Variants of performing interpretation of the main themes of musical works. Interpretation of a piece of music
D.S. Tyumina Concept of innovative business model
Business model innovation concept
D.S. Tyumina,
postgraduate student of the Department of Economics and Enterprise Management, St. Petersburg State University of Economics (191023, Russia, St. Petersburg, Sadovaya St., 21; e-mail: [email protected])
Annotation. The article examines the content of the concept of an innovative business model. The problems of its study at the present stage are revealed. Definitions are given to such concepts as innovativeness, product innovation and production process innovation, and the relationship of these concepts with the concept of a business model is established.
Abstract. The article deals with the concept of business model innovation The author elaborates on the problems of its study at the current stage. Provides definitions of such terms as innovativeness, product innovation and production process innovation, as well establishes the cohesion of these terms with the concept of business model.
Key words: innovative business model, product innovation, production process innovation, innovativeness.
Keywords: business model innovation, product innovation, innovation of the production process, innovation.
Recently, entrepreneurs are increasingly turning to the potential of developing and adapting effective innovative business models (IBMs) that can breathe new life into their businesses. At the same time, economists are trying to satisfy the increased demand for knowledge in this new area and formalize the theoretical basis for its research, which does not quite fit into the framework of traditional management, since the generalizing nature of the latter does not contribute to revealing the role of IBM in the activities of a modern company.
Increased interest in this concept appeared relatively recently and was due to the opportunities opened up thanks to Internet projects during the “dot-com bubble” of the second half of the 1990s. Therefore, the area of first research was the sphere of high technologies, through the prism of which the strategic advantages of models and the possibilities of their transformation into platforms for creating innovations are considered. At the same time, various variations of this concept emerged: new, electronic or Internet business models, supported by their recognition as new tools for managing intangible assets. In general, the novelty of this scientific topic, its low degree of elaboration in foreign and especially domestic literature poses the task of initially filtering and systematizing approaches to this issue with the aim of gradually forming a theoretical basis for scientific research of the IBM category. This work aims to identify the characteristic features of the model that distinguish it from its traditional analogue.
Despite some progress made in the study of this topic, there is no generally accepted version that succinctly and completely describes IBM. The dispersion in approaches to the content of this concept is explained by the objectives of each scientific study separately. Thus, some works focus on the company’s creation of customer value and profit, others on the sources and processes of its origin. Economists also consider IBM as a separate type of innovation in the production process associated with the internal organization of information flows.
The conducted research gradually expands the understanding of the elements that make up this concept. A number of them emphasize the role of the innovation factor, which determines the overall efficiency of the enterprise. Back in 1934, the Austro-Hungarian economist J. Schumpeter drew a line between the concepts of novelty (gradual change) and innovation (continuous development) in relation to entrepreneurial activity. Innovation was central to his definition of entrepreneurship and his description of the process by which entrepreneurs create new markets while simultaneously destroying existing market structures (so-called creative destruction1). The focus has shifted from determining the role of product newness for the firm to considering how
1 The concept of “creative destruction” explains many of the driving forces of industrial change. J. Schumpeter called innovative innovations of entrepreneurs a force that could ensure long-term economic growth of a company, destroying the old values of monopolistic companies.
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ENTREPRENEURSHIP
innovation affects the market and a specific industry as a whole.
Business model innovation is often contrasted with product or service innovation that has been significantly improved or has no analogues within a particular firm, industry, or market. However, value-creating novelty is the basis of the IBM concept, which may include process innovation, a new model for increasing revenue, and other types of innovation. It is a new, comprehensive understanding of how a firm creates value for its customers, consisting of a combination of new and old products, services, market niches, processes and other types of changes. In general, the following definition of the concept under consideration seems to be the most comprehensive: an innovative business model is a set of business processes and resources that create consumer value for a product and form the unique competitive advantages of a company.
Researchers note that the rising costs of product development and shortening product life cycles are pushing many companies to adapt innovative business models as an alternative to continuous improvement of the product itself. Examples from Amazon, eBay, Nestle, IKEA and Starbucks demonstrate that such an innovation carries significant commercial potential and the opportunity to take a leading position in its segment. Moreover, unique models can disrupt established production chains and become a prerequisite for the creation of a new market.
Companies that adapt innovative business models receive the following benefits:
A potentially low-cost way to create new value for consumers;
A unique innovative model, often impossible to copy;
An effective tool for competition.
During this time, this concept has evolved and acquired a broader and more relevant meaning, including not only internal processes, but also external connections. Some researchers draw an analogy between business models and business networks. The latter are commercial online projects with a certain system of suppliers, distributors and clients who use the Internet for business communications. Another approach, which involves a close relationship with networks, describes the business model as a system of links, resources, and a structure designed to create value through the implementation of commercial opportunities. This concept reflects the relationship options between
companies, suppliers, partners and clients united into a single whole.
A review of scientific approaches to describing a business model makes it possible to propose the following components of its structure: the consumer value of the product, the financial model of the enterprise, key resources and processes, as well as the company's strategy. Central to these is the consumer value of the product, which is determined by the company when analyzing the needs of potential customers and deciding how to satisfy this need profitably. It seems that elements of the company’s internal environment also play an equally important role - the assets used to create value - “key processes and resources”. In turn, strategy involves drawing up a long-term development plan for the company, linked to the general values and mission of the company.
Thus, a business model is a conceptual tool for organizing a complex business systems object, which reflects the image of the company’s commercial behavior and the transformation of the value it creates into profit.
Innovation and business model improvement in knowledge-intensive industries can differ significantly from traditional manufacturing industries, where the frequency of technological improvements, emphasis on research and development of new products, broad customer support for change, and the need for protection intellectual property completely different. Research shows that the characteristics of the production sector determine the approach to innovation. It refers to the “degree of novelty of an innovation.” It is important to note that this definition does not have a specific framework, and that there are different levels of innovation. It is not a feature of any unique technology or breakthrough production methods. It stems from the structure of the business model itself, the interrelationship of the elements of its components and how the system interacts with the external environment.
Business model innovation can be confused with product innovation. The first refers to firms adapting their existing model through an iterative process of creating incremental improvements. Updating the business model at the firm level may create a model that is different for the firm, but which is not necessarily unique to the industry.
Production process innovation, which differs from both product innovation and model innovation, includes equipment, workers, raw materials and the work process itself that are used to create a product or service in order to turn costs into realizable ones.
Journal of Economy and Entrepreneurship, Vol. 8, No. 10
D.S. Tyumina Concept of innovative business model
products. In other words, process innovation is a means of increasing production efficiency. Akin to product innovation, it can be viewed as an iterative process with constant, incremental improvements.
BOEV S.G., PETRENKO N.N. - 2014
ZARKOVICH A.V., STRYABKOVA ELENA ANATOLIEVNA - 2013
BARYSHEV M.A., BEREZNEV S.V., KUMANEEVA M.K. - 2014
The strengthening of systemic globalization processes at the regional, national and global levels is unfolding against the backdrop of radical innovative transformations in all areas of the economy and public life, changes in technological structures, and the transition to post-industrial society accompanied by increased international competition and the formation of new business models.
In general terms, a business model is a method of sustainable business. Innovation plays a huge role in building modern business models. The modern business model is designed to transform innovative technologies into economic benefits for the enterprise and high customer value for customers.
Business model innovation is an integrative innovation that brings together innovations in processes (technologies), products and ways of doing business.
An innovative business concept can be considered the use of radical innovations that open up completely new opportunities in the market. It can be argued that the identification and application of various forms of innovation constitutes, to a certain extent, an imperative of the strategy structure, as well as the operational activities of the 21st century enterprise.
The technology for building an innovative business model is achieved through detailed development and planning of such key elements as:
Customer value proposition;
Value chains;
Profit creation models;
Key resources, business processes, competencies necessary to ensure the profitability of the customer value proposition.
The change in traditional and the emergence of innovative business models is especially facilitated by the development of the Internet. The Internet allows companies to formulate their competitive strategy based on a system of partnerships with consumers, conduct dialogue with them, discuss new products and services, and the like.
Within the framework of the same business models, a company can develop various general and competitive strategies (Fig. 10.3).
Rice. 10.3. The relationship between the business model and company strategy
The development of industry business systems contributes to the desire of leading companies around the world to change existing business models and the emergence of hybrid competitive strategies.
Hybrid competitive strategies are consumer-oriented and based on the departure or change of the form of competition leading to the expansion of market boundaries. They put in first place the process of forming a unique value of a product for the consumer as the main factor in the success of the enterprise’s offer on the market.
When talking about a business model, three aspects are most often referred to: the elements of a business model, common examples of operating business models, and the mechanism for changing the business model in market conditions. In general terms, a business model describes how a company positions itself in the value chain within its field and what profit and revenue generation model it has chosen. So, in general terms, a business model is a method of sustainable business.
In today's market environment, characteristic features which are rapid changes and hypercompetition, every enterprise faces difficult task formation of a profitable and sustainable business model. Under dynamic conditions foreign market The firm's current business model is constantly under attack from competitors' new business models. Therefore, it is becoming increasingly clear that the duration life cycle business models are shrinking. An enterprise must constantly monitor strategic change points in the industry and update its business model to ensure sustainable and efficient development.
As the operating experience of foreign and some domestic companies shows, stable growth and success in business depends on the ability to create and continuously improve your business model. Enterprises need to apply venture market technology for doing business, which in the literature is usually called the concept of “intellectual leadership”. Thus, the modern business model is designed to transform innovative technologies into economic benefits for the enterprise and high customer value for customers.
The business model must harmoniously connect the following main components: customer value proposition, market segment, value chain structure, revenue and profit model, business development strategy.
The economic essence of a business model is manifested through its following functions:
Research of consumer priorities to determine the future level of consumer value of products (services);
Determination of the market segment, that is, consumers for whom the innovative technology for creating consumer value is created and aimed at;
Formulating strategy, identifying key competencies, strategic resources and competitive advantages, which the company has;
Value chain research;
Assessment of the cost structure and model for generating income and profit from offering products and services with innovative consumer value.
In recent years, the concept of a “blue ocean” has become popular among approaches to the formation of a business model, the essence of which is expressed in leaving the traditional competitive space and creating a new market niche. The development of these ideas in the last period has become the concept of creating a “white space” (author M. Johnson 2010) - The technology for building an innovative business model is achieved through the detailed development, planning and strengthening of four main factors: the main resources and business processes of the enterprise, the supply of consumer goods values and profit models.
Given that the market is changing, the enterprise is faced with the need to develop and implement a new business model. Business development and expansion models can have forward and backward integration. Companies consciously and purposefully move towards a new operating model and never return to an old model or template.
A business model is a modern, progressive tool for implementing an enterprise’s strategy in a dynamic and unpredictable market environment. The use of business modeling technology in domestic business conditions is today a promising aspect of scientific research and practical testing.
Hybrid competitive strategies are aimed at shaping future consumer needs and shaping future markets in which it will be possible to evade competition. G. Hamel and K. Prahalad identify unformed needs as the most important area of activity for radical innovation.
Creating innovative business models that use hybrid competitive strategies is an important factor in a company's competitiveness in modern markets.
