VIKTOR KOSENKO’S SECOND AND THIRD PIANO SONATAS, PERFORMERS PERSPECTIVE

Abstract

The purpose of this research is to create a basis for a performance-interpretation model of V. Kosenko’s piano sonatas No. 2 and 3 in the context of hermeneutic and heuristic approaches. To form an interpretative analysis of V. Kosenko’s sonatas, the following research methods were used: historicalstylistic – to deduce the interrelationships of cultural processes of the early twentieth century and the features of musical thinking in the composer’s sonata genres; analytical – to study the structure and dramaturgy of the work; interpretological – to substantiate and build an optimal performance model from the standpoint of individual features of form formation and figurative-stylistic features. Scientific novelty: in the absence of a performance tradition regarding V. Kosenko’s sonatas, the formation for the pianist-performer of a clear awareness of the construction of form, methods of developing musical material, consistent adherence to style parameters, which are the foundation for building an optimal interpretative plan. Conclusions. Sonatas, like all chamber and instrumental music by Viktor Kosenko, are oriented towards the intellectually refined listener of small, chamber halls. The performer is faced with not only the complex artistic and technical task of accurately reproducing the composer’s text and creatively interpreting all the author’s instructions. Their style should be defined as modernist-art Nouveau, since it is characterized by freedom and interpenetration of forms, the maximum expansion of tonal and harmonic means while preserving local tonal centers, it is characterized by the rapid variability of bizarre imagery, emotional states, dynamic and register differences, improvisation is combined with detailed elaboration of details, in flexible interaction it contains saturation and laconicism, relief and background, decorativeness, ornamentation and the language of symbols, fatigue and flight, appeal and lyrics. Viktor Kosenko’s piano sonatas were performed for the first time in Ukraine in a concert by the author of the article on June 20, 2024 at the Lviv National Academy of Music named after M. V. Lysenko and caused an exalted reaction from the audience and high appreciation from specialists.