Etude Genre in the Works of Contemporary Pianists-Composers: Traditions and Innovation

Sycheva Natalia Nikolaevna ORCID: 0000-0002-0439-0769 Lecturer at the Department of Music Theory and Composition, Rostov State Conservatory named after S. V. Rachmaninov 344002, Russia, Rostov region, Rostov-On-Don, lane Budennovskiy, 23, of. Gvardeysky 13 Natali.nakone4naya@yandex.ru Other publications by this author

The Russian musical culture of the last two centuries includes "many artistic worlds" (M. G. Aranovsky), where a special place belongs to the romantic worldview. Aesthetic attitudes and value orientations peculiar to the XIX century permeate the art of the XX and the beginning of the XXI century, enhancing the manifestation of the phenomenon of "romantic omnipresence" (A.V. Mikhailov). He is developing beyond his historical period in the works of the great masters of sound, whose genius is most vividly embodied in the unity of two directions – composing and piano performance.

The virtuoso performed both other people's and his own compositions, riveting the audience's attention to his personality. At the same time, the virtuoso brilliance was reflected in a number of piano genres in which the pianists composed. They can be divided into two groups. The first of them includes virtuoso compositions based on the development of someone else's material^[1] (paraphrases, transcriptions, fantasies, etc.), where retouching of one's own skill, taste and fashion is applied to the author's style of another composer. The other group includes essays aimed at developing their thematic material. In the latter group, the genre of the concert sketch stands out, which has widely entered the practice of romantic art as a genre that concentrates various facets of performing skills. In general, in the work of the romantics, the etude underwent multiple intra-genre metamorphoses, as a result of which it acquired the status of a virtuoso concert piece with a certain imaginative content, overcoming a number of problems, including monotony of presentation and a purely applied didactic purpose. In it, the composer-pianist captured the impeccable mastery of technique in the context of a certain artistic idea.

The question is natural, what is the relevance of the etude genre in our time and in connection with what is the need for piano virtuoso compositions by piano composers? In concert philharmonic activity, the pianist is faced with the specific features of the repertoire policy aimed at performing proven masterpieces included in the golden fund of classical music. A significant part of the sounding matter in concert halls is composed by romantic composers, forming an actual layer of modern culture. Despite this, there is a free zone in philharmonic programs, located at the very end of the performance, where repertory laws have no power. This gives pianists the opportunity to expand the scope of their performed works, including their own compositions in the encores.

Concert pianists are gradually forming their own target audience, which regularly attends their performances. In this regard, in addition to the traditional repertoire, piano composers create unique concert programs, attracting listeners with their compositional work. Ultimately, piano composers also act as educators, expanding the familiar repertoire by performing rarely heard works, as well as adding their own compositions to the main program. This aspect creates a precedent for taking the music of piano composers beyond the framework of festival or competition formats, where modern composition is often an obligatory part of the program.

Turning to the consideration of modern samples of the etude genre, we note that we, first of all, took into account scientific achievements in the field of genre theory by A. G. Korobova^[2], E. V. Nazaikinsky^[3], O. V. Sokolov^[4] and others. The formed conceptual and terminological apparatus in these works turns out to be relevant in the context of the work under consideration.

Over the past century, there has been a tendency in the creative activity of Russian composers and pianists to focus on historically stable genre and style invariants of the romantic era. The etude genre, which was intensively developed in the 19th century in the activities of virtuoso pianists, retains its importance beyond the romantic historical style in the works of A. Alexandrov (Three Studies, Op. 31), M. Kollontai (Etudes Op. 55), V. Ryabov (Four Chromatic Studies, Op. 45), S. Feinberg (Suite of four pieces in the form of an etude, Op. 11), A. Kharitonov (Six Etudes, Op. 44), A. Chernov (Nine Fantasy Etudes, Op. 11) and others. In the works of these composers, sketches, as in the romantic era, are combined into a cycle or a monoclave of plays. This genre is interpreted by them as:

– a sample of pure ("absolute") instrumental music;

– a play that has a literary or plot program.

Let's consider these trends in the work of two Russian composers – Mikhail Georgievich Kollontai and Alexey Evgenievich Chernov.

