Semantic Modes of Pianistic Formulas in the Genre sphere Prelude op. 28 F. Chopin.
Background. Recently, interest in Chopin creation has increased. This is due to the stable position of Chopin’s works in concert and pedagogical practice, which requires a scientific understanding of the composer’s achievements in the sphere of pianism. The purpose of the article is to study, on a concrete material, the ways of transforming uni-versal pianistic formulas into a factor of musical expressiveness. The author of this work uses classical methodsof analysis of historical and theoretical musicology. Pianistic formulas belong to the category of those phenomena that E. Ruchievskaya defines as “common forms of sounding”. Pretending for a certain universalism within the boundaries of a certain historical style and musical language, they act as an invariant, endowed with a generalized meaning. In real art practice, “common forms of sounding,” including pianistic formulas, are endowed with concrete formal-content characteristics, acquiring the value of stylistic and figurative-semantic units of author’s, individual-per-sonal utterance. Starting with the “father of pianism” – M. Clementi, the creators of piano music of the last decades of the XVIII – the first decades of the XIX century developed a complex of stable motor-sound formulas that entered the thesaurus of the musical lan-guage of modern pianism. The legacy of F. Chopin was no exception. Despite the endless variety of innovative ideas inherent in him, the pianist composer willingly turned to estab-lished, invariant structures, receiving in his works a diverse functional and semantic load: figurative themes – and background, carriers of the elements of the movement – and poetic dreaminess, manifestations of concert virtuosity – and lyrical Reflection. Illustrative examples of the multiplicity of formally-meaningful variants of pianistic for-mulas are undoubtedly the Chopin Etudes. The cyclic composition, not constrained by any canon of form-building, allowed F. Chopin to demonstrate the mobile possibilities of pianis-tic formulas, their masterly-concert and figurative potential. It is indicative that with a little time gap from Etudes op. 25appears the third cycle of miniatures – genetically co-ordinate to them: Preludes op. 28. But if in sketches, for all the significance of their artistic content, the “exquisite” predetermination of piano-game figures and textural techniques nevertheless manifested themselves, then in the genre field of preludes both appear in transformed form, wholly “working “On the emotional-figurative result. Since the format of the article does not require an exhaustive analysis from selected research positions of the entire Prelude cycle op. 28, let us turn to the individual, the most representative of his samples. Prelude a-moll, according to I. Belza, referring to Polish sources, “was perceived by contemporaries ... as the Sphinx”. This play makes a strange impression in our days, causing a sensation of some kind of obsession, the phantasm of nightmarish sleep, the wanderings of an obsession that vainly tries to pour out in a coherent utterance. If you read artistic information from the surface of the music text, then the musical event of the play will be limited to three performances of the same melodic phrase in tonalities e-moll, h-moll,and a-moll, followed by an authentic cadence ina-moll. The semantic depth is given to it by many details, among which a signifi-cant specific gravity is possessed by textured, more precisely – textured and harmonic. The composer uses a well-known technique, embodied, in particular, in the Etude op. 10 ¹7, – alternating between different intervals. However, in Prelude a-moll it is realized in conditions of harmonically sharp verticals are not given resolution. As for the sequence of intervals, it is based on their collision, resulting in a ‘‘rasping” sound space, the chromatic angularity of which is in conflict with the emphasized diatoni-city of the melodic relief. Kokoreva sets a hidden hint of the Dies irae motif in the first pair of intervals, which can be heard only with the melodic perception of all four tones included in it. Lying in the basis of Prelude es-moll invoice reception – a broken arpeggio – it re-minds Etude op. 10 ¹5. At the same time, it is largely thanks to the figurative similarity that both plays constitute the antithesis in all respects: the modal (major and minor),the register (mostly the sonority of the upper one is exclusively the lower register), the figurative (care-free playfulness – confusion of the spirit), color (light – Impenetrable fog). By placing the selected pianistic formula in the Prelude escollected into the synchronized, unison movement of both hands, F. Chopin seems to deprive it of the fulcrum which the chords of accompa-niment compiled in the Etude Ges-dur, which strengthens the impression of restlessness, involvement in the mind and willpower uncontrollable element of senses. There are also associations of the program order: with the hellish whirlwind, embodied in the lines of the Dante “Inferno”. In this play, there is a progressive chromatization of the harmonic sequen-ces represented in the melodic projection. Prelude C-dur, like Etude in the same key, ope-ning op. 10, also serving as an initio for the whole cycle, is based on a harmonic movement endowed with a relatively self-sufficient expressive, and not just a form-building functional meaning. Each of the chords, as in a similar Etude, is presented in the form of an arpeggio, which indicates the first prelude from WTK I. S. Bach. At the same time, the marked similarity of Prelude and the one-tone etude of F. Cho-pin allows not only to establish their relationship, conditioned by genre co-existence, but also to identify significant differences between them. Due to the coloring of the verticals by intonation with concentrated details, the combination of arpeggios in a wide and close arrangement, the complication of harmonies with additional tones, which are af-fected by melodic figuration, Prelude loses completely the “ exercisiveness” ( the stereo-typic rhythmic formulas) inherit in the Etude. At the same time, a completely different sound image arises due to the “tinting” of the overtone scale with diatonic and chromatic tones – right up to the fleetingly appearing sharp intervals. Conclusions. As a result of the study, conclusions were drawn. An analysis of the pianistic means used by F. Chopin in Preludes op. 28, reveals the effect of one of the re-formist principles of his pianism, consisting in a wide development of pianistic expres-sive resources on the basis of the transformation of generalized game formulas into units of musical themes. Approved in two opuses of etudes, he receives a new implementation in a series of preludes, where the “exquisite” origin of technological methods no longer lies on the surface of the intonation-sound text, but goes into its depth, merging with the genre genome of the play of a new type created by F. Chopin.