The dissertation is devoted to revealing the actual musical hearing of the Concertos of J. Hummel, R. Schumann, V. Kosenko, A. Kos-Anatolskyi as a sound complex of salon pianism in its affinity with the spirituality of Biedermeier's "small forms" and the romantic balladry of large compositions, symbolist pro-sacred prelude.
Romanticism and Biedermeier formed in the first half of the 19th century, to a certain extent, inseparable directions of art and pianism in it. Salon "diamond" ("pearl") "flying" style of playing, which had a special kind of technical equipment, which raised the importance of salon "light breathing" to the highest level of artistry in European pianism.
The research carried out brings into art historical use the analysis of J. Hummel's possessions, among which it is the piano Concertos that embody the fullness of the Master's amazing pianistic training. Perhaps it was the works of J. Hummel that removed the concealment of the secrets of performing such virtuoso music, because thanks to the notation of I. Hummel's works, especially his Concertos, it became possible to imagine the extraordinary mobility of the finger apparatus, which marked the real achievements of J. Fild, J. Hummel, F. Chopin the pianist and their famous contemporaries and rivals.
In the analyzed Hummel Concerts op. 85 and 89, Nos. 2 and 3 of the seventh compositions of this type composed by the composer, the combination of two subsequently incompatible indicators of expression is impressive - the genre basis (which was considered by the Viennese classics to be a sign of the unacceptable "simplicity" of thematic and figurative representations) and the continuous "lace" of piano flourishes in the exposition of thematics. The latter were perceived in the secularized community as "optional decoration", and were rightly associated with the imitation of church figurativeness, which was unacceptable due to the "simplicity of the genre" felt at the basis of thematic constructions. It was this combination of simplicity and ecclesiastical sophistication that held Biedermeier's "song, waltz wreaths", in which the essential genre collateral of expression, combined with signs of high spiritual singing, gave meaning to Biedermeier's "big in small" understanding of the essence of creativity.
I. Hummel had a romantic way out of the principle of turning to the Concerto genre, symphonic according to the formal index of an orchestral game, which claimed to express the "voice of the masses" as the highest-ranking subject of post-revolutionary gatherings. J. Hummel accomplished what F. Chopin did not dare to continue and develop, who wrote two strange Concertos in the Warsaw period, but later completely distanced himself from the combination of his "light" playing with the "heaviness" of orchestral intervention. Hummel's concerts visually and aurally show the "combination of the incompatible" as a capacious metaphor for the epochal "gusts in Vys", the "overcoming of dense matter" of the orchestral community with the spiritual soaring of piano works, dynamically fundamentally incompatible with the loudness of orchestral tuttis.
