ГРУПА КОМПОЗИТОРСЬКИХ ПОРТРЕТІВ У ФОРТЕПІАННОМУ ЦИКЛІ ЗЛАМУ ХІХ–ХХ СТОЛІТЬ

Abstract

The purpose of the article is to study cyclical program piano compositions with a series of artists’ portraits from the point of view of methods and specifics of artistic solution of the chosen type of creative task. The methodology of work involves the analysis of the works of composers of the 19th-20th centuries: I. Stravinsky, A. Caselli, E. Sati, and M. Ravel. Scientific novelty is to identify methods that allow multiple author styles to be matched and span a significant palette: from allusions, parallels, generalizations across sign genres or specific works, tributes, awareness of artistic continuity, to epatage, paradox, puzzles, pastice, synthsesising of semantic characters or semantic counterpoint of the program and means at the level of categories “I” – “The Other”. The conclusions specify the levels of expression of the author’s position in this system. It is noted that the reproduction of the gallery of composer's portraits is based on the idea of a game principle, which takes on a diverse incarnation. The tone of the author’s statement mainly provides for irony, cartooning, grotesque, distancing one’s own artistic position from reproduced material. The communicative components of the semantic field are the means of citation, stylization of expressive means, genre allusions, parallels, symbolism and emphasis in program names, combination and layering. Methods for comparing multiple authors’ styles cover a significant palette: from allusions, parallels, generalization through iconic genres or specific works, a tribute of respect, recognition of artistic continuity (I. Stravinsky, M. Ravel), to epatage, paradoxical, pazzels-riddles (E. Sati , A. Casella), the many faces of the pastor (A. Casella, M. Ravel), synthesizing semantic signs or semantic counterpoint of the program and means at the level of categories “I” – “Other” (E. Sati, M. Ravel).