DOI: 10.36871/hon.202002008
Authors
N. K. Samoilova
Orenburg State Institute of Arts named after L. and M. Rostropovich, Orenburg, Russian Federation
Abstract
The process of the steady rooting of invariant genre features of a piano quartet is considered
through the ratio between stable and mobile features. Here there is either the complete independence
of the instruments, but on the principles of equal participation in the embodiment
of musical content, or the variability in the relations of instrumental parts.
As the main ones in the genre, the musical norms of the classic-romantic style and the stability
of the timbre composition are established.
It is noted that in Russian music the evolution of the piano quartet passed through different
phases: genre stabilization and recovery, temporary stop and subsequent active development.
Transformation processes went through different levels: structure, content, instrumental-
timbre solutions, rethinking the functional roles of partner instruments.
The movement from the traditional normativity of instrumental compositions to the difference
of timbre combinations in the XXth–XXIst centuries was primarily predetermined by
such factors as polyphonization of texture, the active introduction of polyphonic forms, new
techniques of instrumentation.
In the modern piano quartet, the central idea of chamber music making, the idea of co-creation
generates both an extremely individualized form of embodiment and a free timbre composition.
In conclusion, it is noted that the piano quartet genre has the ability to accumulate the leading
style trends in chamber music of different eras.
Keywords
piano quartet, genre, style, chamber-instrumental art, timbre, genetic prototype, style constants
