Abstract
The historic process of technical and aesthetical development around the pianism in Russia begins at the end of the XVIII century, and reaches its consolidation in the Soviet period after the Second World War. As much in this synopsis of Russian pianism, as in the analysis of the most important pianistic Russian schools in the twentieth century, the research reveals the ampleness of ideas about the pianistic interpretation, and the diversity of points of view in the resolution of technical problems in the Russian-Soviet pianism.
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Copyright (c) 2010 Neuma (Talca)