Artistic interpretation by the performer of a piece of music. Outstanding interpreters

In modern pedagogy of musical art, the education of a whole complex of professional and personal qualities of a musician is associated with the problem of artistic interpretation. An analysis of the experience of leading teachers shows that active creative activity in the process of interpretation stimulates the intensive development of musical abilities and artistic and imaginative thinking, performing will and performing skills, creative imagination and intuition, musical culture and artistic taste of the student, forms an adequate self-assessment of the professional and personal qualities of music students. This circumstance allows us to consider interpretation from the standpoint of developmental learning.

The questions of the relationship between training and development have recently been of concern to many educators and researchers. The ideas of developmental education, coming from the great teachers of the past (A. Diesterweg, J.A. Komensky, J.-J. Rousseau), in modern domestic science, have taken shape in a position according to which training and development are closely interconnected, but not identical (B. G. Ananiev, S. L. Rubinshtein, A. N. Leontiev, L. V. Zankov, D. B. Elkonin, etc.). The implementation of the developing effect of learning, according to L.S. Vygotsky, consists in focusing on the “zone of proximal development”, which determines the degree of difficulty educational information and the rate at which it is learned. From the point of view of Z.I. Kalmykova, developing is training that forms artistic, imaginative, creative thinking. This, in turn, implies an orientation towards the principles of didactics, such as problematic, harmonious development of various components of thinking, individualization of the learning process.

The problem of interpreting a piece of music in the learning process

Form individual lessons when learning to play a musical instrument is, according to the listed pedagogues-researchers, a kind of territory, first of all, for the creative development of the student, where he, in cooperation with the teacher, shows his individuality in the process of working on musical works.

The implementation of the teaching and developing possibilities of interpretation presupposes targeted guidance from the teacher, who corrects the interpretation process, taking into account the individual characteristics of the student, stimulating the creative search for the optimal performing solution, developing the skills of independent performing activity in the process of artistic interpretation of the musical text of a musical work. Co-creation of a teacher and a student in the work on the artistic interpretation of musical compositions is a necessary condition for the development of artistic and figurative thinking of a student-musician.

This is evidenced by the experience of outstanding domestic pianists-teachers. In the class of the famous Russian teacher L.V. Nikolaev, the performing interpretation of any musical work was built differently each time, depending on the individuality of the student. “A teacher who is sensitive enough in the lesson,” wrote L.V. Nikolaev, - speaks and acts on the basis of what he heard from the student, adjusting to him. Therefore, in pedagogical work I have to improvise every time." The principle of "improvisation" of a creative approach to students was one of the guiding principles in the pedagogical activity of this musician.

Another outstanding musician G.G. Neuhaus, creating in the process of classes an atmosphere of extraordinary spirituality, considered it important to make sure that each student, inspired by the power of the poetic image presented to him, mobilized all his spiritual forces and capabilities. As E.N. Fedorovich, it was cooperation that served as the foundation for educating a student’s creative personality in the pedagogical practice of many outstanding Russian pianists: F.M. Blumenfeld, K.N. Igumnova, G.G. Neuhaus, L.V. Nikolaev, A.G. Rubinstein, N.G. Rubinstein, S.B. Feinberg.

Genuine mastery of musical works and the creation of their own original interpretations in the class of the main musical instrument is carried out in the process of performing. Cognition proceeds by overcoming the difficulties of musical content and musical form, through understanding the logic of the work, comprehending it musical image.

According to L.A. Barenboim, such knowledge is associated with the development of students' skills, operating with musical material, to find similarities and differences, to analyze and synthesize, to establish relationships. It is absolutely obvious that performing actions are inseparable from the system of mental actions. But at the same time, musical activity is impossible without the emotional experience of the performance process and the creation of an artistic image, and the emotional coloring of the cognition process is characteristic of problem-based learning. The mastery of musical works is associated with a problematic situation of a certain complexity, both theoretical and practical. They cover the general laws of music, features of musical development, principles of form construction, the specifics of the harmonic and melodic language, etc.

The constant acquisition of new knowledge, the ability to apply it in practice, the involvement of basic thought processes - all this effectively contributes to the formation of artistic and figurative thinking. The upbringing of positive motivation also implies the inclusion of future music teachers in active musical and performing activities. Awareness of the repertoire supposed to be studied as professionally significant is associated with its systematic use in pedagogical and performing practice. To this end, we try to expand as much as possible the scope of personal performance activities of students in the classroom in all musical disciplines.

Instilling the skills of research work necessary to study the era, style, biography of the composer is an important condition for the formation of artistic and figurative thinking of future music teachers, and, accordingly, the interpretation of the musical works they perform. Students must be taught how to work with methodological and psychological-pedagogical literature, select appropriate material and use it, conduct experiments in teaching, generalize and systematize observational data, write abstracts or reports on various issues of interest.

The performing activity of the future music teacher proceeds more successfully, provided that a positive attitude towards public speaking is formed, the need for performing activity, psychological readiness and satisfaction from it, the presence of a cognitive interest in musical performance and other motives that encourage active performing activity.

We see the point in presenting recommendations of a general nature regarding the forms and methods of forming artistic and figurative thinking, promising in terms of influencing the creation of an artistic interpretation of musical works. To this end, we will analyze the process of artistic interpretation itself, and also dwell on some aspects that, perhaps, are indirectly related to the topic of our study, but at the same time are necessary for the formation of artistic and figurative thinking of a music teacher.

It should be noted that it is the first stage of work on the interpretation of a musical work that is decisive for determining individual characteristics in understanding the artistic image of the work under study. How to awaken fantasy, direct it into the necessary direction of logical understanding of the musical texture and the nature of the artistic image, how to help in choosing a performing option that is most adequate to the composer's idea - these and many other equally important questions arise before the teacher at the very beginning of the interpretive process.

Acquaintance with a work usually begins with playing a musical text, drawing up an intra-auditory “sketch” idea of it before starting a detailed study. Seeing everything that is written in the notes and feeling what the text signs express is not an easy task. The role of the teacher at this stage is to give a "key" to unravel the content of the musical language of the composition without being too active. This help is very important, since even the right emotional response to the work being performed is not enough to comprehend the artistic interpretation as a whole. At the initial stage of the formation of artistic interpretation skills, as a rule, the teacher outlines a sketch of the student's performance plan. The musical and artistic erudition of the teacher is especially necessary for the student in the work on compositions, the authors of which did not fully record their intentions on paper. As an example, let us name the urtexts of I.S. Bach, who, like many of his contemporaries, wrote down a minimum in notes.

In the process of mastering a musical text, one of the most important and difficult is the performing skill of sight reading. Thanks to him, the player gets the first idea about the work being studied. This skill contributes to the development of the student's internal activity, the activation of his creative imagination and thinking. One of the conditions for good sight reading is the ability to “grasp” meaningful musical complexes: “horizontal” (extended melodic constructions) and “vertical” (change of harmonies).

Our experience in the music department of the Kolomna Pedagogical Institute allows us to talk about a rather low level of students' mastery of this performing skill, which leads to a small amount and low quality of the material they have studied. Meanwhile, good sight-reading is necessary to create the performance baggage of the future teacher-musician, designed to promote all the best that has been created in the art of music. In addition, quick and competent mastering of the musical text can help students in related areas of their performance training, vocal and conductor-choral.

The formation of sight-reading skills should begin with the development of the ability to view the musical text with the eyes in order to understand the structure of the work (clarification of the size and tone, voices of texture, melody and accompaniment). Looking through the text, the student mentally listens to the musical material. This brings him to a clearer idea of the nature of the composition being studied and may contribute to the development of the student's inner hearing. The basis of inner hearing is the ability to operate with musical and auditory representations - the most important qualitative sign of creative thinking. Based on the technique of fast and competent reading of music, sight-seeing will help the student to more easily and quickly form his own idea of a particular musical idea and plan for its interpretation.

The fresh and immediate primary emotional impact of the musical material allows the performer to conditionally predict the model of the subsequent listener's perception, which is especially important in the performance activity of a music teacher.

The second stage of artistic interpretation is based on the logical understanding of the material fabric of the interpreted work, the creation of its artistic and sound prototype in the imagination and finding the most perfect ways, methods and means for its implementation. The creative nature of the performing search for an ideal internal auditory artistic image of a musical work suggests a problematic type of learning. Placed in the conditions of the need for an independent search for a solution, students do not passively assimilate the ready-made information presented by the teacher, but on the basis of previous knowledge, relying on the logic of further reasoning, independently come to new knowledge for themselves. Solving problems of a problematic nature activates the student's artistic and figurative thinking, promotes the development of interest in performing activities, which is associated, among other things, with the research, search nature of the interpretation of musical works.

The development of artistic and figurative thinking, according to teachers-researchers, is facilitated by a personal attitude to the work being interpreted, the ability to create one's own idea of its figurative and intonational content based on the experience of aesthetic activity, the entire wealth of life and musical impressions. “No performance creativity is possible,” we read from Ya.I. Milshtein, - if the performer does not have a preliminary stock of information in his mind, if he is not prepared for this by all his previous development, upbringing ... The higher the thesaurus of the performer, the more voluminous his “storeroom” of associations and images ... his personality, the more significant, brighter, more abundant the associations that arise in him when he comes into contact with the author's thought, with primary information.

No less significant is the use of indirect sources of information in the process of creating an interpretation of a musical work: historical materials about the era in which the author lived, information about himself, his creative method and style, existing traditions of performing his musical compositions. This not only contributes to the development of the student's cognitive interest, the expansion of his fund of artistic knowledge, but also makes it possible to variantly decipher the emotional "subtext" of the musical notation of the work, which gives individual character his performance interpretation.

Awakening the student's fantasy, finding his personal meaning in the work on the interpretation is closely connected with the search for artistic and figurative associations, metaphors, comparisons. Associative comprehension of musical images is an effective method of penetrating the artistic and poetic system, significantly influencing the process of understanding, experiencing and performing music, which is especially significant in educating the performing qualities of a teacher. This point is also important in the communication between the teacher and his audience in music lessons at school.

From the ability to penetrate into the emotional content of the piece being played, from the ability to create an individual emotional program of one's performance, the development of the creative potential of students and the focus on solving artistic problems related to the interpretation of musical works depend. In the future, the aesthetic effect of the performing arts of a music teacher, the depth of the impact of his artistic interpretation on the school audience will also be based on these qualities. Disclosure of creative possibilities of students, development in them emotional attitude to the performed work - important tasks, the solution of which is possible with the application of some special pedagogical methods and special techniques.

Thus, the method of pedagogical display of the studied musical work actively contributes to the education of the “apparatus of experiencing” and the “apparatus of comprehension” (K.S. Stanislavsky). The method of pedagogical display is emotional "infection", the transfer of the main idea of the interpreted work to the student. Can be used different kinds display: display - “involvement” (L.A. Barenboim), “searching” display (M.E. Feigin), display of the semantic code of the work (K.N. Igumnov), etc.

The greatest efficiency of the pedagogical display is achieved under the condition of its interaction with verbal explanations. Depending on the purpose of the display, verbal methods can have a preliminary, accompanying and final function. For example, the role of the word as a setting that precedes listening to pedagogical performance, “guiding” the student’s perception is interesting. In the process of showing the teacher's remarks, they increase attention to any turn in the musical plot of the composition. In the course of the subsequent conversation, specific means of expression can be dealt with, with the help of which the composer and performer manage to achieve the desired effect. Such communication is creative fantasy student, gives scope to his imagination and independent logical generalizations, develops artistic and figurative thinking.

The combination of various explanatory and illustrative methods and artistic and pedagogical analysis also contributes to the development of the emotional sphere and imagination, the skills of the student's analytical and artistic-figurative thinking in the process of finding an adequate performing solution. The method of verbal characterization of the artistic image of the performed work is effective for the formation of communication skills necessary for the future profession, including the skill of pedagogical improvisation.

Considering the musical and educational nature of the student's future professional activity, it must be remembered that the verbalized (expressed in verbal form) personal meaning of the artistic image of a musical work activates both the performer (the music teacher) and his listeners (the audience of schoolchildren). Therefore, in the process of working on the interpretation, the teacher must seek from the student the ability to express the essence of the image in the word musical composition and convincingly substantiate their performance interpretation.

The next stage of the second stage of the artistic interpretation of a musical work is aimed at the concrete embodiment of the idea in the field of performing motor skills, its final clarification and design. Phrasing, dynamic colors and timbre possibilities of texture, various strokes, pedagogical nuances, fingering options, pedalization and other elements of the musical language are the necessary means that reveal the composer's creative intent. The main form of work at this stage is the study of the work in fragments, the technical development and artistic finishing of each of them, memorization of musical material. The whole temporarily fades into the background, obscured by details. But with properly built work, it is the main core, with which all the details are mentally correlated.

The figurative content, the style of the work determine the requirements for the technique of the performing musician. Without dwelling in detail on the analysis of the whole variety of techniques, let us consider one of the moments that are of particular importance in matters of individual performance technique as a component of the professional performance qualities of a future music teacher. The best representatives of piano pedagogy primarily associate work on sound with an understanding of technique. “Mastering the sound,” we read from G.G. Neuhaus, - is the first and most important task among other technical tasks that a pianist must solve, because sound is the very matter of music ... In my studies with students, I will say without exaggeration, three-quarters of the work is work on sound.

Verbal subtext can serve as an auxiliary intonational reference point, which makes it easier to identify the convincing pronunciation of individual intonations and their sound characteristics. Each composer has a scale of the most commonly used designations for the qualitative characteristics of sound. It certainly helps to find the desired sound characteristics of the image. At the same time, according to G.M. Kogan, a “dead” phrase positively comes to life after you pick up intonationally suitable words for it.

The intonation comprehension of a work, in our opinion, can be significantly stimulated if students are given the task of identifying lyrical hero of this work (V.V. Medushevsky). The vision of a living person in the image of the hero of the work contributes to the understanding of his behavior and the creation of a logical subjective emotional program. The task of the student-performer is to merge his vision of the world with the hero of the play, to look at the world through his eyes. The emotional "living" of the image, the personal "inclusion" of the student, that is, the involvement of his intellectual and life experience, contribute to his knowledge of the personal meaning of the interpreted work.

The ability to recognize the emotions of a lyrical hero, to merge one's own vision with him speaks of a developed emotional intelligence (qualitative development of artistic and figurative thinking, and, accordingly, a convincing interpretation of a musical work). All this makes the work related to the search for a lyrical hero interesting and fruitful, allowing to liberate not only the emotional and intellectual, but also the artistic abilities of the student.

In the process of intonational comprehension of the artistic image of the interpreted work, artistic imagination helps in finding the game movements necessary for its sound embodiment. In order for any note, chord, passage or textural combination to sound exactly as the student would like, the teacher must help him to imagine not only the sound color or timbre, but also the playing technique.

A problem display opens up a great opportunity to identify the creative initiative and independence of the student. We consider pedagogical demonstration as a method of problem-based learning from the point of view that in this capacity it helps to ensure the creation of a problem-search situation by setting tasks related to the choice and justification of the solution. This can be achieved by showing possible versions of the musical material. In this case, the student independently chooses a variety of performing interpretation that meets his creative inclinations and tries to find technical means for solving a specific artistic task.

