The article deals with the problem of performer dramaturgy in Romantic non-programme music. Originally Chopin’s Preludes were not devised as a certain set. However, later the author came to an integral conception by positioning the miniatures according to a strict fifth-third interval system. As the author made no theme notes, he therefore provided the performers of Op. 28 with freedom of co-creativity. By working on the question of the set’s architectonics, and of the inherent logic of the set, it is possible to provide the listener with a chain of images created by Chopin in their continuous internal life.
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