Скрипкова соната “POST SCRIPTUM” Валентина Сильвестрова в аспекті проблеми фортепіанної виразовості

Abstract

У статті розглянуто фортепіанну виразовість у творчості Валентина Сильвестрова на прикладі Скрипкової Сонати “Post Scriptum”. Здійснено стислий виконавський аналіз твору, охарактеризовано його стилістичні особливості, виявлено специфіку фортепіанних виразових засобів та виконавські складності композиції. Досліджено основні аспекти фортепіанної виразовості у творі, розкрито проблему виконавської взаємодії фортепіано з іншими інструментами.

В статье рассмотрена фортепианная выразительность в творчестве Валентина Сильвестрова на примере Скрипичной Сонаты “Post Scriptum”. Осуществлен краткий исполнительский анализ произведения, охарактеризованы его стилистические особенности, выявлены специфика фортепианных выразительных средств и исполнительские сложности композиции. Определены основные аспекты фортепианной выразительности в произведении, раскрыто проблему исполнительской взаимодействия фортепиано с другими инструментами.

Among the stylistic diversity of the last decades of the twentieth century Valentyn Silvestrov’s creativity is distinguished by its originality, deep insight and philosophical orientation. The works of the artist due to extraordinary melodiousness, subjective orientation and sincerity in the statement become more and more popular. However, in the field of art criticism there are numerous gaps in the problems of the artist creativity, stylistic features of his genres etc. Unidentified questions remain about the stylistic features of chamber-instrumental ensemble genre both in the aspect of individual style and in the context of general postmodern tendencies. Artistic positions of V. Silvestrov, improvisational, spontaneous manner of composing near the instrument led the growth of the role of the piano in the works of different genres. The personal performance of the artist put a direct imprint on the formation of the piano texture of his works. Philosophical comprehension of art caused the emergence of the concepts of meta-music, meta-style and meta-genre in the mature period of V. Silvestrov’s (from the 90’s). Their essence is to move away from the complex musical language, the tendency toward simplicity in utterance, clarity, structuring, and so on. The concept of “meta-music” was based on the philosophical idea of the cyclical development of the world, according to which all processes and events in the history of the world are repeated, but every time on a qualitatively new level. “Meta-music” is a mystical, sacred phenomenon associated with metaphysical experiences and religious feelings. Sonata genre occupies a significant place among the chamber-instrumental works of V. Silvestrov. In the context of the aesthetics of the artist’s creativity it could be defined as a genre of “meta-sonata” or “super sonata”. The connection of the composer with the sonata form is highly mediated. It manifests itself, first of all, at the level of drama, in which is embodied the most often contrasting comparison of images: terrestrial and cosmic, conscious and super conscious (Divine), personal and generalized, and so on. A striking example of the author’s interpretation of the sonata form is the Sonata “Post scriptum” for violin and piano which has become a vivid example of postmodernist thinking of the composer. It was written in 1990 and consists of three parts. The parts are united in intonation and form a single dramaturgical line. The name of the work reflects the aesthetics of the mature creativity of the composer associated with the idea of post-reading. Standing in “classical” manner, the Sonata testifies to the special piety of the artist before the music of the past, primarily classical and romantic. The most deployed is the first part of the cycle (Largo), which carries the basic ideological load. It is written in the form of a sonata allegro and built on the principle of pattern matching. The second part – Andantino – continues the sphere of images of the main part of the first part of Sonata. The part is miniature, sustained in the same mood. It is quiet, distant, restrained and focused. Final – Allegro vivace, con moto – is a picture of the Space, in whose vast expanses the stars are shining. The music of this part should sound light, but excited and tense. In the Sonata the author reflected the general tendencies of the time, has developed national traditions which are firmly rooted in professional Ukrainian musical art, embodied the individual peculiarities of his composer’s thinking. This led a transformation in the disclosure of the means of expressiveness of instruments, and especially the piano, which due to its rich nature discovered the widest prospects for the implementation of ideas for the development of sound, timbre, coloristic and sonoristic spheres.