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4PIANO QUARTET IN THE RUSSIAN MUSIC: GENRE RETROSPECTIVE REVIEW
ABSTRACT. THE ARTICLE IS DEVOTED TO THE GENRE RETROSPECT REVIEW OF PIANO QUARTET IN THE RUSSIAN MUSIC. IN NATIVE MUSIC THE EVOLUTION OF A PIANO QUARTET PASSED THROUGH DIFFERENT STAGES: GENRE STABILIZATION AND RISING, TEMPORARY PAUSES AND FOLLOWING ACTIVE DEVELOPMENT. TRANSFORMATION PROCESSES TOOK PLACE ON DIFFERENT LEVELS: STRUCTURAL, INFORMATIVE, INSTRUMENTAL-TIMBRE DECISIONS, LEVEL OF REASSESS OF FUNCTIONAL ROLES OF INSTRUMENT-PARTNERS. INSTRUMENTATION OF PRINCIPLES OF EUROPEAN QUARTET LEADERS TOOK PLACE IN THE ROOT SYSTEM OF RUSSIAN PIANO QUARTET. NEVERTHELESS, IT DID NOT GIVE STABILIZATION OR COPY. THE STUDY OF A PIANO QUARTET SHOWED: THIS GENRE IS POSSIBLE TO ACCUMULATE THE LEANING STYLE TENDENCIES OF CHAMBER MUSIC OF DIFFERENT EPOCHS. IT'S OBVIOUS NOW THAT A PIANO QUARTET IS OPENED TO MODERN TIMES AND THE NEW COMPOSITIONS ARE THE PROVE OF THIS.
KEYWORDS: GENRE, HISTORY OF GENRE, ENSEMBLE WITH PIANO ACCOMPANIMENT, TIMBRE COMBINATION, CHAMBER MUSIC.
NAILYA SAMOILOVA
nellia056@gmail. com
PhD in Arts, Dean of Humanitarian-Creative Faculty, Orenburg State Institute of Arts Named After L. and M. Rostropovitch, Orenburg
The historical path of the chamber-instrumental art reveals the following important acquisitions: the diversity of the origins of ensemble culture (Baroque), the appearance of the normativity features (Classicism), the extension of shaped areas, often by software, the development of new forms (Romantism). The area of chamber and instrumental works in the movement from romantic vividness to pluralism stylistic manifestations of the XX century acquired many special features. The works for violin with piano went through the different phases of evolutionary processes. This fact has affected the presence in the structure of the compositions at different levels: content aspect, instrumental timbre, rethinking of the functional roles of tools partners, stable and mobile features.
However, throughout the development the piano quartet did not admit variations of timbre. Timbre stability appears as one of the properties of this delectable ensemble, normative compositions of which appeared during the period of classicism1.
In the XX century, as a leading tendency was delineated a tendency to free interpretation of the ensemble. Strong attraction to the variety of instrumental combinations, in which the role of detailed tonal letters found from the beginning of the past century.
Unconventional compositions featuring the piano appeared in previous musical eras, but as the exceptions, which were due to the specifics of artistic design. Here, the complexity of their writing was in the need composer of creating ensemble work around timbre "reef" in the form of an unbalanced conglomerate of strings and piano: strings did not have to act as a single timbre-trio and piano had to act only in the tracking function.
However, in the history of the genre, there are examples of instrumental compositions that exhibit the originality on the basis of appearance. The original example of this gives Requiem by D. Popper (1891), which was designed as an ensemble of three cellos and piano, where the role of the last is reduced to the textured and harmonic support.
In this connection, it should be noted that the choice of a specific value of the instrumental always had local or subjective circumstances. Often when creating a chamber works, the determinative role could play such a factor, as the presence of certain instruments as a source of stimulus (e.g., in the concert practice of salons). In addition, creative contacts or personal friendship of a composer with a particular musician, as a rule, have an impact on the timbre future of the play2.
