inherent in the musical text are overcome. During this period, a long and complex detailed study of all technical, rhythmic, intonation and expressive components of the music being learned takes place, and the ideal musical image continues to be formed.

At the third stage, readiness for a concert performance of a musical work is already formed and practiced.

If we are talking about singing, then it, like any other performance, involves a lot of preliminary work with vocal piece. You should pay attention not only to the musical, but also to the literary text, in which not only phrases and words, but also punctuation marks, stress and accents, intonation pauses, climaxes - all emotional shades of speech will be involved in initial stage analysis of the work. With this analysis, performers will be able to find new expressive intonations.

The greatest difficulty for a vocalist can be the process of interpreting a piece in a foreign language. This is explained by the specific linguistic features inherent in each specific language. These are the intonation features of phrases, which differ depending on the communicative setting of the utterance (narrative, interrogative and exclamation), features of phonetic systems foreign languages, not similar to phonetic system Russian language.

In addition to technical work on a foreign language text, which includes practicing the pronunciation of individual sounds, sound combinations, rhythmic groups, phrases, linking them together, etc., it is necessary to remember about the content component of the text, i.e. understand the meaning of each spoken word for creating the right image. Much attention should be paid to expressive reading and semantic analysis of the literary text of the work, in particular, to punctuation, which has a logical-grammatical and artistic-grammatical function. It is worth paying special attention to phrases not only literary, but also musical, which contribute to the expressiveness of musical speech. The piece must be performed at a good level both in vocal-technical and artistically. And the performer’s task is to fully develop and assimilate the artistic image laid down by the creator, to feel it and be able to focus his attention on it.

The system of K.S. can play an important role on the path to understanding the correct interpretation of a work. Stanislavsky, developing creative imagination and offering to act in the proposed circumstances. If a vocalist can accurately imagine the underlying meaning of a piece of music and believes in the "proposed circumstances", then his style of performance will be justified and will make the entire performance convincing.

Working with “proposed circumstances,” the performer feels the connections between the task posed by these circumstances and their external embodiment, that is, actions and words. Having done a lot of preliminary work on the piece, the musician will create the necessary intonations, and the performance will have the appropriate emotional overtones. At the same time, the listener, unwittingly involved in the content of what is being performed, will be, together with the singer, captured by his experiences.

Musical performance is a rather complex creative process, which has its own unique features for any specialty. And the problem of creative interpretation stimulates the development of a number of professional and personal qualities in a musician, such as artistic and imaginative thinking, mastery of the means of musical expression, and musical erudition. And mastery of various technical techniques and experience in performing activities will allow the musician to deeply and completely reveal the work he is interpreting.

Reviewers:

Nemykina I.N., Doctor of Pedagogical Sciences, Professor of the Department of Cultural Studies and Methodology music education Federal State Budgetary Educational Institution of Higher Professional Education "Moscow State Humanitarian University named after. M.A. Sholokhov" Ministry of Education and Science of Russia, Moscow.

Kozmenko O.P., Doctor of Cultural Studies, Professor of the Department of Musical Performance, Moscow State Humanitarian University. M.A. Sholokhov" Ministry of Education and Science of Russia, Moscow.

Bibliographic link

Tomsky I.A. CREATIVE INTERPRETATION OF MUSICAL WORKS IN VOCAL PERFORMANCE // Contemporary issues science and education. – 2014. – No. 1.;
URL: http://science-education.ru/ru/article/view?id=12217 (access date: November 24, 2019). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"