The interaction and contrast of the characters, both classical and early romantic styles, are clearly expressed in the piano concertos of the most significant representatives of the genre – Johann Nepomuk Hummel, Ignaz Mosсheles and Ferdinand Ries. Despite the significant artistic value of their creative work, the problem field is related to genre-style features of the piano concerts of the early romantic period, in the national music science till now practically did not studied.
The purpose of the work is to identify the conceptually new character of the stylistic paradigm of the genre of the piano concert of the Austro-German composers-pianists of the first third of the XIX century, as well as to determine their influence on the development of a subsequent romantic concert.
The methodological basis of the study is the basic principles of the theory of knowledge (objectivity, scientific, historicism, integrity, interconnection and interdependence of phenomena and processes of reality); the main provisions of systemic, axiological, art-study approaches as the basis for studying the specifics of the proposed topic. The dissertation uses a complex of general scientific and special musical research methods (historical, cultural, systematic, comparative, interpretative methods, method of genre-style analysis, etc.).
Results. Historical and artistic processes of the first third of the nineteenth century had a significant impact on the emergence of romanticism in music. The interaction of classical and romantic features, inherent in the artistic creativity of this time, was embodied in the stylistic ambiguity of musical art of the first decades of the nineteenth century, influencing various musical genres.
The stylistic dualism of the piano concerto of the first third of the nineteenth century, which was a distinctive feature of the works of the “transitional period” and manifested itself in psychologization and enhancement of the emotional artistic images, in search of innovations in musical language and techniques with an organic base on the classical structure, which directly influenced the qualitatively new thinking of the composers of the next. However, despite the significance of the concert works of the aforementioned artists, in the musicology literature of Europe and some post-Soviet countries (mostly Belarus and Russia), the development of the piano concerto of piano composers of the Austro-German tradition of the first third of the nineteenth century has practically not been studied.
During the first half of the nineteenth century, the formation of a new concept of a piano concert was accompanied by genre-style changes within the cycle, but the attraction for transformations and the embodiment of new content and technical finds did not deprive these works of support for classical specimens. The stylistic features of samples of the early romantic concert, which had signs of both classical and romantic genre models, were determined in the dissertation.
The development of the genre of the piano concert had various stylistic manifestations: from the synthesis of various forms in the old instrumental concert, through the logical clarity of the structure and the interaction of the soloist and the orchestra in classical specimens, to rethinking the genre and changing the vision of both its structure and the principles of thematic development in romantic works.
On the foundation of comparative analysis, the characteristics of the classic and romantic concert genre are presented. The connection between the rapid development of the instrument and the search for new technical and expressive techniques, as well as the influence of new romantic ideals and the psychology of creativity on the choice of artistic means of expression, ensemble interaction, compositional and technical innovations of the piano concert are highlighted. At the same time, findings of the composers-pianists of the first third of the nineteenth century, in particular J. N. Hummel, I. Moscheles, F. Ries, made in the genre of the piano concerto, had a significant influence on the composer’s creativity of the period of mature romanticism. New achievements in the field of form, harmony, presentation of themes, texture, ensemble interaction, of course, were accepted by the next generations of romantics, which guided them in creating their own concerts.
