Violin Sonata Research Articles

Issues of performing interpretation of Sonata for violin and piano by G. Mushel.

Issues of performing interpretation of Sonata for violin and piano by G. Mushel.

A Multilevel Analysis of Fazil Say’s Sonata for Violin and Piano Op.7

This article introduces Fazıl Say’s Sonata for Violin and Piano op. 7, composed in 1997, shortly after his international success. Despite being an early work, it exhibits the architectural complexity characteristic of Say’s style, blending his Turkish cultural heritage with innovative compositional techniques. The authors aim to analyze this sonata thoroughly, exploring its mature style and cultural influences in order to provide a series of guiding principles for interpretation. They discuss the architectural and semantic meanings that reside in the incorporation of Turkish musical elements, such as modal approaches, folk traditions, and dance rhythms, throughout the sonata’s three movements. Each movement is examined, highlighting technical challenges, interpretive nuances, and thematic connections to Turkish culture. The sonata’s structure, culminating in a palindromic arrangement, is investigated, emphasizing its coherence and narrative thread. The first movement introduces melancholic themes, the second movement evokes Turkish instruments and rhythmic patterns, the third movement emulates the Horon dance, and the second to last movement draws from Turkish folk songs. The conclusion praises Say’s fusion of tradition and innovation, highlighting the interpretive freedom left to performers and listeners. Overall, the Sonata op. 7 reflects Say’s distinctive musical language and showcases his prowess as both a pianist and composer, blending tradition with modernity in a captivating manner. Keywords: Fazıl Say, Sonata op. 7, violin, piano, Turkish culture, composition, musical elements, modal approaches, folk traditions, dance rhythms, interpretation, structure, thematic connections, melancholy, Turkish instruments, rhythmic patterns, Horon dance, folk songs, tradition, innovation, interpretive freedom.

GEORG FRIEDRICH HAENDEL - SONATA FOR VIOLIN AND FIGURED BASS OP. 1, NO. 13

In the field of chamber music, Haendel is known for his six Sonatas for violin and basso continuo op. 1, creations that have kept a well-deserved place in the violin repertoire, being approached mainly for their melodic cantability, the clarity of the formal structures and the moderate technical difficulty. At G. Fr. Handel's sonata genre is distinguished by the characteristic unity of the thematic material, which bears the perfect mark of mastery. His sonatas are characterized by the breadth of the melodic line, the precise construction of the harmony and the generous sonority.

Creative Ideas and Aesthetic Emotions in the Sonata for Violin and Piano by Leoš Janáček

Creative Ideas and Aesthetic Emotions in the Sonata for Violin and Piano by Leoš Janáček

Beethoven’s C minor and the anxieties of inner conflict from the perspective of the Piano and Violin Sonatas

Causing a radical change to the musical language at the turn of the 19th century, Beethoven is the composer of a profound musical discourse which expressively exploits a ceaseless alternation between rhetoric and virtuosity, thus elevating music to new stylistic and aesthetic heights. In consonance with the darkest entities of Beethoven’s emotional plane, the C minor tonality has the quality to emphasize the symbolic character of music typical of the analogies created between its own sonorities and the different, mostly febrile, states of mind. Under the aegis of an authentic and evolutive vision, the piano and violin sonatas follow the ascending path of the musical language, the composer focusing attention on his works according to experienced emotions and conveyed artistic message. Therefore, the composer will begin his first period of creation works in a classically aesthetic pattern which, gradually elaborated, will be centered on the pathetic C minor of the piano and violin sonata op. 30, no. 2.

