The “Contrasts” Sonata by G. I. Firtich: the Appeal to the Genetic Memory of the Genre

The article is devoted to the iconic work by G. I. Firtich, that is fi rmly established in the concert repertoire, but hardly represented in the scientifi c literature. The work indicates the avant-garde composer’s commitment to the traditional academic genre of chamber instrumental music. The author identifi es a complex of historically developed semantic features, which are uniquely implemented in the work under consideration. The article points out the most signifi cant features: the appeal to one of the variants of the classical ensemble composition, the concerto-like nature and, most importantly, the programme in which the most essential basic attributive feature of this genre is outlined – antitheticality, fulfi lled in the principles of contrast and dialogue, covering all levels of the musical composition. In conclusion, the author of the work emphasises that it is the contrast that generates the concept of the composition, becoming the main motive power and determining the features of the content, form, and all parameters of the musical language.