The research deal with the problems of music editing in the field of violin art. The purpose of the research is to identify and substantiate the criteria for generating editions of violin concertos of the Romantic era in the context of creative and performing practice of the XIX‒XXI centuries. The object of study is the editorial activity of the XVIII‒XX centuries in the field of violin concertos as an integral part of the creative and performing process. The subject of study is to determine the criteria for generating editions of violin concertos in the creative practice of the XIX‒XXI centuries.
The scientific novelty of the results obtained is: attention is drawn to the editions of violin concertos of the XIX century; systemic analysis of the concepts of «violin» and «non-violin» and the criteria for generating editorial versions of violin concertos of the Romantic era are proposed; a systematic analysis of the editorial versions of the Violin Concertos with orchestra by G. B. Viotti, L. van Beethoven, N. Paganini, E. Lalo, P. Tchaikovsky, J. Brahms.
In Section 1 ‒ «Editions of Violin Concertos as a Phenomenon of Creative and Performing Practice: Scientific Dimension» ‒ the genesis and further dynamics of the development of the editing process and editing as a form in the genre of violin concerto are studied: the systematised idea of editing in scientific research of the second half of the XX and early XXI centuries (1.1); the reasons for the emergence and development of editing in historical dynamics is reviewed (1.2); mechanisms of influence of the editorial style on the author’s text (1.3); the factors of development of the performance style in the conditions of the concert genre of the XVIII‒XIX centuries are determined (1.4).
Evolution of performing tradition to distinguish the categories of «violin» and «non-violin», which acquire the status of universal and contribute to the identification of stable (in the sense of traditional, established, and retained) and mobile (modified) elements which stimulate emerge of editions of violin concertos, acting as generating criteria.
In Section 2 ‒ «The composer’s text and its editorial reading in the aspect of interaction between “violin” and “non-violin”» ‒ the analysis of violin concertos by J.-B. Viotti, L. van Beethoven (2.1.), N. Paganini (2.2.), J. Brahms, «Spanish Symphony» by E. Lalo (2.3.) through the dialectic of the relations between «violin» and «non-violin». The composer’s originals of violin concertos are compared with their written editions (second half of the XIX and first third of the XX centuries). The author proposes a conditional differentiation of editorial approaches into authentic, traditional and innovative ones according to their textual adjustments.
The evolution of the concert genre in the last third of the XIX century (2.3) contributed to the emergence of a new format of relations between the soloist and the author. The priority of dramatic intent over virtuosity became dominant in the compositional process, and the subordination of the soloist to certain semantic definitions and transformation of the performance approach expanded the boundaries of performance possibilities.
In Section 3 ‒ «Editing as the basis of the interpretive process (on the example of L. van Beethoven’s Violin Concerto, D-dur, op. 61)» ‒ was considered the video versions of L. van Beethoven’s artwork by violinists of the second half of the XX century (D. Oistrakh (3.1), O. Krysa, A.-S. Mutter (3.2)) and violinists of the XXI century (D. Grimal, I. Muravyov, V. Sokolov (3.3)). Their comparison with the graphically recorded versions of the work makes it possible to differentiate performance interpretations by academic or innovative, which determined by the equivalence of both approaches. The comparison of the editorial graphic clarifications with what is realised by musicians visually and acoustically is more indicative of the eclecticism of the performing style.
The Conclusions summarise the results of study. Generalization of the principles of creative work of musicians-editors with the composer’s primary source (in order to overcome the «non-violin») and their relationship with the system of modern generation methods allowed us to highlight the prevalence of the following: the method substitution; the method of combining; the method of adaptation; the method of modification.
The prospects of this study are dictated by the systematic nature of the musical artwork revision as a phenomenon that is one of the forms of communication on the way to the visual and acoustic realisation of the author’s idea of a musical artwork.
Key words: genre, composer, musical language, articulation, interpretation, creativity, musical work, violin, violin art, violin performance, orchestral style, implementation of a compositional and dramaturgical idea, timbre, music, editing, romanticism, instrumental art.