However, the specificity of performing activity is such that moments of a different order may arise in the process of mastering it. The movements themselves - according to the feedback principle - affect the work of the imagination, consciousness and hearing (A. Vitsynsky, O. Shulpyakov). The hand in the course of search repeated actions acquires the ability to "hear" (S. Savshinsky); not only “express”, but also “anticipate” this or that character of the sound. At the heart of the performance skills of both the student and the mature musician-interpreter should be the correspondence of the sound image to the movements and sensations of the hands.

It seems that the above material is quite sufficient to convince oneself of the importance of using the creative potential of technology (in particular, work on sound) in the process of interpreting an artistic image.

The situation of the birth of a performing interpretation of a musical work takes time - and the more, the more complex the given artistic image in terms of design, size, and form. With insufficient musical maturity of the performer (the moment of his professional development) the duration of this process may lead to a partial loss of his interest in work. Therefore, at this stage, the teacher requires maximum activity, will and ability to lead the student. Helping the student to understand the author's intention, working on various performance tasks, seeking diversity and colorfulness of sound from him, the teacher needs to ensure that interest in the beauty of harmony, the sensual image of the performed, the ambiguity of the intoned meaning of the musical work does not weaken. Some methods of artistic and pedagogical analysis, adequate to the nature of musical art, are called upon to help this. Along with the previously mentioned ones (search for an associative artistic range, synthesis of musical and visual associations), we list those that, in our opinion, contribute to creating an atmosphere of creativity in the classroom:

The method of comparing the works of the composer according to the principle of similarity and difference (described in detail in the works of B. Asafiev and N. Grodzenskaya);

The method of comparing different versions of the same work (variants, editions, sketches);

The method of "destruction" or deliberate change of one or more means of artistic expression (speed, sound strength, strokes), helping to find their optimal ratio in creating an artistic image;

The method of "re-intonation", which contributes to the best understanding of the performing phrasing.

Of course, the use of these methods of artistic and pedagogical analysis requires awareness of pedagogical expediency in each specific case. At the same time, they help to solve the complex problem of the relationship between student and pedagogical initiative in the process of creating an interpretation of a musical composition. The ability to work in dialogue with the teacher stimulates the development of the skills of the student's artistic and communicative activity, creates the conditions for his adequate self-expression in the proposed situation. Working in the “concept of the student” (definition by V.G. Razhnikov), saturating and improving this concept, the teacher helps the student to delve into the author’s musical idea and, through overcoming private performance tasks, bring the initial “working hypothesis” of interpretation to the final, third, stage her formation.

Calling this stage the moment of "assembly" G.M. Kogan explains: “From now on, the emphasis is shifting; Although the work on the pieces continues, it takes on the character of refinement, completion, and the playing of the piece as a whole, trial performances come to the fore. They constitute the main content of the assembly stage. The student gets the opportunity to perform freely, focusing only on the musical image itself.

When playing a prepared work, it is quite possible for it to introduce new, previously unforeseen details. First of all, this can affect performance agogics - moments associated with tempo and rhythmic rubato, a colorful sense of harmony, artistic "pronunciation" of strokes, etc. Such a manifestation of the student's creative intentions is not arbitrary, but a kind of synthesis of his own perception of music and perceptions of the teacher, the result of their joint work. Here we mean that state of inner emancipation, creative freedom, a special rapprochement with the world of images of the interpreted composition, which is a necessary condition for a full-fledged performance not only for a mature musician, but also for a student. Supporting the student's initiative, encouraging even the most modest performance decisions by it, are tasks of paramount importance.

Conclusion

Concert performance crowns the work on a piece of music. On the stage, according to the majority of performers and music teachers, the process of its artistic interpretation is being completed. “Of course,” writes N.A. Lyubomudrov, “any composition should generally be well learned and performed, but it is a public performance that sums up all the work done in the class, obliging both the student and the teacher to its highest possible quality, requiring special completeness and relief to identify the idea.” The words of A.B. are consonant with the statement of Lyubomudrova. Goldenweiser: “Performance only then became complete when the work was played on the stage; It is pop performance that gives a powerful impetus to artistic development.

The student's focus on transferring his performing reading of a particular musical image to others is important. educational value, resulting from the natural interaction of the performer and listeners at the time of interpretation. Research by psychologists (D.L. Bochkarev, V.Yu. Grigoriev, M.Yu. Kapustin, G.M., Tsypin and others) shows that the contact between the performer and the audience is the basis of interpretive creativity in the process of musical communication.

The reaction of the public, the active perception of what is heard gives rise to a spiritual connection with the musician who interprets the work, thanks to his skill, artistry and dedication to revealing the figurative and artistic concept of the musical work. Evaluation and approval of the listener is a stimulus for further development of creative searches in creating one's own interpretations. Skill creative communication with the public through performing interpretation can serve as an effective means of developing the artistic and figurative thinking of the future teacher-musician.

Bibliography

1. Dubinets E. "Signs of sounds" K. Gamayun, 1999,

2. Kholopova V. The parameter of expression in the music of S. Gubaidulina. In the collection: "The main trends in modern music" Moscow, Music, 2007

3. Soviet Encyclopedic Dictionary ed. "Soviet Encyclopedia 1980

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Music

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The problem of interpreting a piece of music in the learning process

The form of individual lessons in teaching to play a musical instrument is, according to the listed teachers-researchers, a kind of territory, first of all, for the creative development of the student, where he, in cooperation with the teacher, shows his individuality in the process of working on musical works.

This is evidenced by the experience of outstanding domestic pianists-teachers. In the class of the famous Russian teacher L.V. Nikolaev, the performing interpretation of any musical work was built differently each time, depending on the individuality of the student. “A teacher who is sensitive enough in the lesson,” wrote L.V. Nikolaev, - speaks and acts on the basis of what he heard from the student, adjusting to him. Therefore, in pedagogical work, you have to improvise anew every time. The principle of "improvisation" of a creative approach to students was one of the guiding principles in the pedagogical activity of this musician.

No less significant is the use of indirect sources of information in the process of creating an interpretation of a musical work: historical materials about the era in which the author lived, information about himself, his creative method and style, existing traditions of performing his musical compositions. This not only contributes to the development of the student's cognitive interest, the expansion of his fund of artistic knowledge, but also makes it possible to variantly decipher the emotional "subtext" of the musical notation of the work, which gives an individual character to its performing interpretation.

From the ability to penetrate into the emotional content of the piece being played, from the ability to create an individual emotional program of one's performance, the development of the creative potential of students and the focus on solving artistic problems related to the interpretation of musical works depend. In the future, the aesthetic effect of the performing arts of a music teacher, the depth of the impact of his artistic interpretation on the school audience will also be based on these qualities. The disclosure of students' creative abilities, the development of their emotional attitude to the work being performed are important tasks, the solution of which is possible with the use of some special pedagogical methods and special techniques.

Thus, the method of pedagogical display of the studied musical work actively contributes to the education of the “apparatus of experiencing” and the “apparatus of comprehension” (K.S. Stanislavsky). The method of pedagogical display is emotional "infection", the transfer of the main idea of the interpreted work to the student. Various types of display can be used: display - "involvement" (L.A. Barenboim), "search" display (M.E. Feigin), display of the semantic code of the work (K.N. Igumnov), etc.

The greatest efficiency of the pedagogical display is achieved under the condition of its interaction with verbal explanations. Depending on the purpose of the display, verbal methods can have a preliminary, accompanying and final function. For example, the role of the word as a setting that precedes listening to pedagogical performance, “guiding” the student’s perception is interesting. In the process of showing the teacher's remarks, they increase attention to any turn in the musical plot of the composition. In the course of the subsequent conversation, specific means of expression can be dealt with, with the help of which the composer and performer manage to achieve the desired effect. Such communication awakens the student's creative imagination, gives scope to his imagination and independent logical generalizations, develops artistic and figurative thinking.

Considering the musical and educational nature of the student's future professional activity, it must be remembered that the verbalized (expressed in verbal form) personal meaning of the artistic image of a musical work activates both the performer (the music teacher) and his listeners (the audience of schoolchildren). Therefore, in the process of working on interpretation, the teacher must seek from the student the ability to express in words the essence of the image of a musical composition and convincingly substantiate his performing interpretation.

The intonational comprehension of the work, in our opinion, can be significantly stimulated if the students are given the task of identifying the lyrical hero of this work (V.V. Medushevsky). The vision of a living person in the image of the hero of the work contributes to the understanding of his behavior and the creation of a logical subjective emotional program. The task of the student-performer is to merge his vision of the world with the hero of the play, to look at the world through his eyes. The emotional "living" of the image, the personal "inclusion" of the student, that is, the involvement of his intellectual and life experience, contribute to his knowledge of the personal meaning of the interpreted work.

The situation of the birth of a performing interpretation of a musical work takes time - and the more, the more complex the given artistic image in terms of design, size, and form. With insufficient musical maturity of the performer (the moment of his professional development), the duration of this process can lead to a partial loss of his interest in work. Therefore, at this stage, the teacher requires maximum activity, will and ability to lead the student. Helping the student to understand the author's intention, working on various performance tasks, seeking diversity and colorfulness of sound from him, the teacher needs to ensure that interest in the beauty of harmony, the sensual image of the performed, the ambiguity of the intoned meaning of the musical work does not weaken. Some methods of artistic and pedagogical analysis, adequate to the nature of musical art, are called upon to help this. Along with the previously mentioned ones (search for an associative artistic range, synthesis of musical and visual associations), we list those that, in our opinion, contribute to creating an atmosphere of creativity in the classroom:

The method of comparing the works of the composer according to the principle of similarity and difference (described in detail in the works of B. Asafiev and N. Grodzenskaya);

The method of comparing different versions of the same work (variants, editions, sketches);

The method of "destruction" or deliberate change of one or more means of artistic expression (speed, sound strength, strokes), helping to find their optimal ratio in creating an artistic image;

The method of "re-intonation", which contributes to the best understanding of the performing phrasing.

A graduate of the Leningrad Conservatory, Andrey Boreiko since the 90s, is more like a foreign conductor than ours. He works closely all over the globe, but does not hide the fact that he is still in search of his ideal orchestra. In the second half of August, Boreiko has a series of concerts scheduled in Belarus, Ukraine, Poland, Italy and Germany with I, CULTURE Orchestra, which brings together musicians from Poland and Eastern Partnership countries. Roman Yusipey met with the conductor at his current main place of work - in Brussels, where he leads the National Orchestra of Belgium.

Andrey Viktorovich, sometimes it seems that many of the attributes with which the profession of a conductor is still associated by inertia have actually disappeared without a trace today. Is it so?

I think you are right. I still found the 80s and 90s of the last century, when chief conductor the collective could pursue its own independent repertoire policy, decide who would come and what would play, who would order compositions. This gave certain possibilities that no longer exist. Today, the vast majority of orchestras, including the best, are led not by their chief conductors, but rather by managers. There are exceptions - several ensembles where the conductor, being the artistic director, has more rights. Many (and this is not surprising) such orchestras are located not in developed Western countries, but in states that have recently tasted democracy or are far from it at all.

In Europe, and especially in the USA, the relationship between the conductor and the musicians of the orchestra has changed a lot over the past 30 years. They have become more democratic and equal. The level of orchestra players has grown many times over the years, which, unfortunately, cannot be said about the level of conductors.

You and I have now passed by the orchestra members preparing for the rehearsal. Did you notice a small detail? It is not customary for musicians to greet their conductor first. If, for example, some maestro, who worked in Russia at the end of the last century, came here and drew attention to the fact that they “do not notice” him, he would not understand this ... In Russia, even today, conductors still consider themselves to be people, belonging to the highest caste. Or rather, they are allowed to. I remember that when I worked in the Ulyanovsk Philharmonic Orchestra, there was a position of "dresser". The woman responsible for the perfect condition of the conductor's vestments. When I moved to Europe, I was surprised to find that there is no such position in the orchestras here. Of course, I got used to it, but at first it seemed almost a manifestation of insufficient respect.

The true respect of musicians for a conductor (and especially for their chief conductor) is manifested not in how they greet him and how they look into his eyes, but in recognition of his authority, knowledge, skills, preparedness, taste and, as a result, in recognition the right to lead them.

I'm currently reading a wonderful book about the Cleveland Orchestra from the days when it was conducted by George Szell. Most of the artists who left memories of this conductor have a rather complicated attitude towards him. On the one hand, he was idolized as a musician. On the other hand, they could not stand it as a person. They write: “We were afraid of him, because he had almost unlimited power in his hands. He decided everything, including the question of how long socks we should wear, whether we have the right to appear on the street in shirts without ties during the tour, what we eat and drink before and after the concert.

Wonderful story from there. A musician from the orchestra comes to Sell and says: “Could you give me a raise? I have a child." The conductor raised After some time, the musician had a second child, and he again came to the boss. He winced, but added again. When another one was born and the orchestra player came to the maestro for the third time, Sell uttered the immortal phrase: "Have you ever tried to f... just for the pleasure?"("Have you ever tried making love just for fun?" - Ed.) Unthinkable, isn't it? What conductor today can afford to talk to his musician like that?

Otto Klemperer was not the most pleasant person to talk to, the same is known about Sergiu Celibidak. But they were forgiven a lot for their true talent. These conductors are still remembered with enormous gratitude, because they were professionals of the highest standard, and this was not in doubt. Returning to George Sell: it can be argued that it was he who brought the Cleveland Orchestra from the provincial to the top five teams in the world. They still talk about him: this is an orchestra that has its own sound. This is not often said about the Vienna Philharmonic. About the Berlin Philharmonic and even more so. Sell has done a lot. But he did it because he had the opportunity.

- What deprives you of these opportunities?

Alas, I, and almost all of my current colleagues, are constantly forced to balance between what we want and what managers require of us. They need to sell tickets - their work is evaluated precisely by this criterion. They are businessmen. But art, especially classical music, a symphony orchestra - this is not a company selling vacuum cleaners! The main function of orchestras is not to entertain the public. We are obliged to educate, develop taste, seek ways to hearts and souls.

Today's reality is so far away from me that I increasingly prefer the work of a touring conductor. I come only for a week or two to work with some orchestra I already know, but I can choose the repertoire, the soloist and plan the number of rehearsals myself. Let it be one night stand, but will bring pleasure to all participants in the process.

Therefore, youth teams, with which I have always loved and still love, are a priority for me than a long-term contract with some famous team, where I will not have the necessary freedom of action. Why, for example, is Gidon Kremer so fond of his Kremerata Baltica? He created it twenty years ago, on his 50th birthday, and at that time, probably, he had no idea how important this project would become for him. This source of living water, which many of us do not have, Gidon created for himself. With this orchestra, he can always feel like a true musician, creator, thinker, teacher.

Yes, you can play the repertoire that is in demand all your life, and if you have earned a name for yourself, you will be invited again and again. But few succeeded in developing, opening up new horizons, maintaining the freedom to make unexpected, albeit sometimes risky, decisions, remaining only a performer all their lives. Someone began to teach, someone - to write books. Mstislav Rostropovich had conducting, public projects. Gidon Kremer has his orchestra. There must be something.

It is not customary for musicians to greet their conductor first.

Is the academic music industry now so dependent on ticket sales? Government subsidies and sponsorship seem to play a leading role here...

The volume of state subsidies for classical music in the world has not increased at all over the past 20-25 years. In many countries, on the contrary, it has seriously decreased: the ministries of culture have not considered it their duty to cover losses and equalize budgets for a long time. The number of orchestras is shrinking, and it is very difficult to keep the number of musicians working in them unchanged. The financial shocks and crises of recent years have exacerbated an already difficult situation. It is an illusion to think that a symphony orchestra will work for itself. There are no more teams in the world capable of doing this than there are fingers on their hands...

