The specifics of composer’s interpretation of the genre of prelude in Samuil Feinberg’s creativity

The aim of the article is to determine the specifics of the composer’s embodiment of the prelude genre in the works of S. Feinberg on the example of two cycles “Four preludes” op. 8 and “Three Preludes” op. 15. The methodology is based on an integrated approach and includes analytical, comparative, as well as structural-functional and genre-style methods. The results are based on the identification of features of the composer’s interpretation of the piano prelude genre in the works of S. Feinberg. Due to the current trend towards the discovery of rarely-performed music, there is a growing interest in the works of S. Feinberg, whose compositional heritage is still poorly known by a wide range of performers and scientists. Some of his works, which are of undoubted artistic value, remain out of the field of view of researchers. This remark is especially appropriate in relation to the genre of prelude in the artist’s legacy, which is represented by two cycles of “Four preludes” op. 8 and “Three Preludes” op. 15. Despite the fact that the composer addressed him in the early period of his work, the originality of the composer’s writing style is clearly manifested in this genre. In the context of the relationship between the compositional style of S. Feinberg and the Scriabin creative tradition, key points are identified that distinguish the manner of interpretation of this genre. It is noted that the originality of composer’s thinking is manifested at various levels of organization of a piece of music. Focusing on the Scriabin’s style of the second period of creativity, which manifests itself in laconic thematism and the absence of a pronounced сantilena, S. Feinberg reinterprets it in figurative, semantic and pianistic terms. The manner of musical utterance of S. Feinberg is marked by greater emotional tension and expression. The composer uses a richer texture, which presents a wide variety of types of small and large piano techniques, with the latter prevailing. It applies elements of polyphonic development. Thanks to this approach to the textured solution, the virtuoso component is even more pronounced in preludes. The scientific novelty of the results obtained lies in the fact that for the first time in Ukrainian musicology, an attempt was made to comprehend the features of the interpretation of the piano prelude genre in the works of S. Feinberg, as well as to trace the features of the creative reinterpretation of the Scriabin composer tradition in the early period of S. Feinberg’s work. The practical significance of the study lies in the possibility of using its results in higher educational institutions of art education when working on the works of S. Feinberg in the class of special piano, as well as to deepen ideas about the specifics of the composer’s style of this artist.