Composer's video for his own work: time parallels, dotted lines, perpendiculars

Relevance of the study is related to the problem of composers' self-illustrations in the YouTube presentations. The novelty of this topic is conditioned by new practice to illustrate music in YouTube. Graphic representation of music leads to the problem of correspondence between music and video. We selected only two Ukrainian composers to compare: Yuri Ishchenko and Sviatoslav Luniov.
 The main objective of the study is the determination of main principles of similarity or dissimilarity of time structures in music and images. The methodology is based on methods of comparison and analogy in the context of phenomenological approach to the Event in the Being Time (by late Heidegger). How the study was done: time structures of selected compositions were compared, through analogies, with the illustrating graphic events as phenomena of existential time. Thereby a number of similarities and dissimilarities were detected.
 Composer Y. Ishchenko preferred to illustrate his music by static images. Such a situation is a paradoxical because of the dynamic essence of his music. It establishes the problem of co-existent two time situations: in the first of them there is an integral and quasi-timeless image of music; but in the other situation there is a running stream of music structures. This approach becomes very and very fruitful because Music is able to use both the continuity, integrity of musical image as well as fluid sound events. The Y. Ishchenko's "Watercolors" for violin and piano are illustrated by several images; this approach makes it possible to mark different parts of total design (i.e. different movements or stages). Another solution one can hear and see in his "Small partita" for violin and harp. I helped him to accompany this design with fragments of animation about baroque époque. There are several GIFs - the periodically repeating images, which creates a cross-rhythm constellation with music. The significant crossfade is present in the video by Ishchenko's 3rd Violin sonata: ruined house through cross-like gap transforms in an abandoned church. The final fade of it lasts a minute. Thus, the minimal graphic processes are extremely expressive. S. Luniov mastered advanced skills in electronic music and its visual presentation. In his video "POST” he combines fragments of his own Panta Rhei for orchestra with sounds of the war. The intensity of the music development is essentially higher than that of graphic illustration, but at the end of the project the situation is opposite. In the video accompanying his Panta Rhei for orchestra S. Luniov synchronized main events and stages of the sound score with more intensive changes of the video stream and its thematic.
 Findings and conclusions. For the composer Y. Ishchenko, the graphic self-illustration on YouTube was mostly the outer necessity. He often limited his projects with static images for the total score or its main parts. Thus, he reinforced the integrity pole of events with the graphic ingredient of YouTube projects. Thereby, the dramaturgic tense of his compositions is concentrated in music. Such an approach was called time perpendicular strategy or time dotted line strategy. For the composer S. Luniov, the graphic self-illustration on YouTube is mostly the parallel stream of events. However, the tempo and intensity of visual and sound streams can be unequal. Such an approach is called time parallel strategy. Significance of the study follows from its conclusions, leading to more skillful and exact solutions within composers' self-illustration, i.e. in clarifying the semantic and structure design in music.

Sonata for Violin and Piano “With the Questions” by Viktor Telychko as a Sample of the Master’s Metaphysical Biography

The purpose of the research is to conduct an art studies revision of the sonata for violin and piano “With the Questions” by Viktor Telychko, to confirm the idea of the opus appealing to philosophical categories similar to the demiurge’s world outlook and fostering his metaphysical biography constructing. The research methodology encompasses a range of the following approaches: analytical – to master an implementation of metaphysical questions in Viktor Telychko’s artwork; music studies – to grasp the content parameters of the presented masterpiece; hermeneutic – to interpret the senses introduced by the master; biographical – to study the originality of the chronicle and to analyse the composer’s individual history within the projection onto a creative pattern; systemic – to conduct a complex recognition of the issue of the study; theoretical generalisation – to summarise the research results. Scientific novelty. For the first time ever in national humanitarian studies, the sonata for violin and piano “With the Questions” by Viktor Telychko has been considered from the viewpoint of the artwork implementing the basic philosophical postulates; the following idea has been justified: the piece raises existential issues and demonstrates the master’s metaphysical chronicles. Conclusions. The postmodernism sonata has experienced considerable transformations related to reflecting personal and psychological concern. It is based on technical and style conceptions of the author’s original thinking, promotes important ideological positions of the master. In the 21st century, the genre reflects the master’s mentality and spiritual fundamentals professed by them, transfers to the sphere of philosophical objectification being represented by metaphysical biography. The latter is interpreted as the following: a symbolic depiction of ontological concepts of a personality’s life creativity reflected in an iconic civilizational artefact. The creative heritage of Viktor Telychko, a prominent profile in Ukrainian culture, is represented by a remarkable contribution where the sonata for violin and piano “With the Questions” stands out. Its consideration has revealed the seriousness and sense capacity of the presented conception. While developing the musical idea, the composer declares the following dominating metaphysical categories: birth, life, death, suffering, time, action, entity and some others. They are related to his existential aspirations (the artistic explication of their essence became the key task of various stages of being and was implemented via multifaceted elaborations), manifest the master’s essence and denote the metaphysical chronicle by Viktor Telychko.
 Keywords: metaphysical biography; the master’s life creativity; an artistic opus; creativity philosophy; Viktor Telychko; sonata for violin and piano “With the Questions”.