1The article presents a theoretical analysis of the problems of performing interpretation of a musical work. The concept of “interpretation” is considered both in the general sense and in the context of musical art, as well as the process of the emergence of the idea of perceiving the performance of a work as its interpretation. The role of the performer-interpreter is outlined, the necessary psychological and professional qualities of a musician are identified, contributing to a correct understanding of the author's intention and the identification of personal meaning. The problem of objective and subjective interpretation of a musical composition, as well as various approaches to understanding the “correct” interpretation of a work, are explored. Given overall plan working on a piece of music to more accurately comprehend and convey the artistic image. Particular attention is paid to working on vocal works in a foreign language due to the presence of specific linguistic features.
personal meaning
creative initiative
performer's individuality
musical performance
improvisation
artistic image
creative interpretation
1. Gadamer G.-G. The relevance of beauty. - M.: Art, 1999. - 368 p.
2. Ovsyankina G.P. Musical psychology. - St. Petersburg: Union of Artists, 2007. - 240 p.
3. Stanislavsky K.S. Collected works: monograph in 9 volumes - M.: Art, 1991. - 4 volumes - 400 pp.
4. Feinberg S.E. Pianism as an art. - 2nd ed. - M.: Music, 1969. - 608 p.
5. Kholopova V.N. Music as an art form: textbook. allowance. - St. Petersburg: Lan, 2000. - 320 p.
6. Shalyapin F.I. Mask and soul. My forty years in theaters. - Paris: Modern Notes, 1932. - 357 p.
S.E. Feinberg, Soviet pianist, music teacher and the composer, wrote: “The musical text is the wealth bequeathed by the composer, and his performing instructions are the accompanying letter to the will.” His immortal words reflect one of the approaches that guides musicians when reading a piece of music. However, it is well known that there is not only a text, but also a subtext of a work that conveys a special mood that is not always amenable to musical notation. And it is precisely “getting into” this mood that opens the way for the performer to comprehend the artistic image of the entire work.
The ambiguity of the issue of defining an artistic image in the art of music lies in the fact that one must always maintain a balance between the “correctness” of the author’s intention and the creative initiative of the performer.
Good execution is a synonym for the word “creativity”. And it depends only on the performer whether he will spiritualize a piece of music or, conversely, degrade it. It is the individual interpretation of the work that elevates performing activity to a creative level. After all, even the most detailed and replete with remarks recording is relative, and it remains to be not only read, but also “revitalized,” that is, a “creative translation” of the author’s recording-scheme into real sound images must be made.
But how can this be achieved? Is it enough to simply carefully follow the musical text and the author's notes?
On the one hand, the score guarantees a performance identical to the author’s, but on the other hand, it is just a schematic reproduction of the author’s work. Any performance of a musical text created by a composer is subjective and represents the performer's interpretation or interpretation. However, in the historically established special professional understanding of performing interpretation, not every reproduction of a musical text is considered to be considered.
The term “interpretation” itself comes from the Latin word “interpretario” - interpretation, interpretation, disclosure of meaning. Moreover, the process of interpretation is associated not only with establishing objective meaning, but to a greater extent with identifying the personal meaning of the interpreted objects. In the field of musical art, interpretation refers to the variant multiplicity of individual reading and reproduction of a musical work, revealing its ideological and figurative content and new meanings.
Initially, the word “interpretation”, which appeared in the Russian language, and its European analogues (“interpretation” in English, “interpretation” in French, “Auslegung” in German, etc.) had nothing to do with music at all. The idea of perceiving the performance of a work as its interpretation appeared not so long ago. In the times of Bach, Mozart, Chopin or Schubert, for example, no one could imagine a dispute about how to correctly interpret a piece of music. After all, at that time composers, as a rule, performed their works themselves. The development of interpretation as independent art became possible at the beginning of the 19th century, after the popularization of concert activities and the emergence of a new type of interpretive musician - a performer of works by other composers. Traditions of original performance also emerged. Such interpretive musicians were F. Liszt, A.G. Rubinstein, S.V. Rachmaninov. From the second half of the 19th century, a theory of musical interpretation began to take shape, studying the variety of performing schools and aesthetic principles of interpretation. By the 20th century, this theory had become a branch of musicology.
Like good performance, the process of working on a piece of music is also a creative process. Moreover, creativity here is associated not only with the revelation of the artistic features of the work, but also with the implementation of various individual qualities of the performer, who is assigned rather contradictory tasks. On the one hand, the most accurate disclosure of the author’s intention based on his style, genre features, emotional content, etc., and on the other, the expression of one’s own emotions and feelings. In this case, a direct connection between the personality of the author and the personality of the performer is clearly manifested, and the interpretation of the work can be represented as dialogues between the composer and the performer, the performer and the listener, with the personality of the performer playing a decisive role in this process.
Any interpretation presupposes individual approach to the music being performed, and in this case the composer’s intentions are reproduced through the prism of the performer’s individuality, through his inner freedom. However, freedom in art must also be strengthened by internal discipline.
The artistic embodiment of the interpretation depends on the psychological and professional qualities of the musician: his musical and auditory perceptions, intelligence, temperament, emotional responsiveness, musical experience, performing endurance, concentration, mastery, ability to control his playing.
In modern musicology, there is a classification of performers according to their manner of interpreting a work into so-called “interpretive types.” If a musician reproduces the musical text as accurately as possible, this interpretive attitude is called attribution.
If, due to his passion and emotional outburst, a musician begins to change the musical text and figurative atmosphere of the work, then such an interpretative attitude is called an invention. In the case when the performer “deviates” his interpretation from the exact fulfillment of the remarks specified in music text As a rule, this leads to a distortion of the stylistic and genre content of the music and indicates an unprofessional interpretation of the musical work.
The inclination towards one or another type of performing art is determined by the internal qualities of the musician: character, temperament, priority of certain mental functions. It is known that some performers may have a predominance creative thinking, at the same time, they cope well with the performance of fine and program music. For others, it is logical, which contributes best performance works of a philosophical, deeply felt nature.
However, which interpretation is considered correct? In musicology there are different opinions on this matter. Some researchers believe that it is possible to have as many interpretations as there are performers who perform them. Others argue that, like scientific, artistic interpretation It can be either correct or incorrect, and the correct one is only the one that coincides with the author’s.
But how can you find out what the composer wanted to convey, especially if he lived many years ago?
There is a belief that once music is written, it no longer belongs to the composer, it belongs to the performer. Moreover, this is the opinion of not only some performers, but also some composers. The greatest composer Richard Strauss was one of them. Acting as a conductor, he never showed the performer his specific mistakes and always concentrated on general impression from the sound.
Of course, not all great composers had this approach. Some demanded strict accuracy of reading from the performers. Thus, Giuseppe Verdi, especially in the last years of his life, even fired singers who did not clearly follow the musical text.
The great Italian conductor Arturo Toscanini said: “Why search when everything is written? The notes contain everything, the composer never hides his intentions, they are always clearly expressed on the music paper...” What the composer wrote was something sacrosanct for him, and this was his principle of interpreting music. Toscanini never went beyond the author's requirements.
Why did the approaches of composers differ at different times? Here you can remember the history of the early “bel canto”. At that time, bel canto singers were not just vocalists, they were well-educated musicians and composers, and they were even allowed to improvise when performing works. The singing profession was very popular and very profitable. And the need for learning as quickly as possible also increased. Knowledge of the basics of composition was no longer so necessary, and the number of vocalists grew, but not the quality. Singers were produced as if on an assembly line, but they were not sufficiently educated. Learning to hit high notes in a short time has become more profitable than getting proper vocal training.
Naturally, the attitude of composers and the style of their writing also changed. Composers have lost faith in the performer's ability to interpret correctly.
There were some exceptions, such as Enrico Caruso, who were allowed to interpret. There were also those who abused such “permissions”. It’s worth remembering the great Fyodor Chaliapin, who, if he didn’t like the conductor’s tempo, could throw an angry look at him and start conducting himself.
It is obvious that freedom of interpretation is directly dependent on the traditions that have developed in a given culture. And one of the most important points on the path to the correct interpretation of a work and, accordingly, the creation of the correct artistic image is a correct understanding of the uniqueness of the time (era) when it was written. Composers embody in music different ideals, reflect aspects of life characteristic of a particular period, national characteristics life, philosophical views and concepts, i.e. everything that we call “style features”, and accordingly they use different means of expression.
In this case, the example of different tempo designations and different eras is very indicative. In the pre-classical period, the tempos “Allegro”, “Andante”, “Adagio” indicated not the speed of movement, but the nature of the music. So, Allegro Scarlatti is slower than Allegro among the classics, at the same time Allegro Mozart is more restrained Allegro in its modern understanding. Andante Mozart is more mobile than we understand him now.
The performer’s task is to correctly determine the relationship of the work with its creator and time and take into account all stylistic features in the process of working on the work. Sometimes even mature masters - professional musicians - comprehend the artistic world of a musical work, mainly sensually and intuitively, although it is known that the subjective interpretation of a work often turns out to be inadequate to the composer's intention and can lead to the substitution of the content of the work with the content of the interpreter's perception.
Therefore, work on even a small piece of music should be based on a comprehensive study of it. This will allow you to delve deeper into the figurative sphere, maintain the performer’s interest in the work and, finally, understand the author’s intention.
It is difficult to divide the process of working on a work into certain stages. However, many musicologists and teachers conditionally divide the entire process into three stages.
At the first stage, upon preliminary acquaintance with the work, the performer creates a mental artistic image based on the mode, melody, harmony, rhythm, form, style and genre of the work, means of musical expression, as well as on the basis of studying the history of the creation of the work, listening to other performing samples. At the same time, along with information analysis, the contractor also identifies technical difficulties.
At the second stage, the technical difficulties inherent in the musical text are overcome. During this period, a long and complex detailed study of all technical, rhythmic, intonation and expressive components of the music being learned takes place, and the ideal musical image continues to be formed.
At the third stage, readiness for a concert performance of a musical work is already formed and practiced.
If we are talking about singing, then it, like any other performance, involves a lot of preliminary work With vocal piece. You should pay attention not only to the musical, but also to the literary text, in which not only phrases and words, but also punctuation marks, stress and accents, intonation pauses, climaxes - all emotional shades of speech will participate in the initial stage of analysis of the work. With this analysis, performers will be able to find new expressive intonations.
The greatest difficulty for a vocalist can be the process of interpreting a work in a foreign language. This is explained by the specific linguistic features inherent in each specific language. These are the intonation features of phrases, which differ depending on the communicative setting of the utterance (narrative, interrogative and exclamation), features of the phonetic systems of foreign languages, which are not similar to the phonetic system of the Russian language.
In addition to technical work on a foreign language text, which includes practicing the pronunciation of individual sounds, sound combinations, rhythmic groups, phrases, linking them together, etc., it is necessary to remember about the content component of the text, i.e. understand the meaning of each spoken word for creating the right image. Much attention should be paid to expressive reading and semantic analysis literary text works, in particular, on punctuation, which has a logical-grammatical and artistic-grammatical function. It is worth paying special attention to phrases not only literary, but also musical, which contribute to expressiveness musical speech. The work must be performed on good level both in vocal-technical and artistic terms. And the performer’s task is to fully develop and assimilate the artistic image laid down by the creator, to feel it and be able to focus his attention on it.
The system of K.S. can play an important role on the path to understanding the correct interpretation of a work. Stanislavsky, developing creative imagination and offering to act in the proposed circumstances. If a vocalist can accurately imagine the underlying meaning of a piece of music and believes in the “proposed circumstances,” then his manner of performance will be justified and make the entire performance convincing.
Working with “proposed circumstances,” the performer feels the connections between the task posed by these circumstances and their external embodiment, that is, actions and words. Having done a lot of preliminary work on the piece, the musician will create the necessary intonations, and the performance will have the appropriate emotional overtones. At the same time, the listener, unwittingly involved in the content of what is being performed, will be, together with the singer, captured by his experiences.