The modern Russian composer-pianist M. G. Kollontai (born 1952)^[2] turns to the etude genre in the mature period of his work, being already by that time the author of a significant number of compositions in various genres (symphonies, concertos, operas, choral and vocal compositions, chamber, keyboard works)^[3]. In the series Op. 55 (2006-2007), the genre of the sketch is interpreted as a conceptual program composition. In it, the composer embodied plots that go back to the depths of European civilization, in which something majestic and timeless was seen. M. Kollontai turns to New Testament plots related to the way of the cross of Jesus Christ on earth. Each sketch shows various moments from the life of the Savior, his stay alone^[4], away from people.

At the end of each study, the composer placed short texts-afterwords, which in a concise form convey the plot plot of the plays, as well as represent the sphere of romantic programming:

Table 1. — The order of the sketches and their program

The key to understanding the cycle is the text epigraph "Alone, You prayed on top of the mountain", borrowed by M. Kollontai from the opening line of the poem "You prayed on top of the mountain" by the Dutch lyricist, poet, Catholic priest of the XIX century Guido Geselle (1830-1899):

Alone, you prayed at the top of the mountain,

And... Jesus, there's no one around,

where can I climb the mountain path, –

To catch you there alone;

The world is chasing me,

Wherever I go,

Wherever you are,

And wherever you look;

And now, there is no one more unhappy than me;

Just me,

In need, I can't let out a scream;

Starving, I can't ask;

Suffering, I can't say,

How cruel the pain is!

Oh, teach the poor fool,

Pray like, open up!^[5]

The composer's artistic comments on musical plays, an epigraph in the form of a direct poetic quotation, an afterword to each play – these verbal companions give new qualities to the genre of the sketch in the work of M. Kollontai.

The images embedded in the plays are embodied through spontaneous improvisational deployment of musical material in a dramatic way, and each sketch conveys the acute feelings of the hero about what is happening.

The concept of the cycle is based on the dramatic movement from darkness to light.

Omitting a detailed description of the plot outline of each sketch, we note the distinctive features of this cycle. In general, the eight sketches can be divided into three groups.

1. In the first group, the tragic image of Jesus is imprinted in the bosom of nature. So, in the initial sketch, there is a narrative about Christ in the Judean desert. This image echoes the painting by I. N. Kramskoy, as mentioned by the author himself in a letter to I. Chukovskaya. In the sketch, the composer deepened the gloomy, dramatic figurative sphere, where the dialogue between Christ and the evil tempter is depicted in the music: "I imagined this pitch-black night, loneliness, this tickling breeze <...> the careful touches of an invisible enemy and the disgusting questions he asks"^[6] – the composer notes. The fierce pressure of negative influences, expressed through thunderstorms in the piano texture with its almost convulsive rhythm, evokes analogies with the tragic reaction of the hero to the disasters inexorably falling on the earth (Figure 1).

The fourth sketch returns to the mountain location, but this time the presence of Christ on the top of the mountain predetermined the tragic events associated with John the Baptist (Figure 2). In the third and sixth sketches, the sphere of sound "marina" was developed, where the natural element reflected the inner state of the personality. So, in the third sketch, a landscape picture is displayed – the water element and against its background the peaceful state of Christ, abstracted from human and worldly problems (Figure 3). The sixth sketch is connected with the dialogue between Christ and the apostles caught in a night storm in the open sea of Tiberias (Figure 4).

2. In the second group of sketches, the inner experiences of Christ are revealed. For example, the composer associates the technical "inconveniences" and complexity of the second etude with the difficult earthly life of Jesus, who had no rest (Figure 5). The fifth sketch is connected with reflections on the deeds of Christ, who encouraged people to desire his earthly reign in order to achieve their earthly triumph and exaltation (Figure 6). The seventh sketch depicts a picture in prison, where Jesus sits alone and listens to the sounds of droplets falling in the basement, as well as Peter crying behind the wall (Figure 7).

3. The third group includes the only one – the eighth sketch, which embodies the image of the Resurrection of Christ (Figure 8).

Discussing the continuity of this cycle with the legacy of romantic composers, it should be noted its connection with the transcendental sketches of F. Liszt. Firstly, it occurs on the basis of the interpretation of this genre as a program composition. Secondly, M. Kollontai's etudes belong to piano compositions of increased virtuoso complexity^[7], and the seventh etude, according to the composer himself, is practically impracticable. In this regard, the author offers two versions of his game:

– on an electronic piano with memory, by pre-recording repetitive notes, and then performing it using an overlay;

– to perform a light version, placed in the appendix to the publication ^[8].

