Symbolism-verism aspects of expressiveness to piano play of S. Rachmaninov

Abstract

Purpose of the article is аccentuation of style symbolism, verism foreshortening piano art of Rachmaninov, which did not define heretofore of the base style measurements to the heritage of the great pianist. The methodology of the work is culturology cut musicology intonation-thematic analysis of the school B. Asafiev in Ukraine, in which special place occupies the historian-style comparison and hermeneutics foreshortening last in development of ideas to B.Yavorsky. Scientific novelty by deterministic originality of the approach from style non-coincidence of  expressiveness in composition and plays of Rachmaninov (in development concept of M.Blinova and E.Markova that will add the championship in conclusion comparatively of the instrumental-piano art entailment   of the verism style complex, comparatively devil of symbolism piano sounding, which has inherited got beside pupil of J.Field schools N.Zverev in character of Chopin "flight" piano technology and others.  Conclusions.  Rachmaninov-pianist demonstrates the certain expressive autonomy comparatively  of the Rachmaninov composition style discovery since in most manner of over-rapid plays, in use by play "on the second keyboard" i.e. with elated hand, avoiding theatrical "placed" contrasts fortepiano, careful use to treadles and others - here we shall hear line of the technology "light" pianoforte, which close Chopin,  realized and cultivated by S. Rachmaninov symbolism piano style of the play A.Skrjabin, also alumnus N.Zverev. Elements of "baroque" rate-speakers, which exist exactly in piano palette of the master and personify  to primitivism factors of style preferences to Rachmaninoff-pianist correlative with verism choice given the author, certified in operatic sphere his "small" composition, but having projection in instrumental structures -  as in instrumental piano works of E.Granados and others.