Давидсбюнд Роберта Шумана в авторському слові та поетиці фортепіанних творів 1830-х років
Robert Schumann's Davidsbund in his Writings and in the Poetics of his Piano Works of the 1830s

Summary/Abstract: The purpose of the article is related to the interpretation of Robert Schumann's writings on music as his theoretical comprehension of the novelty of his piano works of the 1830s. The verbal texts and piano cycles created during this period are linked by the artistic image of the Davidsbund (League of David) music society and the portraits of its real and fictitious characters. The methodology of the study is based on applying the historical, comparative, and biographical methods, as well as the methods of analysis of imagery and intonation of musical works. The scientific novelty of the article lies in showing that there is a close relationship among the composer's verbal texts written when his style was forming, a special type of programmatic that emerged in his piano cycles in the period when he was keen on the Davidsbund, and the artistic world and poetic style of his musical works on this subject. Conclusions are based on analysis of the imagery and dramatic lines of the piano cycles Papillons (Butterflies) (Op. 2, 1831), Carnaval (Op. 9, 1835), Davidsbündlertänze (Op. 6, 1837), and Kreisleriana (Op. 16, 1838). They demonstrate the important role of the verbal poetics, which was characteristic of the composer's statements about music, in the formation of the musical poetics of his piano cycles and the ways of implementing their programmatic conceptions.

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