Musical performance is a rather complex creative process, which has its own unique features for any specialty. And the problem of creative interpretation stimulates the development of a number of professional and personal qualities in a musician, such as artistic and imaginative thinking, mastery of the means of musical expression, and musical erudition. And mastery of various technical techniques and experience in performing activities will allow the musician to deeply and completely reveal the work he is interpreting.
Reviewers:
Nemykina I.N., Doctor of Pedagogical Sciences, Professor of the Department of Cultural Studies and Methodology of Music Education, Moscow State Humanitarian University. M.A. Sholokhov" Ministry of Education and Science of Russia, Moscow.
Kozmenko O.P., Doctor of Cultural Studies, Professor of the Department of Musical Performance, Moscow State Humanitarian University. M.A. Sholokhov" Ministry of Education and Science of Russia, Moscow.
Bibliographic link
Tomsky I.A. CREATIVE INTERPRETATION OF MUSICAL WORKS IN VOCAL PERFORMANCE // Modern problems of science and education. – 2014. – No. 1.;URL: http://science-education.ru/ru/article/view?id=12217 (access date: 04/06/2019). We bring to your attention magazines published by the publishing house "Academy of Natural Sciences"
A graduate of the Leningrad Conservatory, Andrei Boreyko has been a foreign conductor rather than ours since the 90s. 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, Boreyko has a series of concerts planned in Belarus, Ukraine, Poland, Italy and Germany with I, CULTURE Orchestra, uniting musicians from Poland and the Eastern Partnership countries. Roman Yusipei met with the conductor at his current main place of work - in Brussels, where he heads the National Orchestra of Belgium.
Andrey Viktorovich, sometimes it seems that many of the attributes with which the profession of a conductor is still inertly associated have today in fact disappeared without a trace. Is it so?
I think you're right. I still saw the 80s and 90s of the last century, when the chief conductor of the ensemble could pursue his own independent repertoire policy, decide who would come and what would play, and who to order compositions from. This provided certain opportunities 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 not in developed Western countries, but in states that have recently tasted democracy or are completely far from it.
In Europe and especially in the USA, the relationship between the conductor and orchestra musicians has changed greatly 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 just passed by the orchestra members preparing for rehearsal. Did you notice the small detail? It is not customary for musicians here to greet their conductor first. If, for example, some maestro who worked in Russia at the end of the last century had come here and noticed that he was “not noticed,” he would not have understood this... In Russia today, conductors still consider themselves people belonging to the highest caste. Or rather, they are allowed to do so. I remember that when I worked in the Ulyanovsk Philharmonic Orchestra, there was a position called “costume designer.” The woman responsible for keeping the conductor's vestments in perfect condition. When I moved to Europe, I was surprised to find that there was no such position in orchestras here. Of course, I got used to it, but at first it seemed almost like a sign of insufficient respect.
The true respect of musicians for the conductor (and especially for their chief conductor) is manifested not in the way they greet him and how they look into his eyes, but in the recognition of his authority, knowledge, skills, preparedness, taste and, as a result, in recognition the right to manage them.
I'm currently reading a wonderful book about the Cleveland Orchestra from the time when it was led by George Szell. Most of the artists who left memories of this conductor have a rather complex attitude towards him. On the one hand, he was idolized as a musician. On the other hand, they couldn’t stand him as a person. They write: “We were afraid of him because he had practically 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 during a tour in shirts without ties, what we should eat and drink before and after the concert.”
A wonderful story from there. A musician from the orchestra comes to Sell and says: “Could you please raise my salary? I had a baby." The conductor raised it. 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 member 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, and the same is known about Sergiu Celibidac. 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 Szell: it can be argued that it was he who brought the Cleveland Orchestra from the provincial to the top five the best teams peace. They still say about it: this is an orchestra that has its own sound. It’s not often they say this about the Vienna Philharmonic. About the Berlin Philharmonic and even more so. Cell did 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 forced to constantly balance between what we want and what managers require of us. They need to sell tickets - their work is assessed precisely by this criterion. They are business executives. But art, especially classical music, a symphony orchestra, 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, and look for ways to hearts and souls.
Today's reality is so far 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, soloist and plan the number of rehearsals. Let it be one night stand, but will bring pleasure to all participants in the process.
Therefore, youth groups, with whom I have always loved and love to collaborate, are a priority for me than a long-term contract with some famous group, where I will not have the necessary freedom of action. Why, for example, does Gidon Kremer care so much about his “Kremerata Baltika”? He created it twenty years ago, for his 50th birthday, and then, probably, he had no idea how important this project would become for him. Gidon created this source of living water, which many of us do not have, for himself. With this orchestra he can always feel like a true musician, creator, thinker, Teacher.
Yes, you can play in-demand repertoire all your life, and if you have earned a name for yourself, you will be invited again and again. But few people have managed to develop, open new horizons, maintain the freedom to make unexpected, albeit sometimes risky, decisions, while remaining only a performer all their lives. Some started teaching, others started writing books. Mstislav Rostropovich had conducting and public projects. Gidon Kremer has his orchestra. There must be something.
It is not customary for musicians here to greet their conductor first.
Is the academic music industry really that dependent on ticket sales now? Government subsidies and sponsorship support seem to play a leading role here...
The volume of government 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: ministries of culture have long not considered it their duty to cover losses and equalize budgets. The number of orchestras is decreasing, and it is very difficult to keep the number of musicians working in them constant. The financial turmoil and crises of recent years have worsened the already difficult situation. It is an illusion to believe that a symphony orchestra will earn money for itself. There are no more teams around the world capable of this than there are fingers on one’s hands...
The market is increasingly dictating its own laws. If the planned marketing result does not work out, they will take away what you had. Therefore, the sponsorship model of running an orchestra in Europe today is more common and its role is much more important than in the late 1990s. Everyone is desperately looking for a way out of the current situation. 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 Florida orchestra is heavily funded wealthy people. Our sponsors say that they help us because the orchestra is developing, leading soloists of the world come to us, we have a very high attendance. These people want to invest money in a successful project. So it is success that determines the amount of funding: both in the American, purely sponsorship model, and in the European model, 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 orchestra. Will you choose an orchestra whose performances you go to, which is regularly mentioned in the media, successful, famous - or an orchestra, perhaps very worthy, promising, young, but which no one really knows about and which is located not in the capital, but in the provinces ? Naturally, you will want your investment to be linked to success immediately, rather than over the long term.
True, in Russia there is a remarkable exception: 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 music map Europe and the world. Now major sponsors in Moscow cannot help but notice that Currentzis and his projects are a brand. It’s fashionable, bold, and attracts even those who have never been interested in classical music before. There is a buzz around his concerts, ticket prices are incredible, the success is obvious. And business loves success, and, as a result, MusicAeterna has the opportunity to create further and come up with something new.
- Teodor Currentzis will soon lead the German Southwestern Radio Symphony Orchestra in Stuttgart. Kirill Petrenko - Berlin Philharmonic. Vladimir Yurovsky - Rundfunk-Sinfonieorchester in Berlin. It seems that the German phrase from 70 years ago is “The Russians are coming!” - becomes relevant again...
I’ll add to the list of the latest 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 leading 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 already on the 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, strictly speaking, the most “Russian” is the Greek Teodor Currentzis. It seems to me that it is he who is most associated with today’s 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, 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 a 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 entire history of this team to be born in Russia... But still, Kirill left Russia at the same age as Vladimir Yurovsky. And Europe - primarily Germany and Austria - greatly influenced the formation of these creative personalities.
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 their lives, who are making brilliant careers and performing the most diverse repertoire: both symphonic and operatic; both classic and modern.
George Szell uttered the immortal phrase: “Have you ever tried to f... just for the pleasure?”
- And they put forward ideas that sometimes cause very violent and controversial reactions in the music community...
Indeed, as many fans as Currentzis has, there are also so many haters who do not accept his image of a rebel, his penchant for outrageousness, his appearance enfant terrible. But I am glad that he now has a wonderful orchestra in Stuttgart, with whom I also had the opportunity to work for several years and record a number of discs.
This is his first major Western orchestra, and some features of the conductor’s work in the West and in Russia differ significantly. For example, rehearsing at night, staying late for extra rehearsals, playing standing up, as the string players do in Theodor's orchestra - all this is very unusual for professionals in Germany. I am extremely interested in what will come of this union, but no matter what happens, no one will be bored. Read his interview: Maestro Currentzis believes that the time has come to play classical music in a completely different way, and he is confident that he knows how to do it. And for many people who are tired of an endless series of similar performances, this rebellious approach to Beethoven, Tchaikovsky or Mahler is very attractive. True, I am somewhat embarrassed 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 preparation, erudition, ability to explain, talk about music. And fearlessness - that’s what really captivates me about him. Fearlessness to play unpopular repertoire with famous orchestras in major cities. London, for example, is full of highly professional groups. But Yurovsky managed to make sure that people who were interested in listening to Raskatov, Kancheli, Gubaidulina, and very young Russian authors came to his orchestra’s concerts...
I know that Vladimir Yurovsky refused, more than once, offers 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. Yurovsky's subscriptions and festivals in Moscow are very interesting; they always have a vibrant program and an original interpretation of the material. The conductor is not afraid to go to the front of the stage 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 ensemble is constantly developing. I'm not talking so much about skill - the Svetlanov State Symphony Orchestra has always been famous for its excellent musicians - but about receptivity and readiness to play 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 Orchestra, but would spend more time with the score of the opera he would conduct in three months. A modest person, he works constantly and almost never gives interviews. My friends who worked with Petrenko in Bayreuth said that he knew the score so deeply and seriously that he could give a noticeable head start to many other prominent representatives of the conducting guild. I am very happy about all his successes.
Your tenure as chief conductor of the National Orchestra of Belgium has just ended. 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, it was officially announced at a high political level that the National Orchestra of Belgium would be merged with the Brussels Orchestra in five to seven years. opera house La Monnaie. That is, we were talking about the actual liquidation of NOB, a collective with an 80-year history. Together with the orchestra members, we collected signatures, performed in front of the public, and asked for support. But we were clearly told that all this was useless - the issue had already been resolved. I was categorically opposed to such a step. From two good orchestras, by mechanically combining them, you cannot create one very good one. You can only harm everyone.
I didn’t want to witness the demise of the team to which I had given several years of my life. Therefore, I decided that I had to leave, since the continuation of the fight looked more and more like a famous character fighting with windmills. By July of this year, the orchestra had already changed its name and logo. So the prospect of extinction is increasingly real. Even Belgian National Orchestra(as it is now, for some reason, called in English) and will 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 a difficult country. Two languages, two cultures, two traditions coexist within one not very large geographical space between Holland and France. Of course, I knew this before, but I never thought that the Flemings and Walloons were so different in mentality, approach to work, leisure, attitude to the history of their country, and 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 must be financed equally from the budgets of 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 was a lot good festivals, memorable concerts. In my opinion, the level of playing of the National Orchestra of Belgium has increased 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 something like this... Perhaps this will happen someday.
You probably want to ask, what's next? And then I want to take a break and not take leadership of the new team. Although I will still be in charge Naples Philharmonic in Florida. Over the past ten years, in addition to Brussels, I have had the opportunity to be the chief conductor of the orchestras of Hamburg, Düsseldorf, and Bern. Now I finally have a little more time to spend at home. Enough of these endless turns around globe. Of course, I am not complaining about the number of concerts: for any conductor, a tightly packed calendar for three years in advance is 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, requiring time: time to read books, visit the theater, exhibitions, cinema, communicate with friends. Finally, just time to listen to silence. I already have enough sounds in my life.
Once we rewrote two bars of the celesta from Silvestrov’s Fifth Symphony thirteen times. The performer, in my opinion, could have been safely sent to a madhouse after this.
