A pianist and his musical instrument (on the example of Alexandre Tharaud’s works)

Abstract

The relevance. The modern media space is full of musical experience of different cultures, which is embodied by musical instruments. Each of them with its uniqueness occupies the same important place on the stage as a composer, a piece of work and a performer. First, only by their appearance and name, and then by timbre, volume, range, musical instruments (solo or in an ensemble or orchestra) objectify the sound space, set the parameters of artistic communication. A musical instrument as an artifact exists in musical activity not as a certain thing, even exceptionally valuable, but, first of all, as a “mediator of use” (Voronin A. Myth of technology. Moscow: Nauka, 2004. P. 65). It is the process of its use that needs to be understood not only in broad historical and cultural contexts, but also in the scale of creative activity of one performer.
 The aim of the article is to try to use the example of the famous pianist Alexandre Tharaud (1968) to consider the process of understanding the “horizons” of his creative world through the selection and development of certain musical instruments, including pianos of modern production. Such a problematic prospect includes: on the one hand, the purely economic relationship between the musician and world brands and requires a definition of the artist-ambassador at the music market, on the other — highlights the performance search for reliable “mediators” for their own version of the music, new opportunities for dialogue with the historical past.
 The methodology. It is based on the comparative method, the application of the apparatus of organology in historical retrospect, as well as on the methodological approaches used by E. Nazaikinsky and A. Voronin.
 The results. The problem of the relationship between the piano firm and the performer was raised in the historical context. On the example of Alexandre Tharaud’s discography the modern mechanisms of the relationship between the piano firm and the performer were revealed.
 The topicality. It is the first time Alexandre Tharaud’s experience in media representation of piano products is summarized. It is the first time the piano works and performance in terms of instrumental resources involved in the Alexandre’s performance was analyzed.
 The practical significance. The material can be used in the educational process, as well as by professionals who are interested in this prospect for further study of the performance issue.
 The conclusions. Nowadays, pianists master a significant number of musical instruments. Guided by individual sound perceptions, they choose their priority brand. A professional performer is able to adjust the musical concept of the work in relation to the existing piano during the game. The performer adapts a piece of music to the instrument through a complex of feelings such as hearing, touch, sight, smell, and, emphasized by Alexandre Tharaud, the feeling of pain which is familiar to all performers. Alexandre Tharaud in his own music albums, represented not only the original performance versions of classical music, but also each time opened a new refraction of the sound spectrum of a particular piano company, through the original artistic and sound representation of each of the works. In the modern media space, Alexandre Tharaud has created a treasure trove of sound spectra of Steinway and Yamaha pianos, which combine such timbre capabilities that can meet the artistic needs of almost every artist.