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Chamber instrumental genre piece miniature. The genre of chamber instrumental music in the works of classical composers"

Chamber instrumental ensembles occupied a place in Taneyev’s work that had never before belonged to this sphere of creativity in Russian music: the “world of composers” was embodied to a much greater extent in their operas or symphonies. Taneyev's chamber cycles not only belong to the highest achievements of his work, but also belong to the peaks of Russian pre-revolutionary chamber music as a whole.

It is well known that in the 20th century there was an increase in interest in chamber and ensemble music in different national cultures. In Russia in the second half of the 19th century, and especially towards its end, this phenomenon had its roots. Psychologism is important and characteristic of Russian art of that time. Deepening into the human world, showing the subtlest movements of the soul are inherent in the literature of that time - L. Tolstoy, Dostoevsky, later Chekhov - and portrait painting, and opera, and vocal lyrics. It was psychologism, combined with an attitude towards the non-programmatic nature of instrumental music, that Taneyev embodied in his chamber ensemble work. Classicist tendencies were also important.

Chamber-ensemble music reveals the evolution of Taneyev's creativity more fully, more consistently and brighter than other genres. It is hardly accidental that the most clearly individual compositional style of Taneyev, a student at the conservatory, manifested itself in the string quartet in D minor (not completed), in terms of both thematics and methods of development. The theme of the main part of the first movement is mournful. The drooping seconds, so frequent in Tchaikovsky, sound here not elegiacally and openly emotional, but more restrained and stern. The theme, consisting of four sounds, is not sing-song, but, in Taneev’s style, laconic and abstract. The second beginning of the motive is immediately sharpened by a diminished fourth; in combination with other voices, wide unstable intervals arise. The presentation of the main part in polyphonic form is extremely interesting and revealing: imitation appears already in the second bar.

In the second conduction (bars 9–58), the imitative nature of the presentation is emphasized by the stretta. In the third section of the development - fugato with four complete passages (from volume 108) - an important event occurs: the fugato theme synthesizes both themes of the exposition.

Chamber ensembles took the main place in the years that were a continuation of the student period and preceding the creation of “John of Damascus” (1884). At first glance, the tasks that Taneyev set for himself at this stage look paradoxical and untimely (even in the eyes of Tchaikovsky: polyphonic technique, “Russian polyphony”), but their resolution promoted the composer precisely in the direction that over time turned out to be not only the general line of his work, but also a significant trend in the development of Russian music of the 20th century. One of these tasks was the mastery of chamber writing, and initially it was based on the mastery - practical, composer, and consciously set - of the intonation system and compositional structures of the chamber music of the Viennese classics. “The model and subject of imitation is Mozart,” the young musician writes to Tchaikovsky regarding his Quartet in C major.

For Taneyev, the layer of Viennese classicism was not exhausted by thematic prototypes and principles of work going back to the music of Mozart. Of no less importance was the orientation towards chamber, and partly symphonic and piano cycles of Beethoven. The very significant role of imitative polyphony is associated with the Beethoven tradition. Already the very beginning of the quartet in E-flat major speaks of Taneyev’s “polyphonic installation”; the second sentence (vol. 13 et seq.) is a four-voice canon; contrapuntal techniques are found in both expositional and developmental sections. The first fugue forms appear, entering into a larger structure - in the extreme parts of the trio in D major, in the finale of the quartet in C major. Here, earlier than in the first three symphonies (in the same years), the tempo designation Adagio appears. And although these slow movements do not have the deep content of Taneyev’s later Adagios, these are perhaps the best parts of the cycles.

Taneyev himself assessed his first chamber works strictly (see diary entry dated March 23, 1907). The few reviews of the only performances of the quartets in E-flat major and C major were sharply negative. The ensembles of the 70–80s were published three quarters of a century later than their appearance through the works of G. V. Kirkor, I. N. Jordan, B. V. Dobrokhotov.

Subsequent chamber-instrumental cycles were published during the composer's lifetime and can be considered as examples of his mature style. It has its own more detailed internal periodization: quartets in D minor (1886; revised and published in 1896 as No. 3, op. 7) and B-flat minor (1890, No. 1, op. 4), written before the Oresteia, with their more melodious melody; opening with quartet in C major op. 5 (1895) a number of the most significant string ensembles, among which two quintets occupy a special place - op. 14 (with two cellos, 1901) and op. 16 (with two violas, 1904); finally, following the quartet in B-flat major (Op. 19, 1905) ensembles with the participation of piano: quartet in E major op. 20 (1906), trio in D major op. 22 (1908) and Quintet in G minor op. 30 (1911). But this grouping is largely arbitrary. Each of Taneev’s ensembles is a building built according to an “individual project”. They express different moods, each with its own special task, its own special goal.

L. Korabelnikova

Chamber instrumental ensembles:

sonata for violin and piano a-moll (without op., 1911)

trio
for violin, viola and cello D major, no op., 1880,
and h-moll, without op., 1913
for 2 violins and viola, D major, op. 21, 1907
piano, D major, op. 22, 1908
for violin, viola and tenor viola, Es major, op. 31, 1911

string quartets
Es major, no op., 1880
C major, no op., 1883
A major, no op., 1883
d-moll, without op., 1886, in the 2nd edition - 3rd, op. 7, 1896
1st, b minor, op. 4, 1890
2nd, C major, op. 5, 1895
4th, a minor, op. 11, 1899
5th, A major, op. 13, 1903
6th, B major, op. 19, 1905
G major, no op., 1905

piano quartet in E major (op. 20, 1906)

quintets
1st string - for 2 violins, viola and 2 cellos, G major, op. 14.1901
2nd string - for 2 violins, 2 violas and cello, C major, op. 16, 1904
piano, g-moll, op. 30, 1911

Andante for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and 2 horns (no op., 1883)

MBU DO "Simferopol District Children's Art School"

Kolchugino branch

Report

on the topic of: "The genre of chamber instrumental music in the works of classical composers"

Performed by: accompanist

Firsova Natalia Alexandrovna

2015

The genre of chamber instrumental music in the works of classical composers

Chamber instrumental music has always been a subtle matter, sensitively responding and responding to all the phenomena of its contemporary era: revolutions (social and cultural), global socio-political events, scientific and technological progress, the emergence of new trends and movements in various fields of art. The 21st century was no exception. At this stage, one of the main trends in modern chamber instrumental music is synthesis, in the broad sense of the word: synthesis of arts, synthesis of various genres and directions of music - that is, synthesis in the sense of dialogicity and flexibility of musical

space.

Due to its specificity as a musical genre, appealing, first of all, to the inner world of the listener and composer, it was this genre area that was able to accommodate almost the entire wide range of philosophical and aesthetic concepts of both the past and the new and contemporary times, and allowed to deepen the connection of musical art with psychology, with all its complexity, diversity and, in some cases, ambiguity, to find its listener, connoisseur, performer

The origins of chamber music go back to the Middle Ages. The term "Chamber music" is established inXVI- XVIIcenturies, and this term first appeared in 1635 in the collection of the Italian composer Gio Arrigoni. The distinction between church and chamber music emerged in vocal genres in the mid-16th century. The earliest known examples of chamber music “L" anticamusicaridottaallamoderna” by Nicolo Vicentino (1555), in Venice G. Arrigoni published the vocal “Concertidacamera”. Cantata (cantatacamera) and duet developed as chamber vocal genres in the 17th - early 18th centuries In the 17th century, the name "chamber music" was extended to instrumental music. Initially, church and chamber instrumental music did not differ in style: the stylistic differences between them clearly emerged only in the 18th century. I. I. Kvants wrote in 1752 that chamber music requires "more revitalization and freedom of thought than the church style." The highest instrumental form was the cyclic sonata (sonatadacamera), formed on the basis of the dance suite. The trio sonata with its varieties - church and chamber sonatas - became most widespread in the 17th century, somewhat less - solo sonata (unaccompanied or with bassocontinuo accompaniment).Classical examples of trio sonatas and solo (with bassocontinuo) sonatas were created by A. Corelli. At the turn of the XVII-XVIII centuries. The concertogrosso genre arose, which at first was also divided into church and chamber varieties. In A. Corelli, for example, this division is carried out very clearly - of the 12 concertigrossi (op. 7) he created, 6 were written in a church style, and 6 in a chamber style. They are similar in content to his sonatas dachiesa and dacamera. By the middle of the 18th century. The division into church and chamber genres is gradually losing significance, but the difference between chamber and concert music (orchestral and choral) is becoming increasingly clear.

