Особливості трактовки сонатної форми у фортепіанній творчості Л. Бетховена: до проблеми побудови виконавської концепції (на прикладі сонат op. 101, 106, 109, 111)

Abstract

The purpose of the article is to consider the peculiarities of the interpretation of the sonata form in the piano work of L. Beethoven in the light of the problem of constructing a performing mixture. The methodology of the work is based on a comprehensive study of historiographic, genre-compositional, artistic-semantic and potential-performing approaches. The scientific novelty of this article is due to the identification in the piano work of L. Beethoven and consideration of the features of the interpretation of the sonata form in these periods, the identification of figurative and dramatic prerequisites for stylistic and stylistic innovations in the last four sonatas (op. 101, 106, 109, 111). Conclusions. In the piano cycles of the late period of L. Beethoven’s work, significant changes are observed in the interpretation of the sonata form, the ratio of intra-conflict and harmonic spheres is modified, which has a significant impact on the general understanding of musical dramaturgy. In the cycles of past periods, the conflict state of thought is wider, which coincides – since the latter does not always really become a reality and exists only in human thinking as an ideal (hence the disproportion in its development). In sonata cycles op. 101, 106, 109, 111 and conflict, and the visible ideal in address rightness, their inverse relationship: the conflict is interpreted in its “narrow” meaning – as an intra-subjective state, and harmony – as an objective one – as a union of man and being. In the sonatas of the early and middle periods of L. Beethoven’s work, he limits the intra-conflict and harmonic sphere to no higher than the general level of quality; in the last sonatas, the harmonies, affirmed as the conclusion of the solution of the conflict, the character of the maximum level of generality, since they combine the ideal and effectiveness (the ideal is open in an objective meeting, and it becomes a reality for the individual), emotional and perceived, objective and perceived in content and is assumed in terms of complete merging with him personality).