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Статья Music английский Музыка Размещено: 28.05.2018

The specifics of the interpretation of the piano expressiveness by E. Varese that occupied such an exceptional place in the classical music. The restrictive the expressive possibilities of the piano, related to the neoclassical of the XX century.

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Futurism of Edgar Varese in piano interpretation of his creative work Creative work of E. Varese has begun intensively developed in recent decades, corresponding to the ever-increasing flow of research on futurism, which was under the ideological taboo due to the closeness of the founder of this movement F.Marinetti to Mussolini. Emergence of publications on futurism [5] and a monograph devoted to the work of Varese [1], leads to a breadth of research readings and this trend, and the works of the author, who objectively concentrated the essential avant-garde aspirations of the art of the twentieth century as a whole. The actualization of this problem is supported by the orientation of the postavant-garde cultural stage towards the poly stylistic confusions in the creative work, including the covering of the layers, which for ideological or other reasons have moved away in the past century [3]. The purpose of this work is to trace the peculiar features of reading by the given composer the expressiveness of a piano © Androsova D., 2017 70that occupied such an exceptional place in the classical music of the previous stage and extremely critically but still used in the work of the author Ionization. Futurism of E. Varese is a canonical reality, although, according to his wife and the person holding the same views in creative work, this hateful label he denied in every possible way [1, 77]. However, according to the same L. Varese, he (E. Varese - D.A.) were constantly thinking in the same direction as the Futurists. He added: he enthusiastically shared many of the postulates of Marinetti, proclaimed in his work Futurism ... [ibidem] The discoveries of Varese in the field of the monotimbral orchestra are obvious, although theoretically they are not sufficiently conscious and classified. The main thing that should be distinguished in the classics of his style discovery (Integrals for 11 wind and percussion, Ionization for percussion and sirens, etc.) is the redundancy of the designative meaning in the program relating to the sound substantiality as such. In the interview for the French radio there are the following significant lines: E.V.

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