Nicholai Kapustin's Eight Concert Etudes, Op. 40: Reflections on Analysis, Practice, and Performance

Nicholai Kapustin (1937-), a Ukrainian composer whose music amalgamates the Western classical tradition with jazz idioms, is becoming increasingly acclaimed in recent years. His works are known for the physical challenge they impose upon the player due to their complexity that is often accompanied by fast tempi. No less formidable, however, is the challenge to discover the conceptual binding that is needed to capture the overarching sense of purpose within a given piece and communicate it in performance. One of the most effective approaches in performing Kapustin's music is to take advantage of the structure upon which his compositions are based, as it can allow a classically trained performer to utilize previously developed analytical skills. Although analytical study is an asset for virtually any type of music, the performance of Kapustin's music especially can benefit from analysis owing to its dense and active textures, rhythmic continuity, and varied repetition of relatively homogeneous melodic material. This research encourages regular involvement in analysis and internalizing the music away from the instrument. An analysis of Kapustin's Eight Concert Etudes, Op. 40 is provided along with the discussion of performance issues that are related to the analysis. These include solidifying the left hand (Etude No. 5), expressing characters through the varying rhythmic values of the melody and accents (Etude No. 6), and isolating various thematic components while simultaneously strengthening their inter-connections (Etudes Nos. 7 and 8). In addition, the research examines some of the psychological implications of analysis, exploring the ways in which analysis can help the performer to be attentive and engaged in the moment. Furthermore, in order to help one take pleasure from and fully benefit from analytical insights during practice, the research aims to cultivate a mindful mode of thinking where one steps away from constant action and becomes more curious and observant in the process of music-making. The conclusion addresses the physical aspect of playing, applying the notion of mindfulness to one's orientation to the instrument.DM