Abstract
Maria Szymanowska as a recital pianist‑composer of the Romantic epoch
Highlights
The separate steps have been taken in this direction – for example, the publication of Maria Yanyshyn (2016), who is trying to explore some aspects of the creative work of the Polish artist, relying on modern methodological tools
Szymanowska in Ukrainian cultural centers is ignored: local historians did not publish a single critic review of her performances, the Polish pianist was participating in such concerts, and the local musicians
The present article intends to designate a corpus of problematic issues rather than thoroughly solve them
Summary
Szymanowska’s creative approaches to piano (concert) performing and composer activity, which are the object of this study. Her intensive performing and composing activities are marked by the search for effective means of artistic communication, by innovativeness, creativeness, emotional openness, freedom of interpretation of the musical text. ■ Key words: Maria Szymanowska’s creative activity, pianist, self-education, artistic communication, interpretation, cultural universalism, artistic myth.
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