COMPARATIVE ANALYSIS OF THE INTERPRETATION OF I. STRAVINSKY'S VIOLIN CONCERTO : PERFORMANCE MODELS OF D. OISTRAKH AND A.-S. MUTTER

Abstract

The article examines the interpretive specificity of I. Stravinsky's Violin Concerto in D (1931) as performed by
representatives of different performance schools – David Oistrakh and Anne-Sophie Mutter. The historical prerequisites for
the work's creation, its structural-compositional features, and neoclassical stylistics are analyzed. The comparative analysis of
performance versions reveals fundamental differences in the treatment of the concerto's dramaturgy, articulatory approaches,
timbral-dynamic solutions, and overall aesthetic conception. It is established that D. Oistrakh's interpretation is characterized
by expressive intensity, powerful sonority, and natural revelation of folkloric elements, while A.-S. Mutter's performance is
distinguished by refinement, technical perfection, and chamber-like intimacy. The research results reveal the evolution of
performance approaches to I. Stravinsky's neoclassical legacy throughout the 20 th–21 st centuries.