S. Bugayan

Traditional and innovatory tendencies in Piano Concerto by A. Khachaturian: the ways of interaction

The article is devoted to one of the important stage works in the history of the piano concerto genre. This work traced the perspective ways conformably to the development of the named genre not only in the republics of Trans-Caucasian and North Caucasian regions but also in the East countries during the XXth century. The researcher examines Piano Concerto by A. Khachaturian in two aspects. The first of them is the original transubstantiation of romantic concerto genre traditions (connected with the names of F. Liszt, J. Brahms, P. Tchaikovsky, S. Rachmaninov, and S. Prokofiev too). The second one is formation of the strikingly innovatory «oriental» tendency in the mentioned sphere. In the author’s opinion, this tendency is conditioned by the purposeful directing to the appropriate thematism (folklore or traditional professional), and the search of adequate devices in conformity with its performing realization. Moreover, the appearing unique «alloy» of genre and style elements representing European concert-academic art and folk instrumentalism visibly personifies the artistic «dialogue of the East and the West». The composer’s inclination to the modern forms of traditional performing art occurring which are adjoined with popular music culture of the XXth century is substantial too. Hence, the peculiarity of dramaturgic processes typical for examined Concerto results from as the researcher observes.

Key words

A. Khachaturian, Piano Concerto, music dramaturgy, traditional musical performing art of the East, concert-academic piano art.

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