The poetics of chamber instrumental works by composer Margarita Ivanovna Kuss.

Vishnevsky Boris Aleksandrovich ORCID: 0009-0005-5133-8380 lecturer; Department of Orchestral Conducting; Moscow State Institute of Music named after A.G. Schnittke postgraduate student; Academy of Choral Art named after V.S. Popov 123060, Russia, Moscow, Shchukino district, Marshal Sokolovsky str., 10 vishnevsky.borris@yandex.ru

In the world of art, where the boundaries between its various forms are constantly blurring, and new trends and trends are emerging with surprising frequency, the question of how musical works are created remains relevant. In particular, in the musical field, where tradition and innovation intersect, it is important to understand what poetics is for a composer.

Poetics is not just a set of rules or formulas, but rather a philosophy of creativity that defines how a composer perceives the world and how he expresses his ideas through music. It is associated with aesthetics, philosophy, literature, and other fields of knowledge, forming a unique perspective on art.

This article will examine the poetics of chamber and instrumental compositions by composer Margarita Ivanovna Kuss, who is one of the representatives of the Moscow School of Composition in the second half of the 20th century. Her work, which is one of the many unknown "signs" of music from this period, is distinguished by its deep philosophical content, emotional intensity, and masterful use of musical expression. Russian composer, People's Artist of the Russian Federation, professor at the Tchaikovsky Moscow State Music University, Roman Semenovich Ledenev, "loved her music for its authenticity, naturalness, and respect for Russian traditions." He believed that Margarita Ivanovna "spoke her own language."^[1] Honored Artist of the Russian Federation, art critic and documentary film screenwriter Andrei Andreevich Zolotov recalled: "I'm like one of her contemporaries who had the joy of communicating with her.… Not close, I won't exaggerate... But she came into my life. We often met at Georgy Vasilyevich Sviridov's, and I can attest that Sviridov respected her very much. Very. And he respected her music, respected her as a person. I often somehow waited for some kind of her response to my writings. I can tell you this in confidence, I have witnessed it many times. As, however, Roman Semenovich Ledenev and Vladimir Ilyich Rubin – they all said: "Rita Kuss."^[2]

Personality sketch

Composer, member of the Union of Composers of the Russian Federation, Honored Worker of the Russian Federation Margarita Ivanovna Kuss (1921-2009) was educated at the Music College at the Moscow Conservatory and at the Moscow State Tchaikovsky Conservatory. Professional studies at the time of her conservatory studies with A.F. Gedike (organ), V.Ya. Shebalin (composition) and D.D. Shostakovich (orchestration) had a significant impact on the formation of her style and timbre thinking. Thus, in her chamber-instrumental compositions, the beginning of the song makes it possible to emphasize the beauty of the string timbre and its sound colors, as well as the rich instrumental nature, vividly felt from the first bars of the compositions. Without referring to specific quotations from folklore sources, without engaging in stylization and reconstruction, the composer fully conveys the national character of his music. This is achieved by focusing on the structure of the melody, searching for a bright nationally colored intonation. Russian composer Vladimir Fedoseev, recalling M. Kuss, stated: "She wrote music that reflected our way of life and the folk traditions of the Russian people... she knew and loved it."^[3]

Margarita Ivanovna Kuss's creative baggage includes works for symphony and folk orchestra, chamber and vocal music, as well as arrangements of folk songs.

Among the performers of Margarita Kuss's works were legendary musicians, recognized masters of the national performing school, who became the pride of the national stage. These are the conductors of E. Svetlanov and V. Fedoseev, violinists N. Shkolnikova, E. Chugaeva, I. Bochkova, pianists M. Ermolaev, D. Galynin, A. Sheludyakov, T. Rubina, Y. Muravlev, singers A. Vedernikov, Z. Dolukhanova, M. Miroshnikova, Ruzanna and Karina Lisitsian. During the composer's lifetime, her works were performed in the Large and Small Halls of the Moscow Conservatory, broadcast on the radio, performed at concerts of the Union of Composers, as part of the Moscow Autumn Festival, and were also included in the mandatory programs of the international Glinka and Tchaikovsky competitions. The composer's works were also in demand abroad — in Germany, the USA, Hungary, Switzerland, Austria, Spain, the Netherlands and other countries.

Margarita Kuss's chamber and instrumental compositions are of particular interest to music researchers and connoisseurs. They reflect her unique style and creative manner, which were shaped by various factors, including personal experiences, cultural traditions and modern trends in music. Margarita Ivanovna's chamber instrumental work is represented by three violin sonatas (written in 1963, 1974, and 2002), a trio for piano, violin, and cello (2001), and a poem for violin and piano (2004).

