Ballads by F. Chopin in the Framework of Performing Traditions of the 20th – Early 21st Centuries

Abstract

The article is devoted to the study of the peculiarities of interpretation of F. Chopin’s piano ballads in the context of the performing traditions of the 20th – early 21st centuries, which contributes to the discovery of new facets of F. Chopin’s musical world that are consonant with the present time, provides a look into the depth of the musical text and the construction of its multidimensional contextual relationships. The purpose of this study was to identify the peculiarities of interpretation of the Four Ballads by F. Chopin, distinguished by a high degree of conceptuality, semantic depth, stylistic individualization, national originality, and originality of artistic expression. The phenomenon of the “Chopin style” is comprehended with its characteristic general features of the composer’s musical poetics (elegance, nobility, emotional contrasts) and such specific characteristics as: brillante style, instrumental belcanto, dynamic gradations, a variety of agogic techniques, textural multi-layering, polyphonic dialogues, and the finest pedalization. The methodology of the research is based on a comprehensive approach, thanks to which the piano ballads of F. Chopin are considered in the context of issues of professional training of a music teacher. The appeal to various performing traditions in the process of comparing approaches to reading the Ballads by European, Polish, Russian and Chinese pianists, determines the use of the comparative method, with the help of which common trends and differences in the process of interpreting musical texts of F. Chopin are revealed. The analysis of the performance interpretations of the ballad cycle by outstanding representatives of the world piano school testifies to the individuality of each performer, the originality of the interpretation, the avoidance of unification and standardization of the performing manner, and also allows us to come closer to understanding the multidimensionality of the composer’s idea, as well as to comprehend the characteristic features of the multinational performing “Chopiniana”, in the context of the principles of the piano style of F. Chopin himself.