In the middle of the 18th century. in the works of J. Haydn, K. Dittersdorf, L. Boccherini, W. A. ​​Mozart, classical types of instrumental ensemble were formed - sonata, trio, quartet, etc.

Possessing rich expressive capabilities, the instrumental ensemble (especially the bow quartet) attracted the attention of almost all composers and became a kind of “chamber branch” of the symphonic genre. Therefore, the ensemble reflected all the main directions of musical art of the 17th-20th centuries. - from classicism (J. Haydn, L. Boccherini, W. A. ​​Mozart, L. van Beethoven) and romanticism (F. Schubert, F. Mendelssohn, R. Schumann, etc.) to ultra-modern abstractionist movements. In the 2nd half of the 19th century. Outstanding examples of instrumental chamber music were created by J. Brahms, A. Dvorak, B. Smetana, E. Grieg, S. Frank in the 20th century. - C. Debussy, M. Ravel, M. Reger, P. Hindemith, L. Janacek, B. Bartok, B. Britten and others.

Russian composers made a huge contribution to chamber instrumental music. In Russia, the spread of chamber music began in the 70s. XIX century The first instrumental ensembles were written by D. S. Bortnyansky. Chamber music was further developed by A. A. Alyabyev and M. I. Glinka and reached the highest level of art. level in the works of P. I. Tchaikovsky and A. P. Borodin: their chamber works are characterized by a pronounced national content and psychologism. A.K. Glazunov and S.V. Rachmaninov paid much attention to the chamber ensemble, and for S.I. Taneyev it became the main type of creativity. The chamber instrumental heritage of Soviet composers is exceptionally rich and diverse: its main lines are lyrical-dramatic (N. Ya. Myaskovsky), tragic (D. D. Shostakovich), lyrical-epic (S. S. Prokofiev), A. I. Khachaturian and folk genre.

It is worth recalling that modern chamber instrumental music went through three periods of its formation:

the first period from 1450 to 1650, which was characterized by the development of the technique of playing viols and instruments of other families, the gradual emergence of purely instrumental music with the continued predominance of free style. Among the surviving works of this period, written specifically for instrumental compositions without a voice, are the fantasies and canzones of Orlando Gibbons (1610), the sonatas of Giovanni Gabrieli (1615);

the second period from 1650 to 1750 was marked by the spread of the trio sonata genre (usually composed for two violins and a cello, with a clavier providing the harmonic basis) and other ensembles, both instrumental and involving voices, which were necessarily accompanied by the so-called digital bass (chords) of a keyboard instrument. Among the masters of the trio are sonatas of this period - Arcangelo Corelli, Henry Purcell, G. Handel;

The third period is from 1750 to the present, dominated by a string quartet consisting of two violins, a viola and a cello.

Today, as a rule, chamber instrumental music is performed by chamber ensembles in the following combination:

Solo instrument (string or wind) and piano;

Piano duet (two pianos or piano four hands);

String trio (violin, viola and cello); piano trio (violin, cello and piano);

String quartet (two violins, viola and cello);

Piano quartet (violin, viola, cello and piano);

String quintet (string quartet plus viola and or cello);

Piano quintet (piano plus string quartet) and others.

Throughout the 18th century. there was rapid developmentinstrumental performing culture. The development of chamber instrumental music in the first half of the century was associated with the performance of invited foreign musicians who taught Russian aristocrats. Thus, instrumentalism spread among the elite. In the 80s - 90s. The first examples of Russian chamber instrumental music appear: Russian musicians are developing the genres of solo sonata, variations, and chamber ensemble. It is in the instrumental sphere that the intellectual content of music is manifested. In the era of Peter I, instrumental music in Russia begins to revive, but under strong Western influence.

Modern genres of chamber instrumental music were finally formed in the works of the Viennese classics - J. Haydn, W. A. ​​Mozart, L. van Beethoven. These are sonata, trio, quartet, quintet, ensembles in which a large place is given to string instruments.

Chamber instrumental music absorbed stylistic features of other types of musical creativity. Already L. van Beethoven symphonized his quartets in many ways, making them larger-scale both in the field of form and content. And his famous “Kreutzer Sonata” for violin and piano is a truly symphonic work in its emotional intensity and monumental musical images. In the works of romantic composers F. Schubert, F. Mendelssohn, R. Schumann, J. Brahms, the lyrical principle was unusually strongly manifested (especially in the genre of miniatures) (“Songs without Words” by F. Mendelssohn).

In the works of Russian composers, the genres of chamber instrumental music were interpreted in a very unique and deeply national way. Elements of Russian folk subvocalpolyphonyorganically and naturally implemented in the quartets of A. P. Borodin and A. K. Glazunov, in the trios and quartets of P. I. Tchaikovsky. P. I. Tchaikovsky created a relatively small number of works for instrumental ensembles: three string quartets (not counting one early one, written during his years studying at the conservatory and which did not receive a serial number), which were created by the author within one five-year period (1871-1875) , piano trio and string sextet. The second quartet, which, by the way, was one of the author’s favorite works, also combines folk-genre and personal-lyrical principles.

In the period 1900-1917 in Russia, instrumental music attracted the close attention of Russian composers. We can say that never before has it occupied such a significant place in their work. A. Glazunov, S. Taneyev, S. Rachmaninov, A. Scriabin, A. Lyadov, A. Arensky, S. Lyapunov, N. Medtner, and the beginner S. Prokofiev create a huge number of instrumental works that amaze with their content, stylistic and genre diversity. First of all, it should be noted the development of the concert genre, which for some composers even began to come to the fore, “squeezing out” the symphony (Piano Concertos of S. Rachmaninov, S. Prokofiev). Not many violin concerts appeared at this time.

The list opens chronologically with the concert of A. S. Arensky (1901), who in this work continues the traditions of P. I. Tchaikovsky; it is followed by concerts by A.K. Glazunov (1904) and S.M. Lyapunov (1915). The latter’s work was influenced by M. A. Balakirev and A. K. Glazunov.

Chronologically, the development of the Russian violin concerto of this period ends with the First Concerto for Violin and Orchestra by S. Prokofiev (1915-1917). A major concert work - Suite for violin and orchestra (1909) - was written by S. I. Taneyev. Despite such a small number of works mentioned, there are genuine masterpieces - A. Glazunov's Concerto, S. Prokofiev's First Concerto, which are included in the golden fund of world violin classics. The first decades of the 20th century were the heyday of the Russian sonata, although mainly for the piano.

A lot of sonatas for violin and piano were also written, although among them there were no such striking phenomena as the piano sonatas of A. Scriabin or S. Prokofiev. The overwhelming majority of violin sonatas of this period do not have an innovative character, passively continuing the traditions of Russian classics, moreover, in an epigone-academic sense. Such is the sonata of C. A. Cui (1911), which did not evoke any response at that time; such are the sonatas of the “Belyaevites” - V. I. Malishevsky, A. A. Winkler, in which individual attractive pages do not violate the overall picture of “academic” well-being and stylistic smoothness.

These are euphonious, but little original compositions, in which themes that are neutral in terms of nationality and style predominate, although Russian intonations also creep in. The violin sonata by A. F. Gedicke is noticeably different from the work of the Belyaevites with its “Bach” beginning. The melodically pleasant sonata by L. V. Nikolaev gained relatively great popularity among violinists (and remained in Soviet times).