Summarizing the above, we note that in the genre of the etude in the work of M. Kollontai, the traditions of composers-pianists of the XIX century are represented, which are reflected in two aspects – virtuosity and programmaticity in the music of the cycle.

The compositional activity of A. E. Chernov (born 1982), a modern Russian composer–pianist^[9], evokes analogies with the works of F. Chopin and A. N. Scriabin, who composed mainly for the piano. The composer turned to the etude genre in 2006, creating a cycle consisting of Nine fantasy etudes, Op. 11, which summarizes creative searches in the field of keyboard compositions of the early period.

The very name "etude-fantasy" embodies the composer's new view of the etude genre. Following the traditions of romantic composers, Chernov updates the genre of the etude, enriching it with new sound colors of the instrument, while using the inexhaustible possibilities of touch, pedalization in combination with new compositional textural solutions. The tendency to express the smallest movements of the soul, the reflections of the artist-creator at the piano determines a special quality of creativity, where the very "pianoforte" – according to K. V. Zenkin – is "a direct consequence of the romantic worldview", which leads the composer-pianist to "timbre universality" ^{[18, p. 9]}.

The fundamental properties of the sketch and fantasy reveal a common constant generic quality – improvisationality. By combining these two genres in a single composition, the composer seems to confirm his belonging to a common dynasty of composers-virtuoso pianists.

It is natural that interest in such a genre improvisational mix as "etude-fantasy" or "fantasy-etude" is found mainly in the works of virtuoso pianists of the XIX – XX centuries^[10]: Henri Bertini (France, 1798-1876) – "Big Fantasy-etude for piano", Op. 46, dedicated to Camille Pleyel (virtuoso pianist); Nikolai Shcherbachev (Russia, 1853-1922) – Fantasy-etudes for piano, Op. 26; Felix Blumenfeld (Russia, 1863-1931) – Etude-fantasy, Op. 48, dedicated to Nikolai Medtner, Two etudes-fantasies, Op. 25 (1898), dedicated to Joseph Hoffmann; Konstantin Eiges (Russia, 1875 – 1950) – Six Fantasy Etudes for piano (1925), Op. 23; Alec Rowley (Great Britain, 1892 – 1958) – Fantasy Etudes^[11], Op. 13; Vladimir Horowitz (Russia – USA, 1903 - 1989) – Fantasy etude "Les Vagues", Op. 4; composer John Corigliano (USA, 1938) – Fantasy Etude (played without pause), dedicated to pianist James Tocco. Numerous examples confirm the idea that the need for such a fusion of two improvisational genres arises, at least, among virtuoso pianists who have devoted part of their lives to composing.

The inspiring source and model for the creation of the cycle of sketches-fantasies by A. Chernov were nine sketches-paintings Op. 39 (1917) S. V. Rachmaninoff^[12]. These cycles combine many parameters related to the number of plays, patterns in the architectonics of the whole, figurative and meaningful parallels, the musical language of some etudes-fantasies and etudes-paintings, formative factors. Let's consider two opuses in more detail.

The Nine etudes-paintings focus on the figurative epic, dramatic, tragic and lyrical spheres characteristic of Rachmaninov's work, which are distributed in the cycle in the following order.

Table 2. Figurative spheres of etudes-paintings Op. 39 by S. V. Rachmaninov

Researchers of Rachmaninov's work discover in Op. 39 features of cyclicity^[19], as well as signs of a full-fledged cycle ^[20]. V. N. Bryantseva identifies four subcycles in it, united by the principle of contrast, where the fourth together with the fifth sketch-painting form the "core" of the work, as well as its "figurative and artistic peak" ^{[19, p. 486]}.

A different interpretation of Rachmaninov's work was proposed by M. G. Aranovsky. Establishing a number of intonational, figurative and tonal connections between the sketches, the scientist comes to the conclusion about a harmonious cycle with features of concentricity, united by a number of semantic connections and, thus, having an arched architectonics of the whole. Thus, the first, fifth and final sketches form, according to the researcher, a heroic and dramatic framework. Adjacent to the most extreme sketches – a-moll (2) and d moll (8) – soften them with their pictorial narrative and represent the second arch. The third arch that holds the cycle together are the sketches h-moll (4) and a-moll (6), which are close to each other, including due to the presence of the program. Thus, Rachmaninoff's composition has pronounced features of concentricity.

As features in the architectonics of the cycle of etudes-fantasies by E. Chernov, we highlight the presence of two frameworks-modes.

