THE PHENOMENON OF THE COMPOSER'S CREATIVE MATURITY: TYPOLOGICAL ASPECTS

Abstract

The proposed article, based on the ideas of "age-related musicology", initiated by Natalia Savytska, demonstrates a qualitatively new approach to the interpretation of a complex and dichotomous phenomenon of the composer's creative maturity. Taking into account the concept of V. Bobrovsky, declared by scientists in the work "Functional foundations of musical form", our own typology of the phenomenon of composer's maturity is proposed. To the first group we consider it expedient to include artists, the drama of whose life path can be interpreted as wavy. If the early period of their work took place mainly under the sign of discipleship, then during the period of creative flourishing, these composers demonstrate the maximum completeness of the manifestation of artistic individuality. A striking example is the work of J. Brahms, who at the stage of maturity found its most organic embodiment in symphonic genres - the quintessence of his mature style. The second group (crescendo type) includes artists whose life-creating drama, after a long and relentless ascent to the top and reaching the expected culminating phase, breaks off from various pitfalls - death, illness, psycho-emotional exhaustion. Exemplary in this context is the figure of R. Schumann, whose achievement of mature professionalism can be compared with a rapid rise to the top of a mountain peak. The third group is characterized by the absence of the student phase. This is a cohort of prodigy composers, whose phenomenal talent has been deprived of student search. In the context of considerations about the immutability and stability of individual composer's style, the figure of F. Mendelssohn is indicative, who at the age of 17 created his first fully mature opus - an overture to "Summer Night's Dream", after which the composer's style remained virtually unchanged throughout life. to consider his creative maturity as a wide acmic plateau.