Traditions of the Culture of the Artistic france and piano concertos of C.Saint-Saëns

Abstract

The purpose of the article is a realization of organic character to the lyrical concept of piano concerto in the French tradition, presented Concerto С.Saint-Saёns, actual intonation expressiveness which is determined "nеоcymbolism" (on E.Markova) to pоstvаnguard in music and "nео-Gоthic in art" in Ukrainian refraction of post-pоstvаnguard (see to work O.Novikova and others.) The methodology of the work is culturology approach in science about art, presented including school of B.Asafiev in Ukraine, begin which are fixed french Ars nova begin XIV century and are turned in riverbed theatrical mimеsis of J.-J. Rousseau. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within metaphysicians of the histories (A.Losev, N.Konrad) fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. Scientific novelty of the work is concluded in that for the first time in musicology of  Ukraine matches up the intonation formation is proto-symbolism, symbolism and nео symbolism begin XXI centuries in concrete manifestation of the genre filling in themes and in composition particularities of the structure of the artifact; for the first time Concertos Network-Sansa and, first of all, Second and Fifth became the theme and hermeneutic analysis in aspect actual intonation fullness of the manifestation, in correspondence to symbolism gravities of post-avanguarg. Conclusions. The creative activity of C.Saint-Saёns  chronology and by style preferences is connected with proto-symbolism and proto-neoclassicism trends, which assist the ascent a symbolism, but subsequently nеоsymbolism art of verges XIX-XX and XX-XXI cent., differing salon estheticism and animated honouringп of national tradition and French artistic insight first of all. The majority from created Sant-Saёns of symphonic compositions pertains or to the genre of the concerto directly, or are such essential expressiveness and instrumental composition, presenting composition;  including this 5 Piano Concerto. Of them, popular Second demonstrates style eclectic significant for the symbolism approach, but brilliant play-off reproduces "diamond style" of classicists french pianism, which osculation find beside S.Rahmaninov and, more so, besides A. Skrjabin. The concert principle of the thinking of Sant-Saёns is determined by address to spiritual headwaters creative activity and forms natural parallel to the ascent of the interest to church art, lifted on height by the creative activity of C.Franck  and V. d'Indy.