The genre of miniature in S. Bortkiewicz’s work

Statement of the problem. A total revision of the constructs of artistic reflection with viewpoint of the significance of the national cultural heritage necessitate the comprehension of the genre and style guidelines of S. Bortkiewicz’s work, which has long time been excluded from the national artistic space. Particular attention should be paid to the genre model of the miniature, numerous interpretations of which in the composer’s work are in line with the modern processes of modifying genre and style guidelines in the context of multicultural pluralism. The analysis of recent publications demonstrates the intensification of the study of S. Bortkiewicz’s works, but the specifics of the composer’s interpreting the genre model of the program miniature have not been exhaustively studied yet, which, along with its consonance with modern trends in the chambering of artistic thinking and the importance of the program principle as a reflection of intertextuality, determinates the relevance of the article. Objectives, methods, and novelty of the research. The purpose of the study is outlining the stylistic, conceptual, thematic, figurative and expressive constructions of the genre model of the miniature in S. Bortkiewicz’s piano creativity. The novelty of the research is determined by highlighting the priority range of S. Bortkiewicz’s thematic, figurative, linguistic, speech and expressive landmarks in the context of interpreting the genre model of the miniature in “Crimean Sketches”, “Impressions”, “The Little Wanderer”, “From Andersen’s Fairy Tales”, “Fantastic Pieces”, “Lamentations et Consolations” piano cycles, which are not exhaustively studied by modern musicology. The research involves historical and cultural approaches, systemic and semantic methods, methods of analysis and synthesis, genre and style analysis too. Research results. In the context of the processes of transformation of genre and style guidelines, revision of the expressive means of musical art at the turn of the 19th – 20th centuries, S. Bortkiewicz’s work, in particular the genre model of miniature, appeared as a link to the artistic heritage of the classical-romantic era. The cycle “Crimean Sketches” demonstrates the conceptual, thematic and figurative significance of the romantic intentions, such as Orientalism, landscape lyrics and the concept of travel, as well as the traditions of classical and romantic piano performance, Baroque allusions, conceptual and expressive markers of impressionism. The connection of the miniature in the composer’s works with the traditions of French musical classicism, romanticism and impressionism is emphasized. In the cycle “The Little Wanderer”, the significance of the romantic concept of travel and the appeal to the folklore as an impetus for the actualization of concept of historical memory is substantiated. In the cycle “From Andersen’s Fairy Tales”, the importance of romantic fairy-tale and lyrical spheres, the kaleidoscopic images, impressionist sound painting and reliance on the lyrical and narrative type of the children’s album are emphasized. In the cycle “Fantastic Pieces”, the program, thematic, intonational, textural, expressive, and other analogies with the heritage of Romantic art are revealed. In the cycle of miniatures “Lamentations et Consolations”, the synthesizing character of genre and style guidelines is substantiated, which is manifested in the appeal to the Baroque “small cycle”, the conceptual significance of the markers of Romanticism such as lyrical expression, the concept of travel, allusions on poem and rhapsody forms, multidimensional texture, etc. Conclusion. The representation of genre model of miniature in S. Bortkiewicz’s work as a sphere of synthesis and concentration of artistic experience in synchrony and diachrony determinates its consonance with the artistic reflection of the metamodern, marked by meta-stylistic trends, and the demand for the composer’s work in contemporary art practice.