The dissertation contains the first experience of systematizing the comparative analysis of performing versions of F. Chopin's piano concertos in the musical practice of the 20th – 21st centuries. In the works dedicated to Chopin and his creative work (M. Demska-Trembach, L. Kasyanenko, K. Kobylyanska, S. Shkolyarenko, W. Atwood, E. Burger, L. Bronarski, A. Czartkowski, Z. Jezewska, T. Fraczyk , A. Gide, F. Hoesick, J. Kleczynski, R. Koczalski, W. Landowska, Z. Lissa, K. Michalowski, J. Samson, J. Rushton, E. Sluszkiewicz, B. Sydow, M Szulc, M. Tomaszewski, T. Zieliński), the experience of scientific understanding of the phenomenon of F. Chopin in the context of the piano culture of the Romantic era has been developed. However, in Chopin studies there is a separate section that studies the tradition of performing Chopin's music "after Chopin". An interpretative concept based on a comparative stylistic analysis of two concertos for piano and orchestra is proposed for the development of this direction.
The popularity of the topic is stipulated by the attention to the creative "armada" of Chopinist pianists of different generations and schools, who created an established tradition of Chopinism in the 20th-21st centuries. This artistic phenomenon embodies the virtual-real space-time in which the tradition of performing the music of the Polish genius resides. Owing to the creativity of talented individuals, there is a fundamental attitude towards the perception of Chopin's stylistic system as a "folded symbol" of the romantic style. Its realization occurs through the composing-performing stylistic complex, which reveals the innovativeness of Chopin's thinking by means of the piano. It is this complex that becomes the subject of comparative characteristics of the selected performing versions of the piano concerto in the subsequent artistic chronotope of history. Thus, the urgency of the topic is determined by: 1) the urgent need of practicing pianists to represent the performing Chopinism as a phenomenon of modern musical practice; 2) the lack of interpretological works devoted to the analysis of performing versions of Chopin's compositions.
The purpose of the research is to conceptualize the features of the performing versions of F. Chopin's piano concertos in musical practice of the 20th – early 21st centuries on the scientific platform of comparative interpretology.
The object of the research is performing styles in the interpretation of F. Chopin's music, the subject is their reflection in the versions of the two piano concertos by outstanding interpreters.
The scientific novelty of the obtained results. In the dissertation for the first time:
– the experience of comparative analysis of the performing versions of F. Chopin's piano concertos in musical practice of the 20th – 21st centuries is presented;
– the features of F. Chopin's textural style and its historical significance for the subsequent evolution of the sound image of the piano are determined;
– the concepts of F. Chopin's First and Second piano concertos are analysed in terms of the innovations of the "composing centre", which not only enrich the genre model, but also influence the style of interpretation of the composition through the performing complex;
– the ratio of traditions and innovations in the performance of Chopin's concertos is characterized as a criterion for typologizing the results of the comparative analysis;
– a comparative gender dimension of the interpretation of F. Chopin's concertos is developed on the basis of individual personalities (performances by Y. Kisin, K. Arrau, Lang Lang, B. Davydovych, M. Argerikh, A. Sagalova);
– the versions of the "classical" stylistic performance of F. Chopin's concertos, presented by Y. Oleynichak and D. Choni (the First Concerto), N. Freire and A. Sagalova (the Second Concerto) are defined;
– the "romantic" model of interpretation of Chopin's concertos in the creative work of A. Rubinstein and H. Buniatishvili (the Second Concerto) and H. Czerny-Stefanska and Y. K. Broya (the First Concerto) is presented;
– a universal (updated) type of interpretation of the style of Chopin's concertos was revealed, using the example of the versions of A. Kobayashi and A. Baryshevsky (the First Concerto) and F. Chaplin and K. Zimmerman (the Second Concerto).
We have clarified:
– the main trends in the development of piano performance in New times are summarized on the example of interpretations of F. Chopin's compositions.
