PIANO CYCLE “TWO DIALOGUES WITH POSTSCRIPT” BY VALENTYN SYLVESTROV IN THE PERFORMING DIMENSION

Abstract

The article examines the piano creativity of the Shevchenko Prize laureate, People’s Artist of Ukraine Valentyn Sylvestrov (*1937) on the example of the analysis of the cycle “Two dialogues with postscript” (2002). The composer’s appeal to the piano throughout his creative career is noted. The existence of a quantitative and multi-genre piano creativity of the artist has been underlined. Exceptionally detailed graphic fixation of the music text of the works is emphasized. It has been confirmed that V. Sylvestrov belongs to the cohort of the most iconic Ukrainian composers of our time. It is emphasized that at the current stage, his creative work, in particular, the piano, enjoys significant performing interest and listening demand not only on a national, but also on a global scale. It is noted that the piano cycle “Two dialogues with postscript” by V. Sylvestrov serves as a vivid illustration of his compositional handwriting, performance and stylistic guidelines. It is emphasized that in the three parts of the cycle, there are allusions to the F. Schubert’s creativity (Part I, “Wedding waltz”), R. Wagner’s operas (Part II, “Postlude”), peculiar sonoristic effects (Part III, “Postscript (Morning serenade)”). It is underlined the careful marking of agogic and dynamic nuances. It is noted that, in addition to the piano version, the version of this cycle for piano and string orchestra is very popular. The list of well-known performers of this cycle is given, including Oleh Bezborodko, Yuliia Starodub, Jenny Lin, Hélène Grimaud, Alexey Lyubimov, Yuri Polubielov and others. Comparing the number of recordings of the cycle on the YouTube, it was found that the recordings of Y. Polubielov (solo version) and H. Grimaud with the “Camerata Salzburg” orchestra are the most popular.