To date, Kuss's chamber-instrumental compositions have not been the subject of musicological research, even in general terms.

Poetics: a thread connecting with tradition

I.F. Stravinsky, speaking about musical poetics, emphasized that "we do not consider music as an excuse for pleasant dreams" ^{[8, p. 172]}. For a composer, poetics is a set of principles and techniques that define his creative method and style. It includes a selection of genres, forms, themes, images, expressive means and techniques. Poetics reflect his worldview, aesthetic views and artistic preferences. It manifests itself in the features of musical language, harmony, melody, rhythm, texture and other elements of the composition. At the beginning of the 20th century, when many composers began to perceive the language of traditional music as having exhausted its expressive possibilities, the process of forming new aesthetic paradigms began. This led to a transformation of the musical tradition and to a rethinking of the role of the "classical" musical language. In the following decades, the circle of authors critical of the new artistic "norms" expanded significantly. Among them are G. V. Sviridov, B. I. Tchaikovsky, R. K. Ledenev, V. Ya. Rubin, M. S. Kuss.

It should be emphasized that both the composer's early and mature works are completely free from the influence of Shostakovich's style, despite their close communication and Dmitry Dmitrievich's sincere admiration for his pupil's talent.^[4] Shostakovich "was a man of exceptional charm"^[5]. Not every composer has managed to preserve his individuality and not succumb to his influence, as well as solemnly "hang" this "toga" of the influence of a living genius in the "closet". But despite the fact that she was not Boris Tchaikovsky, Sviridov, Eshpai, she succeeded.

Kuss chamber music is characterized by a synthesis of traditional forms and modern compositional techniques. She draws on elements of neoclassicism, Expressionism and postminimalism, while maintaining a unique lyrical intonation.

The main feature of Kuss's music is its deep lyricism. Even in complex, multi-layered compositions, emotional expressiveness emerges through the density of sound textures. For example, in her Sonata for Violin and Piano (1963), one can hear a subtle dialogue between two instruments, where the violin symbolizes the "voice" of the human soul, and the piano — the sound environment reflecting her experiences and the surrounding emotional landscape. The composer masterfully creates musical images that combine contradictory feelings: tenderness and anxiety, joy and melancholy. She often uses leitmotifs to emphasize the inner drama of her works.

M. Kuss pays great attention to timbre as an important expressive means. In her chamber music, instruments often "talk" to each other, creating unique timbre combinations. For example, in her Trio for Piano, Violin and Cello, the piano is used to create a kind of "sonic lace", where each instrument retains its individuality, but at the same time organically fits into the overall fabric. Kuss's innovations also lie in her approach to texture. She often uses glissando and other advanced sound production techniques. These techniques are not an end in themselves, but serve to enhance the emotional impact.

The form of Kuss's chamber works often turns out to be unexpected. The composer actively experiments with traditional genre canons, enriching them with modern ideas. In her works, one can find both strict classical forms and free, associative structures.

For example, in the Second Sonata for Violin and Piano (a one-movement piece), a sonata, a complex three-part, contrast-composite form is mixed, where the traditional three-part structure serves as the basis for the development of a unique musical narrative. Here the composer organically combines a strict form and a rich palette of emotional states.

Another important feature of Margarita Kuss's chamber music is the influence of folklore traditions. In her works, echoes of Russian folk songs can be heard, as well as intonations characteristic of other ethnic cultures (Sonata No. 1). Kuss masterfully reinterprets folklore motifs, turning them into a part of the modern musical language. She doesn't just quote folk melodies, but integrates them into her original musical fabric.

Recalling the late chamber and instrumental works of M. Kuss, Professor of the Department of Composition of the Russian Academy of Fine Arts. The composer Andrei Ivanovich Golovin testified: "... now I will say, perhaps the most important thing, that I just began to be struck by her late work. She has achieved some unheard-of melodic sophistication. I'm going to tell you about it now, I'm not afraid of it, and I'm sure even that I told her that. She achieved a kind of Schubert shrillness in her melodies... I would say that with the beginning of the new century, a new branch has emerged, which every artist feels in his own way. This creative development has led to such... just creative revelations. It was a great privilege and happiness to get into Margarita Ivanovna's creative laboratory... Imagine, the composition begins, a solo voice sounds, another solo voice sounds, then the piano enters. And what should he join with? This is very important because there are three main actors on the stage... What kind of face will he show us? What does he bring? He plays... some very delicate "ta-ra-ta-ra". It's like nothing, but at the same time, yes, it's such a modest word. The door just opens a crack. And this is the feeling of a musical space in which these voices interact, an extremely huge space, and everything is very transparent. And at the same time, it's filled with some amazing shimmer and meaning, and it's very meaningful. This is the late Margarita Ivanovna. I repeat, I especially emphasize that these are her instrumental pieces from the piano."^[6]

