The Casio SA-46 digital synthesizer, despite its small size and only 32 keys, is not just a toy, but a full-fledged one musical instrument for beginners. Firstly, it has solid 8-note polyphony and excellent sound from all 100 built-in tones and 50 styles. And secondly, the mini keyboard of this model is perfect for children's fingers.
4690 rub
Notebook Phoenix+ "Rhythm of Jazz" for sheet music, 16 l
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27 rub
Casio SA-47, Gray digital synthesizer
The Casio SA-47 digital synthesizer, despite its small size and only 32 keys, is not just a toy, but a full-fledged musical instrument for beginners. Firstly, it has solid 8-note polyphony and excellent sound from all 100 built-in tones and 50 styles. And secondly, the mini keyboard of this model is perfect for children's fingers.
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4690 rub
Casio SA-76, Orange digital synthesizer
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Your favorite sound with just one touch: The piano/organ switch button gives you quick sound selection. To switch, just press a button.
An extensive repertoire of 100 sounds offers superb quality.
Melodies for every taste: 100 melodies to learn give you the opportunity to master different styles.
Clear and convenient: The LCD display provides quick access to all functions of the tool.
Choose the right rhythm. Drum Pads are a wonderful introduction to the world of digital drums. Five buttons for individual drum or percussion make it easy to play rhythm and give you the ability to solo with one touch.
The ability to turn off the melody is an effective way to master the right hand. There are 10 compositions offered for learning.
Speakers: 2 x 0.8 W
Power adapter is not included.
5890 rub
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602 rub
Native Instruments Komplete Audio 6 audio interface
Native Instruments Komplete Audio 6 contains everything you need to record, play and perform music. The relatively small, durable metal case has four analog inputs/outputs and a digital input/output. Two microphone inputs
Chamber instrumental ensembles occupied a place in Taneyev’s work that had never before belonged to this sphere of creativity in Russian music: the “world of composers” was embodied to a much greater extent in their operas or symphonies. Taneyev's chamber cycles not only relate to highest achievements of his work, but belong to the peaks of Russian pre-revolutionary chamber music as a whole.
It is well known that in the 20th century there was an increased interest in chamber ensemble music in various national cultures. In Russia in the second half of the 19th century, and especially towards its end, this phenomenon had its roots. Psychologism is important and characteristic of Russian art of that time. Deepening into the human world, showing the subtlest movements of the soul are also inherent in the literature of that time - L. Tolstoy, Dostoevsky, later Chekhov - and portrait painting, and opera, and vocal lyrics. It is psychologism combined with an attitude towards non-programming instrumental music found embodiment in Taneyev's chamber ensemble work. Classicist tendencies were also important.
Chamber-ensemble music reveals the evolution of Taneyev's creativity more fully, more consistently and brightly than other genres. It is hardly accidental that the most clearly individual compositional style of Taneyev, a student at the conservatory, manifested itself in the string quartet in D minor (not completed), from the point of view of both thematics and methods of development. Subject main party the first part is mournful in nature. The drooping seconds, so frequent in Tchaikovsky, sound here not elegiacally and openly emotional, but more restrained and stern. The theme, consisting of four sounds, is not sing-song, but, in Taneev’s style, laconic and abstract. The second beginning of the motive is immediately sharpened by a diminished fourth; in combination with other voices, wide unstable intervals arise. The presentation of the main part in polyphonic form is extremely interesting and revealing: imitation appears already in the second bar.
In the second conduction (bars 9–58), the imitative nature of the presentation is emphasized by the stretta. In the third section of the development - fugato with four complete passages (from volume 108) - an important event occurs: the fugato theme synthesizes both themes of the exposition.
Chamber ensembles took the main place in the years that were a continuation of the student period and preceding the creation of “John of Damascus” (1884). At first glance, the tasks that Taneyev set for himself at this stage look paradoxical and untimely (even in the eyes of Tchaikovsky: polyphonic technique, “Russian polyphony”), but their resolution promoted the composer precisely in the direction that over time turned out to be not only the general line of his work, but also a significant trend in the development of Russian music of the 20th century. One of these tasks was the mastery of chamber writing, and initially it was based on the mastery - practical, composer, and, moreover, consciously set - of intonation structure and compositional structures chamber music of Viennese classics. “The model and subject of imitation is Mozart,” the young musician writes to Tchaikovsky regarding his Quartet in C major.
