Соната ғ 11 op. 22 b-dur Л. Бетховена в ряду актуального інтонування в поставангардній – пост-поставангардній культурі сучасності
The Sonata 11 op. 22 B-dur of L. Beethoven abreast actual intonations in pоstvаnguard - a post-pоstvааnguard culture to contemporaneity

Summary/Abstract: Purpose of the article - a comprehension of the Eleventh sonata of Beethoven with position performance musicology, for which epic poet-lyrical line of the work, created on galley proof early and central periods to creative activity of composer, form the performance actual layer of the over-individual lyricism significant for expressive tone art modern post-vanguard - a post-post-vanguard (see. neosymbolism and inherent him "mosaic eclectic" in works of A. Mohl and E. Markova). The methodology - intonation concept of the music, presented in works of the school of B. Asafiev in Ukraine, under that style-comparative and hermeneutic, culturological foreshortenings of the analysis are leading and solving in the study. Scientific novelty - in the independence of the theoretical idea about style originality of the early period creative activity Beethoven in style correlation with neosymbolism of pоstvanguard - a post- pоstvanguard of contemporaneity, defining style performance and auditory choice. Conclusions. The total done analysis emerge the following positions: 1) "general" intonations of the performance of the Eleventh sonata and A. Schnabel, and M. Grinberg are determined semantic element over-individual lyricism mortgaged in music composer text; 2) "general idea" of intonations, embracing united semantic floor poly-theme – poly-structural composition of Beethoven Sonatas, is realized at a rate of rhythm-dynamic facilities, which unite in editorial note (as this is made in publishing under editing A. Schnabel); 3) declared end-to-end performance intonations in the play of A. Schnabel are directed from I part as from "tops-source" to the following parts then beside M. Grinberg underlined epic "двукульминационная" structure with symphonic separation I and IV parts; 4) Chinese performance tradition values the continuity with the world lyric poets, who is presented in "прошубертианской of" line Viennese classicists and concentrated in performance A. Schnabel.

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