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Section 2. Musical arts - PRE_M|ER European Journal of Arts 1 (2022) - ISSN 2310-5666 -
UDK 785.6:780616.432:78.071.1(410) «18» DOI: 10.29013/EJA-22-1-27-32
P. KNYSH, 1
1 Kotlyarevsky Kharkiv National University of Arts, Kharkiv, Ukraine
THE ROLE AND SIGNIFICANCE OF THE MEANS OF THE PERFORMING CENTER IN CHOPIN'S PIANO CONCERTOS
Abstract
Objective: The article is devoted to the study of F. Chopin's "piano music", namely the means of the "performance center" of the First and Second Concertos.
Methods: theoretical cognition, the method of analogy and historical method.
Results: It showed itself in the novelty of harmony based on the rich experience of Polish music. On the basis of the data obtained it was found: the aesthetic principles, the totality of similarities between classicism and romanticism, internal plot, lyricism, external restraint, the play of rubato, as the art of F. Chopin.
Scientific novelty: The article investigated the role and significance of the means of the "performing center" in Chopin's piano concertos. In writing the work materials from the XX century to the present day were analyzed.
Practical significance: The works of other authors and scholars from various sources allowed us to answer the questions posed, namely revealing the themes of the performing analysis of piano music.
Keywords: romanticism, performance technique, polygenre, novelty in harmony, tempo rubato, Chopin piano concertos, pedaling.
For citation: P. Knysh. The role and significance of the means of the performing center in Chopin's Piano concertos// European Journal of Arts, 2022, №1. - C. 27-32. DOI: https://doi.org/10.29013/EJA-22-1-27-32
Introduction
Facture as the main component of the form of "performance mastery"
In Chopin's works, the texture is not just a logical textual sign, but also a substantial means of musical expression. The main indicator here is the genre sense, which appears in Chopin's music at the level of polygenre. All signs of the genre system are historically anchored precisely in the texture, its types, kinds and corresponding synthesis. Through the facture, by deciphering the genre signs given by the composer, the performer of the music, is only indirectly connected to the specific work being performed. The texture that models' genres also serves as the key to "deciphering" their stylistic embodiment. Thinking "piano," Chopin uses multi-genre (multi-faceted) elements in new combinations, ratios, comparisons, which create together, even in the miniatures, a polygenre, intonation-diverse and simultaneously integral textural form of the sound fabric. In this sense F. Chopin is a true classic of piano music, one of the very few "piano composers"
who created a new image of texture in music for this instrument. Through the texture, through the "bodily", "tangible" layer of the musical fabric in Chopin's works, polygenre - the main substantive and stylistic feature of his creativity - is manifested. From the position of the texture as a carrier of the most important features of the genre, this stylistic quality can be defined by the term "polyfacture," which is only an external manifestation of the stylistic quality of polygenre. The texture of the work reflects the inner deep layer of musical content, the theory of which is currently being created by the efforts of a number of researchers. The material dedicated to Chopin's works can also be useful and interesting for choreographers. The composer gave remarks in some opuses, with the rules of movement in the dances he wrote, his models (Nowak [10]). However, "it should be remembered that a true, truly artistic performance can be expected only when the musical and technical means of performance correspond to the musical and technical requirements of the work" (Skljarov [12, P. 47-51]). The characteristic personality
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of both Larghetto, belongs to the long stay within the limits of quiet dynamics, the monotony ofwhich is overcome by the factorial figuration and fine pedaling, and in the climaxes are changed by short "flashes" of sound to ff. However, even in the climactic episodes, represented by octave doublings in the manner of alfresco (Franz Liszt), Chopin's pompous "open feelings" are largely overcome by cantabile as the author's main requirement for performers. According to Tomaszewski's research, the "emotional program" (V. Razhnikov's term), is consistently embodied in three themes: the dreamy opening, the main (cantabile), the excited one from the middle episode (the form scheme of this Larghetto is AB A1 A2 A3 B1 C A4 A5 A6 B2) (Tomaszewski [15]). In terms of dynamics, all of the loud spots in most of F. Chopin are perceived as temporary; they sound like peculiar bursts of inner energy, creating the effect that R. Schumann once labeled by Chopin's mazurkas as "guns covered with flowers." The principle of "competition-agreement" enters Chopin's piano texture "inside" the polyphonically differentiated musical fabric, where the concept of "polyphony" finds its original meaning - "chord". It is noteworthy that the word "concerto" in Latin not only meant "competition," or "agreement." But it was also derived from "conserere" (from the Latin "to connect," "to weave"). The concerto principle as the deep foundation of Chopin's musical thinking is combined in his style with his logical antipode - chamber music. The unification of the two beginnings takes place at the level of the substantial nature of Chopin's music and its lyrical orientation, meaning the prevalence of the individual, personal, subjective over the general, objective and, as a result, the "outer-theatrical." Chamberliness, a special type of musical thinking, has its own internal socio-communica-tive and aesthetic-artistic roots (Lobanova [7, P. 74]). For the modern situation in music pedagogy, in particular in piano pedagogy, Chopin's pedagogical principles remain no less relevant than in the middle of the XIX century along with the development of virtuoso mastery of performers and greater attention to the development of students' technical complex, there is a decrease in the realization of the artistic and imaginative potential of the works being performed. The issues of development of activity and independent thinking of students, connected to the strengthening of the developmental effect of learning, remain important. G. M. Tsypin, exploring the basic principles of developmental learning in piano pedagogy, noted that "the most promising in fostering the creative initiative and independence of the student is to take the path of his
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own, not externally regulated interpretation of music. In this way there is a comprehensive, intensive exercise, his ability to think independently and to act independently" (Tsypin [16, P. 173]). In Concerto f-moll, the middle part and the finale are the most significant in terms of the creative idea and the perfection of its realization. On the contrary, the first part (Allegro maestoso) of Concerto E-moll was especially successful for the author. As in the first movement of the Concerto in f-moll, in Allegro, in accordance with classical traditions there are two expositions. The first ofthese, the orchestral one, begins with a solemn, energetic opening theme (this is where Chopin's remark Maestoso refers to) (Solovtsov [13, P. 319]). The interpretation of the musical text should be correct, i.e., it should not contradict the musical text: in this case it can be considered adequate and, in a certain sense, has a scientific value, as it "provides an increase of knowledge" about the object under study. The following statement of V. G. Kuznetsov is cited in this connection: "Interpretation provides a gain of knowledge, serves as a means of acquiring new knowledge. Development in the humanities takes place at the expense of interpretive techniques, pluralism ofvarious interpretations of one and the same humanitarian fact is a real and normal condition of scientific knowledge. Pluralism of opinions in the humanities is an objective factor, depend on the subject and specificity of the humanities" (Kuznetsov [5, P. 144]). B. V. Medushevsky developed the concept of "adequate perception" in musi-cology. The scientist writes: "A musical work is a text that belongs to culture and is adequately read from its perspective. Adequate perception is a reading of the text in the light of musical, linguistic, genre, stylistic and spiritual principles of culture (...) is a historically developing phenomenon, and in modern conditions it is characterized by new properties - enhanced dialogic, polyphonic, stereoscopic vision of the work in light of the whole (culture) and part (cultural spheres)" (Medushevsky [80, p. 141155]). The researcher considers "the ambiguity of the meaning of artistic works on the principle of multiplicity of its performing, musicological and listening interpretations" (Medushevsky [8, p. 141-155]). Noteworthy in the context of the discussed problem is one test by M. G. Aranovsky: "Any process of reading the music text (we add to the concept of reading "we add a broad meaning - from the purely visual perception of the music text to the sound, performance) is its interpretation, uncertainty in the meaning of structures, always varied and, moreover, in a very wide range. In fact, the absence of
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boundaries is the source of the performing art, and the infinity of interpretations shows the process of cognition of the musical text" (Aranovsky [1, P. 343]). Citing the words of R. Barth about the "text of infinite open incompleteness", the researcher says that this denunciation is not only in full, but even more applies to the musical text" (Aranovsky [1, P. 343]). Chop in's works reflect the position of his pedagogical method and are indispensable in the pedagogical repertoire. They reflect that specifically Chopinian pianism as a complex of piano expressive means, which is the benchmark for Romantic pianism in general. Thus, studying Chopin's works, the student pianist gains an understanding of Romantic pianism as a whole, on the basis of which it is possible to study the works of other Romantic composers in the future.
