THE POETICS OF THE PIANO CONCERTO IN THE WORKS OF I. ALBÉNIZ IN THE CONTEXT OF SPIRITUAL AND AESTHETIC SEARCHES OF THE RENACIMIENTO

Abstract

The study summarizes the genre and style specifics of the First Piano Concerto by I. Albéniz as one of the exemplary examples of this genre in Spanish music of the late 19th century. The purpose of the work is to identify the poetic and intonation features of the First Piano Concerto by I. Albéniz in the context of the genre and style guidelines of his work, the evolutionary paths of the development of Spanish piano instrumentalism, as well as the spiritual and style searches of the musical culture of Spain of the Renaissance era. The methodological basis of the work is the intonation concept of music from the perspective of intonation-stylistic analysis. We also consider genre-stylistic, biographical, analytical-musicological methods in their comprehensive application to be essential for this work, which together allow us to explore the poetics of the First Piano Concerto by I. Albéniz as the first example of this genre in Spanish piano music of the 19th century. The scientific novelty of the work is determined by the fact that for the first time in Ukrainian musicology, the First Piano Concerto by I. Albéniz is considered, taking into account not only the genre-stylistic specificity of the composer’s work, but also the evolutionary paths of development of Spanish piano instrumentalism at the turn of the 19th–20th centuries. Conclusions. Summing up with an analytical generalization regarding the poetic-intonational and genre-stylistic specificity of the First Piano Concerto by I. Albéniz, we note that it was formed at the intersection of two traditions indicative of the historical paths of development of Spanish culture and music in general. On the one hand, this work bears the imprint of the Spanish national quality itself, which is manifested in the reliance of the leading theme of the concerto, which intonationally connects the first and third parts of the work, on the genre features of fandango (rhythm-metrics, maximum acceleration of the tempo in the code sections of the first and third parts), and on the dominant role of the principle of variability-improvisation as the leading one in the flamenco style, and in the imitation on the piano of the sound of national Spanish instruments (castanets, guitar). On the other hand, the analyzed concerto by I. Albeniz demonstrates contact with the traditions of European instrumentalism itself, which is evident both in the composer’s appeal to the genre of the piano concerto, which was historically the first in Spanish music of the 19th century; and in his appeal to its structural and compositional indicators. The above-mentioned features are also complemented by the desire for compression of the sonata-symphonic cycle, typical of the romantic piano concerto (the combination in the second part of the Concerto by I. Albeniz of the features of the slow section and the scherzo), as well as the significant influence of romantic pianism in the persons of F. Liszt («orchestral» piano), R. Schumann, F. Chopin and E. Grieg.