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September 2, 2026ArtsOpen Access

Performing National Identity: Interpreting the Folkloric Idiom of Lyatoshynsky’s Piano Preludes as Curated Musical Experience

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Authors

ACAnastasiia ChirileanuTPTatiana Laura Pocinoc

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Overview

Musicological analysis reveals how performance and curation activate Ukrainian identity in Lyatoshynsky’s piano preludes, highlighting music's role in wartime reception.

Key Points

  • To investigate how contemporary performance and programming choices shape the reception of Ukrainian national identity in Borys Lyatoshynsky’s wartime piano preludes.
  • Analyzed the musical scores of Lyatoshynsky’s Three Preludes (Op. 38), Two Preludes on Ukrainian folk-song melodies (Op. 38bis), and Five Preludes (Op. 44), written during wartime evacuation in 1942–43.
  • Evaluated contemporary performance and curatorial case studies, including Vadym Kholodenko's recital programming and Margaret Fingerhut’s album Ukraine: A Piano Portrait.
  • Demonstrates that live performance primarily activates national identity features already encoded in the musical scores via folk-song quotations and folk intonation.
  • Shows that curatorial strategies, including sequence design and contextual paratexts, generate new layers of meaning not fixed by the musical notation, particularly during the ongoing Russo-Ukrainian war.

Cite This Study

Chirileanu et al. (2026) studied this question.

synapsesocial.com/papers/6a97e20ec562ede874ec626fhttps://doi.org/10.3390/arts15090202
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