Among the violin works of this genre, two sonatas by G. V. Catoire, a subtle and refined artist, should be especially highlighted. The roots of G. Catoire's creativity are in the music of P. Tchaikovsky, S. Taneev, A. Glazunov in a bizarre combination with the stylistic elements of the Impressionists and A. Scriabin. Grand Sonata for violin and piano op. 15 G. Catuara, with the excitedly poetic I part, the cantilena “Barcarolle” and the impressionistic finale (fantastic “take-offs”) should be assessed as one of the peaks in the development of the Russian violin sonata genre of that era.

The sonata by M. F. Gnesin has a gloomy-subjectivist tone, in which the intonations of Jewish folk song are framed by exquisite chromatic harmonies. One of the best Russian violin sonatas is Sonata op. 21 h-moll (1909-1910) by N.K. Medtner. Small forms are developing quite significantly, but even in them, in terms of genre and stylistic diversity, violin literature is significantly inferior to piano literature. The predominant place in it is occupied by lyrical and genre plays - romances, elegies, “reflections”, “dreams”, mazurkas and waltzes, sometimes with a touch of intimate lyricism and salon style.

In lyrical and genre terms, with a tendency towards romance melodiousness, the plays of A. S. Arensky “Presdelaier”, 6 sketches for violin and piano, A. T. Grechaninov’s “Lullaby”, “Reflection”, “Regrets” - op. 9, 1895, F. Akimenko “Lullaby”, 1902, J. Vitola “Two Pieces”, “Romance”, Suite by S. Barmotin “Prelude”, “Little Poem”, “Lullaby”, “Scherzando”, “Eclogue”, “Mazurka”, “Elegy”, “Oriental Picture”, “Little Waltz”. The most artistically significant violin pieces of small forms belong to A.K. Glazunov, these are “Meditation” and “Mazur-oberek”, arranged by the author himself and for violin and orchestra. “Meditation” became a repertoire piece performed in violinist concerts.

N. K. Medtner wrote several violin pieces: 3 nocturnes (Op. 16, 1907), 2 canzones (Op. 43, 1924).

Most of the major Russian composers of the early 20th century paid tribute to the chamber-ensemble genres, and for some, chamber music became the main type of creativity (S. I. Taneyev). At the same time, it is necessary to point out that it was in the field of instrumental ensemble that the traditions of Russian classics of the 19th century turned out to be especially persistent and, perhaps, the tendencies of academicism manifested themselves with particular force.

With the exception of A. Glazunov, all the work of the composers of the Belyaev circle was extremely academic. This area of ​​music remained untouched by new trends. Almost an exception were Three Pieces for String Quartet by I. F. Stravinsky (1914). Chamber ensemble genres were very attractive to many composers of the Belyaev circle. Chamber literature of this period showed strong influences from P. Tchaikovsky. They are very noticeable in A. S. Arensky’s 2 quartets and 2 piano trios. The First Piano Trio (1894) was especially popular, captivating with its romantic melodies and elegiac moods.

To this day, one of the most common works widely used in performing practice remains “Elegiac Trio” No. 2 (d-moll) by S. V. Rachmaninov, dedicated to the memory of P. I. Tchaikovsky (1893). Rachmaninov gave it a very close to Tchaikovsky's piano trio. Modern chamber instrumental music in its ideological and artistic significance has become quite comparable to symphonic music; the symphony often turns out to be close to the chamber genres, such as the 14th and 15th symphonies of D. D. Shostakovich.

Chamber instrumental music is intended for a small group of performers. It is characterized by attention to the inner world of a person as an individual, as opposed to a general expression of the aspirations of many people in the symphonic genre. The monumentality of the symphony and the emphatically spectacular virtuosity of the instrumental concert are, in principle, atypical for chamber music. Rather, on the contrary, it is distinguished by economy of expressive means with great independence of individual parts and creative activity of each member of the ensemble. Initially, chamber music was intended for a narrow circle of listeners and was often performed at home, and later in small special concert halls.

Chamber music presupposes the dominant function of the instrumentation, a certain specific weight of virtuosity, due to which intra-style gradations of genres sometimes acquire only an ordering orientation in relation to the main quantitative parameters.

Modern chamber instrumental music in its ideological and artistic significance has become quite comparable to symphonic music; the symphony often turns out to be close to chamber genres, which is clearly visible in the works of M. Khalitova.

In Eastern European music, and today it can include Crimean Tatar music, as well as in connection with the formation of national composition schools, the adaptation of chamber genres on national grounds has become more active from the middle of the last century to the present. Therefore, traditional genres of chamber music are preserved here longer, and, consequently, interest in the classical chamber composition, as for example, in the works of M. Khalitova: concert “Ashik-name”, concert for trumpet and orchestra “At the foot of Demerdzhi”, “Epitaph for cello and orchestra" and others.

An outstanding place in Beethoven's creative heritage belongs to his sixteen quartets.

By developing the psychological tendencies of quartet music, Beethoven essentially opened up new expressive spheres, creating a unique chamber-instrumental style.

At first, Beethoven followed the path of his predecessors, mainly the late Haydn. Already among the early Viennese classics there was a break with the entertaining and diversified character of ensemble music. Polyphonic means acquired a significant role, and subtle chamber writing techniques were developed. Beethoven enhances these features. His first six quartets (Op. 18, 1800) show great emotional depth. Let us note, in particular, the slow C minor movement of the First Quartet, the images of which were inspired by the scene at the tomb from the last act of Shakespeare’s Romeo and Juliet. Characteristic are the first “pathetic” movement of the Fourth Quartet (C minor) and the extended introduction to the finale of the Sixth Quartet (Beethoven gave this introduction the form of an independent piece, which he entitled “Melancholia”). However, in general, Beethoven's early works do not yet go beyond the framework of quartet music of the late 18th century.

The birth of a new style is marked by the appearance in 1806 - 1807 of opus "a 59, dedicated to the Russian ambassador in Vienna, Count Razumovsky and containing three quartets (according to the general numbering - 7, 8, 9). They fall on that period of amazing creative inspiration with which "Appassionata", Fifth Symphony, "Coriolanus" are connected. Beethoven used here the themes of Russian folk songs taken from the collection of Lvov - Pracha "Ah my talan, talan" (finale of the Seventh Quartet) and the famous melody of "Glory" (trio from the scherzo of the Eighth Quartet ):

The works of Oris"a 59 have the character of a single cycle: The Seventh Quartet (F-dur) is written in light colors, with the exception of the slow F-minor movement, which is distinguished by its tragic depth. The eighth quartet (e-moll) is the lyrical center of the cycle. The slow movement of the quartet is dominated by a sublime chorale mood:

The scherzo and finale are of a folk genre nature. The finale is interesting due to its modal originality.

In the Ninth Quartet (C-dur), scherzo-humorous tones predominate; The internal contrast is the slow contemplative part, which is characterized by rare beauty. In its flowing melody and emotional spontaneity, it echoes the future lyrical miniatures of the romantics:

Apartments op. 59, together with the two subsequent ones - the Tenth in Es major (op. 74, 1809) and the Eleventh in F minor (op. 95, 1810) - form the pinnacle of Western European quartet music of the 19th century.

The in-depth psychological images of these works were new to classicist art. The unprecedented boldness of expression and the subtle and complex composition stunned his contemporaries. The breadth of development, internal unity, and power of sound bring these quartets closer to symphonies. However, while Beethoven's symphonic style is characterized by efficiency, his quartets are dominated by images of concentrated reflection.

Hence the significant differences in style. While the symphony is characterized by generality, monumental simplicity and conflict, quartets in most cases are distinguished by fine detailing of the theme and the entire development. Slowly developing themes often lead directly into one another. In terms of their structure, they are mostly far from the established everyday intonation phrases. Genre associations are not identified in them in a straightforward manner.

The diversity and melodic richness of the music, characteristic of Beethoven's quartet style, are associated with the polyphonic style of writing. Each of Beethoven's four instruments achieves maximum independence and uses a huge sound range, which creates a new type of “quartet polyphony.” The rhythmic versatility and variety, the original sound, both transparent and intense, and especially the richness and boldness of modulations inherent in Beethoven's quartets also give them originality and freedom of expression.

