Musical Enlightenment as an Ethical Motivation for Renewal Concert Programs of Pianists
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Abstract
The article is devoted to the understanding of the phenomenon of enlightenment, originally embedded in the structure of the communicative function of musical art, in relation to the field of modern piano performance. Among the factors that characterize the current stage of the development of piano (and more broadly – musical and academic) art, the author refers to the loss of direct connection between the performing piano art and contemporary compositional styles and schools; the impact of the laws of the recording industry, which often lead to the loss of a unique sense of instantaneous, spontaneous acts of performing creativity; the installation of a repertoire universalism determined by competitive programs; the functioning of classical art according to the laws of show business (“brands”, “promotion”, etc.). The above leads to the need to refer to the experience of outstanding predecessors who laid the foundations of the modern understanding of the educational component in pianism, interpreted not only as the promotion of new compositions, but also the expansion of the “experience of hereditary memory” (N.I. Melnikova). Among them, the author identifies and analyzes the concepts of programs and the repertoire policy of Anton Rubinstein, F. Busoni and G. They combine in an individual “proportion” the desire for the historical inclusiveness of the repertoire (Historical concerts) and, at the same time, to identify and develop the individual predisposition and inclination of the performer to interpret the music of certain authors (the tendency to specialization).
Keywords: musical enlightenment, artistic space of culture, repertoire, Historical concerts, Anton Rubinstein, Busoni, Bulov, listener՚s memory, creative self-actualization.
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