1 The dominant role of the piano trio (to a lesser extent, the piano quintet role) determined rather quickly,. As A. Stupel: said "Perhaps there is a significant connection of concerto shine with the deepening of chamber music". [1]
2 For example, to the prominent Russian violinist L. Auer were dedicated: S. Taneyev - the Concert Suite, Op. 28, g-moll (1909), P. Tchaikovsky - "Melancholic serenade" for violin and orchestra, Op. 26 (1875), piano violin voncerto, Op. 35 (1878), violin concertos: A. Glazunov, op. 82 (1904) and A. Arensky Op. 54, a-moll (1901).
There is a hypothesis, where according to its quantitative parameters genre of piano quartet occupies an intermediate position between the small ensemble (duet) and orchestra3. However, we can offer the extension of the zone of small ensembles and even the inclusion of a trio quartet -stable and unstable compounds. The problem of docking and compatibility of piano and its partners timbres is due to the specifics of the tool in combinatory in this kind of ensemble4.
J. Brahms and S. Taneyev struck the similar position to the ensemble with piano. Both composer-pianists retained the following as a principle: soloing of stringed instruments and the main idea of timbre - the merge of strings with keyboard instruments into a single audio stream. So the analysis of the piano quartet by S. Taneyev confirmed in particular that the multicolor sound has become one of the main qualities of the organic nature of the entire ensemble.
The evolution of Russian piano quartet leads to the following conclusion: in the turn of the centuries (late XIX - early XX century) standards of classic and romantic style have established as the leading musical norms in the genre. The description of the style constants allowed to formulate the criteria that have been established in the succession of domestic piano quartets of the last third of the XIX century in relation to the first decades of the XX century.
Based on the fact that the persons (within the chamber genre), to the greatest extent influenced the style of the creative process of the apparent domestic composers, had become L. Beethoven, F. Mendelssohn, R. Schumann and J. Brahms, we highlight the main facts: the breaking of the creative principles of leaders of European Quartet did not lead to styling or copying in the phenomenon of Russian Piano Quartet.
On the contrary, to the turn of the centuries the very model of domestic Piano Quartet performs individual changes. This process has been associated with the expansion of the sounding of the "image of a Piano" (a term of L. Gakkel). The findings in the field of musical language (harmony, polyphony, texture and tone) contributed to the enrichment of color and sonorous possibilities of the ensemble.
By the beginning of the XX century, in this genre in Russia further development of the following sample factors can be stated:
symphonization of the form as an internal feature of the genre, providing an indispensable image-tonal relationship of the initial part and the final (S. Taneyev, G. Katuar, A. Rubinstein);
clear blurring edges of the form and its destabilization (G. Katuar);
tradition of saturation of thematism by the folk elements (S. Taneyev, M. Ippolitov-Ivanov, A. Rubinstein);
introduction of such meth of Russification of a piano quartet, as a special melody of voice-leading, melodiousness of the melodic syntax, diverse implementation of plagality, imitation of a bell (S. Taneyev, A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar);
support of the domestic piano quartet on the genre of game options of scherzo, penetrated by folk songs and dances (A. Rubinstein, M. Ippolitov-Ivanov).
Although, such characteristic feature of the last century as free timbre separation, sometimes diverted composers from the primordial performing conglomerate (strings and piano), historically more strong tradition of was mergers of timbral voices, initially became universal in the field of chamber music for strings and piano, as well as sound of four instruments in the form of a classical string quartet remains steady. It is sufficient to recall numerous examples of deployed cycles of quartets, for example in D. Shostakovich (15 out of 24 in a series of planned quartet), N. Myaskovsky (13 quartets), E. Golubeva (24 quartets) 5.
3 L. Tsaregorodtseva writes about it in her study. See : L. Tsaregorodtseva Evolution of the genre of large chamber-instrumental ensemble featuring the piano: PhD in Arts Paper: 17.00.02. - Tambov., 2005 - 215 p.