The second, third, sixth, seventh and ninth fantasy sketches form a through-type first dramatic figurative line, which, in turn, is divided into two groups:

– plays with a dominant concert virtuoso beginning, like Chopin's etudes. So, the basis of the second one is a curly figuration, its textured plan resembles Chopin's eleventh etude, Op. 25 (Figure 9). Other analogies are related to the seventh etude: the flight pattern of the octave figuration, as well as the reference tone and the fret minor mood, evoke analogies with Chopin's twelfth etude, Op. 25 (Figure 10). In general, the following figurative and modal continuity arises.

Figure 11. The scheme of figurative and fret succession

– sketches with a textured chord base, as well as the primacy of rhythm, creating the energy of the chord ^[13]. These include the third, sixth and ninth fantasy sketches (Figure 12-14). Another distinctive feature of the first two of these studies (the third and sixth) is the pronounced genre basis of the waltz, which undergoes intense rhythmic, figurative, as well as intonation-genre renewal, as a result of which it is enriched with a new expressive emotional sphere^[14].

The second through-line in the cycle is represented by lyrical fantasy sketches – the first, fourth, fifth, eighth, in which the lyrical emotional and psychological sphere is prolonged. The first and fourth fantasy etudes are sustained in a nocturne tone with harmonic accompaniment typical of this genre in a wide range, with its subordinate role in relation to the main melody-theme in the upper register. In addition to the leitjanre connections (let's repeat, the leitjanres in this opus are waltz No. 3 and No. 6, and nocturne No. 1 and No. 4), the cycle is endowed with leit intonation connections. Thus, two fantasy studies are held together by a descending motif in the interval range of an enlarged octave, inside which a lamentose choreic descending second intonation is placed with a further jump down a septim (Figure 15). In the fourth fantasy sketch, this motif acquires an upward movement and acquires a romantic spontaneous presentation. In our opinion, the semantics of this intonation turnover in this case is close to the romance sex (Figure 16)^[15].

Another binding factor of these two parts of the cycle is the development of the bell sphere in the middle sections, which serves as the embodiment of spiritual and religious content in fantasy sketches. It should be noted that bell ringing, as a "sign" of the liturgical tradition, as well as "the impersonal pulse of the world, with which the pulse of the soul merges, as an ethos of feeling" ^{[19, p. 389]}, brings together the stylistics of the cycles of S. Rachmaninov^[16] and E. Chernov.

A whole complex of microcycles is noted in Chernov's work under consideration. In general, eight of the nine fantasy sketches are paired in two concentric circles with cores, where the sixth and seventh are located in a mirror image with respect to the third and second. The final part of the cycle is the final link in the development of a dramatic through-line. The extreme sketches – the first and fourth, fifth and eighth, serve as lyrical reference points of the cycle. At the same time, the structure of concentric circles is based on the binary principle of combining dramatic and lyrical modes.

Summarizing the above, it can be noted that the two cycles of S. Rachmaninov and E. Chernov reveal a number of common features, among them:

– a concentric type of composition with a focus on the finale;

– the presence of a lyrical core;

– the development and interweaving of three dramatic lines in Rachmaninov's cycle (lyrical, dramatic, epic) and two psychological modes in Chernov (lyrical and dramatic), which gives them integrity and harmony;

– paired grouping of sketches based on the principle of contrast;

– the existence of leitmotives ("leitimpulses")^[17], permeating the piano cycle. In addition to them, leitjanres are found in Chernov's Fantasy Sketches - nocturne, waltz.

Summing up this study, we note that in the genre of the etude in the works of M. Kollontai and E. Chernov, the trend associated with the prolongation of romantic traditions beyond the limits of this historical style was reflected. The dominance of the individual-subjective sphere, psychological nuance, the desire to comprehend the depths of the human soul, the expression of the beats of emotions, all these factors determine the romantic universe of composers-pianists in the etude genre.

