DUETNESS AS A PRINCIPLE OF ENSEMBLE WRITING IN THE PIANO TRIO NO. 1 OR. 7 AND STRING QUARTET NO. 2 OR. 4 BY B. LYATOSHINSKY

Abstract

Statement of the problem. The article examines duetness as a constant principle of ensemble writing in Piano Trio No. 1 op. 7 and String Quartet No. 2 op. 4 B. Lyatoshinskyi. Both works were written in 1922, during the period of evolutionary changes in the composer’s style, which makes them indicative from the point of view of the composer’s thinking. The purpose of the article is the study of duetness as a constant principle of ensemble writing in String Quartet No. 2 op. 4 and Piano Trio No. 1 op. 7 by B. Lyatoshinskyi. Methods, novelty of the research. A comprehensive approach based on the historical and cultural method and the method of musical and theoretical analysis. The work uses general scientific theoretical methods of systematization and generalization, as well as genre, functional, comparative, stylistic research methods. Research results, conclusions. Modern searches and experiments in Lyatoshinstsky’s compositional style were manifested in their complications of musical language, but in ensemble writing, one can observe a tendency to embody the principle of duetness as the quintessence of a romantic type of expression. The analysis of scientific literature on composer’s writing demonstrated the active development of its sectoral varieties – choral, orchestral ensemble. Based on the formed concepts, the author of the article chooses “ensemble writing” as a tool for analyzing the peculiarities of ensemble interaction in two chamber-instrumental works of B. Lyatoshynskyi of different instrumental compositions (piano trio and string quartet) at the intersection of the general and the individual. Thus, the purpose of the article is the study of duetness as a constant principle of ensemble writing in String Quartet No. 2 op. 4 and Piano Trio No. 1 op. 7 by B. Lyatoshinskyi. Taking into account the existence of a research gap on the outlined problem, the novelty of the proposed article is seen in the consideration of chamber and instrumental ensemble works of various compositions by B. Lyatoshinsky in the aspect of features of ensemble writing. The analysis of the means of implementing duetness made it possible to single out five techniques that can flexibly alternate and be implemented in different timbre and register conditions.