INTERPRETATIVE DOMINANTS OF CELLO SOLO SUITE AS A GENRE
UDC index:
78
DOI: 10.31773/2078-1768-2019-47-105-114.
Article ID in the RSCI:
Article file: Download
Information about authors: Sannikova Natalya Vladimirovna, PhD in Art History, Associate Professor of Music Theory Department, Acting Vice Rector of Creative Activities, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: sanaro@list.ru Eremenko Viktor Olegovich, Cello Orchestra Performer of Novosibirsk Philharmonic Orchestra of Novosibirsk State Philharmonic (Novosibirsk, Russian Federation). E-mail: vick.eremenko@gmail.com
Annotation: The article focuses on a performer’s interpretations of works by J.S. Bach, M. Reger and B. Britten written in a solo cello suite genre. This choice of works is influenced by their representativeness in many aspects, such as: a genre aspect, a style aspect, a semantic aspect, and as ones containing many linkages between this three composers’ solo cello suites. The goal of this work is to find out the interpretation ways to perform the cello suites that can enlighten the connection between traditions and our times in J.S. Bach, M. Reger and B. Britten’s musical works. Reviewed cello suites demonstrate many different ways to construe the genre from the baroque-classical model to the late-romantic one. Every composer solves the problems of solo suite organization, its dramaturgy and technical qualities in his unique way. However, suites of the 20th century can hardly be recognized as a new ground in development of solo cello suite genre. It’s more like a new round. Because the solo cello suites of the 20th century are holding fast to the genre prototype embodied in J.S. Bach’s works, performer’s interpretations of modern suites do not actualize any radically avant-garde or just composed techniques; it is more important to rethink experience of baroque and classical composers. M. Reger and B. Britten demonstrate roots in Bach’s traditions, so modern cellists in their interpretations have to demonstrate their understanding the beginnings of these composers’ music and to work towards presenting the balance between traditions and innovations properly and in a stylistically correct way.
Keywords: interpretation, Bach, Reger, Britten, cello suite, suite as a genre, techniques.
DOI: 10.31773/2078-1768-2019-47-105-114.
Article ID in the RSCI:
Article file: Download
Information about authors: Sannikova Natalya Vladimirovna, PhD in Art History, Associate Professor of Music Theory Department, Acting Vice Rector of Creative Activities, Novosibirsk State Glinka Conservatoire (Novosibirsk, Russian Federation). E-mail: sanaro@list.ru Eremenko Viktor Olegovich, Cello Orchestra Performer of Novosibirsk Philharmonic Orchestra of Novosibirsk State Philharmonic (Novosibirsk, Russian Federation). E-mail: vick.eremenko@gmail.com
Annotation: The article focuses on a performer’s interpretations of works by J.S. Bach, M. Reger and B. Britten written in a solo cello suite genre. This choice of works is influenced by their representativeness in many aspects, such as: a genre aspect, a style aspect, a semantic aspect, and as ones containing many linkages between this three composers’ solo cello suites. The goal of this work is to find out the interpretation ways to perform the cello suites that can enlighten the connection between traditions and our times in J.S. Bach, M. Reger and B. Britten’s musical works. Reviewed cello suites demonstrate many different ways to construe the genre from the baroque-classical model to the late-romantic one. Every composer solves the problems of solo suite organization, its dramaturgy and technical qualities in his unique way. However, suites of the 20th century can hardly be recognized as a new ground in development of solo cello suite genre. It’s more like a new round. Because the solo cello suites of the 20th century are holding fast to the genre prototype embodied in J.S. Bach’s works, performer’s interpretations of modern suites do not actualize any radically avant-garde or just composed techniques; it is more important to rethink experience of baroque and classical composers. M. Reger and B. Britten demonstrate roots in Bach’s traditions, so modern cellists in their interpretations have to demonstrate their understanding the beginnings of these composers’ music and to work towards presenting the balance between traditions and innovations properly and in a stylistically correct way.
Keywords: interpretation, Bach, Reger, Britten, cello suite, suite as a genre, techniques.
