HARPSICHORD IN THE SOUND PICTURE OF THE XX CENTURY MUSIC, EXEMPLIFIED BY F. POULENC’S СONCERT CHAMPETRE

Abstract

At the beginning of the XX century harpsichord went through a major revival. The builders’, performers’, and composers’ approach to reconstruction of this instrument and its sound characteristics have created a whole new system of artistic allusions. That system was unexpected in the context of the instrument’s history, yet logical, considering the aesthetic of the time. Original harpsichord pieces of the early–20th-century composers commonly embody mechanical or automatic movements, imitate life of a big industrial city, show evil underworld forces and at the same time allude to baroque aesthetics, the interest to which triggered the revival of the instrument. Paradoxically, the harpsichord in the beginning of XX century is seen as something new and fresh, something able to replace piano, which had already passed its high point. Yet, the harpsichord revival started thanks to the new generation's interest to the music of XVII–XVIII century. Poulenc’s harpsichord concerto, known also as Concert champêtre, written for Wanda Landowska and her unique Pleyel harpsichord, is treated here as one of the brightest examples of the multiplicity of meanings of the harpsichord sound in early 20th century.