The market dictates its own laws more and more confidently. The planned marketing result will not come out - they will take away what was. Therefore, the sponsorship model of maintaining an orchestra in Europe is more common today, and its role is much more important than in the late 1990s. Everyone is desperately looking for a way out of the current status quo. Each in their own way. One thing is clear: the future of classical music depends on the current generation of musicians. It is for this new generation that we must fight.

My orchestra in Florida is funded by a lot of wealthy people. Our sponsors say they help us because the orchestra is developing, the world's leading soloists come to us, we have a very high attendance. These people want to invest in successful project. So it is success that determines the amount of funding: both in the American, purely sponsored model, and in the European one, which is still more dependent on subsidies.

Ask yourself a question: let's say you are a very rich person and are ready to help some kind of orchestra. Will you choose a band that people go to, regularly mentioned in the media, successful, famous - or an orchestra, maybe very worthy, promising, young, but which no one really knows about and which is not in the capital, but in the province ? Naturally, you want your investment to be immediate, not long-term, linked to success.

True, there is a remarkable exception in Russia: look at what is happening now around the undoubtedly talented and very inventive conductor Teodor Currentzis and his orchestra MusicAeterna. Perm, where he directs the Diaghilev Festival, in a few years has become a recognizable city on the musical map of Europe and the world. Now even major sponsors in Moscow cannot fail to notice that Currentzis and his projects are a brand. It is fashionable, bold, it attracts even those who have never been interested in classical music before. There is a stir around his concerts, ticket prices are unthinkable, success is obvious. And business loves success, and, as a result, MusicAeterna has the ability to continue to create and come up with something new.

- Teodor Currentzis will soon lead the German Southwest Radio Symphony Orchestra in Stuttgart. Kirill Petrenko - Berlin Philharmonic. Vladimir Yurovsky - Rundfunk-Sinfonieorchester same in Berlin. It seems like a 70-year-old German phrase - "The Russians are coming!" - becomes relevant again...

I will add to the list of recent Russian “conquests”: Alexander Vedernikov has been appointed chief conductor Royal Danish Opera(Royal Danish Opera) in Copenhagen, Dmitry Liss became the chief of the new Philharmonie Zuidnederland(South Dutch Philharmonic Orchestra). In addition, Vasily Petrenko performs very successfully in Liverpool and Oslo, and the chief conductor of the Bolshoi Theater Tugan Sokhiev has been heading the orchestra in Toulouse for almost ten years... Yes, conductors from Russia with a Russian education are in demand, and the demand for them is growing, which cannot but rejoice. This was not the case 15 years ago. And the younger generation is on its way!

You know, when Evgeny Fedorovich Svetlanov became the chief conductor of the Symphony Orchestra in The Hague, and Kirill Petrovich Kondrashin could take the same position in Amsterdam, no one said that the "Russian mafia" was conquering the world. In addition, the word "Russian" in the context you mentioned can be used extremely conditionally. You named three very different musicians, of which, in fact, the most “Russian” is the Greek Teodor Currentzis. It seems to me that he is in the more is associated with present-day Russia, where he studied, took his first steps and became widely known not only to lovers of classical music.

Yes, Vladimir Yurovsky speaks excellent Russian, and the years he spent in Russia are a very important part of his life. But it seems to me that education in Germany played a more significant role in his development as a musician. He is real bi-national conductor. As for Kirill Petrenko, I remember him from Omsk, where I conducted in the late 1980s, and Harry Petrenko, his father, was the concertmaster of the Omsk Symphony Orchestra. Once after the concert, he told me that his son was very interested in conducting. Who would have thought that not so many years would pass - and he would become the chief conductor of the Berlin Philharmonic! The first leader in the history of this team, who was born in Russia ... But still, Kirill left Russia at the same age as Vladimir Yurovsky. And Europe - first of all, Germany and Austria - influenced the formation of these creative personalities very strongly.

Do they consider themselves Russian conductors? I don't know, I didn't ask. It's not important for me. The main thing is their highest professional level. Before us are undoubtedly talented people in the prime of life, who make brilliant careers and perform the most diverse repertoire: both symphonic and operatic; both classic and modern.

George Sell uttered the immortal phrase: "Have you ever tried to f... just for the pleasure?"

- And they put forward ideas that sometimes cause a very violent and controversial reaction in the musical community ...

Indeed, as much as Currentzis has fans, there are as many haters who do not accept his image of a rebel, a tendency to outrageous, appearance enfant terrible. But I'm glad that he now has a wonderful orchestra in Stuttgart, with which I had a chance to work for several years and record a number of discs.

This is his first major Western orchestra, and some features of the work of a conductor in the West and in Russia differ significantly. So, for example, rehearsing at night, staying late for additional rehearsals, playing standing up, as string players do in Theodor's orchestra - all this is very unusual for professionals in Germany. I am extremely interested in what will come out of this union, but no matter what happens, no one will be bored. Read his interview: Maestro Currentzis believes that it is time to play classical music in a completely different way, and he is sure that he knows how to do it. And for many people who are tired of the endless series of similar performances, this rebellious approach to Beethoven, Tchaikovsky or Mahler is very attractive. True, I am somewhat confused by Theodore's absolute confidence that he "knows how to do it" (remember Galich), but it is impossible not to feel his charisma and energy.

The main advantage of Vladimir Yurovsky is his absolutely fantastic training, erudition, ability to explain and talk about music. And fearlessness - that in it very captivates me. The fearlessness of playing unpopular repertoire with famous orchestras in major cities. London, for example, is full of highly professional teams. But Yurovsky managed to make sure that people who are interested in listening to Raskatov, and Kancheli, and Gubaidulin, and very young Russian authors come to the concerts of his orchestra ...

I know that Vladimir Yurovsky has refused, more than once, proposals from very serious orchestras. It seems to me that he did this in order to spend more time with his musicians in London and Moscow. Now he has become the chief conductor Rundfunk-Sinfonieorchester in Berlin. Subscriptions and festivals of Yurovsky in Moscow are very interesting, it is always a bright program and an original interpretation of the material. The conductor is not afraid to go to the forefront and talk to the audience. And they listen to him with great interest and attention. The halls are full! I have worked with the State Orchestra several times since Vladimir Yurovsky became its chief conductor and artistic director, and I see that this group is developing all the time. I'm not talking so much about skill - the Svetlanov State Symphony Orchestra has always been famous for its excellent musicians - but about receptivity, readiness for playing music together.

All my friends who know Kirill Petrenko say that he belongs to the rarest type of conductor today. He would rather not go to conduct the Chicago Symphony, but spend more time with the score of the opera, which he will conduct in three months. A modest person, he constantly works and almost never gives interviews. My friends who worked with Petrenko in Bayreuth told me that he knows the score so deeply and seriously that he can give a noticeable head start to many other prominent representatives of the conductor's guild. I am very happy with all his successes.

Your tenure as Principal Conductor of the National Orchestra of Belgium has just expired. Why didn't you renew your contract?

According to the terms of the agreement, the issue of extension should have been decided two years ago. At that moment, officially, at a high political level, it was announced that the National Orchestra of Belgium in five to seven years would be merged with the orchestra of the Brussels Opera House. La Monaie. That is, it was about the actual liquidation of the NOB, a team with an 80-year history. Together with the musicians, we collected signatures, spoke to the public, and asked for support. But we were clearly told that all this is useless - the issue has already been resolved. I was categorically opposed to such a move. From two good orchestras, mechanically connecting them, one cannot create one very good one. You can only hurt everyone.

I did not want to witness the death of the team to which I gave several years of my life. Therefore, he decided that he had to leave, since the continuation of the struggle looked more and more like a battle of a famous character with windmills. By July of this year, the name and logo of the orchestra had already changed. So the prospect of disappearance is more and more real. Even Belgian National Orchestra(as it is now, for some reason, called in English) and will still exist de jure for some time, then de facto it is no longer the same team with which I signed a contract five years ago.

Belgium in general is not an easy country. Two languages, two cultures, two traditions coexist within one not very large geographical area between Holland and France. Of course, I knew this before, but I never thought that the Flemings and the Walloons are so different in mentality, approach to work, leisure, attitude to the history of their country, understanding of national values. There are two ministries of culture here: Walloon and Flemish. And everyone prefers to support "their own". In turn, our orchestra is considered federal and should be financed equally from the budgets of the two ministries, which, to put it mildly, did not always work out ... At some point, after endless budget cuts, because of which I was forced to change or limit my plans and projects, it became obvious to me that this team does not have strong political support at the national level. And without it, in Belgium we can talk not about development, but only about survival ...

But I have something to remember. There were a lot good festivals, memorable concerts. In my opinion, the level of playing of the National Orchestra of Belgium has grown significantly in recent years. I sometimes listen to recordings of some of our performances and come to the conclusion that it would not be a shame to publish such a thing ... Perhaps this will happen someday.

You probably want to ask what's next? And then I want to take a break and not take the leadership of the new team. Though I'll still lead Naples Philharmonic in Florida. Over the past ten years, in addition to Brussels, I have had the opportunity to be the chief conductor of orchestras in Hamburg, Düsseldorf, and Bern. Now, finally, there will be a little more time for the house. Enough of these endless turns around the globe. Of course, I do not complain about the number of concerts: for any conductor, a densely filled calendar for three years in advance is a confirmation of his professional relevance. But there comes a time when you want to slow down a little. The transition from quantity to quality is not an automatic process, but a meaningful one that takes time: time to read books, visit the theatre, exhibitions, movies, chat with friends. Finally, just time to listen to the silence. Sounds in my life and so abound.

Once we copied two measures of the celesta from Sylvestrov's Fifth Symphony thirteen times. The performer, in my opinion, could then be safely sent to a madhouse.

- How often do you spend time with your family in Hamburg?

Recently, my wife and I considered: for last year I didn’t even get a month ... After all, I have been leading for so long similar image life that I even begin to miss him after a week spent at home. Nevertheless, I always go there! I enter the apartment with the thought: finally I will see you, my friends - my books, bought and unread, my CDs, purchased and unheard, unwatched films ... I am always waiting for a lot of video materials sent by young musicians - performers and conductors. Everyone, of course, would like to receive an answer, and finding the time can be difficult. True, now, with the advent of YouTube And Vimeo, it got a little easier.

In any case, time at home is always very busy. Among other things, conductors also have a way of life, and putting all the worries on the spouse is somehow unmanly. I am sincerely grateful to fate for meeting my wife. Twenty-seven years together must be a testament to something, right? And this despite all the moves from country to country, from continent to continent, from one political system into the other ... The wife endured all this on her shoulders. If it wasn't for her, we wouldn't have a home or a family.

I feel good around my family. You begin to appreciate it especially with age. After all, isn't it nice to just sit in your favorite chair in the evening and talk to your loved one over excellent tea that you drink from your favorite cup? Or over a glass of red wine. And as for the freedom of creativity, I have Naples Philharmonic and many concerts where I act as a guest conductor. This is quite enough to implement the most daring plans for the future.

- In April of this year, it was in Florida that you first performed the work of Gia Kancheli "In Petto"- "In an undertone." And it's dedicated, by the way, to you and your wife...

Yes, there is probably no better sign of sympathy and friendship... I have known Gia Alexandrovich for many years. We even use “you” with him, which is rather inconvenient, because when I find myself in companies where everyone addresses him as “you”, I am the only one who says “you” to him, being much younger. We have an amazing relationship with him. It all started with the fact that Lev Marquis, a wonderful musician and conductor, a man who played an important role in my life, for which I will always be grateful to him, invited me to conduct Kancheli's composition instead of him. "Abii ne viderem"("I'm leaving because I can't see anymore"). Premiered at the Concertgebouw with the Lev Marquis Orchestra Nieuw Sinfonietta Amsterdam within Holland Festival. Gia was at all rehearsals. We talked a lot, thanks to which I began to better understand his musical language. And when he stepped onto the stage, he unexpectedly turned to the audience and asked the audience for complete silence and utmost attention during the performance. For Kancheli's music is so fragile and tender that it can be easily destroyed by any "non-musical" sounds. At that time, it was still not about mobile phones, but simply about whispering and especially about coughing, which, as you know, is the scourge of concert halls. Moreover, the more fragile the music, the louder and more often the listeners cough for some reason ... Gia still remembers this incident. Maybe because then at the premiere in the hall there really reigned an amazing atmosphere of sacred rites?

returning to "In Petto", I note that this eight-minute composition was written by order Naples Philharmonic. We wanted to demonstrate to the public that a small, short essay can, as they say, be worth many volumes, and the whole program was built on miniatures. This is not typical for the current musical life. Look, after all, most often the program includes an overture, a concerto, and then some major symphony. Meanwhile, in symphonic literature there are a lot of works that last from three to seven minutes. But they are not suitable as an overture and are practically not performed. The same applies to the instrumental concert genre.

- Indeed, a violin concerto lasting less than 25 minutes is somehow not serious ...

But small things can also be great. The idea of our concert was related to the exhibition of the collection of Olga Hirshhorn, a native of Ukraine, the widow of the famous American collector Joseph Hirshhorn, which was held nearby, in the wonderful Naples Art Museum.

When buying the works of the great masters of the first half of the 20th century, he always said after signing the check: “Do you have anything small for my wife?” And he received a lot of sketches, miniatures that were not intended to be shown in a large museum. But these were miniatures by Picasso, Miro, Magritte, Delvaux, Man Ray and many other masters. Later, Olga Hirshhorn built a small house in her garden called The Mouse House with a total area of 30 square meters - there was literally one room. And in this room she made a museum of all the works dedicated and donated to her. In the same form, the exposition after the death of the owner is now stored in Baker Museum city of Naples.

People who bought tickets for this concert could also visit the exhibition for free. And they understood why we came up with such a program. The most interesting thing is that the miniatures that we ordered from Gia Alexandrovich, as well as from the young American author Nicholas Jacobson and Gabriel Prokofiev, the grandson of the great composer, aroused more enthusiasm among the public than Richard Strauss' suite "The Tradesman in the Nobility" in the second part, on which I, actually did the accent. So the experiment worked and made it possible for Naples to play more contemporary music. Unfortunately, my predecessors hardly played it there.

The listener should try to feel like a leaf falling from a tree into a slowly flowing river.

Is performing new music fundamentally important to you?

The feeling that this is necessary has arisen in me for a very long time. At the Leningrad Conservatory, the composer Yura Krasavin studied with me on the course, Lenya Desyatnikov was a year older. Next was Vitya Kopytko from Belarus. We formed a company, we supported each other. I already understood then: it is we, my generation, who should devote at least part of our lives to promoting the music of our contemporaries. After all, it comes to the point of absurdity: many of today's conductors have made great career exclusively thanks to the music of the 18th, 19th, perhaps early 20th centuries. But nothing of what has been written over the past 20-30 years is, in fact, unknown to them. If in the time of Schumann, Brahms, Chopin, performers concentrated only on the music of Bach, Handel and Mozart, we probably would not know anything about Brahms, Chopin and Schumann today. Therefore, I consider that the performance of works by composers of my generation, as well as music written over the past 50 years, is my direct duty and even duty.

- Why don't you talk about the younger ones? Age chauvinism?

