Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle

The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research. 
The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research. 
The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods. 
The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure. 
Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out. 
The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.