Фортепіанні концерти Дмитра Шостаковича № 1, № 2 у наслідуванні практики концертного жанру Петра Чайковського

Abstract

У статті розглянуто зв’язок фортепіанних концертів Д. Шостаковича з традицією музики П. Чайковського в змістовно-структурній компенсативності концертних жанрів відносно драматизму симфонічно-оперних композицій. Охарактеризовано час створення Першого і Другого фортепіанних концертів композитора, написаних у 1933 і 1957 рр. Показано спільні та відмінні риси цих концертів та їх своєрідність серед творів інших композиторів.

В статье рассмотрена связь фортепианных концертов Шостаковича с традицией музыки П. Чайковского в содержательно-структурной компенсативности концертных жанров относительно драматизма симфоническо-оперных композиций. Охарактеризовано время создания Первого и Второго фортепианных концертов композитора, написанных в 1933 и 1957 годах. Показано общие и отличительные черты данных концертов и их своеобразие среди произведений других композиторов.

This article is devoted to D. Shostakovich’s relation with P. Tchaikovsky’s tradition of music in the semantic and structural compensativity of concert genres concerning dramatic nature of symphonic-opera compositions. Times of creation of the First and the Second piano concerts are 1933 and 1957. The First concert was created within the period of the appearance of such works as the opera «Katerina Izmailova» and the Fourth symphony. The first of the above-mentioned compositions is compared to M. Mussorgsky’s tragic compositions, the second – to G. Mahler’s tragicalness. In the specified genre and semantic environment, the composition of the First piano concert strikes with the opposition concerning all mentioned well-known works – «of an age». M. Sabinina noted that this composition, along with the First symphony (1925), belongs to works of «young Shostakovich», finding by the composer signs of incompleteness of the work over synthesizing its means. Such reproach sounds rather mysteriously for modern hearing, but it is explained by «dissimilarity» of the expression devices found in the composition as compared with symphonic classics of the composer. Altogether, the First piano concert is separate from expressiveness of opuses that are close to it as to time of their writing. Apparently, his turn was to »mixture of manners» was not clear for researchers of 1960 and 1980-th years, and, the main thing, his turn to »coexistence» of genres-styles which bear aesthetically contradirectional impulses of tragicalness-hymnalness, sarcasticness-touchingness, etc. Here at once arises the analogy to P.Tchaikovsky’s products of 1870–1890-th years in which magnifying joyfulness is present that acts as a counterbalance to a tragical-dramatical tone of his own symphonies and operas. So, at the same time coexist Violin and the First piano concerts, Variations on rococo for violoncello and orchestra – on the one hand – and dramatic nature of the Fourth symphony, «Eugene Onegin» and «The Maid of Orleans», «The swan lake» – on the other hand. In the 1890-th years have «Nutcracker», «The sleeping beauty», «Iolanta» and «The Queen of Spades», the Sixth symphony, etc., an in-time co-existence. However, lyrical pathos of expression unites all Tchaikovsky’s emotional ranks of images. But this last doesn’t form »a through thread» of Shostakovich’s style manifestations that, as we consider, has generated searches of signs of «maturity» that were synonymized with a tragicdramatic nature of expression. So playfulness and joyfulness were regarded as something «facilitated», admissible except upon at «young age». Regarding any high ecstatic pleasure of spiritual compositions that also didn’t allow contacts with dramatic-tragic elements, there was no question in characteristics of the Concert. The Second piano concert as to the year of its composing – 1957 – coincides with time of creation of an epic-tragical canvas of his Eleventh symphony «The Year 1905». In literature the originality of this composition and its «unlikeness» to Shostakovich as the author of the Symphony No. 11 is emphasized. The Second piano concert contains a «revision of worthiness» and promotion of the actual qualities «moved» in the position of models-samples by events of the nearest past. We deem that such a new source-stimulus for Shostakovich has become Prokofiev, whose leaving in 1953, at the same time with Stalin, has been the termination of the whole era in the life of the country and in the Soviet art. In the analysis of the Second concert we remind of analogousness of the theme of the main party of the Concert – childishness of Prokofiev’s images mentioned by the composer also in the Fifteenth symphony when relatedness in a scherzo-ironical figure has been found... with the motive of the Homeland from Prokofiev’s Seventh symphony. Concerning manifestations of signs of «memories about Prokofiev» in Shostakovich’s music we can make reference to such characteristic stroke of the considered works as lines of «Chopinlikeness» attracted by means of primitive simplification of their rhythm-texture. By means of tonalities the composer quasi-opposes F-dur of extreme parts and c-moll of the second part, that is, he gives a ratio of their major tonic and minor dominant. However, in traditions of relationship of modes consecrated with a Chopin’s artistic discovery, in the middle of the 20-th century the specified ratio of F – с – can’t be realized as a functional contrast, but it is a component of the uniform tonal space. And just as in the First concert the second part that contains the waltz music that is connecting the author of «Katerina Izmailova» with P. Tchaikovsky has indicated his «self-portrait» in its expression, the second part of the Second concert by Shostakovich is marked with «Chopin’s style by Prokofiev». The «Waltz style according to Tchaikovsky» is observed in the three-parts reprise (with additional sonata relations) of the second part of the Second concert. Both concerts possess «nostalgia for romanticism» which in the First one is found by links to a waltz-likeness in the spirit of P. Tchaikovsky, and in the Second one the composer showed his feeling of «a new folklorism» lifted on a board by B. Bartok and which has become an actual and figurative embodiment of folklore guidelines of the final of P. Tchaikovsky’s First concert by Shostakovich.