ЖАНРОВІ ПЕРЕВАГИ ФЕЛІКСА МЕНДЕЛЬСОНА: КАПРИЧІО

Zhang Tiantian

doi:10.31723/2524–0447–2018–27–2–213–224

Zhang Tiantian Одеська національна музична академі імені А. В. Нежданової

DOI: https://doi.org/10.31723/2524–0447–2018–27–2–213–224

Ключові слова: жанр, романтизм, Фелікс Мендельсон, капричіо, каприччо, каприс, фантазія, жанровий синтез

Анотація

Purpose of the article The article reveals innovative features of the capriccio genre in the work of F. Mendelssohn in accordance with the style settings of ro- manticism. The methodology of the article provides for the application of historical, cultural, theoretical, and genre-style analysis methods, which made it possible to highlight the originality and uniqueness of Mendelssohn’s genre thinking on the use of the capriccio genre in his work and in the context of further research on the development of genre features of capriccio. The scientific novelty of the article is that for the first time Mendelssohn’s genre pReferences for the capriccio genre (capriccio, caprice) are revealed, the positions of his fundamental novelty in the composer’s work and in the context of the romantic style are explored. For the first time, all the options for using the capriccio genre in Mendelssohn’s work are systematized, both independent and dual genre. The definition of the concept at the stage of romanticism is given. Findings. F. Mendelssohn’s genre thinking is directed far into the future. This also applies to the genre of capriccio (capriccio, caprice), which is very widely used by the composer in its pure form and genre dual in piano and orchestra-piano works. Mendelssohn seemed to have summed up the development of this genre to the history of romanticism, showed its individual characteristics and focus on the internal specifics of pithiness and pianism, combining baroque and contemporary features by the composer, and in many ways anticipating the future of the twentieth-century musical language.

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Посилання

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