DIMENSIONAL ARTS IN THE PIANO DUO GENRE DEVELOPMENT

Abstract

There is suggested analysis of piano duo works, whose programme concept is aimed at reflecting images ortechniques of dimensional arts by music means. There is described the meaning of sound figurativeness, various typesof action, timbre colouring and music symbolics for transferring information about visual images by means of sounds.

There is defined fruitfulness of artistic communication between different arts.

Taking into consideration primary importance of the role of principles of music programmed basis in thedevelopment of artistic potential of the piano duo genre, researched in the author’s thesis, the aim of the article is to

follow artistic results in piano duo compositions, which contain programmed factors, based on images or technique ofdimensional arts. That is why the problem statement refers to compositions for the piano duo, whose composer conceptwith the help of the author’s programme title directs the interpreter’s attention to the communicative function of images ofdimensional arts in music. As a result of such interspecific genre synthesis, there is certainly formed a group of musicpieces, which have their characteristic features, and, therefore, represent an interest for concert, performance,musicological and pedagogical practices.

The issues, which are linked to the influence of creative achievements of architecture, art and sculpture on themusic art, are occasionally raised in scientific researches both from the perspective of studying visual forms and from theperspective of studying principles of thinking in sounds. On the example of piano compositions of Ukrainian composersV. Klin analyzes suite cycles, in which certain painting images are reflected. Taking as a basis connections betweentraditional instrumental music and dimensional arts (first of all, ornamental-decorative art and architecture), I. Matsievskiyanalyzes factors of their likeness. In the article of N. Bondar on the example of creative work of Iannis Xenakis there arerevealed possibilities for symbiosis of music and architecture.

While researching romantic programme symphonism, G. Krauklis marks a trend in the area of use of artsterminology in the titles of XX-century music pieces (sketches, engravings, monuments, statues etc.) A similar trend canbe observed in composers’ "authors’ projects" in the piano duo genre.

The name "picture" is used quite often in the piano duo pieces. There can be named L. Norman’s "Pictures oftravel", S. Rachmaninoff’s Suite op.5 "Pictures", E. MacDowell’s "Moon pictures", S. Burlich’s "Mountain pictures", A.Jensen’s "Pictures of life". In the music piece with the feature of exposure of "sound pictures" in time images and complexesof images are filled with various emotional shades and moods. The composers have a possibility to combine sound andgraphic effects, which are bringing one closer to the audial associations, with specific images and moods of the music,conveying personal attitude of the composer to the picture, which captured his imagination. Combination of transparent anddeep touch, clear and dimmed sound, light and dark shades, static’s and various kinds of action is simultaneously used indifferent piano parts, giving to the picture necessary dimension and completing its content with clear details.

Mini-diptych of Lithuanian composer V. Bagdonas "Two watercolors" evokes associations with watercolortechniques. Programmed basis of the music pieces with the same name "Silhouettes" by A. Dvorak, A. Jensen and A.Arenskiy is referring to one of popular types of graphics art technique – silhouette. In quite varied piano-duo "musicportraits" along with music reproduction of features of general appearance of portrayed characters, there is reflected theircharacter, emotional state and mood.

Composers, for whom embodiment of static objects becomes a programme idea, suggest for the interpreters anartistic concept, aimed at creation of a single sound construction, giving a panoramic impression about them (play of G.Dmitriev "Obelisk", S. Balasanyan’s cycle "On Armenia", G. Mushel’s "Samarkand Suite"). The work of Y. Sicilianos"Tanagrea", in which a Greek composer of XX century revives spiritual images of ancient classics in structurally builtdynamics of a single dramaturgy idea, became the most illustrative example of embodiment of sculpture images. Thispiece of music carries to the recipient a varied potential of cultural information with a new lyrical-poetic force.

Observations of creative and transforming process while reflecting images in various projections bring to theconclusion about fruitful communicative intersections of the following oppositions: artistic space (for dimensional arts) –artistic time (in a music piece); contemplation (i.e. visual perception of the objects of culture, architecture and painting) –listening (audial perception of music expressiveness); integrity of unchanging objects of dimensional arts during a longhistoric time – a number of interpretations (and differences between them) of a music piece with the same music. Unitingsuch oppositions is a new form of existence of cultural values in time and space, along with opening a way towardssummaries and fresh feelings and enriching a spiritual experience of a person.

As a result of analysis of programme works, connected with images of dimensional arts, we consider that notonly the level of reflection of original artifacts is important, but also research, done by the interpreter of the music piece(performer and listener). After receiving information on the programmed idea of the music piece, there are launched newprocesses of mastering an artistic object of extra music activity.