Verismo and symbolism in piano plays of Odessa composers in the 1950 s — 1960-s (by example of works made by K. Dankevich and S. Orfeev).

Веризм-символизм в фортепианном творчестве композиторов Одессы 1950-х — 1960-х годов (на примере произведений К. Данькевича и С. Орфеева)

Abstract

This work enlightens, by the example of K. Dankevich and S. Orfeev — talented composers from Odessa, jointly with analysis of their most popular compositions, their stylistic trends having a special cultural context of contingency with musical traditions of Odessa, with simultaneous response to stylistic paradigm of the Ukrainian art in whole and trends of the corresponding historical periods. Their works bear a syntactic nature of national Ukrainian phenomena: K. Dankevich, being adherent to the Ukrainian ideas, has no direct contact with the Ukrainian folklore, while S. Orfeev, having Russian origin, quotes folklore materials of various nations, including the Ukrainian, Russian and Moldavian ones. Both composers emphasize the contrast polyphonic motives in structure of their works, both comply with moderate modern style of verismo school (K. Dankevich) and neoclassicism in soft form (S. Orfeev).
Keywords: verismo, symbolism, piano style, style of musical epoch, musical genre.