THE MOLDAVIAN COMPOSER V. ROTARU AND HIS CHAMBER-INSTRUMENTAL WORK.

This article analyzes the piano Trio INO-3 V. Rotaru, its significance in the author's work, the basic style, the harmonic, rhythmic and inerprtative aspects. The connection with neo-folklore direction in music and traditional genres in Moldovan folk music is revealed, the synthesis of traditional folklore with modern composition techniques. This article assumes to define first of all value of the considered Trio INO-3 in the context of all area of chamber-instrumental music of V. Rotaru, as the last composition of the composer in this genre sphere. The article also focuses on the neo-folklore features of the composer's style and their harmonious combination with the classical traditions typical of the trio of Russian and Western European composers. As for the classical traditions, the Trio is a three-part cycle with a characteristic tempo dramaturgy: I. Moderato II. Lento e molto lamento III. Allegro moderato Since this Trio is the last in the cycle and was written shortly before the composer's death, the author's appeal to the genre of mourning Saraband in the middle part is of interest. As for the neo-folk style elements, they define the whole thematic, rhythmic and Lado - harmonic material of the composition. The article focuses on the Lado - harmonic features of all parts of the Trio, which are characteristic intonation formulas of Moldovan folklore: motives with II increased and decreased levels, motives with IV increased level, VI increased level, enriched with melismatics. From the point of view of rhythm, the composer relies on the rhythmic formulas of fast Moldovan dances, with variable meters and changing accents. The ensemble texture goes back to the classical traditions, which consist in frequent variation of thematism transmitted from one member of the ensemble to another, as well as in rich polyphonic techniques such as imitation, Canon and contrasting polyphony. In General, the trio INO3 is a concert composition with vivid figurative contrasts, which is worthy of being in demand in pedagogical and concert practice in our country and abroad