ПРОГРАММНОСТЬ В СОНАТАХ ДЛЯ ВИОЛОНЧЕЛИ И ФОРТЕПИАНО КОМПОЗИТОРОВ ХХ ВЕКА

Abstract

The article examines sonatas for cello and piano of the XX-century composers in the light of one of the key artistic tendencies of the XX-century music - programmaticity, which concretizes the author’s intention and stimulates the performer’s or the listener’s imagination within a certain figurative and meaningful framework. Cello sonatas represent different types of programmaticity: generalized-non-narrative, generalized-narrative and pictorial (portrait). The first type is the most frequent. At the same time, the compositions manifest symbolic programmaticity, which became a distinctive feature of the music of the second half of the XX century. The paper argues that programmaticity, initially associated with different forms of art, significantly modified the parameters of a typified sonata genre model and stimulated the development of different genre standards.