Abstract
The article is devoted to the peculiarities of O. K. Eiges’ style on the example of piano sonatas. The work reveals the origins of the composer’s work – the influence of K. R. Eiges and the Russian piano school, first of all A. N. Scriabin, N. K. Medtner and S. S. Prokofiev; internship in Europe and the impact of European culture; peculiarities of folklore implementation. Attention is paid to the commonality of aesthetic positions and artistic principles of O. K. Eiges and N. K. Medtner. It is noted that the originality of Eiges’ artistic style lies in relying on the traditions of the masters of the past and the modern composer’s language. The author examines such features of his “handwriting” as the originality of the figurative sphere and drama, symphonicity, polyphony, continuous development, high concentration of thematism and genre themes, block structure of the form, the form of the “second plan”, thematic “arches”, the specifics of the organization of sections of the form, features of the harmonic language, textures, bell-ringing, virtuosity, graphicity, phonocoloristic effects. The issue of “stylistic dialogue” with Prokofiev is touched upon in some works. The article highlights Eiges’ performing style as a guideline for mastering his sonatas. The question of the value of the composer’s legacy in the aspect of educational and pedagogical work is raised.
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