Chamber Works Research Articles

Some Aspects of the Manifestation of the National Component in Borys Lyatoshynsky’s Chamber-Instrumental Works

Some aspects of the manifestation of the national component in the chamber and instrumental work of Borys Lyatoshynsky are considered. It was discovered that the formation of instrumental chamber genres became a creative laboratory for the artist to practice the basics of his own creative method, with the national component being one ofsuch foundations. It is manifested at the different levels of the composer’s musical concepts: ideological, stylistic, compositional, formative, genre, stylistic. In many works, the Ukrainian influence is manifested in various aspects. It is noted that the embodiment of the national component changes with the evolution of the artist’s style. It develops from intuitive manifestations of ethnicity in the first quartets through the Ukrainian patriotic pathos of works of the middle period of creativity up to generalization in the idea of the Slavic roots of national origin in this late creative period. The peculiarities of the manifestations of the national component in the Borys Lyatoshynsky’s instrumental chamber works of different periods were analyzed.

УИЛЬЯМ УОЛТОН. «ПЯТЬ БАГАТЕЛЕЙ». РАЗВИТИЕ ЦИКЛА И ОСОБЕННОСТИ КОМПОЗИТОРСКОЙ ТЕХНИКИ

The cycle for the classical guitar «The Five Bagatelles» of the English composer William Walton can rightly be considered one of his best chamber works. Being primarily a "symphony" composer, Walton thought of the guitar as an orchestra, which is reflected in the variety of timbres and acoustic effects used in the bagatelles. The fact that the bagatelles underwent a transformation into the suite for the symphony orchestra «Varii Capricii» in the composer's work, confirms the necessity for the detailed analysis of the cycle and compo-sitional technique for a deeper understanding of the composition.

МЕТОДИКА ОЦІНЮВАННЯ ПОВНОТИ Й ОБҐРУНТОВАНОСТІ ПЛАНІВ ДІЯЛЬНОСТІ ІНСТИТУТУ ДЕРЖАВНОГО ЗОВНІШНЬОГО ФІНАНСОВОГО КОНТРОЛЮ (АУДИТУ)

The article establishes that external public financial control (audit) is one of the key conditions that can ensure the efficiency and effectiveness of socio-economic transformations in Ukraine. This presupposes the objective need for a systematic assessment of the effectiveness of public external financial control (audit) institutions. The method of assessing the completeness and validity of the plans of the institute of public external financial control (audit) as a component of assessing the overall effectiveness of its operation, which allows to obtain measurable character-istics in the direction of the controlling entity responsible for planning efficiency. It is established that the purpose of evaluating the activity plans of the state external financial control (audit) body is to analyze the level of compliance of the control activity performed by the control body (actually obtained result) with the goal and objectives of its func-tioning (expected results). The form of grouping of planned indicators of activity of the control body is developed, the characteristic of the maintenance of the strategic purpose defined in the plan of work of Accounting chamber is given and the list of requirements to the maintenance of tasks on maintenance of achievement of the strategic purpose is established. The criteria for evaluating the plans of its activities are systematized, the weight indicators of each criterion for evaluating plans of activities are set, the requirements for evaluating the criteria for evaluating the results of planned activities are systematized and a scale of levels of evaluation of quality control is developed. ac-tivities of the controlling entity in the amount of points scored in the range from 0 to 10. The developed methodology was tested by assessing the completeness and validity of the plans of the Accounting Chamber of Ukraine in 2021, which proved the average level of effectiveness of the planned activities. the body as a whole has defined the basic directions and tasks of the activity for the reporting period, however its quality and performance do not fully meet the requirements of the established criteria.

