Poetics of the French piano sonata of the first half of the ХХ century

Abstract

The purpose of the article is to identify the poetic and intonational uniqueness of the genre “model” of the French piano sonata in line with the historical paths of the development of the musical culture of France, as well as the aesthetic-style settings of its culture in the first half of the twentieth century. The methodology of the work is the intonation concept of music from the perspective of the intonational-stylistic, etymological analysis inherited from B. Asafiev and his followers. Significant for this work turned out to be analytic-musicological, genre-style, interdisciplinary, historical-cultural approaches that highlight the factors that contribute to the identification of the spiritual-semantic and genre-style specificity of French piano sonata as an important issue of European instrumentalism of the twentieth century. The scientific novelty of the work is determined by the introduction into the musicological everyday life of analytical generalizations regarding the French piano sonata of the first half of the 20th century. and its representatives, as well as a generalization of the French «model» of the sonata piano cycle, which was formed at the intersection of preserving the traditions of national musical instrumentalism and the spiritual and aesthetic quest of modernity. Conclusions. Born at the crossroads of German, Italian and French instrumentalism proper, the French piano sonata determined in its genre and style preferences, which, unlike its German-Austrian “model”, gravitated towards familiarity, theatricality, programming, polyphonization of texture, minimization of elaboration, and dominance exposition principle and politematism. The specificity of cyclization is noted in the sonata of a genus similar to the displacement of the semantic center in favor of the ending. Piano sonatas by V. d’Indy, P. Dukas, A. Jolivet, D. Milhaud, A. Dutilleux, F. Poulenc demonstrate the dominance of the neoclassical style, a tendency to adramatic, non-conflict type of dramaturgy. At the same time, the typical qualities of the French piano sonata in the works of the aforementioned authors are obvious in their inclination towards indirect programmatic through the embodiment of theatrical quality, to the clavier (polyclavier) or organ-polyphonic textured presentation and interpretation of thematic material, as well as the correlation of the sonata with the suite cyclicity.