PECULIARITIES OF INTERPRETATION OF THE PRELUDE AND FUGUE D-MOLL NO. 6 FROM WTC (VOLUME 1) BY J.S. BACH

Abstract

The performance of polyphonic works on the bayan-accordion is a problem that is currently quite relevant and at the same time controversial, given the different approaches to the introduction of works by the baroque repository. It is worth noting that the academic bayan-accordion is a relatively young instrument. They have no original literature accumulated over centuries, including their own classics (works of the seventeenth and nineteenth centuries). In this regard, the question arises as to how appropriate to the era will be the sound of Bach’s polyphonic works, composed mainly for the keyboard (clavichord, organ, cello) in other key conditions. In pedagogical work, the problem of revealing the meaning of J.S. Bach’s music is particularly important. With regard to the preludes and fugues of the Well-Tempered Clavier, a great deal of pedagogical experience has been gained. There are established performing traditions, and the inner essence of this music is sometimes hidden from performers. The purpose of the article is to find out the problems and peculiarities of the interpretation of the Prelude and Fugue d-moll No. 6 from Volume 1 of J.S. Bach’s «Well-Tempered Clavier» in bayan-accordion performance. The methodology of the work is based on the use of such methods as: balancing, creative and activity, comparative, systematic analysis of literary sources, historical and cultural, abstracting, synthesis, chronological and typological. The scientific novelty is to outline the dominant trends in the discourse of artistic and aesthetic orientations of contemporary accordion performance. To investigate which performing expressive means and forms should be used by accordionists in order to convey the figurative and semantic content when performing the Prelude and Fugue in D-moll No. 6 from the Well-Tempered Clavier (Volume 1) by J.S. Bach. Also, to outline the characteristic features of interpretations of the Prelude and Fugue in accordion performance. Conclusions. Thus, it should be noted that, on the example of the analysis of the accordion and bayan interludes of the Prelude and Fugue in D-moll from the first volume, DTK identified the most relevant indicators of the general stylistic trends of the baroque epic and competitive tone. Thus, it should be noted that modern accordion performance reaches a progressive level of harmonisation, synthesis, and organic harmony of the previous innovative models introduced by pianists. The various performances represent a legitimate step in the unbroken quest to interpret the music of J.S. Bach.