Concert of J. Brahms for violin and orchestra in the embodiment of the ideas of protoneoclassicism

Abstract

The purpose of the article is to study the stylistic phenomenon of proto-neoclassicism in the post-romantic art of the last third of the XIX century and to recognize those stylistic features in the Brahms Violin Concerto. The methodological basis of the work is the intonation approach of B. Asafyev's school in Ukraine, which proceeds from the sacred unity of music and words, giving birth to historical-comparative, hermeneutic, bibliographic research methods, presented in the works of O. Markova, O. Muravska, O. Roschenko. etc. The scientific novelty of the work is due to the originality of the problem of proto-neoclassicism in the art of the post-Romantic era, as well as the fact that for the first time in the musicology of Ukraine and China in this stylistic perspective considered Violin Concerto J. Brahms. Conclusions. Baroque borrowings, natural for Romanticism, are filled with superpersonal lyricism and polyphonic texture in the post-romantic space of the second half of the nineteenth century, provoking the genre solution of parts of the cycle and separation from drama and elaboration in sonata indicators of composition. These features of the interpretation of the concert can be found in the analyzed work of J. Brahms, which we terminologically distinguish as the proto-neoclassicism of J. Brahms.

Key words: J. Brahms' proto-neoclassicism, twentieth-century neoclassicism, Biedermeier, romanticism, style in music.