Performing organization of artistic integrity of Etude-tableau in B moll, op. 39 No. 4 by S. Rachmaninov in the interpretation by N. Tchesnokova
The major peculiarities of the interpretation by the well-known Donetsk pianist N. Tchesnokova conformably to Etude-tableau in B moll, op. 39 No. 4 by S. Rachmaninov are dealt in the article. Those peculiarities are conducive to reaching of the performing form artistic integrity. Much attention is given to the interpreter’s «dialogues» with the author’s text; a differentiation of the multi-voiced facture appears in the capacity of the priority feature of this «dialogues». A specificity of the intonation structure and rhythmic organization of individual thematic entities is favourable to examination of them as «short themes». The researcher marks N. Tchesnokova’s own tendency to performing acuteness of character with respect to these themes and use of their conflict reciprocity in the development of the music material. The constructive role of the «short themes» in the executive formation of the whole connected with emphasis of musical form borders is elucidated. At the same time, the main dramaturgical lines of the considering interpretation are brought out, the special role of cadences as unifying factor is revealed. In an opinion of the researcher, afore-mentioned peculiarities of the performing thinking are discovered in the interpretations by N. Tchesnokova of other musical pieces too. It allows believe this features to number of the style-forming principles which are most important for the named musician.
N. Tchesnokova, performing interpretation, artistic integrity, performing conception, musical dramaturgy, formation of music.