Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky

The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.