ACTUALITY OF BAROQUE MUSIC INTERPRETATIONS IN CONTEMPORARY CULTURAL SPACE (USING THE MATERIALS OF “EARLY MUSIC” JOURNAL)

Abstract

The article is devoted to the contemporary problems of Baroque music performance. These problems are presented in the light of authoritative specialists perceptions. On the basis of foreign periodicals learning (first of all the materials published by “Early Music” journal) the ways of historically competent performing art formation and development in Europe of the second half of the 21st – the beginning the 21st century are revealed. The named sphere of performing art as an object of scholar reflection is based on the relevant requirements of the historical poetics typical of the Baroque period. A trustworthy re-creation of Baroque music stylistics, convincing interpretation of ancient works are bounded up with a deep study of numerous treatises and manuals dating from this period, re-construction of ancient instruments, comprehension the features of music language, and analysis of the concrete pieces in detail. The author of the article substantiates the necessity of subsequent development and popularization conformably to performing historical and authentic method as the significant constituent of contemporary sound environment and cultural landscape of the 21st century. “Early Music” journal is estimated by the researcher as a field of productive dialogue furthering actualization of ancient music in the music culture of our day. The question is specifics of listeners’ perception (“here and now”), selection of some optimum decisions in performing interpretation of musical works appertained to bygone times etc. In the modern era of musicology, the emphasis is more often on the originality of the original performing interpretations, created and compiled in different eras and historical periods by representatives of different nationalities school. On this basis, since the end of the last century, the authentic performing-historically informed practice of ancient music has been intensively developing in the modern world. This article is in line with this problem. The article is dedicated to one of the key pillars of the daily musical performing. In the scientific and research plan, this article is aimed at concretizing the position of the theory of authentic performing in various stylistic styles. The musical culture of this period was inspired by ancient traditions, which carried moral and aesthetic ideals throughout the centuries. As the central object of the researched problem, the relevance of the interpretation of ancient music in the current cultural space is emphasized. In honor of the Baroque era, we commemorate this bright and present hour. The prospect of this article lies in the lost and varied history of historically oriented performing, the activities of contemporary ensembles and performers of early music, which will ensure the passage of the “links of the hours” and lead to modern historicism in the mastered musical decline of past eras, including the Baroque era. The scientific novelty of the obtained results is associated with the lack of research in science about the mysticism of the devices dedicated to ancient music and the methods of performing. The possibilities of a historically oriented performing are truly inexhaustible, but the very scope of its investigation is only increasing. Since the issue of studying ancient music is still relevant today, contemporary researchers also continue to study the intricacies of performance (acoustics, tempo, dynamics, instruments, ornamentation), as well as the works of their predecessors. The main aspects of musicological thought in the field of historical performing are examined, as well as the stages of development of historically oriented performing. As a result of the development of historical performing as a trend of musical mysticism from the last third of the 20th to the beginning of the 21st centuries, a whole system emerges, on the basis of which performing principles are formed, the main signs of the historical and interpretations of ancient authentic music are followed and the basic principles and concepts of this are explained directly. There are no specific universal musical solutions, so it is necessary to note that for each specific era, instrument, composition, it is due to its own individual approach, inspired by historical wisdom. These trends, in our opinion, find a full-scale embodiment in the professional discussions that take place, as well as in the pages of the “Early Music” magazine.