Пианист-режиссёр. Интерпретация и транскрипция в работе с начинающими пианистами

Abstract

One of the main criteria of professional performance by the musician of compositions established in the repertoire is considered to be a concise interpretation of the musical text with rendering all the markings made by the editor and the composer. A steadfast tradition has been created of application in pedagogical practice of interpretation by other musicians and an authoritarian approach to learning. However, if such demands are to be considered to be admissible, they cannot be applied to all the styles and genres. The pianist’s interaction with the musical text has been historically determined by two forms which have evolved in the practice of music-making itself. For example, in Baroque music the ensemble form of music-making, which predominated in it, presumed a variant-type unfolding of the keyboard musical text in various performance versions and ensembles. The Baroque tradition is distinct for its active transformation of the musical material and its improvisatory manner in the work with the primary musical source, and it presumes an active incorporation of transcriptions, adaptations, elaborations, arrangements and variations on the original musical text. The second form, which is the soloist variety, regulated by the composer’s precise notation, is designed for interpretation of the music and its performance in concerts. It is particularly the second type, characteristic for the later Classical-Romantic tradition, which is used in teaching, hence the rules of interaction with the musical text are transferred by pedagogues to the other type of musical text, namely, the Baroque variety, as well. The primary musical source contains numerous possibilities for the variant-type replication and creation of performance scenarios both in the ensemble and solo forms. By applying both forms of performing music, transcription and interpretation, the pedagogue would enhance the revival of the traditions of a creative attitude towards the musical text. The article shows examples of work with beginning pianists in a problem-based situation which may be called the role game of “Pianist- Producer.”