The genesis of the intermezzo genre is studied in the work; the term intermezzo is considered as a concept and phenomenon; including in relation to functionally related but not identical genres of interludes and interludes. It is determined that the intermezzo genre is quite ambiguous and can be used as a part of a cyclic composition, as well as be an independent piece. However, the most complete intermezzo shows its genre qualities within the cycle - both monogenre and multigenre. A monogenre cycle is a compositional-dramatic whole consisting of pieces with the same genre designation, connected on the basis of paradigmatic relations. The components of the multigenre cycle are pieces of different genre names, which are coordinated on the basis of syntagmatic connection.A general definition of the intermezzo genre is proposed: it is a rather complex characteristic piece that appeared in the Romantic era and was designed to express a very diverse picture of human experiences. Intermezzo was originally associated with the compositional function of switching, removing, interleaving the main sections of the material, which occupied the "weak time" in terms of content.
It is analysed R. Schumann's cycle of intermezzo op.10 as the first example of the embodiment of the genre in a separate work. The cycle is determined to be mono-genre and contains six pieces, which are in the ratio of a single fused variant-variation composition, united by a leitcomplex. It is determined that the compositional structure of Schumann's intermezzo is based on three parts, where a section called "alternativo" is used as the center of symmetry. Each of the intermezzo is associated with a specific genre.
There are outlined the specifics of intermezzo in the creativity of J. Brahms. His intermezzos continuing the Schumann’s tradition, are also part of the cyclical composition. J. Brahms' intermezzo cycles are mostly multi-genre, which indicates on the one hand the affinity of intermezzo with other genre phenomena (ballad, capriccio, fantasy, romance, rhapsody), and on the other - the preservation of its intermediate function. The exception is the cycle op.117, which is built, as in Schumann, exclusively from intermezzo. It is emphasized that in the intermezzo of J. Brahms the baroque tendency of exposing the material as a "core" and the further development of the principled "unfolding" of musical thought is clearly evident. However, all this takes place on a romantic basis, resulting in the enrichment of harmonious language, the individual texture of each play, their form.
It is noted that during the four opuses J. Brahms turned to the three-part forms, individually interpreted in each case. In op.74 it is quite clear, symmetrical structures, in Intermezzo op.116 there is a complication of formative and harmonic and textural means. The culmination in the complication of forms is reached in Intermezzo op.118, where the most pronounced baroque tendency to unfold the musical material.
It is emphasized that J. Brahms' intermezzo is marked by the influence of genre synthesis, which continues the traditions of Schumann's intermezzo. The genre-style peculiarities of all Brahms’ cycles are characterized and it is determined that the essence of Brahms's creative method was most clearly revealed in the genre of instrumental intermezzo.
