DOI: 10.36871/hon.202102002
Authors
V. Yu. Berezhnoy
Russian State Specialized Academy of Arts, Moscow, Russian Federation
Abstract
The article analyzes the repertoire for a duet of bayan players, which had been created by
Russian arrangers and composers since the second half of the 70s of the XXth century to the
beginning of the XXIst century. The article considers the reasons for the later creation of the
first original compositions for the modern bayan duet in comparison with the repertoire
for solo bayan, and defines the concept of "modern repertoire". Comparisons are drawn between
the possibilities of presenting musical fabric in the works created for a mono-timbre
bayan with ready-made chords in the left half shell, and a multi-timbre free bass instrument.
In modern music for a bayan duet, in contrast to the works of the 1940s – early 1970s, there
are other ways of presenting melodic, figurative line, as well as harmonic background in the
left half shell of the bayan.
The author considers the role of the timbre palette in modern compositions for a bayan duet
and reveals the performance capabilities of this ensemble, which caused numerous arrangements
of works written for piano, organ, chamber ensemble and orchestra. The figurative sphere
laid down by the authors in the works written for a duet of traditional bayan and a duet of
modern instruments is compared. The modern repertoire for this instrumental duet is created
by both bayan composers and composers writing music for other forms of performance.
Keywords
modern repertoire, duet of bayan players, original composition, arrangement, instrument with ready-made chords, multi-timbre free bass bayan