Sonatas for violin and piano

The Sonata for Violin and Piano No. 1 in E minor consists of three movements. The sonata was first performed in the Small Hall of the Conservatory (see Fig. 1) at an evening of violin music by Evgeny Chugaev (1964). In 1965, the sonata was successfully performed in the Great Hall of the Moscow Conservatory (Nelly Shkolnikova – violin, Lyubov Yedlina – piano), as well as abroad (see Fig. 2).

Figure 1. - The concert poster. From the archive of M. I. Kuss. Published for the first time. Provided by V. I. Kuus

Figure 2. - Concert program. University of California, San Diego. 1966 winter chamber music series. From the archive of M. I. Kuss. Published for the first time. Provided by V. I. Kuus

In the context of musical poetics, the composer initially relies on classical forms, using traditional structures inherent in the sonata. These canonical forms become the basis for creating a musical fabric within which Kuss recognizes and reworks established traditions. However, despite the observance of traditional structures, the composer does not limit himself to their exact reproduction, but consciously opens up space for further changes and flexibility of form. This provides an opportunity to reveal more personal and original musical ideas, which is especially evident in her future chamber and instrumental works, where form becomes not only a structure, but also a tool for the deep expression of individuality.

The first part is Moderato – lyrical. The part is small and concise; the main and side parts are of the same type. The exposition is followed by a small elaboration and a condensed reprise. The second movement, Allegro molto– is written in the form of a rondo sonata. The music of this part is cheerful and cheerful. The third part – Andante – goes on without a break after the second part. It is written in the form of free variations. The nature of her music is restrained, thoughtful. At the end of the finale, a kind of semantic reprise of the entire sonata begins. So, before the coda, there is a climax from the first part, which now sounds more dramatic. It is followed by a very quiet coda, echoing the mood of the beginning of the first part. She is deep and focused. Some of the themes of this composition are intonationally close to urban songs.

The second sonata for violin and piano was written in 1974. It was first performed in the Small Hall of the Moscow Conservatory in 1975. Subsequently, she was also performed abroad (see Fig. 3). The first performers were E. Chugaeva (violin), Y. Muravlev (piano).

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Figure 3. - Concert program. Mittwoch, 21. Oktober 1981. Maxim Gorki Theater. From the archive of M. I. Kuss. Published for the first time. Provided by V. I. Kuus

In the musical poetics of the Second Sonata, there is a continuation of the philosophical, aesthetic and ideological-figurative searches inherent in neo-Romanticism as a musical trend, which, unlike early Romanticism, is focused on rethinking and transforming traditions in the context of modern cultural and aesthetic realities. Neo-Romanticism strives to integrate emotional expression and hermeneutic depth, while simultaneously integrating elements of modernism and experimentation with form and sound material, which allows the composer to explore new horizons of expressiveness while remaining faithful to the romantic idea of subjective experience and aesthetic reflection. The second sonata is a vivid example of such a synthesis, where traditional forms and genres are transformed in accordance with the search for a new synthesis of the arts.

One of the main structural principles of the work is the one-part form, which nevertheless retains elements of the complex drama characteristic of the cycle and is a deliberate rejection of the classical multi-part structure. The one-part form here acts as a means of creating dramatic dynamics, where cardinal transformations of thematism during the development process provide a sense of continuous development and plot evolution.

Figure 4. - M. I. Kuss. Notes. From the archive of M. I. Kuss. Published for the first time. Provided by V. I. Kuus^[7]

This allows you to move away from the stereotypes of the traditional form, while maintaining internal logic and tension. Within the framework of one musical block, significant changes in timbre and harmonic material occur, and musical images are isolated into independent sections, which can be considered as a manifestation of the principles of polyphony and counterpoint.

