Соната для труби і фортепіано Пауля Хіндеміта як зразок індивідуального стилю композитора

Abstract

У статті проаналізовано драматургію Сонати для труби і фортепіано П. Хіндеміта в аспекті втілення специфіки індивідуального камерно-інструментального стилю композитора; виявлено зв’язки інструментального тематизму Хіндеміта з традиціями західноєвропейської (насамперед, австро-німецької) музики. Підкреслено, що індивідуальні риси стилю композитора відображають новаторські тенденції в музиці першої половини ХХ століття.

В статье проанализирована драматургия Сонаты для трубы и фортепиано П. Хиндемита в аспекте воплощения специфики индивидуального камерно-инструментального стиля композитора; обнаружены связи инструментального тематизма Хиндемита с традициями западноевропейской (в первую очередь, австро-немецкой) музыки. Подчеркнуто, что индивидуальные черты стиля композитора отображают новаторские тенденции в музыке первой половины ХХ века.

The article analyzes the drama of Sonata for trumpet and piano of P. Hindemith in the aspect of the embodiment of the composer’s individual chamber-instrumental style. The concept of Sonata is inspired by the social and political events of the Second World War. The timbre of the trumpet clearly reflects the images of force, irresistibility, which contrast the semantics of mourning. An idea of the work is marked by the philosophical level of the solution of problems of life and death, which were extremely relevant for a person of the XX century. Individualized interpretation of sonata form is shown in the tempo and dramatic ratio of parts of sonata cycle. There are three parts in Sonata, but they are presented not in the classical scheme of quick-slow-quick, but quick-quick-slow, that is, the dramatic function of the second, slow part of the cycle – the embodiment of the idea of “the person who thinks” – is shifted to the finale, thus reinforcing its semantic content. The semantic logic of this opus is subordinated to the idea of inevitability of tragic events in human life. As a result there is a shift of the traditional tempo scheme of sonata cycle, which enhances the active and dynamic musical imagery – very characteristic of the musical art of the XX century. The first part (Mit Kraft) is thoughtful and restless at the same time. It is distinguished by the accentuated rhythm and dramatic flashes of the piano, with a leisurely melody of the trumpet of the monologic character on the background. Hindemith interprets the form of the first part of the sonata cycle unconventionally: he replaces the classical sonata allegro with the form of rondo, which best embodies the image of force. The second part of sonata (Mässig bewegt) – sounds very tense due to the pronounced scherzo character of the musical material. It is written in the classical three-part form. It is possible to distinguish two themes in it that make up its structural basis. Unlike the themes of the first part, these small thematic formations are quite contrasting with each other. Music of the finale (Trauermusik – Choral) is the music full of tragic and mournful images, with which Hindemith associates himself with the current reality. The final part is also written in three-part form. In most sonata cycles of Hindemith, finales with their highest concentration of the spiritual signs are the climax of development, regardless of the number of parts. In Sonata for trumpet, Hindemith refers to the music of J. S Bach, who acts as the bearer of the highest spiritual meaning of the work: he cites the melody of the Protestant chorus “Alle Menschen müssen sterben” (“All men must die”) from cantata BWV 642. A number of peculiarities of instrumental thematism of P. Hindemith makes it possible to distinguish certain stylistic indicators that are inherent to the part of pipes and give the specifics of the timbral sound to the instrument, the origins of which are in the general character of the music of the XX century: an expressive melody with a large number of leaps at wide intervals, textural and register contrasts, fast acquirement of all the sound range, a significant role of consciously chosen constructive intervals (pure fourth, combination with pure fifth and a large second), in the aspect of metro rhythm – a complex rhythmic organization, as well as a polyphonic texture as one of the most active elements in the development of the themes. Sonata presents the characteristic polyphonic techniques for music of the XX century: contrast-polyphonic, mixed types, as well as innovative elements of multilayerness. In Sonata for trumpet and piano there was a connection between the instrumental themes of Hindemith and the traditions of Western European (first of all, Austro-Germanic) music. This feature became for the composer an important aesthetic position, which he adhered to throughout his life.