About the Specificity of Organizing the Solo Violin Musical Text in the Western European Baroque Style (By the Example of J. S. Bach’s Partita No. 1 in B Minor for Solo Violin)
Abstract
Different epochs develop different forms of music-making on the basis of transcription of
“one’s own” and “somebody else’s” musical text. During the Baroque era transcripts were endowed
with a universal meaning, since they reflected the genetic connection between the practices of
composition and performance. By observing violin works and their arrangements in doubles, it
is possible to follow the violin’s participation in the oral forms of ensemble and solo intonating,
since the specific features of organization of solo thematicism carries on it the seal of a single
practice of instrumental music-making. A comparative analysis of the dances and the doubles
of J.S. Bach’s Partita No.1, unified by their musical material, accentuates attention on universal
and specific principles of their notographic fixation, as well as on the processes of the migration
and adaptation of intonational lexis. The mobile authorial musical text (the urtext) presents an
authentic source. It is open for transformations and adaptations to any instrumental ensembles,
genres and types of music-making. In this connection the semantic multilayer qualities of the
solo violin musical text, revealing its genetic connection with baroque ensemble music, is seen
as a legitimate phenomenon.
Keywords: violin urtext of the Baroque period, baroque practice of music-making, thematicism,
transcriptions, J. S. Bach, partitas for solo violin.
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