A thesis for a PhD degree in Art Studies in specialty 17.00.03. - Musical art. - Odessa National A. V. Nezhdanova Music Academy. Ministry of culture and information policy of Ukraine. – Odessa, 2021.
The genesis of the instrumental capriccio genre is studied in the work. The term capriccio is considered as a concept and phenomenon. It has been determined that the capriccio genre o is quite ancient, in different historical periods, and even, at the same time, represents a new invariant of reproduction and requires a different understanding and disclosure of the characters of the work.
A general definition of the capriccio genre is proposed as follows – it is the most controversial genre, which is constantly transformed, changed; it passes from one grade to another, while remaining free, unpredictable in its structure, it acquires new forms and features.
The instrumental capriccio of G. Frescobaldi is analyzed. A holistic analysis of “Capriccio on the cuckoo’s call” and polythematic “Capricciosopra la Girolmeta” shows that G. Frescobaldi uses different principles of polyphonic transformation. These include the version and inversion of various themes; constant change of rhythmic content of thematics; transformation of features of themes, their derivation, variability, combination of different elements of themes, complex vertically-invertible and horizontally-invertible counterpoints; two-part and three-part stretto; imitations; repeated coupling of the end of the theme and its beginning; reduction, syncopation, transformation of the beginning, end and middle of the thematic material.
The specifics of capriccio of J. S. Bach are defined. It has been discovered that the capriccio genre of J. S. Bach during the Baroque period is a programmatic (with explicit or hidden program features) instrumental work, cyclic multipart or one-part, of non-standard form, narrative or brilliant virtuoso style, filled with a typical bizarre change of episodes and moods.
It is emphasized that the golden age of the capriccio genre dates back to Romanticism, it was especially prominent in the works of F. Mendelssohn. Varieties of the instrumental capriccio genre in the works of F. Mendelssohn are considered. The capriccio genre was widely used by the composer in its pure form and in the genre synthesis in piano and orchestral-piano works. Examples of the “pure” genre of the capriccio (these are the works with the genre that are expressly defined by the composer) are characterized: Capriccio op. 5 is modern, sincere, great, written in a rather complex form with the use of all the principles of development, which at that time were known to a young composer, even, perhaps, oversaturated with them. Capriccio op. 118 is more melodious; it has a calm, colorful introduction with bright contrasting themes and a fast, crystal, vivid main part, filled with “fine” technique, with a planned three-part form with features of sonata and rondality.
It is noted that F. Mendelssohn uses genre synthesis or double genre. The genre-style features of Fantasies-Caprices op.16 for piano are characterized; Rondo сарriссоso for piano op. 114, Сарriссio brillаnt for piano and orchestra op. 33. It is emphasized that it is in the genre of the instrumental capriccio that the most striking intra-genre transformation is observed in the process of development of Mendelssohn’s works.
