Background. The article identifies the stylistic principles of composer’s thinking of A. Lourié on the basis of the “Cinq preludes fragiles” for piano op. 1. The musical science works of recent years, which include the articles by M. Gorodilova, L. Sitsky and D. Gojowy, deal with the problem of repressed Russian avant-garde. Objective. The purpose of the research is to reveal the specifics of individual composer style of A. Lourié on the basis of the “Cinq preludes fragiles” for piano op. 1. Methods. Achieving the goal of the research involves using the following methods: stylistic approach, genre approach and compositional approach. Results and Discussion. Exposition of the main material of the study includes the compositional, dramaturgical and stylistic analysis of the cycle, which is recognized as the first piece by A. Lourié. The analysis of the intonational dramaturgy of the cycle by A. Lourié is a necessary stage in the theoretical understanding of the composer’s artistic thinking and the stylistic features of his heritage. Prelude No. 1 (Lento, es-moll) is a kind of introduction to the holistic “plot” of the cycle, as it represents the world of the lyric hero. It can be assumed that this is the image of the Poet, which is characteristic of the romantic tradition. Prelude No. 2 (Calme, pas vite, es-moll) is also lyrical in nature, with a touch of melancholy, but more active and strong-willed. Prelude No. 3 (Tendre, pensif, B-dur) is the lyric center of the cycle. This is a musical pastoral. In this prelude, various psychological modes are combined: the union of man and nature (contemplation), the thoughts of a man alone with himself (reflection), an internal conversation with the creator (prayer). Prelude No. 4 (Affabile, F-dur) is recognized as a bright intermezzo. The miniature is imbued with states of exultation, delight, joy of being. The general mood of the prelude is supported by the author’s remark “joyeux, capricieusement” (“fun, capriciously”) and corresponds to the intermezzo compositional function. The character of Prelude No. 5 (Modéré, gis-moll) is melancholic and detached. This miniature is very close to the Prelude No. 1, with which it creates an arch of images of the dialectic of the protagonist’s soul. It seems that the hero had lost his life goals again. The dramaturgical author’s intention is realized as follows: Preludes No. 1 and No. 2 represent a double exposure, which reveals the figurative dichotomy of «melancholia – activity» as two hypostases of a lyrical hero; Prelude No. 3 shows the picture of nature and a man’s attitude to it; Prelude No. 4 is the bright culmination of the image of a dream; in Prelude No. 5, a lyrical hero returns to reality. The results of the research support the idea that the main features of A. Lourié’s individual compositional style are the semantics of “fragility”, the principle of thematic concentration and miniaturism of intellection. The semantics of “fragility” is manifested in the poetic aura of the symbolism of the “silver age”, which represented an idea of beauty as the ultimate, vanishing state. The principle of thematic concentration is manifested in the saturation of events in a unit of musical time. The miniaturism of thinking is the ability to model and reflect global ideas of human life in the performing process in a chamber chronotope. Conclusion. In the article the unity of the content and form-building levels of the cycle “Cinq preludes fragiles” for piano op. 1 is revealed. The refraction of the romantic tradition of interpreting the piano in the works of A. Lourié was studied. The role of the miniature genre in the context of the composer’s piano heritage is described. The specificity of metro-rhythm, harmonic and intonational semantics of A. Lourié’s piano works is revealed. The prospects for further researches include the necessity of in-depth study of composer heritage of A. Lourié.
Five preludes of Mykola Roslavets in the reflection of academic and avant-garde trends of his time
