Memorial themes in piano creative works by O. Shchetynskyi

The relevance of the article is justified by significance of memorial themes in the world perception parameters of metamodernism and absence of comprehensive demonstration of special features of its interpretation in the creative works by O. Shchetynskyi in the musicological dispute. The purpose of the article is to discover the leading ways of conceptual interpretation and genre and style implementation of memorial themes in the piano works by O. Shchetynskyi. The methodology of the article is based on comparative, historical-typological, interpretative method, methods of generalization, stylistic and genre analysis. The results. During the conceptual, genre and style search of modern Ukrainian artists, the “in memory genres” are one of the ways of actualization of the spiritual memory and joining the artistic reflection of the past. As a component of memorial scope of the modern national music, the works by O. Shchetynskyi demonstrate not only the conceptual and genre and style pluralism of memoriality interpretation (particularly in the area of piano art), but also its positioning as an implementation of metamodern adherence to pluralism and multiculturalism. It has been discovered that in “Symphonic Portraits”, memoriality is based on actualized retrospectivity, which is the allusion of romantic world perception, citationality and polyvariety of implementation at the language, genre, timbre, etc. levels of the work, and in “Ave Händel”, the Baroque allusions are united with the signs of modern musical mindset. It has been accented that in symphonic, instrumental and especially piano works by O. Shchetynskyi “Prayer for the cup” and The World Tried to Catch Him (Epitaph to Hryhorii Skovoroda), memoriality is emphasized by the complex of the following features: belonging to multiple genres; significance of the sacral aspect, variability and synthesis of genre models; priority of meditativeness, philosophicity and introversion, especially at the dramatic composition level; approval of sound as an independent sense carrier; actualization of establishment of the performing concept marked with activation of the spiritual potential and introspective world perception of the performer; and proneness to personal spiritual search and personal comprehension of significance of spiritual values. The scientific novelty of the article is demonstration of special features of implementation of memorial these in the works by O. Shchetynskyi, particularly in one of the newest piano works by the artist, which is The World Tried to Catch Him (Epitaph to Hryhorii Skovoroda), which has in fact not been studied within the modern musicological knowledge. The practical significance of the article determined by the possibility of using the results of the study in performing and pedagogical practice.