TRADITIONAL RHETORIC IN THE WORKS OF FRANZ LISZT IN THE CONTEXT OF MYTHOLOGICAL PERCEPTION ON THE EXAMPLE OF THE ETUDE «FEUX FOLLETS»

Abstract

The purpose of the study: to identify traditional rhetorical figures in Liszt's etude «Feux Follets», to trace their relationship with universal psychological mechanisms in the context of the concept of mythological consciousness. The methodology: semantic and semiotic analysis with an interdisciplinary approach. The scientific novelty of the work lies in detailed examination of the studied work of Franz Liszt from the perspective of the Baroque rhetoric traditions, taking into account the concept of mythological consciousness and the achievements of modern psychology. Conclusions: the example of the etude «Feux Follets» well reflects that, despite the fact that Franz Liszt belongs to the circle of Romantic composers, the musical rhetoric of the Baroque era occupies a significant place in his compositional technique and has a specific function.
Making the most of the piano's expressive capabilities and setting new standards for piano composition and performance, Liszt, actively interacting with the listener's emotions, skilfully used not only the expressive means specific to the Romantic style for creation of desired effect, but also complemented it by influencing the mythological consciousness of the audience through the use of traditional musical rhetoric. This rhetoric was reinterpreted and embodied by Liszt in such a way as to maximise and enhance its deep semantics, what are aimed not at the analytical mind of the listener, but directly at the mechanics of mythological consciousness. In this case, the mythological plot of the piece serves as an illustration, thanks to which the goals and objectives of a particular set of expressive means become even more obvious, and in many ways is a hint for the performer interpreting the work. To realise the above effects to the fullest extent possible, it is advisable for a performer to be familiar with traditional European musical rhetoric and to have some knowledge of the effect that certain means of musical expression have on the human psyche through mythological perception, regardless of genre or programme component.