RETROSPECTIVE OF THE FORMATION OF THE PERFORMING TRADITION OF N. NYZHANKIVSKYI’S PIANO WORKS DURING THE COMPOSER’S LIFETIME

Abstract

The piano compositions of Nestor Nyzhankivskyi can now be considered successfully entrenched in the performing tradition, despite the prolonged silences imposed during the Soviet era. His compositions for piano have since taken root in both contemporary Ukrainian pedagogical practice and concert practice. The miniature pieces collected in his Piano Works for Youth have found a secure place in educational curricula, with selections such as “Intermezzo”, “Waltz”, and “Kolomyyka” frequently performed. The “Prelude and Fugue” and “Small Suite”, demanding greater interpretive maturity, are somewhat less commonly heard. In exploring N. Nyzhankivskyi’s piano works, an intriguing and essential task emerges: to reconstruct a retrospective of the formation of the performing tradition of his piano works during his own lifetime. This includes his personal readings, a roster of pianists who premiered his works, the pieces that formed their core repertoire, dedications, concert tours, radio broadcasts, and the programs of performers in exile, alongside the recordings they made. Such an investigation reveals the reception of the composer’s works among his contemporaneous audiences and provides insight into the interpretative approaches of some of Ukraine’s most esteemed pianists. The composer himself frequently assumed the role of premiere performer and interpreter of his own works. A hand injury led him to focus predominantly on his role as an accompanist, yet he occasionally performed as a soloist, presenting works such as “Memory”, “Fantasy”, “Kolomyyka” and “Prelude and Fugue on a Folk Theme”.During his lifetime, Nestor Nyzhankivskyi’s piano works were interpreted by prominent representatives of Ukrainian pianists (Lyubka Kolessa, Roman Savytskyi, Halya Levitska, Dariya Gordynska-Karanowych). Through these pianists, his music became well-known in the Ukrainian community of Lviv and diaspora centers. His compositions were broadcast on the radio and served as valuable pedagogical material for aspiring pianists. The press coverage and scientific research from that era, both regarding specific concert events and those dedicated directly to the composer himself, allow for a vivid picture of the public’s response to his music. This body of work attests to the prestige and international competitiveness of his compositions, underscoring the recognition of the artistic and pianistic excellence inherent in his works. It testifies to the established performing tradition, forcibly interrupted in Soviet times.