Abstract:

The article is devoted to four variants of interpretation of a prelude submitting various versions of its timbre, acoustic and interpretative decisions. The author mentions history of a genre of an organ choral prelude, and its place in J.S. Bach´s works. Conclusions concern a wide range of understanding and interpretation of a genre, from authenticity to «romanticism» and also boundless opportunities of perception.

Keywords: Johann Sebastian Bach, Albert Schweitzer, Vladimir Horowitz, Timofey Dokshitser, Olgerts Tsintinsh, Terem-quartet, choral prelude, interpretation, trumpet, organ.