Sonata form in Maxim Berezovsky's Instrumental Works

Abstract

Relevance of the study. The article explores the secular instrumental compositions created by the prominent Ukrainian composer Maxim Berezovsky in the second half of the eighteenth century. Maxim Berezovsky is now widely known as an author of cyclic spiritual concerts written for the Orthodox worship and is practically unknown as a musician instrumentalist associated with the imperial theater and the court musical life. The creative heritage by M. Berezovsky as a secular musician has determined the creative interest in composing instrumental music intended for secular chamber and orchestral music. Main objective of the study is to determine the specificity of the sonata form in the first parts of the secular instrumental works of M. Berezovsky, Symphony C-dur and Sonatas for the violin and the Cembalo. The analysis has been performed on the basis of generalized theoretical provisions of the scientific concept of N. A. Goryukhina on the problems of the evolution of the sonata form.Methodology. Taking into account the peculiarities of the material and the analytical approach to its study, it was chosen the methods of theoretical research (abstraction, analysis and synthesis, induction and deduction, mental modeling, ascension from abstract to concrete, etc.).Conclusions. As a result of the study of the first parts of M. Berezovsky's instrumental works, the conclusion has been made about these parts of his heritage, it has been proved that they had been written in a sonata form, which was not classical yet, and at the same time, was not old. It attracts attention precisely by the fact that the processes of transition from baroque to classical structural model are shown in it. The unconditional personal breakthrough of the composer in the development of the sonata form of his time is the intonational and thematic filling of the structural framework of a well-known composite scheme, which is no longer connected with the generalized polyphonic layout and reflects the transition to the homophonic-harmonic manner of writing with the bright individuality of the intonational structure of the leading melodic voice and the tangible effects of genre sources of thematism.