Reflection of the Performance Practice of the Baroque Period in Figuration-Type Thematicism of the Solo Violin Urtext
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Abstract
The specific features of the organization of the solo violin musical text in the baroque era
was determined by a single practice of instrumental music making. Participation of the violin in
diverse oral forms of ensemble or solo intonating, which, nonetheless, are closely interconnected
with each other, has stipulated the formation of the integral and varied instrumental urtext.
Free from editorial editions and synoptically expounded, it was opened up for transformations
and performers’ interpretations. Most vividly the processes of conception of the instrumental
specificity of violin thematicism as such occurs in solo compositions where the signs-images
of the affixed and preluding virtuoso violinist are imprinted. They are examined in the article
by means of semantic analysis of widespread types of exposition and cliché connected with the
specificity of violin playing. On the one hand, these are signs-images, formed in ensemble music –
the “chord” technique (with the consideration of adaptation for performance on the violin without
accompaniment) and playing with double notes. On the other hand, there is ornamental melodic
and figuration-type thematicism, typical for solo improvisational and preluding “utterance.”
Closely interacting with each other in the solo urtext score, they are inscribed on one musical
line. Being formed in one-voice thematicism by means of its bifurcation into the strata of support
and ornament (harmonic and melodic figurations), the signs-images of solo and ensemble musicmaking
exist in the conditions of a concealed type of polyphony. One can discover in them the
presence of several semantic strata developing into various relationships, which testifies of the
multidimensionality of the construction of the solo violin musical text.
Keywords: Violin musical text, music-making, signs-images, figuration-type thematicism.
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