New tendencies of genre evolution of romantic piano sonata: F. Schubert's Sonata E flat major D 568

The purpose of this work is to reveal the genre-stylistic specificity of Franz Schubert's Piano Sonata in E flat major, D 568 in the context of the genre evolution of the romantic piano sonata. The research methodology consists in the application of general scientific methods, as well as special methods of modern musicology: musicological and historical; source scientist; genre and style; generalising. The leading methods of work were musical-textological and structural-functional, aimed at identifying the main cyclical and stylistic features of Franz Schubert's piano sonata E flat major, D 568. The scientific novelty of the work consists in understanding Franz Schubert's new approach to the interpretation of the sonata cycle, which reflects the searches of the early romantic and reflects romanticism, and a thorough study of the composer's piano sonata in E flat major, D 568. Conclusions. It is proved that Franz Schubert's sonata in E flat major testifies to a new approach to the sonata cycle and genre evolution of the romantic piano sonata, which reflects romantic philosophy. This is already a four-part sonata, where only the second part differs tonally, the rest of the parts are created in the main key. The three parts of the cycle are written in different types of sonata form: the first part is in sonata form; the second part is in a three- to five-part form with sonata and rondal features; the finale is in sonata form with an episode instead of an elaboration. Many elements are characterised by polytheism and tonal determination. In the first part, connections and connecting constructions of the contrasting type, with which all the themes of the sonata form are combined, are of great importance. The second part of the piano sonata is the only one created in the minor key, which corresponds to the VI degree and brings a mournful but calm mood. The third part of the sonata is a fairly traditional Menuetto, written in the main key. The finale is characterised by polytheism, but not contrast, which complements the single lyrical and dance image.