| Popis: |
The purpose of the article is to identify the sacred and genetic features of instrumentalism, piano in particular, as the embodiment of Christian-vocal modelling of the play-breathing (mozartianism) and the revival of the original selfsignificant rhythmic and sound principle in the piano orchestration (beethovenianism). The research methodology is the phenomenological perspective of R. Ingarden’s aesthetics and philosophy and phenomenologically oriented art studies of B. Аsаfiev, N. Коryhаlоvа, V. Меdushevskij, E. Маrkоvа, and others, analysis, synthesis, and distributive methods, which helped to reveal the sacred and genetic characteristics of instrumentalism. The scientific novelty of the article is that it for the first time expresses the idea of the genetic conditionality of the piano performance in the antipodes of the Mozartian and Beethovenian playing by sacred origins of the first of the vocal instrumentalism of early Christian praising and the primitive universalism of sound and rhythmic magical first-culture actions. Conclusions. The article has demonstrated that for the piano works the principle of romantic duality in the interpretation of the play was the embodiment of the romantic antinomy of the expression of “light” and “tense” sound of the piano as the instrumental embodiment of a multiplicity of pianism as a whole; the former represented the feminine solo quality, “flute” colouring of the melodic ornament of Mozart’s “piano harpsichord” in the spirit of “instrumental arioso” of Field’s nocturnes and the latter – hypertrophied Beethoven’s orchestralism, Bach’s organ-textural overload, emphasizing the piano specificity as the ability to “replace the orchestra”, including the sound injection. Thus, the piano expressive resource was saturated with total instrumentality in which the “light” type of playing appealed to the sacredness of the early Christian Church nocturnality, and the piano orchestrality embodied the initial absolutization of instrumentalism of magical purpose. |
