Peculiarities of the early romantic sonata form on the example of K. M. Weber

Abstract

The instrumental heritage of C.M. Weber is insufficiently studied in the totality of its genre components, which prevents the emergence of a holistic view of it. At the same time, the attention of researchers of the early period of Romanticism in the field of piano sonatas begins with the works of F. Schubert, indirectly touches on the works of L. van Beethoven, while the four sonatas by C.M. Weber are left out. From a historical point of view, it is undoubtedly true that in the early Romantic era, some artists found themselves in an intermediate position. In their work, classical and romantic “mixed” techniques are clearly visible. Weber’s work belongs to such phenomena in the field of the piano sonata. His four piano sonatas are interesting not only as highly artistic works. From a musical point of view, they are vivid examples of the early romantic sonata form, with a revealing and fruitful fusion of classical and romantic tendencies. Weber reflects a special approach to the classical musical form that differs from the traditional classical approach. His works are characterized by vivid themes, the use of external techniques, and the creation of poetic pictures and moods that approach romantic fantasies. Instead of revealing the internal resources of the form, Weber actively experiments with expressiveness, drama, and tense episodes, which makes his works unique and fascinating for the listener. An essential feature of his works is his work with the classical sonata-symphonic form, where Weber not only adheres to traditional structures, but introduces innovative changes to them, transforming the logic of the sonata form and defining new ways of its development and evolution. This is a kind of rethinking of classical principles in music, where elements of romantic aesthetics interact with traditional forms, creating Weber’s unique musical world. This raises an interesting and useful task: to identify, on the one hand, traditional and, on the other hand, new, essentially important features in the composer’s work that can be defined as innovative. Having determined the place and significance of Weber’s piano sonatas, we will try to bring them closer to the modern performer and listener, to enrich the piano repertoire. The article analyzes the features of the sonata cycle in the piano works of C. Weber. The origin of the characteristic tendencies of musical romanticism in C. Weber’s piano sonatas is highlighted, and the relationship between classical and romantic styles is established.