A special power of inspiration and psychological subtlety are manifested in the slow lyrical parts. They often form the emotional center of the entire work. As a rule, they contain the most typical compositional features of Beethoven's quartet style. The profound mood and relative freedom of form in the slow movements are usually balanced by the harmonious architecture of the folk-genre finales. The finale of the Ninth Quartet is especially significant from this point of view. It is constructed as a fugue on the theme of genre and everyday life:



Each of the five quartets of the mature period (No. 7, 8, 9, 10, 11) is distinguished by its outstanding beauty, originality and completeness of style. But the f-minor “Serious Quartet” op. 95 stands out even against this background with its depth of thought and passion. Sometimes it is compared in content to the “Appassionata”. However, the psychologism of this work and its typical melodic techniques are unthinkable outside the quartet genre.

The “linear” main theme, unusual in classical music, with its harsh unison sound, determines the tense, tragic character of not only the first part, but also the entire quartet:

Only for one moment does the harmonious second theme flash, expressing the image of an unattainable dream:

Throughout the quartet, intense, disturbing thought (associated with the sphere of the main part) continuously displaces images of ideal harmony. Thus, in the second part, the first, beautiful song theme, full of deep joyful reflection, is soon replaced by a tense-sounding fugue development:

The scherzo is also characterized by sharp fluctuations in mood, where energetic, nervous movement alternates with tranquility. And only at the very end of the finale the state of anxiety “dissolves” in the playful music of a major coda.

After the Eleventh Quartet, Beethoven did not compose in this area for fourteen years. However, the philosophical and psychological tendencies of his late period, the desire for polyphonic writing, should have revived interest in the quartet genre. After the last piano sonatas, the Ninth Symphony and the “Solemn Mass” were created, Beethoven turned to him again.

The five quartets, composed between 1824 and 1826, are Beethoven's last completed works. In them the characteristic features of the late style found the most complete expression. The inner world of a brilliant artist-thinker is revealed with enormous artistic power in these quartets.

The finale of Quartet No. 16 (Op. 135, 1826) is indicative in this regard. It is preceded by a concentrated, spiritual, full of philosophical reflection Lento:

The last sounds of Lento dissolve into silence. Above the ending there is a note in Beethoven’s hand: “A solution with difficulty found.” Following these words, two motives are written: one is Grave with interrogative intonations and with the caption: “Should this be?”

The second motive, Allegro, with categorically affirming intonations, has the signature: “This must be!”

In the process of development, the Grave motive, full of painful reflection, is overcome by the joyful folk dance music of the Allegro theme.

The bold innovation of the late quartets transcends their era.

The polyphonic writing of these Beethoven quartets is manifested both in fugue forms and in the form of unique polymelodic techniques of presentation. A major role is played here by the variational principle, on which, as a rule, the development of slow parts is based. The late quartets are very diverse in content and form. Noble, full of clear feeling slow movements (such as Adagio from the Twelfth Quartet, Lento from the Sixteenth) and poetic folk dance images (the finale of the Fourteenth and the waltz from the Fifteenth Quartets) alternate with episodes of an abstract philosophical nature that are often found in the late Beethoven (fugue from the Fourteenth Quartet, first movement from the Thirteenth Quartet). The range of expressive means is very wide. Some of them go deeper into Palestrina's style, while others anticipate the music of the late 19th century.

The later quartets, more than the previous ones, are characterized by compositional complexity and intellectuality; traces of experimentation and the search for new stylistic paths are especially noticeable in them. Hence some specific difficulties in the perception of these works.

In addition to string quartets, Beethoven left many other chamber instrumental works: a septet, three string quintets, six piano trios, ten violin sonatas, five cello sonatas. Among them, in addition to the Septet described above (see p. 38), the string quintet (C major op, 29, 1801) stands out. This relatively early work by Beethoven is distinguished by a subtlety and freedom of expression reminiscent of Schubert's style.

The violin and cello sonatas are of great artistic value. All ten violin sonatas are essentially duets for piano and violin, so significant is the piano part in them. All of them push the previous boundaries of chamber music. This is especially noticeable in the Ninth Sonata in a minor (op. 44, 1803), dedicated to the Parisian violinist Rudolf Kreutzer, on the original of which Beethoven wrote: “A sonata for piano and obligate violin, written in a concert style - like a concert.” The same age as the “Eroica Symphony” and “Appassionata,” the “Kreutzer Sonata” is related to them both in ideological concept, and in the novelty of expressive techniques, and in the symphonic development. Against the background of all Beethoven's sonata violin literature, it stands out for its drama, integrity of form and scale.

The Sixth Piano Trio in B major (Op. 97, 1811), which belongs to Beethoven’s most inspired works, gravitates towards the symphonic style. The images of deep reflection in the slow variation movement, the heightened contrasts between the movements, the tonal plan and the structure of the cycle anticipate the Ninth Symphony. Strict architectonics and purposeful thematic development are combined with a broad, flowing melody, saturated with diverse color shades.

The development of individual genres of instrumental music proceeded unevenly in the 1920s. Thus, only a few works were presented in concert literature. But among them there are such masterpieces as Prokofiev’s piano concertos, which belong to the greatest achievements of Russian music of the 20s and early 30s. Prokofiev showed interest in this genre during his years studying at the conservatory. The first two concertos, written by the composer in his youth, still captivate with the unfading freshness and inexhaustible inventiveness inherent in youth. The third concert is a work marked by the maturity of skill, that confidence in mastery of expressive means that is characteristic of an experienced artist.
According to the author, the idea of ​​a “large and voluminous kop yert” dates back to 1911. Two years later, a theme arose, which was then used as the basis for the variations (second part). The concert also included two themes from the unrealized “white” diatonic quartet. The beginning of systematic work on the concert dates back to 1917, and it was finally completed in 1921. Thus, the work, which became one of the peaks of Prokofiev’s creativity, was nurtured by the author for a long time .
The Third Concerto concentrated the best properties of Prokofiev's music. It contains a lot of energetic dynamic tension, bravura motor skills, and Prokofiev-style purposeful passages. But the virtuoso element, expressed in all its splendor in the concert, does not become an end in itself, suppressing the rest. The concert is distinguished by its internal content, especially in the lyrical episodes, where Prokofiev clearly showed himself as a Russian artist. Finally, in this work much comes from the cheerful theatrical performance, the rapid pace of the comedy dell'art? with her masked characters. This line of Prokofiev’s creativity, so clearly expressed in the opera “The Love for Three Oranges,” was reflected in the Third Concerto.
The main images of the concert are shown already at the beginning of the first movement: the enlightened melody of the introduction with Prokofiev’s characteristic departure into the high register is answered by the businesslike motor skills of the passages of the main part. This contrast becomes the leading one for the first part. But within its limits a wide variety of shades has been achieved. The piano passages either sound straightforwardly offensive, or acquire grace and subtle poignancy. In the flow of toccata pressures, individual episodes crystallize, where prominent melodic images appear. Along with the opening theme, a significant role is played by the lyrical scherzo side theme, the expressive melodic line of which is full of unexpected, sometimes bizarre bends against the backdrop of a sharply staccato measured accompaniment.
One of the pearls of Prokofiev’s work was the second part, written in variation form. In its theme, which is intonationally far from a Russian song, one can feel the soft tenderness of Russian round dance songs and the smooth movement of the round dance:

