Jana Kramer - Whiskey

trends bringing G. together with the course of "Storm and Onslaught" in the literature. For all the importance that the composer had for emotion. utterances, however, he is far from exaggerating the role of feeling. Opening the way to the voice of the soul and heart, G. at the same time strove for a logically organized embodiment of the design, harmony, and thoughtfulness of the utterance. For the sake of this, G. in some cases turned to polyphonic. form (fugues in quartets op. 20, No 2, 5, 6) in the same way as L. Beethoven subsequently did. The composer's ability not to lose sight of the boundaries outlined by thought, lies in his superiority over F.E. Bach, so revered by him, whose influence on G. was most noticeable in these years. Stylistic. G.'s roll calls with Bach's work are especially pronounced in sonatas for fp. (D-dur, 1767; c-moll, 1771; F-dur, 1773), in the slow parts of the quartets - No. 2 op. 9 (c. 1769), No 5 op. 17 (1771) and others. However, F. E. Bach G. used the experience quite independently. Particularly fruitful was his commitment to thematic perceived by Bach. the unity of sonata allegro. G. developed techniques for modifying a single topic. The ability to detect embedded in thematic. material contrasting capabilities and create on their basis a multifaceted chain of transformations - a huge achievement of the composer.