- How often do you spend time with your family in Hamburg?
Recently, my wife and I counted: over the past year we haven’t even gained a month... After all, I’ve been leading for so long similar image life that I even begin to miss him after a week spent at home. Nevertheless, I’m always eager to go there! I enter the apartment with the thought: finally I will see you, my friends - my books, purchased and unread, my CDs, purchased and unlistened, unwatched films... I am always waiting for a lot of video materials sent by young musicians - performers and conductors. Everyone, of course, would like an answer, but finding time can be difficult. True, now, with the advent YouTube And Vimeo, it became a little easier.
In any case, time at home is always very busy. Conductors, among other things, also have a daily life, and it’s somehow unmanly to entrust all the worries to the spouse. I am sincerely grateful to fate for meeting my wife. Twenty-seven years together probably says something, right? And this despite all the moving from country to country, from continent to continent, from one political system to another... The wife bore all this on her shoulders. If it weren't for her, we wouldn't have a home or a family.
I feel good with my family. You begin to appreciate this especially over the years. After all, isn’t it nice to just sit in your favorite chair in the evening and talk with your loved one over excellent tea, which you drink from your favorite cup? Or over a glass of red wine. As for creative freedom, I still have Naples Philharmonic and many concerts where I perform as a guest conductor. This is quite enough to realize the most daring plans for the future.
- In April of this year, it was in Florida that you performed Gia Kancheli’s composition for the first time "In Petto"- “In a low voice.” And it is dedicated, by the way, to you and your wife...
Yes, best sign sympathy and friendship, probably, cannot be imagined... I have known Gia Alexandrovich for many years. We even speak on “you”, which is quite inconvenient, because, finding ourselves 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 connection with him. It all started when 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.”) The premiere took place at the Concertgebouw with the Leo 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 went on 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 easily be destroyed by any “non-musical” sounds. Then it was not yet a question of mobile phones, but simply about whispering and especially about coughing, which, as you know, is a scourge 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 at the premiere there really was an amazing atmosphere of sacred rites in the hall?
returning to "In Petto", I note that this eight-minute composition was written by order Naples Philharmonic. We wanted to show the public that small short essay may, as they say, cost many volumes, and the entire program was built on miniatures. This is not at all typical for current musical life. Look, most often the program includes an overture, a concerto and then some major symphony. Meanwhile, in symphonic literature there are many 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 concert lasting less than 25 minutes is somehow frivolous...
But in small things there can also be great things. The idea of our concert was connected with the exhibition of the collection of Olga Hirshhorn, a native of Ukraine, the widow of the famous American collector Joseph Hirshhorn, taking place nearby, in the wonderful art museum of the city of Naples.
When buying works by great masters of the first half of the 20th century, after signing the check, he always said: “Don’t you have something small for my wife?” And I received a lot of sketches and miniatures that were not intended for display in a large museum. But these were miniatures by Picasso, Miro, Magritte, Delvaux, Man Ray and many other masters. Later Olga Hirschhorn built a small house in her garden called The Mouse House total area 30 square meters- there was literally one room. And in this room she made a museum of all the works dedicated to and given to her. In the same form, after the death of the owner, the exhibition is now stored in Baker Museum city of Naples.
People who bought tickets for this concert could 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 commissioned from Gia Aleksandrovich, 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’s suite “The Bourgeois in the Nobility” in the second movement, in which I, in fact, he was emphasizing. So the experiment was a success and made it possible to perform more in Naples modern music. Unfortunately, my predecessors almost never 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?
I had the feeling that this was necessary a long time ago. At the Leningrad Conservatory, composer Yura Krasavin studied with me on the course, and Lenya Desyatnikov was a year older. Nearby was Vitya Kopytko from Belarus. We formed a company and supported each other. I already understood then: it is we, my generation, who must devote at least part of our lives to promoting the music of our contemporaries. It comes to the point of absurdity: many of today's conductors have made great careers solely thanks to the music of the 18th, 19th, and perhaps the beginning of the 20th centuries. But they essentially know nothing of what has been written over the past 20-30 years. If in the times of Schumann, Brahms, Chopin, performers had concentrated only on the music of Bach, Handel and Mozart, we would probably not know anything about Brahms, Chopin and Schumann today. Therefore, I believe that performing works by composers of my generation, as well as music written over the past 50 years, is my direct responsibility 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... Young composers often think that only people like them can understand them. So the chauvinism here is rather on the part of the younger generation. I try, first of all, to find music that will touch me, that I will understand and be able to convey this to the public. But there are also works, including those by composers of my generation, whose scores, when I open them, I understand that they will remain so 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 a conductor is not close to some music or, even worse, doesn’t like it, that’s not so bad: there’s no arguing about tastes. It is a disaster when a person goes to the orchestra and begins to rehearse such a composition, wittingly or unwittingly demonstrating his indifference or even hostility. The performers feel it at the same second: it is almost impossible to interest the orchestra members in something that does not captivate you yourself. But if you are in love with a work, if it has become a part of you, then you can ignite the most inveterate skeptics. And when after the concert you see happy faces and hear: “You know, the music, it turns out, is not bad at all!” - then you understand that yes, it worked!
You are a consistent promoter of the music of Valentin Silvestrov. Once they even said that you were proud to live with him at the same time...
Akhmatova once said these words to Shostakovich. I just borrowed them. Yes, this is the absolute truth. But it’s not easy for me to talk to him - I don’t feel comfortable communicating directly with a person whom I value so highly and even extol. I know how demanding he is at rehearsals. Unforgettable stories happened during the recordings. Once we rewrote two bars of the celesta from the Fifth Symphony thirteen times. The performer, in my opinion, could have been safely sent to a madhouse after this. But we still recorded it the way the composer needed it.
For me, Silvestrov is like a very potent remedy. And I cannot perform 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 time "Der Bothe"(“Vestnik”) as a tribute to the creator, who celebrates his 80th birthday this year, and also 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 experimentation, that goes to a concert without prejudice, like, “I’ll somehow endure this, and then there will be my favorite Beethoven or Brahms.” It's very difficult for me to perform "Postludium" or the Fifth Symphony, fearing that at some point I would hear seats knocking and doors slamming, hissing or shouting. It's like pain caused to the music that I become a part of when I conduct.
Silvestrov's music assumes a meditative approach. The listener should try to feel like a leaf falling from a tree into a slowly flowing river. You must allow this river to lead you along all the bends and bends, admiring and enjoying what is happening around you. Become part of the natural movement, and not try to swim against the flow, resist it, thinking about orchestration, form, balance. You just need to open yourself to this Music, unquestioningly submitting to the way it fills you completely, wrapping you up and feeding you.
I am absolutely convinced that those who did not like this music on the first try should try listening 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 fragments from the ballet “The Sleeping Beauty” by Tchaikovsky, and then, without a pause, without waiting for applause, you moved on to Silvestrov’s Seventh Symphony. Previously, Ives’ “The Unanswered Question” also smoothly transitioned into Schubert’s “Unfinished” Symphony...
Yes, I do this, although not often... 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 a genius after all!” Well, what can you do... The main thing is that she liked it.
- What was Silvestrov’s reaction?
Working with other composers, I never feel as inexperienced, young, and not understanding anything as I do with Valentin Vasilyevich. It seemed to me that the Paris concert, compared to 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 with which its musicians treated this music. There was extreme composure, a sincere readiness to play music. When I sent the author a recording of the concert, I really hoped that he would like it.
In response, I received a rather critical assessment of my idea to combine two works by different composers without 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 it was Silvestrov, then Tchaikovsky would be offended. What if Tchaikovsky?..”
With all my reverence, I cannot agree with Valentin Vasilyevich. This connection allowed the beginning of the Seventh Symphony to sound the way it should sound: in an atmosphere of tense anticipation, in silence that sounded fortissimo.
In the symphonic intermission “Dream” in “The Sleeping Beauty,” Tchaikovsky created a musical space where there is the breath of time, sounding silence, and at the same time there are no characteristic features of Pyotr Ilyich’s style that are familiar to us. That is, music gradually becomes depersonalized, loses any authorship, dissolves, disappears. And from this silence, from the last pizzicato (as in the finale of Tchaikovsky’s Sixth Symphony, when the unprepared listener does not know whether there will be anything else) the universe of Silvestrov’s Seventh Symphony is born, as in a supernova explosion...
I still believe that there is no better way to prepare an audience than with silence. Silence at a concert is something completely different from the silence of nature or a pause in the conversation of people who have nothing to say to each other. The silence when one composition (or part of it) has ended and the first seconds last before the beginning of another is an incredibly strong, living silence. Just remember 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 drowning sound of the tom-tom.
Pianist Alexey Lyubimov, who was at this concert, sent me a review from the Diapazon magazine. The critic understood why I did this. Moreover, he wrote that for him “Sleeping Beauty” in our interpretation is a symbol of lost love. A symbol of something so close and so unattainable. The love that is nearby, which you feel, but which you can’t get closer to, you can’t 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 a genius after all!”
Quite an accurate metaphor: after all, Silvestrov’s Seventh Symphony, which followed Tchaikovsky, is dedicated to the memory of Larisa Bondarenko, the composer’s wife...
It seems to me, in turn, that in the Seventh Symphony, although the author clearly did not consciously intend this, the story of Orpheus and Eurydice is told anew. The search for a loved one, finding her, the attempt to return her forever and the final loss... But since I believe that composers record music rather than compose it, reducing the entire symphony to any kind of plot would detract from its merits. And what I hear in this essay is not necessarily what you or another person will hear. 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 left forever. The score even has a subtext of three harp notes that are repeated many times: “La-ri-sa.” And then these sounds are gone. Only the breath of time, the sound of the River of Time...
- What is your relationship with time? What can you say about age in the conducting profession?
I now feel a sense of enormous 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 didn’t like these words. Youth is characterized by self-confidence, fearlessness, rebellion, and a desire to refute authority. And thank God - of course, if it doesn’t offend anyone. But today I am upset to see how many young people, even very talented ones, do not listen to the opinions of those who wish them well. At their age, despite all my self-confidence, I nevertheless had authority.
I know many young conductors. For example, a competition has just been held to fill the vacancy of my assistant in the USA. 166 applications were submitted, six made it to the finals. But, you see, most of these guys don’t listen to advice, even if they say that they would really like to learn, get some kind of feedback. They are confident that they are right. Growing pains...
Therefore, I do not strive to teach or conduct master classes. Many people participate in such workshops mainly to put a tick on their resume and convince themselves that you are better than everyone else. I recently watched a fragment of a lesson with Bernard Haitink. The student seems to be listening carefully to what one of the greatest conductors left in the profession is telling him. Then he raises his hands, the orchestra starts playing, and... he changes absolutely nothing in his style. Can not? Or does he think that he already “knows how to do it”?
Everything that happened to me in my 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 covenants, her smile, her gaze and her hands. I only regret one thing: I had to write down and save every word she said. Thank God, her other students did this after me. I don’t want to offend those whom I will not mention, but I will name only a few great masters who came from Elizaveta Petrovna’s class: Alexander Anisimov, Alexander Dmitriev, Dmitry Kitayenko, Ravil Martynov. From my generation - Vladimir Ziva, Andrey Petrenko (chief choirmaster Mariinsky Theater), from the younger generation - Vasily Petrenko, Andrey Anikhanov...
- And they say that the conducting profession cannot be taught...
This is truly something you learn throughout your life. Once upon a time this seemed to me an exaggeration, beautiful words. But, of course, I am learning every day... Recently, while performing Brahms's Third Symphony in Toronto, I discovered it from a completely different perspective. I began to perceive it differently, to conduct differently. It turned out that this is completely different music.
