Some challenges of Partita No. 1 by J. S. Bach interpretation in piano, harpsichord, clavichord, organ performance

The purpose of the article is to consider the history of creation, existing editions and revisions, as well as performance on various keyboard instruments of Partita No. 1, B-dur, BWV 825, by J.S.  Bach, as well as to identify and justify the discrepancies in performance interpretations. The research methodology. Universal (historical and analytical) methods and the following special research methods are taken as a basis. The system-ethnophonic method examines the interaction of the “instrument-performer-music” connection: the features of the instruments' constructions and their acoustic capabilities, the performing complex (playing technique, methods of working with the text, performing schools) and the music performance (the manner of performance). Cognitive and complex approbation methods are based on the fact that the author, as a practicing performer, directly tested the researched material, namely the nature of mastering playing techniques, ornamentation, within the framework of performing practice, conversations and master classes with the largest representatives of the performing tradition (M. Svyrydenko, O. Dmytrenko, B. Billeter, M. Kristeva, S. Levi) and traditions of musical instruments making (D. Titenko). The research material is the records of the most famous performers. Scientific novelty. For the first time, the problem of the possibility and artistic justification (authenticity) of performing a baroque piece of music on various keyboard instruments in today's conditions is highlighted. As an example, the piano Partita No. 1 by J. S. Bach is taken. Existing editions, revisions, musical performances on piano, harpsichord, clavichord, organ were analysed and compared. Conclusions. The following differences in perfomance interpretations were revealed: in the time of performance (which is related to the different duration of the sound on each instrument, although the individual artistic idea of the performer is also important); in the dynamic plan of building compositions: the terrace volume of the dynamics of the harpsichord and the organ opposes the gradual transition from the forte to the piano and vice versa (ascending-descending dynamics) of the piano and clavichord (which is also related to the peculiarities of the structure of the instruments and their dynamic capabilities). At the same time, we observe the unity in the different interpretations of the articulation, agogics and phrasing