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Music and Time

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Analysis of the performing articulation of G. Garaev’s three preludes in the interpretation of F. Badalbeyli
N.L. Kengerli-Najafova

Articulation in the performing art of the distinguished Azerbaijani pianist Farhad Badalbeyli on the example of his performance G. Garaev’s three preludes: No. 19 (Es-dur), No. 20 (es-moll), No. 21 (B-dur) is considered in the article by N.L. Kengerli-Najafova. The author emphasizes that the performing articulation is conditioned, first, by the instructions in the notation text, the style of the musical work and, to a large extent, the mastery of his interpreter, his performing culture. The pianist maximally uses and enriches the basic methods of articulation. During the performance, he applies the strokes indicated in the note text with a very different degree of expression, subordinating them to the logic of musical and artistic perception. N. Kengerli-Najafova draws an analogy between musical strokes and punctuation marks in literary text. The author believes that the musical and performing process as "the quality of a meaningful pronunciation" (B.V. Asafiev) is not limited to the author’s articulation. According to the I. Braudo’s theory of articulation, editorial strokes are just a formula, the application of which is always a high art. The more solutions of this formula, the higher the skill of the performer, the deeper and more meaningful the process of performing interpretation. Each author’s or editorial text, varied by the performer, in accordance with his thesaurus and creative potential, determines the measure and quality of the indicated articulation.
Keywords: National artist of Azerbaijan F. Badalbeyli, G. Garayev preludes № 19, 20, 21, performing articulation.

Contacts: E-mail: nargiz_kengerli@mail.ru

Pp. 30-37.

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