PARAPHRASE IN THE GENRE SYSTEM OF PIANO TRANSCRIPTIONS OF FRANZ LISZT
DOI:
https://doi.org/10.32461/2226-3209.3.2018.147431Keywords:
genre system, piano transcription, Fantaisie, Reminiscences, Paraphrase, composer’s interpretation of the opera source.Abstract
Purpose of the research is to reveal the location of Paraphrase in the genre system of Franz Liszt's pianistic transcription heritage. Methodology. The research methodology is based on the principle of historicism, system approach, genre analysis, methods of intonation-dramaturgy, and structural-functional analysis. Scientific novelty. The place of Paraphrase in the system of genres of the transcriptional sphere of F. Liszt was revealed; artistic methods and principles, operating in time-space Liszt’s "Rigoletto. Paraphrase de Concert" were established; the content of the Paraphrase concept in the legacy of F. Liszt is clarified. Conclusions. A review of the scientific literature has made it possible to determine the place of the Paraphrase genre in the hierarchical system of piano transcriptions as a species, along with Reminiscences which goes back to the genus Fantaisie and the type of Transcription. Paraphrases in the works of F. List appear at a later stage than the Reminiscences ("Ernani., Paraphrase de Concert" - 1849, revised in 1859, "Rigoletto, Paraphrase de Concert" - 1859). It is revealed that in the work of F. Liszt Paraphrase does not play the role of genre generalization in the system of writings of the transcriptor sphere, and Reminiscences, having reached the heyday phase, has a significant impact on the interpretation of Paraphrase, the essence of which is the transformation from salon into a concert genre. At the same time, fragments from operas remain the object of the Paraphrase replay, and the method of recomposition is retelling of fragments of operatic memories. "Rigoletto is analyzed. Paraphrase de Concert" of F. Liszt allowed to reveal artistic methods and principles that operate in time-space compositions. The use of the reminiscence method is manifested in the conceptualization of the genre and philosophical interpretation of the operatic prototype. The interaction of the reminiscence method with fantasy is evidenced by the free sequence of episodes of the fragment of the quartet from the third act of the opera by G. Verdi. The process of synthesis is the interaction of genres of transcription, fantasy, reminiscences, opera, features Capriccio, which unites the style of Paraphrase. The method of symphonism is expressed in a through development, and the method of Shakespearization is in gravitation towards drama, in an effort to philosophical generalization. Among the principles applied by F. Liszt there are the laws of transcendental virtuosity and concerts. The innovative interpretation of Paraphrase in the works of F. Liszt marks the beginning of a new stage in the history of the genre.
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