ARABESQUES IN PIANO MUSIC: FEATURES OF IMPLEMENTATION

Abstract

The specifics of the embodiment of arabesques in musical art, in particular, piano art, are investigated through the prism of the interaction of cultural traditions of the East and the West, Orientalism and Occidentalism. Views on the depiction of living beings in the Koran and the development of ornamental decoration in the sacred art of Islam are summarized. The views of thinkers, poets, art critics and literary critics (J. W. von Goethe, F. Schlegel, J. Ruskin, E. Hanslick, V. Prosalova, Yu. Bezkhutryi, etc.) regarding the genesis of arabesques in various types of European art are considered, with an emphasis on the multi-vector nature of the genre. The influence of arabesques on fiction is traced both in the works of foreign authors (E.A. Poe, J.N. Neruda etc.), and Ukrainian writers of the past and present (M. Hohol, P. Bohatskyi, S. Vasylchenko, M. Khvylovyi, S. Zhadan etc.). It is indicated that in piano music, arabesques are divided into three main groups: individual solo pieces (R. Schumann, F. Liszt, H. von Bülow, A. Sartorio, T. Lack, J. Sibelius,C. Chaminade, M. Lastovetskyi etc.), arabesques in cycles of miniatures (J.F. Burgmüller, P.-L. Rougnon, E. MacDowell, E. Granados etc.), monocycles of arabesques (C. Debussy, S. Heller, M. Moszkowski etc.). «Arabesque No. 1» by C. Debussy and two arabesques by C. Chaminade were analyzed. It was established that the definition of the term «arabesque» outlines compositions that differ in form, duration, figurative and emotional content, pianistic complexity etc. The range of arabesques extends from completely children’s plays to elaborate, virtuosic concert pieces, from instructive «arabesques – etudes» to refined impressionistic sound recordings