Фортепианное творчество Энрике Гранадоса в контексте взаимодействия традиций западноевропейского романтизма и Ренасимьенто

Abstract

В статье исследована поэтика фортепианного наследия Э. Гранадоса как одного из наиболее выдающихся представителей испанского музыкального возрождения. Рассмотрено эволюционные пути творческой деятельности композитора. Охарактеризована жанрово-стилевая специфика фортепианного наследия Э. Гранадоса, формировавшегося на основе взаимодействия традиций западноевропейского музыкального романтизма и Ренасимьенто.

У статті досліджено поетику фортепіанного спадку Е. Гранадоса як одного з найвидатніших представників іспанського музичного відродження. Розглянуто еволюційні шляхи творчої діяльності композитора. Охарактеризовано жанрово-стильову специфіку фортепіанного спадку Е. Гранадоса, що формувався на основі взаємодії традицій західноєвропейського музичного романтизму та Ренасім’єнто.

Piano heritage E. Granados directly associated with the traditions of the total Spanish cultural Renaissance of the XIX century. Part of which is rightly also considered and “New Musical Revival”, correlated with the names of F. Pedrelya, I. Albeniz, de Falla. The intensity of the designated process has largely been determined by the contradictory and complex historical paths of development as the Spanish music of the period, and culture in general. Historians Spanish culture chronologically correlated with the development of ideas Renasimento period from the 1840s until the beginning of the First World War (1914). The designated historic phase is characterized not only resonant events of Spanish history (the revolution in 1868, the emergence of the bourgeois constitution, a disaster in 1898, which led to the permanent loss of the overseas colonies of Spain and so on), but also the corresponding comprehension of their own national identity, qualities of the Spanish National ideas, and ways of its spiritual and aesthetic and artistic realization. The most striking stage Renasimento paired it with the 1880–1890 years, marked the flowering of literary and philosophical thought “generation of ’98”. The great historical past of Spain and depressing reality of the steel core theme in the arguments, philosophical essays and literary works of Miguel de Unamuno, Pio Barohi, Asorina, Ramon del Vejle Inclán, Antonio Machado. Creativity E. Granados fits well into the context of the position of the Spanish Renaissance XIX century. Composer’s talent and mastery of the author’s most fully revealed in the works of the piano. An outstanding pianist and a brilliant improviser E. Granados turned to the piano throughout life and created for him more than 250 works that have become an integral part not only of Spanish music, but also the world of piano literature. Style E. Granados has absorbed a variety of influences caused by complex and contradictory cultural and historical situation in Spain, the XIX–XX cent. The decisive influence on the formation of aesthetic views of the composer, as mentioned earlier, had the idea Renasimento, manifest F. Pedrel, E. Granados who studied for some time. In many ways, thanks to classes with F. Pedrel, national capacity was decisive in the early opuses of the composer. Through the study of the music of the past of their country, understanding intonation wealth of Spanish folk songs and dances evolved E. Granados individual ideas about creative ways of handling folk music because of its Spanish regional specificity. Thus, the piano work of E. Granados as an outstanding representative of the organic Renasimento marked a “fusion” implementation, on the one hand, the national traditions of understanding its spiritual quality of intonation, playing almost without quotes folklore, on the other – the perception of organic culture of Western European romanticism around variety of its manifestations. In the opinion of G. Gacheva, “to describe the nation – is to identify the unique”. “One of the conditions of existence of the nation – the endless search for self”. Path search of its identity, the formation of a “national image of the world”, while striving for integration into the European cultural and historical space is indicative and for Spain. Genre-stylistic specificity piano heritage E. Granados fully summarizes not only the national aesthetic aspects of Spanish culture Renasimento era, but also reveals its pan-European style “outputs”, signifying the deep transformation of the Spanish musical and historical tradition.