The Other Toscanini: The Life and Works of Héctor Panizza Sebastiano De Filippi and Daniel Varacalli Costas

Reviewed by: The Other Toscanini: The Life and Works of Héctor Panizza Sebastiano De Filippi and Daniel Varacalli Costas James Michael Floyd The Other Toscanini: The Life and Works of Héctor Panizza. By Sebastiano De Filippi and Daniel Varacalli Costas. Translation by Jessica Sequeria. (North Texas Lives of Musicians, no. 13.) Denton: University of North Texas Press, 2019. [xiii, 363 p. ISBN 9781574417746 (hardcover), $29.95; ISBN 9781574417845 (e-book), price varies]. Photographs, facsimiles, illustrations, anecdotes, works list, chronologies, discography, bibliography, index. The Other Toscanini is the only biography published in English on the Argentine-born conductor–composer Héctor (Ettore) Panizza (1875–1967). It is a translation of the authors’ Spanish-language Alta en el cielo: Vida y obra de Héctor Panizza, published in 2017 in Buenos Aires by the Instituto Italiano de Cultura. It is a welcome addition to the North Texas Lives of Musicians series, which includes biographies of instrumental performers William Vacchiano and Dennis Brain, choral conductor Lloyd Pfautsch, the Madrigal Ensemble Singers, and several jazz and Texas musicians. The Other Toscanini is a clever title. It succinctly conveys that the subject of the book, Héctor Panizza, was once considered on the same standing as his better-known colleague and acclaimed Italian conductor, Arturo Toscanini. The title creates added interest in the subject. If the title had simply been The Life and Works of Héctor Panizza, the volume would have been less inviting. But the study does not spend many of its pages comparing the two conductors. The focus is on Panizza and his accomplishments as a composer and conductor and his associations with numerous musicians and other individuals, including some political figures. The biography is organized into three sections: “The Life,” “The Work,” and “Appendices” of no fewer than fifty pages. “The Life” consists of six chapters, beginning with the introductory chapter, “Music in 19th Century Argentina,” which provides a background of the musical climate in Argentina approximately fifty years before Panizza’s birth. The following chapters discuss the Panizza family, the young Panizza’s formative years, his conducting career in Europe and the Americas, and his return to his homeland. Expanding on material presented in the preceding section, “The Work” is organized into four chapters: “The Composer,” “The Conductor,” “Panizza and the Colón,” and “The Toscaninian Legacy.” As a composer, Panizza composed instrumental chamber and orchestral works, four operas, and arranged other composers’ works. An arrangement of Edvard Grieg’s Lyric Pieces for orchestra received Grieg’s positive attention in a letter, which is included in facsimile (p. 138). Although Panizza’s music received praise in his time, the aria “Canción de la bandera,” from his opera Aurora, is his best-known work, especially among Argentine school children, who know it as the song to sing as the flag is raised. Panizza’s early association with composer Pietro Mascagni led to increased responsibility as a conductor. Being both a composer and a conductor, however, proved too demanding. “The frantic pace of his intense activity on the podium,” the authors write, “was already beginning to sweep him along and gradually confine his musical creation to a limited degree” (p. 34). “The Conductor” and “Panizza and the Colón” discuss Panizza’s career abroad and his work with the Teatro Colón in Buenos Aires, from which he received praise from his countrymen. “We thought we would find ourselves before a true Italian, who hardly knows our own language,” one critic wrote, “and have had the pleasant surprise of confirming that despite his long residence in Europe, in Italy above all, he is a creole, [End Page 396] more so than some sons of foreigners who have not left Argentina” (p. 216). “The Toscaninian Legacy” ties up the study nicely, discussing Toscanini’s influence on Panizza and sharing a perspective of past and present conductors influenced by Toscanini and Panizza’s artistic work together. “This influence continued even after [Toscanini’s] death,” the authors note, “given that there existed and still exist maestros who, directly or indirectly, follow the Toscanini and Panizza line: artists who strongly identify with the type of work they both displayed while working together...