It seems to me that the younger generation already has its own performers. Fifty-sixty-year-olds are almost like dinosaurs for them... It often seems to young composers that only those like them can understand them. So chauvinism here, rather, from the younger generation. I try, first of all, to find music that will affect me, which I will understand and be able to convey it to the public. But there are also such works, including those by composers of my generation, opening the score of which, I understand that they will remain for me tabula rasa. And I shouldn't touch them. This will bring no benefit or pleasure to anyone: neither the composer, nor the public, nor myself.

If some kind of music is not close to the conductor or, even worse, he does not like it - this is not so bad: there is no arguing about tastes. A catastrophe when a person goes out to the orchestra and begins to rehearse such a composition, voluntarily or involuntarily demonstrating his indifference or even hostility. The performers feel it at the same moment: it is almost impossible to interest the orchestra players in something that does not captivate you yourself. But if you are in love with the work, if it has become a part of yourself, then you can ignite the most inveterate skeptics. And when, after the concert, you see happy faces and hear: “Do you know, the music, it turns out, is not bad at all!” - then you understand that yes, it turned out!

You are a consistent promoter of the music of Valentin Silvestrov. Somehow they even said that you are proud that you live with him at the same time ...

Akhmatova once said these words to Shostakovich. I just borrowed them. Yes, this is true. But it is not easy for me to talk to him - I do not feel comfortable talking directly with a person whom I value and even exalt so highly. I know how demanding he is in rehearsals. Unforgettable stories happened during the recordings. We once copied the two measures of the celesta from the Fifth Symphony thirteen times. The performer, in my opinion, could then be safely sent to a madhouse. But we still recorded the way the composer needed.

Sylvestrov for me is like a very potent remedy. And I can't play his music more than two, maximum three times a season. Last season I already conducted the Seventh Symphony twice - in Utrecht and in Paris. I hope to play next "Der Bote"(“Vestnik”) as a tribute to the creator, who celebrates his 80th birthday this year, and to perform “Requiem for Larisa” in Berlin.

Silvestrov ideally needs dedicated listeners who already know and accept his music. We need an audience that is absolutely open to the experiment, which goes to the concert without prejudice, saying, “I will somehow endure this, and then there will be my favorite Beethoven or Brahms.” It is very difficult for me to perform "Postlude" or the Fifth Symphony, fearing that at some point I would hear the clatter of seats and slamming doors, hissing or shouting. It's like pain inflicted on the music that I become a part of when I conduct.

Silvestrov's music suggests a meditative approach. The listener should try to feel like a leaf falling from a tree into a slowly flowing river. You must let this river lead you along all the bends and bends, admiring and enjoying what is happening around. Become part of the natural movement, and not try to swim against the current, resist it, thinking about orchestration, form, balance. You just need to open yourself to this Music, unquestioningly obeying how it fills you all, wrapping and nourishing yourself.

I am absolutely convinced that those who did not become close to this music on the first try should try to listen to it again. But in a different way. The way they listen to the music of the forest, water, wind. Reflect in it.

In Paris, you performed excerpts from Tchaikovsky's The Sleeping Beauty, and then, without a pause, without waiting for applause, you moved on to Silvestrov's Seventh Symphony. Previously, you had Ives' "The Unanswered Question" just as smoothly transitioning into Schubert's "Unfinished" symphony ...

Yes, I do that, although not often... I remember that after Tchaikovsky's Sixth I played Adagietto from Mahler's Fifth Symphony without a pause. And after the concert, some enthusiastic elderly lady said: “Oh, how I liked the last ten minutes of the concert! Tchaikovsky is still a genius!” Well, what can you do ... The main thing - she liked it.

- What was the reaction of Silvestrov?

Working with other composers, I never feel so inexperienced, young, not understanding anything, as with Valentin Vasilyevich. It seemed to me that the Paris concert, in comparison with my first approach to this composition, was much more successful. From my point of view, everything was better. I really liked the French Radio Philharmonic Orchestra, especially the genuine interest and warmth of its musicians towards this music. There was the utmost composure, a sincere readiness to play music. When I sent the recording of the concert to the author, I really hoped that he would like it.

In response, I received a rather critical assessment of my idea to connect two works by different composers without a pause. According to Silvestrov, the listener may not understand at what point the music of one author ended and the music of another began. He wrote to me: “Who did the audience applaud at the end: Tchaikovsky or Silvestrov? If Silvestrov, then Tchaikovsky would be offended. And if Tchaikovsky? .. "

With all my reverence, I cannot agree with Valentin Vasilyevich. Such a connection allowed the beginning of the Seventh Symphony to sound as it should sound: in an atmosphere of tense expectation, in silence that sounded fortissimo.

In the symphonic intermission "Dream" in The Sleeping Beauty, Tchaikovsky created musical space, where there is a breath of time, a sounding silence, and at the same time there are no characteristic features of the style of Pyotr Ilyich familiar to us. That is, music is gradually depersonalized, loses any authorship, dissolves, disappears. And from this silence, from the last pizzicato (as in the finale of Tchaikovsky's Sixth Symphony, when an unprepared listener does not know if there will be anything else), the universe of Silvestrov's Seventh Symphony is born, as in a supernova explosion...

I still think that it is better to prepare the audience than with the help of silence. Silence at a concert is something completely different than the silence of nature or a pause in the conversation of people who have nothing to say to each other. Silence, when one composition (or part of it) ends and the first seconds before the beginning of another last, is an incredibly strong, living silence. Remember at least the end of the third movement of Mahler's Second Symphony and the beginning of the fourth. The singer's voice seems to grow through the sinking sound of tom-tom.

Pianist Alexei Lyubimov, who was at this concert, sent me a review from the Range magazine. The critic understood why I did this. Moreover, he wrote that for him the "Sleeping Beauty" in our interpretation is a symbol of lost love. A symbol so close and so unattainable. Love, which is near, which you feel, but which you cannot approach, cannot touch... You can't do anything...

I remember that after Tchaikovsky's Sixth I played the Adagietto from Mahler's Fifth Symphony without a pause. And after the concert, some enthusiastic elderly lady said: “Oh, how I liked the last ten minutes of the concert! Tchaikovsky is still a genius!”

A rather accurate metaphor: after all, Silvestrov's Seventh Symphony, which followed Tchaikovsky, is dedicated to the memory of Larisa Bondarenko, the composer's wife...

For my part, it seems to me that in the Seventh Symphony, although the author clearly did not consciously conceive it, the story of Orpheus and Eurydice is re-told. The search for a loved one, finding it, trying to return it forever and finally losing it ... But since I believe that composers record music rather than compose it, reducing the entire symphony to any plot would detract from its merits. And what I hear in this composition is not necessarily heard by you or another person. But I cannot get rid of the feeling that in the code of the symphony the author is looking for communication, contact with someone who has gone forever. The score even has a subtext of three harp notes that are repeated many times: “La-ri-sa”. And then there are no more sounds. Only the breath of time, the sound of the River of Time...

What is your relationship with time? What can you say about the age in the profession of a conductor?

I feel now a feeling of immense gratitude to my teachers, who said that in my profession everything begins closer to fifty. When I was twenty-five or thirty, for obvious reasons, I really did not like these words. Youth is characterized by self-confidence, fearlessness, rebelliousness, a desire to refute authorities. And thank God - of course, if it does not offend anyone. But today it hurts me to see how many young people, even very talented ones, do not listen to the opinion of those who wish them well. At their age, despite all my self-confidence, I nevertheless had authorities.

I know many young conductors. For example, a competition has just been held to fill the vacancy of my assistant in the United States. 166 applications were submitted, six made it to the final. But, you see, most of these guys do not listen to advice, even if they say that they would really like to learn, get some feedback. They are sure they are right. Growing pains...

Therefore, I do not strive to teach, to conduct master classes. Many participate in these workshops mainly to tick off their resumes and convince themselves that they are better than everyone else. I recently watched an excerpt from a lesson with Bernard Haitink. The student seems to be listening intently to what one of the greatest conductors left in the profession is saying to him. Then he raises his hands, the orchestra begins to play, and ... he changes absolutely nothing in his manner. Can not? Or does he think that he already “knows how to do it”?

Everything that happened to me in the profession was predetermined by several years of study with Professor Elizaveta Petrovna Kudryavtseva at the Leningrad Conservatory. The reverence for this person was so great that even now, after many years, I often remember our classes, her precepts, smile, look and hands. I regret only one thing: it was necessary to write down and save her every word. Thank God, other students of hers did it after me. I do not want to offend those whom I will not mention, but I will name only a few great masters who left the class of Elizaveta Petrovna: Alexander Anisimov, Alexander Dmitriev, Dmitry Kitayenko, Ravil Martynov. From my generation - Vladimir Ziva, Andrei Petrenko (chief choirmaster of the Mariinsky Theatre), from the younger generation - Vasily Petrenko, Andrei Anikhanov ...

- And they say that the profession of a conductor cannot be taught ...

This is something that is truly learned throughout life. Once it seemed to me an exaggeration, beautiful words. But, of course, I am learning every day… Recently, while performing Brahms' Third Symphony in Toronto, I discovered it for myself from a completely different side. I began to perceive it differently, conduct it differently. It turned out that this is a completely different music.

Mravinsky, a few years before his death, received a gift from Musikverein Wien a superbly published facsimile of the "Unfinished" symphony. And a man who visited him told me that the conductor spent several weeks in a row behind this manuscript, studying page after page with a magnifying glass - and in fact he conducted this work more than one hundred times in his life. When asked why he was doing this, Mravinsky replied: "When I see how Schubert wrote it, with what pressure he applied each point, my concept of how the symphony should be played changes." And he really rediscovered it. I was at one of his last performances with "Unfinished" in Leningrad. This concerto is still in my ears, especially the first introduction of the violins...

- How often do you have to deal with a musical miracle? Or are miracles largely a thing of the past?

I'm not looking for miracles in the past. Although in retrospect, many things look completely different. I'm looking for a miracle today - among those who appear on the stage, trying to speak their own language, but at the same time respect the author. Does not assert itself at the expense of the composer, engaging in vivisection of his works. What I mean? Well, for example, if the author wrote piano, you can play mezzo piano or pianissimo. But you don't have the right to three forte. If he has Andante, you can, if you are very convinced of this, move the pace up to Allegro moderato but should not play Presto. There must be an interpretation, of course. But if the performer puts himself and his taste priorities much higher than the work, the recording of which was entrusted to him by the composer, allows himself to distort the proportions, shape, balance, changes the colors prescribed by the author, this is unacceptable.

The work of an interpreter is the work of a brilliant translator. Without people of this profession, we would not know Shakespeare, the Americans - Pushkin, the Germans - Molière, the French - Goethe. After all, very few people speak languages at such a level as to enjoy the original. And our main task as interpreters, conductors is not to distort the music. So the miracle today is young soloists and conductors appearing in this profession who love music in themselves more than themselves in music. And they do not cease to be such after the first big successes.

In general, completing our conversation: musicians need to play, composers - to compose, writers - to write books, and conductors, probably - first of all, speak with their hands and ... think with their hearts. Carlos Klaiber did not leave a single line behind, did not talk about his thoughts and experiences. We don't even have his letters. But without Kleiber, the history of music and the art of conducting would be completely different. I am sure that a lot of everything that has ever been written and spoken by conductors of all times and peoples could not have been written or spoken. And no one would be worse off for it. Listen to what they have done. And you will be happy.

The article analyzes one of the most important stages of the composer's creative process - the stage of translating the idea into a musical text. The main objective of the article is to expand the methodological approaches that make it possible to explore the process of creating a musical work, to reveal the prerequisites for the existence of various editions of one text, to explore the complex non-linear relationships (mutual influences) of the idea and the result of its implementation in the text. To solve this problem, hermeneutic and synergetic approaches are involved. On the example of M. Mussorgsky's chamber-vocal creativity, the prerequisites for the multivariance of the artistic result in the composer's work, associated with his desire to embody the synthesis of word and music as accurately as possible, are revealed. The musical reading of A. Pushkin's poetic text in the romance "Night" is comprehended as its new semantic variant, realizing the semantic intentions of the verbal source that are relevant for the composer. The reverse “influence” of the text on the idea is considered, due to which the poetic component of the verbal-musical synthesis in the romance chosen for analysis undergoes significant processing, recomposition in the second compositional version of the romance.

composer's creative process

composer's intention

musical text

M. Mussorgsky

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2. Asafiev B. About the music of P. I. Tchaikovsky. Favorites. - L .: Music, 1972. - Z76 p.

3. Bogin G.I. Gaining the ability to understand: An introduction to philological hermeneutics. – Internet resource: http://www/auditorium/ru/books/5/ (Accessed 12/28/2013).

4. Wyman S.T. Dialectics of the creative process // Artistic creativity and psychology. - M., 1991. - S. 3-31.

5. Volkov A.I. Intention as a goal-directing factor in the composer's creative process / Processes of musical creativity: Sat. Proceedings of the RAM them. Gnesins. - Issue. 130. - M., 1993. - S. 37-55.

6. Volkova P.S. Emotivity as a means of interpreting the meaning of a literary text (based on the prose of N. Gogol and music by Yu. Butsko, A. Kholminov, R. Shchedrin): Author. dis. … cand. philological sciences. - Volgograd, 1997. - 23 p.

7. Vyazkova E.V. To the question of the typology of creative processes / Processes of musical creativity: Sat. Proceedings of the RAM them. Gnesins. - Issue. 155. - M., 1999. - S. 156-182.

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9. Kazantseva L.P. M.P. Mussorgsky // "Music begins where the word ends." - Astrakhan; M.: NTC "Conservatory", 1995. - S. 233-240.

10. Kats B.A. "Become music, word!" - L., 1983. - 152 p.

11. Knyazeva E.N. And personality has its own dynamic structure. – Internet resource: http://spkurdyumov.narod.ru/KHYAZEVA1.htm. (Accessed 28.12.2013).

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13. Tarakanov M. The idea of the composer and the ways of its implementation // Psychology of the processes of artistic creativity. - L., 1980. - S. 127-138.

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In modern art history, studies of the processes of artistic creation are becoming increasingly important. The desire to know the creative process in music, to look behind the “impenetrable veil, behind which is the holy of holies, where only a few uninitiated, i.e. to the creators of intoned sound images” (M. Tarakanov:), the desire to “penetrate into the secret recesses of creative thinking” of composers (M. Aranovsky:) stimulate research thought in musicology as well.

One of the most interesting and still insufficiently studied problems is the study of the process of embodiment ("translation") of a composer's idea into a musical text, which is one of the main stages of a holistic creative process. It should be noted that these stages reflect different forms of manifestation of the composer's artistic consciousness - the idea (future text), the text as a realized result of the artist's creativity and the perception of the created text, envisaged by the author at the time of composition. The unity of the creative process, the conventional designation of its stages, which often exist simultaneously, makes it possible, in the opinion of researchers, to realize the presence of a certain form of “otherness” of a musical text that preserves invariant qualities at all stages of the composing process. Such a holistic mental formation, which has a simultaneous character, has received various definitions in art history: the “heuristic model” (M. Aranovsky) of a musical work, the syncretic prototype (S. Wyman) of the future artistic whole, etc. One of its most important qualities is the ability to "forms of one's being (intention)" to "unfold" into the text.

