Abstract

“Musical gastronomy” in Rossini’s piano miniatures (on the example of the cycle “Quatre horsd’oeuvres et quatre mendiants”).

Highlights

  • Moller (2002) are interested in the facts of the composer’s life and create a detailed periodization of his biography and work, sometimes involving the analysis of chamber plays written in the Paris period (1823–1868)

  • The “culinary” program of the cycle is complemented by an arsenal of sound-visual means of the romantic era, to which G

  • The pieces demonstrate a vivid theatricality, which is embodied in a variety of characters within one miniature-scene and even in the addition of a verbal text, which indicates the closeness of the cycle to instrumental theater – an attribute of musical creativity of the twentieth century. ■ Key words: “musical gastronomy”, culinary, G

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Summary

Introduction

“Musical gastronomy” in Rossini’s piano miniatures (on the example of the cycle “Quatre horsd’oeuvres et quatre mendiants”). The chamber instrumental music of the 2020 ■ Вип. Park (1997), in turn, examines the chamber-instrumental works of G. Moller (2002) are interested in the facts of the composer’s life and create a detailed periodization of his biography and work, sometimes involving the analysis of chamber plays written in the Paris period (1823–1868). In domestic sources, chamber-instrumental music by G. Rossini, which becomes a key area of activity in the mature period of his life, is covered only sporadically that determines the relevance of the proposed research. Rossini’s interpretation of piano miniatures using the example of the cycle “Quatre horsd’oeuvres et quatre mendiants” (“Four appetizers and four desserts”). The main task is to consider the features of the composer’s interpretation of the program conception of the musical pieces

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