У ИСТОКОВ ЖАНРА ЕВРОПЕЙСКОГО ФОРТЕПИАННОГО КВАРТЕТА

The article traces the processes affecting the self-development of the chamber-instrumental genre with piano. Here, the emphasis is placed on stylistic and genre continuity. The genesis and one of the stages of evolutional process of the piano quartet genre in its Western European version up to 1800 is considered. It is determined that the formation and development of the genre was primarily influenced by its timbre mobility. The process of development of chamber music with an obligate clavier in comparison with the string quartet genre is examined. The emergence of two opposite directions is emphasized, one focuses on string quartet aimed at professional performers, while the other relies heavily on the clavier, with the strings playing an accompanying role, and is intended mainly for amateurs. Examples of Baroque chamber ensembles with clavier are given, which were the impetus for the formation of the piano quartet genre. They contain a heterogeneity of compositional models, with a relatively unexpressive attitude to the timbre character of the ensemble sound, and using the practice of instrument substitution. The composers of such ensemble opuses are noted as the most famous by that time. The influence of the chamber works of J. Ch. Bach and C. Ph. E. Bach on the process of the formation and crystallization of the genre features of the piano quartet, which were later established in the chamber cycles of W. A. Mozart and L. van Beethoven, is traced. The conclusion emphasizes the influence of the epoch's very style on the formation of the fundamental features of the piano quartet.

COMIC GENRES IN LEONID LISOVSKY’S CHAMBER AND VOCAL WORKS: STYLISTIC ASPECT

Statement of the problem. Leonid Lisovsky (1866–1934) is the Ukrainian and Russian composer, conductor, pianist, ensemble player, teacher, music critic, editor of musical works, translator, musicologist. He is the author of over 300 works in various genres, among which an important place belongs to compositions of comic genre. L. Lisovsky was very well known in his lifetime, but later he was completely forgotten. The relevance and scientific novelty of the research is determined by the necessity to study the person and creative heritage of the famous artist. The purpose of the offered research is to reveal the ways of creation of comic musical characters in L. Lisovsky’s chamber-vocal compositions and to identify stylistic peculiarities of this works. Cultural-historical, theoretical, musical-analytical, structural and systematic research methods were used when the history of Lisovsky’s chamber-vocal compositions were studying, the key principles of comic in music were identifying, the works of the composer were analyzing and their genre and style features were revealing. The results of the researches by O. Solomonova, B. Borodin, O. Freidenberg, I. Gendler on issues of the laugh culture and I. Gorbunova who viewed the comic genres in Ukrainian music were used as methodological basis for our study. Works by I. Trofimov and others are used for contextual analysis, as well as the studies of S. Koltysheva, M. Rzhevska and A. Litvinenko, where the person of L. Lisovsky presented in the biographical aspect. Results of the research. Based on abovementioned scientific sources, the principles of embodiment of the comic by the ways of musical art were highlighted. Some chamber and vocal works by L. Lisovsky were analyzed, such as the Suite for baritone and bass cantando “At the Bailif’s Gate” (words by O. Tolstoy), comic Romance for tenor and baritone “TheCuckoo and the Rooster” (words by I. Krylov), the fable “Woman” (words by K. Kropyva) and the vocal cycle “Four jokes by Alexander Pushkin”. The peculiarities of the composer’s reading the literary stories were disclosed. L. Lisovsky’s enthusiasm for satirical poetic texts in the works of the early period and especially in the 1920s were revealed. Conclusions. L. Lisovsky’s turn to the comic chamber vocal works becomes his response on the social and economic hardships and promotes to regeneration of his creative forces in the important periods of his life. For implementation of the comic poetic texts by musical resources L. Lisovsky uses the genre mixes. The comic imaginative and emotional spectrum in chamber and vocal music lengths from good humor to bitter satire. The composer uses romantic, late romantic and impressionistic stylistic peculiarities to create musical characteristics.