Thematic prototypes and principles of work going back to the music of Mozart, layer Viennese classicism for Taneyev was not exhausted. No less important was the orientation towards chamber music, and partly symphonic and piano cycles Beethoven. The very significant role of imitative polyphony is associated with the Beethoven tradition. Already the very beginning of the quartet in E-flat major speaks of Taneyev’s “polyphonic installation”; the second sentence (vol. 13 et seq.) is a four-voice canon; contrapuntal techniques are found in both expositional and developmental sections. The first fugue forms appear, entering into a larger structure - in the extreme parts of the trio in D major, in the finale of the quartet in C major. Here, earlier than in the first three symphonies (in the same years), the tempo designation Adagio appears. And although these slow movements do not have the deep content of Taneyev’s later Adagios, these are perhaps the best parts of the cycles.
Taneyev himself assessed his first chamber works strictly (see. diary entry dated March 23, 1907). The few reviews of the only performances of the quartets in E-flat major and C major were sharply negative. The ensembles of the 70–80s were published three quarters of a century later than their appearance through the works of G. V. Kirkor, I. N. Jordan, B. V. Dobrokhotov.
Subsequent chamber-instrumental cycles were published during the composer's lifetime and can be considered as examples of his mature style. It has its own more detailed internal periodization: quartets in D minor (1886; revised and published in 1896 as No. 3, op. 7) and B-flat minor (1890, No. 1, op. 4), written before the Oresteia, with their more melodious melody; opening with quartet in C major op. 5 (1895) a number of the most significant string ensembles, among which two quintets occupy a special place - op. 14 (with two cellos, 1901) and op. 16 (with two violas, 1904); finally, following the quartet in B flat major (Op. 19, 1905) ensembles with piano participation: quartet in E major op. 20 (1906), trio in D major op. 22 (1908) and Quintet in G minor op. 30 (1911). But this grouping is largely arbitrary. Each of Taneev’s ensembles is a building built according to an “individual project”. They express different moods, each with its own special task, its own special goal.
L. Korabelnikova
Chamber instrumental ensembles:
sonata for violin and piano a-moll (without op., 1911)
trio
for violin, viola and cello D major, no op., 1880,
and h-moll, without op., 1913
for 2 violins and viola, D major, op. 21, 1907
piano, D major, op. 22, 1908
for violin, viola and tenor viola, Es major, op. 31, 1911
string quartets
Es major, no op., 1880
C major, no op., 1883
A major, no op., 1883
d-moll, without op., 1886, in the 2nd edition - 3rd, op. 7, 1896
1st, b minor, op. 4, 1890
2nd, C major, op. 5, 1895
4th, a minor, op. 11, 1899
5th, A major, op. 13, 1903
6th, B major, op. 19, 1905
G major, no op., 1905
piano quartet in E major (op. 20, 1906)
quintets
1st string - for 2 violins, viola and 2 cellos, G major, op. 14.1901
2nd string - for 2 violins, 2 violas and cello, C major, op. 16, 1904
piano, g-moll, op. 30, 1911
Andante for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and 2 horns (no op., 1883)
Probably every person is partial to music. It accompanies humanity inextricably; it is impossible to determine exactly when a person learned to perceive it. Most likely, this happened when our ancestor, trying to express his emotions, hit the hollow. Since then, man and music are inextricably linked; today there are many of its genres, styles and trends. This is folklore, spiritual and, finally, classical instrumental - symphonic and chamber music. Almost everyone knows what this movement is and how chamber music exists, but few know what its differences and features are. Let's try to figure this out later in the article.
The history of chamber music
The history of chamber music dates back to the Middle Ages. In the 16th century, music began to go beyond the confines of churches. Some authors began to write works that were performed outside church walls for a small circle of connoisseurs. It should be noted that at first these were only vocal parts, and chamber instrumental music appeared much later. But first things first.
The chamber music is mesmerizing. Everyone probably remembers that this name comes from the Italian word camera (“room”). Unlike church and theater music, chamber music was originally intended to be performed indoors by a small group for a narrow circle of listeners. As a rule, the performance took place at home, and later in small concert halls. Chamber instrumental music reached the peak of its popularity in XVIII-XIX centuries, when similar concerts were held in all the living rooms of wealthy houses. Later, aristocrats even introduced full-time positions for musicians.
