National components in chamber-instrumental compositions by M. F. Gnesin and their realization in performing practice

The article considers examples of the use of multinational folklore in M. F. Gnesin`s chamber-instrumental compositions: from direct quotation and inclusion of musical components characteristic of the folk tradition to the creation of original compositions that generalize national character. Gnesin's statements are given, reflecting his position on working with folklore material. Comparing compositions in which national components are designated in the program with non-programmatic ensemble works reveals several common features in the nature of the presentation of the musical fabric, which gives performers the key to reading Gnesin’s works.