Janáček's sonata for violin and piano in the light of the national concept of artist's creativity

Abstract

The article is dedicated to highlighting the national concept of L. Janáček's creativity on Violin Sonata example. It explores the stylistic paradigm of the artist's heritage, substantiates its specificity in the chamber-instrumental genre. The purpose of the article is on the base of L. Janáček's thoroughly studied compositional style to systematize the ideological and content prerogatives of the Sonata for Violin and Piano in the context of its author's musical nationalism. The following methods were used to reveal the presented issues: historical (study the foundations of the Czech composers’ school at the turn of the late 19^th and early 20^th centuries), source studies (examination of existing musicological works on related issues), analytical, structural and logical (covering the chronology of the historical aspect of the problem, mastering the specifics of L. Janáček's compositional writing), the method of theoretical generalization (for summarizing). The creativity of many artists, representatives of various European countries at the intersection of the end of the 19^th and the beginning of the 20^th centuries abounds with numerous examples of the national idea, its adaptation and highly artistic disclosure by means of music. However, each example of study the problem of implementation this issue in the history of culture of the specified period testifies the multifacetedness and multiplicity of options for the interpretation the pan-idea ̶ the musical nationalism. A separate place in this galaxy of creative personalities belongs to                             L. Janáček. He developed at the theoretical level, and later implemented in his own compositional heritage an individual conception of the embodiment of folkloric primary sources in professional music. Herewith, the master relies this not through songs and dances typical of folk creativity as his predecessors and contemporaries do in various forms, but on intonations of native spoken language, which he deciphers, records in the form of sheet music, carefully studies, analyzes and, as a result, forms on its base the musical language of his best opuses.