Зв’язки прелюдій Ф. Шопена ор. 28з образно-фактурними ознаками бетховенських творів
Year: 2021
Type: article
Abstract: Research objective is to reveal the specifics of the genre of a piano prelude in the works of F. Chopin, to determine some features of the internal structure of the cycle and some specific connections of the Preludes op. 28 with figurative and textural features of the works of Beethoven. The methodological basis of the researchlies in the use of analytical, comparative and historical approaches that allow us to outline the relationship of some preludes not only in terms of cyclical commonality, but also their internal independence. The scientific novelty of the work is determined by its analytical perspective, which focuses on the substantiation of the logic of construction, genre and figurative content of individual plays of the considered op. 28. Conclusions. The program loadbalancing, which asserts mostly romantic tendencies in the preludes op. 28 by F. Chopin, is sufficiently definite, although not represented by verbal explanations. However, creating a cycle of Preludes op. 28, F. Chopin greatly deviates from the accepted rules and methods of the Romantic era in terms of compositional technique. At the same time, the cycle demonstrates the idea of creative succession of figurative and textural features embedded in this genre and demonstrates deep thematic connections with the works of L. Beethoven. The persuasiveness of the interpretation of F. Chopin’s Preludes, which can even be performed in separate plays or small cycles, acquires in the understanding of the performer of their elitist artistic purpose. In the dramatic rhythm of the cycle, the individualizedromantic, specifically-Chopin’s finds support in the fusion with the intonation system of the music of the great predecessor. In general, there is a certain semantic orientation of the semantics of the cycle: a gradual “overcoming” of romantic aesthetics associated with the presentation of intonations of Mozart’s images, and gradually manifests and confirms solidarity with the rebellion of L. Beethoven. The latter is presented in that specifically hopeless and tragic turn, beyond which it is impossible for romantics to perceive heroism.
Source: Музичне мистецтво і культура
Author: В. І. Бордонюк
Institution: Odessa National A. V. Nezhdanova Academy of Music
Language: Ukrainian
Subfield: Music
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: diamond
OpenAlex ID: W4285529318