Performative and Semantic Space of Borys Liatoshynsky’s Instrumental Expressiveness in the 1920s: Sonata for Violin and Piano (1926)

The article examines the performance and semantic features of Borys Liatoshynsky’s chamber music style, focusing on the Sonata for Violin and Piano (1926), a landmark work of the composer’s modern period. Actively inspired by new expressive components consonant with the expressive search of European artists of that time, chamber music became a field for the formation of Liatoshynsky’s stylistic discourse aimed at the symphonic expression, exploring the potential of those chamber music expressive means and formative experiments that are later tested in the composition of symphonic works. The principle of symphonicity shapes the corresponding performance and semantic space of instrumental expressiveness. It should be noted that in the Sonata for Violin and Piano, the composer expanded the timbre possibilities of both violin and piano as solo instruments of the chamber ensemble. Several features determine the specificity of the performance drama in this work. Among them, the most crucial role is played by the principles of symphonization, hence the interpretation of the violin and piano parts as original orchestral groups with their timbre and dramatic lines of development, rhythmically complementary layers in the joint image. In the context of the generalized programmatic approach and the specific one-part structure of the sonata, considering these dramatic components is essential, as they largely ensure the perception of the musical content and its compositional logic.

Il processo rielaborativo di Johann Georg Pisendel in alcune Sonate per violino e basso continuo

A detailed analysis of four concordant movements, taken from five autograph sonatas for violin and basso continuo by Johann Georg Pisendel, allows us to identify some compositional and reworking methods of the German musician. The alternative versions recorded in these manuscripts seem to derive frequently from performing and improvisatory practice.

EASTERN MOTIFS IN VIOLIN LITERATURE

Violin repertoires one of the brightestpages of music history. New playing techniques have been developed throughout the history of violin art, in addition to this, virtuoso violin works, which requirenew playing techniques, have emerged. These are violin sonatas, variations, concertos. These works are also dedicated to different motifs and themes. Among theexamples are A. Vivaldi’s Four Violin Concertos the four seasons, Paganini’s Prayer Variations from G. Rossini’s “Moses”, or the Violin Caprices about Hunting or War (No. 9, 14, 17) . In the violin literature, there are many works of world composers devoted to Eastern motifs. Since the Baroque period, composers began to apply these motifs. This tendency continued all the time and led to the formation of a wider repertoire. Great interest in Oriental music is growing from both European and Russian composers. Passion for the Orient W. A. Mozart’s “Die Entführung aus dem Serail”, C. Saint-Saens’ “Samson et Dalilah”, J. Bizet’s “Jamele”, N. A. Rimsky-Korsakov’s “Scheherazade”, Reinhold Glière’s “Shakh-Senem” and has been seen many other works. These motives considered asnot only in large genres, but also in works of small genres. In this context, romance, suite and other works for violin attract attention.
 In this study, it is aimed to examine the period and composer styles in popular works of the violin repertoire composed on Eastern motifs such as “Romanza Andaluza” by P. Sarasate, “Orientale” by C. Cui, “Baal Shem” by E. Bloch and “Tzigane” by M. Ravel. These works were examined in terms of harmonic structure.

