GENRE-STYLE DIRECTION OF PIANO ROMANTIC PIECES TRANSLATIONS IN THE ACCORDIONIST’S CREATIVE-PERFORMING ACTIVITIES

Abstract

This article examines the peculiarities of genre-style translations of piano pieces for accordion. The purpose of the paper is to reveal the practical value of translations of romantic piano pieces in the creative and performing activities of an accordionist. Interest in the work of romantic composers, which is constantly supported by the pianists’ performance during the reproduction of piano works by composers of various national composition schools, written in various genres of this stylistic direction, extends to performing activities and enriching the concert and educational repertoire for other musical instruments, for example, the accordion. The research methodology in the application of a systematic approach to the creation of the performing repertoire of musicians, which determines its professional value. The genre-style approach and method of creative rethinking allow talented accordionists demonstrate their creative achievements. Scientific novelty is in use interesting, deeply sensual and emotional diverse piano music of the romantic style to create their own unique interpretations for their instrument, the accordion. For the first time it is emphasized that there are not only examples of translations, transcriptions, arrangements, etc., but also theoretical explanations of their artistic and aesthetic value as well as methodological and technological expediency, the possibilities of their application in the educational work of accordionists. The article emphasizes on practical value of translations of romantic piano pieces in the context of their genre-stylistic features in the accordionist’s creative-performing activities. An understanding of the essence of the concept of “creativeperforming activity” was presented as a result of the composer-performer dialogue during the disclosure of the author’s genre-style setting to the intonation-auditory perception of original piano pieces in the process of personified provision of one’s own co-author phenomenon recorded in the musical text of the translation of piano pieces with their subsequent public author’s performance on the accordion.