Peculiarities of reading scores of baroque vocal-instrumental works

The urgency of the problem. Score reading is a discipline that has significant potential for the formation of performing skills of musicians. The importance and practical significance of its mastery is evident in the professional activity of the concertmaster-pianist. Studying and performing the repertoire has a number of features that depend on who accompanies the vocalists or instrumentalists. Interpretation of Baroque works is a difficult task. This issue has been the subject of research, but little attention has been paid to the interaction between reading scores and further professional activities. The purpose of the article is to study the peculiarities of reading scores of vocal and instrumental works of the Baroque era, which is carried out in the work of the concertmaster of the academic vocal class. This goal provides an overview of the main stages that are present reading scores on the piano, as well as on the specific problems that arise in the play of baroque works, in terms of the spread of the movement of historically informed performance. The scientific methodology is associated with the use of methods of analysis, synthesis, and comparative approach. The results of the study are to highlight the specifics of reading scores of the Baroque period by a concertmaster-pianist and highlight the main problematic aspects. Conclusions. Mastering of reading scores involves systematic work, which includes a number of stages. This is an analysis of a piece of music, highlighting the main lines of texture, paying attention to areas of expressive sound of voices and instruments. Score reading involves choosing the material to be played and excluding secondary material. However, the performance of baroque works on the score requires additional efforts, which are associated with the reproduction of the material in different keys, the ability to play the line basso ostinato. It should be noted that the vocal parts of soloists can and should vary. Accordingly, the performance of musical practice of this period is a task that requires significant preparatory work.