Several years before his death, Mravinsky received a gift from Musikverein Wien a superbly published facsimile of the “Unfinished” Symphony. And a person who visited him told me that the conductor spent several weeks in a row with this manuscript, studying page by page with a magnifying glass - and yet 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 every 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 encounter a musical miracle? Or are miracles mostly a thing of the past?
I don't look for miracles in the past. Although in retrospect many things look completely different. I am looking for a miracle today - among those who appear on stage, try to speak in their own language, but at the same time respect the author. He does not assert himself 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, increase the tempo to Allegro moderato but shouldn't play Presto. There certainly must be an interpretation. But if a performer puts himself and his taste priorities much higher than the work the composer entrusted him with recording, allows himself to distort the proportions, shape, balance, changes the colors prescribed by the author, this is unacceptable.
The creativity of an interpreter is the work of a brilliant translator. Without people of this profession, we would not know Shakespeare, Americans - Pushkin, Germans - Moliere, French - Goethe. After all, very few people speak languages at such a level as to enjoy the original. And ours the main task as interpreters, guides - not to distort the music. So the miracle today is the young soloists and conductors appearing in this profession who love the music in themselves more than themselves in the music. And they do not cease to be so after the first great successes.
In general, to conclude our conversation: musicians need to play, composers need to compose, writers need to write books, and conductors, probably, first of all, speak with their hands and... think with their hearts. Carlos Kleiber did not leave a single line behind, did not talk about his thoughts and experiences. We don't even have his letters. But without Klaiber, the history of music and the art of conducting would be completely different. I am sure that very much of everything ever written and spoken by conductors of all times and peoples could not have been written or spoken. And this would not make anyone worse. Listen to what they have done. And you will be happy.
When writing of this material The following goals were set:
1. Reveal the theoretical foundations of performing analysis and interpretation of a musical work.
2. Show the essence of a holistic and performance analysis of a musical work.
3. Expand knowledge on the basics of performance analysis of a musical work.
4. To develop in trainees the qualities necessary for future military professional activities.
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Theoretical foundations of interpretation of a musical work
The process of a performer’s work on a piece of music, in accordance with the dialectics of cognition, represents a gradual knowledge of its content, its artistic images.
Both feeling and thought actively participate in this process. The artistic image, which is first perceived by the performer and then transmitted to the listeners in its inherent understanding and interpretation, appears in the unity of the emotional and rational. However, some performers believe that when studying a piece of music one can rely only on intuition, and analysis of a composition only introduces “cold calculation” into performance, “dries out” the music, and interferes with the spontaneity of its performance and perception.
Performing and pedagogical activity many prominent musicians say the opposite. Some of them, who carefully analyzed musical works, admit that those knowledgeable in the smallest details, they are getting even closer.
“One of the most fascinating activities for me as a person who thinks about art and as a teacher,” wrote G. G. Neiguaz, in his book “On the Art of Piano Playing,” “is the study and analysis of the laws of materialist dialectics embodied in the art of music, in the music itself, as well as in its performances, as definitely and clearly as they are embodied in life in reality " .
It is no coincidence that such outstanding performers as F. Busoni; A. Corto, L. Auer, K. Igumnov, G. Bülow, F. Weingartner, G. Rozhdestvensky; E. Svetlanov and others are the authors of detailed analytical works on musical works. There are similar works by wind musicians /A.Usov, Yu.Usov, V.Petrov, R.Terekhin, L.Kondakov, Yu.Kudryavtsev, B.Dikov, etc./.
A thorough analysis of the text of a musical work largely eliminates the possibility of arbitrariness in the performance. Comprehension of the laws of formation, the ability to embrace the manifestations of his style characteristic of a given author, a clear understanding of interaction artistic means, understanding the expressive capabilities of elements musical language- all these qualities, cultivated as a result of analytical activity, deepen and sharpen the perception of music, expand the intellectual horizons, help one independently navigate the content, form and musical language of the work, develop observation skills, and contribute to better memorization of the work. Analysis of the composition helps the performer find his understanding of the artistic and figurative content of the work, justify his individual interpretation of the music, outline the performing techniques with which he will embody this interpretation, foresee technical difficulties that may be encountered in the process of working on the work and outline ways to overcome them.
The essence of holistic and performance analysis
piece of music
Performance analysis of a musical work is interconnected with its holistic analysis. Therefore, before talking about its essence, it is necessary to at least general outline outline the essence of the methodology for holistic analysis of a musical work. It is known that in theoretical musicology, the method of holistic analysis of musical composition in our country was established in the mid-60s \the works of L. Mazel, V. Zuckerman, I. Posobin\ and was further developed in subsequent years in their works and in the works of other Soviet musicologists.
According to L. Mazel’s definition, the essence of holistic analysis is that it is aimed at analyzing a work recorded in musical notation. “The analysis in question,” he writes, “does not ignore the socio-historical and artistic connections of the work, but emphasizes its own individual expressiveness, the creative findings contained in it, its unique originality in reflecting the phenomena of reality, in the transmission of universally significant ideas and feelings. At the same time, it is very important that the figurative meaning of the work is revealed, first of all, through the analysis of its structure and means 1". This definition indicatespurpose and methodology of analyzing a musical work:
a/ determination of connections between the figurative meaning of the work and its structure and means of expression;
b/ search for features of individual expressiveness of a work, author’s discoveries, originality, i.e. what can be conveyed by the concept of "artistic discovery".
The main goal of the methodanalysis - the study of a work as an integral system, taken in the interrelationships of all the main means of expression, in the unity of content and form.
The first stage of holistic analysis– creation of a single harmonic, intonation-figurative idea of the work. It relies on the performer’s developed ear for intonation as the most important tool for understanding a musical work.
A professional holistic analysis of a composition is impossible only on the basis of an analysis of the musical text without rich, capacious auditory representations of the performer / teacher /.
Second stage of holistic analysisis associated with the analysis of elements of the content and form of a work to obtain information about their participation in the formation of the figurative and emotional meaning of the work.
The third stage of a holistic analysis of a musical workis aimed at establishing relationships between the artistic level of a work and the means of its implementation.
The modern development of the methodology and theory of holistic analysis, as well as the appearance of works that reveal some patterns of performance expressiveness, make it possible to approach the methodology of analyzing a musical work on a new basis.
Since the ultimate goal of a musician’s work on a piece is its performance, the range of problems and issues of performance analysis, approach to to various parties the work should be focused on the interpretation of the work.
While preserving the basic principles of holistic musicological analysis, performance analysis should provide material for conclusions of a slightly different kind: about possible options for interpreting the work, about the legality of using certain performance techniques, about their compliance with the style of the composition.
If for a theorist, analysis of the form and content of a composition is, as a rule, the final goal of research, then for a performer it is only the establishment of the necessary preliminary data that requires practical creative comprehension. Therefore, performance analysis cannot always cover all aspects of the work, but it must bepurposeful,because in the process of interpreting the work, the analyzer must prove the correctness of the theoretical positions that arose during the theoretical study of the work.
Performance analysisThe essay should answer the following questions:
1. What is the emotional-figurative content of the work/analysis musical means, with the help of which the composer conveys the content of the composition/.
2. By what expressive performing means can a musician most convincingly embody the artistic and figurative content of a work /analysis of tempo, dynamics, agogics, timbre, phrasing, strokes, etc., which together create an artistic image/.
3. What technical, rhythmic, intonation ensemble and other difficulties may arise in the process of implementing the performance concept and ways to overcome them.
In addition, it is advisable to consider different editions of the work.
First section performing analysis of a musical work - musical theoretical analysis, aimed at studying general musical means of expression that contribute to the creation of an artistic image /analysis of melody, harmony, rhythm, dynamics, form, etc./.
Second section performing analysis - analysis of expressive performing means. Its goal is to search and determine the means and techniques with the help of which the artistic and figurative content of the work, identified in the course of a holistic musical theoretical analysis, can be conveyed to the listener most clearly and convincingly.
These interconnectedperforming means of musical expressioncan be divided into two types:
1. General performing,independent of the type of musical performance / performing specialty /. These include tempo, rhythm, meter, agogics, dynamics, phrasing, etc./.
2. Special expressive performing means that are inherent in this type of performance /instrument/ - sound, pitch intonation, timbre, vibrato, strokes, articulation. It is also necessary to remember that the means of musical expressiveness in all performing professions, including those playing wind instruments, are most closely related to performing means.
For brass players, this is performing technique (breathing technique, tongue, embouchure, fingers) and musical performing ear. In other words, a musician, by using effective performing means, gives life to a musical work, its “dead” musical notes.
The third final section of performance analysis- analysis of technical difficulties, including consideration of sound, intonation, fingering, line, rhythmic, ensemble and other difficulties associated with the specifics of the instrument. Analysis of technical difficulties is important mainly for the stage of learning a musical work, and it is necessary to move on to it, as a rule, after a clear presentation by the performer/teacher/ of the artistic and figurative content of the work. A holistic performance analysis of a musical work greatly contributes to the preparation by the performer/teacher/ of a preliminary plan for working on a musical work. Below is one version of such an analysis.
1. Historical and stylistic analysis
Characteristics of the socio-historical conditions of the composer’s life and work, his aesthetic views and the main features of his creativity.
2. Analysis of the artistic means of expression of this work
Holistic artistic and figurative analysis of melody and harmony, meter rhythm, tempo, dynamics, timbre, texture; determining the boundaries of the parts of a musical composition, the structure of each part; comparison of musical thematic material and determination of the depth of its contrast or thematic unity; determining the form of an entire piece of music; genre analysis; identifying and comparing particular culminations and finding the main, central culmination of a part or the entire work.
3. Analysis of expressive performing means
Analysis of the techniques by which the artistic and figurative content of a work can be conveyed to the listener most vividly and convincingly; analysis of the use of tempo fluctuations, dynamic shades, timbre colors, various methods of sound production, intonation and strokes, articulation, phrasing depending on the created character of the image, emotional, expressive and formative tasks.
4. Analysis of technical performance difficulties
Assessing intonation, tempo, rhythmic, stroke, fingering and other technical difficulties associated with the specifics of a given instrument and finding ways to overcome them
Before moving on to the analysis of the performer’s means of expression, it is necessary to once again understand the difference betweenmeans of artistic expression of music(melody, harmony, texture, polyphony, form and other elements of musical language) andexpressive means of the performer/ sound , tempo, meter rhythm, dynamics, timbre, intonation, strokes, articulation, phrasing/. In the process of truly artistic performance, all elements of expressiveness are in organic interaction, each depends on the other and at the same time influences it.
The first of them carry objective information about the essay. They are the means of artistic expression of the composer and are not the expressive means of the performer. However, they are dialectically interconnected with the performer’s means of expression and have the most direct influence on both the formation of the performing artistic image and the choice of performing means. Let's consider expressive possibilities means of expressiveness for performers on wind instruments and the prerequisites for their artistic and aesthetic impact on the listener.
Metrorhythm
In the complex of expressive means of the performer, meter rhythm plays a significant role. Meter is a form of organization musical rhythm, its specific metric system. Musical rhythm – time and accent side of melody, harmony, texture, thematic and other elements of musical language. Rhythm in the narrow sense is a rhythmic pattern. Rhythm in music is primary. It helps express feeling and movement. Hans von Bülow’s words “in the beginning was rhythm” can be taken as an axiom for music. Rhythm gives performers the strongest support and confidence in all technically difficult areas. Feeling, temperament, and the manifestation of our emotions are also associated with rhythm.
