The features of timbre and texture transformation of "Sonata for Oboe and Basso continuo g-moll» by G. F. Teleman in setting for bandura and piano (in five parts).
Attention is focused on the fact that performance of past centuries music using modern instruments has become quite popular and fashionable nowadays. Problem of different works arrangements for other instrumental compositions is very important at the modern stage of active development of performing professionalism exactly because of this. Moreover, the performance of such kind of music helps to replenish the repertoire of many different instruments, ensembles and orchestras. It is underlined that bandura is a member of academic instruments family, and complex polyphonic and homophonic-harmonic texture of the Baroque period acquires new quality and it is substantially enriched in bandura interpretation. The question that repertoire replenishing is the actual problem of bandura art is also raised. Many researches were interested in arrangement and compositions performance of different genres and their usage in educational process. For example, works of I. Dmytruk [5]; M. Davydov [2]; D. Pshenychnyi [13]; B. Dutchak [8]; B. Deinega [4]; S. Ovcharova [11; 12]; N. Khmel’ [15; 14]. The relevance of this article is determined by the need of scientific understanding of bandura art modern realities in which the Baroque compositions are an integral part of the bandura’s concert repertoire. The aim of research — theoretical foundation and practical approbation of bandura repertoire enrichment possibilities by Baroque compositions. The object of research — comparing the performing trends of the Baroque period and modernity. Subject of study — "Sonata for oboe and Basso continuo g-moll» by G. F. Teleman in arrangement for bandura and piano by M. S. Berezutska (in five parts). It is emphasized that bandura interpretation of past centuries compositions, written for different instruments, is possible only through their transformation. Therefore the concepts of setting and transcription, which are related to processing of musical material are considered in the article. Setting is the most often used concept in composition timbre-textured transformation. Setting is recital or processing of musical material for its interpretation by other musicians (voices) or instruments; performance of complicated score on other instrument (for example, the piano); organ compositions for the piano; another sound of transposing instruments concerning their musical notation. Setting provides for different methods of composition presentation but without changing the main components of musical language. Transformation of musical composition where the author’s text is interpreted with a certain freedom is called transcription. Analysis of this concept is given below. I. Dmytruk says, “Transcription (from the latin. transcriptio — rewriting) is a kind of arrangement genre that is determined with more independent creativity and free adaptation of a musical composition, it means update of original and creative improvisation.” The concept of transcription is complemented by S. Ovcharova, this term "involves expanding and enriching of the means of musical language: saturation of texture, modal and harmonic variation, structural rethinking of the composition". The term of the musical language was introduced by F. Liszt who wrote about 500 virtuoso transcriptions for piano. The interpretation of studied term can differ in some sources. We find the comparison of transcription with setting, arrangements, paraphrases, fantasy etc. Analyzing the terms of arrangement and transcription, we suggest to consider the concept of conversion that was not previously used in the music and also corresponded to the transformational process of the musical composition. «Conversion (from lat. conversion — appeal, convert, modify, translate), in a general sense — transformation of something from one state to another. The term has different specific values depending on the area where used. We propose to use the concept of conversion in musical terminology, that let us interpret it as a way of renewal, transformation, processing, changes of timbre characteristics and technological features of musical material while its transformation from one epoch to another. Musical and performing analysis of "Sonata for oboe and Basso continuo g-moll» by G. F. Teleman arranged for bandura and piano by M. S. Berezutska (in five parts) is proposed as an example of transformation of Baroque music to modern instrument – bandura. The author also considers the transformation specifics of oboe party for bandura. Short biographical information of transcription author is provided. Sonata g-moll is a classical form of ancient sonatas, in this case — five parts.There is specific G. F. Teleman fusion of genres in this sonata — sonata and suite as parts similar to dance (minuet, siciliana, gavotte ...) penetrates with his works. Parts Rate Size Genre Form I Largo 12/8 sytsiliana old two-part II Presto 4/4 gavotte complex three-part III Tempo giusto 3/8 minuet simple two-part IV Andante 4/4 allemande simple two-part V Allegro ? gigue old two-partThe cycle of five parts is combined by thematic connection means, tonal plan (g-moll > g-moll > G-dur > B-dur > g-moll). It is notable for architectonics variation and modulation plan within the parts, wide development of intermedio — figuration side, sequence development, simulation enrichment. Dramatic cyclicity concept is based on contrast comparison of parts in slow and fast tempos, dynamic and dashed indicators, alternating of iambic and choreic melody performance, metro-rhythmic features that cause contrasting image-content characteristics of cycle parts. Therefore, based on premises and experience of a lot of musicians we can say that the terms of arrangement and transcription are both different and the most traversing meanings in the music art. Timbre-textured transformation features of "Sonata for Oboe and Basso continuo g-moll» by G. F. Teleman in setting for bandura and piano by M. S. Berezutska (in five parts) afford opportunity to conclude that interpretation of different styles and epochs, genres and forms compositions on the modern modified instrument, bandura, is possible. Moreover, the Baroque compositions not only enrich the bandura’s repertoire and make it diverse, but introduce performers and the audience with its intonation, themes, harmony, dramaturgic filling, principles of development, genre features.