Abstract
The article examines piano texture in the aspect of its timbre features discovered during the synesthetic analysis of N. Medtner’s “Fairy Tale” op. 20 № 2. The author focuses on identifying the mechanisms forming the timber character of piano texture in a performer’s interpretation. To achieve this objective, the researcher analyses the technology of a performer’s “adjustment” of the timber component of a musical image to make it artistically complete and multidimensional. For the first time, the paper identifies the proprio-interoceptive synesthetic mechanism of the mutual influence of a composer’s score and a performer’s consciousness, which organizes the process of timbre texture formation. Special attention is paid to agogics having its roots in the existential structures of a performer’s time perception.
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