“SOUVENIR FROM LVIV” BY VIKTOR KAMINSKY AS AN EXAMPLE OF THE AUTHOR’S EMBODIMENT OF THE CONCERT GENRE

Abstract

This article highlights the distinctive features of Kaminsky's individual style and musical language as realized in his Concerto "Souvenir from Lviv" four piano duet and orchestra, and determines the main interpretive aspects of the piece. "Souvenir from Lviv" exemplifies Kaminsky's ability to merge postmodern eclecticism with neo-romantic emotionality. Kaminsky integrates elements of neo-styles, including neoromanticism and neo-baroque, which add special depth and complexity to his work. These stylistic elements allow the composer to create a rich sound landscape, where traditional forms mix with contemporary harmonies. This highlights the connection between the past and the present, which is typical for Lviv as a city with a rich history. Kaminsky mixes neo-romanticism and modern music to create a special feel of an old city. He stays open to new experiences and emotions, which helps him express the spirit of the time and place through his music. The piece is notable for its instrumentation, featuring two pianos, percussion, and a string orchestra. The four-part structure of the concerto, with programmatic titles such as Aria and Choral, as well as the subtitle a la Partita, allude to the Baroque suite. However, the selected movement order (fast-slow-slow-fast) and the thematic arch between the first movement and the finale suggest the composer’s rethinking of the genre, merging the cyclic suite form with the virtuosity of the concerto. Based on the stylistic approach of Viktor Kaminsky's Concerto for Two Pianos and Orchestra, we can formulate the performance and interpretive challenges that arise for the solo pianists. The performance and interpretation of a work are influenced by its figurative content and should align with the author's intentions in order to fully reveal the intended meaning.