F. Chopin's sonatas in the context of Biedermeier's guidelines for their author's performance work

The purpose of this work is to extract the Biedermeier features of F. Chopin in his "biggest" works – the Sonatas, of which the First is a fully Chopinian "Warsaw Biedermeier", in which not a small number of forms, but certain semantic turns in the expression indicate belonging to the named direction, and the latter note the features of Chopin's famous Second and Third sonatas. The methodological basis of the study is the intonation approach of accepting the genetic unity of musical and speech principles in the development of the concepts of B. Asafiev and B. Yavorskyi in the works of D. Androsova, O. Markova, I. Podobas, L. Stepanova, L. Shevchenko, with an emphasis on the hermeneutic perspective of such an approach. The methods are also highlighted – biographical-descriptive, with an emphasis on its intellectual-biographical aspect, analytical-structural as focused on the musicological specificity of the presentation of compositions, interspecies stylistic comparative. The scientific novelty of the work covers the characteristics of expression in Chopin's Sonatas, which come from the essence of Biedermeier's worldview, including the emphasis on the direct citation of other authors' text, noted by O. Kozarenko, which corresponds to the spiritual practice of relying on canonical instructions and distancing oneself from egocentrically asserted authorship. This is most clearly shown in the First Sonata, but also takes place in the Second and Third, which, according to D. Kaempfer, form a certain cycle connected with the First Sonata by Bachianism. Conclusions. Biedermeier's approach manifests itself, both in small and large forms, in the form of emphasised direct quoting from other authors' texts, which are marked by the canonicity of aesthetic and ethical meaning and combined with spiritual texts due to the avoidance of the theatrical procedurality of the composition. Each of Chopin's Sonatas, despite a direct quote from the Invention of I. S. Bach in the First, contains "Bahianisms" as a thematic and compositional embodiment in order to demonstrate loyalty to the adopted high ideal. Each of the finales of the Sonata (especially clearly – in the Second one) presents something figuratively and semantically independent in relation to the previous parts, building a "cadenceless" ending as a "step into Infinity".