This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variational processes, in close connection with the specificity of the neoclassical language of the work, determine an atypical classification of the form of variations in the gender structure, which implies a resizing of the interpretative means by which the musical dramaturgy of the piece can be achieved. The comparison with the classic model of variations as a component of the sonata genre dedicated to the violin-piano duo, as it appears in the works of composers such as Mozart or Beethoven, as a method of analytical research, highlights the language aspects that condition the performer’s vision in the case of Lipatti’s Sonatina, such as character, tempo, metrics, the type of writing, elements of virtuosity or timbre, whose valences are distinct from those determined by a music discourse from the classical era. Understanding the correlation between the succession of movements and the composition of the variational plan constitutes a priority in approaching this work and shaping the desired artistic message; this is why the study attempts to highlight the necessary connection between the structural elements of the composition and those implicitly generated by them, namely the technical and expressive elements required by the interpretative act.
The 20th century is the period of time when the specificities of Romanian culture were identified and theoretically defined by notable authors such as Lucian Blaga (philosopher and poet) or Carmen Petra-Basacopol (musicologist and composer). The concept of “spatial horizon” or “Mioritic space” presented by Blaga in his well-known work The Trilogy of Culture affirms characteristics of Romanian spirituality and culture polished over time, and an author such as Carmen Petra-Basacopol shows us the manner in which these ethnic patterns are reflected in music. This research paper intends to establish to what extent the national ethos is present in the musician-performerʼs identity and which are the technical-expressive abilities that correspond to the elements defined by the above-mentioned authors. The investigation methods are based on the research of the musical chronicles, but also the comparative analysis of the recordings belonging to nationally and internationally recognized Romanian performers. The validation of these premises will start from the case of musicians such as George Enescu or Dinu Lipatti (composers and performers alike), but will also follow the qualities appreciated in contemporary artists; in the case of the latter I will try to find out how perceptible nationality is as an identity element to those who were born in Romania and are living here, those who were born in the country, but continued their activity abroad, as well as of those who were both born and are living outside Romania (coming from a family of Romanian descent). At the same time, the study will try to provide a perspective on the advantages and disadvantages ethnic background might have in composing the interpretative strategy and in the field of artistic recognition.