ЕСТЕТИКА ПЕРЕКЛАДАННЯ БАРОКОВОЇ МУЗИКИ НА ГІТАРУ (НА ПРИКЛАДІ СОНАТИ ДЛЯ ФЛЕЙТИ ТА BASSO CONTINUO Й. С. БАХА, BWV 1034)

Abstract

The article examines the aesthetics of transposing of Baroque music for guitar, using the example of J. S. Bach's Sonata for Flute and Basso Continuo, BWV 1034, by the renowned contemporary guitarist D. Russell. What is relevant in enriching the repertoire and developing guitar music art in the 21st century. Due to the academization of the guitar thanks to the creative efforts of A. Segovia in the 20th century, namely: the expansion of the guitar repertoire with works by contemporary composers; the transposition of Renaissance, Baroque, and Classical music; the opening of guitar classes in conservatories and music schools around the world; and bringing the sound of the guitar to philharmonic audiences.This was based on the establishment of classical guitar music from the Biedermeier and Romantic periods of the 19th century, through the work of European composer-guitarists: Italians – F. Carulli, M. Giuliani, M. Carcassi, N. Paganini; Spaniards – F. Sor, F. Tárrega; Austrians – A. Diabelli, J. Mertz, Frenchman N. Costa and others. The research method is based on analytical, historical-descriptive, hermeneutic, musical-textual, stylistic-comparative, interpretative, and intonational methods. The scientific novelty lies in the fact that for the first time, the transposition of J. S. Bach's flute music to the classical guitar is considered in the context of identifying certain issues: the transposing content of the flute solo and the change in the bass line, which is based on the improvisational nature of the Baroque basso continuo. The aim of the study is to reveal the universality of the classical academic guitar, which historically has its origins in the stringed and lute instruments of the Renaissance, in creating textural integrity in the arrangement, through the combination of solo and accompanying voices. And adapt the composer’s musical idea by preserving the original musical material as much as possible (dramaturgy, emotional and dynamic intensity) without confronting the capabilities of the instrument, analyzing the original Baroque work.