Figure 1. Etude No. 1 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 2. Etude No. 4 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 3. Etude No. 3 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 4. Etude No. 6 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 5. Etude No. 2 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 6. Etude No. 5 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 7. Etude No. 7 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 8. Etude No. 7 from the piano cycle Op. 55 by M. G. Kollontai. The fragment

Figure 9. Etude-fantasy No. 2 Op. 11 by A. E. Chernov. The fragment

Figure 10. Etude-fantasy No. 7 op. 11 by A. E. Chernov. The fragment

Figure 12. Etude-fantasy No. 3 "Waltz" Op. 11 by A. E. Chernov. The fragment

Figure 13. Etude-fantasy No. 6 op. 11 by A. E. Chernov. The fragment

Figure 14. Etude-fantasy No. 9 op. 11 by A. E. Chernov. The fragment

Figure 15. Etude-fantasy No. 1 Op. 11 by A. E. Chernov. The fragment

Figure 16 Etude-fantasy No. 4 op. 11 by A. E. Chernov. The fragment

^[1] It is important to note that many touring pianists, in order to demonstrate their brilliant virtuosity, create music in the genre of transcription and paraphrase – M. A. Amelin, A. A. Volodos (P. Tchaikovsky – A. Volodos. "Lullaby song in the Storm", Op. 54 No. 10), D. Matsuev, M. V. Pletnev (P. Tchaikovsky – M. Pletnev. "Sleeping Beauty", concert suite for piano, 1978).

^[2] Mikhail Georgievich Kollontai's performing talent was noted in Tashkent in 1981 at the All-Union Competition, the victory in which allowed him to take part in the international Tchaikovsky Competition in 1982. During these years, M. Kollontai consolidated his fame as the brightest virtuoso and interpreter of music of various styles, including the music of romantic composers, as well as his contemporaries.

^[3] M. Kollontai's compositional work is little studied today. Nevertheless, there are a number of articles and interviews devoted to the work of this musician. Among them, we note the works of M. P. Rakhmanova ^[5], I. V. Stepanova ^[6], V. G. Tsypin ^[7], dissertation research by T. V. Novikova ^[8] and E. V. Tutova ^[8].

^[4] In this regard, the composer initially had the idea to give the cycle the programmatic title "One", thereby consolidating the internal figurative and meaningful relationship of the pieces in it. However, M. Kollontai subsequently abandoned this idea.

^[5] Translated from English by Yu. The cart.

^[6] From M. Kollontai's letter to I. Chukovskaya. Access mode:  https://onedrive.live.com/?authkey=%21ADVXwOmKV3Iuc%5FY&cid=F201F95459ACC653&id=F201F95459ACC653%213227&parId=F201F95459ACC653%21814&o=OneUp (date of application: 05/25/2023).

^[7] Transcendere translates as "to cross", to cross an existing barrier.

^[8] This cycle was recorded by Irina Chukovskaya (2009) and Natalia Privarskaya (2014-2015). In the last performance, the seventh etude is recorded in four layers superimposed on each other.

^[9] In addition to composing and performing creativity, A. E. Chernov carries out intensive pedagogical and social activities, being the artistic director of a number of festivals, including the STAM festival (the abbreviation STAM stands for modern tonal academic music). The peculiarities of A. Chernov's creative activity were reflected in numerous interviews ^[10-14], the originality of his compositional style was covered in several articles [see: 15-17].

^[10] It should be noted that most of the composers who created Etudes-fantasies or Fantasy-etudes dedicated their opuses to other virtuoso pianists. These initiations will be indicated below.

^[11] This opus contains the following program titles: "Falling snow" – Falling snow, "Mistress prudence" – Mrs. Prudence, "Morris dance" – Maurice's Dance, "Caprice", "Fantasy waltz", "Hornpipe" – Hornpipe dance.

^[12] On April 20, 2013, a concert was held with the author's program by A. E. Chernov, where these two opuses were performed.

^[13] Note that a similar force and effect of rhythm on the overall tone of the development of the work is found in two preludes d-moll and g-moll Op. 23, as well as in the Sketch-painting es-moll Op. 39 by S. V. Rachmaninov.

^[14] We find the same line of development in the mazurka genre in the piano cycle "Fantasies in three Mazurkas", Op. 5 by A. E. Chernov.

^[15] Along the way, we note that in this cycle there is an end–to-end leitmotif of a different nature - an ascending iambic intonation of a small third, which is influenced by the descending second intonation of lamento, which originated in the opening cycle of the first etude and receives active development in the second, fifth and seventh fantasy etudes, and in this situation intonation connections are manifested. Another end-to-end element that holds the cycle together is the appearance of the leitaccord from the fifth etude-fantasy in the seventh.

^[16] Recall that bell-ringing is most clearly manifested in the third, in the culmination of the seventh and ninth etudes-paintings by Rachmaninov.

^[17] In Rachmaninov's etudes-paintings, researcher V.N. Bryantsev points to marching rhythms as leitimpulses ^{[16, 486]}.