Performance specificity of J. Etvosh guitar transcription of «Goldberg Variations» by J. S. Bach.
Interest to Bach creativity that is inherent to the XXth century actualized ap-pearance of the performing a large number of interpretations and the creation of various sets and transcriptions for various instruments including guitar. Modern guitar has reached the status of «Instrument Orchestra» (according to the terminol-ogy of L. Brauer) with great possibilities. One of these possibilities relates to the performing of complex and large works on this instrument, which is, for example, the cycle of the «Goldberg Variations», and J. S. Bach for a two-manual harpsi-chord. In 1997 its transcription for the guitar was made by a Hungarian guitarist, composer and teacher J. Etvosh. Analysis of recent publications. «Golberg-variations» is the object of re-search of many scientific sources as monographic type (A. Schweitzer), and those relating to the composition and performing features of the cycle (O. Velikovskii, B. Katz, W. Breig). The authors analyze style principles (in the context of the late style of Velikhovskii research), temporal features (this is the longest cycle, that was published in the Baroque period), semantic filling of the variations, etc. The sub-ject of the article involves the sources of the problems of early music performance (I. Prihodko article referred to the conditions of existence of the works both at the time of creation and performing, which must make an impact on interpretation), guitar features in derivative genres (O. Žerzdêv, R. Meleshko). Special attention was given to the analysis of the set bases for guitar done by J. Etvosh (József Eöt-vös), defined by him in the preface to the disk and in the monograph essay. The purposeof the article is a comparative analysis of the original of this work and its guitar version taking into account the acoustic and technical specifics of the instrument. The methodologyis based on the principles of comparative analysis. O. Velikovskii points to the following features of the structure of this work: the ostinato priority (it is in the bass theme and form the basis of Aria and all thirty variations; ostìnato is a harmonious frame and variations structure); the unique character of the cycle thematic basis is in the theme duration unusual for the Baroque period (32 bars); expanded harmony terms of themes (presence of three spheres – tonics, dominants and tonics Parallels (G-dur – D-dur – e-moll – G-dur), each of them corresponds to eight bars). In the process of development you may find items of a particular genre in each of the variations, such as Aria, variation 13 and 25 written in the manner of by ornamentated sarabanda, varia-tion # 16 is a French Overture, variation 10 is fughetta, variation 4 is passepied, Variation 1 and 12 are polonaises, variation 2 is trio sonata, etc. Such comparison of different dance types allows you to make a conclusion about the existence of variation suite features in the cycle. It is important that all thirty variations are combined into ten groups (three in each) with invariable sequence in each group: suite dance – Toccata – Canon, strictly subordinated in their duty by the composer, and belonging of a variation to the group is determined by the characteristic features dominancy (strict imitation or similarity with suite dance) and wider that means the three important styles of instrumental Baroque music (suite-dance, masterly-tokata, the polyphonic one.) The article offered an analysis of the guitar transcription performed by J. Et-vosh. On the basis of R. Meleshko fundamentals of guitar transcriptions (close location, texture record features, inversion chords, octave reduction, etc.) the most fundamental changes to J. Etvosh selected version were identified. They are relat-ed to chest and tesitura features of the instrument (voice change on an octave up or down, voice disposition and current), change of the picking, the lack of glow-ing notes (it happens through the articulation features of plucking instruments); change of rhythmic patterns in the direction of simplification, which is most often achieved by replacing some of the small (and large) length for pauses; weakening of polyphonic composition. In addition, there are substantial differences between the original and guitar version of the song and mainly of visual plan: fragments, as dialogues between the right and left hands of harpsichord player, is fused into one-piece passage in the guitar party, and as a result, dialogicity predicted by Bach is weakened; for the convenience of «variations» performing and preserving the tonal plan of the original Etvosh changes the setting of the guitar on the «re»). Some fundamental basics of guitar record are outlined. So J. Etvosh thinks that the points where the Leagues are put on, may be treated as more linked, i.e., the unity of fragmentation is highlighted. In those cases where the author of the transcription for guitar faces a repetition of notes in the original version, it should be noted that these notes should be separated from each other using articulated pause on the guitar. In this sense the variation 13 is very showing (small ornamentation is saved cautiously as much as possible in comparison with the original version, but arranger had to refuse the use of legato picking. Conclusions. The presented analysis has allowed to demonstrate the experi-ence in transcription of the keyboard instrument on guitar and find out how these problems are solved by the arranger. Etvosh guitar transcription is characterized by a distinct themes accuracy of interaction with the original. Allowed changes are still minor and this is due exclusively to the individual characteristics and proper-ties of the instrument. The prospect of further study of the topicis performance analysis of other sets for guitar for not only clavier music, but also the piano music («Hungarian Rhapsody» No. 2, F. Liszt, «Pictures at an exhibition» M. Mussorgsky), symphon-ic (Symphony No. 9 A. Dvořák).