Ma Yingjun, L. A. Skaftimova
Price: 0 руб.
DOI:https://doi.org/10.25807/PBH.22225064.2020.54.65.71
In the paper, F. Mendelssohn’s piano capriccios are con-
sidered from stylistic, performing, and methodological
positions, which is done in musicology for the fi rst time.
The authors analyze the system of Mendelssohn’s perform-
ing instructions and the main diffi culties arising in the study
of works written in the style of capriccio. The context of
the paper includes a comparative analysis of performing
interpretations. The issues of Mendelssohn’s music per-
formed by Russian and foreign pianists are touched upon.
The importance of introducing Mendelssohn’s capriccio into
the concert and pedagogical repertoire of Chinese pianists
is emphasized.
Keywords: capriccio, piano, style, composer, heritage, era, perception, musical show, concert, listener, teacher, traditions, innovation, program, repertoire, pianist, author’s text, interpretation, dynamics, articulation, pedal
REFERENCES
1. Vse pianisty. Serkin. URL: http://allpianists.ru/serkin.htm (data obrashcheniya:
11.03.2020).
2. Mal’tsev S. Metod Leshetitskogo. SPb.: VVM, 2005. 224 s.
3. Naumov L. Pod znakom Neygauza. Besedy s Katerinoy Zamotorinoy. M.:
RIF Antikva, 2002. 336 s.
4. Smirnova M. Na legkom chelnoke iskusstva. SPb.: «Kompozitor * Sankt-Peter-
burg», 2019. 240 s.
5. Stukolkina S. Put’ k sovershenstvu. Dialogi, stat’i i materialy o fortepiannoy
tekhnike. SPb.: «Kompozitor * Sankt-Peterburg», 2007. 392 s.