THE PIANO’S SOUND-IMAGE IN THE WORKS BY O. SHCHETYNSKY

Abstract

As one of the components of artistic reflection, the piano work of O. Shchetynskyi appears – a large-scale space for synthesizing the experience of musical art in synchrony and diachrony, creating a new sonorous reality. Its basis at the micro level is emancipated sound, at the macro level – the focus on establishing the meta-genre, meta-style and meta-language of musical art. The resonance of the artist’s piano work at the level of perception and the activity of «entering» the works of O. Shchetynskyi into the horizon of modern piano performance, however, are dissonant with the level of mastery of the artist’s piano works at the level of scientific reflection, which determines the relevance of the article. The purpose of the article is to determinate the leading trends in the representation of the piano sound-image in the works by O. Shchetynsky. Methodology. Achieving the goal involves methodological reliance on comparative guidelines that combine the principles of cultural and performance approaches, genre and style analysis. The scientific novelty of the article lies in identifying and substantiating the leading directions of conceptual, style and genre modification of genre models of piano works by O. Shchetynsky. Conclusions. The piano works by O. Shchetynsky are presented in the article as a reflection of modern tendencies to reformat the sound space and create a new sonological concept of reality, appearing as one of the modes of transformation of the piano sound-image. It has been found that at the genre level, the sound-image of the piano in the artist’s work tends to individualized interpretations of genre models of the academic tradition, in particular those with relatively fixed compositional, structural and conceptual parameters. It is substantiated that the conceptual dimensions of the instrument’s sound-image in O. Shchetynsky works are associated with the priority of philosophical issues and sacred imagery, expressed in the program titles and represented both by avoiding the orientation towards genre models of sacred tradition and in their reproduction in diffusion with genres of the secular tradition, etc. It has been found that the intonational level of the artist’s piano work demonstrates the expansion of the piano sound-image by modern transformations of sings of the artistic experience of the past through the prism of modern musical thinking and speech, as well as the instrumentalization of the vocal principle, the emancipation of dissonance and sound, and the positioning of the vertical as a semantically independent sonorous complex. It os shown that the sound-image of the piano in the works by O. Shchetynsky does not involve the use of extreme means of expression and appears as a concentrated embodiment if the thesaurus of musical art in its diachrony and synchrony, in historical and cultural integrity, as a carrier of metametxual intensions of the modern era. The significance of actualization of «implicit sound» in the dimensions of the piano sound-image, emancipation of the pause, aesthetic parameters of «new simplicity», drama of static and artistic communication as an existential unity of the performer and the listener is emphasized. It had been found that the verbal dimensions of the composer’s piano works expand the perceptual horizons of instrument’s sound-image and serve to establish its intertextual representation.