On Percularites of the Bach Theme Interpretation in the Works by Roman Ledenev
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Abstract
The article is devoted to studying the problem of the Bach theme interpretation in three chamber works by R.S. Ledenev. These are “Metamorphoses of the Theme by I.S. Bachˮ – variations for viola and string orchestra on the theme of the aria ʽErbar me dichʼ from “Matthew Passionˮ, “Reverence’, the concert piece on the theme of the Prelude e-moll by J.S. Bach” and Four Chromatic Preludes on the Bach theme for organ “Thinking about Bach” which form a peculiar macrocycle. Addressing to Bach is considered through the prism of the past-present dichotomy and more specifically, baroque-modernity, Bach-modernity in the context of both Ledenev’s entire work and second half of the last century stylistic trends. The article reveals peculiarities of exposing the cited themes in Ledenev’s first works, emphasizes the “culturological” nature of the intonation dramaturgy in developing the viola aria theme, traces various allusions to Bach’s thematism in Ledenev’s cycle of organ preludes.
In connection with the contrasting dramaturgy of “Reverenceˮ, parallels are drawn both with the genres of improvisation, toccata, fantasies, and at the same time with film influxes, freeze-frames, montage – the main principles of musical dramaturgy and form creation in the 20th century.
Keywords: Bach, quotation, variation, polyphony, BACH monogram, catabasis, microthematism, “soft music”, monologue principle.
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