Piano Works by V. Polova: Conceptual, Genre, Style and Linguistic-Expressive Dimensions

The relevance of the article is determined by the dissonance between the intensification of the represen-tation of V. Polova’s piano works in the world and national artistic space and the degree of its research in the national musicological discourse. The purpose of the article is to highlight the conceptual, stylistic, genre and expressive constructions of V. Polova’s piano works. The methodology of the article is based on the guidelines of the cultural and historical approaches, as well as genre and semantic analysis. The results. V. Polova’s piano works, reflecting the leading mainstream of contemporary musical art, philosophical comprehension of eternal, globally significant problems of human spiritual existence, demonstrated the rejection of attributive postmodern trends of irony, theatricalization and visualization of performance and electronic experiments. At the conceptual level, the specificity of the composer’s piano works lies in the dominance of the concepts of spirituality, spiritual purity, lyrical and philosophical reflection in the picture of the universe based on a new simplicity and appeal to the sign of artistic experience of the past, comprehended as a whole. At the level of genre, V. Polova’s piano works are marked by the tendency to programmatic, conceptually mobile and compositional labile genre models of chamber music significance, as well as individualization of genre solutions (tendency to reduce the sonata structure, a free and open form, principle of free comparison of the spheres of lyrical reflection). At the level of musical language and thinking, the composer’s piano works demonstrate the significance of the sign of past artistic experience and the authorial style (rehearsal constructions, ascending dynamic “flashes” of arpeggios, chronotopic effects, emancipated sound, sonority and dynamics as carriers of meaning and drama drivers. The scientific novelty of the article is due to the coverage of the characteristic features of V. Polova’s piano works, in particular on the example of the works “Pasakalia”, “Iskia. Island”, “Vitruvian Man”, Sonata No. 1 “Seren-sonata”, Sonata No. 2 “Quasi una fantasia”, which are not fully mastered by national musicology. The practical significance of the article is due to the heuristic application of the research results in the musicological context and performance practice.