WAYS OF DEVELOPMENT OF THE SONATA GENRE FOR VIOLA SOLO DURING THE FIRST HALF OF THE TWENTIETH CENTURY (PANORAMIC VIEW)

Abstract

The article is devoted to the formation of the genre of solo sonata for viola in the world musical culture of the first half of the twentieth century. In chronological order its inspiration (more than 40 compositions) in different national schools is outlined: P. Hindemith, E. Bonke, G. Raphael, L. Winsperger, J. Weissman, J. Drizzeler (German); E. Kršenek, J. David, E. Markhl (Austrian); M. Solange (French); W. Burhart, W. Essinghaus (Swiss); B. Frankl, E. Lachens (English); A. Udden, G. Leerink, W. Franken (Scandinavian); P. Borkovets, J. Schreiber, J. Dubrava, F. Sukhy, J. Mukha (Czech), S. Yemnitz, T. Sеrly (Hungarian), P. Constantinescu (Romanian), G. Litynsky, B. Asafyev (Russian); J. Barrows, N. Kazden, R. Geb, H. David (American), H. Carillo (Mexican). The alto solo sonata with the prevailing existential-subjective spectrum became an expression of the artists ’reactions to the historical challenges of the time: epitaph responses to the tragic events of the war (Dubrava, Weissman, Drizzeler, Markhl); Nazi persecution of Jews (Raphael, Geb, Yemnitz, Leerink (Sonata Hebraïca); forced emigration (Hindemith, Kršenek, Sеrly). Conceptualism of philosophical and meditative comprehension of the problem through a monologue presentation of the monothembral type gravitates to the use of a polyphonic principle associated with neoBaсhianism (Hindemith, Kršenek, David, Vinsperger, Asaf'ev) other neoclassical tendencies (French Middle Ages Solange, Byzantinism of Constantinescu, Czech Baroque of Schreiber, Mannheim preclassicism of Sukhуi, German choralism of Drizzeler, Italian Renaissance of Yesinhaus, antiquity of David). The merging of modern thinking (Schoenberg, Webern, Stravinsky, Bartok, etc.) with the various stylistic priorities of the authors gives original results. The alto solo sonata and urban elements and jazz (Hindemith, Frankl, Burroughs, Kazden), neo-folklore tendencies are not missed: Borkovets, Dubrava, Sukhуi - Czech; Yemnitz, Sеrly - Hungarian; Constantinescu - Romanian; Asafyev - Russian authenticity. In some cases, they are a kind of mix of Anglo-Indian (Lachens) or Scottish-Czech origins (Mucha). Revealing the features of different artistic and stylistic trends, the solo sonata became an adaptive territory for the introduction of new experimental systems and techniques (Hindemith, Carillo, Kršenek, Sеrly), which were tested in the etymologically primary monodic quality of the timbre-sound paradigm. Revived in the twentieth century. this genre shows the richness and originality of both compositional solutions and linguistic and stylistic diversity, designing ways of development into the future, revealing new expressive and artistic perspectives of the instrument.