This approach is characteristic of the lyric-dramatic subspecies of the one-movement sonata, which preserves the basic dramatic principles laid down in Liszt's works, but adapted to the new requirements of neo-romantic aesthetics. In contrast to the stricter canons of the classical sonata, there is a tendency to conciseness, closeness and, at the same time, to a certain structural harmony. These characteristics give the sonata genuine intimacy and psychological richness; at the same time, its musical images are subjected to deep psychological interpretation, which fully corresponds to the trend of psychologization of musical material characteristic of neo-romantic music.

The sonata is full of contrasts that create tension and ambiguity. The predominance of the violin part over the piano is an important indicator of its leading role in the context of an expressive and virtuoso musical line. The violin part has a high technical complexity and virtuosity, demonstrating not only the mastery of performance, but also a deep emotional content. This virtuosity correlates with the genre characteristics of the concert, where the soloist gets the opportunity to demonstrate his technical and artistic abilities, in particular, in the cadence preceding the reprise. This moment, referring to the concert tradition, emphasizes the form of dialogue between the soloist and the accompaniment, which is an integral element of musical drama.

Special attention should be paid to orchestral thinking, which can be traced in the piano part. Despite the chamber composition, the piano performs not only the role of accompaniment, but also actively participates in creating the context of the work, realizing multi-layered harmonic structures and complex textures. The interaction of the piano and the violin has the character of interpenetration, where the piano provides a rich harmonic palette, and the violin reveals this palette through virtuoso performance. The orchestral texture of the piano, with its rich harmony and dynamic contrasts, creates a sense of depth and breadth of sound, characteristic of a large orchestral composition.

Thus, the Second Sonata for Violin and Piano is a significant example of neo-romantic musical poetics, where the synthesis of traditional forms and innovative elements creates a work that is simultaneously the result of the transformation of classical genres and the search for new expressive means. Turning to the one-part structure and concert techniques, the composer demonstrates a high level of dramatic intensity, virtuosity and psychological depth characteristic of neo-Romanticism as a trend that strives for new forms of expression through harmonic, structural and thematic transformation.

The third sonata for violin and piano was written in 2002. It was performed for the first time in the Concert Hall of the Union of Composers (see Fig. 5). The first performers were professors of the Moscow Conservatory I. Bochkova (violin), G. Shirinskaya (piano).

Figure 5. - The program of the concert of the House of Composers. Published for the first time. Provided by V. I. Kuus

The work consists of three parts, each of which has its own characteristics from the point of view of musical poetics. The predominance of the personal and psychological principle is noticeable in the system of images, which is primarily revealed in the violin part, which occupies a dominant position in the ensemble, and its role in the work can be considered leading. In the context of the relationship between the traditional and the innovative in the Sonata, it is necessary to highlight not only the preservation of the classical foundation, but also the renewal of romantic concepts. In this work, romanticism manifests itself in acute psychologization, which finds its embodiment in the interpretation of the violin part: its expressive and thematic dominance over the piano creates a special emotional atmosphere that combines both elements of individualistic interpretation and romantic emotional saturation.

In addition to the standard choice of tonal center, the principles of concretization of musical images can be identified in the structure of the sonata. Thus, examples of solo episodes resembling micro-cadences are especially pronounced in the third part of the work, where the "score" acquires a special textural and harmonic saturation. This is observed in numerous solo passages, which create the effect of continuous renewal of the musical fabric.

The cyclical nature of the composition is realized through a harmonious tonal structure: the first part in g-moll, the second part in H-dur, and the third again in g-moll. An additional unifying factor is the attacca between the parts, where the material of the previous section not only flows smoothly into the next, but also prepares it, creating an organic transition and enhancing the sense of wholeness. This helps to strengthen the perception of the unity of all parts of the work, despite their structural variability.

From the point of view of formation, the work can be considered unique, since it departs from canonical norms and standard musical schemes. The transition from the three-part form in the first movement, with elements of the sonata form, to the one-part second, and then to the synthetic combination of the first two movements in the third section, creates new conditions for the perception of musical logic. The first movement can be perceived as a sonata form with atypical (non-normative) abbreviations (skipping the main theme in the reprise), or as a complex three-part form combining elements of sonata form and contrast-composite structures ^{[10, p. 354]}. The second movement is essentially a continuous form with a varied development, while the third is a revised sonata form with the exclusion of the main theme in the reprise.

At the same time, the work can be considered as a rare combination of mixed forms, where the attacca between the parts in combination with a "short" timekeeping (about 14 minutes) creates a sense of structural integrity. In this context, the sonata becomes a "large sonata form" (ABA), where the reprise of the third movement is a cross between the main theme and the preparatory material of the first movement. This technique contributes to the stylistic and structural coherence of the entire work, creating a sense of organicity.

