An Eclectic Combination of Classical and Jazz Idioms: Nikolai Kapustin's Piano Works

Abstract

The piano music of Nikolai Kapustin is a sophisticated synthesis of classical traditions and jazz styles. He has absorbed jazz styles into standard classical form and his approach to jazz idioms is authentic and original compared to other classical composers such as Ravel, Debussy, Stravinsky, and Ligeti, who also wrote jazz-inspired pieces. Kapustin adopted the virtuosic playing of Oscar Peterson and Art Tatum, the unique style of Erroll Garner, and the rich texture and harmony of his experience with big bands. On the other hand, Kapustin’s use of forms conforms to the classical tradition and many of his works recall formal and technical influences of classical composers, especially from Romantic and Russian composers. The Twenty-Four Preludes, Op. 53, published in 1988, is one of Kapustin’s most satisfying works and an ambitious genre to exhibit his extraordinary grasp of both jazz and classical music. The Preludes incorporate a large range of jazz techniques and styles with a variety of rhythms, tempos, and melody as well as the clear structural organization of classical music. A classical pianist performing these works must possess a formidable technique and comprehensive understanding of jazz playing. This study examines on jazz idioms and classical influences in Kapustin’s music and how he combined them to create his own style. The document consists of three parts: biographical information and background, Kapustin’s unique musical voice and influences, and a detailed analysis of the classical and jazz blend found in the Twenty-Four Preludes, Op. 53, including performance considerations. I hope my study will elucidate his compositional brilliance and encourage even more pianists to explore his music.