Rosalyn Tureck and the principles of her work with baroque art codes

Abstract

Statement of the problem. Musical art is one of the types of communication where people from different historical eras and cultures are in a kind of dialogue. However, it is necessary that all participants of the conversation either know the same language or have the “keys” to decode it, which, however, is not a guarantee that all participants of the communication process will adequately understand each other. This is due to the specificity of the perceptual process, the mosaic nature of culture, and the change of artistic paradigms. This is vividly illustrated in musical performance because the vast majority of modern artists work with texts from other historical eras. Recent research and publications. The study is based on works devoted to the questions of the understanding of the musical text (I. Sukhlenko), the performing interpretation (P. Thom, T. Verkina, M. Bondarenko, M. Sagalova and K. Timofeyeva), the philosophical foundations of rendition of musical works (G. Medina Riera, H. Hinrichsen), as well as the study of Baroque art (A. Paradiso-Laurin, U. Golomb, H. Meister, P. Williams, O. Slipchenko, I. Melnychuk and O. Dondyk). The purpose of the study is determination of principles of the performer’s work with baroque codes on the example of performing and editing versions of R. Tureck of “Aria and Ten Variations in the Italian Style” by J. S. Bach. The scientific novelty of the study based on the use of hermeneutic, interpretive and historical-cultural methods of analysis, lies in defining the basic principles of R. Turek’s work with codes of baroque art. Results. “Aria and Ten Variations in the Italian Style” by JohannSebastianBach is a vivid example of the boundless interpretative field of the outstanding composer’s work. Having analyzed the external and internal “reference points” of the work, its fundamental “interpretative codes” are defined: the title of the work, which has two components – “Aria” and “alla maniera Italiana”; genre; ornamentation; sound image of the instrument; Baroque era and symbolism of musical works. The activity of American pianist R. Tureсk is a bright page in the history of actualization of the works of the great cantor. That is why it was interesting to find out her principles of rendition of the interpretative codes of “Aria”: 1. Ornamentation. 2. Usage of modern resources for the realization of the composer’s idea. 3. A synthesis of ancient and modern, combining the experience of previous eras with modern perception of the music space. Conclusion. Baroque music has a whole palette of hidden meanings, senses, codes, and thus limitless interpretive potential. R. Tureck has once again proved this by sharing with the masses valuable comments and instructions on the pages of her pedagogical and scientific works, which open up a wide field for research.