The composer's approach to the musical fabric of the work as a whole enriches it with poetry and emotional intensity. The free interpretation of episodes and their development, the absence of strict limits of compositional technique and craft approach create a lively, authentic atmosphere filled with sensuality and sincerity. Each part of the work expresses an active creative principle and a lively, real feeling, which is the basis of the musical poetics of the entire work.

The melodic and rhythmic material in the parts of both instruments develops end-to-end, where the elements are combined and divided into melodic fragments, especially at the culminating points of the piece. This creates the tension and depth characteristic of the polyphonic fabric, which unfolds in subtle contrapuntal interactions. From the point of view of shaping, Kuss creates a musical canvas that is perceived as an integral and stable structure in which melodic thematism is filled with echoes of song, which reflects her experience in vocal music.

It is important for the performer to note that an outwardly simple but deeply structured sonata requires careful study, since its semantic integrity and musical structure change depending on the interrelation of the elements. The structural development of a piece is often not obvious, and the elements exposed at the beginning acquire new meaning as they relate to other parts of the composition. Thus, the content of the work is not reduced to a simple summation of parts, but the constant updating of the material implements a dynamic, endlessly developing melodic line.

Ultimately, Margarita Ivanovna Kuss's THIRD Sonata integrates classical forms and compositional fantasy, which leads to the creation of a work that not only preserves structural traditions, but also implements them in a new context. The free interpretation of forms, emotional tension and stylistic flexibility turn the sonata into a vivid example of the musical poetics of neo-Romanticism, reflecting the composer's new artistic pursuits and creative ideas.

Analysis of the poetics of the Third Sonata for Violin and Piano

Part I. The main emotional coloring of sonata No. 3 is a pronounced romanticism that permeates the work from the first bars, more precisely, from the first monologue introduction of the violin. This fragment sounds like a call, like a kind of musical gesture that intuitively prepares the introduction of the piano and the appearance of the main theme (see Fig. 6).

Figure 6. - M. Kuss. Sonata No. 3 for violin and piano. Fragment: vol. 1-15

The lyricism of the violin in the main part is expressed in muted dynamics, with shades of song, where intonations come to the fore, reminiscent of the singing of the third tone. The melody, rotating around this axis, creates a feeling of endless attempts to break the vicious circle. Music, therefore, is a metaphor for a painful sensation that strives for resolution, but constantly returns to the starting point. Special attention should be paid to the fact that the main part sounds exclusively on the tonic organ point of sol, which emphasizes the conceptual limitation and focus of the thematic material. The entire piece turns out to be tied to this musical axis, and the thematic content is focused exclusively on the violin part. A paradox arises here: tonal and textural limitations, which at first glance restrict freedom of compositional thinking, actually enhance expressiveness. In both philosophy and music, the depth of freedom directly depends on the tightness of the framework and the severity of the barriers, which is revealed through intense and virtuoso overcoming of these limitations. The stricter the restrictions, the more fully and fully the freedom of musical thought is manifested. "The function of the creator is to sift through the elements provided by his imagination, because it is necessary for human activity to define its own boundaries. The more art is controlled, limited, and elaborated, the more free it is" ^{[8, p. 201]}.

Throughout the first and second parts of the work, the piano performs the function of accompaniment (occasionally intonations and turns from the violin part flow into the piano, like a dialogue), the background on which the violin soloes, revealing its semantic picture. Nevertheless, the piano is an equal participant in the dialogue, creating harmonic depth and textural richness.

In c. 2, where the development of the second sentence begins, the theme of the main part rises to a third, which serves as a development of the primary idea, expanding the range of its sound beyond the first octave. This phrase ends in b, which the composer harmonically interprets as ais, thereby creating a link to the harmony of Fis-dur, within which the preparation for the side part unfolds. She is perceived as a fleeting, luminous, ephemeral image. The music creates an atmosphere of deep lyrical experience, permeated with philosophical and contemplative moods and refined poetic nuances. The theme of the side part is revealed in the upper register, accompanied by a piano accompaniment consisting of sixteenth notes, which also undergoes a "rise" in its sound, as if trying to enter the figurative sphere indicated by the violin. It demonstrates its structural heterogeneity due to the periodic change of the meter, moving from bipartite to three-sided. This metamorphosis can be interpreted as an expressive element emphasizing the instability and ephemerality of the lyrical and poetic mood contained in the musical text.

