GENRE-STYLISH METAMORPHOSES OF THE PIANO CONCERT IN THE WORK OF C. SAINT- SAËNS

Abstract

The article is devoted to analytical considerations of the genre and style specifics of the piano concert in the instrumental decline of C. Saint-Saëns. The purpose of the work – revealing the poetic-intonation uniqueness of the piano concert cycles of C. Saint-Saëns in the context of the genre-style and spiritual wonders of French culture in the middle and other half of the 19th century. The methodology of the work revolves around the intonational concept of music, as well as genre-style, interdisciplinary and historical-cultural approaches.Scientific novelty is indicated by its analytical perspective, which reflects both the genre and style evolution of the piano concerto in the work of C. Saint-Saëns, as well as its correspondence with the spiritual and aesthetic inclinations of the composer.Conclusions. The five piano concertos of C. Saint-Saëns, on the one hand, fully reflect the basic stylistic orientations of his pianism, on the other hand, represent the evolution of the composer's creative thinking in this genre, which covered almost the entire second half of the 19th century (from 1858 to 1896) and turned out to be organically inscribed in the context of French piano instrumentalism of the specified period and its neoclassical searches. The analyzed concertos of C. Saint-Saëns, on the one hand, reveal the most important component of the composer's creative personality, concentrated on the "classical type of thinking" (O. Burel), which appeals to perfect compositional forms of expression, correlating with the work of the Viennese classics, and with the genre-stylistic guidelines of the work of Baroque authors, and with the revival of the French Rococo piano tradition. On the other hand, the concert heritage of C. Saint-Saëns is defined by his attraction to romantic poetic thinking (F. Liszt) and the structural transformations of the concert genre that were indicative for him. The stylistic integrativity of the composer's work is also correlated with the eclecticism typical of French culture, which implies the intertextuality of 20th-century musical art.