INTERPRETATION OF THE WORKS OF ROMANTIC COMPOSERS: THE PROBLEM OF PEDALIZATION

The article is devoted to the issue of interpretation of musical works of the Romantic era and the problem of pedalization in revealing the artistic image through understanding the textural context. It is noted that the issue of pedalization is always relevant, since it performs an artistic function in the performance and interpretation process of a musician-pianist. The purpose of the article is to determine the role and peculiarity of pedalization in the embodiment of the artistic image in the process of interpreting the works of romantic composers. The purpose is realized by applying the methods of theoretical research: analysis, synthesis, systematization. The works of Ukrainian and foreign scientists on the understanding of the concept of “interpretation” are analyzed and the definition of the concept of “musical and performing interpretation” is given as the understanding of the author’s musical text and its interpretation through its cultural and spiritual understanding, which has the imprint of a subjective and objective attitude to the artistic image.The properties of the right and left pedals and their functions in reproducing the artistic and stylistic context of musical works are characterized. The role of pedalization and its connection with texture (transparent or saturated) in the works of classical, romantic, and impressionist composers is clarified. The peculiarity of the interpretation of pedalization, its designation in the piano works of F. Chopin, and the correspondence of artistic images, plot and portrait sketches of program music to the use of pedalization in the works of R. Schumann and F. Liszt are specified. It is proved that the pedal, as a unique property of the piano, is an artistic attribute of the pianist, and its acoustic function is an integral part of the performance process in comprehending the composer’s artistic intention. It is emphasized that for a pianist it is important to feel and understand the essence of romantic music, its harmonic and melodic construct, the diversity of the musical palette, the completeness of dynamic gradations, and to skillfully apply pedalization in revealing the found artistic image: to coordinate different gradations of pressing the pedal with a sensory response to changes in the strength of the sound under constant auditory control. In practice, pedalization requires careful thought in the process of working on the interpretation of a musical work; there should be nothing accidental or illogical in it, as in the entire process of performance; it is determined by the tasks of the figurative and artistic content of the work.