Images of chamber music
Initially, chamber music was intended to be performed in front of a small circle of people who were its connoisseurs and experts. And the size of the room where the concert took place allowed performers and listeners to be in close contact with each other. All this created a unique atmosphere of belonging. Perhaps this is why such art is characterized by a high ability to reveal lyrical emotions and various nuances of human experiences.
The genres of chamber music could not be more precisely designed to be conveyed using laconic, but at the same time, detailed means. Unlike where parts are performed by groups of instruments, in such works a separate part is written for each instrument, and all of them are practically equal to each other.
Types of chamber instrumental ensemble
As history progressed, so did chamber music. That such a direction should have some peculiarities in relation to the performers does not require proof. Modern instrumental ensembles are:
- duets (two performers);
- trio (three members);
- quartets (four);
- quintets (five);
- sextets (six);
- septets (seven);
- octets (eight);
- nonet (nine);
- decimetes (ten).
At the same time, the instrumental composition can be very diverse. It can include both strings, and one ensemble can include only strings or only winds. There may also be mixed chamber ensembles - the piano is especially often included in them. In general, their composition is limited by only one thing - the composer’s imagination, and it is most often limitless. In addition, there are also chamber orchestras- groups that include no more than 25 musicians.
Genres of instrumental chamber music
Modern genres of chamber music were formed under the influence of the works of such great composers as W. A. Mozart, L. Beethoven, I. Haydn. It was these masters who created works unsurpassed in terms of refinement of content and emotional depth. The most famous romantics of the 19th century paid tribute to sonatas, duets, trios, quartets and quintets: F. Mendelssohn, R. Schumann, F. Schubert, F. Chopin. In addition, the genre also gained enormous popularity at this time. instrumental miniature(nocturnes, intermezzos).
There are also chamber concerts, suites, fugues, and cantatas. Even in the 18th century, the genres of chamber music were extremely diverse. In addition, they absorbed stylistic features of other trends and styles. For example, L. Beethoven’s desire to push the boundaries of such a phenomenon as chamber music is so clearly visible that his work such as the “Kreutzer Sonata” is in no way inferior to symphonic works in its monumentalism and emotional intensity.
Genres of vocal chamber music
In the 19th century, vocal chamber music gained enormous popularity. Such people as R. Schumann, F. Schubert, and J. Brahms paid tribute to the emerging new genres of art song and romance. Russian composers have made an invaluable contribution to the world collection of chamber music works. The magnificent romances of M. I. Glinka, P. I. Tchaikovsky, M. P. Mussorgsky, M. A. Rimsky-Korsakov even today do not leave anyone indifferent. Besides small works, there is also a genre of chamber opera. It involves a small number of performers and does not require a large room for production.
Chamber music today
Of course, today there are practically no such houses where, as in past centuries, chamber ensembles play surrounded by a limited circle of people. However, contrary to existing stereotypes, this direction remains in great demand. Organ and chamber music halls around the world attract millions of fans as works classical composers, so modern authors. Festivals are held regularly where famous and emerging artists share their art.
Brahms's chamber music is perhaps the richest and most diverse area in the composer's legacy. It contained all the main ideas of his work, from the early stage to the late, fully and consistently reflecting the evolution of style. All Brahmsian concepts of cycles are presented here in various manifestations: dramatic and elegiac, lyrical-genre and pastoral. “The very conceptuality of the cycles,” L. Kokoreva points out, “the deep intellectualism of music appears as carriers of the most characteristic features Austro-German culture".
Interest in the chamber-instrumental genre was determined by Brahms’s characteristic penchant for fine finishing. artistic details. Moreover, according to M. Druskin, the composer’s productivity increased during critical years, when Brahms felt the need to further develop and improve his creative principles. It is possible to outline three periods in the development of Brahms's chamber-instrumental style, which generally correspond to the main periods of his work, although they do not partially coincide with them.
