Концепція циклізації прелюдій Ф. Шопена та їх взаємозв’язки із циклом «Добре темперований клавір» Й. С. Баха

Abstract

The purpose of the article is to disclose the unique features of a cycle of Preludes by F. Chopin and to define their internal interconnection with a polyphonic cycle “The well-tempered clavier” by J.S. Bach. The methodology of the work is complex; it lies in the combination of the basics of musicological, artistic, historical and cultural research; it is based on the positions of the intonational approach of Asafiev’s school and his successors. The scientific novelty of the research is defined by its analytical approach, concentrated on revealing Bach’s and romantic principles of cyclization that lets us determine in Preludes of F. Chopin different edges of an image, which are difficult to see while their consideration out of the context of the cycle formation as a whole. Conclusion. In Preludes op. 28 F. Chopin clearly made succession of chromatic 24 keys, with respect to the above-mentioned cycle of J.S. Bach. The structural and semantic interconnection of the prelude-fugue is suggested not only by the character of the idea, that is by something lying out of the “subject” of the work. Orientation on Bach’s cycle is “programmed” in the First Prelude and can be traced throughout all 24 plays. However, by establishing an obvious sign of resemblance, F. Chopin also differentiated the method of Bach’s baroque and logic of romantic aspiration to Beauty, to space immensity of the image. Beauty and spaciousness of overhead sense from the times of the ancient rhetoric were symbolized by the fifth intervalics: the fifth circle determined core interval construction of Preludes by F. Chopin, keeping separate from the mechanic movement of a step progression in the chromatic scale in the works of J.S. Bach. In connection with the underlined intonational junction of the major thematic “joints” of the work, denoted by the symbolism of “bachianism” and genre interconnections, the abovementioned Preludes by F. Chopin are considered as authorial composed cycle. Its essentials are “through” lines of semantic and intonational development, which are embedded in a musical work by its artistic nature and the stylistic setting of romantic aesthetics, organically “interwoven” with the pre-symbolic indicators of the contemporary art of “Pre-Raphaelites”.