Problems of authentic performance of works for the Baroque epoch on the organ

Abstract

The purpose of the article is to study the baroque principles ofplaying the organ and the advantages of authentic performance of works ofthe Baroque era in our time. The methods, which are used into therepresented work, are historical, comparative, structurally analytical,axiological as well as generalizing. Scientific novelty consists in revealingthe features and specifics of authentic performance on a modern organ andcomparing the authentic and modern interpretation of works of theBaroque era. Conclusions. The organ has a long history of its evolution.The path of its formation began in the 7th century BC. with the advent ofPan's flute. Over the centuries, the instrument that we know today has beenshaped. The peak of the evolution of the organ is the period of the Baroqueera (XVII – the first half of the XVIII century). At that time, many organmasters worked on improving the instrument, including the North German master Arp Schnitger, whose organs are directly connected with the workof Dietrich Buxtehude and his contemporaries. In the second half of the18th century, organ art lost its primacy to symphonic and chamber music.Only at the beginning of the 19th century did composers and masters againturn to the organ. The instrument acquires new qualities, in connectionwith which the performers' attitude to the interpretation of baroque worksis changing. The main task of the performer is to achieve maximum soundeffect, behind which the true meaning of Baroque works is lost. Therefore,at the same time, supporters of an authentic interpretation appear whoadvocate baroque principles of performance on authentic instruments.Authentic sounding on a modern organ is possible due to following certainrules and using only those features of a modern organ that are inherent in abaroque instrument.