Intermezzo by Johannes Brahms Op. 119 No.3: nonclassical trends in music of late Romanticism
This article analyzes the intermezzo by J. Brahms Op. 119 No.3 for determining the nonclassical trends within the structure of musical fabric and form-making principles in this composition. The research employs the method of holistic analysis, which implies examination of the peculiarities of harmony, texture uniqueness, thematic processes, and formative patterns in the intermezzo by J. Brahms Op. 119 No.3; the elements of comparative analysis (juxtaposition of the form-making principles in this composition and classical works, as well as of interpretation of the reprise of the three-part form in the intermezzo by Brahms Op. 119 No.3 and Nocturne by Chopin Op. 48 №1). The scientific novelty lies in revealing the nonclassical trends in the music of J. Brahms, namely homogeneity of the sound fabric, low degree of differentiation of relief and background in the texture, absence of the common forms of sound and passive fragments in musical form. The author determines the conceptual proximity of Brahms' principles of working with musical material with the method of interfusion of the object and space that gained popularity in painting of the early XX century. The acquired results allow concluding that in the intermezzo Op. 119 No.3, J. Brahms implements a number of nonclassical principles of working with musical material, which anticipate the discoveries of the composers of the Second Viennese School (in particular, Webern). The presented materials can be valuable for further study of the compositions of J. Brahms, various theoretical aspects of music of the turn of the XIX –XX centuries, as well as performance and pedagogical practice.