PECULIARITIES OF CHAMBER-INSTRUMENTAL CREATIVITY OF FEMALE COMPOSERS ON THE EXAMPLE OF VIOLIN SONATAS LUISE ADOLFA LE BEAU AND AMANDA RÖNTGEN-MAIER

Abstract

The article is devoted to the influence of the chamber-instrumental work of composers Luise Adolfa Le Beau (Germany) and Amanda Röntgen-Maier (Sweden) on the development of the violinist’s performance art. Compared to other sonatas, the music of female composers is increasingly attracting the attention of performers in the 21st century, as it demonstrates an extremely high potential and the possibility of increasing attention to it and its development in the future. Because the appearance of these violin works in Ukraine gives an opportunity to experience a cultural resource that is not fully disclosed at the present stage. The purpose of the article is to carry out a historical and methodological analysis of the heritage of Luise Adolfa Le Beau and Amanda Röntgen-Maier and to popularize the little-known works for the violin of these female composers in the territory of Ukraine. Against the background of recent political events the Ukrainian Academic Music Community is increasingly trying to expand both the performing repertoire and the repertoire of art educational institutions as much as possible. In this connection, it is relevant to turn to works for violin by female composers of the end of the 19th century, Luise Adolfa Le Beau (Germany) and Amanda Röntgen-Maier (Sweden). The main themes of Luise Adolfa’s musical works are her personal experiences and the beauty of nature. In the first works of Luise, the influence of Beethoven and Clara Schumann is noticeable. After her early piano pieces Le Beau wrote piano concertos, fantasias for piano and orchestra, overtures, biblical scenes, symphonies and choirs. Le Beau not only dared to turn to these great forms, but also courageously overcame the difficulties that arose at that time on the path of female composers. At the current stage of the development of performing arts, the popularity of the Swedish violinist and composer Amanda Röntgen-Maier is returning, as researchers and performers seek to learn about her work, which promoted new publications and performances of her music as well as renewed efforts to find her lost manuscripts. Thus, the main tasks set in the article are the study of stylistic parameters in the chamber-instrumental work of female composers of the end of the 19th century, using the example of the study of the genre of the violin sonata by Luise Adolfa Le Beau and Amanda Röntgen-Maier. The practical significance of the study lies in the possibility of using its materials in the pedagogical and performing practice of the violinist.