REPRODUCTION OF ANCIENT INSTRUMENTATION IN MODERN MUSICAL PERFORMANCE PRACTICE

Abstract

The article examines and analyzes the possibilities of ancient instruments, their ‘reproduction’ and their use in modern practice. The main subtleties and methods of approach of modern performers to ancient instruments are outlined, with the selection of oppositions in musical and performing practice. Studying the peculiarities of performing early music makes a lot of sense for all musicians without exception. The systematization of different views provides an opportunity to improve theoretical positions regarding the importance of taking into account the context of the era and the specifics of the development of instrumentation and performance. Thanks to this, you can get a full picture of the music of ancient times, and this alone develops a musician's good taste and sense of style, aesthetics of a certain era. It has been proven that historically-oriented performance has a tendency of constant reconstruction in modern musical art. Regarding ‘authenticism’, it is emphasized that the phenomenon of ‘reconstruction’ is primarily related to the reproduction of the musical instruments themselves, it requires absolute historical authenticity, as well as various methods of performance depending on it. Reproduction of the culture and traditions of the past has a direct impact on modern culture, not only the performing one, but also the listening one. The question of studying ancient music is relevant even today, therefore, modern researchers continue to study the works of their predecessors and provide their awareness of the performance principles of authenticity (instrumentation, acoustics, dynamics). A comparison of the performance interpretations of the luminaries of the authentic movement reveals a lot of unusual, interesting solutions, interpretations of the individual performance style, different approaches to mascara, phrasing, touches, and decorations. The global significance of the role functions of the instruments and the transformation of the acoustic and timbre-dynamic characteristics that arise during the restoration of the music of the Baroque era and that is necessary for the correct interpretation of the work are determined. Studying and analyzing the features of playing on ancient instruments, we reproduce the system of musical perception from the point of view not only of ancient music, but also of modern music, which is a perspective for further study and in-depth research.