“Islamey” by M. A. Balakirev: Some Aspects of the Perception and Performance of a Masterpiece

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Authors

Rakhat Muratali

2nd year Master Degree Student, Piano Department

Kurmangazy Kazakh National Conservatory

Kazakhstan

Abstract

This article is devoted to the consideration of the oriental piano fantasy "Islamey" by the outstanding Russian composer of the second half of the XIX century M. A. Balakirev. The main attention is directed not only to the history of creation, but also to the picture of the spread of this masterpiece of Russian and European piano music, which has won prestigious concert stages in Russia, France, England, Germany, Spain, and the USA. The paper presents different opinions and assessments of this innovative work, belonging to the largest Russian and foreign composers, musicologists – P. Tchaikovsky, A. Borodin, G. Laroche, A. Famintsyn, F. List, G. Venyavsky. In addition, attention is focused on the interpretation of oriental fantasy by the outstanding contemporary pianist Vladimir Horowitz, whose performance is distinguished by its uniqueness and bold approach to the author's text. Revealing the composer's idea, emphasizing the freshness and originality of the sound of genuine folk themes quoted in the composition, brilliantly demonstrating the performance of the most complex virtuoso fragments, the pianist simultaneously makes individual adjustments and changes to the text, which, in our opinion, do not distort the artistic integrity and manner of Balakirev's writing. V. Horowitz creates an amazing example of reading a piano masterpiece, which is rightfully considered to be the fantasy of "Islamey", ahead of its time.

Keywords

Islamey
Balakirev
Horowitz
performing interpretation