THE TRANSLATIONS OF BUTTON ACCORDION COMPOSITIONS TO PIANO ACCORDION: "CONCERT" FOR THE BUTTON ACCORDION WITH ORCHESTRA BY YAROSLAV OLEKSIV

Abstract

The article deals with one of the important issues of modern accordion art: the development of the genre of translation. Over the past decade, the arsenal of original compositions for the button accordion has considerably expanded, but a significant place among the performing repertoire occupy the genre of translation of compositions from the repertoire of other instruments, ensembles or orchestras for the button accordion. Translations and other variety of the genre – adaptation, arrangement, paraphrases, fantasies, variations open a new vision of compositions. The previous scientific searches of the button accordion theorists focused mainly on transpositions from piano and partly from organ pieces – Mykola Davydov, "Theoretical basics of translation for the button accordion", Friedrich Lips "About transcriptions and transpositions", Myhailo Oberyuhtin "Performing on the button accordion of organ pieces J. S. Bach». The question of the translation of button accordion compositions for the piano accordion to this time did not become the subject of musicology research. The comprehensive analysis of translations and executive-methodical recommendations become the basis for a deep understanding of the principles of the text transformation from the button accordion compositions in the expressive conditions of the piano accordion, and therefore the quality of the performance of the composition itself. After analyzing the translation of an one-part "Concert" for the button accordion with orchestra c-moll of Yaroslav Oleksiv for the piano accordion with orchestra, we select the basic parameters of this variety of genre. As the main difference between instruments is in the construction of the right keyboard, the biggest transformations during the translation is the texture of the composition, which is organically redistributed between two keyboards. Adapting the button accordion musical text within the piano accordion keyboard provides the following texture solutions: "rejecting" a duplicate note; the most common principle is the combination of the timbre register and the transfer of music material to another range of sound; simplification of the rhythmic pattern on normative constructions, the transfer of several notes from quick figures to the part of the left hand on a selective system; using of non-standard fingering techniques. Considering the translation of the button accordion composition for the piano accordion we will note the peculiarity of this genre, due to the similarity of instruments and their differences. Taking into account the urgency of this type of translation, which is based on the prevalence of button accordion compositions (and the translation for the button accordion) in the educational and concert repertoire of accordionists, the possession of the basic principles for the transformation of the accordion compositions is necessary for a professional performer-accordionist. The research may serve in further analysis of the principles of the translation from button accordion compositions and for creation one.