Semantic properties of fortepian concertoness as a style paradigm of composite and performance creativity S. Prokofiev (on the example of the second piano concert)

Семантичні властивості фортепіанної концертності як стильової парадигми композиторської і виконавської творчості С. Прокоф’єва (на прикладі Другого фортепіанного концерту).

Abstract

Objective. In the article, a comparative analysis of the performance interpretations of the Second Prokofiev Piano Concerto by the Chinese pianist Yu. Wang (nicknamed "flying fingers", which can be compared with Prokofiev's "magic flying fingers") and some Russian top-flight pianists. Stylistic parameters and stylistic devices characteristic for this concert are revealed, which create a psychologically complex system of mutually transforming images, individually understood by different interpreters. The methodology of the research consists in the application of historical, aesthetic, genre-style, musicological analytical and performing approaches. Important was the comparative method used to identify similarities and differences in performance interpretations. Scientific novelty is determined by the nomination of a fundamentally renewed analytical approach to Prokofiev's piano concertos, including on the part of their performing timbral and sound properties. The specifics of the creation of the semantic model of Prokofiev's piano concerts by Chinese pianists are specified, taking into account the aesthetic and intonational-speech approaches. Conclusions. The revealed characteristics of the performance interpretations of the Second Prokofiev Piano Concerto make it possible to determine the semantic properties of piano concertoness as a style paradigm of not only compositional but also performing art that is capable of receiving a tangible resonance when interacting with the settings of national pianistic schools, masterly actualized specific timbre-articulatory properties of piano sounding and aesthetic concept of Joy.
Keywords: genre of instrumental concert, piano concerto, semantic properties of piano concertoness, piano sound, concept of Joy, performance interpretation.