Genre metamorphoses of Burlesque in the performance interpretation of the 20th century piano music
Abstract
The article examines the genre metamorphoses of burlesque in the context of the 20th century piano music with a particular focus on performance interpretation. Burlesque is analyzed as a genre-stylistic principle based on the paradoxical combination of comic and serious, high and low elements. The study traces the evolution of burlesque from its literary origins to musical art and reveals the distinctive features of its embodiment in the works of composers of the first and second halves of the twentieth century, including Max Reger, Gustav Mahler, Béla Bartók, Alfredo Casella, and Dmitri Shostakovich. Special attention is given to the piano cycle Six Burlesques (1958) by Sergei Slonimsky, in which burlesque functions as a universal mode of artistic thinking. The article emphasizes the role of the performer as an active co-creator of meaning, highlighting the importance of texture, articulation, dynamics, and timbre in revealing the multi-layered imagery of the cycle.
About the Author
E. M. Andrianova
Saint Petersburg University of Culture; Rimsky-Korsakov St. Petersburg State Conservatory
Russian Federation
Russian Federation
Andrianova E. M. ‒ Senior Lecturer of the Department of of Musicology and Musical Applied; assistant
1, Millionnaya St., Saint Petersburg, 191186,
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Review
For citations:
Andrianova E.M. Genre metamorphoses of Burlesque in the performance interpretation of the 20th century piano music. Bulletin of Vaganova Ballet Academy. 2026;(2):110-127. (In Russ.)
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