Abstract. The article is devoted to the issues of interpretation of three fragments from the ballet “Petrushka” by I. F. Stravinsky in transcription for two pianos by V. Babin. The article reveals the genesis of the pianism of “Petrushka” in following the romantic traditions of F. Liszt and M. A. Balakirev. Variants of four-handed transcriptions by B. Koehlen and T. Santo are mentioned. A comparative analysis of V. Babin’s transcription for two pianos with the author’s version of the “Three Fragments” for one piano is carried out. The role of V. Babin as a composer in creating “portraits-types” of piano virtuosity and increasing the timbre and colourful design of the texture is noted. The article shows the basic principles and methods of working on the “Three Fragments” by V. Babin. It is concluded that this composition can not only become an adornment of the repertoire of concert pianists, but also become a school of supreme performing skills for students of higher musical educational institutions.

 

Keywords: piano duet, transcription, I. F. Stravinsky, V. Babin, “portraits-types” of piano

virtuosity, themes-characteristics