Sharp contrasts distinguish the variational development of the theme. Violent and playful variations, similar to a buffoon's dance (FI), alternate with gentle, dreamy ones (IV). Subtle transparent presentation gives way to brilliant virtuosic technique and energetic movement of octaves. The variations especially clearly confirm B. Asafiev’s idea that
“the texture of the Third Concerto rests on the intuitive premise of melos - the basis of musical dynamics” *.
The element of Russian dance prevails in the finale of the concert, with its original diatonic theme, where the intonations of folk dance songs are given a special rhythmic sharpness. But here, too, the cheerful life, in which the turmoil of an eccentric comedy is felt, is set off by the broadly melodious theme of the middle episode.
In the Third Concerto, Prokofiev enriched piano technique and used the capabilities of the instrument in a new way. At the same time, Concer is firmly based on the traditions of world piano literature, combining Russian national origins with the properties of the Viennese classical style. Along with Tchaikovsky's First Concerto and Rachmaninov's Second and Third Concertos, it belongs to the largest phenomena of this genre in the work of Russian composers.
The composition of two subsequent piano concertos dates back to the early 1930s. The fourth concert (1931) was commissioned by | pianist Wittgenstein, who lost his right hand in the war. Stylistically, this concert is close to the works of the early 30s, particularly the ballet “Prodigal Son” and the Fourth Symphony. The characteristic features of Prokofiev's piano concert style are presented here on a more modest scale, due to the significant limitation of the performer's virtuoso capabilities. Here too, the lively rush of passages gives way to carnival-scherzo episodes and pages of soulful lyricism. The lyrical theme that opens the second part of the Concerto stands out for its amazing simplicity of presentation. However, this concert is not without some fragmentation. Compared to Prokofiev's other concertos, its thematic material is less striking.
The Fifth, Prokofiev's last piano concerto, turned out to be significant. This work could rather be called a concert-suite: it has five genre-characteristic movements, saturated with sharp contrasts of thematic material. A large place in the Fifth Concerto is occupied by scherzo-dance images, close to a number of fragments from Romeo and Juliet. The element of graceful ballet dancing dominates in the second part of the Concert, presenting. a vivid embodiment of Prokofiev's humor.
Prokofiev's inexhaustible ingenuity was fully demonstrated in the developed, masterfully written piano part. It reminds me exactly of the passage across the entire keyboard from the finale (Piu tranquil 1о). where the left hand overtakes the right. “At first I didn’t want to make the concert difficult and even intended to call it “Music for Piano and Orchestra”... But it ended up being that the piece turned out to be
complex, a phenomenon that fatally haunted me in a number of opuses of this period. What's the explanation? I was looking for simplicity, but most of all I was afraid that this simplicity would turn into rehashes of old formulas, into “old simplicity”, which is of little use in a new composer. In search of simplicity, I certainly chased the “new simplicity,” and then it turned out that the new simplicity with new techniques and, most importantly, new intonations was not perceived as such at all.” This critical statement by Prokofiev reveals the direction of his quest in the early 30s, showing how difficult the path to achieving a new quality of style was.
Apart from Prokofiev's concertos, Soviet composers in those years created almost nothing of any significance in this area. Only the Concerto for Organ and Orchestra by A. Goedicke deserves mention.
The works of Prokofiev also belonged to the most striking phenomena in chamber instrumental creativity. For the first time in this period, he turned to the genre of chamber instrumental ensemble, which had not previously attracted his attention.
Overture on Jewish Themes (1919) for clarinet, violins, viola, cello and piano is distinguished by its simplicity of style and classical completeness of form. In 1924, the five-movement Quintet was written, which Prokofiev ranked, along with the Second Symphony and the Fifth Piano Sonata, among the “most chromatic” of his works. This estimate now seems exaggerated; In style, the Quintet is perhaps closer to the neoclassical line, although it used very radical means for those times. Classical tendencies were even more clearly reflected in the First Quartet (1930), commissioned by the Library of Congress in Washington. The final Andante stands out, in which, according to the composer, the most significant material of this opus is concentrated.
Despite all the interest of the listed works, it is still hardly legitimate to talk about a distinct line of development of the genre of chamber instrumental ensemble in Prokofiev’s work. His music for piano occupied a much more “weighty” position.
In 1917, the cycle of “Fleetingness” was completed, the name of which was born from a poem by Balmont:
In every fleeting moment I see worlds.
Full of "changing, rainbow-colored play.
The twenty miniatures that make up this cycle are extremely laconic; none of them exceeds two, or even one page of music text. Compared to a number of early piano opuses, these pieces are more graphic in presentation, lack a brilliant concert outfit, and are distinguished by the simplicity of their textured design. However, in their language, which is based on a complex modal basis, bold full-harmonic combinations, deep polytonal and full-modal effects are used.1 Each of the plays has a genre individuality: penetrating lyrical sketches alternate with motor-toccata, scherzo or dance miniatures. Laconic strokes and bright pictures, sometimes not devoid of pictorial “picturesqueness”.
Even simpler in language is the cycle “Tales of an Old Grandmother” (1918), full of Russian melodies, close to the tradition of Borodin’s piano work. The neoclassical line is represented by the Four Pieces op. 32 (1918), among which it stands out for the brightness of the material and the purely Prokofiev-like “foldability” of the fis-moll gavotte shape. Of the later plays, two “Things in themselves” (1928) can be noted, as well as two sonatinas op. 54, written in 1932.
Prokofiev’s most significant solo piano work of the 1920s was the large three-movement Fifth Sonata (1923). Its main theme represents one of the brightest embodiments of the “new simplicity”, which would later become the main leitmotif of Prokofiev’s work:

Clear major, simple triads, modest presentation are combined with features of unique originality. The composer's creative style is clearly visible in the special smoothness of the flow of the melody, rich in unexpected turns, soft-sounding leaps, as well as in the characteristic shifts that introduce the steps of the minor scale of the same name.
In further development, more complex, even sophisticated techniques come into play. The intonation of the theme gradually intensifies, in which the means of harmonic polytonality play a significant role. The tension achieved towards the end of the development is released in the reprise, where the theme takes on its original form.
The middle part of the sonata combines the properties of a lyrical center and a scherzo. Against the background of measured repetitions of chords in three-eighth time, a melody unfolds, the subtle bends of which are like a play of highlights or a bizarre braided arabesque. The dynamic finale is dominated by images characteristic of Prokofiev’s motor-toccata music, with its characteristic build-up to the general climax. At the same time, the third movement of the sonata is characterized by lightness, in character reminiscent of the final rondos of the Viennese classical style.
The Fifth Sonata clearly expressed the neoclassical tendencies of Prokofiev's music: graphic austerity of presentation, clarity of melodic pattern and texture, elegance of passages. In many ways, it pre-admired the style of the famous sonata “Triad”, created in the early 40s.
The chamber instrumental work of the 20s as a whole presents a very heterogeneous and motley picture, so it is very difficult to establish leading, defining lines here.
In the field of string quartet, the older generation of composers continued the classical tradition of the Russian chamber instrumental ensemble. These are Glazunov's two quartets - the Sixth and the Seventh (1921 and 1930). Both of them (especially the Seventh) approach the genre of a program suite: the music is characterized by greater concreteness of expression (individual parts have names). It is worth noting the composer’s obvious desire to expand the boundaries of the chamber genre and symphonize the quartet. Particularly indicative in this regard is the finale of the Seventh Quartet - “Russian Holiday”.
A work of great maturity and skill is R. Gliere's Third Quartet.
An. Aleksandrov, V. Nechaev, V. Shebalin in their early quartets showed themselves to be worthy representatives of the “Moscow school”, which accepted and developed the Taneyev tradition. First quartet An. Aleksandrova (1921) was a reworking of a work created back in 1914. The same tendency for the enphonization of the chamber genre that we noted in Glazunov’s quartets is noticeable in it. This is felt not only in the scale of the work, in the richness of the sound, but also in the contrast of the compared images, an example of which is the third part of the Andante affettuoso: the bright, pathetic first part is compared with the tragic declamatory nature of the second, especially against the backdrop of an expressive ostinato rhythmic figure ll<>Light lyrical tones predominate in the quartet. The first theme with “Snow Maiden” intonations determines the appearance of the entire work
A notable debut as a composer was the V. Nechaev Quartet (NIM), which brought the author fame not only at home, but also abroad. 1 The well-defined national flavor of thematics and the support of the Russian school are combined in it with the search for something new in composition and dramaturgy. This work is one-part and is a kind of “quartet-poem”, with brightly contrasting themes, developed in some cases to the size of an independent part within a one-part composition.
The first quartet by V. Shebalin - later a major master of this genre - was written in 1923 (when the author was still a student at the Moscow Conservatory). The quartet immediately attracted the attention of the musical community to the young composer. The quartet's music breathes youthful freshness and at the same time is marked by sufficient maturity and skill. It already distinguishes the characteristic features of Shebalin’s instrumental style: a tendency towards polyphony (fugato and contrapuntal combination of themes in the coda of the finale), to unite parts of the cycle by repeating thematic material, to the use of natural modes (a side part of the finale).
The composer’s individual style is also felt in the theme* itself - very clear and flexible, but with unexpected “turns” that make the musical thought more “tenacious” and memorable. Such, for example, is the main theme of the first movement:

