Символіко-риторичні принципи творчості Ференца Ліста в історико-культурному контексті романтизму

Abstract

У статті охарактеризовано символіко-риторичні принципи творчості Ф. Ліста, які розглянуті в контексті проблем епохи романтизму. Підкреслено, що символізм Ф. Ліста проявляється як у використанні різноманітних символів та музично-риторичних фігур, так і в програмній назві інструментальних творів, що набуває своєрідного символічного значення. Досліджено, що Ліст прийшов до засвоєння символіко-риторичного мислення в середній період творчості, шляхом пізнання багатющої музичної спадщини, філософських ідей, а також поетичної системи.

В статье охарактеризованы символико-риторические принципы творчества Ф. Листа, которые рассматриваются в контексте проблем эпохи романтизма. Подчеркнуто, что символизм Ф. Листа проявляется как в использовании различных символов и музыкально-риторических фигур, так и в программном названии инструментальных произведений, которое приобретает своеобразное символическое значение. Доказано, что Лист пришел к усвоению символико-риторического мышления в средний период творчества, путем познания богатейшего музыкального наследия, философских идей, а также поэтической системы.

The article describes the symbolic-rhetorical principles of F. Liszt’s work investigated in the context of the Romantic era problems. Liszt’s creative activity is regarded as that of a passionate artist who is constantly seeking ways of solving political, social, and religious problems, striving to penetrate the very essence of artistic phenomena of the Romantic era through his work. The emphasis is laid on the main theme of the composer’s work, that of humanism. It must be noted, that Liszt finds his musical symbolism in the plot of Raphael’s painting “Saint Cecilia”. This theme of humanism is embodied in the symphonic poem “Orpheus”. The ancient myth of Orpheus attracted the composer from a symbolic point of view. In the image of the protagonist Liszt sees primarily a generalized image, which expresses the composer’s artistic credo and symbolizes art. Attributing a symbolic value to the image of Orpheus, Liszt compares him to Art where he seeks to find the ideal, that is, Eurydice, but once she is found he is unable to preserve her on Earth. It is emphasized that Liszt’s symbolism manifests itself both in the use of various symbols and musical-rhetorical figures, as well as in the program name of instrumental works, which acquires a peculiar symbolic significance. With the help of Liszt’s program, the listener starts creating specific symbols suggested by the author. Thus, there is an appeal to several language systems, which allow one to transpose information from one level of the language system to another. To complete symbolic information, music appeals to the synthesis of literature, which results in images/symbols. As shown by research, Liszt comes to the assimilation of symbolic-rhetorical thinking in the middle period of his creative activity (works of the early period are devoid of symbolic language), through perception of a rich musical heritage, philosophical ideas, as well as a poetic system. The composer gives them romantic orchestral colors, complicates the texture, exacerbates harmony, transforms intonation and rhythm, and finds a new register and timbre solution. Rhetorical figures fit organically into F. Liszt’s composer style on the wave of a new oratorical trend. Even though rhetoric as art falls into disuse in the 19th century, it continues its existence in F. Liszt’s work and manifests itself not only in the composer’s treatment of Bach’s themes, but also in the frequent use of rhetorical figures to build a particular image. After all, the composer knew and appreciated oratory, which seemed to synthesize all other arts and was the highest form of poetry for him. Liszt’s playing also often took the form of oratorical performances, since the composer sought persistent persuasion, and he undoubtedly succeeded in his objective. As a result of our research of the symbolic-rhetorical principles of F. Liszt’s creativity in the historical and cultural context of the Romantic era, it was established that the romantic era had its imprint on the brilliant personality of F. Liszt, who was a typical “son of his time”. This manifested itself not only in the split nature of the composer and his worldview, but also in his creative work: the use of generalized philosophical ideas expressed by F. Liszt with the help of musical rhetorical figures and symbols. The evolutionary path of creativity that the composer overcame testifies to his tireless composing quest not only of the ways of using the instrument, but also of expressive means and symbols, of the ways to translate his talent into reality.