On the question of the dialogue of artistic systems: Largo appassionato Beethoven’s Sonata no. 2 in A. I. Kuprin’s story “Garnet bracelet”
The article offers a review of A. I. Kuprin’s novella “Garnet Bracelet” in dialogue with the artistic system of the musical text indicated in the epigraph of the novella - Largo appassionato of Ludwig van Beethoven’s Second Piano Sonata. The point of view on the reflection of the entire three-part structure of the Second Sonata in the story has been revised, a different view of the musical fragment of the second part of the sonata, reproduced in the first edition of the story in the almanac “Earth” of 1911, has been proposed. The involvement of all known musicological studies and performing interpretations of Largo appassionato allows us to identify multiple characteristics of a musical work that correlates with the text of the story: the composer's innovation in the interpretation of the slow part of the sonata form, a combination of antonymic elements, drama, rondo as the basis of the composition, the chorale character of the theme in a minor referring to the Easter hymn, caution and delicacy of the bass part of the main theme, conducted in staccato, the union of two voices in the last refrain, symbolizing their harmony and unity in the high register and sophistication of the rhythmic pattern. All these characteristics of Beethoven’s Largo appassionato fully correspond to the general mood of the story and its significant semantic details. Only in the dialogue of the text of A. I. Kuprin and the music of L. Beethoven can the creative intentions of the writer, who epigraphed the need for this dialogue, be fully realized.