Arrangement and transcriptions in creations by Alexander Siloty at the mention of traditions for musical and redactional practice at the end of XIXth – the first part of the XXth centuries

Abstract

Purpose of the article. Consists of research of redactional heritage by Alexander Siloty at the border of the XIXth-XXth centuries and analysis of his arrangement and transcriptions. The methodology consists of using resources-studying, comparative methods, and also method of systematization and generalization. The resources-studying method was used for analyzing previous resources and working with the full edition of redactions by Alexander Siloty. A comparative method was necessary during the comparison of the first piece`s resource and its transcription. Method of systematization and generalization consists of generalization for processed material and summarizing of this exploring. This mythological approach allows the analysis of details previsions information at the thymes of arranging and transcriptions by Alexander Siloty. The scientific novelty of the article consists of an introduction to scientific circulation redactions by Alexander Siloty, which are not explored at this moment, and also in locating of the creating by Alexander Siloty arrangements and transcriptions for piano pieces for orchestral and vocal genres. Сonclusions. Arrangements and transcriptions by Alexander Siloty absorbed in itself basis points of edition`s working by representatives of the previous generation, as C. Cherny and F. Busoni. But pedagogical and performable functions in Alexander Siloty`s redactions were actually balanced, in the same moment when pieces by previous representatives were calculated for the most part only for professional pianists. Identifying during exploration this approach in the way of editions` deleting on amplifications and reductions, did conclusions, that they had full right to take place in the repertoire of the modern pianists and in the pedagogical base of professional piano teachers. Modern pianist sets a goal of the technical problem`s solving and maximally exactly represent of score`s text, and left interpretative goals on the second side. On the other hand, redactions by Alexander Siloty weren`t focused attention on the only pianistic tricks. The general goal of it becomes the individual mind through the personality of the single performer.