ORGANIZATION OF A NON-SPECIFIC PIANO TEXTURE IN SONATA № 3 FOR CELLO AND PIANO BY YEVHEN STANKOVYCH

Abstract

The complex of problems associated with new interpretations of the piano in the mid-twentieth century, the modernization of playing techniques on this instrument and the peculiarities of their performance in a chamber ensemble are examined. The main directions of searching for the latest performance techniques on this keyboard instrument, as well as their implementation in the work of Ukrainian composers, are characterized. It has been established that the modernization of the musical fabric in the piano art of the second half of the 20th century is distinguished by the search for new sound production techniques, the development of experimental, non-specific expressive methods, the introduction of the latest playing techniques, etc. It is outlined that the search for new means of expression was divided into two main directions – the radical one, where all structural parts of the grand piano were used, and additional devices of various complexity were introduced; and moderate, where the main task was to maximize the use of the keyboard without additional devices. Yevhen Stankovich’s Sonata No. 3 for cello and piano was analyzed, where the unique tendencies of renewing the image of the piano in the chamber ensemble were clearly manifested, the main formative factors were outlined, and the stylistic, timbral, and genre features of the work were noted. The main techniques and techniques used by the author in the piano part of the sonata, as well as the latest techniques of touch and musical notation, are considered. It has been proven that this work is an example of the search for the latest expressive means on the piano in chamber music, as well as an important stage of the avant-garde art of Ukraine in the second half of the 20th century. The role of non-traditional methods of sound production on the piano, their defining place in the coloristic filling of the piece, is established. The proposed analysis should contribute to a fuller understanding of the latest trends and their manifestation in chamber music of the second half of the 20th – beginning of the 21st century, a wider introduction of Yevhen Stankovych’s works to the chamber-ensemble repertoire of modern performers.