THE PIANO WORKS OF LUDMYLA YURINA: GENRE, STYLE AND PERFORMANCE DIMENSIONS

Abstract

The purpose of the work to identify genre, style and performance features of L. Yurina’s piano works. The methodology of the study is based on comparative guidelines and based of the principles of cultural, hermeneutical, performance, genre and style approach.The scientific novelty of the work lies in determining the specifics of piano works “Riturnelles”, “Glass-elegy”, “Shadows and Ghosts” and “Angel of the White Day” by L. Yurina, which are not yet mastered in the modern musicological discourse.The article substantiates the orientation of L. Yurina’s piano works towards testing new semantic and expressive horizons of piano art and representing the integrational dimension of metamodern multiculturalism. It is shown that in “Riturnelles” and “Glass-elegy” this is manifested in the context of the homage tradition, respectively, in appeals to Baroque musical thinking, the romantic cycle of piano miniatures, serial technique, and minimalist and impressionist modification of the elegy, as well as in the emancipation of sound as a carrier of meaning. The specificity of the genre, style and expressive horizons of the works if the performance dimension determines the need to form an emotionally filled, existential space of performance reflection, to create a meaningful mental connection between discrete constructions and a continuous perceptual connect. It has been found that the historical and cultural synthesis in the “genre-neutral work “Shadow and Hosts” is determined by a combination of allusions to Baroque contrast, marked of sacred and secular traditions, appeals to the concept of the romantic circle, and positioning the work as open one. The testing of extreme means of expression in the work at the performance level involves the activation of performance plasticity and the mastery of “advanced” techniques. The miniature “Angel of the White Day” demonstrated the modulation of piano art into the sacred conceptual realm. As signs of the highest spiritual values, the allusions of bell-lіke sounds in the work appear in the context of historical and stylistic synthesis – a combination of minimalism and impressionism. The performance dimensions of the work demonstrate the importance of introspective reflection aimed at intensifying the comprehension of the eternal relevance of spirituality.