Performance Chronotope in the Piano Sonatas by Beethoven (op. 27 No. 2) and Schubert (D. 958)

Abstract

The article examines the specifics of the performance chronotope (time-space) of two masterpieces written by outstanding composers-contemporaries, whose lifetime is characterized by a gradual transition from the classical to the romantic style. Its essential characteristics and the significance of their awareness by the pianist-performer in the practice of working at a musical piece are highlighted. The “performance chronotope” is one of the parameters involved in the field of contemporary music-performance interpretation (Nikolaievska, 2020: 144). This publication is related to our previous work, where space-time characteristics of clavier sonatas by D. Scarlatti, С. Ph. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi were revealed from the viewpoint of a piano performer (Tarabanov, 2021). Some parameters of the performance chronotope that have been outlined before – interaction and mutual balance of statics and dynamics, organizing function of performance time in sound musical form, metrorhythmic performance inertia, continuity of space-time and performance prediction (anticipation) – are supplemented by others, such as performance understanding of the form through working at details, and psychological space-time of the performer (as one of the components of the performance chronotope of the work). This is attributable to new interpretative tasks of the pianist in Beethoven’s and Schubert’s Sonatas under consideration. These works have not yet been the subject of analysis from the standpoint of performance chronotope characteristics, which, along with the use of an experimental research method (with the involvement of the author’s experience in concert performance of the considered works10), determined the scientific novelty of the presented study. The results of the study are supposed to be helpful for piano performers in their learning of these works and similar ones. It is especially relevant, because the greatest composer of piano sonatas, Ludwig van Beethoven, is in the spotlight all the time. His so-named “Moonlight” Sonata (op. 27 No. 2) continues to attract new generations of listeners, performers, and researchers (Rosen, 2002; Waltz, 2007; Gordon, 2017, and others). Beethoven’s direct successor, Franz P. Schubert created no less fascinating works in the genre of piano sonata. Among them is the Sonata D. 958 in C minor, where Beethoven’s influence is observed to a great extent. As in the case with concrete musical examples analyzed in the article, the piano performer can realize on practice their own interpretative searches connected with the use of timespace characteristics. In particular, a method of “expanding the performance chronotope” is recommended, which should significantly facilitate the mastering of complicated technical episodes.