Performer’s interpretation in the context of intonation and speech regulations
In modern musical culture there are changes in communication processes – the wide availability of performance recordings of various historical periods. Their comparative analysis reveals a peculiar “obsolescence” of interpretations, stimulating the observation of their historical metamorphoses. This allows us to formulate mechanisms of the performing styles generation, the dependence of performance models on speech regulations of the time and in national forms.
In connection with the historical localization of the performer’s interpretation of music, the article touches upon the issue of editions evaluation, their reflection of speech intonation forms of the time, and often unrecognized “anachronism”. Discussions on the online forums about A. Scriabin’s performance of his compositions and the choice of urtext’s by I. S. Bach in comparison with the editions of F. Busoni and B. Mugellini are considered as an argumentation.
The local characteristics of historical “intonational dialects” are proposed to be studied using speech models in cinematography. This is demonstrated by the example of the pre-revolutionary manner of “pronouncing” by A. Vertinsky in the role of Prince in the film of A. Annensky “Anna on the Neck”, 1954. An example of the “obsolescence” of such intonation is the sincere interpretation of Vertinsky’s songs by modern bard M. Krivosheev. S. Yesenin’s expressive recitation of his verses is also compared with the reverent and sincere character of S. Bezrukov’s manner in the film about the poet (director I. Zaitsev, 2005).
The variability of performer’s styles is addressed in the pedagogical aspect of the problem because of the students use of numerous records of studied works. The question about the need for a systematic exploration of performing styles as well as the creation of accessible sound anthology is raised. Author also proposes to use instrumental transcriptions of romances to study the influence of vocal intonation captured by the composer and to assimilate the distinction of performer’s versions of vocal works as “intonation of intonations” in a practical exercise – a recitative imitation of singing versions, including in different languages.
interpretation, performing style, speech intonation, rules of speech behavior, editions of musical text.
Taraeva G. Performer’s interpretation in the context of intonation and speech regulations // South-Russian musical anthology. 2020. No 2. Pp. 128–135.