The completeness of the quartet's form and its brevity (there are three movements in the quartet, with the third combining the features of a scherzo and a finale) allow us to consider Shebalin's quartet one of the best chamber works of the 20s.
One of the chamber music sensations of the 20s was the septet of Leningrader G. Popov (for flute, clarinet, bassoon, trumpet, violin, cello and double bass). This work, which is emphatically experimental, is based on a comparison of elements that are contrasting to the point of paradox. In Russian, the melodious theme of the first part (Moderato canlabile) is contrasted with the sharp, motor themes of the second, and the dramatic Largo - a constructive, tough finale. The most attractive feature of this work is the sense of form, understood as "form-process", as the development of the rhythmic energy inherent in musical themes.
In the piano music of the 20s, extremely different, even opposite, trends coexist, among which two are most strongly felt. The first is a continuation of the line of Scriabin’s piano work: let’s call it a “romantic” tendency. The second trend - clearly and emphatically anti-romantic - began to be felt in the second half of the 20s, when Western “new products” began to penetrate into the concert life of Moscow and especially Leningrad and, in particular, the works of composers who in those years demonstratively opposed romanticism and impressionism in music (French “six”, Hindemith, etc.).
Scriabin's influence was refracted in different ways in the work of Soviet composers. It had a very noticeable effect in the piano sonatas of Myaskovsky, Feinberg, An. Aleksandrov, as evidenced by the very interpretation of the soggaga genre as piano poems with a single intensive line of development (many of the sonatas of that time were one-movement), characteristic texture, sophisticated and nervous rhythm, and typical “scrabbleisms” in harmony.
Myaskovsky's Third and Fourth Sonatas (both in C minor) are based on a tragic concept close to that of his Sixth Symphony. This closeness is especially clearly felt in the Third Sonata (one movement) - impetuous, aspirational. But the impulse does not reach its goal, and the continuously growing tension does not receive resolution; This is what distinguishes it from a symphony, in which, as mentioned above, bright, lyrical images are very important. Lyrical image of the Third! sonatas (side part) are just a fleeting enlightenment.
The fourth sonata is truly symphonic in terms of the scale of the monumental four-movement cycle and the breadth of the range of images. The Soviet researcher rightly pointed out the “Beethovenism” of the first part of the sonata, which begins almost with a quotation from Beethoven’s sonata op. 111. A dramatic first movement, a strict and serious sarabande, a finale of the “Perpetuum mobile” type - this is the “classical” appearance of this sonata. As often happens in Myaskovsky’s symphonies, the cycle is held together by the repetition of one of the central images: the finale features a side part of the first movement.
Scriabin's influence was most noticeably manifested, perhaps, in the piano work of S. Feinberg. The most complex texture, bizarre rhythm, frequent changes of tempo and character of movement - all this gives his piano works (including sonatas) an improvisational quality, fascinating in the author's interpretation, but creating enormous difficulties for other performers. Typical of Feinberg's work in the 1920s is his Sixth Sonata (1923). It begins with a theme-epigraph - twelve strokes of the clock. This symbolism is quite clear: the theme of world historical cataclysms, which worried many artists in those years, is reflected here. But it is interpreted abstractly and in a darkly subjective way. The striking of the clock in the introduction, the rebellious and restless images of the Allegro, the final mournful episode - all this evokes menacing tragic associations
A different circle of images underlies the Fourth Sonata An. Alexandrov, in which dramatic and sometimes even tragic, lyrical and solemn images are compared. The work is characterized by “broad breathing”, free and bright development of themes. The dramaturgy of the sonata is not traditional: from the dramatic, passionate first part, the main theme of which turns into a victorious hymn in the coda, through the lyrical and thoughtful second part to the tragic finale (in the minor minor of the same name, which is a rather rare case). The finale ends with a new and even more solemn presentation of the theme of the anthem. Thus, this work also affirms the characteristic character of An’s work. Alexandrov's theme of the joy of life. In the sonata it sounded brighter, more courageous than in the “Alexandrian Songs”, without the self-sufficient hedonism inherent in them.
Despite all the differences in the sonatas of Myaskovsky, Feinberg and Aleksandrov, they have something unifying and typical for the whole movement of Soviet chamber music. This is an understanding of the sonata genre itself as an intensely dramatic form of a large scale, the expressive “improvisation” of a musical statement, requiring the performer to completely merge and, as it were, “identify” with the author of the work. What unites them is the desire, although expressed in a very subjective form, to reflect the rhythm of the time of “unheard-of changes.” It is this (and not just individual features of form or harmony) that makes the considered piano sonatas in common with the work of Scriabin and, more broadly, with the entire tradition of the romantic sonata, which received such an individually vivid embodiment in Scriabin’s work.
The work of young composers, captivated by the novelties of Western piano music that first reached us, developed in a different and even opposite direction.
In Soviet music, the “anti-romantic” movement did not produce anything artistically fulfilling. It manifested itself in different ways. Attempts by some composers to reflect “industrial” images in piano music in fact usually came down to simple onomatopoeia (“Rails” by V. Deshevov). The theory of “making music” by N. Roslavets, which appeared in search of a deliberately non-piano, graphic texture and rigid harmonies, did not produce any creative results.
We find these traits in a number of young authors who began their work in the 20s (A. Mosolov, L. Polovinkin). Polovnikin in those years was characterized by extreme eccentricity, which was manifested even in the titles of his plays. “Incidents”, “Electrification”, “The Last Sonata”.
Sometimes, however, under the shocking “urban” names there was generally quite euphonious and prosperous music hidden. Such, for example, are Polovinkin’s piano pieces op. 9 (“Elegy”, “Electrification”, “Haunting”). The incomprehensible title “Electrification” refers to a rather simple piece in the rhythm of foxtrot or ragtime, both in terms of musical meaning and performance techniques.
Shostakovich's cycle "Aphorisms" (op. 13) represents the purest example of anti-romantic tendencies. Having given his works traditional program titles for piano pieces (“Recitative”, “Serenade”, “Nocturne”, “Elegy”, “Funeral March”, Canon”, “Legend”, “Lullaby”), the composer interprets them deliberately unexpectedly, unusual (such is the very loud and by no means lyrical “Nocturne”). In “Aphorisms” Shostakovich uses bizarre, broken melodic moves, harsh collisions of linearly developing voices. In a number of plays, even the sense of tonality disappears, so freely does the composer interpret it. Each piece is, in essence, a solution to some formal problem that is of interest to the composer, but, apparently, is not intended for the direct perception of the listener.
The most obvious example is No. 8 from this cycle, a three-voice canon in a complex “vertically and horizontally moving counterpoint with very unconventional intervals of voice entry (lower undecima and upper second). The most difficult task also determined the method of presentation: the melodic line of each voice is angular, broken by pauses (without which the sharp combinations of voices would sound even more harsh). In general, the play represents an example of what is commonly called “music for the eyes.” And only in one episode of the cycle - “Lullaby” - does the composer speak in a simpler and clearer language.
Most of the piano works of the 20s have not been preserved in concert practice, despite the fact that some of them (Myaskovsky's Third and Fourth Sonatas, Alexandrov's Fourth Sonata) were subsequently revised by the authors. The musical consciousness of the mass of listeners remained unaffected either by the subjectively colored tragic pathos of the “romantic” trend, or by the rationalistic constructions of the “anti-romantics”. It was necessary to find a different way and other means of expression. The greatest difficulties were presented by the problem of thematics, which was equally difficult for both directions. Among the “skryablinists” the expressiveness of thematicism was often replaced by the expressiveness of agogics; In the above-mentioned constructivist experiments, the theme was extremely dry and inarticulate.
The works of the 20s that were directly related to folk songs, everyday genres, or their implementation in classical music turned out to be much more vital. We mean, for example, Myaskovsky’s cycles of piano miniatures “Whims,” “Yellowed Pages,” and “Memories.” The second of these cycles is especially firmly established in performing and teaching practice.
The author called these plays “simple little things,” and they are, indeed, very simple to perform and perceive. However, there is no simplistic thinking here. In “Yellowed Pages” we encounter a number of themes-images very similar to the images of Myaskovsky’s symphony of the 20s, but expressed with that “objectivity” that the composer so intensely sought in his work. Here we will find a theme characteristic of Myaskovsky, sounding like an insistent, desperate call that remains unanswered (No. G), and themes of a declamatory style (the middle part of VK” 1, the main theme of Ki 2), and melodiously melodious themes close to the lyrical images of the Fifth and Sixth Symphonies (main theme no. 1, middle movement and coda no. 6).
In these piano pieces, the continuity of Myaskovsky with the work of his teachers, especially Lyadov, is clearly felt. For example, the harsh epic character of the seventh piece from “Yellowed Pages” directly resembles Lyadov’s ballad “About Antiquity,” and the fifth piece is very close to “Lullaby” from “Eight Songs for Orchestra.” This play can serve as an example of a very individualized implementation of folk song principles. The connection with folk lullabies is clearly felt in it, and at the same time we will not find exactly the same intonations in any of the possible prototypes. The chants, characteristic of lullabies, seem to be “spread apart”, expanded, which gives the melody a more transparent and characteristically instrumental sound.
It is important to note that images of this kind not only coexist with images of a more individual nature, but also influence them, giving them greater objectivity of expression.
The clarity and completeness of the form, the relief and expressiveness of the themes allow us to classify Myaskovsky’s cycle as one of the best piano works of the 20s.

