Stylistic Influences, Developments, and Pedagogical Considerations of Nikolai Kapustin’s Eight Concert Etudes, Op. 40

Abstract

The Eight Concert Etudes for Piano, Op. 40 (1984), are considered representative of Kapustin’s mature style. The work displays Kapustin’s synthesis of classical tradition and jazz styles. Kapustin applied the brilliant virtuosity of great jazz musicians, such as Art Tatum, Erroll Garner and Oscar Peterson. Besides jazz styles and techniques, most of these etudes are written in traditional ABA forms and with romantic virtuosity that can be found in the etudes of Chopin and Liszt. Nowadays, pianists often choose these etudes for competitions since they are securely established in the standard repertoire. The purpose of this study is to explore the development of the Eight Concert Etudes and their disparate styles, which will promote a deeper understanding of Kapustin’s musical vocabulary and interpretation. This research consists of three sections: a summary of the composer’s biography as well as background information associated with his music, Kapustin’s incorporation of classical tradition and the jazz elements used in Eight Etudes, and also an analysis of the harmony, rhythmic patterns, phrase structures, and forms that have emerged in his etudes. It is obvious that Kapustin has addressed new ideas in his etudes. However, Kapustin’s work has only recently become popular outside of Russia and there is limited literature related to his etudes. I hope my work will be valuable to the knowledge of his work as a whole.