Eusebius and Florestan, Pierrot and Harlequin

This video and article are inspired by Robert Schumann’s use of characterization in his music and writings, and the affinities of these sometimes kaleidoscopic and multiple musical and critical perspectives with theatre, fragmentary scenographies, and costume. Drawing on the traits of Schumann’s own characters Florestan, Euesbius, Master Raro, as well as other personas such as Harlequin and Pierrot, I have aimed, in my audiovisual collage and performance of a hypothetical 4th movement to Schumann’s 1851 Sonata for Violin and Piano No. 1 in A minor (Op. 105), to create a mediation between disparate aspects of the music, envisioned as personality fragments scattered in the landscape of the piece. The video itself is a meditation on, and an outcome of the realities of the pandemic, and the isolation that intruded in such a sustained manner on my personal and professional life. The video is an impromptu assemblage of pre-pandemic footage and photography combined to create a collective virtual chamber music experience representing an internal world haunted by dissonant multiple characters. In some ways, I echo in performance certain suggestive strains of Schumann’s own creative imagination and his personifications, both musically and in his critical writings, of the characters Florestan and Eusebius whom he sought to amalgamate in the figure of Master Raro.

Gestural migration as a pedagogical tool in violin learning: a case study

ABSTRACT This article explores the potential of gestural migrations as a novel approach to violin pedagogy, allowing us to trace enlightening parallelisms between the learning of musical performative gestures and the gestural dimension of cinema as a time-shaped/shaping artistic discipline. As a case study, I take the first movement of Claude Debussy's Violin Sonata L. 140, composed in 1917, following an empirically grounded quantitative analytical approach. I attempt to trace gestural correspondences with selected scenes from the contemporary French cinematic movement that fascinated the composer in the early years of the twentieth century.

Leopoldo Miguéz's Nocturnes Opp.10 and 20/1: Political Context and Stylistic Analysis in the "City of Pianos"

As in Europe, the piano reached the height of its popularity in the mid- to late nineteenth century in Brazil. Its presence in cultural life increased significantly, with performances in concert halls, theatres, and even cafés. Nocturnes— particularly Chopin's— were fre quently played at home and in public venues. Leopoldo Miguéz (1852–1902), considered at the time to be influenced by Wagner, Liszt, and the so-called Zukunftsmusik, was the first Brazilian composer to write a symphony, a violin sonata, and a symphonic poem. This ar ticle provides an overview of Miguéz's piano Nocturnes Opp.10 and 20/1 in the context of their relationship to contemporaneous Brazilian politics and his compositional practice. An in-depth analysis of the two nocturnes aims to map out his style, taking as parame ters his implementation of nineteenth-century constructive procedures previously established in analyses of his Violin Sonata Op.14 and his Allegro Appassionato Op.11 for piano. These include: the use of proto-themes, mediant regions, smooth voice-leading, complex tonal plans, motivic economy, and roving harmonies. These procedures are shown to be significant elements in Miguéz's palette of compositional traits and stylistic character istics; notably, they may have been common in Europe at the time but were unknown in Brazil. [...]

Controlled anticipation as a psychological attitude of the pianist-concertmaster (on the example of M. Ravel’s Sonata № 2 for Violin and Piano)

Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he should cover the musical material of all the parts of the ensemble. In the context of this Sonata, the pianist resolves a paradoxical contradiction – to combine into a single integrity what is deliberately polarized at the compositional level. This study was based on scientific works in the field of psychology, in particular, the researches of Ukrainian scientists (Batrachenko, 2010; Nikolenko, 2014) and the studies revealing the problems of performing Ravel’s Violin Sonata (Baer, 1992; Kaminsky, 2004; Beavers, 2010, 2016, 2020; Lefèvre, 2013). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the general principle of controlled anticipation and to argue their importance in the work of a pianist-concertmaster. For the first time a theoretical substantiation of anticipation as a controlled psychological process in the field of music is proposed and the research attention is focused on the performance problems of the concertmaster, who is responsible for the unifying function in the ensemble in Ravel’s Sonata in G Major for Violin and Piano. The research methods are determined by attracting the psychological theory, which considered the concept of anticipation; an activity approach aimed at applying theoretical knowledge from the field of psychology in the preparatory work of a pianist-concertmaster, as well as the methods of deduction and induction in their direct interaction were used. Research results and conclusion. Controlled anticipation allows to solve effectively a wide variety of tasks and it is a universal model for working on any kind of music. The specificity of the concertmaster’s activity lies in the fact that he is obliged to embrace the soloist’s part with his consciousness in addition to his own material. It needs to correlate each structural element of the text with the partner’s capabilities. Controlled anticipation as a psychological instruction is aimed at helping both in the rehearsal and concert practice of a pianist-concertmaster. Moreover, in the course of a stage performance, the use of controlled anticipation reduces the problem of excitement to nothing.

Heavenly sonatas, heroic rivers and demonic dancing

The days of believing that 18th-century musical texts should be taken literally in performance are long over. Instead, there is widespread agreement that they should be understood as musical serving suggestions, including in choices of instrumentation. For example, in 1906 musicologist Edward Dent proposed that some of Domenico Scarlatti’s (1685–1757) sonatas were not written for a single keyboard instrument, but were in fact intended for the violin and keyboard. Dent was talking about sonatas k.73 (l.217), 77 (168), 78 (75), 81 (271), 89 (211), 90 (106) and 91 (176), all of which are transmitted in ‘Libro XIV’ of a Venetian manuscript in the Biblioteca Nazionale Marciana, dated 1742. However, it was to take almost 40 years before Lionel Salter, Dent’s student, published them for this instrumentation—see his collection of Sonatas for violin and clavier (7 vols., London, 1940–50). Further examination of the Scarlatti source materials revealed that another 16 sonatas had similar characteristics to the seven identified by Dent. These characteristics include a four-movement structure (slow–fast–slow–fast), often with a figured bass, with the ‘right-hand’ and ‘left-hand’ voices separated throughout; the right hand contains wide chords that are unplayable with one hand, but can be performed on the violin; and dots and slurs in the upper part suggest articulation with a bowed string instrument. Due to the numerous violinistic passages, it is widely agreed today that several of the sonatas from the manuscript in the Biblioteca Nazionale Marciana were indeed designed to be performed by more than one instrument. There is no consensus on how many works meet these criteria, though, and this is reflected in their recording history. In 2008, for instance, Tedi Papavrami recorded his transcriptions of 12 keyboard sonatas by Domenico Scarlatti for solo violin (Aeon, aecd0644, issued 2008); in 2012, violinist Paolo Perrone, harpsichordist Alexandra Nigito and members of Capella Tiberina performed movements from Dent’s pick of continuo sonatas, experimenting with various scorings (Brilliant Classics, 94325, issued 2013); and in 2022, another reading of sonatas k.81 and 88–91 was published, this time on YouTube, with Debra Fast (violin) and Sandro Ivo Bartoli (organ) (see https://tinyurl.com/3w3uyvcc).

Innovative features in ”Sonata for violin and piano” by Boris Dubosarschi

The article examines the Sonata for violin and piano by B. Dubosarsky in terms of content, form and interpretative treatment. The author aims to reveal the innovative features of this work, which are manifested primarily in the interpretation of the form, combining the features of a three-part cycle and a large one-part composition. The intonation-thematic structure of the sonata, the ratio of the violin and piano parts are analyzed in detail, performing recommendations are offered for developing a creative version of the interpretation. As a result, it is concluded that the Sonata for Violin and Piano by B. Dubosarsky is an original example of an individual solution of a genre form, the innovation of which lies in the synthesis of a deep philosophical content, an original composition and a convincing ensemble interpretation of the violin and piano.

