Abstract
The aim of the work is the analysis of features of Biedermeier in the legacy of M. Shimanovskaya based on the detailed investigation of Mazurkas and Nocturnes which reflect the main characteristics of the “high Biedermeier”, distinguished by religious and spiritual traits. The methodological base of the given research is the intonation system of the comparative school of B. Asafiev, representation of the results of contribution of authors which were aimed at the development of problems of Slavic Biedermeier by the means of various types of studies. Scientific novelty lies in the predominant accentuation of the Biedermeier style line in the heritage of M. Shimanovskaya. On the whole, M. Shimanovskaya does not cross the limits of abilities of “easy piano”, giving preference to expression achievement through the eclectic stylistic combinations, while demonstrating an emphasized miniaturization of national or the expansion of culturally dominant quality of the genre. The mentioned eclecticism does not tough upon the demonic opposition of romanticism in any perceptible way, apart from the “review” of the latter in the structure of Nocturne. This is the key point of the Biedermeier logic of the “great in small”, which also emphasizes the romantic principles in the expressiveness of M. Shimanovskaya`s works and performing art.
Highlights
The relevance of the topic is determined by the demand of art of Biedermeier and its contact with the native tradition (Zhmurkevich, 2005; Kozarenko, 2009; Malinovsky, 1989; etc.) in the conditions of postmodern neo-symbolism (Markova, 2006)
Shimanovskaya constitute a certain stage of Biedermeier manifestations in accordance to the historical primacy of Polish and Russian schools
Paderevski whose dramatic creative biography was formed in a complex discrepancy between composing, piano and performing styles: the former, as it is shown in the analysis, coincided with the settings of symbolism, while the latter focused on the academic Chopinism, the acceptance of Lists symphonic setting in the F
Summary
The relevance of the topic is determined by the demand of art of Biedermeier and its contact with the native tradition (Zhmurkevich, 2005; Kozarenko, 2009; Malinovsky, 1989; etc.) in the conditions of postmodern neo-symbolism (Markova, 2006). It should be noted that it is in them that the ideal model of musical education had been formed which was never restored in the European cultural-historical practice. The value of the protective ideas of Biedermeier which had been formed in the Restoration era turned out to be incredibly high in the conditions of destructive “multi-ideological” postmodern. An analysis of the Polish Slavic model of Biedermeier in the person of M. Shimanovskaya who connected musical traditions of Warsaw and St. Petersburg with the circumstances of her life, the more important is that historically from the 19th to the 20th century the Slavic musical borderland represented by Polish masters Lyatoshynsky, etc.) proved to be the accumulator of high artistic and creative achievements of national and world scales
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