Extended piano techniques and their reproduction in Leonid Hrabovsky’s Trio for violin, double bass and piano

Statement of the problem. The second half of the 20th century became a period of intense changes in musical language, leading to the emergence of new unique works that went beyond traditional forms. Chamber instrumental music proved especially receptive to these processes due to the flexibility of ensemble composition and the interaction between performers. One of the brightest examples of this direction is the Trio by L. Hrabovsky for violin, double bass, and piano, created between 1964 and 1975. The work features a wide sound range and extended performance techniques, including the use of different parts of the instruments for sound production. The score is minimalist, which gives performers significant freedom in interpretation, and intonation and time become key elements in constructing a fantasy-like form. This Trio is an example of avant-garde exploration aimed at expanding the possibilities of musical language for the piano as well as other instruments in the ensemble, while also enriching the sound palette of chamber music. Objectives, methods, and novelty of the research. The purpose of this study is to analyze the technical complexities of the piano part in L. Hrabovsky’s Trio and to consider possible ways of performing them. The research applies theoretical and practical approaches, including historical and biographical, interpretive, comparative, and methods of musicological analysis. Studies of practical problems of performance by avant-garde ensembles with piano participation, in particular the L. Hrabovsky’s Trio, which uses various experimental and “extended” piano techniques, have generally not been conducted, despite the fact that this is the most important component of the concert life of the work. This circumstance determines the relevance of the proposed research and the scientific novelty of its results. The prospects for further development of the topic of extended piano techniques include studying their application in modern chamber ensembles, with the thorough analysis of new compositional practices. An important part of the study also involves the adaptation of these techniques into the educational process, which will contribute to the development of practical skills in working with new means of musical expression. Results and conclusion. L. Hrabovsky’s Trio represents an important step in the development of chamber instrumental ensembles in the 20th century, demonstrating a synthesis of the traditions of Ukrainian chamber music and the innovations of the second half of the 20th century. The use of an unconventional instrument lineup, special sound production techniques, and minimalist sheet music opens new horizons for interpretation. The interaction between the performers goes beyond traditional ensemble playing, creating the effect of a live, organic sound. The influence of experiments by American and European composers such as J. Cage, K. Stockhausen, G. Crumb, and others, as well as friends from the unofficial «Kyiv Avant-Garde» group, is evident in Hrabovsky’s desire to rethink established aspects of musical form and sonic expressiveness. Certain technical aspects of the piece require careful consideration, detailed planning of movements, and the use of auxiliary tools for performance. This experiment expands the boundaries of chamber ensemble music, offering performers and listeners a new sonic experience based on a blend of traditional and modern techniques.