Análisis comparativo de criterios interpretativos en Papillons, op. 2 de R. Schumann: un estudio de los pianistas Vladimir Ashkenazy y Tiffany Poon

Abstract

This degree project, presented as a Monograph, offers a comparative analysis of Robert Schumann’s piano work, Papillons, Op. 2 (1810–1856). The study begins by establishing the composer’s historical and formative context, examining his early training, the pedagogical influence of Friedrich Wieck, and the relevance of the transition from the fortepiano to the modern piano during Early Romanticism (Chapter 1). Building upon this contextual framework, the core methodology is developed: a comparative analysis applied to the twelve miniatures of Papillons, Op. 2. A detailed study, supported by score and audio, reviews criteria such as accentuation, dynamics, articulation, and primarily, the musical phrasing employed by two contrasting contemporary pianists: Vladimir Ashkenazy and Tiffany Poon. The obtained evidence is systematically presented through comparative tables and diagrams (Chapter 2). Finally, Chapter 3 discusses these findings to characterize Poon’s and Ashkenazy’s individual styles. While the study does not aim to determine a single "most accurate" version, the comparison highlights that each pianist approaches the cycle from a unique aesthetic, translating Schumann’s poetic language through specific technical and expressive decisions. This approach enhances active listening and the development of self-defined criteria in piano performance, contributing to a profound understanding of the work.