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One of the interesting realms of contemporary musicology is the issue of study and evaluation of the historical musical text of the early classical period, remote from us in terms of time. No less signifi cant is the comprehension of its didactic potential, as well as the adaptation of scholarly results of research and their application in pedagogical practice. More relevant is the study of the techniques of interaction on the part of the performer with this musical text. The article acquaints the readers with the unique album for clavier, absent in Russian performing and instructive practice — “Die Notenbücher der Geschwister Mozart” in its original version. Its study presents the possibility to immerse into the specifi city of the artistic content and pedagogical “secrets” of one of the opuses of the instructive direction refl ecting the specifi city of 18th century instrumental music-making. Analytical immersion into the musical text of the “Notebooks” (such is the version of the translation of the title of the analogous albums of J.S. Bach, according to Russian publishers) as a historical document of the epoch is aided by turning to its “intonational-lexical vocabulary” stipulated by culturological context. The album discloses the practical secrets of adaptation of the musical score form of notation in its transcription into two-lined form and demonstrated signs of the reduction of the musical text in correspondence with the peculiarities of keyboard instruments. For a present-day beginning performer, the creative potential of the pieces in the collection consists in the possibility of reverse unfolding of two-line keyboard music into an ensemble score the means of which have been fi xated into the musical text.

П о э т и к а и с е м а н т и к а м у з ы к а л ь н о г о т е к с т а and the intonational-lexical "vocabulary" of the violin was formed, which determined its polyfunctionality. Gradually the violin became an independent instrument with its own specific features. The tradition of violin instrumental performance cultivated unique technical, acoustic and intonational-expressive characteristics, bringing them to the level of perfection. At the same time, during the various stages of the baroque period the evolution of the genres of violin music and, to take a broader view, of all instrumental music took course in close interaction. There appeared the inevitable processes of mutual enrichment, migration and adaptation of semantic structures from chamber and orchestral compositions. They presented universal "bonds" for organizing integrated musical texts of instrumental compositions. At the same time, the musical texts of solo compositions, presenting a phenomenon autonomous in its structural-semantic aspect, and the musical text of violin parts in chamber works as parts of the chamber ensemble score are formed in accordance with the principle of resemblance.

The study of the natural laws of semantic organization of the musical text is a topical issue of contemporary musicology. In this connection a unique opportunity to immerse into the processes of text-generation is presented by research of instrumental compositions which have appeared on the basis of borrowing and modifi cation of an “alien” musical text. By means of a comparative analysis of Cesar Franck’s Choral No. 3 in A minor from the series “Three chorals for a large organ” with its transcription for bayan carried out by Friedrich Lips, the general and specifi c principles of semantic organization of the notated, musical and performance texts are disclosed. From such an angle the issue of intertextual interactions is being raised for the fi rst time. Its complex character has become the foundation for turning to the methodology of the theory of the musical text (Mark Aranovsky, Liudmila Shaymukhametova) and the theory of musical content (Liudmila Kazantseva, Valentina Kholopova). In this article the attitude is developed towards the musical text of the organ compositions as an open polysystem endowed with a special mechanism of preservation and transformation of the invariant in the conditions of a new instrumental context. Study of the intonational lexis and etymology of its meanings has made it possible to disclose the unique artistic specifi city of the Choral, while examination of the bayan version in the author’s performance has allowed us to comprehend the techniques of adaptation of “someone else’s” thematicism to a new timbral-instrumental performance scenario.