Price: 0 руб.
DOI:https://doi.org/10.25807/22225064_2021_64_86
The paper is devoted to the problems of interpretation of F. Mendelssohn’s series of compositions “Songs without Words”. It is emphasized that this work, containing 48 songs, deserves more attention from contemporary performers, teachers, and students both in Russia and in China. The analysis is based on the interpretation of Mendelssohn’s composition series by the outstanding musician of our time D. Barenboim. The pianist’s performance of “Songs without Words” became a remarkable event in the concert life of the era. The paper analyzes the features of Barenboim’s performing style and their manifestation in the interpretation of “Songs without Words”.
Keywords: music, piano, composer, performer, teacher, listener, genre, instrument, sound, intonation, articulation, rhythm.
REFERENCES
1. Grokhotov S. Shuman i lokrestnosti. Romanticheskie progulki po «Al’bomu dlya yunoshestva». M.: Klassika — XXI, 2006. 240 s.
2. Naumov L. Pod znakom Neygauza. M.: RIF «Antikva». 2002. 329 s.
3. Smirnova M. Na legkom chelnoke iskusstva. O muzyke, pianistakh, pedagogakh i slushatelyakh. SPb.: Kompozitor Sankt-Peterburg, 2019, 240 s.
4. Shnabel’ A. Ty nikogda ne budesh’ pianistom. M.: Klassika — XXI, 2002. 336 s.
