THE MUSIC FOR WIND INSTRUMENTS SOLO AT THE EPOCH OF CLASSICISM (for example Sonata a-moll for flute solo by K.F.E. Bach)

Abstract

The purpose of this scientific article is revealing of the most characteristic lineaments for scenically single performing on the wind academic instruments at the music of classicism’s epoch (the period from the middle of the 18th – before the beginning of the 19th centuries). The musically performing analysis of the Sonata a-moll for flute solo by K.F.E. Bach is also target of this paper. Consequently, the results of analysis are going to make an opportunity for disclosing of particular features from the music for wind instruments solo of the classicism’s epoch. Methodology of the scientific investigation of music for wind instruments solo is based on the comparative method, which has the manifestation into correlation between wind compositions solo with orchestral accompaniment and wind instrument masterpieces solo without anyensem bleescort. Thereis historical method, by means of whichtheauthorabidescertainchronologicalframeworks for studyingnoticedfacts.Emphasizealsotherearespecializedperforminganalysis(investigationoftheSonataa-mollforflute solo by K.F.E. Bach) and system-complex method (holistic processing character-logical constituents of the music for wind instruments solo). The novelty of this research is conditioned by appealing to scenically single performing on wind academic instruments in the time of musical classicism’s epoch. It was namely that period, when solo performing with orchestra or ensemble accompaniment at the sphere of wind instruments academic playing achieved the great development. Conclusions. The explorer has detected the priority improvisational character of individual, scenically single performing of the not numerous classical music compositions for wind instruments solo, with maximal immersion into personallyspecificworldofartist-soloist.But,allthespiritualworldofinneressencefrompersonality,whichwasestablished in the musical baroque by composers J.S. Bach and G.F. Telemann, stays, in the most extent, to the outside from wide- scale evolutional processes of European classical music performingculture.