Lin J. Beethoven's Piano Sonatas in the Musical and Stylistic Context of the 18th-19th Centuries

The dissertation is devoted to the study of the influence of French Rococo and the expressive features of this direction on the style and expressive techniques of the musical language of the composer and pianist Beethoven. Accordingly, attention is paid to the systematization of information about the essence of the creative attitudes of the Viennese classics and the promotion of the ideas of Josephine classicism and rococo. The specifics of the transformation of the "German cultural idea" in the 18th century in connection with the historical formation of the Vienna School of Composers are outlined. The work highlights the creative concept of two Beethoven principles in the context of the stylistic realities of reliance on Josеphine classicism, which determined the rationalistic theatrical worldview of Viennese composers. The selected theoretical positions were tested by analyzing the early and "small" sonatas of the central and late periods of the composer's work. The analysis was made in the context of considering their stylistic language in Beethoven's sonata heritage, in line with the concept of the Vienna School and its French landmarks. The organological and performing lines of the Viennese style are traced, and connected with the French aristocratic culture of the 18th century. The article highlights the actual performing interpretations of Beethoven's sonatas in the period of post-avant-garde and post-avant-garde installations of art in recent decades, based on the importance of the Chinese pianistic school. For the first time in the musicology of Ukraine and China, the stylistic origins of Rococo have been systematized and determined within the framework of ideas about Josephine classicism through the prism of the "German cultural idea" that is relevant for the 18th century. Also, for the first time in Ukraine, the concept of the conditionality of Beethoven's creative method by the positions of rococo, declared by the composer in the form of a formula of “two principles” and traditionally associated only with philosophical dialectics of the pro-Hegelian type, is put forward.