The figurative world of Florent Schmitt’s piano works (following the diptych “Mirages”)

Olha Mykhailova

doi:10.34064/khnum2-19.13

Abstract

The figurative world of Florent Schmitt’s piano works (following the diptych “Mirages”)

Highlights

ХIX–XX ■ Аспекти історичного музикознавства actively entered to the repertoire of many foreign pianists
To analyze the figurative world of the composer’s piano pieces, to evaluate the influence of cross creative inspirations using the example of the diptych “Mirages”
Schmitt showed his admiration of the genius of “Claude de France” in the piece “Et Pan, au fond des bles lunaires, s’accouda”. It existed as one of the numbers of “Le Tombeau de Claude Debussy” (1920), and later, together with “La tragique chevauchée”, it made up the diptych “Mirages” (1921)

Summary

Introduction

To analyze the figurative world of the composer’s piano pieces, to evaluate the influence of cross creative inspirations using the example of the diptych “Mirages”. In this regard, cultural-historical, comparative and structuralfunctional research methods are used. The appeal for creative inspiration to related art forms was a frequent occurrence in France at the turn of the 19th and 20th centuries This took place due to a special cultural environment, marked by a fruitful co‐working of writers, artists and musicians. Poets were composed verses inspired by the works of visual art they had seen, artists were created illustrations for literary works that had affected them, composers, in turn, were written music pieces, which embodied poetic images

Objectives

Conclusion