R. Schuman's Piano Concerto Or. 92 and 134 in the Context of Biedermeier's Style Principles

The purpose of this study is to analyse two "small" Concertos by R. Schumann, the laconic two-parts of which in the form of Introduction and Allegro Appassionato op. 92, Introductions and Allegro op. 134 puts them in a direct relationship with the aesthetics of miniaturism of Biedermeier's instruction, according to which the height of ethical and artistic expression is in a proportional relationship with the brevity of the sound space. The methodological basis of the study is the intonation approach of the school of B. Asafyev in Ukraine, embodied in the works of D. Androsova, O. Markova, O. Muravska, and L. Shevchenko, which has direct implications for the institutions of Chinese musicology (see the works of Ma Wei). The specifics of the historical-descriptive, musicological analytical, cultural, stylistic comparative, intellectual-biographical (according to the works of V. Shulhina, O. Yakovlev), interdisciplinary approach make up the specifics of the research apparatus of the author of the essay. The scientific novelty of the work is revealed in the fact that, for the first time in Ukrainian and Chinese musicology, the so-called "small" Concertos of R. Schuman op. 92 and 134 in the light of the positions of Biedermeier's "diamond" pianism of "easy playing" in the continuation of Mozartianism in piano works (based on the works of D. Androsova and L. Shevchenko) and in the development of the concept of neo-symbolism of post-avant-garde modernity according to O. Markova in relation to the performing revival of that kind of stylistic heritage. Conclusions. Piano concertos by R. Schuman op. 92 and 134 are marked by the advantages of pianistic lyrical monologue over the detection of theatrical and dramatic "breakthroughs". The predominance of the lyricism of the piano monologue nourishes the positions of romanticism against the background of Biedermeier's ideal expressive instructions, inspired by religious harmony, addressed to the ideals of "song without words" of Mendelssohn's system, aimed at a harmonious worldview. We insist on the concept of piano Concertos regarding the compositions of the specified opus, the specifics of which ("Concert-piece" for piano with orchestra op. 92, "Concert Allegro with Introduction" op. 134) corresponds to the parallel to obligatory baroque concerts with signs of the so-called "concert form", an equation that was significantly corrected by the lyrical-monologised concert performance of the Romantic era.