К вопросу о формировании сольного скрипичного текста в эпоху барокко

Abstract

The issue of studying the processes of formation of the violin musical texts of the Western European Baroque is one of the most relevant in contemporary Russian musicology. Its complexity and multidimensionality consists in the indissoluble unity of the musical text with the diverse forms of vocal and instrumental music-making, not limited in the least to violin music. Representing a significant stratum of the performance practice of the baroque style and period, the musical text of compositions for solo violin still remains a enigma and a point of attraction of contemporary musicians aspiring to discover the “key” to its authentic interpretation. At the same time in musicology an apparent preference is given to comprehension of the regular laws of the baroque instrumental performance practice and the reflection of its specificity in clavier and organ compositions with a contrapuntal type of thematicism. The musical text of compositions for solo violin remains on the periphery of research interests, since having been notated on one line it has been traditionally regarded as monophonic, connected with the melodic element. Thorough attention is called for by the baroque practice of ensemble and orchestral music-making, in the “bosom” of which the principles of violin solo performance has been generated. Upon examination of the most general regular laws of formation of the solo violin musical text through the prism of the specificity of instrumental music-making of the baroque period the approach emerged in the elaborations of the scholarly issue “The Musical Text and the Performer” at the Laboratory for Musical Semantics (academic advisor Liudmila Shaymukhametova). It presented the possibility of systematic study of the historical musical text as a variable and poly-structural phenomenon which contains traits of musical texts for other instruments. Keywords: the practice of music-making, baroque, violin, solo musical text.