The chamber kui is the genre of the kazakh academical music

Since the formation of the chamber and instrumental music in Kazakhstan, the traditional instrumental genrekui – has become the vector of creative search, the basis for the synthesis of national and western musical thinking. The purpose of this article is to reveal the features of the traditional genre within the framework of academic music and to present a new genre – chamber kui.The expression of kui in the works is functionally represented in a variety of ways. The embodiment of the semantics of kui in its figurative meaning is given in the title of the work. When using the folk instrumental genre in professional writing, the authors give a functional association to it presented in the work in the form of a fragment (melody or accompaniment). The next point in the gradation of kui features in the chamber and instrumental works of composers of Kazakhstan is the dominance of its features: motor skills, variant-variational development of form, texture, throughout the work or part of it.The formation of a new genre – chamber kui was the result of creative searches for the synthesis of Kazakh folk instrumental creativity-kui, the connection of the laws of its formation and shaping with the achievements of European creative experience. In form, these pieces are kui (alternation of three register zones characteristic of the traditional genre), in harmony, quart-quint consonances are used, recreating the overtone density of the dombra timbre in the sound of the European instrument.

Effect of thermal barrier coating on thermal load of the rotor of the small aviation wankel engine

Due to its high-altitude, low-temperature, high-load, and air-cooled working environment, small aviation rotary engines have problems such as large component load and low heat dissipation efficiency. As the main moving part of the engine, the rotor is continuously exposed to the complex temperature field of the engine. As an effective high-temperature protective coating, the thermal barrier coating can isolate the heat load generated by the work of the combustion chamber and effectively improve the complex work condition of the triangular rotor. This paper takes the triangular rotor of a small aviation Wankel engine as the research object, and establishes the finite element model of the rotor and the coating. The engine thermodynamic simulation model is established by Simulink, and the combustion chamber temperature and heat transfer coefficient are calculated. The heat transfer coefficients of the other surfaces of the rotor were calculated by series thermal resistance, which were used as boundary conditions for finite element analysis of the rotor and the coating. The temperature field, stress field and deformation of the rotor before and after processing the thermal barrier coating are compared. The results showed that after the thermal barrier coating, the temperature of the rotor will drop by about 50K on average. The temperature of the pit and cooling hole of the rotor will drop by 17K and 16K respectively, and the temperature of the inner edge and side end surface of the sealing groove will drop by about 10K. The stress values at the inner side of the rotor seal groove, the inner cavity cooling hole, and the inner hole of the rotor are reduced by about 35.4MPa, 29.4MPa, 33.4MPa, respectively, and the stress value at the bonding layer is 150MPa, which is significantly higher than the stress value at the corresponding position of the original rotor, indicating that there is stress Concentration phenomenon. At the same time, the deformation at both ends of the rotor seal groove is reduced from 61.92μm to 52.55μm, and the difference in the axial deformation of each position is less than 3mm. It can be obtained that the thermal barrier coating can effectively reduce the radial deformation of the rotor and has little effect on the axial deformation of the rotor.

Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith

Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.

Расчёт толщины висмутовых нанослоёв, согласованных с характеристическим импедансом поля двух встречных электромагнитных волн.

Расчёт толщины висмутовых нанослоёв, согласованных с характеристическим импедансом поля двух встречных электромагнитных волн.

Formal Jests: the Sonata‐Form Scherzo in Mendelssohn's Mature Chamber Music

ABSTRACTOne of the most striking aspects of Mendelssohn's scherzi is his unusual propensity for sonata form in this movement type. Yet in referencing sonata construction, the composer frequently appears to be playing against its norms, taking delight in confounding expectations in the movement's formal twists and turns, as if this ambiguous and ever‐shifting relation were itself a crucial part of the aesthetic quality of the music. The present article examines the manipulations of form present in the sonata‐orientated scherzi of Mendelssohn's mature chamber works from the period 1837–45: those of the String Quartets Op. 44 Nos 2 and 3 and the Piano Trios Op. 49 and Op. 66. In doing so, it makes several significant contributions to current debates about sonata form. First, while continuing the incursion of Formenlehre into the nineteenth century, it brings discussion of sonata form round to address a movement type – the scherzo – not normally considered in recent discussions. Second, the interaction between different formal types posited by these movements has numerous similarities with the dialogic approach foregrounded by James Hepokoski and Warren Darcy's sonata theory. The playful ambiguities suggested by Mendelssohn's scherzi seem particularly suited to a theory in which formal meaning is understood to arise from the productive tension between expectation and realisation, abstract generic norm and particular instantiation. Still, much of Mendelssohn's subtle manipulation of form occurs on the smaller‐scale level of syntax, and one of this study's final implications concerns the interrelation between top‐down, intentional models and bottom‐up, generative approaches to form.

