WAYS OF FORMING PERFORMING STYLISTICS IN THE HISTORICAL DYNAMICS OF CHINESE PIANO ART

Abstract

The article is devoted to the understanding of the problems faced by the performer of the works of Chinese composers. The lack of performance analysis of such works complicates their understanding and full implementation on stage. The purpose of this study is to identify the universal mechanism of piano interpretation of program pieces by Chinese composers, which functions in the entire variety of author's styles. At the same time, the issue of performance stylistics of piano works by Chinese composers appears in all its problem complexity: from understanding the figurative sphere, issues of pianistic implementation to the stylistic authenticity of performance. The process of formation of performance style in the works laid down by composers during the development of piano art in China is considered. A key role in the formation of the performance style of Chinese pianists was played by the activities of luminaries musicians who demonstrated the universality of musical creativity. The creative-aesthetic and didactic principles acquired by these musicians in different schools affected the manner of their individual writing, which, in turn, influenced the performance style of their works. Specific performance formulas of playing, uncharacteristic for European art sound coloristic techniques on the piano require the pianist to be able to choose a fingering that provides pianistic comfort and contributes to actual intonation and construction of melodic lines. The constant updating of the musical language of many piano works by Chinese authors allows talking about the continuous process of evolution of the national performing style.