At the same time, an analysis of the statements and self-observations of the creators, their epistolary heritage, various musical materials, drafts, sketches, and sometimes numerous editions of one work shows that many composers remain dissatisfied with the artistic result obtained, realize significant losses in the "translation" of an integral prototype, a certain an ideal model of the future work, formed in the artistic mind of the author at the stage of conception, into a musical text. Of particular interest in studying the mechanisms of translating ideas into text is the study of the creative processes of those composers who turn to synthetic musical genres, such as chamber vocal works, operas, ballets, etc. In these genres associated with the word, stage action, where music interacts with verbal, stage, choreographic rows, in the creative process of the composer, a conscious construction of the whole takes place. As artistic practice shows, the search for the most adequate forms of synthesis when translating an idea into a text often leads to a change in one of the components of the synthetic whole, a significant adjustment of the original idea, the generation of new semantic options when “translating” a poetic / literary text into a musical genre, which deserves a separate serious research.

To solve this problem, the article uses a complex methodology that lies at the junction of various scientific approaches. Sharing the scientific position of those researchers who interpret the musical reading of a literary (poetic) source as the result of a composer's interpretation, the main task of the article is to deepen our understanding of the interpretive essence of composer creativity at the stage of translating the idea into a text. At the same time, the composer's interpretation is understood within the hermeneutic tradition as a special activity based on the comprehension of one's own experiences, assessments, feelings caused by the "disobjectification" (G. Bogin) of the means of a verbal text and their "re-expression" by the linguistic means of musical art. In addition, significant prospects in observing not only the result, but also the process of formation of a synthetic musical whole in the composer's work, in our opinion, have scientific approaches that seek to explore works of art and the artistic consciousness of its creator as open, complex, non-linear processes that cause the emergence of new semantic variants of the original text. Such systems are investigated using a synergistic approach.

We believe that the hermeneutic approach will make it possible to consider the musical embodiment of a poetic text as its new semantic variant, realizing the semantic intentions of the verbal primary source that are relevant for the composer, as a synthesis of sense-creation and sense-generation, “given” and “created” (M. Bakhtin). In turn, a synergistic approach is necessary to study the composer's artistic process in order to objectify observations of the dynamics of meaning generation, analysis of direct (the intention determines the formation of the text) and reverse (the text corrects the intention) influences. With this approach, composer's interpretation can be understood as an activity that brings the system of interpreted verbal text into a state of strong instability, instability, actualization of "creative meaning-generating chaos" (E. Knyazeva) and the subsequent organization of a new order at the stage of composer reading. The synergetic approach, as we believe, allows us to analyze the process of the birth of new semantic variants of the source text, understood as a shift in its semantic balance, determined by the author of the verbal source, as a re-emphasis of the semantic structure of the interpreted text in the composer's creative process.

It should be noted that modern art history interprets the translation of the creator's intention into text, its incarnation into linguistic matter as a complex process with a wide range of alternatives. The musical text captures only one of the potential possibilities of the composer's intention. According to the researchers, the composer's goal cannot be reduced to any single option, but is realized as a range of possibilities, set only in the form of a search zone, which entails the realization of the incompleteness of any of the implemented author's decisions. Hence the feeling, repeatedly witnessed by the composers themselves, of the impossibility of expressing the idea in full measure, holistically, in volume. So, in particular, P. Tchaikovsky was often dissatisfied with the result of his work, the impossibility of expressing the whole, therefore he always strove to immediately start a new work (see about this:). The inexpressibility of the ideal model of the future text, its simultaneous prototype, becomes the reason for the truncation, the transformation of its volume, complexity, loss of integrity at the stage of translating the composer's idea into the text. The composer thinks as a whole and moves from the whole (on the eve of parts) to the whole (the result of the addition of parts). According to the observations of N. Rimsky-Korsakov, the creative process "goes in reverse order": from the "entire theme" to the overall composition and originality of details (quoted from:). The embodiment of such integrity requires special artistic techniques, the search for accurate (bright, often innovative) means of expression, which allow preserving in the deep levels of the musical text the signs of the ideal model of the work, its pre-textual whole.

One of the most objective methods of analyzing the process of such a "translation", the search for means of implementation, should be recognized as the study of drafts, the process of creating a musical work from manuscripts, autographs of the composer. (This applies to a large extent to various music editions of his work, undertaken by some composers.) A lot of serious scientific works have been devoted to the study of this problem. Following their logic, one gets the impression that the composer knows what he wants to achieve, and is only looking for an adequate form, the most accurate musical means of expression. At the same time, the draft (as a psychological and aesthetic phenomenon) can be regarded as an intermediate link between the primary syncretic image and the linear text. We believe that the draft bears the features of not only the future text (as it is often considered), but also a syncretic image (“the whole before the parts”), being part of a holistic project. Then it can be studied in the reverse projection (not only in the aspect of identifying “what is cut off”, but “what has been embodied”, but also from the position of reconstructing the syncretic prototype).

In this sense, attention is drawn to the works concerning the understanding of the non-linear processes of composing and, more broadly, artistic creativity, in which, based on the study of drafts, the problems of the reverse influence of the text on the idea are considered. Not only does the intention affect the text, but the text also corrects (shapes) the intention. In some cases, this form of interaction between the text and the author's intention is defined by E. Vyazkova as a special type of the composer's creative process, which has received the definition of "self-development of the idea" . Interestingly, the creators themselves testify to a change in ideas about the nature of their interaction with the text. So, in particular, A. Schnittke admits that the dynamics of such changes was carried out from “ideal utopian ideas about the future work as something frozen. About something crystalline irreversible" to the idea of a work of art as "an ideal of a different order that lives" . An example of the author's submission to a "self-developing idea" can be famous saying A. Pushkin about how Onegin's Tatyana "unexpectedly" for the poet married a general (see about this:).

This approach determines the understanding of the text as a living organism that exists according to its own laws, capable of self-development, which allows us to recognize the promise of using a synergistic approach to the study of the composer's creative process. artistic structure work, including music, is self-sufficient, autonomous, self-regulating, behaves like a living being, in accordance with its own laws, sometimes resisting the author's dictates.

We believe that the desire for perfection, the completeness of the embodiment of the prototype in the text, dissatisfaction with the result determines some features of the creative process of various composers. In one case, the desire to “realize the unrealized” in already created works encourages composers to turn to composing new projects. The synergetic approach also makes it possible to identify "traces" of unrealized, rejected at the stage of composing previous works, semantic motives, "under-embodied semantic possibilities of the text" (E. Sintsov). So, in all likelihood, P. Tchaikovsky works.

In another case, the search for the embodiment of the "inexpressible" in the creative process of the composer leads to the variability of the text, the existence of various author's editions of one work. Using synergistic terminology, we can assume that between its two editions (versions), the text as an open, self-organizing system goes through a state of relative chaos, forming a new order, a new semantic version of the text. So, in particular, M. Mussorgsky works. Let us consider, using the example of his chamber-vocal creativity, the process of forming a synthetic work of art when translating an idea into a text.

When referring to the work of Mussorgsky - an artist who is unusually sensitive to the word, has an outstanding literary talent, subtly feels the semantic range of the verbal unit of the text, its semantic plurality - revealing the interpretative essence of composer reading in synthetic musical genres receives additional motivation. Mussorgsky's composer's credo, striving for maximum unity of word and music, emotional and psychological authenticity of verbal-musical synthesis, leads the composer to active co-creation with the author of the verbal text. In the event that the artistic result of the "fusion" of word and music does not satisfy the composer, he actively "intervenes" in the poetic text, changing, and sometimes completely recreating the verbal component of the synthesis envisaged by him.

In his romances and vocal sketches, Mussorgsky consciously achieves a special consonance between words and music, which indicates a flexible semantic "reexpression" by musical means of the meaning understood ("heard") in the verbal text. The technique of composer's writing is aimed at creating an amazing integrity of the verbal-musical sound complex (such cohesion of the word and music in Mussorgsky's vocal music allows L. Kazantseva to define it as a revival of syncresis, originally characteristic of art), reveals the deep semantic layers of the verbal text, objectified in the musical text, allows the hidden, implicit semantic components of the verbal image to "melt" into musical intonation, into the articulatory system of piano accompaniment, into the phonic colors of harmony. Let us consider the features of the embodiment of the idea in the text, we will reveal the method of Mussorgsky's work on verbal-musical synthesis on the example of the romance "Night", in which, according to the figurative expression of E. Durandina, Mussorgsky "fantasizes on Pushkin's text" .

The composer's appeal to Pushkin's poem "Night" was caused by personal motives. The tremor of the lyrics, heard by him in verse, turned out to be unusually consonant with his feelings that he feels for Nadezhda Opochinina. It is to her that Mussorgsky dedicates his romance-fantasy. Following the figurative content of the text encourages the composer to dismember the second verse stanza in a through musical form to create a brighter contrast between the theme of loneliness ("a sad candle burns") and the delight of love ("streams of love flow, full of you"). (These sections are separated from each other tonally (Fis / D), melodically (declamatory-ariose "seam"), texturally and even metrically). The figurative unity of the third stanza, on the contrary, encourages the composer to use the unifying factors of tonal development. The bizarre interweaving of signs of ariose and declamatory style in the vocal part also becomes the result of "reading" into Pushkin's text. The intensity of melodic moves, the breadth of interval jumps, the use of a tense "uncomfortable" performing tessitura (up to the second octave) creates in the last stanza of the romance a feeling of emotional excitement, an affectation of feelings caused by the hero's dreams, which enhances the illusory nature of the "visible".

An important role in the truthful transmission of the psychological state is played by the expressive details of the musical text. So, the juxtaposition of the same name fis-moll (“sad”) and Fis-dur (“burning”) “highlight” the visual nuances of perception, the “languor” of the initial statement is emphasized by a disaltation move (e#-e), the sparkle of the beloved’s eyes is conveyed by an almost illustrative expressiveness of the device arpeggio. It is difficult to overestimate the expressive value of enharmonic modulation: the exalted descending gliding along the sounds of the Lydian tetrachord, picked up by the whole-tone “descent” in the piano part, is “cut off” by the sonority of the mind. text. The expressiveness of tritone moves of the vocal melody of the third section of the romance tensely refracts the intonational space of night visions.

The desire to strengthen the figurative content of the verbal text, to achieve a synthesis of words and music, also determines the changes made by the composer in the poetic text itself. Mussorgsky replaces Pushkin's "verses" with "words", thereby "dissolving" the theme of poetic creativity, inspired by the image of his beloved, in night dreams about her. Interesting repetitions of individual words, so rare in Mussorgsky when working with someone else's poetic source. So, for example, happens with the word "disturbs". It is about such a case that they say that music intones not so much the word as its meaning. When it is repeated, Mussorgsky not only breaks the prosody (an exceptional case for a student of M. Balakirev), but also makes the word tense, “alarmingly” intoned. The composer also shows amazing subtlety in the seemingly insignificant repetition of the word “me” (“me, they smile at me”). A long rhythmic stop at the first word enhances its “semantic vectorism”, forces our attention to concretize what we heard (meaning: smiles at me).

Following your own artistic task gives Mussorgsky the right to introduce additional words into Pushkin's text. In the phrase “in the darkness [of the night]”, the use of a new word and its repetition was required for the figurative “thickening” of this phrase. Together with the "darkening" of the local tonic center, this allows Mussorgsky to enhance the figurative contrast with the subsequent light line ("your eyes are shining"). The method of contrast sharpening of the rhythm is also interesting: a strict even division of durations is replaced by a triplet, almost dance-like rhythmic whirling. Only the polyrhythmic combination of textured voices prevents us from believing in the "imaginary", in dreams. The composer does the same at the conclusion of the romance, when in Pushkin's text there appears the poet's unforeseen "I love [you]", which only emphasizes the uncertainty, defenselessness of the hero's state of mind. Thus, in the process of deobjectification of a verbal text, the search for “meaning for me” leads Mussorgsky to a fantasy “refraction” of poetic material.

This is revealed, first of all, at the level of musical expressive means. Thus, the “splash” of the Dorian S fis-moll “illuminates” the darkness of the night (bar 13). Light, but cold "spots" of caliber tertz juxtapositions are used in the emotionally intense section of the form: in D-dur these are III dur`ya (Fis) and VIb (B). Ghostly colors of major-minor harmonies, "abandoned" unresolved dominants, many elliptical revolutions, keys that are "felt", but do not appear; the ecstatic tension of the dominant organ point - all this helps to illusoryly perceive the reality of the night landscape. And the landscape itself, with the help of a quivering trembling texture (the extreme sections of the form), is rather reinterpreted as a landscape unsteadiness of the night space, psychologically refracted by the consciousness of the dreamer. The modulation of the meter (4/4-12/8) is comparable to an increase in heart rate, with an increase in the hero's emotional arousal. Indicative in terms of figurative solutions and dynamic polyphony of different layers of texture. The vocal part is sustained in muted dynamic tones (ρ and ρρ). The loudest notes sound only mf (as opposed to the piano part). The most striking moment of their dynamic counterpoint coincides with the love confession of the heroine, where the dynamic relief of the piano accompaniment tries to “wishful thinking”, and the “whisper” of the vocal part only enhances the illusory hopes.

Consequently, the figurative content of the musical speech of the original version of the romance can be called one-dimensional. Reading the poetic text in the sense of the hero’s love rapture, evoking the image of his beloved by the power of his imagination, deliberately narrows the figurative and semantic spectrum of the verbal text, “re-expressing” only meaningful, relevant semantic concepts for the composer.

Mussorgsky carries out the second edition of his romance as an attempt to create a “verbal equivalent of a musical image”, as a “free processing of the words of A. Pushkin” - both in terms of content (figurative concentration) and in terms of the form of literary implementation (rhythmized prose). Those poetic images that did not find their musical embodiment in the first edition were subjected to textual and, accordingly, semantic cuts. Immersion in the world of romantic dreams is enhanced by a simple but effective technique: all personal pronouns are replaced (“my voice”, “my words” are transformed into “your voice”, “your words”). Thus, dreams became not only "visible", but also "audible", and the hero of the story gives way to an imaginary heroine. In the new version, Mussorgsky also brings together the “color” coloring of contrasting figurative spheres: “dark” night colors “brighten” significantly. So, "dark night" becomes "silent midnight", "darkness of the night" - "midnight hour", "disturbing" poetic nuances are softened. Harmonic means are also involved in this process. For example, the "cold" Ges-dur is enharmonically replaced by the warm lyrical Fis-dur (measure 23), the deviation in gis-moll (measure 6) "leaves".

The main means of musical expression practically do not change. But now many musical finds of the first edition have been "highlighted" by the verbal series. This happened, for example, with the enharmonic breakdown at the end of the D-dur section: now the musical sequence more accurately reflects the figurative and semantic load of the word, and the whole-tone sequence, moved to the vocal part, becomes a vivid expressive means for immersing yourself in the sphere of oblivion. Small changes in the musical sequence are designed to make the shifts in the semantic accents of the verbal text, the re-accentuation of its semantic structure, heard and noticed. This also applies to the harmonic solution of the piano postlude, where an even greater ghostly Fis-dur is achieved. The effect of figurative dissolution is enhanced here by the general increase in the tessitura of the piano. The dynamic counterpoint of the piano and vocal parts, which was mentioned in the analysis of the first edition, also disappeared. As a result, an almost "crystal" intimacy of musical and poetic means is achieved, participating in a quiet "melting" climax and conclusion.

