Page 128 - Weiss, Jernej, ur./ed. 2025. Glasbena interpretacija: med umetniškim in znanstvenim┊Music Interpretation: Between the Artistic and the Scientific. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 8

glasbena interpretacija ... | music interpretation ...
(central) part, almost in defiance of the peaceful and quiet mood (bar 174
pauses with the fermata) that will necessarily follow.
The harmony is rich, but not oversaturated – there is a chromatic se-
ries of seventh chords, secondary dominants (augmented chords) are used
extensively, as well as a combination of subdominant and dominant har-
mony. Radeglia uses modulations in related keys: from B major through D
minor, F sharp major, B minor, D major in the A part, and B minor, D ma-
jor, E minor, G major in the B part. Special requirements of a technical na-
ture when performing this piece are frequent jumps and extended hand po-
sitions, especially in places where a faster tempo or acceleration is required
(e.g., bars 75, 89–91 or 144–149). The widely placed chords in some bars give
the impression that Radeglia had big hands, which places special demands
on the performer (especially if they are younger or female). When perform-
ing, regardless of whether the performer is guided by the poetic idea of the
work, the interpretation of this composition must be very delicate, elegant,
a beautiful tone must be obtained on the gentle melodious parts, and the
repetitions are always enriched and must not be presented in the same way
as the first time which, no matter how precisely marked and textually ex-
plained. The piece is certainly susceptible to the subjective experience of
the performer.
Following the theme of this symposium “Musical Interpretation: Be-
tween the Artistic and the Scientific”, in the case of the interpretation of
Radeglia’s composition, and other compositions published in Art Publica-
tion Society editions, we could reflect on the relationship between the no-
tation (and the composer’s or editorial instructions) as objective elements
and expressive elements of the work’s sound system, which, although writ-
ten down more or less precisely, leave room for freedom of the perfor mer’s
interpretation and the final artistic transfer of the musical piece to the
audience.

Bibliography

Archival Sources
Birth register of the Church of St Peter and Paul, Istanbul, for 1863, page 131, entry
no. 94.
Radeglia, Vittorio. Ballade pour piano, op. 52, manuscript. Department for
History of Croatian Music, Zagreb, s.a.
Register of marriages of the Church of Sancta Maria Deperis, for 1893, page 154,
entry no. 345.

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