Chamber ensemble performance is one of the most difficult types of performing arts, as it connects musicians who are playing different instruments. Therefore, the process of training performers in the chamber ensemble class is very important.
In this article, based on a methodological analysis of sonatas for violin and piano, op. 79 F. Kuhlau, the tasks and the techniques are investigated which are typical for playing in a chamber ensemble. For example, the nature of sound production on the violin and piano, the difference and similarity of articulation, the ways to achieve sound balance, building phrasing, etc. And since the work of F. Kuhlau is not as widely known as the work of his contemporaries K. M. Weber and F. Schubert, familiarization with the chamber sonatas of this composer expands the horizons of young performers and reveals important aspects of work on the genre and stylistic features of the works of the early romantic period.
Detailed methodological recommendations of the author's work on forms, phrasing, unity of articulation, ensemble synchrony for performers to develop the appropriate tempo, metro-rhythm, prevalence, and performance plan of the works. The practical work on definition, artistic intent, and style is driven by the necessary skills, driven by the specific characteristic of the activity, taking into account the greater productivity of the work in the chamber ensemble class.
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