Music and Time Annotation << Back Techniques for Embodying the Figurative Content of K. Debussy’s Preludes in the Interpretation of the Azerbaijani Pianist G. Annagiyeva L.F. Gurbanova The present research is devoted to the study of the methods of embodying the figurative content of K. Debussy’s preludes in the interpretation of the Azerbaijani pianist Gulshan Annagiyeva. In Annagiyeva’s interpretation of K. Debussy’s four preludes, the main features should be considered the performer’s very subtle and painstaking work in the field of sound dynamics, strokes, as well as the sound palette. In the first two components, the pianist strictly follows the instructions of the author. When choosing the color of the sound, Annagiyeva relies entirely on her own understanding of this issue, based on the artistic image of the composition and the tasks that the embodying of this image poses to the performer. The musician pays great attention to the differentiated presentation of each of the voices of the multi-component texture that forms the basis of many of K. Debussy’s preludes, finding for each line of development its own color and its own dynamic appearance. As a result, the main task of the performer is the visible embodying of the main artistic image of the work, and each of the means and techniques that the pianist uses serve to solve this problem. Keywords: interpretation, impressionism, artistic image, performing techniques, Debussy’s preludes. DOI: 10.25791/music.7.2023.1231 Pp. 11-14.