Open AccessПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ
Author(s) -
Инна Хатипова,
театра и изобразительных искусств Академия музыки
Publication year - 2020
Publication title -
pedagogìčnì nauki: teorìâ, ìstorìâ, ìnnovacìjnì tehnologìï
Language(s) - English
Resource type - Journals
eISSN - 2414-9799
pISSN - 2312-5993
DOI - 10.24139/2312-5993/2020.05-06/281-292
Subject(s) - romanian , piano , art , period (music) , character (mathematics) , musical , literature , consonance and dissonance , performing arts , drama , ukrainian , visual arts , art history , humanities , history , linguistics , aesthetics , philosophy , physics , geometry , mathematics , acoustics
In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.