Стильові ознаки звукотворення у фортепіанній музиці Вольфганга Амадея Моцарта

Abstract

У статті окреслені базові стильові ознаки техніки звукотворення в інтерпретації фортепіанних опусів геніального австрійського композитора Вольфганга Амадея Моцарта. Її специфічні особливості розглянуто в контексті основних стильових ознак фортепіанної спадщини митця і загальної виконавської традиції. Наведено характеристики типових прийомів гри, доцільних для варіативного застосування у виконавському інтонуванні фортепіанної музики композитора.

В статье очерчены базовые стилевые признаки техники звукотворчества в интерпретации фортепианных опусов гениального австрийского композитора Вольфганга Амадея Моцарта. Её специфические особенности рассмотрены в контексте основных стилевых признаков фортепианного наследия художника и общей исполнительской традиции. Приведены характеристики типичных приёмов игры, целесообразных для вариативного применения в исполнительском интонировании фортепианной музыки композитора.

The article deals with the basic stylistic features of the sound production technique in the interpretation of piano opuses of the brilliant Austrian composer Wolfgang Amadeus Mozart. Its specific features are outlined in the context of the basic stylistic features of the artist’s piano heritage and typical performance tradition. The main features of sound production technique are related to the following basic stylistic elements of Mozart’s piano works: the laconicism of expressive means, the accuracy of all records of performance instructions, the transparency of the substance and at the same time the super-rich sense, the extraordinary expressiveness of the melody line in its slightest pitches; balance of emotions and logic and inexhaustible variability of images; logic of the chosen tempo-character of the work, accuracy of articulation, adequacy of the dynamics, quality and tonal beauty; clavier polytimbral. The character of sound production technique is also revealed on the basis of an analysis of Mozart’s performance style, which was characterized by perfect technical competence, accuracy of detailed nuances, exemplary highly artistic performance in the absence of any exaggerations, transparency of “grainy” sound, cantilenity and extent of the dynamics of the piano of the XVIII century. The sound production work in the play of Mozart’s works is determined by the specific tasks caused by specific musical and artistic content of each particular work. In general, the nature of pianistic techniques is associated with at excellent, brilliant finger technique, which excludes the excessive use of large arm levers, its excessive weighting. Under common kind of articulation, the finger rises from the key just before pressing the next one. The article provides exercises for the formation of this basic key touch, which is necessary for the gentle sound of “demilegato” play, the production of grainy sounds; emphasizes the need for rational organization of movements of the sensitive fingers for a detailed performance nuance, delicate “messa di voce” of the dynamics of the volume due to the recitative-declamatory nature of vocal plastic art in Mozart’s piano works. The development of Mozartianism will motivate researchers to analyze the wealthy palette of music styles of Austrian genius. At the same time, a deep understanding and, above all, mastering the art of interpreting a musical piece should also take into account the nature of a deliberate and appropriate pianistic embodiment of the performer’s artistic intentions.