The decade 1854-1865 falls greatest number works. Nine different chamber ensembles were created during these years: Piano trio, two string sextets, three piano quartets. The third piano quartet was completed much later, but was conceived in 1855, Cello sonata, Horn trio, Piano quintet; in addition, many other works destroyed by the author, who was demanding of himself. All this speaks of the enormous creative activity of the young composer, of his tireless, persistent quest to discover and consolidate his artistic individuality. " Experienced field“Chamber music served in this regard - for piano and, especially, for instrumental ensembles, although in the same years Brahms also worked a lot in the field of vocal genres. This period ends with the "German Requiem". This is the composer’s first large-scale work in concept and implementation. He is entering a period of mature mastery.
The decade 1873-1882 had a smaller number of chamber works - only six: three string quartets, the First Violin Sonata, the Second Piano Trio, the First String Quintet (and in two of the quartets, music written in the previous period was used). Other artistic tasks excited Brahms during these years: he turned to large-scale symphonic ideas. The composer has achieved highest point your creative development.
In 1885 year Brahms finished the Fourth Symphony. He felt a huge rush creative forces, but at the same time, moments of crisis were also emerging. This is one of the important turning points in his biography. The fruitful period of “creative autumn” is coming. It was during this period that the number of chamber works increased and their weight increased. In the summer of 1886 alone, Brahms wrote four remarkable works: the Second and Third (completed two years later) violin sonatas, the Second Cello Sonata, the Third Piano Trio; in subsequent years - the Second String Quintet, Clarinet Trio, Clarinet Quintet and two clarinet sonatas.
Three different periods determine differences both in the figurative-emotional sphere and in the style of Brahms’ chamber ensembles. Many researchers point to this fact. Thus, in particular, M. Druskin considers the group of the first nine works to be the most diverse. During this period, the composer was in a state of creative ferment, the musicologist writes, “he is impetuous and unstable, trying to find himself in the most various directions; sometimes, without hesitation, he brings down an avalanche of subjective experiences overwhelming him, sometimes he looks for ways to create more intelligible and objective, “generally significant” music. The area of youthfully fresh, impetuous romantic feelings with generous beauty is revealed in these works, among which the brilliant Piano Quintet rises.”
The second group appears less integral. Brahms sometimes returns to themes and images that worried him in previous years, but conveys them in a somewhat schematized form. According to M. Druskin, this refers to “the predominance of the rational principle in these works over the emotional one.”
The third group again forms the pinnacle of Brahms's chamber-instrumental creativity. The completeness and diversity of figurative and emotional content is combined here with mature skill. Noteworthy is the strengthening, on the one hand, of the heroic-epic line, and on the other, an even more personal, subjective one. This contradiction is an indicator of the years of crisis in the last period of Brahms's life.
Let us briefly dwell on the characteristics of individual works.
Brahms is the author of seven string ensembles - three quartets, two quintets and two sextets. In the Quintet op. 115, the clarinet part, as directed by the author, can be replaced by the viola. Thus, this work can be considered written for a string ensemble. These compositions, different in their colorful capabilities, attracted the composer in different periods of his work: sextets were written in 1859-1865, quartets in 1873-1875, quintets in 1882-1890. The content of the early and late works - sextets and quintets - is simpler, closer to the ancient divertissements of the 18th century or the orchestral serenades of Brahms himself, while the music of the quartets is more in-depth and subjective.
Other sides of reality are reflected in string quartets. Brahms once admitted in a conversation that before the beginning of the 1870s he wrote about twenty works for string quartet, but did not publish them; the manuscripts were destroyed. Of the surviving ones, two - c-moll and a-moll - were published in a revised form as op. 51 in 1873; three years later the Third Quartet in B major, op. 67.
By the time he created his three string quartets (1873-1875), Brahms had already accumulated a wealth of experience in the field of chamber instrumental creativity and had entered his period of greatest flowering. Three string quartets, written one after another in the early 1870s, are marked by features of complete maturity, high artistic skill, and virtuoso technique in handling the quartet score. These are masterpieces of chamber music by Brahms. Deep and complex psychological processes are revealed in them in a tense-dynamic style with extreme concentration and laconicism. The significance of the concept and the intensity of development allow us to speak about the true symphony of these works, inheriting the tradition of Beethoven, L. Kokoreva points out: “Deep internal connections with classical music- Beethoven's heroic and dramatic ideas, philosophical lyrics- are refracted individually, in the purely Brahmsian dramaturgy of the cycle. Romantic impetuosity and passion give way to strict restraint of expression."