The development begins with a harmonic bundle, in which dis is enharmonically equated to es, which is accompanied by a corresponding change of key signs into two flats. An important aspect is that the piano accompaniment contains an allusion (almost a quotation) to one of the episodes of the connecting section of M. Kuss's last symphonic composition "The Hidden Land", where this fragment was performed by stringed instruments. This overlap between the pieces creates an additional textural and stylistic connection, emphasizing contextual intersections in the musical narrative. This connection is more vividly and clearly manifested in the connecting part of the third part of the composition, where similar elements find their continuation and development, deepening the interaction between the various compositional layers (see Figs. 7, 8, 9).

Figure 7. - M. Kuss. The symphonic poem "The Hidden Land". Fragment: c. 31, vol. 5-7

Figure 8. - M. Kuss. Sonata No. 3 for violin and piano. Part 1. An excerpt from the beginning of development: c. 6, t. 6-7

Figure 9. - M. Kuss. Sonata No. 3 for violin and piano. Part 3. An excerpt from S.P.: c. 28, vol. 5-7

The development is characterized by tonal instability, while it is based on rhythmic and melodic elements borrowed from the exposition. The violin part loses its melodic clarity, transforming into a dramatic moving figure of eighth notes, which, combined with the subsequent disappearance of the piano accompaniment, creates an image of deep isolation, saturated with the emotional coloring of a desperate desire for resolution. This musical transformation expresses not only a loss of certainty, but also a dramatic tension conveyed through elements of rhythmic fragmentation and the disappearance of harmonic support.

The reprise restores the tonal center of g-moll and is based entirely on the thematic material of the main part, the melodic turns of which organically penetrate into the texture of the piano part. Nevertheless, the piano part in the reprise largely retains its identity with what was presented in the exhibition, practically repeating the original accompaniment. It is important to note that, as in the exposition, the reprise is fully revealed at the tonic organ point, which enhances its coherence with the original harmonic structure and emphasizes the return to its original stable state.

The code in c. 14 is developed exclusively in g-moll. The violin, repeating a seconds-long descending intonation, gradually comes to the fifth stage of tonic triad, creating a feeling of completeness and fatigue. The fis note, which appeared in the piano accompaniment, acquires the role of a kind of "alarm bell", anticipating the subsequent chorale episode, which organically passes into the next movement through the attacca principle, thereby creating semantic and harmonic continuity.

Part II. The second part of the work is an end-to-end section written entirely in the key of H-dur. The dramaturgy of this part is based on the author's characteristic contrast between dynamic activity and a state of inner balance. The second part is the polar opposite of the first in its emotional and sound content. The slowly unfolding introduction, majestic and solemn chorale chords, possessing deep nobility and sonic sophistication, set not only the tone, but also the harmonic organization of the entire section. These chords create an atmosphere of peace and spiritual concentration, as if plunging into a space of inner silence.

The variable principle of development applied by the composer serves to introduce vivid dramatic shades into the musical fabric, felt in the intensifying dynamic accents. The accompaniment gradually expands, changing its metric and rhythmic structure, which creates the effect of time dilation, as if the musical space is stretched in a kind of meditative peace. By forcing the listener to listen to each chord, the composer deepens the concept of meditativeness (see Fig. 10).

Figure 10. - M. Kuss. Sonata No. 3 for violin and piano. Part 2. Fragment: c. 22, vol. 2-4

Next, the piano adopts the movement and sound fabric of the solo violin, which sets out the fifth figures, including the notes ais and dis. By applying an enharmonic substitution of these notes to b and es, the composer smoothly and seamlessly takes the listener into the third movement of the sonata, creating the effect of a "color palette" where musical changes become not only a harmonic, but also a semantic continuation.

Part III. In the finale of Sonata No. 3, the solo violin and piano merge into an inseparable unity, creating a holistic, harmonious sound. The third part is a kaleidoscopic interweaving of recognizable episodes and motifs from the first two parts (the theme of the main part of the second part, the code of the first part, as well as development elements). Emotional saturation is enhanced by expressive manipulation of registers, their contrasting juxtaposition, as well as changing textural solutions, which creates dynamic depth and richness of texture.

The main part is an ostinate figuration unfolding in the violin and piano parts, creating a dynamic and timbre tension that seems to twist the musical space, forming a stable continuum structure. These figurative motifs periodically undermine the metrico-rhythmic stability, giving the development an element of unpredictability. After the connecting part, based on the syntax of the beginning of the development and rhythmic figures, a side part, sounding in gis-moll, enters c. 30. The preparation of this episode consists of an eight-act introduction based on the ostinate figures of the main part, where the texture of the piano gradually becomes heavier, increasing its textural density.

