Nocturne by M. Glinka for piano or harp and its cultural and autobiographical meanings
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Keywords

Glinka's nocturne, romantic figurativeness, nocturnal imagery, piano performance, harp performance

How to Cite

Timchenko-Byhun, I. (2018). Nocturne by M. Glinka for piano or harp and its cultural and autobiographical meanings. Kyiv Musicology, (57), 113-136. https://doi.org/10.33643/kmus.2018.57.10

Abstract

The article is devoted to the cultural-autobiographical meanings of the Nocturne Es-dur by M. Glinka (1828) for piano or harp originally oriented to two instruments. An analysis of the artistic motivation of such a compositional solution makes it possible to understand the significance of this early work in Glinka's pianism. Attention is concentrated on each of the three semantic markers of the title of the composition: nocturne (as a genre of pianism by Glinka) – harp and nocturne – pianoforte and nocturne. The significance of the nocturne genre in the pianism of Glinka, as well as the meanings associated with his harp and piano interpretations are considered. Perspective and retrospective review vectors are used-that is, the comprehension of the direction of compositional searches in the late 1920s, as well as the statement of the principles that were formed in this work and subsequently consolidated in Glinka's piano style.

https://doi.org/10.33643/kmus.2018.57.10
PDF (Русский)

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