Выбор геометрических характеристик фронтового устройства и длины камеры сгорания прямоточного типа

A method has been developed for selecting the geometric characteristics of the front and the length of the direct-flow combustion chamber. Afterburner combustion chambers are of the ramjet type and are used for a short-term increase in the thrust of a gas turbine engine during takeoff, for overcoming the sound barrier by an aircraft and for flying at supersonic speed, and for making maneuvers. As part of ramjet engines, ramjet combustion chambers are used as the main combustion chambers in which the process of fuel combustion and heat supply to the working fluid is ensured. The developed method for selecting the geometric characteristics consists in optimizing the main operating characteristics of the combustion chamber. Mathematical models are proposed for describing the dependence of the total pressure loss, the combustion efficiency and the range of stable operation of the combustion chamber against the parameters of the flow at the inlet to the combustion chamber and the geometric characteristics of the front device and the length of the combustion chamber. The analysis of the dependences of the combustion chamber working characteristics on the geometric characteristics of the front-line device and its length is carried out. As a result of the analysis of mathematical models, a list of the main geometric characteristics of the front device was determined, on which the total pressure loss, the combustion efficiency and the range of stable operation of the combustion chamber depend. Optimization parameters, optimization criterion and limits for solving the optimization problem are determined. As an implementation of the optimization method, it is proposed to use a diagram of the combustion chamber performance in the coordinates of the optimization parameters. The developed method makes it possible to ensure the optimal basic operating characteristics of the combustion chamber - total pressure loss, combustion efficiency and combustion stability limits.

Deciphering Flavio Pereira’s Reading of Dostoevsky after the The House of the Dead

This article provides a “dechiffrage” of the form, style, compositional techniques, and referential musical meanings employed by the Brazilian composer and pedagogue Flavio Santos Pereira in the composition of a seven-part suite entitled Reading of Dostoevsky, written in 2016 and based on the book The House of the Dead by Fyodor Dostoevsky. This chamber work is a premonitory work about the present pandemic time, which tests not only the human existential instincts and fears but also the spiritual, philosophical, and moral values upon which a mature and complete personality is built. The author manages to turn the economic structure of a dodecaphonic material into a source of polyphonic, polyrhythmic, stylistic, and timbre diversity. Oscillating and incremental textures, often reaching four-voice overlays, find their counterbalance in the asymmetric movements that synthesize complex subharmonic timbre combinations. The work can be classified as program music, as it employs characteristics of expressionist and impressionist styles mixed with free improvisatory polyphonic techniques. This paper also aims at inducing young performers to consider the paradigmatic model of “dechiffrage” for interpretation supported by stylistic and formal analysis based on classical and modern models. The article includes the full score of Reading of Dostoevsky by Flavio Santos Pereira.

Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers

In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.

Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach

Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).

