PERFORMING WORKS BY STANISLAV LIUDKEVYCH FOR PIANO DUET

Authors

DOI:

https://doi.org/10.32782/2224-0926-2023-3-4-46-47-2

Keywords:

S. Liudkevych, piano duet, works for piano 4 hands, interpretation, stylistic features

Abstract

Little research has been undertaken so far to study S. Liudkevych’s works for piano duet. Some of the works of this genre still remain unpublished, in particular two works called “Chabarashki”. The purpose of this paper is to examine the performance problems of interpreting S. Liudkevych’s works for piano 4 hands with the focus on the composer’s style. The article analyses the worldview of the composer from the perspective of piano duet work. The composer’s tendency to symphonize the musical canvas, to create a myth while preserving the national features of the musical language, and his desire to unite the eternal ideals of beauty, goodness and harmony have been traced. The stylistic features of the composer in terms of thematism, figurative drama, themes of struggle, triumph and victory have been summarized. The present study examines the composer’s works for piano 4 hands written for students with a didactic purpose: “Shvachka-marsh”, Sichovyi March “Oy ishly nashi slavni zaporozhtsi” (Oh, our glorious Zaporozhians were coming), “Chabarashka № 3”. The paper also explores large canvases written in the piano duet genre: the march “Under the Walls of Jericho”, “Chabarashka № 2”, “Melancholy Waltz”. It addresses the questions of the form of each of the works and their figurative content, describes the performance difficulties, provides methodical recommendations for the development and interpretation of each of them. Approbation in concert programs of all works for piano 4 hands by the author of this article as a member of the Dovhan & Zubko Piano Duo confirms that the manuscripts of works for piano duet found in the composer’s archive, as well as the piano-duet legacy of Liudkevych in general, can positively take place in the repertoires of performers and concert institutions. The recommendations given in the article are the result of the researcher’s own pianistic and performing practice, and can serve as a guideline for studying S. Liudkevych’s works for piano 4 hands by students, teachers and professional piano duets.

References

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Published

2023-12-14