In this research, the performance of Arthur Rubinstein, the Polish pianist, and Vladimir Samoylovich Horowitz, the Russian pianist, from the Fantasies Impromptu by Frédéric François Chopin (Op. 66) by was compared. As one of these pianists is trained in Russian School of Piano Playing and the other is trained in Poland – Chopin birthplace, comparing the performance of these two pianists plays an important role to comprehend this piece performing better. Problem expression, the importance of this research, the goals and the hypothesis are considered in introduction. Also, some points were mentioned about the Fantasies Impromptu opus 66. In chapter 1, we analyzed the way of playing piano by Horowitz, the features of Russian School of Piano Playing, and the viewpoint of the pianists trained in this School toward the music in Romantic Period especially the Chopin’s works. In chapter 2, we analyzed the way of playing piano by Arthur Rubinstein. Then, his viewpoint toward Chopin’s works was stated. We also considered the music in Europe to know well about these two pianists and their visions, based on their nationality. In chapter 3, we represented some records of the performance of these two pianists from Fantasies Impromptu opus 66. Next, we analyzed the version of Fantasies Impromptu published by Fontana and also, the manuscript by Chopin which was published by Arthur Rubinstein. This is because the difference of performing these two versions by Arthur Rubinstein is rather effective which is considered next. Thereafter, each parts of Fantasies Impromptu opus 66 was analyzed based on the performance techniques of these two pianists. At last, the conclusion was presented to answer the research questions and the goals. For example, there was a difference in performing the start and the ending part by these two pianists which was analyzed in this research. The research was done in descriptive – analytic method and the data were gathered by library method.
| Published in | American Journal of Art and Design (Volume 8, Issue 2) |
| DOI | 10.11648/j.ajad.20230802.16 |
| Page(s) | 52-64 |
| Creative Commons |
This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited. |
| Copyright |
Copyright © The Author(s), 2023. Published by Science Publishing Group |
Arthur Rubinstein, Vladimir Samoylovich Horowitz, Performance Technique, Fantasies Impromptu Opus 66, Frederic François Chopin
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| [4] | Burnike, Kamil/ Faramarz Najd Samii (1385) Chopin's life and works, Tehran, Khatun Publishing. |
| [5] | Master's thesis comparing the performance of Svetislav Richter and Vladimir Horowitz in Chopin Etude Opus 10 No. 3, Shabnam Shiroudi, Tehran University of Arts. |
| [6] | Ernst Oster, "The Fantaisie-Impromptu: A Tribute to Beethoven", in aspects of Schenkerian Analysis, David Beach, ed. Yale University Press, 1983. |
| [7] | Zur psychologir des Individums (Berlin, Fontana & co., 1892-1906). |
| [8] | Neuhaus, H (1994). The Art of Piano Playing (K. A. Leibovitch, Trans.). London: Kahn & Averil. |
| [9] | Gerig, R. R. (2007). Famous Pianists & Their Technique. Bloomington and Indianapolis: Indiana University Press. |
| [10] | Merson, Francis (2012-07-05). The 10 Greatest Pianists of All Time – Vladimir Horowitz. |
| [11] | Schonberg, H. (1987) The Music of Chopin. London: Routledge & Kegan Paul. |
| [12] | Time. Michael Walsh, The Greatest Pianist of All. July 21. 2008. Retrieved on June 3, 2009. |
| [13] | The 10 Greatest Pianists of All Classical Music, Limelight Magazine, 2014. |
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APA Style
Niloofar Badrikoohi, Mahdi Kazemi. (2023). A Comparative Study of the Performance of Rubinstein and Horowitz from Performance Technique in Chopin's Fantasy Impromptu Opus 66. American Journal of Art and Design, 8(2), 52-64. https://doi.org/10.11648/j.ajad.20230802.16
ACS Style
Niloofar Badrikoohi; Mahdi Kazemi. A Comparative Study of the Performance of Rubinstein and Horowitz from Performance Technique in Chopin's Fantasy Impromptu Opus 66. Am. J. Art Des. 2023, 8(2), 52-64. doi: 10.11648/j.ajad.20230802.16
AMA Style
Niloofar Badrikoohi, Mahdi Kazemi. A Comparative Study of the Performance of Rubinstein and Horowitz from Performance Technique in Chopin's Fantasy Impromptu Opus 66. Am J Art Des. 2023;8(2):52-64. doi: 10.11648/j.ajad.20230802.16
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Download@article{10.11648/j.ajad.20230802.16,
author = {Niloofar Badrikoohi and Mahdi Kazemi},
title = {A Comparative Study of the Performance of Rubinstein and Horowitz from Performance Technique in Chopin's Fantasy Impromptu Opus 66},
journal = {American Journal of Art and Design},
volume = {8},
number = {2},
pages = {52-64},