Composer Valentyn Borysov. Symphony of life

Background. The aim of the article is examination and presentation of Valentyn Borysov’s creative life, who was a celebrated Ukrainian composer (1901–1988), a classic of Kharkiv composition school, author of vivid and profound works in such spheres as symphonic, choral, chamber, vocal and piano music; his 120th anniversary in 2021 will be a big milestone for artistic community of Ukraine. Valentyn Borysov’s creativity is an indispensable part of national music, one of its treasures. He belonged to artists who had defined ways of development of Ukrainian professional music in XX century. In his creative outcome we can see influences of numerous artistic tendencies, characteristic for extremely controversial, but also prolific epoch. Composer being a part of quite ambivalent period of Ukraine’s cultural history conditioned usage of diverse research approaches; his works are regarded both in the light of existing musical traditions and on the background of his contemporary cultural environment. This is the novelty of the study. Integrity of presentation of Valentyn Borysov’s creative life is supported by the fact that this article considers his pedagogical activity in his alma mater, nowadays Kharkiv I. P. Kotlyarevsky National University of Arts, which resulted in bringing up a constellation of well-known Ukrainian composers, as well as his public and aimed at cultural enlightenment work. Results and conclusions. For V. Borysov, stage of accumulation of professional and personal experience coincided in time with a turning point in development of Ukrainian musical art. In these years composer attended classes of S. S. Bogatyrov, forefather of Kharkiv composition school; he studied alongside with M. Koliada, H. Tumeneva, D. Klebanov, V. Barabashov, M. Tits, who constituted a brilliant generation of Ukrainian composers several decades later. Symphonic and chamber works of this time showed such features of V. Borysov’s creative method as large-scale thought, leaning towards epic and heroic images, skilful usage of advanced composition techniques. At the same time, under the influence of external factors V. Borysov turned to relevant genre of his time, such as mass song and choral music. As early as on the primary stage of his development as a composer, V. Borysov defined Ukrainian folklore as one of the main sources for his inspiration. Folklore component of musical language became one of the prominent features of his style, its presence is conspicuous on each stages of his evolution. Submission of individual to collective, national conditioned V. Borysov’s interest to monumental forms of symphony, oratorio, cantata, poem, defined their leading role through late style of composer’s creativity. Unique combination of already existing aesthetic premises, high level of moral imperative, relevance of musical language created phenomenon of “V. Borysov’s late style”. The article regards the most original works, which were received very well by the contemporaries: “Divertissement” for symphonic orchestra, “Music for strings”, concert compositions for piano, violin, viola, sets of piano miniatures, composed on late period (70s–80s). Singularity of musical language in these works is created by the fact that V. Borysov succeeded to create a unique mixture of folklore tradition with “sonic field” of avantgarde musical art; with this musical language incredibly relevant, “eternal” problems of existence are embodied. This article was inspired by a desire to draw attention to V. Borysov’s legacy, to revive profound and immensely talented works of the composer, to enrich culture of modernity with them, to remind people of XXI century about such a treasure, that his works are.