By the beginning of the 17th century, Vienna became one of the largest musical centers in Europe. Connections with Italian, Czech, Polish, German, and then Russian cultures gave a special flavor to Austrian music and performing bow art. The emergence of the Vienna Classical School in the second half of the 17th century became the leading direction of European art as a whole. Folk traditions received sufficient scope for their development. The sphere of music is a theatrical performance with music and dance, processions - carnivals, serenades in the streets, magnificent court performances in squares and theaters. “School operas” are gaining enormous popularity; monasteries and cathedrals compete in staging mystery plays and religious operas. Such a ubiquitous, widespread dissemination of music in various sectors of society has not received similar development in any other country.

The most popular string instruments were the violin and viol. The earliest centers of professional musical education in Austria were universities, court and church chapels. One of the best chapels in Europe was the Habsburg Court Chapel in Vienna (Italian musician Antonio Salieri is one of the leaders of this chapel). Chapels also appeared in other cities. The names of Leopold and Wolfgang Amadeus Mozart are associated with the Salzburg Chapel.

The main genres in Austrian instrumental music of the 17th century are the instrumental suite, concerto grosso, and the trio sonata genre.

Johann Heinrich Schmelzer (1623 – 1680)- Austrian violinist and composer. His name is associated with the emergence of a new type of violinist - a virtuoso soloist. He was one of the first to develop the Italian trio sonata tradition in Austria. Schmelzer's most significant work is a collection of six sonatas, where he uses double notes and complex techniques of polyphonic playing.

Heinrich Biber (1644 – 1704)- Austrian violinist and composer, student and follower of Schmelzer. The greatest master of violin art of the 17th century. Among the many works, the most valuable is the cycle of 15 violin sonatas (including program ones), which use scordatura, double notes and other techniques of virtuoso violin technique. Bieber pays tribute to onomatopoeic effects that imitate the singing of a nightingale, cuckoo, rooster, quail, as well as the cries of a frog, chicken, and cat. The Passacaglia for solo violin is an encyclopedia of 17th-century violin technique.


Karl Dittersdorf (1739 – 1799)- one of the outstanding Austrian violinists and composers of the 18th century. The level of his performing arts was unusually high. He created fourteen violin concertos, twelve divertimentos for two violins and cello, many symphonies, chamber and opera music. Along with J. Haydn, he became the creator of the classical quartet genre with solo violin.



The musical culture of Vienna created the preconditions for the emergence of the classical style in the works of J. Haydn and W. A. ​​Mozart.

Joseph Haydn (1732 – 1809)- one of those composers in whose work the violin sounded in a new way. The violin is one of Haydn's favorite instruments. Haydn wrote music in a wide variety of genres and forms, but Haydn's main significance lies in the development of instrumental music (symphonic and chamber music). He owns a huge number of works, including nine violin concertos (four have survived), twelve violin sonatas, six duets for violin and viola, more than eighty string quartets, trios, divertissements and other chamber works. In his symphonies, the leading role is played by the first violins, who are entrusted with almost all the thematic material.

His early sonatas, quartets and concertos are shining examples of gallant style and technique. Rococo elements are most clearly manifested in Haydn's minuets, which can also be noted in Mozart.

Quartets. In the genre of quartet music, Haydn played the same role as in symphonic music, that is, he was one of the founders of this genre. Haydn wrote quartets throughout his career, but the best of them date back to the 80s and 90s.

Haydn's quartets grew out of home music playing, in which quartet playing was extremely common. However, thanks to the depth and brightness of the musical content, as well as the perfection of the form, Haydn's quartets went beyond the narrow confines of home musical life, and play a significant role in concert life.



They no longer have the external decorations of the so-called “gallant” style, the decorative pomp of salon music. The simplicity of folk dance and folk song melodies is combined with remarkable mastery of contrapuntal interweaving of voices and refinement of form. The sparkling fun, enthusiasm and folk humor of many quartets even aroused a negative attitude from conservative critics, who saw in Haydn’s quartets “an insult to the dignity of

music", "pampering". But not only cheerful enthusiasm is characteristic of Haydn’s chamber music. In his quartets, the gradations of moods and feelings are different - from light lyrics to mournful, even tragic emotions.

In the quartets, Haydn's innovation is sometimes even more daring than in the symphonies. Despite the leading role of the first violin as the upper voice, all four instruments play a fairly independent role in the overall texture of the ensemble. In a number of works, during the secondary implementation of themes and their development, all four instruments are introduced, playing a fairly active role. This gives the quartet texture a specific polyphony on a homophonic-harmonic basis, making the entire musical fabric mobile. In his quartets, Haydn willingly used specially polyphonic forms. Thus, the finales of quartets are sometimes fugues. It is widely believed that Beethoven was the first to introduce the fugue into the quartet genre in his last opuses. But, as you can see, Haydn did this before Beethoven!

In some of his quartets, the middle movements are rearranged, that is, the minuet is the second movement (and not the third movement, as was customary), and the slow movement is in third place, before the finale. This change in the order of the middle parts is due to the nature of the extreme parts of the cycle and design considerations related to the principle of contrast underlying the cyclic form. In the symphony genre, the rearrangement of the two middle movements was first carried out in Beethoven's ninth symphony.

In addition, in the “Russian” quartets (these quartets were dedicated to the Russian Grand Duke Paul, then heir to the throne) of 1781, Haydn instead of the minuet introduces a scherzo and scherzando, which in some of them is the second part of the cycle. The generally accepted opinion that Beethoven introduced the scherzo instead of the minuet for the first time into the sonata-symphonic cycle is true only in relation to symphonies and sonatas, but not to quartets.

Haydn's numerous quartets, trios and other ensembles represent a significant, important and artistically valuable part of the classical heritage in the field of instrumental chamber music

In Haydn's work the formation of the classical violin sonata and violin concerto takes place.

Haydn managed to synthesize professional and folk traditions and introduced folk intonations and rhythms into his music.

Being one of the greatest representatives of the Viennese classical school, Haydn in his music widely used and organically implemented Austrian musical folklore in all its completeness and diversity, in a combination of different national elements: South German, Hungarian, Slavic. Among folk themes of Slavic origin, Haydn made extensive use of Croatian folk themes. He often turned to genuine folk melodies, but more often he created his own melodies in the spirit of folk songs and dances.

