«Blooming lilies»…. or beautiful fantasies of artistic style

Abstract

The series “Sound Image of Musical Instrument in the 20th Century” article highlights the topical issue of timbre as one of the fundamental parameters of musical expressiveness, as evidenced by a large amount of art studies. The concept of the sound image of a musical instrument in contemporary culture is examined, which emphasizes the structural components of timbre, the interdependence of the natural timbre of the instrument, and the stylistic context, which allows it to acquire new meaningful features. The problem of the renewed perception of musical timbre is linked to new timbre combinations, expanded playing techniques, and composers’ individual artistic decisions. The focus is on the harpsichord and its traditional “baroque” status, which is determined by its role in Baroque music due to its solo and ensemble functions and compliance with aesthetic principles of other styles, including rococo and classicism. Using the example of harpsichord miniatures by F. Couperin, the culmination of French Baroque, the possibilities of the harpsichord for creating unique sound imagery are highlighted, demonstrating the textural qualities of music related to that time. The interpretation of the qualities of this instrument in 20th-century music is illustrated by the “Village Concerto” by F. Poulenc, which presented listeners with a unique French spirit and, according to the composer, was primarily associated with the famous school of French harpsichordists. Two works by D. Ligeti, created for harpsichord, represent the harpsichord in another dimension, mainly through the demonstration of sonoristic sound flow, where the timbre of the instrument is brought to the forefront of perception and the virtuoso combination of layers of Hungarian folklore and elements of rococo stylistics gives the harpsichord an unexpected sound. The article includes statements by Wanda Landowska regarding the possibilities of the harpsichord. It provides an example of artistic interpretation of the external appearance of the instrument by Marc Chagall, who painted the inside of the lid of a copy of an 18th-century French harpsichord created by American harpsichord maker William Dowd.

The article can be useful for teachers of art disciplines to create an overview of contemporary instrumental culture, which actively develops the expressive possibilities of instruments in the context of polylogue with the styles of the past.