The theme of the side part enters the highest register of the violin, radiating a penetrating and expressive sound, which, as if tearing through the weighted acoustic space of the piano, creates a contrasting and vivid image. It is a modification of the material of the main part of the first movement, while retaining common thematic and rhythmic elements. This process of merging textures and motifs can be described as a dialectical unification of musical images, creating a harmonious and timbre unity.

The final batch appears as a weakening of the texture. Her musical movement is outlined through a solo violin, which smoothly modulates from ostinate figures through the general chord sound of E to C-dur, which becomes the starting point for the beginning of development. This move symbolizes the transition from rhythmic tension to the image of a certain spiritual height, immersing the music in a state of transcendent freedom and expressiveness.

The development, based on the materials of the second part, recreates the familiar "chorale" chords, again sounding in low tessitura, which creates an atmosphere of deep contrast. The metric structure is transformed into a three-dimensional one, which emphasizes the new dynamic coloring. When the violin enters the lower register, the piano accompaniment abruptly moves to the upper tessitura, timbering and spatially changing the relief of the sound, like high angelic choirs descending from heaven. This contrast makes us perceive the episodes as the embodiment of the equirithmic images of choral prayer. The melodic line and chord shapes are perceived as waves of sonority that rise or fall, as if stretching out from a promising depth, or hover in projections, creating the illusion of layering. In this context, music not only conveys an artistic feeling, but also refers to a religious concept — the feeling of God's omnipresent presence, regardless of time and space, which also emphasizes its meditative and transcendent nature (see Fig. 11).

Figure 11. - M. Kuss. Sonata No. 3 for violin and piano. Part 3. An excerpt from the development: c. 36, t. 1-5

In c. 32, the accompaniment undergoes significant changes, sinking into the lower register, where octave unison sounds, repeating fragments of the melodic line of the violin, which creates contrast and enhances the depth of sound. These ostinate figurations, returning to the material of the exposition, slowly but surely bring the composition to cadence, building up dramatic tension and preparing the listener for the climax. Here again, there is an alternation of meters, a contrast between three- and two-part rhythmic structures, which adds an element of dynamic instability. The violin part is saturated with double notes, and the synthesized development of the material leads to a climax – a furious second peak in the third octave on as and b. This moment is like a dramatic explosion when the inner tension finally breaks out. The emotional intensity inherent in these sounds feels like a powerful psychological crisis in which music exacerbates every emotion. At this nervously intense peak, two powerful piano chords (fff) collapse, like a thunderclap that bursts into the sound space, destroying the previous balance. Their lingering harmony produces the effect of slow time, in which each sound cuts into consciousness like a lightning strike. After that, the composer prescribes a separate line for the last beat — the B-flat of the first octave, thereby adding a "counterpoint" to the previous storm and creating the effect of a long-awaited discharge, like the last spark that goes out in breathless silence, leaving a trace of powerful sound settling in harmonic resonance.

The reprise, built entirely in the basic key of g-moll as the embodiment of archetypal harmony, immerses the listener in a continuous sound stream. In this context, the theme of the side part (or the main part from the first part) returns, but now it sounds different — like the image of a lonely wanderer wandering in a space of lost meaning. The violin, sounding sul tasto, seems to become a disembodied voice, slipping away in a shaky acoustic environment. Its sound gives the whole texture ephemerality and lightness, as if the sounds are lost on the edge of what is audible. Despite the transparency of the sound fabric, there is a feeling of increasing emptiness, the rhythmic orderliness of which creates the effect of blurring time and expanding space. The consonant chords, gathered by the prolonged sound of the French leagues, give the palette of the piece a deeper and more multilevel coloring, saturating it with new meanings and contexts.

The melodic context of the coda (c. 51) repeats the main motifs that sounded in the first movement, but without the previous dynamics of the piano figures. They are presented as single, carefully articulated sounds that form a sound space filled with a sense of detachment. The piano acquires the role of the creator of this universe, gradually gathering these disparate sounds into a harmonious and thoughtful unity, going into the space of eternal farewell. In the center of the musical drama, the second intonations become more acute, whose unfolding sounds like an endless harmonic pulsation that continuously resolves into a fifth tone. The "melancholic" accents on the fis, barely noticeably coloring the last chord of the piano, become a kind of timbre focus, bringing together the entire lyrical and dramatic picture of the work, which in its finale tends to completion, like going into an invisible shadow from which they do not return (see Fig. 12).

