Escuelas rusa y francesa de interpretación pianística. Análisis comparativo entre dos interpretaciones de la sonata "Pastoral" de Ludwig van Beethoven

Abstract

The piano art has maintained a constant development during the last two centuries and its study has involved theoretical, interpretative and pedagogical aspects applied to the practice of the instrument. This has allowed pianism to become a field of interest for musicologists, pedagogues and performers of the instrument, who have approached the study of the elementary notions of piano performance, from the creation of treatises and methods to promote the mastery of the interpretative practice and, as a result, the formation of piano schools that systematize and support the interpretative criteria coming from the practice of piano teaching. This paper deals with the historical events that led to the emergence and development of piano performance schools in Europe. Subsequently, the Russian and French piano schools are studied, where their origin, historical development and most relevant exponents are contextualized, as well as the technical and interpretative resources that characterize them. Finally, an analysis is made of the interpretations of pianists Valery Afanassiev and François-Frédéric Guy, from the Russian and French schools of piano performance, and their performances of the Sonata in D major, Op. 28, No. 15 "Pastoral" by the composer Ludwig van Beethoven are compared, with the purpose of making visible in what way the ideologies proposed by these schools are present in their interpretations of this work.