Résumés
Abstract
After a brief introduction to the field of empirical performance studies and its goals and methods, recordings of the titular work by pianists Harold Bauer, Glenn Gould, and Angela Hewitt are discussed. It is suggested that these recordings demonstrate three distinct performance strategies for the piece: Bauer highlights the boundaries of each phrase and projects a teleological design within each phrase and at the level of the entire piece; Gould conveys an arch-shaped design tied to harmonic tension; and Hewitt draws attention not only to the three structural cadences (mm. 7, 15, and 22) but also to a subsidiary V-I motion at m. 11, thereby hinting that it might have structural importance. Parallels between these performance strategies and analyses by Howard Cinnamon, Steve Larson, and Roy Travis are briefly considered. The emphasis on multiplicity in this study distinguishes it from most earlier scholarship on structure and performance.
Résumé
Après une brève introduction au domaine des études d’interprétation empirique et à ses objectifs, l’auteur traite d’enregistrements de l’oeuvre mentionnée dans le titre par les pianistes Harold Bauer, Glenn Gould et Angela Hewitt. Il soutient que ces enregistrements témoignent de trois stratégies d’interprétation distinctes de l’oeuvre : Bauer fait ressortir les limites de chaque phrase et projette une conception téléologique au sein de celle-ci et à l’échelle de l’oeuvre dans son ensemble, Gould adopte une conception en forme d’arche liée à la tension harmonique, tandis que Hewitt attire l’attention non seulement sur les trois cadences structurelles (aux 7e, 15e et 22e measure), mais aussi à un mouvement subsidiaire V–I à la 11 measure, faisant ainsi allusion à son importance structurelle possible. L’auteur établit brièvement des parallèles entre ces stratégies d’interprétation et des analyses de Howard Cinnamon, de Steve Larson et de Roy Travis. L’accent sur la multiplicité distingue la présente étude de la plupart des ouvrages précédents sur la structure et l’interprétation.
Parties annexes
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