Явище музичної програмності у фортепіанній творчості Миколи Метнера

Abstract

Research objective. The aim of the work is to investigate the phenomenon of musical programmaticity in N. Medtner’s piano works on the example of the analysis of the author’s genre of a fairy tale. The research methodology is based on historical-cultural and compositional-analytical methods. Chronological and textual approaches are used, which provide reliance on specific historical material, consistent comparisons and generalizations. Based on the analysis of the historical preconditions for the creation of the phenomenon of programmability, the author’s personified programmability is revealed, which reflects certain events in music-related arts, such as literature and fine arts. The scientific novelty is due to the definition of the essence and role of musical program in the work of Nikolai Medtner. The main positions of fairy tales as literary and musical genres and their influence on the formation of the author’s program in the composer’s piano works are determined. It turns out that a feature of N. Medtner’s authorial musical program is the composer’s sensory-emotional perception of the literary genre, his inner feelings about events in human life. One of the features of Nikolai Medtner’s work is the search for moral universals, which confirms and strengthens the classical attitudes of musical art. Characteristic of Medtner’s fairy tales was the use of narrative techniques of phrasing, the continuity of the theme, the creation of motif arches, the tendency to reprise and sometimes to refrain, reminiscence. The article also proves that the moral attitudes of the composer make it possible to attribute Medtner’s work to the direction of metamodernism. Conclusions. The study of the phenomenon of musical programmability allows us to discover the world of Medtner’s musical tales and to form individual interpretive positions of performers in relation to his piano works. Medtner’s fairy tales are characterized by generalized programmaticity, which can be interpreted as an expression of the composer’s experiences, his sensory and emotional conclusions on the “reading” of fairy tales. These are “tales” about the personal life of the composer, thoughts and emotional inclinations of man. The analysis of this problem is supported by compositional examples of Medtner’s work.