Об этом пишет в своем исследовании Л. Царегородцева. См.: Царегородцева Л. Эволюция жанра большого камерно-инструментального ансамбля с участием фортепиано: дис...канд. искусств-я: 17.00.02 / Царегородцева Любава Михайловна. - Тамбов., 2005. - 215 с.
4 This question troubled many composers. It is enough to remember how painful P.Tchaikovsky perceived the combination of piano and strings, so natural in J. Haydn and V.A. Mozart works, which revealed the striking organic character of tonal fusion of such different instruments.
5 Quartets with mono-timbres of the other musical instruments established in the music. The example is the work extremely popular nowadays A. Piazzolla, who wrote quartets for saxophone, bandoneons, clarinets under the names: Oblivion (4 sax.), Amelitango (4 sax.), Bandoneon (4 sax.), Escotaso (4 sax. ), Udertango (4 sax.), Violentango (4 sax.), Zita (4 sax.)), Libertango (4 clar.), Meditango (4 clar.).
However, in the XX century the composers made visible the dominant idea of not only matching, but also contrasting the timbres. Thus, in the Piano Quartet Alfred Schnittke almost equally represented both timbre and sound ideas: unity and opposition.
In chamber music, as in any field of art, the specific features of the ensemble with piano which became invariant components of the genre, historically worked out. It is about the equal instrumental partnership. From the standpoint of contemporary performing the relative parity of instruments in chamber music, including the piano, is understood a priori, on the "definition".
In addition, in the history of the genre the opposite trend took place: the bundle on piano and strings attached layers remained in the ensemble works of V.A. Mozart. In them the principle of competition came to the fore, through the dialogue between the party of piano and the entire group of strings. Also, since V.A. Mozart, the piano chamber ensemble assigns to each partner a certain instrumental art-semantic role of timbre, thus stopping the practice of arbitrary replacement of instruments.
Yet one cannot deny the special role keyboard instrument as the leader of the ensemble, often written by the composer-pianist. In the piano-quartet compositions by L. Beethoven, J. Brahms and S. Taneyev, the alliance of solo violins with piano can be to some extent comparable to the timbre structure of a double or triple concerts. The proposed comparison of piano quartets with concerts implies that each soloist is boldly enough competing with the orchestra, and its role in the chamber genre can be addressed to the piano. In such embodiments, it is particularly evident in the fact that the presentation of the thematic material is not crushed at its consistent implementation in different stringed instruments: it is exhibited in the final form and is passed from voice to voice in all the major sections of the template. The development is characterized by the fractional holding of thematic material in a "woven" parties. The latter realization is often done through holding multiphonization of an ensemble texture (stretchy conduction), which visibly emerges in the string parts, and it provides special saturation of piano parts (dense vertical filling, octave parallels).
Thus, there was the perfect balance of strings parties and often textured complementarity with the sound of the piano (Beethoven's line) in the ensemble genres, featuring the piano by S. Taneyev.
Nevertheless, there are other fulcrums of the Russian piano quartet with one of their genetic prototypes; I mean chamber music of V.A. Mozart. This trend of string of votes selection tooks place in the scores of A. Rubinstein, M. Ippolitov-Ivanov and G. Catoire.
And, as another example of an embodiment of timbre idea, where piano and strings are often treated antagonistic, is the piano quartet by Alfred Schnittke. Here, the timbre determinism allowed the composer ultimately dramatize the idea, which serves the core idea of the conflict of the person and its environment.
It should also be borne in mind, that the pianism of XX century not only cultivates the factor of cantilena, but goes back to the idea of drums or reproduction ringing effects (blows the lid of the piano or its body, cluster strikes on the keyboard, strikes on the strings with fingers, hammers, etc.).
