The concept of spirituality in V. Ptushkin’s compositional, particularly piano creativity: on the 75th anniversary of the Master

The relevance of the article conditioned by the modern immediacy of the problem of maintenance of spiritual values, by the necessity of the research of regional features of composer’s schools and specifics of embodiment of spiritual instructions in V. Ptushkin’s compositional, particularly piano creativity, that hasn’t got an exhaustive coverage in modern national musicology. The purpose of the article is to highlight the specifics of the concept of spirituality as the worldview and axiological center of V. Ptushkin’s compositional, particularly piano creativity. The methodology of the article is based on comparative, historical-typological, interpretative method, methods of generalization, stylistic and genre analysis. The results. The article highlights the concept of spirituality, represented as a concentrated reflection of the humanistic orientation of V. Ptushkin’s compositional, particularly piano creativity and a means of affirming spiritual values in a dialogue with the spiritual experience of mankind, appeals to the signs of cultural eras, genre model of the past — requiem, choral, spiritual cantata, concerto grosso, in the reproduction of eternally relevant images and themes — symbols of spirituality, in particular the image of Virgin Mary as the ideal of humanity’s existence and the positioning of the sublime and the earthly as the poles of worldview and human existence. It is revealed that the specificity of the embodiment of the concept of spirituality in the work for two pianos “The Sublime and the Earthly” is related to: understanding its significance through the prism of comparing personal and universal principles and allusions to the signs of the Renaissance, Classicism, romanticism; resonance with worldview guidelines of the culture of the border of XX–XXI centuries; functional mobility; the variability of performing teams; compositional and structural abnormality. The global significance of the concept of spirituality is imprinted in the work on the following levels: texture — in large-scale vertical chords, chronotope and dynamics — in powerful orchestral sonority, tonal organization — in the affirmation of major constructions, genre — in the movement from lyrical, individualized elegy to anthem as a reflection of the human unity. The scientific novelty of the article is due to the substantiation of the concept of spirituality as a worldview basis of V. Ptushkin’s work and the study of the peculiarities of its embodiment, in particular in the play «The Sublime and the Earthly». The practical significance of the article is determined by the possibility of using the results of the study in performing and pedagogical practice.