Piano art of composer schools of the Odessa: premises and reality (from XIX to XX century)

Abstract

The purpose of the article is to mark the style main position of Odessa composer creative community on the base of the analysis piano works of the significant for this city’s creative personalities from XIX to the XX century. The methodology of the study is revealed in riverbed intonation approach that is to say by means of beliefs about the unity of process factors in music and speech, as this bequeathing in works of B.Asafiev and his followers in Ukraine, unrolled specified interdisciplinary generalization, on the example textbooks of A.Losev, R.Ingarden, E.Nazaykinkij, E.Markova, and others. The scientific novelty of the work is conditioned by originality style categorizations of composer regionalism of the Odessa since the given approach to piano works on objective history reason was not brought forth. Conclusions. Piano compositions of composers presented Odesa creative this sort school from XIX to XX century that is to say in time of the bloom of the Odesa as the center of the South of Ukraine and the largest her city demonstrated reaction, first, on winnowing the modernist style-vanguard this history stage, in some cases overtaking creative openings Petersburg and Moscow, secondly, correlations of the Ukrainian-Russian and other national introductions formed the harmonic interaction and this differed from another large center of the Ukraine level Kyiv, Lviv and exceeding activity Harkov on meant temporary area. As a whole piano creative activity, either as art in general, exceedingly harmonious is bound was with culture of the salon as an aristocratic cultural donation that was defined by the official status of the Odessa - the third city to empires, which inertia of the position was saved up to begin Second world war.