Romantic interpretative model of F. Chopin’s Piano Concertos in A. Rubinstein’s (First Concerto) and H. Czerny-Stefańska’s (Second Concerto) versions

Abstract

The Romantic model of interpretation is characterized by significant influence of an interpreter on the composer’s text in those part, which is the field of performer’s responsibility, and it is an alternative to the Classical as well as the Impressionistic models proposed by some scholars. The purpose of the present research is to reveal the features of Romantic interpretational model of F. Chopin’s Piano Concertos based on examples of various performers’ versions. The article analyses the performances of F. Chopin’s Piano Concertos by two outstanding pianists of the XX century, A. Rubinstein and H. Czerny-Stefańska; it is revealed how the Romantic mode of interpretation is embodied in their sound versions of these pieces. The individual approachs of the performers to the choice of temps are studied; it is revealed how the pianists emphasise the genre genesis of the certain themes of the Concertos. The performance stiyle of H. CzernyStefańska’s is briefly outlined, since she is much lesser-known in Ukrainian musicologyic space than A. Rubinstein. At the first time the idea of three interpretative models (Romantic, Classical, Impressionistic) is applied to the musical material of F. Chopin’s piano Concertos regarded in the article. Based on analysis, the conclusion is made that the both version of Piano Concertos by F. Chopin considered in the study lean to the Romantic model of interpretation. At the same time, it is quite natural that they are not the same in their essence that can be explained both, by obvious reasons (the choice of different Concertos or gender-determined performing differences), and by individual artistic preferences of the pianists, by their unique performance styles. For instance, A. Rubinstein chooses somewhat slowed down temps in multiple passages of the Concerto, including its first movement, he emphases the song features of many themes in the cases where it is appropriate and does not contradict what was written by the composer. H. Czerny-Stefańska tends to accentuate emotionallyplayful essence of the Concerto, as she focuses her attention on different types of intonation, articulation, dynamics etc. Obviously, she does not neglect lyrical nature of the work, in several themes stressing it as a predominant genre genesis. Nevertheless, H. Czerny-Stefańska aims to break the stereotypes of “feminine performance” of F. Chopin’s music, which can be seen in tendency to “wide strokes” and creation of through line of musical development.