Генезис и эволюция фортепианного этюда в европейской музыкально-исторической традиции нового времени

Abstract

В статье исследовано феномен фортепианного этюда, определившего специфику фортепианного исполнительского мастерства XIX–XX ст. Рассмотрено генетические и этимологические особенности названного жанра, обусловившие его типологию. Охарактеризовано основные историко-эволюционные пути его развития в творческо-исполнительской практике Нового времени.

У статті досліджено феномен фортепіанного етюда, що визначив специфіку фортепіанної виконавської майстерності XIX–XX ст. Розглянуто генетичні та етимологічні особливості названого жанру, які обумовили його типологію. Охарактеризовано основні історико-еволюційні шляхи його розвитку в творчо-виконавській практиці Нового часу.

Finding professionalism in any field, including music, can not do without a deep and thorough comprehension of the secrets of his craft and mastery of appropriate technical skills. We note here that the understanding of technology, in this case involves, in accordance with its interpretation of the ancient greek and etymology, organic synthesis skills and mastery of art. Significant place in the designated process belongs to the genre scene, presented in various forms of artistic and intellectual activity, including music. History of piano etudes in all the variety of its manifestations, demanded in the performance practice of the past and the present, did not yet the subject of a comprehensive historical-musicological analysis, which determines the relevance of the topic presented article. Semantics musical sketches at different stages of its existence and development is correlated not only with the improvement of performing skills, but also with the creative work. With points of contact with different typologies, study in a variety of its manifestations actually demonstrated the ability to “pull” and “development” of various genre models and their attendant musical and expressive qualities of the typological. In the first half of the XIX century in line with the formation of romantic aesthetics and demonstrations for his pianistic performing schools crystallized basic species studies – guidance, and characteristic of concert and art (for classification N. Terentyeva). This division was later largely conditional, since the technical and performing quality in this case is not of a self-contained character, but always one way or another have been part of the high artistic skills of artist, expressed through the art of interpretation of the “spirit” of his era and creative universality of its representants. The decisive role in formation of the etude as a genre played the era of romanticism, aesthetic ideals which not only updated the content of art, but also led to the emergence of new expressive techniques, coupled with a wide range of subjects and his imagery. The above is largely conditioned by the processes of transformation of the previously existing typologies, as well as the emergence of new genres, including romantic sketch as a complete, original, full of art, fully represents the spiritual quest romantic era in art. In a number of specific directions of music and performing arts, the Romantic era and generated embodying the most characteristic features of its outlook, the central place belongs to the romantic virtuoso performance tradition. “Sphere of influence” of this tradition, which defined the main ways of development of the European instrumentalism, has reached an exclusive scope, especially in the field of piano art, because “in the romantic era was the piano is a universal” means of music distribution (H. Schoenberg), an orchestra in miniature the most important element of domestic music-making. The phenomenon of romantic virtuosity primarily associated with piano playing. In this peculiar piano music “accumulated” a most valuable part of the artistic heritage of the Romantic composers, which was imprinting and rapid flowering of the genre Studies in the diversity of its manifestations.