M. Glinka’s Piano Compositions Interpreted by Modern Pianists

The article examines the piano works of M. I. Glinka (1804–1857) in the context of the development of genres, styles and performance traditions. It is noted that the composer’s preference for dance genres (bolero, waltz, polka, mazurka, cotillion, counterdance, tarantella, etc.) and the genre of variations is due to the musical tastes of the society of his time, as well as to the influences of European musical culture, which Glinka specifically studied and knew well. Modern performers rarely turn to Glinka’s piano compositions. The only exceptions are a few popular pieces, which are usually learned during years of study. Meanwhile, the composer’s piano legacy is very impressive and consists of two volumes: for solo piano and for four hands. An attempt has been made to get an idea of the work of some modern musicians, students of the national school, now living in Russia and abroad, who are trying to revive interest in the composer’s piano legacy by performing his works in concerts and recording them on CD. The article analyses the interpretations by M. Kollontay and V. Stupel of The Brilliant Variations on a Donizetti Theme “Anne Boleyn” (CG 60), as well as the performance versions of the nocturne La Separation by M. Kollontay and V. Ryabchikov. Two multidirectional trends in the interpretation of Russian classical piano music can be identified, which differ in the degree of use of the expressive means available to the pianist — maximum and minimum — leading to completely different figurative and content solutions. These approaches, which are fundamentally opposite in aesthetic and artistic terms, prompt us to reflect once again on the possibilities of the performing musician as a creator capable of discovering new meanings of musical works.