The Routledge Handbook to the Music of Alfred Schnittke by Gavin Dixon

Reviewed by: The Routledge Handbook to the Music of Alfred Schnittke by Gavin Dixon Peter J. Schmelz The Routledge Handbook to the Music of Alfred Schnittke. By Gavin Dixon. (Routledge Russian and East European Music and Culture.) (Routledge Handbooks.) New York: Routledge, 2022. [xviii, 315 p. ISBN 9780367222468 (hardcover), $250; also available as e-book, ISBN and price vary.] Illustrations, music. In summer 2022, Amoeba Music, arguably the best independent record store chain in the United States, published its annual Music We Like zine. One item from its lists of recommended recordings—by Felix (no last name given), a staff member from Berkeley, California—featured this endorsement of Daniel Hope and Alekseĭ Botvinov's release of Schnittke's violin and piano music: "Nothing on this compilation is predictable, for Alfred Schnittke's music is multifaceted and quite entertaining. His skills involved adopting old traditional music into contemporary form without concern [for] any one idiom. Easily one of the most underrated and overlooked composers of the 20th century. I encourage you to embrace this captivating assortment of Schnittke works. Your ears will gape with wonderment" (http://www.amoeba.com/music/music-we-like, "2022 – Summer," p. 41 [accessed 9 September 2022], referring to Deutsche Grammophon, DG 483 9234 [2021], CD). Listeners captivated by Schnittke's music and eager for further information on his Suite in the Old Style, Violin Sonata no. 1, or any of the other compositions on Hope and Botvinov's disc now have a reliable Englishlanguage source to consult: Gavin Dixon's Routledge Handbook to the Music of Alfred Schnittke. Yet this reference volume is by no means for neophytes alone. Dixon has established himself as an authoritative guide to Schnittke's output as the author of, among other things, an innovative dissertation ("Polystylism as Dialogue: A Bakhtinian Interpretation of Schnittke's Symphonies 3, 4, and His Concerto Grosso No. 4/Symphony No. 5," PhD diss., Goldsmiths, University of London, 2007) and as editor of (and contributor to) Schnittke Studies (New York: Routledge, 2017). A student of the late Alexander Ivashkin, a pioneering figure in Schnittke advocacy and research, Dixon also has deep familiarity with the many sketches and scores in the Ivashkin–Schnittke Archive at Goldsmiths, University of London. His Schnittke handbook is based on these and other primary and secondary sources, including the significant collection of Schnittke drafts and sketches in the Juilliard Manuscript Collection. A listener to Hope and Botvinov's disc looking for Schnittke's violin and piano compositions in Dixon's handbook would be in luck, and they won't need to flip many pages to find them [End Page 382] all. Organized by genre, the handbook collects all of Schnittke's music for violin and piano in the same section. The bulk of the volume consists of capsule accounts of each and every Schnittke composition, major and minor, in all their versions and arrangements. These entries are, in effect, very thorough program notes (several originated as program and liner notes [p. xvii]). Each provides basic details about the work's composition history, first performance, form, structure, motives, harmony, salient stylistic elements, as well as commentary on any texts. Each entry also contains scrupulous documentation of revisions and any variations between autograph score and published editions. Most of the analyses are brief, but Dixon knows Schnittke's music well and has a keen ear and eye for telling details. It is true that some descriptions betray a certain dutifulness (e.g., Drei Gedichte von Viktor Schnittke for tenor and piano [pp. 97–98]). But others are more extensive, the fruits of a prolonged engagement, particularly those for the symphonies, Peer Gynt, Life with an Idiot, and the Piano Quintet, to name but a few. The handbook synthesizes available sources, compiling and collating material from the dominant interpretative studies in Russian, German, and English, including foundational works by Ivashkin, Valentina Chigareva, Valentina Nikolaevna Kholopova, and Jürgen Köchel. Dixon carefully presents all sides of any disputes or interpretative puzzles, often letting dissonant interpretations remain unresolved (e.g., my difference of opinion with Ivashkin over Schnittke's indebtedness to socialist realism in his early compositions [p. 74]). When combined with the evidence from Schnittke...

