Yelena Pototskaya


The purpose of this article consists in disclosing the particularity of the interpretative thinking of the representatives of the rhetorized piano performing style based on the analysis of M. Yudina’s and G. Gould’s interpretations, which belong to this style of piano performing. The research methodology is based on the system approach and on the comparative-historical (to reveal the peculiarities of appearance of different style epochs in piano performing) and historical -stylistic (to research the specifics of composer and performer styles during a particular historical period) methods modified accordingly to the peculiarities of the subject. The scientific novelty of this article consists in the developing of a programmatic view on the piano performing interpretation from the position of unity of the manner of presenting the composer’s style as subject of performer’s thinking and music perception based on the creative work of pianists belonging to the rhetorized performing style. Conclusions. Based on the analysis of M. Yudina’s and G. Gould’s interpretations, it is possible to conclude that the work of the representatives of the rhetorized piano performing style can be characterized by the equal presence of the sensory and mental functions on the foreground. This is due to the fact that the rhetorized piano performing style itself relies on the affection that is directly related to linguistic intonation and the search for expressive means of musical intonation. Affection as a way of thinking involves presenting emotion in a straight and rationalized form. Such an emphasis results in the balance of emotional and rational principles and leads to expressive affection and creation of “spiritualized symbols” of the piano performance. Therefore, the representatives of the rhetorized piano performing style are referred to the emotional-logical type of interpretative thinking, the essence of which is the equivalence of sensory and mental functions. Depending on the personal traits of the performers, this interpretation type can be of both extroverted (M.Yudina) and introverted (G.Gould) directions.


style; interpretation; piano; baroque; composer’s style; numinal accents; M. Yudina; G. Gould

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