The string quartets, like the piano quartets, form a triptych of works contrasting in content, embodying three of the most important Brahmsian concepts: dramatic, lyrical-elegiac and pastoral-genre. Written in anticipation of the symphonies, the quartets appeared important milestone on the way to them: it was within the framework of string ensembles that the composer’s symphonic style matured. From here comes the internal kinship of the two genres, interconnectedness, as well as the interpenetration of two principles - chamber music and symphonism, resulting in the quality of Brahms' music. The chamber nature of the symphonies lies in the psychological complexity, the subtlety of gradations in the transmission various shades emotional content, the quartets are symphonic in the full sense.
A special closeness is felt between the quartet in C minor op. 51 and a symphony in the same key, the first parts of which are written in the same emotional key. What also foreshadows the future symphonic cycle, writes L. Kokoreva, is that instead of the scherzo, which has hitherto prevailed in ensembles, a kind of intermezzo appears here at the Allegretto tempo, giving the quartet a uniquely individual appearance. In the C-minor quartet the line of dramatization of the finale is continued, which will later become hallmark mature symphonic style. But even among Brahms’s most mature opuses, the C-moll quartet stands out for its rare laconicism, concentration of thought, unity of the cycle, the individual parts of which are interconnected by the development of one idea, and special integrity within each part.
Second quartet in a minor op. 51 in the triad of string quartets serves as the lyrical center and is distinguished by a soft, soulful tone, melodious, transparent texture. After the dynamic contrasts of the C-minor quartet, its impulsive and intense climaxes, rapid development, here you can feel the smoothness of the relief, the soft plasticity of the melodic contours, and the leisurely flow of the music. The Schubertian principle in it contrasts with the Beethovenian one, which predominates in the first quartet. However, this applies only to the first three parts, in which the rich and unique world of Brahmsian lyrics is consistently revealed. The finale is full of indomitable energy, dramatic power and is the semantic result towards which all development is directed.
Third Quartet in B major op. 67, created by the composer in 1875, two years after the first two, counters them with its joyful, bright tone. Pictures of forest nature, cheerful lively rhythms, song melodies permeate this work, where the Agitato Allegretto non troppo (third movement) in d-moll stands in contrast to the integral joyful worldview embodied in three parts.
Two Quintets - F major, op. 88 and G major, op. 111 - written for a homogeneous composition - two violins, two violas and a cello. A melodious, courageous character is inherent in the First Quintet; joyful ease in the spirit of J. Strauss - to the Second. The second quintet is one of Brahms' best chamber works.
The sonatas have a varied content - two for cello (1865 and 1886) and three for violin and piano (1879, 1886 and 1888).
From the passionate elegy of the first movement to the sad, Viennese minuet of the second movement and the fugue finale with its assertive energy - this is the circle of images of the First Cello Sonata in e-moll, op. 38. The Second Sonata in F major, op. 99; it is all permeated with acute conflict.
Violin sonatas can serve as living evidence of Brahms' inexhaustible creative imagination - each of them is uniquely individual. First Sonata in G major, op. 78 attracts with its poetry, broad, fluid and smooth movement; it also has landscape moments. Second Sonata in A major, op. 100, songful, cheerful, presented concisely and collectedly. Unexpectedly, Grieg's influence is revealed in the second part. In general, the lack of great development and drama sets it apart from other chamber works by Brahms. The differences from the Third Sonata in d minor, op. are especially great. 108. This is one of the most dramatic, conflicting works of the composer, in which the rebellious romantic images of the Second Cello Sonata are developed with great perfection.
The perfect expression of the period of “sturm und drang” in Brahms’s creative biography is given by the Piano Quintet in F minor, op. 34. According to M. Druskin, this work is the best not only in this period, but, perhaps, in the entire chamber-instrumental heritage of the composer: “The music of the quintet achieves true tragedy. Each part is replete with images of action, anxious impulses and passionate restlessness, masculinity and unyielding will.” Brahms turned to the work in 1861, planning it for string composition. But the power and contrast of the images overwhelmed the capabilities of the strings. Then an edition for two pianos was written, but it did not satisfy the composer. Only in 1864 was the desired form found, where a string quartet is supported by a piano.
