Неоромантические стилевые показатели фортепианного творчества Александра Глазунова

Abstract

В статье определено стилевые особенности фортепианного творчества А. Глазунова в контексте культуры неоромантизма, актуализировавшегося в начале ХХІ века и исторически связанного с музыкальной жизнью Одессы начала ХХ в. Обобщено материалы по фортепианному творчеству А. Глазунова, его показатели соотнесены с позициями неоромантизма как актуальной составляющей постмодернистской полистилистики.

У статті визначено стильові особливості фортепіанної творчості О. Глазунова в контексті культури неоромантизму, що актуалізувалася на початку ХХІ століття та історично пов’язана з музичним життям Одеси початку ХХ ст. Узагальнено матеріали щодо фортепіанної творчості О. Глазунова, а її показники співвіднесені з позиціями неоромантизму як актуальної складової постмодерністської полістилістики.

Article is dedicated to determination of style particularities of piano creative activity of A. Glazunov in context of the culture of nеоromanticism, which has instant at the beginning initially XXI century and historically connected with music life of the Odessa begin XX centuries. It is done the generalization of materials on piano creative activity A. Glazunov, but his factors are correlated with position of neoromanticim as actual forming of pоstmоdеrnism polistylistic style. In creative activity A. Glazunov obvious output on lyric poetry. This exists from the first creative experience as the individual difference of the composer to encirclement of the Powerful small circle, which has grown him. Lyrical type Glazunov, marked in parallel to stylistic line picture mоnumеntаl symphonic style of Powerful small, became the manifestation intellectual – with polyphony – a lyricism of “setting”, significant for the end XIX – begin XX century. Regarding features dug the genre of the concerto and concert activity in creative legacy A. Glazunov is noted that his concert product directly inherited the liro-epic line this genre type beside P. Tchaikovsky, spreading given figuratively-typicalness quality, unlike author “Peak lady”, on the whole collection symphonic and other works. Is it Also established that piano works, being initial stage of self-аffirmation Glazunov as composer, have found in genre piano concerto stylistic join with symphonic lyric poet-epic creations as the corresponding to essence of the talent of the Master. And in this sphere was found сonformity of installation Glazunov was found in this sphere in that wave tradition styles – “soft” modernist style, which has noted the creative activity M. Reger, J. Marx, R. Vaughan Williams, N. Metner, in Ukraine – V. Kosenko and others.