The performer's understanding of the laws of meter rhythm is one of the main conditions for an expressive performing interpretation of a musical work. Metrorhythm is organically connected with melody, harmony, texture, tempo, timbre, dynamics, as well as with the structural elements of the musical form / motif, phrase, etc./.
It is very important for the performer to understand the dialectic of the relationship between meter and rhythm, which exists only in unity, which creates the opportunity for musical performing creativity.
A. Pazovsky defined it as follows: “Rhythm is a pattern of living movement in time and at the same time the internal pulse of performance, its heart, when it stops the performing process stops. Meter is that control fractional grid against the background and within which diverse modulations of rhythm develop 1."
Theory and performance practice, as well as research in the field of musical acoustics, have shown that rhythm, as well as tempo, dynamics, and pitch intonation, is not point-based, but zone-based. N. A. Garbuzov, exploring this nature of tempo and rhythm, wrote that “performers represent and reproduce sixteenth notes, eighth notes and quarter notes, etc. not mathematically exact, but zonally" 2. The rhythmic pulse should in no case be understood as something mechanical. It should not be associated with metronomic movement, but with the rhythmic beating of the human heart. Just as a person’s pulse changes depending on his state of mind, so in music, different emotional content causes different rhythmic pulsation. There is one musical notation for each piece of music, but each performance is rhythmically unique. For a performer, metrhythm is not a rigid construction of beats, but a living beat of rhythm, determined by the creative breathing and emotion of the musician. And therefore the beats can either shrink or expand.
Performance theory considers agogic freedom of play acceptable up to its intrusion into the area of clearly perceptible metrical changes in musical time. But there are acceptable limits to metrhythmic freedom. "The interpretation of rhythm cannot be correct if... the performer's rhythm can be written in other musical notations 3" However, an analysis of the recordings of outstanding Soviet performers, in particular pianists, showed that they allow many transformations in rhythmic patterns, which are perceived quite naturally by the listener.
When considering the patterns of rhythm interpretation, the performer must take into account the following:
– in some styles and works, metric division acquires arithmetically - absolute meaning;
– rhythmic movement must be precise where the text of a musical work cannot be conveyed to the listener without strict adherence to the metrical structure;
– the more complex and varied the musical-metric constructions, the stricter and more accurate their execution should be;
– the simpler the rhythmic pattern, the more flexible and varied it can be interpreted;
– in all cases of interpretation of rhythm, it should not be unclear or crumpled.
To interpret a musical work, it is important for the performer to understand the place and role of the accent, the relationship of the metrical structure with accentuation. Accent / emphasis of sounds or chords / is a necessary element of rhythm, an indispensable condition for the perception of the musical-rhythmic process. It is created not only by loudness dynamics, but also by other elements and means of music: intonation, melody, harmony, rhythmic pattern, texture, agogics. The loud accent is not the main one in the complex of accent means, but, as a rule, acts as an external expression of its internal components. Moreover, theorists give preference in emphasis not to the loudness side, but to the longitudinal side.
Accent is inextricably linked with the problem of interaction between meter and rhythm, which is clearly seen in the example of performance accentuation, when rhythmic accentuation, determined by phrasing and logic of thought, often does not coincide with metrical accentuation, conflicts with the time-based metrical accents of the first beats, and, as a rule, overcomes their. However, the performer should not forget that meter is a broader phenomenon than bar accentuation. So, for example, within a beat, an “intra-lobar” rhythmic pulsation is also felt, the signs of which become more noticeable the more moderate the tempo and the more distinct the rhythmic figures. The expressiveness and expression in the performance of the melody often depends on successfully found and emphasized accents within a measure.
Metrical pulsation is characterized not only by beat accentuation, but also by accentuation, where measures relate to each other as separate beats within a measure. This is a meter of the highest order. Its manifestation is strong and weak bars. A musician should highlight heavy and light bars in his performance, which is very important both for expressiveness and for shaping. Higher-order meter prevents technically uniform accentuation and promotes the unification of measures into larger musical structures.
Pace
Tempo is one of the important expressive means of the performer. For each piece of music there is a certain tempo zone, within which the content of the composition and the nature of the music are revealed in the best possible way.
It is no coincidence that he is outstanding German composer and conductor R. Wagner attached such great importance to determining the correct tempo: “If you combine all the factors on which the correct performance of a piece of music depends,” he wrote, “then they will ultimately come down to the correct tempo.” 1 .
The choice of the correct tempo depends, first of all, on the performer’s ability to understand the essence of the work being performed, its content and character. To a certain extent, the tempo depends on the individuality of the performer. Determining an artistically justified tempo is quite complex and includes not only a certain sphere of images, emotions, genres associated with the holistic perception of music, but also the conditions of its performance and perception.
How to determine the correct tempo, understanding of which is the most important task of the performer. The famous German conductor B. Walter believes that his definition is based on two features: “at the right tempo, firstly, the musical meaning and significance of the phrase is best revealed; secondly, it ensures technical accuracy.” And below he characterizes the correct tempo as the tempo that “makes it possiblelive, natural performance of music 1" .
To establish tempo in music, the following are used: a/verbal indications of tempo; b/ metronomic instructions.
The tempo of performance of a musical composition is also indicated by the names of the works or their parts (adagio, andante, allegro, presto, etc.). An analysis of the terms used as tempo designations shows that most of them, indicating tempo, denote character - musical sound. So slow tempos speak of calm, leisurelyness, solemnity, majesty, philosophical reflection, moderate ones - of restraint, measuredness, concentration; fast - about impetuosity, lightness, liveliness, excitement. Thus, verbal indications of tempo are more qualitative than quantitative, i.e. they characterize the character of the sound rather than the speed. It is no coincidence that many performing musicians prefer verbal notations to metronogic ones, although they do not refuse the latter when it is necessary to establish an exact tempo.
A comparison of metronomic and verbal designations of tempo shows that tempo depends not only on the frequency of counting units, but also on their weight expressed in note durations, the size of the beat, intra-lobe pulsation, harmony, texture, etc. For example, it has been noticed that the closer the chords are related to each other, the faster the tempo can be. The rhythmic organization of the melody also influences the tempo. Charles Munsch in his book “I am a conductor” recommends to young performersfollow the excellent advice of F. Kreisler: “Where the notes are long and there are few of them, do not slow down the tempo, and where there are many short notes, do not rush 2"
The concept of tempo includes two of its sides: the main tempo of the work (or its individual parts) and its modifications, i.e. diverse, sometimes subtle agogic deviations towards acceleration or deceleration, determined by the nature of the music, the aesthetics of musical phrasing. Some of them may be indicated in the text / ritenuto, accelerando /, others, not indicated, due to the insignificance of the deviations, must be determined by the performer himself, based on his individual feelings about the nature of the music. All tempo deviations are subject to a certain pattern: after acceleration, as a rule, deceleration follows and vice versa. Agogic deviations help to identify the most significant intonations in the melody. They give music a living breath, the character of human speech. The performer must alwaysremember that all deviations from the tempo must be natural and logical, i.e. sudden acceleration or deceleration, with an unprepared transition to the original tempo, can disrupt the development of the musical fabric of the work, its meter rhythm.
The most typical method of deviation from a uniform tempo is tempo rubato - free pace musical performance. Its main distinguishing feature is the combination of metrical precision with emphasized rhythmic freedom within metrical beats and bars. As a means of expression rubato used when it is necessary to emphasize an excited or dramatic character in music, as well as in plays of an improvisational nature, in recitatives and in solo cadences. Degree and measure rubato vary in different works, episodes and phrases and are determined by the style of the piece being performed, the nature and content of a given musical phrase. They are also determined by individual characteristics. Rubato justified only when it is natural and does not violate the logic of the development of a musical phrase and is perceived by the listener not as an accidental deviation from the tempo, but as a natural development of a given phrase.
One of the essential means of expressiveness is the complete stop of the movement of music at any point in the work - a fermata. The degree to which a fermata is aged depends on its location in the phrase, its musical meaning and a number of other reasons. It is usually the short durations that stretch the most. Large durations are slightly stretched during fermata.
It is also important for the performer to analyze the role of tempo in creating the unity or dismemberment of the form of a musical work / its part /. So, for example, one of the simplest and most natural methods of dividing a form is the expansion of the last or last sounds of a musical structure. Such a slowdown in the final phase of development is perceived as exhaustion of energy and calmness. But there are often cases when the expansion of the last sounds at the end of a musical work / part of it / emphasizes strength and energy. When analyzing tempo deviations, you should always remember that each work has its own main tempo, and that maintaining a single tempo line and the absence of sudden changes in tempo helps to unite all the structures of a musical work into a single whole.
Dynamics
Musical dynamics are one of the most powerful expressive means of the emotional group. Together with sound, agogy, and rhythm, it forms a very significant emotional level in musical performance for the realization of the author's text. The impact of dynamics is immediate and powerful. Like chiaroscuro in painting, it can produce a huge psychological and emotional impact on the listener.
Dynamics has a direct bearing on the interpretation of a musical work and is determined by its content, style, era, genre, as well as the creative intentions of the performer. It is known that the dynamic designations indicated by the composer /sometimes by the editor/ are not absolute, but relative. They are a guideline for the performer and allow for a wide range of individual interpretation.
Musical dynamics covers a wide range of gradations of sound strength: from barely audibleр /ррр/ - to powerful F/FFF /. Between these poles there are intermediate levels of sonority strength pp, mp, mf, ff.
Dynamic notations define relative degrees of loudness of a sound. During the process of performance and perception, the magnitude of their volume is of a zonal nature, determined by the performer, and also depends on:
Dynamic capabilities of the tool;
Acoustic features of the room;
- the level of noise produced by the public in the premises.
An artistically expressive and professionally mature interpretation of a musical work depends not so much on the exact adherence to one or another dynamic shade, but on the exact proportionality and relief of dynamic shades. "In essence, the artistry of performance begins only from the moment one begins to attach due importance to the difference betweenfortissimo and forte, forte and mezzo forte, mezzo forte and piano, piano and pianissimo.If these basic dynamic gradations are not available to the musician, he will certainly violate one of the most important conditions of artistic performance - the logic of the relationship of musical sonorities, which will result in monotony, the dull monotony of a certain arithmetic mean sound plane 1" . Attention to dynamic gradation is especially relevant at the present time, when the commitment to noise has begun to extend to the art of music.
In many years of performing practice, two main types of dynamics have developed and are used: contrasting - suggesting a sudden change and gradually changing / terrace / - suggesting a gradual change in sound strength. Both types of dynamics can be used both on the same sound /chord/, and in various musical structures.
The variety of dynamic shades and the variety of nuance techniques is determined by the performer. However, in performance there are some general patterns in the interpretation of loudness dynamics, as indicated by both music theorists and the performers themselves. Let's look at some of them.
It is known that gradual long-term intensification or weakening of sound is quite common in music, which are, on the one hand, a fairly effective means of emotional impact.on the listener, on the other hand, one of the means of unifying and developing the form of a musical work. Both nuances will have a convincing impact on the listener if they are performed gradually and evenly.
However, quite often performers, upon seeing the designation crescendo start playing loudly prematurely, and when they see the sign diminuendo - It's premature to play quietly. This is explained by the incorrect psychological perception of both dynamic designations. To prevent this from happening, it is recommended to start crescendo somewhat weaker than the main nuance, and diminuendo - somewhat louder. The famous German conductor G. Bülow spoke about this:" crescendo means piano, diminuendo means forte ". During a gradual dynamic transition, it is very useful to conditionally divide the melodic line into a number of motives, each of which should be performed louder or quieter.
