VIKTOR KOSENKO’S FIRST PIANO SONATA: PERFORMANCE-INTERPRETATION ASPECT

Abstract

Viktor Kosenko’s piano sonatas, belonging to the highest achievements of modern Ukrainian piano music of the first third of the 20th century, are not performed often. Only a hundred years after their creation did their “performance renaissance” begin. The interpretative complexity of Piano Sonata No. 1 inspires the need for scientific understanding of a fundamentally important question: How is a musical work recognized by a pianist-performer and how does an interpretative version-interpretation corresponding to the composer’s text arise in the process of his own performance? Considering that the pianist-performer’s sphere of attention includes not only the stable musical text recorded in the notes by the composer, but also the interpretative versions created by the performers – mobile variants of various performing “readings”, understanding the sources of the formation of the creative worldview, as well as the general musical and individual style dominants in the piano art of Viktor Kosenko – a composer and an outstanding pianist – is important.The purpose of the investigation is to analyze the performance-interpretation model of the Piano Sonata No. 1, op. 13 by V. Kosenko in the context of hermeneutic and heuristic approaches.The practical significance of the investigation lies in the study of the phenomenology of the performance interpretation of V. Kosenko’s sonatas. From this point of view, it is important to understand the sources of the formation of a creative worldview, general musical and individual style dominants, evolutionary processes of the sonata genre in Ukrainian music of the first third of the 20th century in general and in the work of V. Kosenko in particular.