UNIVERSAL NEOMINIMALISM IN THE CREATIVE WORK OF ANDRIY LEHKI : A CASE STUDY OF PIANO DUET COMPOSITIONS

Abstract

Objective of the Article — to introduce the compositions of Andriy Lehki into the musicological discourse and analyze
his neominimalist language within the framework of his genre, which occupies a central position in the composer’s
contemporary creative development. Research Tasks: to identify the leading features of the composer’s individual style in his
four-hand piano works («Tracing of Time», «Parallels», «Theater of Light») within the context of universal neominimalism.
Research methodology. The study uses a combination of methods to analyze Lehki’s works. We use the historical-logical
method to examine how minimalism evolved and was transformed in Lehki’s pieces within universal neominimalism. We
also use the method of abstraction to identify the main characteristics of the neominimalist style. Comparative analysis helps
us understand different periods of his creative works. Interviews provide direct insights into Lehki’s creative process. Musictheoretical
and intonational analysis help us understand the language he used in his compositions. We also use a hermeneutic
approach to interpret the figurative content in his piano ensemble pieces. Finally, we use an artistic reflection method based on
the author’s experience as a performer in the «Dovhan & Zubko Piano Duo». The results reveal a rich tapestry of Lehki’s
chamber music legacy as a modern composer from the Ukrainian diaspora. The article closely examines the stylistic and
technical elements of his recent four-hand piano compositions, created between 2025 and 2026, against the backdrop of his
vision of «universal neominimalism». A new stage in his artistic career is identified and justified, with a special focus on the
idea of «portrait music» – where the music vividly reflects the personalities and character traits of the performers. This
relationship between his compositions and the concert activities of the «Dovhan & Zubko Piano Duo» is also explored. The
discussion showcases the main attributes of neominimalism that Lehki employs, such as static harmony, subtle register shifts,
and the understanding of time as a form of musical drama, all while maintaining a concise approach that is rich in content.
Novelty. What makes this study particularly innovative is its pioneering use of the term «universal neominimalism» in relation
to Lehki’s piano chamber music within Ukrainian musicology. It outlines a new periodization of his work, identifying a
«universal neominimalist» phase that follows his achievement of a PhD. The study crystallizes the defining traits of his
neominimalist compositions, providing a fresh perspective on his artistic contributions. The practical significance. The
findings of this article can be integrated into lecture courses covering modern music history, ensemble performances, and the
cultural contributions of both the world and the Ukrainian diaspora.