The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg

Abstract

Background. Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century. The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various. However, features of use of a clarinet in chamber genres are researched, as a rule, in aspect of wider perspective. Owing to this fact information on many compositions which entered the repertoire of modern performers in scientifi c and methodical literature either is absent, or does not exhaust all complex of the questions arising in connection with updating of musical language at preservation of the developed receptions of the instrumental and ensemble composing. Objectives. The purpose of the article is to reveal the features of chamber and instrumental ensemble in Four Pieces for Clarinet and Piano by A. Berg in terms of interpretation of technical and expressive opportunities of a clarinet and role functions of parts. Methods. Structurally functional, compose-dramaturgic and comparative methods of research are used. Results. As the presented literature testifi es, the performer, fi rst of all, should get acquainted with the scientifi c researches in order to facilitate the subsequent interpretation process. This is important for understanding not only the fi guratively emotional and meaningful side of music, but also the novelty of the ensemble ratio of instrumental voices. From this point of view, the clarinetist should be aware of his part both in its individual features, and as an integral part of a single thematic process. It is advisable to recall that the previous musical practice has formed different types of the ratio of parts. Аtonality of the Four Pieces op. 5, associated with the avoidance of tonal landmarks and based on the expressiveness of interval clutches, predetermined the emergence of a new quality of ensemble technique, which declares itself in leveling the concept of solo timbre, accompaniment techniques, and open interchange of thematic material. Outwardly, all these signs are present in the musical text, but the writing technique itself directs the musical process towards the creation of a single intoning space in which the participating timbre-register «individualities» appear to be components of a polyphonic texture. Despite this, the idea of ensemble in a broad sense is preserved, which allows us to consider the clarinet part as a relatively independent phenomenon. So, the plays collected in an opus assume possession of a various palette of articulation and dynamic means, capable to transfer thin change of lyrical moods. Their contrast is exhibited already in the fi rst play, which aims the performer to quickly switch to a different emotional mood in the absence of large-scale thematic structures. Against the background of the multievent fi rst play, the two middle ones are distinguished by their consistency of the fi gurative plan. Hence a more modest palette of strokes, articulation, tempo, dynamic changes. This kind of composer’s installation is largely due to the fact that they are enlarging the semantic ideas that were outlined at the beginning of the opus. Due to this, there is a bright contrast, a sharp change of emotional state. Details of this kind raise the requirements for the quality of performance and reveal the truly virtuosic nature of miniatures in the absence of traditional concert techniques. Final op. 5 is similar to the fi rst play by the presence of contrasting elements. Its complexity is indicated both by the rich texture of the piano part, distinguished by a complex rhythmic pattern, and the heterogeneity of the techniques in the clarinet part, where the expressive solo cantilena is adjacent to the background tremolo, angular non-legato motifs, written out by a group of thirty-second in a 9:1 ratio, register spread, sharp dynamic gradations from p to ff. The composer here remains true to himself, prescribing all tempo, dynamic, expressive techniques. Recall that the requirement of long pauses between plays, on the one hand, helps to switch to a different emotional state, on the other hand, complicates the act of performance due to the fact that ensemble artists must fi nd that measure of restraint of silence, which, while retaining the impression of the preceding, does not destroy the immediate contact with the audience. It is impossible to ignore the fact that in the absence of extraordinary innovations in the fi eld of performing techniques, the composer opens the way for further discoveries in this area. Conclusions. The results of the research summarizing analytical observations, including those in the literature we know about, and evaluating the creative discoveries of A. Berg in Four Pieces for Clarinet and Piano op. 5 taking into account the subsequent compositional practice, let us highlight a few fundamental, in our opinion, moments. First, op. 5 is distinguished by a radical renewal of the musical language, predicting the expansion of the boundaries of an established tradition; secondly, he became the ancestor of a new type of ensemble; thirdly, it allowed to treat the pause as an important component of the artistic intent, as an image of meaningful silence; fourthly, demonstrated a new understanding of software based on the symbolism of sounds and numbers; fi fthly, he revealed a deep connection with the tradition of changing musical patterns. In this context, from the cycle by A. Berg stretched a lot of threads to the works of composers belonging to different generations and national cultures. This allows us to speak about the weighty signifi cance of this opus in the history of the development of clarinet – not only ensemble, but also solo music. We conclude that at the same time, the real compositional practice of the subsequent time refl ected the multi-vector nature of creative interests, characteristic of the music of the twentieth century, where, along with the search for renewing principles, the established methods of instrumental.