Compensatory Aestheticism of Performance of Expressionist Compositions for Piano by A. Schoenberg and A. Berg

The purpose of this paper is to analyse piano compositions by A. Schoenberg (Six pieces, Op. 19) and Berg (Sonata, 1) in the context a performance reading based on symbolist aestheticism expressing reviving string-plucking analogy keyboard-piano expression. methodological basis intonation approach B. Asafiev’s school works Ukrainian musicologists, including T. Verkina, O. Kozarenko, I. Lyashenko, Markova, Sokol others, using research methods comparative-stylistic, hermeneutical, biographical-descriptive, analytical-typological. scientific novelty lies originality observation compensatory perspective above music correspondence latter neo-symbolist tendencies contemporary creative thinking. Another independent conclusion nature performing choice, which meets audience's expectations correlated with game-mosaic worldview our time exclude dramatic tragic angles content musical classics. Conclusions. eclecticism post-avant-garde revived keyboard sound production, giving pianistic expression salon-like spiritualised "lightness" that reoriented expressionist-salon heritage Novovidenians pro-symbolist meaning. reality their works, those performed author essay, approaches character salon cordiality sound, rejects expressionist anti-aestheticism favour pro-Schubertian greetings post-post-avant-garde.
 Key words: aestheticism, expression, symbolism, expressionism, style music, style, genre.