Abstract
The essay considers the origin of such a phenomenon as dynamism in the Russian musical art of the 1910s. Dynamism “in general” (a powerful pressure of energy, a riot of forces) and constructive dynamism (the desire for organisation, for machine-type energy) coexisted and interacted in the works of the early XX century. The author consistently sheds light on the manifestations of dynamism in the creative work of S. Prokofiev, who began his career in the 1910s (piano piece “Diabolic Suggestion” Op. 4 No. 4 (1908), Étude in C Minor Op. 2 No. 4 (1909), Toccata Op. 11 (1912), Piano Sonata No. 3 (1907-1917)). The essay pays special attention to the Piano Sonata No. 2 (1912), with its dramaturgy based on a sharp comparison of two figurative spheres – the action-filled and the lyrical. As a result, the author concludes that the primary function of dynamism is to convey the eruption of colossal energy characteristic of the early XX century.
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