Performance and existential chronotope of clavier sonatas of the late Baroque and Classicism

Abstract

Some spatial-time characteristics of the selected keyboard sonatas by D. Scarlatti, С. P. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi are revealed from the viewpoint of a piano performer. The term “chronotope”, used in the research, is interpreted in two main meanings: as an existence of the piano sonata phenomenon in space-time continuum in the context of listeners’ perception and comprehension, as well as a specific performer’s feeling of time and space in sonatas by the mentioned composers. The purpose of the study is to identify the peculiarities of the performance chronotope of these works that are relevant for the modern pianist in the context of social existence and the demand for the sonata genre in the 21st century, including attempts of its authentic interpretations, on the basis of the analysis and concert performance of selected clavier sonatas of the late Baroque and Classicism epochs. Experimental8 and analytical research methods with elements of comparativistics allow examining the chronotope of the selected keyboard sonatas in the whole creative-scientific process that determines the scientific novelty of the study. Results. Today, the problem of perception of musical classics in terms of preparedness of the listener, their ability to decipher the “sign system” of a musical work is very relevant. There are also not enough listeners of academic music, if taking into account all those people with an access to concerts halls and Internet. Therefore, attention of broad public to academic music is to be aroused. One of the most crucial places in solution of this problem belongs to the sonata genre as an organizing basis opposing contemporary human society multidirectional dissipation. With regard to its perfect structured composition principles, the piano sonata can be of great importance for the reconstructing of architectonic thinking patterns in listener’s minds. In order to fulfill such a difficult task successfully, a lot of new live performances of proficient pianists are needed. This can help the audience gain listening experience and attract probable admirers to their own musical practicing. Some characteristics of the performance chronotope of baroque and classical sonatas, such as interaction and interbalancing of statics and dynamics; organizing function of performance time in music forming; metrorhythmic performance inertia; continuity of the music thought development, necessity of performer’s anticipation, were defined with the help of the experimental-analytical method. Conclusion. The found characteristics of piano sonatas chronotope can be used both on the stage of conceiving a mission of music interpretation and during musical trainings and a concert performance itself.