Particularly effective expressive performance techniques include a sharp, sudden change in dynamics subito p, subito f . Moreover, the more distant the loudness comparison, the more effectively it is perceived. One of the varieties subito is a technique used in so-called “negative” climaxes, when instead of what was expected at the moment of greatest tension fortissimo, suddenly sounds r or pp. The performer must convey these contrasts to the listener without any softening, despite the certain technological difficulty of their implementation.
The direction of the melody is of considerable importance for nuance. Quite often in performing practice, an upward movement is perceived as an increase in tension and is accompanied by an increase in sound, and a downward movement is perceived as a decrease in tension and is accompanied by a weakening of the sound strength. However, such an association is not always legitimate. No less often, the downward movement of the melody is associated with an increase in massiveness and is accompanied by crescendo , and the upward movement of the melody is with relief, melting and is accompanied diminuendo.
One of the important expressive and formative means of dynamics is the demonstration of the greatest tensions in the process of development of the musical fabric of the work - the climaxes where the sound should reach maximum intensity.
The performer and conductor should know that dynamic gradations play a significant role in showing the main and minor elements of the texture of a musical work, both in solo and in ensemble and orchestral performance, which contributes to the achievement of volumetric andexpressive sound of music “Both in painting and in music, nothing will come of it,” wrote the outstanding Soviet performer and teacher K.N. Igumnov, “if everything has the same price. It is necessary that the main elements be made convex, illuminated with light, the secondary - left in the shade or partial shade... You can’t play everything equally prominently and expressively: in music, as in painting, there is a foreground and a background 1 .
Dynamic shades include various types of accents. The strength of the accent and its character are determined by the genre and stylistic features of the work, as well as the main nuance of the musical structure, which includes the accented sound.
As mentioned above, dynamics are closely related to rhythm, tempo, agogy, phrasing, etc. For example, researchers note a certain dependence of the strength of sound on the rhythmic pattern: the more energetic the rhythm, the more active it should be performed. A syncopation played weaker than the note that appears before and after it ceases to be a syncopation, i.e. loses its rhythmic and dynamic characteristics.
Performing practice indicates the dependence of dynamics on tempo, and tempo on dynamics. Loud sound, as a rule, is difficult to combine with fast, virtuoso movement. The louder the sound, the heavier it is and the more difficult it is to control at a fast pace.
Performing nuance is largely associated with harmonic movement, with the alternation of stability and instability, with the functional role of chords in the mode. For example, if a dissonant chord is followed by a resolution, then it should be played quieter than the chord.
As noted above, dynamics not onlynuance functions, but also form-forming.
So, for example, a relatively stable volume level can contribute to the unification of a form, and sudden changes in dynamics are a means of dividing it. A very common technique of performing nuance is the dynamic contrast of motives, phrases, etc.
Sound
Among the expressive performing means, the totality of which largely determines the professional level of a wind musician and his performing style, one of the main places belongs to the quality of sound and its expressive capabilities.
“Music is the art of sound... Since music is the art of sound,” writes the outstanding Soviet pianist and teacher G.G. Neigauz, “then the main concern and most important responsibility of any performer is to work on sound 1".
The task of a performing musician is to be able to express himself through sound. Without perfect mastery of the art of sound expressiveness, without knowing how to “sing” on your instrument, you cannot convincingly reveal the content of a musical work, create a full-fledged artistic image, or emotionally influence the listener. However, keep in mind that sound quality alone does not ensure expressive performance. Many examples can be given when performers who did not have special beauty of sound became masters of expressive playing, and vice versa, performers who possessed beautiful sound, did not know how to adapt their sound to the nature of the music and played inexpressively.
One of the expressive means of performance that affects sound quality is its timbre, which depends on both the instrument and the performer. A wind player should strive to produce sounds of different colors and shades on his instrument: shiny, dull, dull, warm, cold, deep, hollow, sharp, soft, non-bearing, full, empty, etc.
It is very important for a performer to have a subtle sense of sound color, which should vary depending on the style and nature of the composition. You cannot play works of different styles, different composers with the same sound.
The best sound, says G. Neuhaus, “is the one that best expresses the given content 1" , even if it does not correspond to the generally accepted concept of the beauty of sound. For example, in the works of modern composers, to reveal the content of a musical work, specific techniques of sound production and changing the timbre of sound are used.
One of the important elements in the formation of timbre qualities of sound is vibrato /periodic changes in volume, pitch, and timbre of sound/. It gives sound emotional expressiveness and warmth, bringing it closer to the sound of the human voice.
Vibrato as a means of artistic expression involves the use of a wide gradation of its shades. Depending on the style and content of the music being performed, on the dynamics of the musical phrase, it can be calm or excited, rounded or impetuous. The vibrato of a particular sound in a piece of music cannot be arbitrary or random. Its specificity is determined by sound in the semantic context of the work. The use of vibrato, divorced from the content of the musical work, is unacceptable.
There is a certain relationship between timbre and pitch intonation. Timbre falsehood of sound often leads to pitch falsehood. It is also known that an intonationally false sound causes a negative artistic impression, no matter how expressive the performer has a sound.
The quality and culture of sound depend on the degree of mastery of the performing apparatus, on the skillful use of strokes by the performer and on the expressiveness of the dynamics.
The expressiveness of the sound and melody being performed is also largely determined by the art of intonation, “meaningful pronunciation” of individual sounds and phrases of the piece being performed.
Bernard Shaw said that there is only one way to write the words yes and no and hundreds of ways to pronounce them. 2". This statement can be fully applied to intonation and musical performance. The quality of sound also depends on the natural data of the performer, on well-developed, supported performing breathing, endurance and flexibility of the embouchure that is optimally coordinated with it during the playing process.
Pitch intonation
It is known that pitch plays a leading role in the sensation of musical sound. This means that pitch intonation in performance on wind instruments is one of the main components in the complex of expressive means of wind musicians. During the playing process, it ensures the purity of the tuning and, together with other expressive means, creates a holistic expressive intonation. The interpretation of a musical work certainly involves pure artistic intonation. “Purity of intonation,” emphasizes P. Casals, “is one of the proofs of the sensitivity of the instrumentalist. Neglecting it is unacceptable, it lowers the dignity of the performer, even if he is good musician in other respects 1 ".
Achieving pure sound-pitch artistic intonation on wind instruments in the process of interpreting a musical work is quite complex and requires from the performer not only skills and abilities, but also knowledge of the theoretical foundations of intonation, both in solo and in orchestral and ensemble performance. What criteria for pitch intonation should a musician follow when performance analysis a piece of music and during its performance?
Firstly, the performer should know one of the important provisions of musical psychology about the zonal nature of the musician’s auditory perception. “Musicians are capable of remembering, recognizing and reproducing sounds of not a certain frequency...,” writes N.A. Garbuzov, “but a zone, i.e., a sound-altitude region within which sounds and intervals, with all quantitative changes, retain the same thing same quality /individuality/ and therefore have the same name 2"
Secondly, wind instruments /except trombone/ are instruments with a relatively fixed tuning of the chromatic scale, which allows wind instrument performers, using the specific work of the embouchure, breathing and other performing means, to go beyond the tempered scale and raise or lower the pitch of various sounds, in within certain sound zones. This allows not only to correct discordant sounds, but also to carry out artistic intonation in a free / zone / performing system.
The values of pitch deviations average on bassoon - 53.6 cents, on flute - 45.6 cents, on horn - 38.6 cents, on trumpet - 24.6 cents, on oboe - 24 cents, on clarinet - 18.7 cent. The largest range of pitch deviations is for the flute I bassoon - 108 cents, horn - 95 cents, oboe - 69 cents, trumpet - 62 cents, clarinet - 52 cents 1
Acoustic studies show that with free intonation of a melody on wind instruments, deviations from the equal-tempered system among highly qualified musicians are not random, but, as a rule, are natural and are determined mainly by the modal functions of sounds; and also to a certain extent, tempo, rhythm, dynamics, elements of musical form and are carried out on the basis of individual intonation zones
Thus, in solo performance, with free intonation of the melody, pure consonantal intervals, forming an intonation support, are intoned close to evenly tempered ones, large ones are expanded, small ones are narrowed. Enlarged intervals expand more than large ones, decreased intervals narrow more than small ones. Melodic diatonic semitones narrow somewhat, while chromatic ones expand. Enharmonic sounds are not equal in pitch, and sharps andflats have the opposite direction of modal gravity.
True intonation lies not only in purity, but also in expressiveness. The choice of intonation shade is determined by the musician’s desire to identify modal-functional connections between sounds, to highlight the direction of modal inclinations, to emphasize the stability or instability of the mode, its major or minor nature, etc.
During the performance of a piece of music, the size of the interval constantly changes and depends on specific modal-harmonic conditions. The intonation zones of melodic intervals can be quite large, for example: minor second - 60-110 cents, major second - 160-220 cents, minor third - 280-320 cents, major third - 390-420 cents 2 . Such large deviations of melodic intervals from the tempered system are artistically justified and do not cause falsehood during performance. However, in the harmonic vertical, when two or more sounds are played, they cause falsehood. Therefore, the patterns of intonation of melodic and harmonic intervals are different.
These differences lie, firstly, in the fact that melodic intervals are intoned over a wider zone than harmonic ones. Secondly, if the intonation zones of melodic intervals are determined mainly by the scale, then of harmonic intervals - by the harmonic vertical / more precisely by the ratio and the interaction of the harmonic vertical and melodic horizontal. In other words, to achieve a pure structure when several voices are heard simultaneously, it is necessary to achieve accuracy of intonation both in consonances and when connecting them together.
Pitch intonation is closely related to harmony, metrhythm, tempo, phrasing, etc. Therefore, Professor B.A. Dikov believes that the method of mastering intonation in some cases should be selective. So, for example, when playing fast passages, when it is difficult for the performer to keep track of the accuracy of intonation of all sounds, he recommends concentrating the main attention on the purity of intonation of the reference sounds of the passage 1. Professor Usov Yu.A. believes that intonation is influenced by the direction of movement of the melody and recommends, when moving the melody upward, to increase the intonation of the reference sounds, and when moving down - lower 2.
An important means of achieving purity of intonation is orientation in the process of performing a musical work by its semantic structures: motives, phrases, etc.
Achieving pure intonation when playing a soloist with a piano/orchestra/ is facilitated by the performer’s ability to listen carefully to the accompaniment and find intonation supports in it.
When playing in an ensemble / orchestral group/ it is important for the performer to hear not only himself, but also his partners and coordinate his intonation with them.
Strokes
Strokes /techniques, extraction, leading, ending or connecting sounds/ are a very important and powerful means of musical expressiveness. Their functions are diverse and are closely related to other expressive means of performance: sound, tempo, rhythm, dynamics, phrasing, etc.
Speaking about the artistic significance of strokes, their expressive semantic meaning for the interpretation of a musical work, it should be borne in mind that strokes largely determine the nature of the performance and have a direct impact on the creation of a musical image. They give vitality and expressiveness to the phrase being performed.
Strokes are compared to expressive speech techniques. P. Casals said that strokes give musical intonation the character of a kind of speech.
It is known that the use of a particular stroke is determined by the performer depending on the stylistic features of the work, the artistic content of the musical phrase and his creative intentions.
The line marks indicated in the text by the composer or editor are largely arbitrary and are usually clarified or supplemented by the performer, especially since at the modern level of performing art, some line marks do not satisfy musicians. There are cases when the strokes indicated in the musical text contradict the nature of the music and the nature of the instrument and require replacement. The skillful selection of strokes and the performer’s mastery of all their shades determine not only his stroke culture, but also his professional level.