Austrian folklore entered so deeply into Haydn’s work that it became “second nature” to him. Many melodies composed by myself

Haydn, became popular and were sung even by those who did not know the name of their creator.

In Haydn's instrumental music (solo, chamber and symphonic), the sonata-symphonic cycle received a complete and perfect classical embodiment. All four parts of the work, combining into a single artistic concept, express different aspects of life. Usually the first movement (sonata allegro) is the most dramatic and impulsive; the second part (slow) is often the sphere of lyrical feelings and calm reflection; the third part (minuet) takes you into the atmosphere of dance and connects the sonata-symphonic cycle with the dance suite of the 17th-18th centuries; the fourth part (finale) contains the genre-everyday principle and is especially close to folk song and dance music. The music of Haydn’s works as a whole (with some exceptions) has a genre-based character; not only the music of the third and fourth parts of the cycle, but also the first two are permeated with dance and song. But at the same time, each part has its own main leading dramatic function and participates in the gradual development and disclosure of the idea of ​​the entire work.

W. A. ​​Mozart (1756 – 1791) Born into the family of the famous musician, violinist and composer Leopold Mozart. Mozart's musical abilities manifested themselves at a very early age, when he was about three years old. His father Leopold was one of Europe's leading music teachers. His book “The Experience of a Solid Violin School” was published in 1756, the year of Mozart’s birth, went through many editions and was translated into many languages, including Russian. Wolfgang's father taught him the basics of playing the harpsichord, violin and organ.

The first information about Mozart playing the violin dates back to the age of 4. The first violin works are 16 sonatas for violin and clavier. He created 6-7 concertos for violin, a concert symphony for violin and viola, a concertone for two violins, two concert rondos, Adagio and Andante, 35 violin sonatas, two duets for violin and viola, a duet for two violins, trios, quartets, divertimentos. and other chamber works.


The authenticity of the Es major concert is still in doubt. The last solo violin concert was the D major concert, known as number 7. He created it for his sister’s name day and performed it himself for the first time. This was one of Mozart's last public performances as a violinist. The history of the concert is unusual. For almost 130 years this work remained unknown. In 1835, an autograph copy was made for Baillot. The original disappeared, and only another copy was found in the Berlin Library. Both copies were almost identical, and the concerto was published and first performed in 1907 by several performers.

A distinctive feature of Mozart's work is the amazing combination of strict, clear forms with deep emotionality. The uniqueness of his work lies in the fact that he not only wrote in all the forms and genres that existed in his era, but also left works of lasting significance in each of them. Mozart's music reveals many connections with different national cultures (especially Italian), however, it belongs to the national Viennese soil and bears the stamp of the creative individuality of the great composer.

Mozart is one of the greatest melodists. Its melody combines the features of Austrian and German folk songs with the melodiousness of the Italian cantilena. Despite the fact that his works are distinguished by poetry and subtle grace, they often contain melodies of a masculine nature, with great dramatic pathos and contrasting elements.

The importance of W. A. ​​Mozart’s violin creativity cannot be overestimated. It influenced composers not only of the Viennese school, but also of other countries. His works serve as an example of the interpretation of the violin, an example of the use of its expressive capabilities. From Mozart comes the line of symphonization of the violin concerto, the virtuoso-artistic use of the violin as a concert instrument.

In the field of instrumental music of the second half of the 18th century, Mozart, who used and summed up the best achievements of not only the Mannheim and Viennese masters of the older generation, but also the creative experience of Haydn, reached the highest peaks. Both great composers belonged to different generations, and it is natural that Mozart, in the process of forming his mastery, studied from the works of Haydn, which he highly valued. But Mozart's creative evolution turned out to be much more rapid than the evolution of Haydn, whose best works (London symphonies, last quartets, oratorios) were written after Mozart's death. However, Mozart's last three symphonies (1788), and some of his earlier symphonies and chamber works, represent a historically more mature stage of European instrumentalism compared to even Haydn's last creations.


Ludwig van Beethoven (1770 – 1827) The next most important stage in the stylistic evolution of the chamber-instrumental ensemble of the Enlightenment is associated with the work of Ludwig van Beethoven. In 1787, while in Vienna, he visited Mozart and delighted him with his art. After his final move to Vienna, Beethoven improved as a composer with I. Haydn. Concert performances of the young Beethoven in Vienna, Prague, Berlin, Dresden and Buda were a huge success. Beethoven is gaining widespread recognition as a performer and composer. By the beginning of the 18th century, he was the author of many works for piano and various chamber instrumental compositions.

Representative of the Vienna Classical School. The composer wrote in all genres that existed in his time, including opera, ballet, music for dramatic performances, and choral works. But the most significant in his legacy are instrumental works: piano, violin and cello sonatas, concertos for piano, violin, quartets, overtures, symphonies

L. Beethoven, following Haydn and Mozart, developed the forms of classical music; in the interpretation of the main and secondary parts, he put forward the principle of contrast as an expression of the unity of opposites. Beethoven played the violin and viola. One of his early compositions is violin variations on the theme “The Marriage of Figaro”, a nocturne for viola and piano. L. Beethoven's Violin Concerto is the pinnacle of the violin concert in world musical culture. For strings and bows, Beethoven created a triple concerto for violin, cello and piano with orchestra, two romances for violin, ten violin sonatas (5th - “Spring”, 9th - “Kreutzerova”), five sonatas for cello and piano, variations for cello and piano (on themes by Handel and Mozart), sixteen quartets, a collection of trios for violin, cello and piano. One cannot help but recall the symphonic music of L. Beethoven: nine symphonies, the symphonic overtures “Coriolanus” and “Egmont”, which have firmly entered the repertoire of orchestral music.

The instrumental and, above all, symphonic work of Ludwig van Beethoven has a pronounced programmatic character. The main content of Beethoven's works, heroic in concept, can be expressed in the words: “Through struggle to victory.” The dialectical struggle of the contradictions of life finds in Beethoven a vivid artistic

embodiment, especially in works of sonata form - symphonies, overtures, sonatas, quartets, etc. Ludwig van Beethoven widely developed the principle of sonatas, based on the opposition and development of contrasting themes, as well as contradictory elements within individual themes. Compared to the works of Beethoven's immediate predecessors in the Viennese classical school - W. A. ​​Mozart and J. Haydn - Beethoven's symphonies and sonatas are distinguished by their large scale of construction, the main thematic material is subjected to intensive extensive development, the connection between sections of the form deepens, and the contradictions between contrasting episodes become more acute , topics. Beethoven started from the orchestral composition approved by Haydn and only slightly expanded it, but at the same time he achieved enormous power of orchestral sound and bright contrasts. Ludwig van Beethoven transformed the ancient minuet, which was part of symphonies and sonatas, into a scherzo, giving this “joke” a wide expressive range - from powerful sparkling fun (in the 3rd symphony) to an expression of anxiety and concern (in the 5th symphony). A special role is given to finales in symphonies and codas (conclusions) in overtures, symphonies and sonatas; they are designed to express victorious feelings.

Beethoven's work is one of the peaks in the history of world art. His entire life and work speak of the titanic personality of the composer, who combined brilliant musical talent with an ebullient, rebellious temperament, endowed with an unbending will and the ability for enormous internal concentration. High ideology, based on the consciousness of social duty, was a distinctive feature of Beethoven, a musician-citizen. A contemporary of the Great French Revolution, Beethoven reflected in his work the great popular movements of this era, its most progressive ideas. The revolutionary era determined the content and innovative direction of Beethoven's music. Revolutionary heroism was reflected in one of the main artistic images of Beethoven - a struggling, suffering and ultimately victorious heroic personality.

A true innovator, an unyielding fighter, he embodied bold ideological concepts in surprisingly simple, clear music, understandable to the widest circles of listeners. Eras and generations change, but Beethoven’s immortal music still excites and delights the hearts of people.