Abstract
The purpose of the article is to investigate in the piano work of the Ukrainian composer S.Yarunsky in his four symphonies for piano, a new type of figurative content and innovative means of musical expression. Methodology. The method of complex analysis is applied: the figurative content and musical form of four “symphonies” for piano are analyzed and their stylistic features are revealed. The scientific novelty lies in the fact that for the first time in Ukrainian musicology, the Four Symphonies for Piano by S.Yarunsky have been analyzed in detail and conclusions have been drawn based on this analysis. Conclusions. Four “symphonies” for piano by S.Yarunsky in Ukrainian music of the 1990s were indeed a new and important word. At that time, the composer formed his position regarding this genre: the use of the term “symphony” is associated with the author's desire to expand the timbre palette of the instrument, to orchestral multi-timbre thinking. S.Yarunsky is constantly looking for new themes and subjects, including those related to the era of pre-Christian Russia. The artist significantly expands the scope of the maticism to create specific images, looking for new means of musical expression and compositional schemes. A little time has passed since the appearance of S.Yarunsky's “symphonies”, but they managed to enter the creative process of modern Ukrainian music and performing practice.
Highlights
Evolution of musical means in piano "symphonies" by S.Yarunsky The purpose of the article is to investigate in the piano work of the Ukrainian composer S.Yarunsky in his four symphonies for piano, a new type of figurative content and innovative means of musical expression
The scientific novelty lies in the fact that for the first time in Ukrainian musicology, the Four Symphonies for Piano by S.Yarunsky have been analyzed in detail and conclusions have been drawn based on this analysis
The artist significantly expands the scope of the maticism to create specific images, looking for new means of musical expression and compositional schemes
Summary
Назвав твори для фортепіано «симфоніями», а не сонатами? «симфонії» (а їх на сьогодні чотири) одночастинні? І по-третє, чому на перший план композитор висунув деякі неосновні засоби музичної виразності, а основні (мелодія, гармонія, метроритміка та деякі інші) стали менш використовуваними? «симфонії» (а їх на сьогодні чотири) одночастинні? І по-третє, чому на перший план композитор висунув деякі неосновні засоби музичної виразності, а основні (мелодія, гармонія, метроритміка та деякі інші) стали менш використовуваними?
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