Zaiets N. Genre-style aspects of the piano art of I. Albenis, E. Granados, M. de Falla in the course of the implementation of the Spanish national idea.

The thesis is devoted to the study of the genre and style specificity of the piano works of I. Albenis, E. Granados, M. de Falla, which is considered in the vein of the spiritual and aesthetic quest of the Spanish culture of the Renasimiento period, as well as the basic components of the Spanish national idea. The latter was formed over many centuries and was due to the historical, geographical and spiritual-political situation of Spain in the European cultural area as a «border culture» as a connecting «link» between East and West, as well as by the specific understanding and evolution of the national factor in it that was reflected, on the one hand, in the desire to preserve national identity, on the other – in the openness of the Spanish nation to contacts with other European cultures. The marked qualities of the Spanish national idea were supplemented by the essential role of the spiritual and religious factor in it, the genesis of which ascended to the Eastern Christian tradition and conditioned the various forms of sacralization of its culture, in particular, the musical one. Creativity of the classics of Spanish music of the XIX – early XX century – I. Albenis, E. Granados and M. de Falla quite fully reflects the genre and style and spiritual and aesthetic positions of Renasimiento, related to the Spanish national idea. The genre diversity of their work does not detract from the dominant role of the piano heritage in it, in which the component of their talent (all three were brilliant pianists-virtuosos) and the status of the pianoforte as a «universal instrument» in the European musical performance of the nineteenth and early twentieth centuries Art. Note that the Spanish «model» of the «universal» piano, formed at the intersection, on the one hand, of the sheet romantic piano-orchestral «gigantism» (I. Albenis), on the other – the renaissance of the Spanish clavier tradition (the phenomenon of «neo- Scarlatti» in the work of E. Granados and the neoclassical tradition of M. de Falla's works), appealed more to the imprint of the syncretism of the vocal-dance-instrumental quality, indicative of the Spanish culture and its national idea.