| Abstract [eng] |
The author of this Master Thesis analyses the stylistic peculiarities and interpretative features of M. Ravel’s piano suite “Le tombeau de Couperin”. In general, the unique musical language of the composer is made of two quite opposing musical movements of the XX century – Impressionism and Neoclassicism. The colors of impressionistic style are exposed in the harmony, while the neoclassical features are noticeable in the use of forms, structure and technical approach. Piano suite “Le tombeau de Couperin” is one of the best examples of polystylism in Ravel’s works. The piece is written in 6 movements and is based on the principles of a dance suite from the Baroque period. However, it is constructed based on the modern and unique harmony used by the composer. Such polystylistic aspect often poses a challenge and is the main object of heated debates on the interpretation of the piece. Therefore, academically it is valuable to analyse the piece through performances of various pianists. The author focuses on 3 different interpretative versions performed by S. François, G. Mok and G. Sokolov. |
