О национальной специфике и традициях жанра в сонатах для виолончели и фортепиано композиторов республик СССР

Abstract

The article examines sonatas for cello and piano by composers from the republics of the USSR in the context of interaction of the traditions of interpretation of genre and national specificity of means of expression. Accentuation is made on the fact that the compositions are distinct for their diversity of artistic solutions. The greater part of the sonatas is characterized for their adherence to typified parameters of genre – the use of structural (the three-movement sonata cycle) and stylistic constants (timbre interfusion, equivalence of the instrumental parts, a dialogic type of interaction between the instruments). A number of compositions is marked by an individualized approach, which is conditioned by the composer’s conception, the use of modern compositional techniques of writing or genre synthesis. In this case, the sonatas are characterized by untypical compositional and dramaturgical solutions, personification of the parts, and a conflict-related correlation between the timbres. It is emphasized in the article that in most of the compositions one may find a usage of thematicism based on intonational formulas of folk music, as well as special timbre colors, original techniques of playing and means of sound production imitating the sounds of folk instruments. It is highlighted in the article that the sonatas for cello and piano by the composers of the republics of the Soviet Union have reflected the main tendencies of the evolution of the genre and have brought in a significant contribution into the history of 20th century world musical culture. Keywords: music in the USSR, the genre of the sonata for cello and piano, national specificity of musical thematicism.