«Music of the Future» in the view of F. Liszt: a way beyond the horizon
It is noted in the article that during the XIXth century most of European composers were aspiring to enrich the expressive potential of musical speaking by «non-musical» means. This approach favoured the confirmation of romantic programness, monothematism, diffusion between genres. Later the idea of renewal conformably to initial elements of musical speaking realized on the level of language too. The appropriate strivings were inspired by such aesthetic concept as «Music of the Future» that was formed in a channel of All-European philosophical doctrine on the «universal» progress. The «Music of the Future» finding was bound up with interactions between music and other kinds of art. The elaboration of «Theatre in the Future» theory by R. Wagner, and introduction of genres borrowed from literature (ballad, novelette, poem etc.) to instrumental music by F. Chopin, R. Schumann and F. Liszt were incited by this postulate. Furthermore «Music of the Future» language intentions have corresponded in the mature and late works by F. Liszt with the theory of the «omnitonality order» by F. J. Fetis as anticipation the posterior dodecaphonic conceptions. The process of renewal the music language offered by F. Liszt and his contemporaries wasn’t continued in the work by composers on the boundary of the XIX–XXth centuries. However, the following development of the European music was characterized by the priority role of the mentioned innovations.
«Music of the Future», idea of arts synthesis, F. Liszt, Romantic aesthetics, omnitonality, F. J. Fetis.