COMPOSITIONAL-DRAMATIC FEATURES OF THE SONATA FOR OBOE AND PIANO BY F. POULENC

Backround. Chamber instrumental music by F. Poulenс is a bright, original and important part of the composer’s creative heritage. The sonata genre, represented by ten works for different instruments, occupies a special place in it. F. Poulenc’s appealed to it throughout his career, so studying samples of this genre belonging to different periods helps to trace the evolution of F. Poulenc’s compositional style. However, despite the widespread popularity of performers, chamber and instrumental works by F. Poulenс are not sufficiently covered in music studies. The purpose of the article is to reveal the compositional and dramatic features of the Sonata for oboe and piano by F. Poulenс. Results. Some specific techniques characteristic of S. Prokofiev’s works as a sign of respect for the Russian composer are used in the Sonata for the oboe and piano by F. Poulenc. This work has a genre and narrative-psychological program, as evidenced by the names of the movements: “Elegy”, “Scherzo”, and “Sorrow”. The title of the first movement – “Elegy” – means “mourning song” in Greek. This genre is quite common in the works of Russian composers. It seems legitimate that, in devoting his sonata to S. Prokofiev, F. Poulenc gave the first movement a title related to Russian culture. Songful, clear in structure melody is harmonized with the involvement of transitions to the distant keys. The second movement of the Sonata – “Scherzo” – contrasts sharply to Elegy. Exquisite harmonies and complex polyphonic combinations are replaced by monophony. If in the first movement the text of the piano part indicated the use of a soft deep carcass, the second movement applied a sharp, sometimes too rough, martellato. Elegy’s sophisticated agogics are destroyed by “iron” metricity, precision, and regular Scherzo’s accents. The Scherzo genre is interpreted here in a sharp grotesque way. The introduction begins in the dynamics of f and has a rigid rhythm. The parts of both instruments are completely equal. The endsections of Scherzo are steeped with “hypnotic” rhythmic movement. The middle section of the second movement is lyrical. The thematicism of the Scherzo middle section refers to the lyrical pages of S. Prokofiev’s work. The semantic center of the entire sonata for the oboe and piano by F. Poulenс is the third movement – “Sorrow”, which is a kind of musical epitaph. Created shortly before the composer’s death, the sonata can be considered one of thefinal results of his career. Perhaps this is not only a tribute to S. Prokofiev, but also a musical monument to himself. The textual presentation of the third movement is reminiscent of the choral. The melodic basis of the sonata finale is a set of intonations that are associated with spiritual singing of the Orthodox tradition. The main theme is exhibited in piano solo and has a mournful character, almost completely surreal. Conclusions. F. Poulenc’s Oboe and Piano Sonata is a three-movement cycle that has a genre and psychological program, as evidenced by the names of the movements. None of them uses the sonata form itself. All movements have a threesectionreprise structure. This, along with the program, points to the influence of suite logic, which fits into the tendency for the genre to be renewed in the 20th century, including combining the sonata genre with others. Working with different genre models and their hybrids is also a reflection of the neoclassical trends of 20th-century music that have always been inherent in F. Poulenc’s work. Signs of influence of Russian composers – S. Prokofiev, I. Stravinsky, M. Mussorgsky – are manifested not only at the level of thematicism, quotations, intonational allusions, types of texture presentation, but also at the level of dramaturgy. Thus, the interaction of lyrical and grotesque musical images in the second part is reminiscent of the conflict of love and enmity in S. Prokofiev’s ballet “Romeo and Juliet”.

I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION

Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The basis of the methodology is a systematic approach, through which musicological research methods are combined with historical ones. The main document of the era in the field of musicological research is the musical text, so the analysis of musical works is carried out from the standpoint of performance at the levels of performing technical means, musical thinking of the composer and performer. Other components of the texture, the development of its individual layers in the whole system, as well as the coverage of one or another feature of the playing nature of the piano are also taken into account. Conclusions. I. B. Kramer’s pedagogical system is considered, which is a system of technical means of performance, which contributed to the embodiment of the game nature of the instrument. In works of art, the composer used these techniques as needed to create a certain figurative sphere. Analyzed “Pathetic Fantasy” op. 87 (1837), four notebooks Suite – arrangements for piano chamber works of classical composers, where the composer embodied ensemble thinking on the piano, introduced the principles of dialogicity and comparison of registers as a method of artistic development of musical material. Results. Continuing the work of his teacher M. Clementi, I. B. Kramer contributed to the development of concert activities in Europe, the differentiation of pedagogy, performance and composition into independent musical activities. His methodical works and opuses of etudes were the basis of pedagogy for the next generations of pianists, defined the foundations of piano pedagogy as a scientific discipline. The piano instructional material created by I. B. Kramer allowed to master the techniques of piano playing in a short time. Along with L. V. Beethoven, I. B. Kramer made an important contribution to deepening the content of musical works by means of composer’s writing. The perfection of the presentation of piano technique had a positive effect on the development of compositional techniques in the works of the musician – the development of contrasting themes, the principles of development of musical material, the improvement of musical forms. The sphere of dramatic pathos and heroism defined the image of pathos in music, which corresponded to the possibilities of the instrument and at the same time contributed to the formation of a romantic style in piano art.

Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms

Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.

ДО ПИТАННЯ ІСТОРИКО-КУЛЬТУРНОГО РОЗВИТКУ КАМЕРНО-ВОКАЛЬНИХ ФОРТЕПІАННИХ ТВОРІВ

One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.