Genre-Stylistic Specificity of M. De Falla’s Harpsyconcert in the Context of Spiritual-Aesthetic Searches of the Renaissance Era

Abstract

The purpose of the study is to identify the poetic and intonational uniqueness of the Concerto for Harpsichord by M. de Falla in the context of spiritual, religious and aesthetic guidelines of Spanish culture and music of the Renaissance era. The methodology of the work is based on a combination of the principles of genre-stylistic, intonational, analytical-musicological, and historical-culturological research methods. The scientific novelty of the article is determined by the fact that it introduces materials on the genre-stylistic, national, and spiritual-semantic specificity of the Concerto for Harpsichord by M. de Falla into Ukrainian musicological circulation for the first time. Conclusions. Concerto for harpsichord (piano), flute, oboe, clarinet, violin and cello by M. de Falla was completed in 1926. The poetic and intonational specificity of the work was formed, on the one hand, on the basis of the revival of Spanish national traditions, indicative of the spiritual, aesthetic and religious guidelines of the Renaissance. The above was manifested in the genre and intonational essence of the leading thematics of the work, which is based on the spiritual valiancico of Juan Vázquez, as well as the medieval hymn ‘Pange Lingua Gloriosi’. On the other hand, M. de Falla appeals in this work to the traditions of the baroque concert and ensemble music making, which became the subject of a revival at the beginning of the 20th century, thereby indicating the neoclassical genre and style direction of the analysed composition, which can be considered as an example of a ‘spiritual instrumental concert’.