Chopin Leagues. Phrasing, Articulation
The composer attached paramount importance to the correctness of the performing phrasing. Micule cites Chopin's accurate expression, repeated more than once by him, that incorrect phrasing resembles the conversation of a person who, speaking in an unfamiliar language, not only ignores the natural number of folds, but also makes a stop in the middle of a word. For the pseudo-musician, incorrect phrasing, the music is not a native but a foreign, incomprehensible language, and he, like a bad reciter, has no chance of making any impact on his listeners. Rubato for Chopin's works is an integral part, as well as "the wide fulfillment of distant intervals, the lengthening of high notes, as well as notes with a point a free recitative way of realizing fragments of cantilena, or fioritura" (Kashk-adamova [3, P. 53]). Pedaling is also an important center. "Chopin's recording relies on the presence of a pedal, which he sometimes designates carefully, but more in the form of a pedal idea. He indicates with the pedal the duration of the distant basses, the harmonic unifications, the staccato and pauses, must sound. The pedal he writes is of course careful, sometimes very bold, but I think it is still less bold than the one he himself used" (Golubovskaya [2, P. 119]). If we pay considerable attention to the direct pedal, it is necessary in those cases where there is no time for syncopation at all, namely in dance rhythms, where it subtly emphasizes the difference between a moving melody and a steady bass. Because you can't do without it in fast figurations. The use of Chopin's methodological guidelines and the inclusion of his works in the student's repertoire can greatly enhance the effectiveness of piano playing instruction. Chopin's pedagogical principles provide for the study ofthe basic laws ofthe musical image, its
influence on the musical language and expressive means ofperformance. This approach allows the student to move from reproductive activity to independent and then to creative activity, as in the process of its use the basic model for working with any piece is formed, working with which the student realizes for himself the principles of interaction of the artistic idea of the piece and the expressive means, as well as the technology of their implementation. Chopin assimilates and reinterprets practically the entire piano genre palette of the academic stratum, saturating these "serious" genres with features of figurative and semantic concretisation, making wide use of "primary", "salon" and other non-academic genre models, making clear to the listener the idea through the dramaturgical form of the works. Such a great and deep historical, cultural and artistic context of Chopin's polygenre requires interpreters of the piano music of the great Romantic composer to do a great deal. They must rely not only on direct emotional reflection, but also on studying the fundamental logical foundations of the construction of musical texts, as well as the "textless", extramusical functions of Chopin's genre system. The primary basis here is the analysis of Chopin's texture, its determining role in creating the genre drama of the work. The main point of Chopin's genre and texture innovation is a new attitude toward figuration writing in its relation to melodic and thematic relief. The very term "figuration" (Latin Figuratio - giving form, figurative memorization) provides for such an interpretation, which refers not to "decoration", but to the real sound form of presentation of the components of musical thought (melodic, harmonic, rhythmic). By means of figuration, integrated and at the same time differentiated by their components factorial complexes are created. In each "texture cell" - a unit ofthe texture horizontals - figuration techniques form a certain integrity, allows their possible blending (mix). For Chopin, these processes are the basis of the technique oftexture writing, adapted specifically to the piano sound, to the possibilities of a particular instrument and pianist (Nazaykinskiy [9, P. 73]).
