F. Chopin's Concerts Embodying Biedermeier's Ideas

Abstract

The purpose of the work is to identify the stylistic features of Biedermeier in the large forms of F. Chopin at the level of a piano concerto as bringing connections with spiritualised "light" playing in aristocratic salon gatherings, giving signs of a baroque obligatory concerto in a symphonic form. The constructed heroic-melancholic sub-base of Chopin's presentation of concert typology inspired the latter with a thought-oriented approach, according to the observation of researchers of this author's work. The methodological basis of the study is the intonation approach in the vision of the genetic unity of musical and speech beginnings in the development of the concepts of B. Asafiev and B. Yavorskyi in the works of D. Androsova, O. Markova, I. Podobas, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutical perspective of such an approach. Also highlighted are biographical-descriptive methods, with an emphasis on its intellectual-biographical aspect for the sake of the accuracy of the interpretive indicators of the analysis of compositions, analytical-structural as focused on the musicological specificity of the thematic and constructive presentation of the features of compositions, interspecies stylistic comparative for the awareness of artistic-artistic and scientific-religious interactions tendencies in F. Chopin's thinking. The scientific novelty of the work is determined by relying on Biedermeier's concept of "big in small" when analysing the large-scale form of the concert, especially as it relates to the initial Warsaw period, when the author created Concertos without returning to this genre in the subsequent stages of his creative life. Conclusions. Biedermeier notes the underappreciated textural and expressive essence of Chopin's presentation of the concert form, which at high tempos of the game "dematerialised" the theatrical dialogue of the classical concert in favour of approaching the thoughtfulness of the lyrical-epic monologue of the baroque forms, inseparable from the spiritual genesis of the named genre. The monologisation of the concert form in Chopin is related to the alleluia complex of Chopin's ultra-fast playing as a representative of spiritualised salon light pianism, no stranger to touches of romantic dramatic antitheticism in the epochal borderline Biedermeier pro-religious chamberisation of expression.

Keywords: concert, genre in music, Biedermeier, "light" style of piano playing, romanticism, musical style.