Концертно-фортепіанний стиль М. Мошковського (на матеріалі концертів для фортепіано з оркестром)
Concerto-piano style of M. Moshkovkovski (following the concerts for the piano with the orchestra)

Summary/Abstract: The article is devoted to the study of piano concert style by famous Polish composer Moritz Moszkowski who plays an important part in the history of European music of the second half of XIX and the beginning of XX centuries. M. Moszkowski’s multisided composer heritage includes a huge variety of grateful material for researchers. The generation of M. Moszkowski style with a piano concert constituent has been disclosed through a sequence of stages in his creative work using an example of two concerts for piano and orchestra created in various periods of creative activity and that can be fairly considered as epochal. Two piano concerts by M. Moszkowski depict the evolution of his own individual style. These are these two works that clearly represent the constituent of his creative method and piano specifics by Moszkowski as a performer. The first concert is an early creation focused on a romantic model tends to the theatricality, symphony, generalized program. The young author’s musical score reflects a splendid harmony and tone of music fabric and the soloist shows a tendency to sheet virtuosity. The structure is based on the dialogue between the orchestra phrases and the soloist’s ones. The concert No. 1 shows the soloist’s original piano scale that can be explained by high power of execution by Moszkowski as a pianist. As a result this early work shows the concert style features, that understanding of virtuosity that became synonymous with the musical instrument knowledge in depth while having a thoughtful attitude to the figurative and emotional side of performed music. This creative work is characterized by author searching features in concert piano genre. But a more detailed analysis is given to another concert by M. Moszkowski called E major. 59 (1898) that can be attributed to the late period of creativity (from 1898, at the age of 44 years old and up to 1914, 11 years before his death), and that brought him worldwide fame and that turns out to be an example of his concert piano style. This concert consisting of four parts is one of Moszkowski’s greatest creative works. The article pays attention to the fact that the author using symphonic methods manipulates with contrast as a method creating dramatic collisions and originally treats the correlation of the soloist and the orchestra. Moritz Moszkowski summarizes the best achievement of Western European music depicting creative personality. The composer, as shown, is focused on the experience of romantic culture proved by lyrical expression prevailing in the concert. The article has a detailed study of the work piano structure, each part of the concert is put under analysis. The concert No. 2 E major is the culmination point in M. Moszkowski creative activity and it was the one that brought him worldwide fame. The main music stylistic feature of this concert is improvisation based on traditions of brilliant piano performance style with a romantic impulsive change in emotional states. Such understanding of virtuosity for a composer is synonymous with elaborate knowledge of instrument while having a thoughtful attitude to the figurative and emotional aspect of the performed music. The concert No. 2 is a resistant meaningful model of music-making “formed on the basis of stable genetic standard characteristics (the beginning and the principle of the concert, antiphonal aspect, virtuosity, instrument properties, typical performance formula, balance with the orchestra) that also includes compulsory mobile elements as a linguistic style generated by thinking and techniques of composers and performers turning to this type of music”. Moritz Moszkowski created his own style clearly depicting author’s subtle sense of an instrument and its capacity. The complexity of all this capacity is not in the structure as in itself, but in the methods of instrument usage in addition to the performing tasks made by the author, so that to solve them the pianist is expected to activate his hearing at maximum. Pianist difficulties of piano creative works by M. Moszkowski are associated with quick beat, passage mobility, clear insertion at remote jumps producing brilliant sound with no fatigability. All of the above in its turn is associated with activity and movement duration. The composer used a wide range of romantic piano methods. Thus, the piano concerts by M. Moszkowski determine a piano concert constituent of his composing style and are a significant contribution to the development of Western European piano culture of the second half of ХIХ and the beginning of the ХХ century. The problem at studying the creative work by M. Moszkowski is caused by almost having no literature in Russian and Ukrainian. Even the information in foreign languages about this famous musician of the late XIX century can nowadays be found mostly in the way of brief articles and notes in numerous periodicals

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