In general, the artistic result obtained in the 2nd edition is impressive: a rare indissoluble unity of word and music has been won, an amazing unity of musical and poetic images has been achieved. The price of such unity, according to some researchers, is too high: “with the collapse of the poetic text, the voice of the poet disappeared, completely absorbed by the voice of the new author - composer”, “distortions of the poetic text kill the poem”, “Mussorgsky’s romance belongs only to Mussorgsky” . At the same time, it can be argued with a high degree of probability that the new semantic variant in the second composer's version of the romance, the new synthetic literary text, born under the "counter" influence of the text on the idea, could satisfy the composer in terms of the completeness of the heuristic model of the text, its syncretic prototype.

Summing up the consideration of the features of the embodiment of the idea to the text in the creative process of Mussorgsky, we will denote the results of attracting new methodological approaches to the analysis of the composer's creative process. We emphasize that the analysis of both editions of the romance made it possible to penetrate into the composer's creative laboratory, to look into the "secrets of creative thinking", to reveal the synthesis of the knowable, reliable and difficult to prove, inexplicable, intuitive [Tarakanov, p. 127] in the creative process. The hermeneutical perspective of the analysis led to the understanding of the composer's creative activity in relation to the literary source as a complex dialectical unity of meaning-recreation and meaning-generation. The synergetic approach made it possible to consider the process of composer's interpretation as a change ("destruction") of the old semantic structure by re-emphasizing the semantic nodes of the literary source and forming a different order in a new semantic variant. A comparative analysis of both editions showed that when translating an idea into a musical text, Mussorgsky's creative thinking demonstrates signs of complex synergistic systems characterized by non-linear, reverse, reciprocal connections, a multivariate choice of alternatives in the textual realization of an ideal holistic model of the future text.

Reviewers:

Shushkova O.M., Doctor of Art Studies, Professor, Projector for NUR, Head of the Department of Music History, Far Eastern State Academy of Arts, Vladivostok;

Dubrovskaya M.Yu., Doctor of Art Studies, Professor of the Department of Ethnomusicology, Novosibirsk State Conservatory (Academy) named after V.I. M.I. Glinka, Novosibirsk.

The work was received by the editors on January 17, 2014.

Bibliographic link

Lysenko S.Yu. PECULIARITIES OF IMPLEMENTATION OF A COMPOSITION'S INTENTION INTO A MUSICAL TEXT IN THE CREATIVE PROCESS OF M. MUSSORGSKY // Basic Research. - 2013. - No. 11-9. - S. 1934-1940;
URL: http://fundamental-research.ru/ru/article/view?id=33485 (date of access: 04/06/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"

As a manuscript

MYATIEVA Natalya Ataevna

Performing interpretation

music of the second half of the twentieth century:

Dissertations for a degree

PhD in Art History

Specialty 17.00.02 - Musical art

Magnitogorsk 2010

The work was done at the Department of Theory and History of Music, Moscow State University of Culture and Arts.

Scientific adviser:

Doctor of Arts,

Professor ^ N. I. Efimova

Official opponents:

Doctor of Arts,

Professor N. I. Melnikova

Ph.D. in History of Arts,

Professor ^ R. R. Shaikhutdinov

Lead organization:

Moscow State Institute of Music. A. G. Schnittke

The defense will take place on December 15, 2010 at 4:00 pm at a meeting of the Dissertation Council DM 210.008.01 for the award of the academic degrees of doctor and candidate of art history at the Magnitogorsk State Conservatory (Academy) named after. M. I. Glinka (455036, Magnitogorsk, Chelyabinsk region, Gryaznova st., 22, room 85).

The dissertation can be found in the reading room of the library of the Magnitogorsk Conservatory.

Relevance of the topic. Musical art of the second half of the XX century. is of exceptional interest for research. The work of J. Cage, K. Stockhausen, P. Boulez, J. Xenakis, E. Denisov, S. Gubaidulina, A. Schnittke and many other composers enriched art with unprecedented innovations. The change in the artistic paradigm, the diversity and novelty of aesthetic concepts, the emergence of fundamentally new compositional techniques and notations, the expansion of the "palette" of performing techniques and other innovations have become the basis for identifying modern musical practice as fundamentally different from the artistic traditions of the classical-romantic era. In this regard, musicology, which has formed its scientific, categorical and analytical apparatus, mainly on the music of past eras, faces a special kind of task. It is necessary to verify the conformity of the realities of the latest musical practice with existing theoretical concepts: it is necessary to determine whether the established scientific categories and concepts are valid for the changed conditions, how adequately they reflect the phenomena of the new musical art, what clarifications and changes need to be made to update them in the current situation.

It is to these generally accepted scientific categories that the concept of performing interpretation belongs. It has been scrupulously researched by authoritative scientists, performers, and teachers on the basis of classical and romantic music, within which many of the phenomena on which the interpretation is based are seen as unconditional axioms that do not need to be discussed. However, during the second half of the twentieth century. in the art of music, such drastic changes have taken place, affecting, in particular, interpretation, that the application of scientific achievements, identified on the basis of classical romantic music, becomes problematic. Moreover, in a number of cases, the question arises whether the existence of such a phenomenon as performance interpretation is possible in the new circumstances. This problem has not yet become the object of research, which clearly does not correspond to the importance of the concept of "performing interpretation", both for theory and for practice. This determines the relevance of the topic of this study.

^ The purpose of the study is to consider the features of the phenomenon of performing interpretation in relation to the music of the second half of the twentieth century.

The object of the research is the phenomenon of performing interpretation of music of the second half of the 20th century.

^ The subject of the study is the theoretical and practical features of the performing interpretation of modern music.

The specified goal, object and subject of research predetermined the need to solve the following tasks:

1) to analyze the ideas about performing interpretation that exist in musicology;

2) to determine the main characteristics of the performing interpretation and the historical boundaries of its manifestation;

3) clarify the term "performing interpretation" in relation to the artistic practice of the second half of the twentieth century;

4) introduce the concept of “textual strategy” into musicology as a tool for studying performance interpretation;

5) identify types of textual strategies in the music of different eras;

6) determine the features of the latest textual strategy and correlate them with modern musical practice.

The research methodology is based on a comprehensive, comparative, cultural and interdisciplinary approach, as well as the principle of historicism. The breadth of the research problem determined the diversity of the sources used. The central methodological setting of the study is associated with the works of B. Asafiev, M. Aranovsky, N. Efimova, V. Martynov, E. Nazaikinsky, M. Tarakanov, Yu. Kholopov, V. Kholopova, B. Yavorsky. When studying the concept of performing interpretation directly, the studies of K. Dahlhaus, N. Korykhalova, S. Maltsev, S. Savenko, V. Kholopova, T. Cherednichenko are used.

Analysis of the performing interpretation of music in the second half of the twentieth century. carried out on the basis of works devoted to the phenomena of musical art of the specified period. These include the works of E. Aronova, N. Gulyanitskaya, E. Dolinskaya, E. Dubinets, M. Katunyan, Ts. Kohoutek, A. Meshkova, E. Pereverzeva, N. Petruseva, A. Radvilovich, S. Savenko, A. Sokolov, K. Stone, Yu. Kholopov, V. Kholopova, I. Shabunova.

The general humanitarian basis of the study was the work of domestic and foreign art historians, cultural studies, literary critics, specialists in semiotics and aesthetics R. Bart, M. Bakhtin, Yu. Borev, A. Gritsanov, G. Gilburd, E. Gurenko, A. Mozheiko, P. Riker , S. Rappoport, A. Usmanova, J. V. Harrari, W. Eco.

Many provisions and conclusions are based on the analysis of literary texts of domestic and foreign composers: E. Brown, P. Boulez, S. Gubaidulina, E. Denisov, V. Ekimovsky, G. Kancheli, J. Cage, D. Ligeti, V. Lutoslavsky, L. Fossa, R. Haubenstock-Ramati, K. Stockhausen and others. The study of modern interpretation practice is also based on various articles and statements of performers, such as S. Gacelloni, G. Kremer, F. Lips, P.-L. Emar, A. Lyubimov, I. Monighetti, M. Pekarsky, M. Rostropovich, I. Sokolov, S. Cherrier, V. Yurovsky. We also analyzed interviews and conversations with musicians made by music critics, journalists and researchers E. Barban, M. Katunyan, I. Kulik, T. Kurysheva, O. Manulkina, I. Ovchinnikov, P. Pospelov, F. Sofronov, E. Cheremnykh , D. Ukhov.

^ The scientific novelty of the work is that:

– the semantic facets of the term “interpretation” in musicology are differentiated;

- the use of the general humanitarian concept of "textual strategy" is proposed for studying the performing interpretation of music;

– the concepts of “composing competence zone” and “performing competence zone” were introduced into scientific use;

– little-known materials about the work of composers and performers of the second half of the 20th century were analyzed and summarized.

^ Practical value of the study. The materials and results of the dissertation can be used in training course“History of Music”, as well as in courses on the theory and history of performing arts for various specialties (“History of Piano / Bow / Brass / Vocal / Choral Performance”). In addition, the key provisions and conclusions of the dissertation served as the basis for the creation of a new course "Performing Interpretation", which is necessary for musicians of all specialties. The dissertation expands the ideas of musicians-practitioners about the under-known musical phenomena outside of classical and romantic music.

^ Approbation of the work. Separate chapters and sections of the work were repeatedly discussed at meetings of the Department of Theory and History of Music of the Moscow State University of Culture and Arts. The dissertation as a whole was also discussed at the meeting of the indicated department and was recommended for defense. The main results of the dissertation are published in the form of articles in publications recommended by the Higher Attestation Commission. The basic provisions of the study were presented in speeches, as well as in abstracts and reports at the International Scientific Conferences of students, graduate students and young scientists "Lomonosov" in 2005, 2006 and 2007 (Moscow State University named after M.V. Lomonosov); All-Russian scientific and practical conference "Vocal education of the XXI century" (MGUKI, 2009); International Conference "Prospects for the Development of the Piano Course in the 21st Century" (Gnessin Russian Academy of Music, 2009); International forum "Culture as a strategic resource of Russia in the XXI century" (MGUKI, 2010).

The dissertation materials were used in the author's innovative training course "Performing Interpretation", as well as in the courses "History of Notation" and "Music as an Art Form", read by the author at MGUKI for students of all musical specialties.

^ The structure of the work is determined by the specified tasks and the logic of the study. It consists of an Introduction, two chapters containing 7 paragraphs, Conclusion, Appendix and References. The total volume of the dissertation is 186 pages. The bibliography includes 295 titles, including 54 works in foreign languages.

^ MAIN CONTENT OF THE WORK

In the Introduction, the relevance of the topic is substantiated, the goals and objectives of the study are formulated, the object, subject, methodological principles of the dissertation, scientific novelty and approbation of the work are indicated, the structure of the dissertation is described.

^ The first chapter - "On the theory of performing interpretation of music" - includes four paragraphs. In the first paragraph "The concept of interpretation in music science (history, semantic facets and aspects of study)", based on the analysis of the use of the term "interpretation" in musicological literature, it is concluded that the generally accepted meaning of this concept, recorded in dictionaries and encyclopedias, is associated exclusively with performing art is not comprehensive. In science, some other semantic facets of the term are also common. The experience of their classification is contained in the works of I. Kuznetsova, B. Katz, E. Sagaradze. Based on the provisions expressed by them, it is proposed to expand the existing ideas and consider this term from the general scientific, hermeneutic and highly specialized (performing) points of view.

Under the general scientific sense, we mean cases of using the term in a meaning synonymous with the words "interpretation", "refraction", "individual reading", as, for example, in E. Kolyada's doctoral dissertation "Biblical musical instruments in musical practice and book tradition: interpretation of biblical instruments in the history of translations Holy Scripture". The hermeneutic meaning of the term is associated with the perception of musical art - an activity aimed at understanding the intention of the composer and / or performer, identifying and comprehending the content of the opus (as, for example, in the work of S. Vartanov "A. Schnittke. Concerto for Piano and String Orchestra (experiment interpretations). A highly specialized meaning is directly related to art musical performance and implies an individualized performance of a piece of music. It is this area that is the focus of this work.

As the analysis shows, modern definitions of interpretation, formulated in the most authoritative musical encyclopedias, dictionaries, monographs, are focused precisely on a highly specialized (performing) meaning. As the Musical Encyclopedia defines, “interpretation (from Latin Interpretation - clarification, interpretation) is an artistic interpretation by a singer, instrumentalist, conductor, chamber ensemble of a musical work in the process of its performance, the disclosure of the ideological and figurative content of music by expressive and technical means of performing arts.” G. Gilburd's definitions, Grove's dictionary, E. Gurenko, V. Ivanov differ in some nuances, but, in general, they are consistent. However, over its almost 150-year history, this concept has changed and developed quite dramatically.

The term "interpretation" appeared in French music criticism in 1868. Apparently, L. Escudier was the first to use it in relation to the performing arts. From the 80s of the XIX century. The term is also found in English language. At that time, the term "interpretation" was synonymous with its predecessor - "performance". Gradually, the meaning of a pronounced individualized reading, a kind of artistic interpretation, was assigned to it, while the semantic meaning of the performance was limited to a strictly objective, mechanically accurate translation of the author's intention. By the beginning of the twentieth century. as a result of the activities of some virtuoso soloists, whose playing was distinguished by mannerisms and "romantic" exaggerations, the musical community developed a sharply negative attitude towards this manner of playing and, accordingly, towards the word "interpretation". As a result, the concept of "interpretation" was subjected to severe criticism, and the word "performance", on the contrary, acquired a positive meaning. It is to this time that famous sayings I. Stravinsky, M. Ravel and A. Honegger against interpretation. In the middle of the twentieth century. thanks to the efforts of several generations of bright and original performers, the "confrontation" between performance and interpretation was gradually overcome, and the term itself acquired its modern meaning.

A consistent understanding of the term "interpretation", however, does not mean that this concept is one-dimensional. This is evidenced by the abundance and variety of studies devoted to the problems of interpretation. The dissertation attempts to systematize them. Works on performance interpretation can be divided into the following groups:

– in works of a philosophical orientation, interpretation is considered as a component of the performing arts, the structure of interpreting activity and its philosophical foundations are revealed (E. Gurenko, A. Kruglov, V. Sukhantseva, G. Gilburd);

– musicological works explore the relationship between performing interpretation and composer text, objective and subjective elements of interpretation, the nature of the plurality of interpretation decisions (L. Kazantseva, N. Korykhalova, S. Maltsev, S. Savenko);

– composer's works highlight the attitude of composers to interpretation, namely: the ratio of the composer's original idea and its implementation by the performer, the assessment of performing interpretations of their works (A. Honegger, M. Ravel, S. Rachmaninov, I. Stravinsky, P. Tchaikovsky);

– in works of a performing nature, the most important performance problems are considered, for example, penetration into the composer's intention, attitude to the author's text, expressive means of performing interpretation and their possibilities (A. Brendel, I. Hoffman, P. Casals, E. Leinsdorf);

- in pedagogical works, attention is focused on educating the taste of novice interpreters, the problem of forming interpreter concepts, on finding the best technical solutions that contribute to a convincing interpretation (L. Auer, M. Berlyanchik, G. Neuhaus, O. Shulpyakov);

- V historical works highlights the trends in the performing interpretation of musical works in a certain historical period by certain performers (A. Alekseev, N. Arnoncourt, A. Lyubimov, A. Merkulov);

– in the works of a comparative orientation, performing interpretations of one work by different performers are compared, their similar and different moments are revealed, the artistic value of each of them is determined (O. Bobrova, V. Esakova, I. Shtegman);

– critical works involve the analysis of the performing interpretation of works by a certain musician, the determination of its originality or traditionality, the assessment of the musician's work (P. Pospelov, A. Shirinsky, V. Grigoriev);

- in style studies, the rules for decoding the text of a musical work are considered; typical performing techniques, the manner of playing, characteristic of the era in which the work was created (V. Grigoriev, H. Meister, A. Dolmetch).

