Interpretation of the sonata form in the first part of Piano Sonata No. 4 a-moll of Anton Rubenstein

In the article is considered the author's treatment of the sonata form by Rubenstein A.G. on the example of the first part of the sonata a-moll, also is given a short characteristic of the activity of the outstanding Russian composer, pianist, teacher, public figure. Authors of the article define the place of this genre and this work in the context of composer's creation - note the influence of Beethoven traditions in lyrical and dramatic interpretation of the genre. The interest to the first part of the sonata is connected to the fact that it acts as ideological, thematic and figurative grain of the whole cycle. As a methodological basis of analysis of the form of the sonata, authors choose the principle offered by U.N. Tulin and designed by him as "dynamic pairing". Having considered all sections (exposition, development, reprise, code) and components of sonata form (main party, connecting party, side party, final party, methods of development, tonal design and others), authors make conclusion about careful realization of classical traditions in interpretation of the form and filling it out with romantic images¹⁶.

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