Year 2020 constitutes an incredibly significant landmark in the classical music history as it is the year celebrating 250 years since the composer Ludwig van Beethoven was born. The “32 Variations on an Original Theme in C minor” are deemed to be some of the most brilliant pianistic works marking the second period of Beethoven creation. The interpretative visions of Daniel Barenboim and Evgeny Kissin are equally interesting, the two great pianists putting their personality, sensitivity, and culture mark. All these elements confer upon the piece “32 Variations on an Original Theme in C minor” particular expressive valences highlighting Beethoven’s creative genius.
The choice of valuable interpretative versions is highly important for both pianists on their way to performance and teachers in their complex activity of piano training. These become real models of esthetical thinking and artistic inspiration in the approach of a musical work. We shall use Sonata in D minor D 958 by Franz Schubert as an interpretative analysis model in the view of the pianists Alfred Brendel and Murray Perahia.
In the complex road of deciphering and understanding a musical work, an important step for the pianist (performer or professor) is represented by the choice of reference interpretations according to some famous musicians. Elisabeth Leonskaya and Paul Badura - Skoda are among the most distinguished representatives of the contemporary school of piano.
The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
In order to be able to reveal the constructive value and expressive force of Schubert’s piano sonatas, one needs first of all a good edition that rends as precisely as possible the author’s original text, as well the pianist’s skill to bring score to life, therefore managing to transpose in his interpretation the composer’s creative intentions, that are set by using the musical notation. We wish to highlight below some aspects of Schubert’s musical notation regarding dynamics and sonority, sound emitting manners (legato and staccato) and pedalling.
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