Discussion
The article investigated the role and significance of the means of the "performing center" in Chopin's piano concertos. In writing the work materials from the XX century to the present day were analyzed. The works of other authors and scholars from various sources allowed us to answer the questions posed, namely revealing the themes of the performing analysis of piano music. The results made it possible to understand how close the
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combination of the experience of Polish music with the era of "Romanticism" was not only in the concertos, but also in other works by Chopin. Thus, a personal style of his own was created, which imprinted the outstanding composer in world history forever. It is important to remember the context in which this music was born. "The romantic artists reacted against the intellectual paintings of the Baroque" (Rosen [11, P. 244]). It is important to know the philosophical framework of Romanticism. "The expressive aesthetic is a symbol of The Romantic art" (Kravitt, [4]). This time was its own influence on the consciousness of society as a whole. "The music of romantics has become an important medium for the expression and dissemination of nationalist ideals." (Leerssen 2014, September). In order to solve the problem of choosing the performing repertoire, will help improve the quality of training of applicants, in pedagogical practice studied piano etudes, recommendations for the feasibility of using studies of any composers, as well as revealing the main varieties of technical difficulties for musicians who are not pianists by profession (Skljarov [12, p. 47-51]). The cancellation of the article is to explore the piano Concertos of F. Chopin, the polyfactors of his works, the modern musical pedagogy of the performing interpretation. Chopin's pedagogical principles provide for the study of the basic laws of the musical image, its influence on the musical language and expressive means ofperformance, contributing to the development of the qualities necessary for a professional musician. The difficulty in working with the study was the lack of musical examples. It is also a problem to investigate the synthesis of the tendencies of vocal and choral and
instrumental adaptation, the perception of the texture while playing by the listener.
The practical value of the results can be used in the study of theoretical material for piano music, piano - orchestral style of Chopin. The materials can be used in the development of curricula "Music Literature", "Analysis of Musical Works", for education and qualification levels of education: junior bachelors, bachelors and masters in higher musical educational institutions.
Conclusion
F. Chopin's concertos in such elements as thematic, texture, and syntactic constructions appear as a reflection of many individual features of Chopin's music. They combine emotional and artistic factors that open up special approaches to texts in interpretations. The composer belongs to that atmosphere, which is characterized by a desire for deep inner freedom. "The Romantic generation celebrated the perceiving subject, progressively breaking free from the mechanistic, empiricist or dogmatic conceptions of sensation thanks to the works of Locke and Kant" (Techene [14]). Prospects for the further development of the theme lie primarily in the comprehensive characterization of the means of "performance center" -dynamics, articulation, agogic, and pedaling-presented in the author's text or appended to it by the editors. The polygenre of themes oriented by classicist norms and the historical experience of Polish music is what is hidden in the polyphony contained in Chopin's piano texture. A promising aspect is the comparative analysis of the interpretations of Chopin Concertos by outstanding pianists, which will open up the possibility of characterizing current trends in the performing arts at the present stage.
References
1. Aranovsky M. G. Muzykal'nyj "tekst. Sostav i svojstva (Musical text. Structure and properties).- Moscow: "Kom-pozitor" 1998. (in Russian).
2. Golubovskaya N. O muzykal'nom ispolnitel'stve (About musical performance).- Leningrad: Muzyka: Leningr. otd-nie. 1985.
3. Kashkadamova N. B. Fortepianne mystetstvo Shopena (Chopin's piano music: Sciences. Method. Draw). 2000. Ternopil: Aston (in Ukrainian).
4. Kravitt E. F. Romanticism Today. The Musical Quarterly,- 76(1). 1992.- P. 93-109. URL: https://doi. org/10.1093/mq/76.1.93
5. Kuznetsov V. G. Germenevtika i gumanitarnoe poznanie (Hermeneutics and humanitarian knowledge).- Moscow: MGU1991. (in Russian).
6. Leerssen J. Romanticism, music, nationalism: Romanticism, music, nationalism. Nations and Nationalism,-20(4). 2014.- P. 606-627. URL: https://doi.org/10.1111/nana.12087
7. Lobanova M. Muzykal'nyj stil' i zhanr: Istorija i sovremennost' (Musical style and genre: History and modernity).- Moscow: Sov. Kompozitor 1990. (in Russian).
