Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)
Background. In recent years, there has been an undiminished interest of scientists to the problem of transcription. In particular, a number of dissertation research is devoted to this question (M. Borisenko, B. Borodin, N. Ivanchej, M. Parshin, T. Smirnova). However, the editing of violin music for four-string domra in terms of the interpretation of the author’s first text did not become the subject of a special study. It should be noted the identity of the building violin and four-string domra. The violin and domra have unique sound images, which also determines the specificity of the artistic translation, its meaning and result. Objectives. The purpose of the study is to comprehend the phenomenon of editing violin works for four-string domra as an artistic interpretation of the author’s first text (in connection with the sound creation will of the performer). Methods. In connection with the communicative specifics of the violin music editions for the four-stringed domra, the methodological basis of the proposed research was the concept of J. Lotman, according to which the interpretation of the text is possible thanks to the translation mechanism. In accordance with the specifics of the musicians artistic practice, the methodological basis of the study was the concept of K. A. Martinsen about the sound-making will of the performer, which also manifests itself in the creation of editions of violin works for four‑string domra and then their performing interpretation. The proposed article is devoted to the specifics of the manifestation of the sound-making will in the process of translating into the language of another instrument (from the violin original to the timbrearticulation re-toning of a domrist). Results. K. A. Martinsen holds the idea that the pianists technique must be inextricably linked with his artistic ideals, that is, the sound-making will. In the case of revisions of the repertoire of the violin for four-string domra, one can also speak about the sound-making will, which manifests itself not only in the artistic concept of interpreting the first text, but also the will to timbre, which is connected with the work on sound quality and its coloring. The strong-willed start is clearly manifested when timbre-articulation re-intoning in the editorial offices of violin music for four-string domra. The will to intonate a musical text is associated with the timbre-articulation features of the instruments. In connection with the interpretation of the musical text, intonation is relevant (concept by T. Verkina), that is, generated by the individual interpretation of the performer, the study of the composers text and he understanding of the sound images of the work. The sound will manifests itself through the sound extraction and sound science, which are inextricably linked with the specifics of articulation. In connection with the acoustic characteristics, the difference in the articulation apparatus is different, the timbre color of the sound of each of the instruments – the violin and the domra – is different. Hence the difference in the volitional regulation of intonation – the performing will to sound, timbre, sound, continual deployment of musical thought. The color of the work that acquires a new timbre-articulatory interpretation also changes. Due to the specifics of the domra sounding, a priori intermittent discrete sound is inherent, however, a separate sound due to the will of the performing musician to sound science is extended into the sounding continual melody. There is no doubt that domra is a singing instrument. The piano is a keyboard- stringed percussion instrument, which in the hands of the pianist-musician also becomes melodious. The predecessors of the piano – the harpsichord, the clavichord – the sound could be extended with the help of a trill. Performers on domra this task achieve with the help tremolo as one of the most common methods of playing the instrument. Tremolo on domra can be likened to treble vibrato. For the dombrist, the will to sound is consistent with the desire to extend each individual sound extracted by a pinch, and to include it in the melodic line. A violinist connects sounds with the help of a bow, in connection with which his instrument differs from a domra in articulation, a way of sound and sound. The nature of the violin contributes to greater continuity of intonation, while the domrist achieves a similar result, contrary to the nature of the instrument. When creating editions of violin works for four-string domra, one should speak about the memory of the first text (the violin original and its performance versions). After all, for the creator and performer of the editors of violin compositions for four-string domra, the first text acts as a source of sound images, ideas about the specifics of its timbre field and articulation, artistic expressiveness of strokes, which determines the specifics of communicative processes in this form of artistic practice. At the same time, the translation of the text is required, which requires the domrist-interpreter to connect editorial thinking and sound creation will. Conclusions. So, addressing the classics of the violin repertoire, the dîmrists are guided by the violin original in its graphic and sound projections. The domrists sound-making will is initiated by the desire to re-enter the original violin version, which is inextricably linked with the instruments nature – the conditions of sound formation, the specifics of its timbre and articulation, and the performing intonation. The main provisions of the publication can be used for further study of the revisions of violin works for four-string domra as an artistic phenomenon in the relationship of the three components: the text of the work – the nature of the instrument – the performer’s interpretation.