On a Few Techniques of Transformation in Performance of the Clavier Urtext Scores of J.S. Bach (on the Example of Compositions Written for Instructive Purposes)
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Abstract
The semantic organization of the musical text of Bach’s
clavier compositions known in contemporary performance
and pedagogical practice as instructive assumes one of its
most important features – quasi-orchestral-score qualities.
Intertextual incorporations of inclusions of images of “orchestral
sounds” are reflected in the clavier text with semantic structures
of musical dialogue – solo-continuo and ripieno-concertino. The
presence of such codified signs of the subject mater of music
making – the vertical and horizontal models as an indication of
interaction of members of an ensemble and the soloist – opens
for a performer the possibility of embodiment of timbre and
spatial-dynamic effects by means of the contemporary piano.
A variation-type re-exposition of the clavier text into a quasiorchestral
score may be carried out on the basis of special
technologies. The transformation of the source takes place by
means of a vertical repositioning of the parts, doubling, register
setting, the figured bass technique, and ornamentation. The
clavier urtext scores of Bach directly require this kind form of
work on performance, presenting simultaneously a documented
testimony of the music making practice of the epoch and the
guidelines for performance actions. All of this bears witness to
the fact that Bach’s clavier’s urtext scores could rightfully be
termed an encyclopedia of practical means of compositional
transformation and creative work with the musical text. The
didactical character of performance transformations reveals a
new outlook on the classic material, which embodies veritably
inexhaustible artistic resources.
Keywords: J.S. Bach, clavier urtext, musical dialogue,
Compositions Written for Instructive Purposes for clavier
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