PIANO SONATA IN THE NATIONAL MUSIC SPACE: VECTORS OF INTERPRETATION OF THE GENRE MODEL

Abstract

The article reveals the leading trends in the national interpretation of the genre model of the piano sonata, which demonstrated a specific “compression” of ontos in the historical, cultural, and mental determinism of phenomenological dimensions. It substantiates the gravitation of the genre model of the sonata in the 18th–19th centuries from its classic compositional and structural variant with intonational markers of a national nature to individualized romantic modifications with an intensification of the significance of national features of musical thinking, speech and expressiveness. It has been established that interpretations of the genre model of the sonata in Ukrainian piano art in the 20th century are marked by a tendency to emphasise the importance of compositional and structural variability, national intonational thesaurus, stylistic diversity, and genre diffusion, demonstrating semantic concentration, appeal to the stylistic principles of Romanticism and Symbolism, and experimentalism in linguistic parameters. It has been found that since the mid-20th century, there has been a trend towards interpreting the genre model of the piano sonata (in the works by V. Godziatsky, V. Silvestrov, V. Ptushkin, Yu. Shamo, Ye. Stankovich, K. Tsepkolenko) has been assoсiated with: the individualization of conceptual and compositional-structural dimensions; the transformation of the lexical “fund” in terms of ceriality, aleatoric, sonority and atonal thinking; the emancipation of dissonance, dynamics, and repetitiveness; positioning as a concentrated symbol of cultural memory, large-scale in synchronicity and diachronicity of cultural synthesis; the use of extended piano techniques. At the turn of 20th and 21th centuries, the leading trends in the interpretation of the genre model of the piano sonata (in works by L. Shukailo, V. Runchak, S. Lunov, V. Poliova) were: structural destabilisation, which is particularly evident in the rejection of genre conventions and instrumental nature; genre diffusion; the emancipation of sound as the primary carrier of meaning; experimentalism in linguistic and expressive parameters; macrocyclicity; actualization of cross-cultural allusiveness, the “memory” of genre in diachrony and synchrony; trends of intertextuality, memoriality and the “hommage” tradition; activation of the transformation of the sound image of the piano, manifested in particular in the active use of extended piano techniques