Естетичний ідеал «епохи віртуозів»
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Дата
2019
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Харківська державна академія дизайну і мистецтв
Анотація
У статті розглядаються особливості європейського піанізму кінця XVIII— першої половини ХІХ ст., які історично збігаються з тривалим періодом народження та становлення піанізму як гри на новому інструменті та відокремлення фортепіанно-виконавської практики як самодостатнього засобу музичного висловлювання. Зазначений процес обумовив актуалізацію необхідності специфікації піанізму через вироблення його власної «мови», а також комплексу відповідних прийомів моторики і звукоутворення. На порядку денному виникло питання про володіння інструментом — під володінням розумівся насамперед високий естетичний рівень фортепіанної гри. Пропонується періодизація розвитку піанізму кінця XVIII — першої половини ХІХ століття. Перший період — від, умовно, творчої практики «батька піанізму» Муціо Клементі, тобто з 1780-х до 1800-х років, коли закладалися основні категорії та явища піанізму. Другий період — 1810–1820-ті роки, тобто ранньоромантичний. Третій період — 1830–1840-ві роки — доведення піанізму до «твердої структури». У сукупності названі періоди утворили «епоху віртуозів». Background. The peculiarities of European pianism at the end of the 18th – the first half of the 19th century are discussed in the article, which historically coincide with the long-term period of the birth and formation of pianism as playing a new instrument and the separation of piano-performing practice as a self-sufficient means of musical expression. Objectives. The above process determined the actualization for the necessity of specifying pianism through the development of its own “language”, as well as a set of the appropriate techniques of motor skills and sound formation. On the agenda was the question of skills of playing the instrument, which was first of all understood as the high aesthetic level of playing piano. The division into periods for the pianism development in the late 18th – the first half of the 19th century is suggested. The first period starts roughly from the creative practice of the “father of pianism” Muzio Clementi, that is, from the 1780s to the 1800s, when the main categories and phenomena of pianism were laid. The second period falls between the years 1810 – 1820, that is, the early-romantic. The third period is from 1830 to 1840, bringing pianism to a “solid structure”. Taken together, these periods formed the “era of virtuosos”. Methods. As follows from the scientific sources of O. Bilobrova, N. Usenko, G. Muradian, O. Alekseyev, I. Boreiko, there were four interrelated processes: the improvement of the instrument, the self-determination of piano performance, the search for piano means of play actions – from adaptation to specific sound, the formation of a subject of a new kind of instrumental-performing activity – a pianist, endowed with a special type of talent, the virtuoso artist. Thus, the piano set of techniques for motor skills, “fundamental formulas”, a special kind of texture were “formed”, and a phenomenon of peculiarly piano sounding was interpreted, which in aggregate ensured the creation of the “language” of this creativity, its rhetoric and poetics, which formed a solid structure – the pianism. Results. The transition from a clavier to piano dates back to the 1760–1780s, partly coinciding with the “Century of Enlightenment” and such artistic phenomena as sentimentalism and Viennese classical school. The homophonic-harmonious thinking and clear delineation of textural planes prevail; the subject of the performance is not entirely separate; in pedagogy, universalism is preserved; the piano design is not stabilized; harmonious figures are arranged in the close positioning; the right pedal is used as an additional means of expressiveness. Developing for about sixty years, the “pure” pianism retained its positions, taking various shapes during its formation and evolution. In the most general terms, there is an intra-piano (immanent) shape that carries the semantic “radiation” of piano-performing art, and extra-piano (universal and non-musical). In the first of these, the dominant is aiming for perfection and harmony marking the image of beauty, and the clarity and evenness of playing in motor skills (mostly manual) coexists with the “illusory” sound that is achieved with the help of textural and pedal means. In the future, there is a fascination with octave technique, while preserving the main condition – the purity and clear articulation of the performance “language”. The second form of manifestation of the pianism aesthetic ideal in the “era of virtuosos”, while preserving its “purity”, aims to attract pianist means into a wider range of spiritual-meaningful and stylistic phenomena. Piano motor skills and cantilena (“singing”) are interpreted as a significant expression of two main figurative-semantic spheres of romantic world perception: playing and lyricism, which serve as different facets of personal expression. In this way, the “piano” manner, which is the basis of the aesthetic ideal of the “pure” pianism, on the one hand, is a sound emblem of Romanticism, and on the other hand, the conductor of the general (specific) music ideas of a certain historical time. The second period of this era falls on the 1810–1820s, that is, the time of early Romanticism, the emergence of romantic composers, who take up the achievements of the “pure” pianism and adapt them to their own creative tasks. Carl von Weber, never losing taste to virtuosity as such, reveals in it such emotional-figurative opportunities as admiration with movement, immersion in the flow of events, swinging life, carnival excitement. Franz Schubert becomes closer to the image of the “singing” piano, also created by John Field. It is revealing that the miniatures of the “Londoner” were called “romances” in Russia; and the Austrian romantic linked the piano “singing” with the song nature of the intonational-instrumental language. Bringing the pianism to a “solid structure”, “ready” quality, determines its development in the 1830–1840s. The coexistence of the performers who cultivate the “pearl” and “octave” playing leads to their synthesis in a single space of the performance and composition text – a trend that is clearly seen in the creative practice of the young Franz Liszt. This is a path to the future, before the crystallization of Liszt’s reformist undertakings outside the “era of virtuosos”. Conclusions. The aesthetic ideal of the “era of virtuosos” is the “piano” manner of performance, realized with the help of pianism; the main bearer of this ideal is a pianist, capable of acting within the boundaries of the “piano” manner with a higher degree of skills, creating a peculiar, aesthetically perfect world of motionmotor and sound plastics. However, as it was mentioned, along with this ideal and its bearer, the virtuoso pianist, another ideal, was gradually sprouting, related to the interpretive tasks and, more broadly, understanding of piano performance in the aspect of its cognitive abilities, capable of delivering the most extensive, even all-embracing content. The coexistence of diverse artistic preferences in a single historical plane allows us to comprehend the “era of virtuosos” under the sign of “polyphony” at asynchronous actualization of its different tendencies. The virtuoso pianist was still a “hero” of this era, if viewed from the inside, giving way to the interpreter pianist only in the second half of the 19th century.
Опис
Ключові слова
піанізм, «епоха віртуозів», фортепіанна гра, піаніст-віртуоз, фортепіано, естетика фортепіанної гри, pianism, the “era of virtuosos”, playing piano, virtuoso pianist, piano, aesthetics of playing piano
Цитування
Калашник М. П. Естетичний ідеал «епохи віртуозів» / М. П. Калашник, А. О. Генкін // Традиції та новації у вищій архітектурно-художній освіті : зб. наук. пр. – Харків : ХДАДМ, 2019. – Вип. 2. – С. 69–73.