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8. Medushevsky V. V. O soderzhanii ponjatija "adekvatnoe vosprijatie". (On the content of the concept of "adequate perception"). Vosprijatie muzyki.- Moscow: Muzyka. 1980. (in Russian).
9. Nazaikinsky E. V. Logika muzykal'noj kompozicii. (Logic of musical composition).- Moscow: Muzyka. 1982. (in Russian).
10. Nowak T. Fryderyk Chopin in the Context of Trends in Dance Culture during the First Half of the Nineteenth Century. Chopin 1810-2010. Ideas - Interpretations - Influence (1). January, 2017.- P. 309-316.
11. Rosen D B. Nineteenth-century romanticism in music. Journal of Research in Music Education,- 22(3). 1974.-P. 244-246. URL: https://doi.org/10.2307/3345148
12. Skljarov A. Izuchenie instruktivnyh i koncertnyh jetjudov kak osnova formirovanija tehnicheskih navykov uchash-hihsja na klasse fortepiano. (Study of instructive and concert etudes as the basis for the formation of technical skills of students in the piano class). ScienceRise, 2020.- P. 47-51. (in Russian).
13. Solovtsov A. Frederik Shopen. Zhizn' i tvorchestvo. (Fryderyk Chopin. Life and Work).- Moscow: "Tret'ja volna". 1960.
14. Téchéné C. Musical descriptions and sensations: The presence of music in English romantic poetry. Etudes anglaises (Periodical),- 67(4). 2014.- 470 p.
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Information about the author
Pavlo Knysh, Graduate student Department of Interpretology and Music Analysis Kotlyarevsky Kharkiv National
University of Arts
Address: 61070, Boiko Private School Osvitianska Street, 7, Kharkiv, Kharkiv Oblast
E-mail: innavehera@gmail.com; Tel.: 380(50)-675-54-32
ORCID: 0000-0003-3791-7501
КНИШ П.,1
1 Харпвський Нащональний утверситет мистецтв iменi I. П. Котляревського, Харшв, Украша
РОЛЬ ТА ЗНАЧЕННЯ ЗАСОБ1В ВИКОНАВСЬКОГО ЦЕНТРУ В ФОРТЕП1АННИХ КОНЦЕРТАХ Ф. ШОПЕНА
Анотаця
Мета: Статтю присвячено досмдженню «фортетанно! музики» Ф. Шопена, а саме засобiв «виконав-ського центру» Першого та Другого концерту.
Методи: теоретичне тзнання, метод аналоги та шторичний метод
Результаты: На пiдставi отриманих даних було виявлено: естетичш принципи, сукупшсть схожих рис мiж класицизмом та романтизмом, внутршнш сюжет, лiричнiсть, зовшшня стримашсть, гра гиЬаШ як мистецтво Ф. Шопена.
Наукова новизна: У статт дослужено роль i значения засобiв «виконавського центру» в фортетанних концертах Шопена. При написанш проаналiзовано матерiали роботи з ХХ стомття до наших дшв.
Практичне значення: Роботи шших авторiв i вчених з рiзних джерел дозволили в^овшти на поставлен запитання, а саме розкрити теми виконавського анамзу фортетанно! музики.
European Journal of Arts 1 (2022) ü PREMIER Section 2. Musical arts
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Keywords: Романтизм, виконавська техшка, пол1жанровють, новизна в гармони tempo rubato, фортетанш концерти Ф. Шопена, педалiзацiя.
1нформаЦя про автора
Книш Павло, аспiрант кафедра штерпретологп та аналiзу музики Харювський Нацioнальний унiверситет мистецтв iменi I. П. Котляревського,
Адрес:61003, майдан Конституцп, 11/13, м. Харюв, Украина; 61070 Авторська школа Бойко вул. Освггянська, 7 м. Харк1в, Харк1вська область
E-mail: innavehera@gmail.com; Tel.: 380(50)-675-54-32 ORCID ID: 0000-0003-3791-7501
