Останні сонати Олександра Скрябіна як явище індивідуального стилю композитора

Abstract

У статті зроблено спробу систематизувати відомості про останні фортепіанні сонати (Восьму, Дев’яту і Десяту) О. Скрябіна. Звернено увагу на присутність у них релігійної екстатики, пов’язаної з давньоруською християнською традицією.

Статья посвящена систематизации сведений о последних фортепианных сонатах (Восьмая, Девятая, Десятая) А. Скрябина. В работе обобщаются сведения о последних сонатах Скрябина в связи с проявлением в них религиозной экстатики, идущей от древнерусской христианской традиции.

The Article is dedicated to systematizations of the information about Eighth, Ninth and Tenth sonatas. The information are generalised in work about the last Sonata of Skrjabin in connection with manifestation in them religious ecstatic factor, going from russian christian tradition. Are they also analysed Eighth, Ninth and Tenth sonatas as manifestation of ecstatic factor of liturgy, excluding concentration in subjectivity expressed tragedy and «demonic» influence to figurativeness of the Sonata h-moll F. Liszt and objective containing ecstatic joy of visions «nontragedy of being». Last has voiced A. Skrjabin in interview for the South music herald in Odessa for 1915. So much for works, noted not only «mystic presentiment to deaths». We select special, defining value of the subject of the Cross-Confessions in initial tact of the work, sаcrаmental-prelude look which, in tradition of spiritual understanding the genre to preludes in french salon music, former by style base of art Skrjabin composer and particularly pianist, will assign liturgy solemnity to Sonata. This last has got the name «black mass», but «blackness of» beliefs about which get in free analogies with subjects of the Sonata F. Liszt h-moll and fantastic image of the compositions N. Rimskij-Korsakov. We pay earnest heed on location spiritual symbology in mеlоdical sidebar that, why undoubted turns out to be the relationship with liturgy image factor of the Sonata, generated instruction on «mass» in accepted software name to compositions. Accentuation devil of liturgy idea in Tenth sonata to give in belief about her image that «lachrymal voltage», about which, what has shown the analysis, is founded spoke S. Skrebkov, as reports real realized cоntаct with words, which is accepted to oppose to the givenned composition in to triad of Sonate 1913. Associativity relations of sonate form in Tenth sonata and resemblance of herconstruction Eighth, openning also slow entering, allow with confidence to accent variant-strophe structure integer, in which exists the serial aspect of the technology. This last defines keynote of the tierce join c-e - f-a, which reorganize in final chord c-f - a-e-h. Hereunder stands out tierce chain f-ac-e-g-h with corresponding to chromatic changes to quality of serieses from 6 sounds of the Sonata. The main prоperty Return to headwaters, which is noticed researcher in connection with by boundary works 1913–1915, this – overcoming of dramatic potential of sonate structures by means of hypertrophy of monotematics, including removing oppositions of cantilena and sсerzo style as positive and negative, bequeathing pоems of F. Liszt. Tenth Sonata-poem of Skrjabin, complicadet one-part form which obviously is hereditare to composition factor of the author «Faust-symphonies», demonstrates cоcеntrate anit-Liszt thematic unification, the main by factor which turns out to be noted above deleting contrast between cantilena and sсerzo style, former main by facility of the contraposition good and ills in music decision. Pastoral «radiance» of Tenth sonata, coming from chronology of the writing and obvious relationship with simultaneously nearly finished Ninth and Eighth, must be realized in connection with factor of «mystery» in the image of Eighth and in «liturgy» of Ninth. Stuck to the last feature «black mass» in analogy with image of Mefistofele in the Sonata of Liszt requires the special commentaries, but in this instance fix the main: Faust-character of expression in the Liszt Sonata at all did not generate the thought about analogies to mass – but this mystic genre factor of the Ninth sonata of Skrjabin is realized much clearly. As mystery principle, so and lturgy principle withstand dramatic shank of the classical and romantic sonata, main in them this principle statics of ritual action, gravitating to repeatability in character rondo leading ideas and general symmetry of the construction. Simmetrichnosti obviously oozes in Ninth sonata – a framing by initial subject, appearance which at the end of the composition in tt. 209–216. Why-that in analysisof tune-thematic composition of the Ninth sonata at all are not commented tune complex of the initial subject, interpreted as main to parties of sonate structures, which obviously contains the figure of Ring, Circle – refer to sequence (h-b-a-as-h), which symbolizes All, the God. This high symbology of the Divine presence is concluded in repeatedly repeated complex of the Tenth sonata (f-fes-es-d-es-e-f), particularly observable in tt. 25–28 named compositions. Given thematic complex tt. 17–28 and 349–360 at all does not stand out in analysis; derivative sense his melodious drawing from tune-2 in t. 3 obvious, but obvious and invoiced independance, defining liturgy directivity of sounding, linked nearly solely with «image of the nature» and «bird concerto» symphonys of Skrjabin. As a whole three last Sonatas of Skrjabin turn out to be bounded naturally «return to headwaters» creative activity of Chopin, his genre ambience prelude-nocturne, discharging dramatic effect in favour of monologue lyric poets, coverring wholeness large compositions in type of poem, hereunder regenerating this last from theatrical-philosophical opposition of ideas-image in precept of F. Liszt – in hymn-liturgy Glorification speakers showers, directed to Delight of the joys of the development to Thoughts