Brahms returned to the same theme, each time solving it differently, towards the end of his life in the Third Violin Sonata and the Third Piano Trio. But in the last four chamber works (1891-1894) other themes and images are embodied.
In the context of Brahms's chamber-instrumental work, his piano trios deserve special attention.
First trio for piano, violin and cello in H major, op. 8 was written by a 20-year-old author. It captivates with its youthful freshness of invention and romantic excitement.
It should be noted that in concert halls and in educational institutions This trio sounds in the second edition, created by the composer in 1890. Prompted by his friend, the famous Austrian musicologist E. Hanslick, Brahms turned to his early opus and subjected it to a radical revision. In the new edition, the principle of arrangement of parts and their main themes were preserved from the original version; The second part, the Scherzo, remained almost unchanged. By retaining the serial number of the opus in the second edition, the author thereby emphasized his desire only to improve the work written in his youth. However, he improved from the position of an already mature master, extremely demanding and strict with himself, and, in essence, composed almost three-quarters of the Trio anew. The main differences between the two options relate to issues of concept, principles of dramatic development and formation, and methods of presenting the material.
Trio Es major op. 40 for piano, violin and horn in Es was written in 1865 and first published in 1866 by Breitkopf & Hartel. In musicological literature, the opinion is sometimes expressed that the Trio (or individual parts of it) was created in the 1850s and thus refers to early period composer's creativity. This assumption, however, is not argued convincingly enough, believes A. Bonduryansky; without a doubt, the Trio was written by the hand of a mature master: “It contains no traces of the oversaturation of the form with musical material that we encounter in early works Brahms, in particular in the first version of the Trio in H major op. 8. On the contrary, the Es-major Trio attracts precisely because of the correspondence of content and form, the desire for laconicism and simplicity of expression that are inherent in the composer’s later opuses, for example, the trio op. 87 and op. 101" A. Bonduryansky gives another - conceptual and dramatic - argument in favor of the fact that the Trio was created in 1865. This year in Brahms' life is associated with one of the most tragic events - the death of his beloved mother. The composer's direct response to this event was his “German Requiem” op. 45, written in the same year. But even in the Es-major Trio, a desire to develop mournful images is revealed - from the elegance of the episodes in the first part to the true tragedy in Adagio mesto.. According to M. Druskin, in no other work has the pure, enthusiastic soul of Brahms the romantic been so fully revealed .
Trio for piano, violin and cello C major op. 87 (1880-1882) belongs to the next period of the creative biography of J. Brahms. Since the late 1870s, the composer has been at the zenith of his fame. In 1876, the University of Cambridge awarded him the honorary title of Doctor of Music, and a year later the London Philharmonic Society awarded him a Gold Medal. Since 1880 he has been an honorary doctor of the University of Breslau. Brahms's concerts as a pianist and conductor are held with great success in Austria, Germany, Switzerland, Holland, Hungary, and Poland. A sign of recognition of his merits as a composer and musical figure were invitations to the post of music director in Düsseldorf (which two decades earlier had been occupied by R. Schumann) and to the post of cantor of the Church of St. Thomas in Leipzig.
The eve of 1878 was marked by the premiere of the Second Symphony, performed in Vienna under the baton of Hans Richter. Performance of the same symphony in September 1878 in hometown Brahms - Hamburg - at the celebration of the fiftieth anniversary of the founding of the Philharmonic was a true triumph for the composer. In autumn Brahms and famous violinist Joachim, who were connected by close friendships, went on a large concert tour around Hungary, and in February 1880 - to Poland. Almost at the same time, Brahms began work on the Trio for piano, violin and cello in C major op. 87. Close creative and friendly communication with Joachim during this period, according to A. Bonduryansky, influenced the plan of the Trio.
Completed in June 1882, Brahms' Trio in C continues the Beethoven-Schubert tradition in this genre of chamber music. Researchers note the common principles of constructing the cycle as a whole, its individual parts, and Brahms’s use of presentation techniques musical material, developed by his great predecessors, and even the intonational relationship of some themes. At the same time, remaining committed classical traditions in the field of form, Brahms imbues the content with a special, inherent romantic perception of the world.
