Abstract
The article analyzes the features of formation of instrumental performance of the romantic period and the main factors of this process revealed on the example of Niccolo Paganini’s violin work. The methodological basis of the article is a comprehensive review based on historical-theoretical and music-performing approaches to the research of the stated problems. The main methods of work are historical-comparative, structural-functional and theoretical generalization. The main principles of performance and repertoire of the Italian violinist are determined. The influence of the Italian maestro on the performing arts of prominent representatives of musical romanticism – H. Berlioz, K. Lipinsky, F. Liszt, F. Chopin, R. Schumann and others – is defined.
Highlights
At the end of the 18th and the beginning of the 19th century, European musical art underwent a change of artistic views and thinking due to the stylistic situation of the transition from classicism to romanticism
This was largely due to the rapid development of instrumentation at this time: the establishment of a group of violins, the spread and improvement of piano and wind instruments, which opened up new great opportunities for technical and color solutions in instrumental compositions
All this had a cardinal effect on the practice of performance, which in the 18th century had the character of mostly home or court music, and from the beginning of the 19th century began to relentlessly go to the «glorious» stage
Summary
At the end of the 18th and the beginning of the 19th century, European musical art underwent a change of artistic views and thinking due to the stylistic situation of the transition from classicism to romanticism. This property of musical performance of the 18th century became an important factor in the development of virtuoso art of the day.
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