THE PIANIST’S PERCEPTION OF FIGURATIVE TEXTURE IN PIANO WORKS BY LATVIAN COMPOSERS

Abstract

Tracing the development of texture in Latvian piano music from the performer’s point of view, including historical and stylistic aspects, it becomes apparent that figuration is one of its most prominent specific elements which demonstrates the uniqueness of texture as well as reflects stylistic transformations. The aim of this paper is to highlight the different types of interpretation of the instrument – colourful illusionary and real motoric pianism as well as their synthesis in the context of several compositional techniques of the musical language of Latvian composers. All of these aspects are particularly important for the performer.