«Prelude and Toccata» by I. Karabits: a dialogue with the genre traditions
The article is devoted to the early work by the famous Ukrainian composer; this piece enlarged a contemporary piano repertoire on the boundary of the 2000–2010s. The researcher notices to the history of «Prelude and Toccata» creation and characterizes the individual perusals of this opus that were represented by the Ukrainian pianists Boris Demenko and Oleg Kopelyuk. The special attention is aided for the genre-style dialog with music of Baroque Age – this phenomenon is inherent not only in the mentioned «small» cycle but also the piano works by I. Karabits in the whole. Hence the researcher examines the specific devices used in the «Prelude and Toccata», first of all the peculiarities of interactions between the European and national, traditional and actual «roles» of toccata genre. The original interpretation of the named genre embodied by I. Karabits serves as obvious reflection of his synthesizing art thinking. The «dialogicalness» as distinctive feature of the «Prelude and Toccata» stylistics is correlated with the original solution of the dramaturgical and composition problems. In this way, the work of the semi-centennial remoteness has something in the clear common with the priority tendencies of Postmodern Age. It causes the steady increasing interest of contemporary musicians-interpreters in the elucidated cycle.
I. Кarabits, piano work, toccata genre, individual style of composer, B. Demenko, O. Kopelyuk.