Solo piano compositions by Hsiao Tyzen in the aspect of performing problems
Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “Dragon Boat Festival”, op. 58 (1996), “Spirit of Taiwan” (1998), “Nana Oh’s Meditation” (1999), “The Angel from Formosa” (1999). This huge layer of music is not sufficiently studied in the performing aspect. The characteristic of the pianistic level of complexity of the compositions under consideration is given, technical and artistic difficulties are revealed. Objectives. The purpose of the study is to identify the main performing tasks in the solo piano compositions of Hsiao Tyzen. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Piano works of Hsiao Tyzen of an early period of art op. 37, 38 and 40, united in the general cycle “Poetic Response”, are devoted to religious themes and include melodies of religious hymns. Combining three diverse piano cycles, the composer builds a kind of complex form of cycles in the cycle. The influence of romanticism in the music of Hsiao Tyzen is felt in his interpretation of melody, harmony, rhythm, tempo and texture. Composers of the twentieth century, especially C. Debussy, influenced the piano compositions of the late period. Since the works created by Hsiao Tyzen have varying degrees of pianistic complexity, it seems important to determine the pedagogical significance of the uncomplicated piano repertoire and the performing tasks that the interpreter of concert compositions faces. The cycle “Memories of Home” op. 49, consisting of six miniatures, is dedicated to the composer’s childhood memories. The main tasks of the pianist in the “Ancient Taiwanese melody” from the cycle “Memories of Home”, op. 49 will be the auditory implementation and development of a touch of legato, the performance of melismatics, the observance of sound balance between hands, the ability to draw a long melodic line, cleverly using a finger swap and moving from one position to another. In the Prelude, the tasks of the performer’s main technical and artistic problems are to accurately reflect dynamic contrasts, the agility of transitions in various textured combinations, the sound realization of polyphony, precise articulation and coordination of small notes in passages. “Memory” requires the performer of the highly professional possession of legato, manifested in the combination of the upper voice of the chord musical fabric, flexible movement skills and an accurate sense of polyrhythmia. In the “Playground” you need to show imaginative imagination, while reflecting the variety of strokes and dynamics specified by the author. “Elegy” requires a deep soulful feeling from a performer, high-quality sounding of a melody, and the formation of long phrases. “Farewell Etude” op. 55 and “Toccata” op. 57 – detailed compositions saturated with romantic technique and imagery. The intonational filling of the plays reflects the national Taiwanese flavor. “Farewell sketch” was the last work of Hsiao Tyzen, written in the tradition of romanticism. The piece is based on the famous Taiwanese folk song “Four Seasons”. The composer places the melody in the middle register, framing on both sides with a luxurious romantic texture. “Toccata” is full of numerous techniques that are difficult enough not only to execute, but even to remember. Frequent change of textured formulas is especially difficult for a pianist, because in addition to the clever execution of a virtuoso texture, you need to keep an accurate rhythmic pulsation. This repertoire is intended for concert performance and requires a pianist of a high professional pianistic level and bright artistry. It requires scale of performance, absolute technical and sound knowledge of the texture, knowledge and auditory presentation of the characteristics of Taiwanese musical culture, and mastery of pedalization. Conclusions. Hsiao Tyzen’s solo piano compositions provide a better understanding of the work of contemporary Taiwanese composers. They are rightfully one of the most striking pages of Taiwanese musical culture and deserve further introduction into a wide international music audience. These works, in our opinion, have high artistic merits and are intended for a different contingent of performers. Their value as a pedagogical and concert repertoire is a vivid imagery, a reflection of the national principle, interesting compositional and sound solutions.