SUITE FOR TWO VIOLINS AND PIANO, OP. 71 BY MORITZ MOSZKOWSKI AS AN EXAMPLE OF GENRE TRANSFORMATION

Abstract

The article examines the Suite for Two Violins and Piano, Op. 71 by Moritz Moszkowski, as an example of genre transformation within the 19th-century chamber ensemble genre. Particular attention is paid to the analysis of the instrumental scoring, textural organization, and stylistic features of the work. The goal of the study is to identify the peculiarities of the compositional structure and stylistic properties that indicate active processes of genre diffusion, resulting in the birth of a new concept of chamber symphonism – a synthesis of chamber interaction and concert virtuosity. The methodological basis of the study includes: the analytical method – to reveal the features of the work’s musical language, the structure of its movements, and the textural and thematic processes; the comparative-historical method – to identify links between Moszkowski’s Suite and analogous examples of chamber music by J. S. Bach, F. Mendelssohn, and C. Saint-Saëns, which allows tracing the historical dynamics of genre transformation; stylistic analysis – to determine the individual characteristics of M. Moszkowski’s compositional style; and the interpretative-performance approach – to reveal the interaction of instrumental parts and the concertante tendencies within the chamber ensemble. The scientific novelty of the work lies in the attempt to consider the Suite for Two Violins and Piano for the first time not only as an example of ensemble art but also as a model of the genre’s evolution and its new «face». Conclusions. It is determined that the scoring – two violins and piano, which is atypical for the traditional piano trio – determines a unique timbral and textural structure that brings the work closer to the concerto genre. The analysis revealed that thanks to the combination of solistic, duet, and trio elements, a new model of chamber symphonism was born in the work.