In the second paragraph, "The Phenomenon of Performing Interpretation of Music in Different Historical Epochs," the task is to determine to the music of which epochs the term "performing interpretation" can be correctly applied. N. Korykhalova, S. Savenko and the authors of musical encyclopedias call the turn of the 18th - 19th centuries the time of the emergence of interpretation. This is due to the separation of the professions of the composer and performer, when the composer may not perform his own compositions, and the performer may write music. In this regard, S. Savenko proposes the division of the history of music into three epochs: pre-interpretation, interpretative and post-interpretation. It follows from this that before the beginning of the XIX century. interpretation did not exist, just as it does not exist in relation to the latest music. However, researchers of early music K. Dahlhaus, E. Bodki, A. Dolmetch, R. Donnington, T. David fundamentally disagree with this position. Scientists studying contemporary music (V. Vasiliev, M. Voinova, I. Mutuzkin, R. Razgulyaev) also widely use the term "interpretation", which serves as a serious basis for revising the chronological boundaries of the existence of this phenomenon, and requires the development of criteria for their determination .

The dissertation highlights a number of conditions that are mandatory for the existence of a performing interpretation of music.

The first condition is the presence of a composer, performer and listener, in the terminology of B. Asafiev - a communicative triad. According to E. Nazaikinsky, such artistic communication has as its center a musical work (opus), which is the second condition for the existence of interpretation. One of the components of such a complex phenomenon as a piece of music is its written, graphic fixation. This is the third condition of performing interpretation.

With the help of a certain system of musical writing - notation, the composer fixes in the text certain parameters of music - pitch, metro-rhythm, tempo, structure, dynamics, timbre, instrumental composition, etc. zone of composer's competence. However, no existing type of notation provides the composer with the opportunity to fix all the details of the work with maximum certainty. They are implemented by each performer in his own way, in accordance with his talent, taste, capabilities and intention, and, accordingly, constitute the “performing competence zone”. The presence of these areas of competence is the fourth condition.

The activities of the composer and performer, within their areas of competence, except for technological aspects, are aimed at identifying and revealing the content of the opus. The specific content of a musical work can be philosophical, aesthetic, ethical ideas, the game of intellect, conflict, religious experience, the transfer of moods, states, emotions, the image of objects and phenomena of the surrounding world, etc. The content of the work is the fifth prerequisite for the functioning of performing interpretation.

Since the existence of the phenomenon of performing interpretation of classical romantic music is beyond doubt, the work examines the eras that are traditionally considered "non-interpretative" in terms of the presence of the conditions necessary for it. The functioning of the communicative triad "composer - performer - listener" in ancient and modern musical practice seems obvious, despite some features of the relationship and self-identification of its participants. The existence of such a phenomenon as an opus in early music is not in doubt among scientists. Regarding the music of the second half of the twentieth century. they are not so unanimous: M. Saponov and V. Martynov argue that the phenomenon of opus ceases to exist. However, K. Zenkin, A. Meshkova, H. G. Eggebrecht convincingly write about its radical restructuring, but not about its disappearance. The written text of the opus objectively exists, both in ancient and in modern music. The music of both epochs uses a notation that implies the distribution of various musical parameters according to the areas of composing and performing competence. The content of the opuses of ancient and modern music is actively discussed in the works of L. Kazantseva, A. Kudryashov, V. Kholopova, L. Shaimukhametova.

The foregoing serves as the basis for the assertion that the performing interpretation of music exists in ancient and modern musical practices. However, each era has its own characteristics. The determining factor in this sense is the distribution of parameters in the areas of composing and performing competence. For example, in baroque music, melismatics, dynamics, cadence, the choice of this or that instrument, etc., were included in the area of performing competence. In classical and, later, romantic music, these parameters gradually moved into the area of composer's competence. In the music of the second half of the twentieth century. the composer can delegate to the performer such traditionally “composing” parameters as pitch, metro-rhythm, structure, duration of the opus, composition of performers, etc. The study of this problem has shown that there is no concept that considers the areas of composer and performing “responsibility” in a historical perspective.

In this regard, in the third paragraph "Textual strategies as a tool for studying the performing interpretation of music", a new concept for musicology is introduced - "textual strategy". It arose in the semiotic theory of interpretive cooperation more than thirty years ago and is currently used in art criticism, cultural studies, literary criticism and ethnography. Textual strategy refers to a set of reading conventions and procedures; systems of prescriptions addressed to the reader. Since the term "textual strategy" is used in various humanities, and its semantic field is closely connected with the problems of interpretation, it becomes possible to introduce it into the categorical apparatus of musicology. With the help of this concept, it is proposed to differentiate the ways of decoding musical texts by the performer, depending on the historical and stylistic features of the interpreted music.

Under the textual strategy in musicology, it is proposed to understand the historically determined method of encoding musical information by the composer and the subsequent decoding of the created written text by the performer. At the same time, it is necessary to take into account the notation system characteristic of the era, the distribution of musical fabric elements in the areas of composing and performing competencies, as well as the quantitative and qualitative characteristics of musical parameters.

The definition of a textual strategy in music will allow: to preserve the identity of a work of a certain era to itself with variant creative reproductions (actually interpretations); to determine the boundaries of composer and performing creativity, characteristic of a particular period in the history of opus music; provide adequate communication between composer and performer through text; theoretically comprehend the traditions of performance; to protect the "rights" of the interpreted work to a correct, adequate performance.

The formation of a textual strategy is influenced by the socio-historical situation, musical discourse, the musical style of the era, the level of development of notation, and notational preferences of the composer. In accordance with these factors, it is proposed to distinguish between ancient, classical-romantic and the latest textual strategies.

^ The old textual strategy is characteristic of baroque music. Many scientists, such as N. Arnoncourt, A. Glazunov, M. Druskin, H. Holliger, K. Ehrenfort, note the great freedom characteristic of the musical text of that time. A significant difference between the sound and the recorded was perceived by composers and performers as the norm. At the same time, performing freedom did not turn into arbitrariness, since it existed within the framework of stylistic norms and rules, which the performers were taught along with the composers. So, the area of composer's competence at that time included: the title of the opus, pitch, rhythm, meter, the general structure of the work, the character in general. The zone of performing competence included: partially pitch and rhythm (melismatics, deciphering the general bass, doubling, deciphering long notes), tempo, dynamics, strokes, agogics, cadences, often the choice of instrumental composition, insert numbers in the opera.

^ The classical-romantic textual strategy is typical for classical and romantic opuses, which, according to S. Savenko, have “an ideal level of information content”, as well as for musical works of the 20th century that continue these traditions. The classical-romantic textual strategy is dominant; on its basis, the entire cycle of academic musical education is carried out. The works of E. Denisov, E. Leinsdorf, V. Kholopova contain a description of the parameters related to the areas of performing and composing competence. The general conclusion of these studies is the assertion that most of the musical parameters in the classical-romantic period belonged to the zone of composer's competence, and over time this trend intensified.

The area of composer's competence included: exact pitch, rhythm, meter, tempo, character of the work and its parts, structural structure of the work, instrumental composition, dynamics, accentuation, strokes, sound character (for example, dolce, furioso, etc.), agogic indications. The zone of performing competence included a subtle variation of parameters within the framework clearly defined by the composer: micro-interval on non-tempered instruments, individual definition tempo within the boundaries specified by the composer, individual features of articulation, timbre coloration, individual interpretation of agogics, determination of dynamic gradations within the boundaries specified by the composer.

^ The latest textual strategy can be traced in works created after about 1950 in modern compositional techniques. The characteristic features of the newest textual strategy were formed thanks to such techniques and corresponding notations as serialism, sonorics, aleatorics, polystylistics, minimalism, "new complexity", instrumental theater, happening, lexi-music, electronic, spatial, intuitive music. The defining features of this strategy are: the plurality of approaches, textual solutions, the coexistence of opposite textual options; strengthening of performing freedom; a general increase in the number and change in the quality of parameters. It is especially important that the parameters have acquired an unstable distribution over areas of competence. So, even for one composer in different opuses, the same parameter (for example, pitch) can belong to the zone of both composer and performing competence. The area of composer's competence invariably includes the name of the opus, but the parameters of pitch, micro-intervals, rhythm, meter, tempo, dynamics, articulation, accentuation, character of the work and its parts, agogics, structural structure of the work, performing composition, space, theatricality can refer to both zones. .

In the fourth paragraph "Features of the textual strategy of music in the second half of the twentieth century." the features of the newest textual strategy identified in the previous paragraph are considered in detail. One of the most important characteristics of the newest textual strategy is the multiplicity of its variants. This feature fundamentally distinguishes it from the previous textual strategy, since in classical and romantic music the methods of encoding and, accordingly, subsequent decoding of musical information in a musical text are uniform. Musicologists write about the music of the 20th century: “a hundred musics of our time”, or consider it as cultural space excluding "single version". The indicated multiplicity does not allow one way of dealing with the text. The performer is required to have a special method of decoding the text, which is suitable only for a particular work.

An important feature of the newest textual strategy is the increase in the role of performing freedom. It is noteworthy that the problem of freedom worries composers in various aspects throughout the 20th century. This is a question of freedom of creativity, freedom from clichés, as well as the freedom of the performer. Overcoming the former performing "enslavement" in relation to most musical parameters, many composers of the second half of the twentieth century. began experiments to ease the pressure on performers. Some authors introduce into their works "indeterminism" (M. Pereverzeva), "indeterministic" notation (E. Dubinets), providing for different readings of the text, moments of improvisation.

It is noteworthy that in addition to increasing the “measure” of freedom, scientists note the opposite phenomenon in the work of some composers. These include, for example, the composers of the “new complexity” movement (B. Ferneyhow, D. Berwistle, and others). Thus, poles are formed, between which a kind of "scale of freedom - regulation" extends. E. Denisov, A. Meshkova, L. Stein and R. Smalley judge this phenomenon in different ways. The point of view of R. Smalley, who singles out three types of modern music - totally determined, variable in form and indeterminate, seems to be the most satisfying for the purposes of this study. However, in this dissertation, the point of view is expressed that in each of these types of music, more subtle gradations are possible that require special study.

Another characteristic feature is the large number and quality variety of musical parameters. Yu. Kholopov and V. Tsenova indicate five main parameters of the latest music: loudness, length, pitch, timbre, space. E. Dubinets offers an extended list of options. It includes pitch, temporal, dynamic, articulatory, sonoristic and other parameters. However, the dissertation proves that the list of parameters can be expanded. It includes: pitch, meter-rhythmic (time-measuring), structural, dynamic, timbre, instrumental, articulatory, spatial, theatrical, visual, verbal parameters, as well as the title of the opus.

It is important that the composer uses an individual set of parameters in each specific work. At the same time, the composer can either retain the disposal of any of them (except for the name of the opus) or transfer it to the performer. Thus, the performer, starting to work on the opus, should be especially attentive to the requirements of the author.

Work on a musical work is a creative process, the diversity of which is associated both with the artistic features of the work and with various individual characteristics of the performer. What are the tasks in front of him? And what contributes to the development of the performer's creative abilities, stimulates the formation of his musical taste, professional skills?

To fulfill means to create; it depends on the performer whether he will revive a piece of music, spiritualize it or deaden it, belittle it. How to achieve this? Through deep penetration into the content of the work and the embodiment of musical content based on the artistic image. Recreating the content of the work implies fidelity to the author's text, understanding the ideological orientation of the work, emotional richness ( musical art affects the emotional sphere of human perception).

The creation of an artistic image is impossible without taking into account the uniqueness of the historical era in which the work was created; his genre features, national features of the composer's worldview, the nature of the use of expressive means of music, that is, everything that we call style features or traits. All of the above features of style must be taken into account when working on a piece of music. They define the very essence of the work; which is based on a comprehensive study of the work, the desire to penetrate deeper into its content. All this is closely related to the concept of interpretation.

Interpretation -(from the Latin interpretatio - clarification, interpretation) - the process of sound realization of a musical text. The interpretation depends on aesthetic principles schools or directions to which the artist belongs, on his individual characteristics and ideological and artistic design. Interpretation presupposes an individual approach to the performed music, an active attitude, the presence of the performer's own creative concept of the embodiment of the author's intention. Until the beginning of the 19th century, the art of interpretation was closely associated with the work of composers: as a rule, composers themselves performed their compositions. The development of interpretation is due to the intensification of concert activity.

As an independent art, interpretation acquires special significance in the 20-30s of the 19th century. In performing practice, a new type of musician-interpreter is being established - a performer of works by other composers. In parallel, there are traditions of author's performance. Subtle interpreters of the works of other authors were F. Liszt, A.G. Rubinshtein, S.V. Rakhmaninov. Since the second half of the 19th century, a theory of musical interpretation has been formed (it studies the variety of performing schools, aesthetic principles of interpretation, technological problems of performance), which by the beginning of the 20th century has become one of the areas of musicology. A significant contribution to the development of the domestic theory of interpretation was made by G.M. Kogan, G.G. Neuhaus, S.Ya. Feinberg and others.

What attracted me to this topic?

I work as the leader of the Russian orchestra folk instruments. And before rehearsals there are questions; how to most clearly reveal the artistic image and convey the information of the work, no matter what time it belongs to? What means and techniques of artistic expression?

Otherwise, the performance will result in something formless, vague, indefinite. Of course, the conductor is forced to resolve these issues together with the orchestra players, because they participate together in this complex process of working on the artistic image of the work.

Children are faced with interpretation not only in the orchestra, but at every lesson in a music school, even without knowing it. Of course, the first teachers in this fascinating work are their senior mentors. They try to educate and develop in them their own, independent nature of the performance of a musical performance and at the same time be able to open approach to inner character works. But for me, the figure of a conductor is closer, more interesting.

S.V.Rakhmaninov, E.F. Svetlanov, F.I. Fedoseev, V.B. Dudarova; I have named only a few Russian surnames that we can be proud of and that perfectly proved that the profession of a conductor is exciting and honorable. The question arises, how and as a result of what did they achieve that inimitableness in the interpretation of musical works?

"The conductor is not born, he must be educated" - said the famous teacher and conductor Ilya Aleksandrovich Musin.

Modern conducting requires from the leader of the orchestra a wide education, thorough musical and theoretical training, a keen ear, a good musical memory, and an active, purposeful will.

Translation is exactly the same process of interpreting a verbal text as the performance of music-text of a musical note. There is no guarantee of authenticity here. It is especially necessary to understand the composer's language when dealing with music dominated by romantic moods and images. Even the most sophisticated translator will need a lot of auxiliary words to properly convey the meaning used in original text expressions.

"It is no coincidence that the changes of epochs bring with them a kind of new life to brilliant creations, make them relevant again, although they are destined to live for centuries. And the task of the conductor is to fully convey to the public their relevance, without in any way distorting either their internal structure Therefore, it is necessary to be able to distinguish between the characteristics that determine the essence of the work - its structure, color, semantic content - from those that reflect its external connection with the era. " Such differences are more evident in compositions intended for the stage and giving the interpreter greater freedom of action. But in order to convey to the modern listener the lively trepidation and original charm of the musical composition of the past, we need to be fully aware of exactly what features made it modern for the era when it was created.

