The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)

Abstract

The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making with elements of instrumental theater. The article outlines main parameters, notes the stylistic and timbre diversity of the work. The compositional methods and techniques used in the trio are considered, including sonorism, aleatory, pointillism, happening. The role of the prepared piano at sound color is established, and other sound, noise and stage effects in creation of a sound image of a composition. The significance of the latest sound formation principles laid down in the work, the urgency and influence of the author's innovations on modern chamber music are revealed. The proposed analysis should contribute to a fuller understanding of avant-garde trends and their manifestation in chamber music of the second half of the XXth century and a wider introduction of V. Silvestrov's works to the chamber and ensemble repertoire of modern performers.