Let us consider in general terms the influence of strokes on the nature of the performance of a musical work and their connection with other expressive means of the performer. Strokes are inextricably linked with sound. Each of them influences both the nature of the pronunciation of an individual sound and sequences of sounds.
The connection between strokes and tempo is evidenced, firstly, by the fact that the execution of some strokes on wind instruments is feasible in a certain tempo zone; secondly, the character of the stroke to some extent justifies this tempo. When the tempo changes, the stroke quite often changes.
The connection between strokes and rhythm is indicated both by the variety of different types of accentuation, and by the degree of coherence or dismemberment of the sounds that make up the melody, etc. For violin players, the direct connection between stroke and rhythm is indicated by a dotted line.
No less close is the connection between strokes and dynamics. So, for example, the non legato stroke is usually used in the piano nuance, martel - in the forte or fortissimo nuance. The presence of a connection between the stroke and dynamics is also indicated by an increase or decrease in the sounding part of the duration, which is associated, respectively, with an increase or decrease in dynamics. Another example confirming the connection of the stroke with dynamics: a staccato stroke during a crescendo often turns into a detail.
In musical works for solo instruments accompanied by piano / orchestra / and especially in works for ensemble and orchestra, strokes often serve as a means of highlighting one or another melodic line in the development of the musical fabric of the work. This is especially true in polyphonic music.
Strokes also have pronounced form-building functions. The use of legato and staccato strokes can emphasize contrast, opposition of motives, phrases, sentences, etc. Often different strokes are used to shape the different thematic material of a musical work. The connection between strokes and phrasing can be judged by leagues. It is known that the league can be phrasing or stroke. The expressive essence of the legato stroke will be most natural and convincing if the stroke lines are close to the phrasing lines or coincide with them. When analyzing or interpreting a piece of music, the performer should remember that “each stroke, taken separately... has an innumerable number of shades inherent in its nature, very different in nature... Music notation does not yet have the means to indicate all the subtleties inherent in nature every stroke, while the truly artistic revelation of the imagery of musical thought ultimately depends on these subtleties and shades." 1 .
Phrasing
One of the important means of artistic expressiveness in the process of interpreting a musical work is performance phrasing, which should be understood as a figurative and semantic division of a musical work into relatively complete constructions / motives, phrases, sentences, etc. / in accordance with musical syntax. It is the nature of phrasing that most determines the individuality of the musician, his understanding of the content and style of the work.
It is known that a musical work, which represents something as a whole, at the same time consists of separate interconnected and delimited from each other
different size parts. A clear understanding by the performer of the structure of a musical work and its individual parts is an important condition for correct and expressive phrasing. Performers should know that the main sign of the beginning and end of a phrase is a caesura - the moment of division between any parts of a musical work. The following signs are characteristic of caesura:
Pause;
Stopping on a relatively long sound;
Repetition of melodic-rhythmic figures;
The emergence of new musical material;
Change of harmony;
Changing registers;
Changing timbres;
A sharp change in dynamics;
Harmonic cadence, etc.
The dismemberment of a musical work is most clearly manifested in the melodic voice. At the moment of caesura in the melodic voice, its signs may be absent in the accompanying voices.
Performing phrasing should be aimed at achieving a meaningful and emotionally justified performance of each motive, phrase, sentence, etc., corresponding to the character and style of a given musical composition. and the work in general. When performing a musical composition, as well as when reading a literary text, one must be able to emphasize the main thing, separate one thought from another, make logical accents, speed up or slow down the tempo, etc.
To implement correct phrasing, it is important for the performer to know where the phrase begins, how it develops (its rises, falls, climaxes) and where it ends. In addition, it is necessary to know (especially when playing in an ensemble or orchestra) which phrase is the main one and which is the subordinate one, and in accordance with this, determine their dynamic relationship in the overall sound of the musical fabric of the work. L. Aauer wrote about this: “The violinist must always remember that a separate musical phrase or a thought, like a phrase in a book, represents only a particle of the general melodic line: it is important only insofar as it has significance for the entire melodic line. The secondary role of subordinate or subordinate phrases should be clear from their performance by the violinist. He should never raise them by sound or expression to the level of the main phrase or main phrases. The ability to identify these dependencies is the first great principle of phrasing." 1.
When interpreting a piece of music, special attention should be paid to the phrasing of cadences. The most complete recommendations for phrasing cadences are presented by Professor B.A. Dikov 2.
Performing phrasing is closely related to other expressive means and is carried out through intonation, dynamics, rhythm, agogics, strokes, etc. The performer must remember that an indispensable condition for correct phrasing when playing wind instruments is the subordination of breathing to phrasing. Breathing should be taken at the moment of caesura, without disturbing the rhythmic pulsation of note durations. Of great importance for the implementation of correct phrasing and for revealing the content of a musical work is the performer’s knowledge of the form of the musical work.
Interpretation of a piece of music
Modern theoretical musicology and the theory of musical performance define interpretation as the process of realizing a musical text, which depends on aesthetic principles the school or direction to which the performer belongs, on his individual characteristics and ideological and artistic intent.
Interpretation involves an individual approach to the music being performed, active attitude to it, the presence of the performer’s own creative concept for the embodiment of the composer’s plan. According to the modern theory of performing musicology, a musical work has three forms of existence:
potential, existing in notation as being-possibility;
relevant, existing in a specific performing act and perceived by listeners;
virtual, which represents already accomplished performance realizations of a composition, the memory of which is stored in the public consciousness 3 .
The presence of an actual and virtual form allows us to characterize the existence of a musical work as discontinuous and continuous. It appears discontinuous in actual form, continuous in virtual form.
“The life of a piece of music lies in its performance, i.e. in revealing its meaning through intonation for listeners 1" . These words of B. Asafiev very accurately define the importance of the performer in the art of music. Indeed, only from the moment of execution does it begin authentic life musical work. Since the advent of musical notation, the creative relationship between performers and listeners has been in a process of constant modification. It should be emphasized that the system of views in the field of the theory of musical performance in each specific period is determined mainly by three factors:
I/ It is a reflection and understanding of musical performance practice;
2/ She is influenced by music pedagogy;
Z/ It is influenced by certain general aesthetic theories.
It is known that each generation lives by its own spiritual interests, its own characteristic range of emotions. People's styles, feelings and ways of thinking change. Naturally, the interpretation of musical works also undergoes significant changes.
Currently, there are two points of view on the interpretation of a piece of music. The first of them was decisive in the 50-60s of our century and saw the task of performers in the “accurate reproduction of all text data”, “fidelity” to the author’s text. The limitation of this theory is that it promotes a copying, “photographing” game.
“The worst thing in music,” wrote P. Casals, “is to perform a piece literally as it is written. This is a great danger: after all, the notes only outline the path. The path is creative, where there is no end to variations 2". The focus exclusively on the accurate rendering of the musical text, as it were, "frees" the performer from the need to search for the inner essence of the music, to give his own artistic and emotional interpretation of it, and gives rise to a lack of initiative, formal attitude towards the work being performed. An absolute exaggeration of the objective significance of the musical text is also manifested in conviction ", as if there is one only correct, "true", historically "correct" interpretation of the work. But on the other hand, one cannot underestimate the importance of fidelity to the musical text."
The outstanding conductor Charles Munsch wrote about this: “It is impossible to play what is “between the notes” without adhering to what is written in the notes.” 3.
The theory of “fidelity to the musical text” is reflected in the pedagogical process.
Thus, individual teachers often form an idea of how this or that work should be interpreted, and on the basis of such an idea the student’s performance is assessed. This leads to the education of a lack of initiative, creatively passive musician.
Another point of view is based on the practical experience of performing outstanding musicians of the past and present, on their statements on the problems of interpreting a musical work, on the modern theory of musical performance and proves the fundamental impossibility of equality between the text and the sounding musical work in which it artistic content can only be revealed in a specifically individual form.
First of all, it was proven that a piece of music is not a musical text, but only a certain semiotic system 1, with the help of which the composer conveys to people his internal mental creative activity, his artistic ideas.
S. Rappoport proves the fundamental impossibility of absolute identity between musical images formed in the mind of the author of the work/ A /, their recording in the musical text /M/ and musical images recreated from the musical notation by the performers /B I, B 2 ...... B p / 2.
IN 1
AT 2
A M
AT 3
In n
The images created by the composer, in the performance embodiment, acquire features determined by the worldview of the performer, his creative manner, temperament. Depending on the individual make-up, the performer emphasizes certain features of the composer’s image and brings something of his own into it, transferring it to a qualitatively new state - the performing artistic image.
A piece of music is interpreted within a certain style. The basis for the formation of which is created, first of all, by the awareness of the composer’s creative style,style direction and the era to which it belongs. In addition, it should be borne in mind that any procedural /occurring in time/ artistic creativity must take into account the interests... of the public, which has a decisive influence on changes in tastes, styles, manners, etc. Because of this, no “standardization” of art can actively exist for any historically long period. 3.
It is from these positions, whether they correspond or not to the composer’s style, that outstanding Soviet performers and teachers approached and continue to approach the problem of performing style. Thus, G.G. Neuhaus, in a half-joking tone, writes about four types of “performance style”: first - no style second - “morgue” version, third - “museum-quality” performance.
Fourth type – ... a performance illuminated by the “penetrating rays” of intuition, inspiration, a performance that is modern, lively, but full of unostentatious erudition, a performance that breathes love for the author, dictating the richness and variety of technical techniques 1 ...”. In the theory of musical performance, there are usually three main performing styles: classical, romantic and lyrical-intellectual. However, one should not reduce the entire diversity of performing individuals to the above-mentioned styles, which are quite rare in their “pure form.”
An individual performing style is characterized by a combination of expressive and technical means inherent in a given performer, the individual nature of phrasing, a unique manner of interpretation and special individual techniques for playing the instrument. It depends on the personality of the performer, the nature of his musical thinking, temperament, etc. Back in 1752, the famous German performer and teacher I. Quantz wrote that every performer must take into account the innate qualities of his temperament and be able to master it, that at all times innate qualities were valued and lasted longer than those acquired during the learning process 2 .
Based on the classification of temperaments and the theory of performing styles, three rather contrasting performing types can be identified; rationalistic, emotional and intellectual. Performers - "rationalists" - are characterized by objectivism, precise calculation of interpretation, strictfollowing the logic of the performing concept, the ability to combine carefully finished musical structures and parts into a single whole, and reproducing a previously worked interpretation during a concert. The interpretation of a musical work by performers of an intellectual type is reasoned, logical, quite emotional and distinguished by depth and penetration. The emotional type of performer is characterized by an emotional beginning (sometimes with a lack of technique), artistic freedom, creative courage, impulsiveness, explosiveness, spontaneity, improvisation during a concert.
The named types of performers, as well as performing styles, do not occur in their pure form, and in their interpretation of a musical work, features characteristic of different types and styles are intertwined to a greater or lesser extent. A highly qualified performing musician must combine at least three qualities: intelligence, emotion and technique. If one of these qualities is missing, then the performer's art is defective.
The interpretation of a musical work is closely related to performing tradition. There is a fairly widespread point of view according to whichthe ability to perform musical works of various styles is based on knowledge of the traditions of their performance, which are passed on from generation to generation. Of course, traditions play an important role in shaping the performance style of a particular composer’s works. However, tradition cannot be frozen and unchangeable. She is the result creative process a performer whose talent gives rise to differences in the interpretation of a musical work. S. Feinberg wrote about tradition: “There are a number of so-called “traditions of performing classical plays.” But in our country the traditional is often confused with habit. There is a pitfall in such a mixture. The inertia of habit is directed against the life of traditions.