PICTORIAL AND COLORISTIC ELEMENTS OF VASYL BARVINSKY’S PIANO STYLE

Abstract

The purpose of this article is to identify the individual features of the coloristic means’ interpretation in piano music by Vasil Barvinsky. Methodological basis for elucidating the individual style of the composer in the piano genres comprises theoretical, analytical, compa-rative research methods. Scientific novelty lies in the identification of signs of V. Barvinsky’s synesthetic thinking, based on the tendency to embody the pictorial-colorific elements in the musical language of his piano works. Conclusions. The synesthetic nature of V. Barvinsky’s creative talent manifested itself in some features of the individual composer style of his piano music: in the extraordinarily refined color scheme of the sound, in spatial effects, and originality of sound effect techniques. The research and analysis of the selected samples – the Prelude in b moll, the cycle “Love”, “The Waltz of the Toads” reveals the adaptation and personal inter-pretation of the foundations of impressionism, symbolism and secession of the Western European style along with the embodiment of the artist’s national lead of the musical thought. The unity of the Barvinsky’s composer and pianistic manner, the connection of his aesthetic preferences, worldview with the psychological personality traits are confirmed.