Contrapuntal Compositions in the Form of Historical Dances in the Conditions of Ensemble Music-Making
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Abstract
The musical culture of the Baroque era is distinguished by two paramount traditions: interest in dance forms and simultaneously – ensemble music-making. Both found reflection in numerous diverse genres of dance pieces for clavier, presenting the possibility of variant performance of them in two different domains: the domain of dance and the one which presents images of playing musicians. Performed in the form of ensemble music, the dances presumed variant unfolding and repeated re-exposition of the initial keyboard sketch for a changing instrumental ensemble. The artistic result was the transformation of the sketch contained in the keyboard score into variations, doubles, performance transcriptions and arrangements. Hereafter, upon the change of the “dance-related” dominant idea and with the reviviscence of solo concert performance this tradition lost its meaning: the sketches notated on two lines started being sounded out in a solo manner (this is particularly how, for example, J. S. Bach’s Inventions, the pieces from the “Notebook of Anna Magdalena” and Wilhelm Friedemann, the “Notebooks” of the family of Leopold Mozart and other such pieces are presently performed, notwithstanding their primary purpose). The revival of creative ensemble forms of the everyday music-making practice of the Baroque period is tangibly feasible in present-day instruction of piano ensemble upon the actualization of the ensemble-related principles of the keyboard text by means of its unfolding into music for 4, 6 or 8 hands or for two pianos (including the participation of the keyboard synthesizer). Such practice reflects in an adequate manner the tradition of music-making in the Baroque period as a culture of ensemble music-making and corresponds to the features of quasi-orchestral sounds presented in many keyboard texts. The article demonstrates examples of adaptation of technology of unfolding of keyboard music into a quasi-orchestral score on the repertoire of beginning pianists from the section of the program “Contrapuntal Compositions in the Forms of Historical Dances.” In a number of cases there is a description provided of the possibilities of application of the keyboard synthesizer.
Keywords: historical dances, clavier music from the Baroque period, ensemble music-making, counterpoint in children’s music schools, keyboard synthesizer.
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