Trio for piano, violin and cello in C minor, op. 101 (1886) is on par with Brahms's best chamber works. It reveals not only the brilliance and richness of the composer’s imagination, but also exceptional compositional skill. In the C minor Trio, complete correspondence between content and form is achieved; musical thoughts are extremely significant, the presentation is extremely laconic. The variety of performing techniques used by the composer is also admirable. Each of the ensemble members is given the opportunity to demonstrate their own solo skills, and at the same time, the music of the composition requires the concentration of the will of all three in achieving a common goal.
The c-minor trio was first performed in Budapest on October 20, 1886, performed by the author, E. Hubay and D. Popper and immediately received recognition. The enthusiastic responses of Brahms' contemporaries noted the scale of his plan and brevity of presentation, figurative richness and amazing concentration of form.
Trio for piano, clarinet in A and cello in A minor op. 114 can rightfully be called the composer’s “swan song” in the piano trio genre. And not only because after him Brahms no longer turned to the trio, but also because in this work all the best things that make trios so attractive found vivid expression German artist, - the romantic unusualness of the images, the passionate element of Hungarian folklore, the calm tranquility of the German Lieder. Here the finally established principles of constructing the form of composition and the desire to symphonize the chamber genre were embodied.
As already mentioned, this composition owes its origin to clarinetist Richard Mühlfeld, soloist of the Meiningen Orchestra. His art captivated the composer. Thanks to the soft sound of the instrument and the gentle trembling tone, Mühlfeld earned the nickname “Fraulein-Clarinette” (German Clarinet Girl), which Brahms “awarded” him. It was the extraordinary musical and artistic merits of the clarinetist that served as the reason for the composer to create four opuses for this instrument. In addition to the Trio op. 114 is the Quintet op. 115 for string quartet and clarinet and two sonatas op. 120 for clarinet and piano.
In clarinet ensembles, J. Brahms achieves a new quality of images and dramaturgy, at the same time summing up his entire work. The general atmosphere of these works is lyricism, the general intonational nature - chanting, songfulness, length of lines: “The final role of the song-lyrical principle in the composer’s work is affirmed in latest works“,” points out E. Tsareva. The specificity of the clarinet perfectly corresponds to this quality. The skill of the ensemble here is brought to perfection. Each tool is used in accordance with its specifics. To reveal the emotional originality of the works, the timbre of the clarinet turned out to be especially expressive. This wind instrument lyrical song melodies, intense dramatic recitation, virtuosic passages in different registers, colorful figurations, trills, and tremolo accompaniment are entrusted. Dull, dull in the low register, and surprisingly reminiscent of a human voice telling or complaining in the middle, the timbre of the clarinet is very suitable for the elegiac coloring that predominates in the lyrics of the late Brahms. The clarinet either merges with the strings, giving their sound a certain detachment, then envelops them in light, moving arpeggios, or solos in improvised melodies.
Named works by Brahms said goodbye to the chamber-instrumental genre. Two years after the completion of these sonatas, in 1896, Brahms created two more, his last works, but in other genres: “Four Strict Tunes” for bass and piano and “And Chorale Preludes for Organ” (published posthumously).
None of Brahms' contemporaries spoke out in the field of chamber instrumental creativity so naturally, with such completeness and artistic perfection, as Brahms did. Subsequently, under the influence of the strongest impulse emanating from his work, chamber music successfully developed in the works of Smetana and Dvorak, Frank and Grieg. A unique parallel in Russian music at the turn of the century is the work of Taneyev.
It can also be said that this line of Brahms’s art, so carefully and consistently developed by him in the second half of the 19th century, gives rich shoots to modern music. Brahms, as it were, built a bridge from the Viennese classics to the new classicism of the 20th century with its special attraction to intimacy. A direct follower of Brahms at the beginning of our century was M. Reger. Following him is the outstanding master of the chamber ensemble P. Hindemith, who left a legacy of extensive chamber literature, including quartets, sonatas-duets for almost all string and wind instruments. The special technique of Brahms's chamber ensembles with its polyphony, thematic richness of the fabric and detailing of the texture, and most importantly - the interconnectedness of elements that allows all development to be derived from one grain, had a great influence on the compositional principles of thinking of Schoenberg and his school and found a direct continuation in the early chamber music. ensembles of Schoenberg, Berg and Webern.