That the conductor must be the spokesman for the composer's idea is by no means a new concept. In the treatise by John Matteson "The Perfect Kapellmeister", published in 1739, we find a wonderful presentation of the essence of the conductor-composer dilemma: " The hardest task, prepared for the performer of something of creation, truly consists in the need to direct all the power of one’s mind to

it is to make clear to oneself the peculiar essence of other people's thoughts. Who does not know how the creator of music would play its liveliness and beauty, and it often happens that the composer, he will hear such, and does not recognize his play at all.

Likewise, the kind of evidence that sheds light on what seemed unacceptable to them is especially impressive when they convey to us the words of composers who were themselves conductors. And this is natural; they are more strict with other conductors than those of their colleagues who either do not pick up the baton at all, or do so only occasionally. And this is confirmed by the words of Gustav Mahler: “How much time passes, what a comprehensive experience you need to gain, what maturity, until you learn how to perform everything simply and naturally, as it is written; do not add or bring anything superfluous from yourself, more, eventually turns into less...?

Boris Emmanuilovich Khaikin describes an interesting case in his book "Conversations about Conductor's Craft" - Sitting behind the wheel of a car, I committed some kind of violation. I was stopped by the inspector, with the words "I'll have to get acquainted", he asked for my documents. After reading the surname, he asked: What is it, a composer? He looked at me in bewilderment: "I'm telling you: a composer."

The traffic inspector treated me generously, I drove on and thought: is he really wrong in considering these two concepts to be identical?

What is the role of the performer-interpreter of musical works? What should be the performance - objective or subjective? Can a performance be both objective and subjective at the same time, and in that case, how do you allow the correlation of these concepts with each other?

The famous pianist I. Hoffman wrote: "The correct interpretation of a musical work follows from its correct understanding, and that, in turn, depends on scrupulously accurate reading." This means that the correct character of the performance is evidenced, first of all, by a meaningful interpretation, strictly corresponding to the author's text "The musical text is the wealth bequeathed by the composer, and his performance instructions are the accompanying letter to the will," said the composer and pianist S. Feinberg. However, there is not only the text, but also the subtext of the work. The remarkable pianist K. Igumnov believed that the "good half" of the performer should also bring into the text from himself, that is, he should approach the inner character of the work, reveal its subtext. The legendary G. Neuhaus always reminded of the need to constantly delve into the mood of the performed work, because it is in this mood, which is not completely amenable to musical notation, that the whole essence of the artistic image. From all of the above, the conclusion follows that the exact execution of the composer's text should be understood not as its formal reproduction, but as a meaningful creative "translation" of the recording-scheme into real sound images.

Of course, when the conductor wants, everyone must want; when he commands, all must obey. It is unthinkable to play inaccurately, carelessly, lazily. From each score, you need to extract the most secret and intimate, from each orchestra member, with your demands and super-demands, squeeze out to the last drop all his individual skill and impose on him fanaticism, an upsurge of strength, a tension of will that he has never experienced. Such violence against someone else's will, of course, cannot proceed peacefully and calmly, therefore everyone knows that a conductor must be with a stormy, stubborn character capable of self-control. Such perfection inevitably presupposes a stubborn, fierce, fanatical struggle for perfection. Unfortunately, unforgettable hours of performing arts are so rare in a person's life.

The battle for perfection among poets, composers, artists, musicians usually takes place within the walls of the workshop, and only from their sketches and drafts can at best only vaguely guess the sacred mystery of creativity ... The work of any master must be clearly worked out in the mind of a conductor - worked out rhythmically and plastically in the smallest shades long before he approaches the console; rehearsal is not a process of creation, but only an approximation to the inner plan, and when the orchestra members just start creative work, the conductor has long since finished it. Opening the score at the first rehearsal, he knows what he wants: now the task is to force the musicians to unquestioningly submit to their will in order to prevent a prototype that has not yet been realized, a completed plan into orchestral performance, a musical idea into real sounds and make that unattainable perfection a law for the whole orchestra. which he alone hears with his inner ear.

The pinnacle of mastery is reached only where the most difficult is perceived as the most natural, where the perfect seems self-evident. In his marvelous book The Art of Conducting, Wagner wrote: “Only orchestra players can judge whether you conduct well or badly,” he was not mistaken. No one criticizes the conductor more severely than the musicians with whom he works. Orchestrators and singers, who consider themselves to be necessarily authoritative judges, usually do not appreciate the musical tastes and character of the conductor too favorably. They question his ability to reveal the plot, laugh at his demands, mimic gestures and mannerisms. No conductor escapes the harsh, sometimes treacherous examination of the musicians he leads (with a few exceptions). Very few conductors remain beyond criticism.

titanic labor, the enterprise is almost impossible - the most diverse natures and talents must feel and reproduce the plan of a single person with phonographic accuracy. Achieving clarity of expression, the conductor must be extremely expressive, to the maximum reveal the full power of persuasion; richness of body movements, the gift of gestures. Even a person who is completely alien to music must guess from the conductor’s gestures what he wants and requires when he beats the beat, when he spreads his arms in a spell or presses them to his chest, achieving great expressiveness, when plastically, visibly recreates the picture of the ideal sound. And here open unlimited possibilities of means of persuasion; a request, an incantation, a supplication, a demand with words and gestures, counting measures, humming, transforming into each individual instrument if this instrument needs to be spurred on.

Inspiring influences are the most important component in the structure of the conductor's control activity. After all, the conductor controls not the instruments, but the actions of the people playing them. Therefore, the factor of influence on the psyche of the direct perpetrators acquires an important, sometimes decisive significance. The orchestra can react to the conductor's impulses in different ways: help to carry out his creative line, be neutral, and even show overt or covert resistance. In all these manifestations, the main spring is the leaders of the group: accompanists, soloists, especially authoritative musicians. To a greater extent, the creative output of musicians at a concert and rehearsals depends on it.

Practice confirms that all major conductors at a certain stage of professional wisdom significantly reduce the amplitude of their movements. (Mahler, Strauss, Toscanini, Mravinsky). The point here is not at all that with age their strength naturally weakens. Simply having accumulated the richest artistic experience, they were convinced in practice that the main thing in the art of a conductor lies not in physical actions, but in psychological factors and skills, among which inspiring influences occupy a dominant position.

The basis of the conductor's psychological influences is a volitional impulse that must have an energy charge, that is, be emotionally saturated and purposeful. A bright, emotional message is always able to overcome the inertia of the team, arouse a spiritual response, infect the performers and the audience with the right mood. Will- “This is a kind of stubbornness. The conductor needs to be convinced of the correctness of his concept and not be infected by the sound that the orchestra suggests. In the process of home preparation, he must accurately imagine what and how it will sound, and strive for the orchestra to match his idea. In this way, genuine conductors differ from imaginary ones, who can quite cleverly provide a joint performance. (Kirill Petrovich Kondrashin co-conductor- Conductor's World. p. 8)

The conductor's style must be the style of the composers he performs. Style is the unity of the main ideological and artistic features, distinctive features that are manifested in the work of the composer, performer, techniques, methods, methods of work.

Any piece of music, no matter what period it belongs to, contains this or that information that comes from the author. This information is not closed in itself, but is communicated to the conductor in the process of working on the piece. When the performers perceive the author's information, a part of it is lost. What proportion of losses depends entirely on the level of intellectual, general theoretical and special training of the conductor, on the level of possession of the so-called "sense of style". The conductor can come close to understanding the author's information, but he cannot fully master it, since the author is one thing, and the performer is another. They are different creative people. There will always be a certain distance between them.

At the same time, the author's information encourages the performer to think, imagine, find associations, gives rise to emotions. As a result, in addition to the author's information contained in the work, additional information of the conductor is born, which ultimately determines the conductor's style. Performing information affects the author's information, narrows or expands it, complements, transforms, that is, a musical work is rethought, as a result of which an artistic image is created. Rethinking the author's information should in no case lead to a distortion of the author's intention. The conductor's actions are limited by the characteristic features of the piece being performed. Genuine performing co-creation is possible only when the author's information finds reciprocal feelings in the conductor.

Over time, the perception of music, conditions, instruments change. From here, something is lost, lost from the author's information, something is gained. The performing information also changes, but this process is natural and it helps to reveal previously unknown artistic features of the work, which indicates the depth of the idea of a truly talented work. Therefore, the work on a musical work should be based on its comprehensive study. This will allow you to delve into the figurative sphere, maintain the artist's interest in the work and, finally, understand the author's intention.

The most important starting point on this long and difficult path is the era in which this or that work was created. Composers, as it were, speak different languages at different times, embody different ideals, reflect the aspects of life characteristic of a particular time, philosophical and aesthetic views, concept. Accordingly, expressive means are also used. It is necessary to understand why this particular style arose in a particular era, to associate it with the personality of the composer, who is the “product” of the era, belongs to a certain social group, nationality, to put a piece of music in these conditions and to establish in what relation it is with the creator and time.

Let's take the interrelation of the epoch and the notation of movement (tempo). IN various eras tempo symbols have been interpreted in different ways. In the preclassical period, the tempi of "Allegro", "Andante", "Adagio", for example, indicated not the speed of movement, but the nature of the music. Scarlatti's Allegro is slower (or more restrained) than the classics' Allegro, while Mozart's Allegro is slower (more restrained) than Allegro in its modern sense. Mozart's Andante is more mobile. Rather than we understand it now. The same can be said about the relationship musical era with dynamics and articulation. Of course, the presence of authority allows one to argue somewhere with dynamic indications, to perceive piano, pianissimo, forte, fortissimo in a new way.

But there is no need to be self-willed; play piano instead of forte. The great Arturo Toscanini said: - "Why look when everything is written?". The notes have everything, the composer never hides his intentions, they are always clearly expressed on music paper ... ”What the composer wrote was sacred for him. This was his principle of interpreting music. Toscanini never went beyond the limits of the author's requirements.

The notes, the accents, the dynamic signs were like orders that he followed with absolute respect, had to obey. Maestro Antonio Votto, who worked as second conductor with Toscanini for eight years at La Scala, confirms this: “His respect for works of art was so strong that he tried to play the score as accurately as possible. However, each of his performances was a new reproduction of the score compared to how it was usually performed at that time, and therefore his performance seemed to be something hitherto unheard of. Of course, everyone was shouting about a miracle, about magic. But there was nothing magical about it: he accurately reproduced what was indicated in the score, and tried to do it in the best possible way, avoiding any gaps and cuts. This was the reason for the liveliness of his interpretation, the tempos of which sometimes turned out to be somewhat more mobile than those that we usually heard.

It can be said that this is an example of an ideal conductor; synthesis of musical abilities with moral qualities; in other words, the unity of technology, nature and human feeling. It is impossible to be completely devoted to the text of the author, if at the same time there is not enough moral strength and humility, if there is no courage, to force everyone to give the maximum necessary for the excellent performance of the work.

Not many are capable of turning from arrogant, conceited conductors into modest, ordinary people. It depends on the character. There is little desire here. Because, in essence, we carry our character all our lives, like a turtle shell. Anyone who thinks that composers are wrong and need to be corrected is very presumptuous. They do not always sufficiently represent the "limits of what is permitted" and the degree of their responsibility to the composer. You need to study again, study in order to understand better. After all, they did not write music for the conductor to make faces in front of the orchestra. He must reveal them as they are, bring the orchestra as close to them as possible. The conductor must perform. Liberties in performance, though not so often, but do occur. The incomplete composition of the orchestra, the freedom given to the singers, who can insert inappropriate fermatas anywhere, this self-will distorts the music to an incredible degree. Music is a tonal structure, sound, with precisely established laws of melody, rhythm and harmony.

But it is impossible, and indeed impossible, to stereotype musical speech. There will still be some small difference. This is natural and characteristic of the artist's creative soul. In this uniqueness of the state of mind lies all the charm of live communication with the orchestra during the performance. The interpretation cannot be fixed with mechanical precision, because, in the end, this would destroy the charm of listening to the work. It would turn into an archival exhibit.

The value of rhythm in musical performance is fundamental as well as the need to search for the purity of timbre sounds, the organization of the dynamics of the work and, of course, faith in the means that can convey music, that is, conventional musical text, traditional instruments and, of course, performing musicians.

I will try to analyze the secret of the success of interpretation. The first is the ability to analyze the score, you can't make a synthesis if you can't do the analysis: synthesis is a direct consequence of analysis. Achieving clarity of all elements of a musical work is a very complex and long process. Each theme should be listened to in a continuous avalanche of sounds. Further, the merging of two or more melodies, their simultaneous performance, relief. Hidden in the polyphony of sounds, and everything appears clear, simple and obvious.

The conductor must know the instruments perfectly, their capabilities, boundaries, clearly imagine already in his mind the timbre, coloring of the sound, the harmony of the sound of various groups of instruments, and require the orchestra to reveal in the sound everything that he "read" in the text. Written by the composer. The score as an object of creative knowledge is in fact inexhaustible. It gives the possibility of countless performing interpretations that do not violate the integrity of the author's text. At the same time, the interpreter follows what is in the field of view of his perception and intensively searches in the work for those features that are creatively closest and necessary to him.

One well-known conductor, unfortunately I don’t remember who exactly, said: “If you need to re-read the score two hundred times, do it, but do not say: “Almost good”, because in music there can never be “almost good.” Or perfection, or nothing.” At the same time, intuition plays an invaluable role, which helps to grasp musical characteristics, captures the effect that will result. This sense of form, that is, the disclosure of the dramaturgy of a work, the definition of tempos, the ratio of fragments - all this is based on some kind of innate properties. Kirill Petrovich Kondrashin attached great importance to the development of a "sense of pause". “The pause emphasizes dramaturgy, delimits psychological oppositions, and alerts both performers and listeners. I mean a general pause (fermato), and a small draw within the measure. Sometimes the authors note such stops in some detail, sometimes not, but in this case the conductor is not obliged to play everything “in a row”. A sense of drama should tell him unwritten caesuras, and a sense of proportion should help him find exactly how long the pause should last. I received the biggest compliment of my life from Stravinsky, who, after listening to Petrushka in New York under my direction, told me: "You have a great sense of pause." But I did them in many places and where it is not indicated.

An interesting study was conducted by the French art historian Lemaire. Taking recordings of the performance of Beethoven's Ninth Symphony in the interpretation of eight major conductors, he discovered a paradoxical, at first glance, phenomenon. It turned out that the time difference between the performance of the symphonies by Toscanini and Furtwängler reaches more than 10 minutes. At the same time, Karajan is 3 minutes faster than Toscanini. Conducted a scherzo. What does this prove? Absolutely nothing. It is unlikely that anyone, based on such purely formal indicators, will seriously undertake to determine “the advantage of the interpretation of one or another outstanding master.

It is important, first of all, to determine the true meaning of notes and notes. If allegro con brio or cantabile is written, it is the conductor's duty to ensure strict observance of these instructions, to be able to clearly explain, to convey to the orchestra or singers the will of the composer, and only then, if something does not work out, to look for the necessary changes. BUT generally speaking, what is meant by changing the text? Nuances? In fact, it's not even a change - it's a reading feature. "The conductor has the right, even more than that, he is obliged to correct the nuance, that is, the verticality of the scores." It is quite natural that the leading instruments should play louder, the secondary sound should be somehow shaded. If you know how to distribute the sonority in the process of performance, you correct it with your hands - this is realized even without notation in the notes. The same applies to agogics - the structure of the phrase, its inclination to the climax.