Соціокультурна зумовленість новаторства Франсуа-Жозефа Госсека у Великій симфонії до мажор

Relevance of the study. Although the axiom of modern scientific ideas about the musical art of the Enlightenment is the existence of three major music schools in the Western Europe (Italian, German, French), however, one of the problems of historical science remains uneven research on the dynamics of individual national genre varieties. Among the issues that still require a detailed study, is the question of the formation and development of the French model of the symphonic cycle – processes that are primarily related to the founder of the national version of the genre Francois-Joseph Gossec. His symphonic legacy remains as a “white spot” of contemporary musicology, therefore, the study of the characteristics of each symphony of the master and adding analytical information about them to scientific circulation becomes urgent.Main objectives of the article are to identify the features of the composition and intonational drama of the Francois-Joseph Gossec’s Grande Symphonie in C, the definition of unique features of the composer’s creative method, as well as the significance of sociocultural conditions in the composer’s creative process.Methodology. The study used a comparative-historical method, which allows to reveal the common processes in Western European music art in general and in French in particular. The tasks required the application of the methodology existing in modern historical and theoretical musicology, the use of genre-style methods, comparative-typological, structural, hermeneutic, semantic and cultural analysis.Findings and conclusions. The Grande Symphonie in C was written in one of the climax periods of the French Revolution. The new sociocultural conditions that emerged at that time influenced the genre system of musical art. The new ideological paradigm highlights the most popular genres of mass culture, first of all, songs and marches. The development of academic culture at this time was corrected by the general sociocultural processes.An example of such influence is The Grande Symphonie in C by Francois-Joseph Gossec. It has special significance for the symphonic heritage of the French master, since it is the penultimate score in this genre. Only after 15 years – in 1809 – he will write his next and at the same time the ultimo symphony.First of all, composer switched the typical symphony orchestra to the military one. The main carriers of the themes are wooden winds due to the lack of a string group. In general, this change significantly affects both the character of the symphony’s sound and the themes that are thus “militarized” and further emphasizes the march nature of many elements of the symphony.The composition of the symphony is changing due to its transformation into a one section piece. This is due to the tendency toward conciseness, and probably to the desire for greater availability of a work that could be performed in open space for the broad masses. It is built on the basis of a sonata form, which by that time was finally formed in European practice, and in the work of F.-J. Gossec received an original author’s interpretation. Symphony themes is divided into three figurative spheres. The first is a typical active heroic of sonata allegro, which is often based on a complex of march intonation. In this spehere, the composer often uses ascending tiratas, marching dashed lines, emphasis on first beat of the bar, confident rising fanfare moving in the sounds of tonic chord, ascending movement in gamma, and tutti. The themes that tend to the heroic sphere are often carried out by brass instruments, or emphasized by them in the first beat. Another sign that emphasizes the marchiness of the symphony is its quadrupole.The second sphere is lyrical. The complex of expressiveness of its themes or phrases is distinguished by the timbre of wooden wind (holding either a full group or several instruments), a quiet dynamics, a soft syncopation that shifts accents from a strong beat forward to the eighth note, downward motion and “sigh” intonations, which violates the marchery rhythm, entering into confrontation with it.The third sphere, which is less noticeable, is dance. Appearance of this type is characterized by a specific rhythm, “gallant turns” and ornamented melody. This material is close to lyrical themes and shades it in some fragments of the symphony.Generally, these areas are typical for sonatas symphonic cycles. However, the feature of the Grande Symphonie in C is rethinking the role of each and their interaction, which makes the composer build a unique sample of dramatic plot even for his symphonic heritage.Elements of the lyrical sphere penetrate the first theme from the very first stages, destroying it heroic character and the typical square structure of the period. As a result, the sphere of the first theme, despite the apparent emphasis on the intonational complex of march origin, thanks to the active involvement of the intonations of the lyrical complex, acquires another content. Instead, a combination of elements of a heroic topic with a lyrical complex occurs in the second theme. The development begins with the lyrical sphere, gradually reaching the dramatic climax, which suddenly goes on a grand march. In recapitulation, there is a reduction of the first theme, therefore, the balance is eventually shifted towards march through the expansion of the final section.Instead of a typical comparison of the sphere of heroism and lyrics in the first and second themes, respectively, and with a slight smoothing of contrast due to tonal drama, the composer tries to erase this distribution, which gives the product a non-typical dramatic solution. The first and the second themes form the new order in which there is a dialectical combination of opposite principles, representing a unique example of the interpretation of the sonata symphonic genre of the composer. F.-J. Gossec builds a work based on a sonata form, but with different thematic content. Such an unusual combination of intonational complexes, as well as their interaction during the score, instead of a simple march and celebration, which would be expected for the opus of the revolutionary era, may indicate the position of the composer himself to the events of the era during which the symphony was created.