Margarita A. Bukrinskaya
Gnesin Russian Academy of Music, Moscow, Russia,
m.bukrinskaya@gnesin-academy.ru, https://orcid.org/0009-0005-1350-2098
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Ekaterina A. Gerasimova
Gnesin Russian Academy of Music, Moscow, Russia,
curiouschiffa@gnesin-academy.ru, https://orcid.org/0009-0005-2425-1140
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| Abstract: The article examines the cycle of preludes for piano by M. Weinberg «Children’s Notebook». The significance of this work in the composer’s oeuvre and its autobiographical nature are analyzed. Semantic and stylistic intersections of the composition with works by foreign and Russian composers of the 19th–20th centuries (Chopin, Schumann, Mussorgsky, and Shostakovich) are noted, as well as references to various genre prototypes.
The compositional and dramaturgical principles of the cycle, as well as tonal and intonational features, are explored. Parallels are drawn between Weinberg’s composition and Mussorgsky’s vocal cycle «The Nursery», as well as Shostakovich’s «24 Preludes» op. 34.
Previously, the cycle of preludes «Children’s Notebook» No. 2 by Weinberg has not been considered from a genre and stylistic perspective.
Keywords: M. Weinberg, «Children’s Notebook» No. 2, style, genre, Schumann, Mussorgsky, Shostakovich
For citation: Bukrinskaya M. A., Gerasimova E. A. M. Weinberg. «Children’s notebook» № 2: Issues of genre and style continuity. Scholarly papers of Gnesin Russian Academy of Music. 2024;(2):94-103. (In Russ.). DOI: 10.56620/2227-9997-2024-2-94-103 |
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