S. RACHMANINOV’S OEUVRE IN THE CONTEXT OF MUSICAL CRITICISM OF THE EARLY TWENTIETH CENTURY

Abstract

Purpose of the article is to unfold contradictions in the assessment of S. Rachmaninov’s creativity by the broad audience of contemporaries, which didn’t want to peek for “outer shell” of Rachmaninov’s works. The methodology is composed of the logical-theoretical and historical-cultural analysis of facts and phenomena. The basis was the integral approach, as well as methods relating to the humanitarian approach to the study of sociocultural phenomena, which are based on the study of the process of communication between stage performance and perception by its listeners, critical assessments in the press. Scientific Novelty. The S. Rachmaninov’s creativity is examined for the first time in the aspect of the contradictions of critical assessment by his contemporaries. Conclusions. The most sensitive musicians, critics have heard in his music the main thing - its deep content, a new emotional fullness, responding to the new trends of the era, despite the versatility of the statements about the individual works of S. Rachmaninov, his composer creativity in general. It is the modernity of the sound of S. Rachmaninov's music that explains his "power over the public," not excluding his brilliant performing gift.