DOI: 10.36871/hon.202202006
Authors
N. K. Samoilova
Orenburg State Institute of Arts named after L. and M. Rostropovich, Orenburg, Russian Federation
Abstract
The article traces the processes affecting the self-development of the chamber-instrumental genre with piano. Here, the emphasis is placed on stylistic and genre continuity. The genesis and one of the stages of evolutional process of the piano quartet genre in its Western European version up to 1800 is considered. It is determined that the formation and development of the genre was primarily influenced by its timbre mobility. The process of development of chamber music with an obligate clavier in comparison with the string quartet genre is examined. The emergence of two opposite directions is emphasized, one focuses on string quartet aimed at professional performers, while the other relies heavily on the clavier, with the strings playing an accompanying role, and is intended mainly for amateurs. Examples of Baroque chamber ensembles with clavier are given, which were the impetus for the formation of the piano quartet genre. They contain a heterogeneity of compositional models, with a relatively unexpressive attitude to the timbre character of the ensemble sound, and using the practice of instrument substitution. The composers of such ensemble opuses are noted as the most famous by that time. The influence of the chamber works of J. Ch. Bach and C. Ph. E. Bach on the process of the formation and crystallization of the genre features of the piano quartet, which were later established in the chamber cycles of W. A. Mozart and L. van Beethoven, is traced. The conclusion emphasizes the influence of the epoch's very style on the formation of the fundamental features of the piano quartet.
Keywords
piano quartet, Baroque, string quartet, accompanied sonata, principle of textural organization, timbre
