“RUSSIAN AND TREPAK” BY A. RUBINSTEIN IN MODERN CONCERT PRACTICE OF BAYANISTS

Abstract

The article deals with the problems of bayan transfer, which for this type of performing art are relevant due to the fact that the number of translations is the largest part of the concert and educational repertoire of the bayanists. The manuals for translating instrumental works for the bayan of such authors as M. Davydov, F. Lips, B. Strandnolubsky from the position of the style range of the primary sources of this type of creativity are analyzed. The article reveals the problem areas and complexity of the translation of the works of the romanticism and impressionism for the bayan who, despite the warnings of famous methodologists of the bayan art, occupy a prominent place in the repertoire of modern concert performers and students of musical colleges of Ukraine, Russia and Belarus. The technology of creating piano music translations of Russian romanticism for the bayan understands the example of A. Rubinstein’s work “Russian and Trеpak”. A detailed analysis of the composition from the standpoint of the specificity of the shaping, the dashed and dynamic palette of the work, the range used in the translation of the bean techniques of the game is presented. A comparative analysis of the musical text of the original and the only printed bayan translation (author – F. Lips) is performed, which is not interesting and relevant for contemporary performers (due to the rapid increase of the general level of performing skills). It is stressed that these modern creative finds are transmitted only verbally. Today, only in the virtuoso version, that is, when the textual and technical complication of “Russian and Trеpak” by A. Rubinstein “wins” the right to concert life. The comparative characteristics of the interpretations of the work of O. Nurlanov, A. Shkvorov, O. Bohatyryov, V. Romanko, Yu. Kononov and V. Kharchenko are presented, in which attention is paid to the peculiarities of the use of specific gameplay techniques (combined tremolo, ricosheet, glissando), for with the help of which the primary source material is enriched and saturated. After analyzing the execution of the work by the above mentioned bayanists, we can distinguish two approaches to the sound implementation of the text: traditional (conservative), which is as close as possible to the original or printed translation, and innovative, which exists orally verbally and it is characterized by creative rethinking.