Figure 12. - M. Kuss. Sonata No. 3 for violin and piano. Part 3. The code. Fragment: c. 51, vol. 1-13

This world, misty and narrow

Agitations and vanities wrapped in a veil, –

He's gone! – Like a golden ray of sunshine,

The heavenly ether touched me...

And he scattered the dust of the earth... ^{[9, p. 50]}

Conclusion

One of the main objectives of this article is to draw attention to the work of Margarita Ivanovna Kuss, whose name deserves wider recognition in both the scientific and performing communities.

An analysis of her three sonatas for violin and piano reveals the key features of the author's poetics, which combines adherence to classical traditions, pronounced individuality and a desire for artistic experimentation.

The works of M. I. Kuss demonstrates the organic combination of classical formative principles with expressive means of music of the XX–XXI centuries. The traditional sonata form in her compositions is never dogmatically used: it adapts to a specific artistic task, undergoes transformations, varies, and includes elements of one-part and three-part structures, as well as features of concert drama. As a result, Kuss's sonatas go beyond the traditional chamber genre, becoming detailed dramatic narratives saturated with inner logic and semantic depth.

The composer pays special attention to intonation expressiveness, melody and timbre organization. Even in episodes that are complex in texture and harmonic language, Kuss retains the clarity of intonation and the subtlety of psychological characteristics. Her individuality is manifested in the use of characteristic intonation formulas, in the introduction of the principle of dialogical instruments, in the ways of organizing a musical space where each voice is autonomous, but at the same time included in a single artistic fabric.

An essential component of Kuss's poetics is deep lyricism, often tinged with philosophical reflections. This lyricism is devoid of superficial emotionality and has the character of an internal monologue. Through him, complex mental states are revealed, which gives the composer's music significant psychological depth. The elements of folklore intonation, especially in early writings, are not presented in the form of direct quotations, but are organically integrated into the modern author's language.

The practical significance of the analysis of the Third Sonata lies in the possibility of a deeper understanding of the neo—Romantic trends in Russian music of the late XX - early XXI century, as well as in identifying ways to integrate traditional and innovative expressive means. One of the key analytical results was the discovery of new principles of the sonata cycle, where each movement not only continues, but also conceptually rethinks the material of the previous one, developing images and enhancing drama. This is evident both at the intonation-thematic level (the return and transformation of motifs) and in the general architecture of the form (the movement from closure to conditional transcendent resolution). The maturity of compositional thinking, combining experience, artistic freedom and the power of expressive expression, is particularly evident here.

From a theoretical point of view, the analysis contributes to the expansion of ideas about the typology of musical form, clarifying the concept of a lyric-dramatic one-part structure, as well as understanding the relationship between form and content. In addition, it allows you to trace the evolution of the author's musical language based on the principle of thematic transformation.

Thus, the chamber heritage of Margarita Kuss represents a significant contribution to the development of Russian music in the second half of the XX — beginning of the XXI century. Her works illustrate, on the one hand, the dialogue with tradition, and on the other, the search for new expressive solutions, demonstrating how an individual compositional style is able to fuse genre and formal schemes, filling them with new content. Kuss's music is not only a subject of academic interest, but also a full-fledged artistic phenomenon that retains relevance and impact on the modern listener.

^[1] R.S. Ledenev's words about M.I. Kuss, recorded by her nephew and the curator of the archive, V.I. Kuus (the spelling of the family name varied). From the archive of M.I. Kuss.

^[2] From the interview of the author of the article with A.A. Zolotov (01/21/2025). Published for the first time.

^[3] From the interview of the conductor of the Mariinsky Theater Yu.I. Demidovich with V.I. Fedoseev in March 2021.

^[4] According to the memoirs of colleagues and contemporaries who had known her for decades, Shostakovich treated her with special warmth and attention. The archive of M.I. Kuss contains more than fifty letters of D.D. Shostakovich addressed to her, as well as his musical editions with inscriptions.

^[5] From the interview of the author of the article with A.A. Zolotov.

^[6] From the interview of the author of the article with A.I. Golovin (30.06.2023). Published for the first time.

^[7] M.I. Kuss wrote: "Sonata No. 2 (a-moll) is a one–movement, created in 1974, written in a form freely interpreted by the author. Continuous-emotional development alternates with lyrical and contemplative episodes. The sonata is dedicated to the first performer E. Chugaeva." From the archive of M.I. Kuss. See fig. 4.