Chamber ensembles with piano from XIX till early XX century exposed the timbre union, where a significant role was acquired to the piano bell canto, due to the predominance of lyrical imagery in thematism. In the same nature of the piano sonorities of that era made possible the more intimate, refined emotions unlike total dramatization in chamber music of the last century. In short, if in the ensemble of the XIX century, the joint music-making provided the emotional openness for personal volitional potentials, the major role of positive images and sentiments, the ensemble of the XX century and more tending to greater tolerance in your sound fabric other images: aggression outside world and situations, hostile personality. In addition, if an ensemble featuring the piano of the XIX century (and especially for genres such as the piano trio and quintet) is characterized by the appearance of entire ideological and stylistic shaped branches, associated with memorial features a piano quartet of the last century, much less resonant this tradition, than other members of the ensemble genre.
We should single out the significant (and sometimes excessive) complexity of the musical language of chamber compositions, featuring the piano, which could contribute to the realization of this music in performing practice. A. Onneger wrote that "Over the last forty years chamber music has become extremely difficult to interpret. As for the sight-reading, it is able to discourage not only the most courageous amateur, but the professional, dedicated to it" [2]. The result was that the performers have significantly reduced the fund sound of modern music and cater for those classic
designs that provide them a priori success with the audience. Of course, the masterpieces have a clear priority and performing of an auditory attention.
The newest generation of ensembles with piano, both stable for timbre representation and allowing the variants of timbre combination, indicates the high potency of the most artistic genre branches, proven by the whole course of its historical development the inexhaustible possibilities of this particular sphere.
The piano quartet stands out from other varieties of ensembles, featuring the piano, by the inner relatively modest sound, the ability to combine the significance of the content and clarity of a democratic character. In an addendum to this, there is the possibility of using the piano in different functions - from solo instrument to the role of ensemble voices. Palette of emotional impacts of piano expands upon the completion of its acoustic features of brilliance and originality of tone mixed doubles.
Map of piano quartet in the XIX century shows the deepening of its invariant genre features. Among them are the variation ratio of the instruments: the confrontation of two dissimilar tonally balanced complexes, complete independence of parties on the principles of equal participation in the incarnation of the musical content, the interpretation of piano parts as a leader among equals. Genre settings of domestic piano quartets by the beginning of the XX century were so well-established that allowed them a schematic generalization in the form of a table:
TABLE 1. THE CHARACTERISTICS OF RATIO OF INVARIANT FEATURES OF PIANO QUARTETS BY RUSSIAN COMPOSERS
Correlation of genre constants S. Taneev A. Rubinshtein M. Ippolitov-Ivanov G. Katuar
Structure of a cycle multipartness multipartness multipartness multipartness
Final role result does not play the role of result result result
Genre element in the form of a part III part the role of scherzo element of rondality in part II
Interpretation of the ensemble classical composition classical composition classical composition classical composition
Theme One theme Folk and songs One theme Folk and songs
Using of polyphonic techniques Multiphonization of all invoices, use of simulation-polyphonic techniques (canon, imposition of themes) the principle of contrapuntal imposing order contrapuntal combination of themes polyphonic development principles
Character of contrasts the principle of non-conflict drama absence of bright dramatic contrasts absence of bright dramatic contrasts absence of bright dramatic contrasts
Role of lyrical origin particular importance of supplementary themes Choral billing cantilena, use of two supplementary parties in the final vocal nature of themes, light lyrics excited lyrics
Composers, who have influenced the chamber style I. Bach, V. Mozart, L. Beethoven, F. Schubert, R. Schumann, Y.Brams L. Beethoven, R. Schumann, F. Mendelssohn J. Haydn, F. Schubert P. Tchaikovsky, S. Taneev, A. Lyadov, A. Scriabin, K. Debussy
Stylish ensemble organization Instrumental dialog, invoice balance Piano and string trio Piano and string trio Piano and string trio
Role of the general forms of motion yes no no yes
• the structure of the cycle is multipartness (S. Taneyev, A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar);
• the way to combine the cycle into a single whole is the use of the principle of one theme (S. Taneyev, G. Katuar);
