І. Карабиць «П’ять музичних моментів» для фортепіано з оркестром: присвята чи заповіт
I. Karabyts «five music moments» for piano and orchestra: dedication or bequest

Summary/Abstract: Purpose of Research. The purpose of the research is to reveal the genre specifics and performance concept of the last monumental music piece by I. Karabyts (1999). The mystery behind how the composer semantically represented this piece is determined by the unpredictable dramaturgy of the cycle, which consists of five music moments. At first glance, the fact of dedication to V. Silvestrov points at the stylistics of the music tribute. There are semantical signs of the 5th and the 6th symphonies by V. Silvestrov, which can be recognized in the Concerto; they are represented by the piano as the most important element of the timbre dramaturgy. The piano style of the last music piece – “Five music moment” – acquires the messianic power of the spiritual bequest. At the same time, it does not lack the early and the mature way of thinking. The premiere of the 3rd piano Concerto by I. Karabyts was in Kharkiv on 10th of April 2016 at the concert hall of I.P. Kotlyarevskiy National University of Arts in the format of “Concertportrait. Ivan Karabyts”. Methodology. The methodology of the research is based on the genre stylistic and the interpretational approaches towards studying the music piece, which is not fully covered in the national musicology. Scientific Novelty. The scientific novelty of the obtained results lies in how the complex artistic synthesis of the genre form of the music moment and the cycle form of the Concerto is justified from the scientific interpretological point of view. Conclusions. The analyzed music piece represents the essence of the artistic principles and music thinking of the composer. Five chapters, called «music moments» by the author, are recognized as the artistic unity of the music dramaturgy, which makes the live path of the composer more distinct through the presence of real and unreal worlds. The author generalized the stylistic attributes of the piano music language of I. Karabyts and V. Silvestrov: crystal-clear sound, semantics of quietness (p and pp dynamics). The role of tempo shifting within the framework of the cycle dramaturgy; meditation as the active factor of the author’s self-consciousness; the sound symbolic are highlighted.

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