doi = {10.11648/j.ajad.20230802.16},
url = {https://doi.org/10.11648/j.ajad.20230802.16},
eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ajad.20230802.16},
abstract = {In this research, the performance of Arthur Rubinstein, the Polish pianist, and Vladimir Samoylovich Horowitz, the Russian pianist, from the Fantasies Impromptu by Frédéric François Chopin (Op. 66) by was compared. As one of these pianists is trained in Russian School of Piano Playing and the other is trained in Poland – Chopin birthplace, comparing the performance of these two pianists plays an important role to comprehend this piece performing better. Problem expression, the importance of this research, the goals and the hypothesis are considered in introduction. Also, some points were mentioned about the Fantasies Impromptu opus 66. In chapter 1, we analyzed the way of playing piano by Horowitz, the features of Russian School of Piano Playing, and the viewpoint of the pianists trained in this School toward the music in Romantic Period especially the Chopin’s works. In chapter 2, we analyzed the way of playing piano by Arthur Rubinstein. Then, his viewpoint toward Chopin’s works was stated. We also considered the music in Europe to know well about these two pianists and their visions, based on their nationality. In chapter 3, we represented some records of the performance of these two pianists from Fantasies Impromptu opus 66. Next, we analyzed the version of Fantasies Impromptu published by Fontana and also, the manuscript by Chopin which was published by Arthur Rubinstein. This is because the difference of performing these two versions by Arthur Rubinstein is rather effective which is considered next. Thereafter, each parts of Fantasies Impromptu opus 66 was analyzed based on the performance techniques of these two pianists. At last, the conclusion was presented to answer the research questions and the goals. For example, there was a difference in performing the start and the ending part by these two pianists which was analyzed in this research. The research was done in descriptive – analytic method and the data were gathered by library method.},
year = {2023}
}
TY - JOUR T1 - A Comparative Study of the Performance of Rubinstein and Horowitz from Performance Technique in Chopin's Fantasy Impromptu Opus 66 AU - Niloofar Badrikoohi AU - Mahdi Kazemi Y1 - 2023/06/09 PY - 2023 N1 - https://doi.org/10.11648/j.ajad.20230802.16 DO - 10.11648/j.ajad.20230802.16 T2 - American Journal of Art and Design JF - American Journal of Art and Design JO - American Journal of Art and Design SP - 52 EP - 64 PB - Science Publishing Group SN - 2578-7802 UR - https://doi.org/10.11648/j.ajad.20230802.16 AB - In this research, the performance of Arthur Rubinstein, the Polish pianist, and Vladimir Samoylovich Horowitz, the Russian pianist, from the Fantasies Impromptu by Frédéric François Chopin (Op. 66) by was compared. As one of these pianists is trained in Russian School of Piano Playing and the other is trained in Poland – Chopin birthplace, comparing the performance of these two pianists plays an important role to comprehend this piece performing better. Problem expression, the importance of this research, the goals and the hypothesis are considered in introduction. Also, some points were mentioned about the Fantasies Impromptu opus 66. In chapter 1, we analyzed the way of playing piano by Horowitz, the features of Russian School of Piano Playing, and the viewpoint of the pianists trained in this School toward the music in Romantic Period especially the Chopin’s works. In chapter 2, we analyzed the way of playing piano by Arthur Rubinstein. Then, his viewpoint toward Chopin’s works was stated. We also considered the music in Europe to know well about these two pianists and their visions, based on their nationality. In chapter 3, we represented some records of the performance of these two pianists from Fantasies Impromptu opus 66. Next, we analyzed the version of Fantasies Impromptu published by Fontana and also, the manuscript by Chopin which was published by Arthur Rubinstein. This is because the difference of performing these two versions by Arthur Rubinstein is rather effective which is considered next. Thereafter, each parts of Fantasies Impromptu opus 66 was analyzed based on the performance techniques of these two pianists. At last, the conclusion was presented to answer the research questions and the goals. For example, there was a difference in performing the start and the ending part by these two pianists which was analyzed in this research. The research was done in descriptive – analytic method and the data were gathered by library method. VL - 8 IS - 2 ER -
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