• the role of the final outcome as development (S. Taneyev, M. Ippolitov-Ivanov, G. Katuar);
• the nature of contrasts is the use of the principle of non-conflict drama (S. Taneyev, A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar);
• the ensemble is a single one (S. Taneyev, A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar);
• chamber of content is intimate lyric (A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar), the introduction of epic-philosophical perspective (A. Taneyev);
• organization stylish ensemble - piano and string trio (Arthur Rubinstein, Ippolitov-Ivanov, Katuar) in Taneyev ensemble based on dialogue tools that aim to achieve a balance of texture;
• the nature of thematism is rational-intellectual, romantic with features of national distinctiveness, song, poem-fantasy (G. Katuar), folk song (A. Rubinstein, M. Ippolitov-Ivanov);
• multiphonization of invoices, use of the polyphonic forms (passacaglia, fugue) and methods of development as the canon, counterpoint imposition of order (S. Taneyev, A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar);
• lyrical character of genre is the dominant role of side parties with a recess in the lyrical sphere (S. Taneyev, A. Rubinstein), vocal nature of thematism (S. Taneyev, A. Rubinstein, M. Ippolitov-Ivanov, G. Katuar);
• the role of the common forms of motion, which may be included in the process of thematic development (S. Taneyev, G. Katuar) or perform a bridging role (A. Rubinstein, M. Ippolitov-Ivanov).
One of the fundamental features of the Russian piano quartet is the thrust of its multi-part structure to intonation kinship of thematic material (one theme) and bonding cycle, using bright melodic arches - reminiscences. Both of these forms of unity were fundamental in chamber music of the XIX century. In the XX century the genre tends to be more continuous multipart (piano quartet by Alfred Schnittke). This structure of the cycle becomes a universal tool for various forms - from chamber to symphonic. Extremely important for the domestic piano quartet was the preservation of the relationship with its European counterparts. Eurocentrism in the culture of the last century was attached to many composers. In A. Schnittke works, this trend can be seen in reference to unfinished piano quartet of G. Mahler. I think that this was not an accident: the significance of G. Mahler's art for the XX century music is difficult to overestimate. It is appropriate to recall the passion of G. Mahler for D. Shostakovich, whose spiritual student was A. Schnittke.
The problems of consideration and study of piano quartet are complicated, because of the scarcity of musical material, which to some extent makes it difficult to specify the typology genre at inner-genre differentiation. Modification of a piano quartet at the modern stage occurs in different ways, for example, by connecting new genres fields in the area of chamber music and expanding channels of communication with the classics.
The movement from traditional regulatory of homogeneous (melodic band) instrumental compositions to the multiplicity of different combinations is determined by the following: multiphonization of style, widespread use of polyphonic forms, techniques, instrumentation, which are particularly character for the genre of ancient ensemble sonatas and instrumental concert.
In today's piano quartet, the central idea of chamber music, the idea of co-creation (tools-minded or opposing votes) generate extremely individualized form of embodiment (Piano Quartet by Alfred Schnittke).
The particular importance in this context has the issues of psychology of music perception in the ensemble performances, complicated by a piano quartet specifics of the merger process of the vote (the difficulties and achieve a dynamic balance of sound), the danger of the introduction into the performance of orchestral manner of playing, which inevitably leads to inertia and impersonality sounding parties.
Outlining only the contours of some of the problems, we should emphasize the practical importance of their decisions and learning to a better understanding of the genre of the piano quartet, acquaintance with its rare or completely non-executable examples can serve an impulse for executing interest and attention.
However, viability of the genre is showed by its relevance to contemporary practice. In the first decade of the XXI century there was a series of similar ensembles. It is, in particular, the quartet ensembles, featuring the piano, born in the walls of large institutions: Piano Quartet of Music and Pedagogical Institute by M.M. Ippolitov-Ivanov, and similar ensembles in the student version of the
Moscow State Conservatory named after P.I. Tchaikovsky (it is a piano quartet "Credo"), Quartet Anno Domini. Of the number of concert bands should be called such ensembles as "Forte Quartet" (Samara), Russian-Swiss piano quartet (S-ensemble), St. Petersburg's piano quartet.
