Poeticisation of the Style of Piano Works by Yannis Konstantinidis

Abstract

The purpose of the work is to study the features of the piano work of the modern Greek composer Yannis Konstantinidis using the example of the cycles '44 children’s pieces on Greek themes” and Sonatina No. 1 on the themes of folk melodies of the island of Crete, and its connections with the Greek Artistic and Poetic Word. The features of the individual composer’s style of Y. Konstantinidis are determined – laconicism, sensitive emotionality and frankness, subtle and diverse means of expression. Methodology of work. The research used methods of musical, linguistic, historical and comparative analysis. The novelty of the study is due to the search for means of poeticising the composer’s musical language, which gives special meaning to his individual creative style, placing him in a special place among Greek composers of the mid-20th century. The mechanisms of poeticising the musical text are determined and formulated, in particular, the use of means of transmitting meaning through symbols, the use of numerical symbolism to deepen the meaning of musical images. The methods of adoption and further development in the musical fabric of the Finale of the Sonatina by Y. Konstantinidis of the numerical symbolism of the Cretan folk dance pentozalis are studied. Conclusions. After four centuries of Ottoman enslavement, Greek professional music has entered a new phase of development, lagging far behind Modern Greek literature. The fine art of the word has long been an aesthetic reference point for Greek composers. A representative of the first generation of the Modern Greek school of composers, Yannis Konstantinidis sought his own path in search of a national musical language, combining in his own way national folklore with the aesthetics of the Modern Greek artistic word and the latest trends in European academic music. Conclusions are drawn about the similarity of the structure of Y. Konstantinidis’ miniatures to the structures of poetry at the level of orthoepic formations and speech constructions. Four levels of poeticisation of the musical language of his works have been identified: semantic, aesthetic, lexical and symbolic.