Phrase Rhythm and Loss in the Music of Maurice Ravel

ABSTRACTA particular subset of Ravel's output features a phrase‐rhythmic technique wherein tonal and thematic returns are accompanied by surprisingly asymmetrical or ambiguous phrase rhythm. This defies both generic conventions linking thematic reprise and tonal closure to relatively stable phrase rhythm and specific expectations created by these works’ formal processes, and contrasts with trajectories moving from phrase‐rhythmic instability to stability which Ravel deploys in other works. The set of pieces which features this technique includes À la manière de … Chabrier, the Menuet sur le nom d'Haydn, pieces from Le Tombeau de Couperin, the last of the Valses nobles et sentimentales, and the ‘Blues’ movement from the Violin Sonata. This study notes how themes of loss and distance connect these pieces, allowing for the phrase‐rhythmic technique to be bound up with interpretative implications which can enhance our understanding of how phrase rhythm can carry expressive freight.

PERFORMANCE CHALLENGES IN MIECZYSŁAW WAJNBERG’S SONATAS FOR VIOLIN AND PIANO – A PIANIST’S PERSPECTIVE

The article Performance Challenges in Mieczysław Wajnberg’s Sonatas for Violin and Piano – a Pianist’s Perspective was written to sum up the author’s experiences connected with his work on the interpretation of the compositions mentioned in the title. The text points to the most significant style-related and instrumental issues a pianist is confronted with while reaching for Wajnberg’s pieces. They include (among others): frequent and long solo fragments, specific texture conditions, necessity to render a complicated metrorhythmic layer in a precise way, or the necessity to undertake – along with the performer of the violin part – creative and well-thought artistic decisions (referring to such elements as dynamics or articulation) in the context of the composer’s reticence related to interpretation tips. The author of the article based his reflections on monographic publications devoted to Wajnberg (which were written by Verena Mogl, Daniel Elphick and David Fanning) and his own analytical and performance work.

Emotional Intelligence of a Pianist-Accompanist (on the Example of C. Franck's Violin Sonata Performed by Martha Argerich)

The purpose of the research is to identify the regularities of emotional intelligence in the process of concert activity of a pianist-accompanist. Emotional intelligence is a powerful means of communication between a pianist-accompanist and a soloist. Understanding the mechanisms of such psychological activity and their implementation in the creative process is an essential condition for the professional literacy of the accompanist. The research methodology. The main tool in the research is the method of analytical observation, which is based on the comparison of stationary and variable data. The fixed data are a piece of music and a pianist e. g. violin sonata by C. Franck and M. Argerich. The variables are different soloists, musical instruments, years of performance, and the presence of the audience. The scientific novelty of the research. The article considers 15 performing versions of the sonata. The analysis of interpretations focuses on two semantic planes: general parameters of the work and strategic places in the sonata. The general parameters are the tempos of the sonata’s parts, the integrity of the work from the point of view of the thorough development, the distribution of roles in the ensemble, and the degree of contact between the accompanist and the soloist. The strategic points of the sonata include piano entrances and losses, culminations, leitmotifs (the degree of flexibility of the intonation in relation to the soloist’s presentation), and some pianistically and ensemble difficult places. Conclusions. The interpretations are classified by the degree of inclusion of the accompanist in the artistic process. Depending on the strictness of following the author’s text and the intensity of the soloist's individuality, 3 types are distinguished: classical (the lowest degree of inclusion of emotional intelligence), romantic (the average degree of activity), and expressionist (the highest activity of emotional intelligence).