Сонати Олександра Скрябіна як репертуарний здобуток одеських піаністів

Abstract

У статті проаналізовано вплив музичних традицій Одеси на творчість О. Скрябіна, визначено ступінь інтенсивності засвоєння його спадщини в одеському музичному середовищі, охарактеризовано піаністичні внески і творчий пошук Містерії, на матеріалі підготовки якої вибудувані три останні Сонати творця “Прометея”. Доведено, що містична узагальненість дзвоніння О. Скрябіна протистоїть натуралізму купкистів і С. Рахманінова, але має спільне з ними походження у православному інструменталізмі церковного дзвоніння, невідривного від абстракції танечності.

В статье проанализировано влияние музыкальных традиций Одессы на творчество А. Скрябина, определена степень интенсивности усвоения его наследия в одесской музыкальной среде, охарактеризовано пианистические вклады и творческий поиск Мистерии, на материале подготовки которой выстроились три последних Сонаты создателя “Прометея”. Доказано, что мистическая обобщенность звонения Скрябина противостоит натурализму купкистов и С. Рахманинова, но имеет общее с ними происхождение в православном инструментализме церковного звонения, неотрывного от абстракции танечности.

The inexhaustible creativity of Оlexander Scriabin’s genius plays an important role in the world of musical art, which greatly affects Ukrainian art, as many Ukrainian composers and musicians admire the artist’s work and used his style in his work. In particular, the leading composer B. Lyatoshinsky was a convinced “scriabinist”, as well as the outstanding Polish composer F. Chopin, whose creative start is inseparable from Ukraine and Odesa in particular. The success of O. Scriabin in Odesa and the active discussion of his mysterious plans are of considerable interest to domestic researchers, which determines the relevance of this study. The influence of musical culture in Odesa on the creation of creativity O. Scriabin was determined by the historical artistic independent principle of Odesa in relation to St. Petersburg, in the sense of it as the Northern Palmyra – operating at that time the capital of the Russian Empire. Subsequently, a new capital city – Southern Palmyra, which became one of the main cities of the empire, was formed. But the geographic factor and the general circumstances of development made this city a place where the Ukrainian music environment interacted with Russian, and the artistic symbol of this connection were such majestic figures of world culture as M. Vrubel, V. Kandinsky, V. Rebikov, K. Shymanovsky, E. Golуshev and many other artists who lived and worked directly in Odesa. Оlexander Scriabin showed a strong commitment to the genres that formed the basis of salon presentations. He was formed as a “chopinist”, and later also as “wagnerist” and “debussist”, subtly capturing the new trends in the creative realities of this time. Stages of “salon plays” and symphonic outputs formed the regular components of the process of implementing ideas-images of creativity, being “encoded” in the program of the Moscow “soil”, united in the integrity of the creative act of “small” genres of everyday music and revelation of the complexity of artistic professionalism. The performance of works by O. Scriabin is very closely connected with the musical culture of Moscow – the homeland of the artistic origins of the musician. In Moscow, a school for the performance of the works of Scriabin was formed, which put forward such an independent and self-identifying figure as V. Sofronitsky. Traditionalizing of Skryabin, V. Sofronitsky emphasized the “root system” of the latter pianist, bringing it closer to the academic status of the Russian piano school. Yet the interesting side of the style orientation of Sofronitsky was that after studies in the succession of M. Rubinstein A. Lebedeva-Gatsevich, an outstanding Russian soviet pianist afterwards, held a conservative course at A. Mikhalovsky, a pupil of I. Mosheles, a pianist and composer who made significant influence on F. Chopin. Symbolism as a stylistic position of O. Scriabin, which is particularly well-understood in his late compositions of the 1910’s, fits organically into the “neosymbolist” style wave of the postawangard of the 2000’s, when in the repertoire of contemporary performers the most recent works by the author of Prometheus form the predominant layer. Eighth, Ninth and Tenth Sonatas are distinguished not only because they constitute, like other works of the Russian composer, the subject of the work of the author of the book and the students, and, most importantly, in connection with the strange understanding-the recognition of this kind of works by the composer, which takes place at the Odesa Academy of Music, which preserves the memory of Scriabin’s success in 1898, on the eve of the first and triumphant foreign tour to France. Consequently, the Odesa Piano School played a significant role in achieving the success of the premiere of the Piano Concert in 1898, which pitted Scriabin in the essence of the salon basics of his pianism and compositions. In Scriabin’s compositions, ecstatic lyrics discourage theatrical meaningful in favor of the monologue’s comprehensive joy of overcoming drama/tragedy of being, the embodiment of which is resolved on the basis of Scriabin’s bells. Mystical generalization of the call of Scriabin resists the naturalism of the Kupkinists and Rakhmaninov, but has a common thread with the Orthodox instrumentalism of church callings, inseparable from the abstraction of dullness.