Жанрова специфіка фортепіанного дуету: питання термінології
Genre specifics of the piano duo: terminology issues

Summary/Abstract: In the article there is revealed genre specifics of the piano duo as a polysemantic notion, including peculiarities of composition content, performance conditions, spatial criteria, performance means and practical functions. There are taken two main types of piano duo as a basis – piano duo at one piano and piano duo at two pianos. Based on the theory of the genre system of a chamber ensemble, the author of the research, proceeding from the differences of acoustic characteristics and genre and stylistic features between two types of the piano duo, suggests making their terminology identification ("clavier duo" and "two-clavier" duo). In the article there are analyzed problems, which have arisen for different piano ensembles in terminology area. There are considered various views of musicologists on this problem: in more details there are considered opinions of A. Gottlieb, E. Sorokina, I. Polska, V. Petrova, N. Lukianova, N. Katonova. There is grounded the necessity of introducing into scientific use of new terms, connected with historic accumulation of original repertoire in each piano ensemble structure. There are given examples of works for different piano ensembles, which have identical terminological definitions ("piano terzetto", "piano quartet"). The author of the article, taking into consideration active discussion on this subject in scientific researches of musicologists, suggests introducing into practice of a unique terminology system. As the basis for full definition of the piano ensemble it is suggested to include three components: number of instruments, performers’ composition and number of hands, which can be concretized in case of non-traditional use or omitted in normal variants. It is pointed out that difference of piano ensembles (instrumental-technological, timbre-acoustic, spatial-psychological, emotional, socio-cultural-functional, communicative, content-composer) need identification of term definitions for applying in scores editions, concert and pedagogical practice and musicology literature. Such approach allowed determining not only different, but also common typological features between two main types of the piano duo. In connection with this the following definition of the "piano duo" term is suggested: the piano duo is a type of activity, relating to the music performance (professional or amateur), which unites two pianists (at one or two claviers), performing independent parts in common chronotopic situation with the purpose of joint implementation of artistic idea or creating a unique interpretation of a music work. It is noted that genre-historic sources of each piano duo type define their main trends of social-cultural orientation: clavier duo – for chamber music playing, and two-clavier duo – for concert performance. However, in transforming conditions of modern music space these qualities tend to draw closer. In the research based on contrasting analysis of clavier and two-clavier duos there is considered the notion of the ensemble dialogue. The following trends are defined: 1) interpersonal interaction of performers, suggesting community, as well as difference of their positions, from the point of view of mise-en-scene makes a "dialogue of disagreements" (everybody has his part, his scores and his instrument in two-clavier duo, his chair and his space on the stage); 2) from aesthetic and stylistic points of view – it is "a dialogue of accord" (coincidence of intentions, as for the music ensemble synchronization of music-performance actions is especially important, as well as a common sense of time, allowing maintaining preciseness of articulation). The results of the research help to identify factors for further genre development, taking into consideration their functional independence and semantic richness on the example of individual characteristics of two main types of the piano duo. Orientation of modern composers’ creativeness on a definite piano ensemble corresponds to the demand for each genre type. It is evident that development of musical-performance practice and musical-didactic activity brings to the researchers the task of attentive studying of different trends of the piano duo genre as a whole. Genre peculiarities of each piano ensemble become an integral part of studying. In this respect one can see possibility for continuation of scientific researches in further music works.

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