Strelchenko's goal is to investigate different piano traditions of early 1800s, and to find out how the development of technique 1800s interacted with, - and probably influenced - musical language (or style), in light of the evolution of piano mechanics.
The project is based on the analysis of the pianistic principals employed by a number of performer-composers in the early 1800s, who used technical elements both methodically (as exercises collections and/or method books) and artistically (as elements of compositions and/or performance). They absorbed the predominant technical traditions of the previous stylistic period, and at the same time anticipating the next one, thereby creating a style that has been a binding link between two stylistic epochs (Classicism and High Romanticism).
Additional attention has been paid to the influence of European piano tradition on the development of Norwegian keyboard tradition, centred around main presenters of Style brillante in Norway: German-Danish (Norwegian) performer-composer Friedrich Kuhlau (1786-1832), Liszt’s pupil Agathe Backer Grøndahl (1847-1907), and Chopin’s pupil Thomas Tellefsen (1823-1874).
Documentation
Full title: Style Brilliante. Piano technique in Performance Practice of early 19th century.
Artistic Result
Natalia Strelchenko held a concert recital 21 January 2011 at NMH. Program:
- Jan Nepomuk Hummel: Rondo Ess-dur op 11
- Friedrich Kuhlau: La clochette, Rondeau brillante pour le pianoforte sur un motif favorit d’un concerto de Paganini
- Friedrich Wilhelm Kalkbrenner: Le Fou, Scene Dramatique pour piano et chiroplaste machine
- Sigismond Thalberg: Grande Fantasie sur Godsave the Queen
- Thomas Tellefsen: Adagio pour piano et violin
- Thomas Tellefsen: Quatre Mazurkas
- Franz Liszt: Ricordanza fra Etude d’execution Transcendante
- Frédéric Chopin: Konsert nr 1 in e-minor
Strelchenko has also recorded Thomas Tellefsen's complete piano works.
Written documentation
Strelchenko's critical reflection is available in NMHs digitale vitenarkiv Brage.