It is well known, that active concertizing of a band can attract the attention of composers. So, in 1930 D. Shostakovich composed his Piano Quintet, to jointly execute this cycle with the famous quartet of L. Beethoven, who played, as we know, almost all of the premieres of his string quartets.
Ensemble concerts playing with string does not require any special comments. Even nowadays, the young Moscow composer N. Mdoyants composed in 2009 Piano Quartet specifically for Credo-quartet, which has basically quite a classical structure, where three of the diverse musical tempo contrasts are united in the usual form of chamber music cycle.
Thus, the birth of new piano quartets and stable ensembles indicate the main thing: the genre is opened for the present.
REFERENCES
1. Stupel L.A. In the world of chamber music / LA Stupel. - 2nd ed. - L .: Music. - 1970 - S. 31.
2. Tsaregorodtseva L.M. Evolution of the genre large chamber instrumental ensemble featuring the piano: dis ... Candidate. Arts / LM Tsaregorodtseva. - Tambov, 2005 - S. 153 - 154.
LANGUAGE CONSCIOUSNESS
ABSTRACT. THE ARTICLE DISCUSSES VARIOUS APPROACHES TO THE STUDY OF CONSCIOUSNESS; THE PROCESSES OF PRODUCTION AND PERCEPTION OF SPEECH; THE NATURE OF LANGUAGE CONSCIOUSNESS; AND THE NATURE OF THE RELATIONSHIP BETWEEN CONSCIOUSNESS AND LANGUAGE. THE AUTHORS UNDERLINE THAT ANY REHABILITOLOGY ACT, EVEN THOUGH MADE OF NEURO-CEREBRAL SYSTEM OF THE INDIVIDUAL, YET IS WITHIN A SPECIFIC SOCIO-CULTURAL SPACE, AND THEREFORE THE CONSCIOUSNESS HAS THE LANGUAGE, SPEECH NATURE. FROM THE POINT OF VIEW OF THE AUTHORS THE RELATIONSHIP OF CONSCIOUSNESS AND CULTURE IS OBVIOUS, SINCE CONSCIOUSNESS IS FORMED IN THE SOCIETY, AND CULTURE, IN TURN, IS CREATED BY SOCIETY AND IS FUNCTIONING IN IT. SOCIAL NATURE OF LANGUAGE CONSISTS IN ITS LOCATION IN THE COLLECTIVE AND INDIVIDUAL LANGUAGE CONSCIOUSNESS. RESPECTIVELY, THE LANGUAGE COLLECTIVITY ON THE ONE HAND, AND THE INDIVIDUAL ON THE OTHER, ARE CARRIERS OF CULTURE IN LANGUAGE.
KEYWORDS: LANGUAGE CONSCIOUSNESS, LINGUISTIC PERSONALITY, THE NATIONAL MENTALITY, ETHNIC ENTITY, SOCIETY, INDIVIDUAL, CONCEPT.
TATIANA SAMOSENKOVA
samosenkova@bsu.edu.ru
PhD, Professor, Head of Russian Language and Professional Speech Department, Institute of Intercultural Communication and International Relations, Belgorod State National Research University, Belgorod
ELENA NAZARENKO
nazarenkoe@mail.ru
PhD, Senior Lecturer, Russian Language and Professional Speech Department, Institute of Intercultural Communication and International Relations, Belgorod State National Research University, Belgorod
ARSEN MARTIROSYAN
Senior Lecturer, Russian Language and Intercultural Communication Intercultural Communication and International Relations, Belgorod University, Belgorod
Linguistic and psychological approaches to consciousness study are various view of nature of intertransitional relationship between oversemiotic reality and sign essence in reflective processes.
Department, Institute of State National Research
