UDC 781
DOI: 10.36871/hon.202402093
Authors
Marina V. Smirnova,
Saint Petersburg Conservatory named after N. A. Rimsky-Korsakov, Saint Petersburg, 190068, Russian Federation;
Herzen State Pedagogical University, Saint Petersburg, 191186, Russian Federation
Gu Yunchen,
Herzen State Pedagogical University of Russia, Saint Petersburg, 191186, Russian Federation
Abstract
The article concerns the development of performing musicology, one of the founders of which in Russia was D. A. Rabinovich. The article evaluates the main provisions of Rabinovich’s problematic research “Thoughts on Listianism. Interpretation, Repertoire, Style”. In his writings, Rabinovich made a powerful breakthrough in the field of critical understanding of piano performance art. The scientist rethought the categories of considering the evolution of performing styles due to convergence with historical, philosophical, and psychological methods of cognition. It is emphasized that his critical method is based on the dialogic component, which is extremely valuable and promising in modern times. Many questions raised by Rabinovich more than sixty years ago to this day have not been resolved. This is evidenced by the statements of such modern scientists as L. Gakkel, S. Grokhotov, K. Zenkin, A. Khitruk, V. Chinaev, etc. The evolution of the interpretation of Liszt’s music by pianists of the past and present is analysed in a comparative aspect. The context of the analysis includes the interpretative principles of such masters as K. Igumnov, G. Neuhaus, L. Oborin, G. Ginzburg, V. Sofronitsky, S. Richter, E. Gilels, E. Kisin, B. Berezovsky, N. Lugansky, A. Volodos, D. Trifonov, etc. It is concluded that the main provisions formulated by Rabinovich more than sixty years ago have not lost their relevance today.
Keywords
musicology, performance, epoch, style, culture, perception, interpretation
