CONTEMPORARY PERFORMANCE TENDENCIES IN PIANO ART OF PIERRE-LAURENT AIMARD, ROGER MURARO, AND STEFFEN SCHLEIERMACHER

Abstract

The purpose of the study is to identify and review the transformation of the repertoire paradigm in modern piano performance, as well as to characterize the performing approaches of the leading representatives of this trend: Pierre- Laurent Aimard, Roger Muraro, and Steffen Schleiermacher. The research aims to comprehend the creative work of these outstanding pianists, whose repertoire profile is being analyzed for the first time in the domestic musicological field. The relevance of the study is due to the need to systematize the immeasurable set of creative phenomena to create a complete picture of the contemporary musical environment. Methodology. The research is based on a three-vector approach that combines the analysis of fundamental works on musical interpretology and performance style. The method of reviewing individual artists was used, which allows for the study of the multifaceted activities of interpreters of the 20th–21st centuries. The typology of the universal creative personality by Olha Komenda, which defines a combination of at least three types of activity, was applied. The concept of communicative strategy, developed by Yuliia Nikolaievska, was also used to identify the vector and direction of communicative action within the «composer-performer-listener-researcher» system. The empirical basis of the work was the analysis of the discography and publications of the mentioned pianists. Scientific novelty. For the first time in the Ukrainian musicological field, a systematic analysis of the creative work of Pierre-Laurent Aimard, Roger Muraro, and Steffen Schleiermacher is being carried out. The transformation of the repertoire paradigm is explored, highlighting the correlation between universal types of repertoire profile construction and the focus on new music, which is a defining feature of contemporary performance art. It is proposed to consider the performing activities of these artists in the context of «project-based approach» and the «discursive concept of performance». The performing approaches of each of the pianists are summarized and systematized, revealing their individual repertoire concepts and their influence on contemporary musical culture. Conclusions. As a result of the study, it was established that a gradual change in the repertoire paradigm is taking place in contemporary piano art: from universal programs, characteristic of 20th-century pianists, to focused repertoire strategies oriented towards new music. The performing approaches of P.-L. Aimard, R. Muraro, and S. Schleiermacher demonstrate that specialization in contemporary music is not a rejection of classical principles but rather a sign of a deep understanding and expansion of the boundaries of repertoire strategy. This trend reflects the growing «project-based approach» in the artistic environment, where repertoire concepts become an independent artistic achievement, attesting to the high level of professional competence of the modern performer.