Мініатюра як принцип композиторського мислення Йосипа Ельгісера

Abstract

У статті охарактеризовано жанр мініатюри як один із принципів композиторського мислення Йосипа Ельгісера. Застосовано методи історико-культурологічного, теоретичного і жанрово-стильового аналізу, що дало змогу визначити жанр фортепіанної мініатюри як основний принцип його композиторської творчості. Висвітлено жанр мініатюри у творчості цього буковинського автора. Проаналізовано його твори та виявлено стилістичні ознаки композиторського мислення, одного з малодосліджених персоналій сучасної музики.

В статье охарактеризирован жанр миниатюры, как один из принципов композиторского мышления Иосифа Эльгисера. Применены методы историко-культурологического, теоретического и жанрово-стилевого анализа, что позволило определить жанр фортепианной миниатюры как основной принцип его композиторского творчества. Освещен жанр миниатюры в творчестве буковинского автора. Проанализированы его произведения и выявлены стилистические признаки композиторского мышления одного из малоисследованных персоналий современной музыки.

The article describes the genre of miniatures, as one of the principles of the compositional thinking of a Bukovynian contemporary composer Joseph Elgiser. Methods of historical-cultural, theoretical and genre-style analysis have been applied, allowing to define the genre of piano miniatures as the basic principles of his artistry. The article highlights the genre of miniatures in the works of a Bukovinian composer, analyzes his works and identifies the style of his compositional thinking as one of the insufficiently studied personalities of contemporary music. The works of Joseph Elgiser established him as highly original composer. Most of his legacy is piano music, which reveals the features of his style in various genres. J. Elgiser’s music is rich in images and ideas; a modern man with his emotions and experiences, complex world of feelings and thoughts about the present and past social life is paramount in his music. Elgiser multiplied the range of images, ideas and mood which can be represented by music. Therefore, the rich content of his music contributed to the frequent change in musical themes, requiring the continuous embodiment of musical images in the musical composition. To fulfil his ideas, Elgiser chose romantics’ favourite instrumental miniature – the smallest genre in music able to reveal the spiritual world of a man, his psychological life. The main Elgiser’s works are notable for the program piano miniatures. Creating musical images in the form of piano miniature, Elgiser grouped them into cycles and named them. Along with the overwhelming number of program miniatures, grouped into cycles, he repeatedly turned to romantics’ favourite miniatures of traditional genres of small form: etudes, nocturnes, mazurkas, quadrilles, marches, waltzes, polkas, impromptus. Thus, J. Elgiser’s piano works make most of his legacy and are represented by almost all genres of piano music. His knowledge of almost the entire piano repertoire and the active performance influenced greatly the origins of his style, professional skill of the creative process and compositional techniques. He might have been inspired by music of different eras, styles, directions, but, having analyzed the legacy of Elgiser, we conclude that the greatest influence on his work made: the piano style of Beethoven, especially, “Bagatelles”, which were true precursors of Schubert’s piano pieces, romantic composers – Chopin, Mendelssohn, Schubert, Schumann, Brahms, Grieg, tendencies of piano music of the Impressionists, especially Debussy, the works of Russian and Soviet composers – Scriabin, Rachmaninov, Tchaikovsky, Prokofiev, Shostakovich and the representatives of Ukrainian piano school – Lysenko, Revutskyi, Kosenko and others.