Скрипковий переклад у музиці ХХ століття в контексті естетики "стильової гри" (на прикладі Фріца Крейслера)
Violin Transcriptions in the Music of the 20th Century in the Context of Aesthetics of "Stylish Game" (on the Example of Fritz Kreisler)

Summary/Abstract: Principles of any genre in music are formed and evolved not only after internal musical and even not only after spiritually-cultural laws, but also they considerably represent the evolutional process of general civilization space. On all levels and in all measuring the creative thinking of composers resonates on calls of certain time and transforms it in specific principles of musical expressiveness, without regard to that, as far as the "high" or "low" stage is occupied by a selected structure and dramaturgy in the "table of ranks" of musical genres. These introductory reasoning are directly designed on formulation of the primary purpose of the given article: to show, as violin transcriptions and translations reflect a world view, ontological and gnoseological processes in globalizing society of modernity. Bright representative of such innovative thinking in the genre of translation is considered one of the leading performers of violin art of the first half of the 20th century, Austrian violinist and composer Fritz Kreisler. Famous works by Fritz Kreisler are the example of his original approach to the "idea of genre", to the orientation of translations on a modern to him audience and its estimation in society. They can be interpreted as "quasi transcriptions", that being the original creation of author, written "in the spirit" of baroque masterly music, during more than 20 years were given out as working of the manuscripts of old masters found in the libraries of Italy. This original mystification of famous violinist and composer opened up only due to his self-exposure. Unexpectedly in 1935 Fritz Kreisler confessed, that published by him pieces for a violin and piano "Classic manuscripts" (1905–1910), given out as treatments of works by Couperin, Francœur, Pugnani, Boccherini and other composers of 17th−18th centuries, were in actual fact his own compositions. On the whole Fritz Kreisler wrote 55 original works and over 80 transcriptions and treatments of different concerts and pieces, however it is needed specially to underline that between these opposite after the creative setting spheres, there is not a cardinal difference in the inheritance of Fritz Kreisler. Sometimes his treatments demonstrate native modification of the original and they can be considered as an authorial opus. Examining transcriptions and translations by Fritz Kreisler as one of the brightest models of transformation of the genre in the first half of the 20th century it is needed to pay attention that they represented characteristic tendencies on a background of aesthetic and stylish tendencies of his time. From one side, Fritz Kreisler appropriately is considered an heir of romantic traditions and an expressive post-romantic performer, from other side – he is a representative of the modern thinking and spiritual priorities after World War I. Piety to old music, returning of many forgotten names of composers of 17th−18th centuries (first of all А. Vіvаldі) in active concerto turnover in a certain measure compensated experimentally and impermeability of modern academic opuses to his time. Another very important function that is executed exactly by the genre of translation in music of the 20th century and that Fritz Kreisler genial felt and passed both in his performing practice and in the work, − is playing. The category of game understands here in modern sense, when the special conditional situation – rules of game is created – that is accepted by both sides, at that there is one side, performer, offers its and presents, and other, listeners, that perceive it and decrypt its images and content. This thesis is confirmed not only by an example of numerous famous transcriptions of music of the past, but exactly with Fritz Kreisler’s mystifications. The musical and stylistic level of realization of playing structure removes the display of principles of playing in concrete facilities of artistic expression and receptions. This is the most evident, and the most characteristic level of display of playing principles in music of various styles and directions. In the light of this problem we are inclined to the conception of playing in music by V. Кlymenko. She examines three basic levels of embodiments of playing in music, and we consider that Fritz Kreisler very inventively used each of the indicated levels and brought in it his creative and emotional tint. Into first place a researcher puts the "Playing structure of "competition" (what − N.P.) characterizes the type of game that arises up within the framework of the archaic thinking, in ancient rituals, ceremonies, sport. Even its name specifies on main functional principle − competition. For Fritz Kreisler this playing structure comes forward as primary in all his performing and composer’s activity. His idea of the concerto provides for above all things contentionness in its different measuring, and a necessity to attain the greatest stage in this specific creative process comes forward as a main incentive impulse of all complex of the artistic performing of this prominent violinist.

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