Virtuoso |
VIRTUOSIS (Italian virtuoso, from Latin virtus – strength, valor, talent) – a performing musician (as well as any artist, artist, master in general), who is fluent in the technique of his profession. In a more precise sense of the word: an artist who valiantly (i.e. boldly, courageously) overcomes technical. difficulties. Modern the meaning of the term “B.” acquired only in the 18th century. In the 17th century in Italy, V. was called an outstanding artist or scientist; at the end of the same century, a professional musician, in contrast to an amateur; later, a performing musician, in contrast to a composer. However, as a rule, in the 17th and 18th centuries, and partly in the 19th century. The largest composers were at the same time great composers (J. S. Bach, G. F. Handel, D. Scarlatti, W. A. Mozart, L. Beethoven, F. Liszt, and others).
The claim of the performer-V. inextricably linked with artistic inspiration that captivates the audience and contributes to the impressive interpretation of the works. In this it differs sharply from the so-called. virtuosity, with krom arts. the value of music and performance recedes into the background and even sacrificed technical. game skill. Virtuosity developed in parallel with virtuosity. In the 17-18 centuries. it found a vivid expression in Italian. opera (castrati singers). In the 19th century, in connection with the development of romanticism. art-va, virtuoso will perform. craftsmanship has reached its apogee; mean at the same time. place in the music virtuosity also occupied his life, resulting in a salon-virtuoso direction. At that time it manifested itself especially in the region of the FP. performance. Executable products often unceremoniously altered, distorted, equipped with spectacular passages that allowed the pianist to show off the fluency of his fingers, thunderous tremolos, bravura octaves, etc. There was even a special kind of muses. literature – plays of a salon-virtuoso character, of little value in the arts. respect, intended only to demonstrate the playing technique of the performer composing these pieces (“Sea Battle”, “Battle of Jemappe”, “The Devastation of Moscow” by Steibelt, “The Crazy” Kalkbrenner, “The Lion Awakening” by An. Kontsky, “Butterflies” and transcriptions by Rosenthal and etc.).
The corrupting influence exerted by virtuosity on the tastes of society evoked natural. indignation and sharp protests from serious musicians (E. T. A. Hoffmann, R. Schumann, G. Berlioz, F. Liszt, R. Wagner, V. F. Odoevsky, A. N. Serov), gave rise to incredulous attitude to virtuosity as such: they used the word V. in ironic. plan, interpreting it as a censure. In relation to big artists, they usually used the term “V.” only in conjunction with the epithet “true”.
Classic samples of genuine virtuosity – the game of N. Paganini, F. Liszt (at the time of maturity); many outstanding performers of the subsequent time should also be recognized as true V..
References: Hoffmann ETA, Two Trios for pianoforte, violin and cello op. 70, by L. van Beethoven. Review, «Allgemeine Musikalische Zeitung», 1812/1813, то же, в кн.: Е.Т.A. Hoffmann’s musical writings, Tl 3, Regensburg, 1921; Wagner R., The Virtuoso and the Artist, Collected Writings, Vol. 7, Lpz., 1914, pp. 63-76; Weissmann A., The Virtuoso, В., 1918; Вlaukopf К., great virtuosos, W., 1954,2 1957; Pincherle M., Le monde des virtuoses, P., 1961.
G. M. Kogan
