The article examines some issues of the performing interpretation of the Song without Words, Op.109 for cello and piano by Felix Mendelssohn-Bartholdi. Songs without words occupy a special place among Mendelssohn's chamber works. The composer, relying on everyday music, created a new type of romantic piano miniature. Eight notebooks, written for piano, which embodied the artistic ideals of the era of romanticism, very soon gained popularity. Song without words, op. 109. for cello and piano, the only one among this genre fits organically into a single sphere of romantic images.
The primary tasks of the interpretation of this work include a number of aspects. Namely: performance, upon activation of the inner ear, melodious lyric melodies., emphasizing the sound capabilities of the instruments; the variability of the construction of periods as an element of the romantic form; the importance of the rhythmic sphere, the expressive possibilities of the accompaniment, dynamics, agogics and phrasing.
F. Mendelssohn's works are in demand in Uzbekistan. They are included in concert performances and educational programs. The comprehension of the romantic musical world of the composer by Uzbek musicians opens up new opportunities for the disclosure of artistic content, refracted through national perception.
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"Questions of the Performing Interpratation of the Song without Words op.109 F. Mendelssohn,"
Eurasian music science journal: 2020
, Article 4.
Available at: https://uzjournals.edu.uz/ea_music/vol2020/iss2/4