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Background. Viktor Syriatsky is a pianist, pedagogue, composer and scholar, a unique figure in the piano art of the second half of XX century. His talent as a pianist is incredibly multi-faceted, he brought up several generations of famous musician during 35 years, while working at Kharkiv I. P. Kotlyarevsky National University of Arts. The aim of the article is to reveal basic principles of the performing style of Viktor Syriatsky and essence of his artistic aspirations. The relevance of chosen facet of the research is caused by the fact that its results might be used in the work of performer on the interpretation of musical piece, and in practice of teaching, including such courses as history and methodology of performance art. Research methodology. In order to reveal the chosen theme, complex musicologically-analytical approach is used, which is founded on the works by such scholars as B. Asafev, S. Savshinskiy, S. Feynberg, Ya. Milshteyn, D. Rabinovich, N. Rastopchina, G. Neygauz, modern research – works by N. Drach (2006), I. Belonosova (2014), O. Fedorovich (2014) etc. These works allowed to regard performance style as an attribute of the personality of the performer himself, which might be dependent on his own physiological and psychological traits, from his mentality and worldview. Results for discussion. All his life V. Syriatsky consciously and unremittingly worked on his performer style. The play of the pianist draws attention from the very first sounds. His sound is full mellow, warm, resonant, equally noble even in mighty ff and in soft pp, always full and resonant. His sound is a tool, not the goal itself. The best sound is the one, the most fully. embodying artistic content. Mastership of V. Syriatsky is connected as well with rich usage of textural performer’s means and pedal. Understanding performance art as the one bearing artistic content, he regarded intonation to be the most important mean of musical expressiveness. Apart from performer’s intonation for him the was not truly valuable and significant recreation of the author’s idea. His play stood out apart from the play of other pianists by naturality of the performance: whatever he played, it became alive under his hands. The master was incredibly careful in his choosing of temporal organization in music such as tempo. He also underlined importance of the performer’s rubato. At the same time, the ideas of the composer were a law for him. Conclusion. In performance style of V. Syriatsky there was incredible calmness and sage of a man who went through diverse school of life. |
