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Eurasian music science journal

Abstract

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.

First Page

46

Last Page

54

References

[1] Zenkin, K. (1995). Mendel'son i razvitie romanticheskoj fortepiannoj miniatyury [Mendelssohn and the development of romantic piano miniature] F.Mendel'son-Bartol'di i tradicii muzykal'nogo professionizma [F. Mendelssohn-Bartholdi and the traditions of musical professionalism] collected articles, Kharkiv, p. 13.

[2] Shuman, R. (1975). O muzyke i muzykantakh [About music and musicians] vol. I, Moscow, pp. 153-154.

[3] Chachava, V. (1987). Akkompaniator-hudozhnik vstupitel'naya stat'ya k Mur Dzheral'd Pevec i akkompaniator, Vospominaniya, Razmyshleniya o muzyke [Accompanist-artist introductory article to Moore Gerald Singer and Accompanist, Memories, Reflections on Music]. Mosсow, p. 4.

[4] Mur, D. (1987). Pevec i akkompaniator, Vospominaniya, Razmyshleniya o muzyke [Singer and Accompanist, Memories, Reflections on Music]. Moscow, pp. 170-171.

[5] Islyamova, D. (2019). The value of the uzbek piano school in the development of the world piano music performing culture. Eurasian Music Science Journal. No. 1, Article 3, p. 2. Retrieved from https://uzjournals.edu.uz/ea_music/vol2019/iss1/3.

[6] Mukhamedova, F. (2019). Formation, Development of Piano Performance and Education of Uzbekistan. Eurasian Music Science Journal. No. 1, Article 5, p. 21. Retrieved from https://uzjournals.edu.uz/ea_music/vol2019/iss1/5.

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