Style actual principle in performance of the I.S.Bach works to piano art of the Odessa

Abstract

The Purpose of the article given studies is a realization of the independent way Odеssa pianists in presenta- tion art of I.S.Bach, resting in performance tastes both age of the romanticism, and аctualited by XX century rhythmic ecstatic expressiveness in musics german baroque. The methodological basis of the research is observance of the prin- ciples of the intonational musical study approach of B. Asafiev's school [2] in Ukraine [1; 4; 11], the content of which is determined by the linguistic aspect of the interpretation of musical meaning, in particular, analytic-structural and stylis- tic-comparative methods with expressed hermeneutic-interpretive gravities in the spirit of musical hermeneutics by B. Yavorsky [see 3] and A. Schweizer [12], as well as its purely performing angle, as presented in the work of A. Verkina [4]. Scientific novelty of the work is based on innovatory interpretation of I.S.Bach style XX century as turned to con- trasting polyphony of french clavier art in concepts D.Androsova, from which author given studies culls the original idea to argumentations of the performance of the I.S.Bach works , coming from "borderland" academic Beethoven style and modernistic line og G.Gould, which rested in Mozart style to A.Schönberg. The given approach to interpretation forms prolongation Ukrainian idea, as it was developed by M.Grushevskij and as it complies with the creative prefer- ences of postmodern and post-postmodern persisting. Conclusions. It is noted special orientation musician of Ukraines and Odessa on innovatory aspects pianо-creative decisions of the artistic problems to post-postmodern contemporanei- ty, in which performance of I.S.Bach flexible agrees the precepts a romantic in organ character of Bach style - and neo- baroque "rhythmic mechanical engineers", declared by G.Gould in XX ct. and not lost urgency in modern gravity to clavier character of the classical piano heritage past ages.