Міра і пропорційність виконавського тандему «піаніст-концертмейстер-соліст»

Abstract

У статті досліджено питання ієрархії виконавського тандему «піаністконцертмейстер-соліст», проаналізовані історичні коріння визначення піаністаконцертмейстера як музиканта другорядної ролі, обумовлено недієвість сьогодні подібної універсалії, доведено паритетність цього виконавського дуету.

В статье исследованы вопросы иерархии исполнительского тандема «пианистконцертмейстер-солист», проанализированы исторические корни определения пианистаконцертмейстера в качестве музыканта второй роли, обусловлена неактуальность на сегодняшний день подобной универсалии, доказана паритетность этого исполнительского дуэта.

The art of pianist-accompanist matured from syncretic art of joint performance in the depths of formation of the musical culture in the primitive society. It has passed through a long path of random vocal and instrumental combinations, of free interaction and interchange, while strengthening harpsichord as an instrument, which accompany, and later piano, the individualization of features from soloist and accompanist, correlation with vocal and instrumental music. That’s what gained the status of self-employment, were assured itself as the most artistically formed branch in performance. However, currently there is a domination of a paradoxical situation: the profession of pianistaccompanist exists, has its own specifics, performing and teaching tasks, has received wide demand as a profession, but is still positioned in the line of second-class musician, who disparagingly referred only to the cohort of «musicians-servants». Such ambivalence in determining of the accompanist can be explained by the usual long-term view on the secondary importance of this kind of activity – one that does not need to identify its own individuality, so therefore not worth the attention. Statements regarding the instrumentation as a secondary importance, its only supporting role were formed in the Middle Ages and prevailed before Renaissance. It was due to the rather strange combination in the joint performance, according to which the primacy of an instrument-solo permanently changed. This status also remained at the time of occurrence of homophonic- harmonious system with the leading role of melodies in this hierarchical structure. Also, it could be argued by the cult of soloist, which became especially important in the era of the occurrence of Opera (diva, soloinstrumentalists), and the dominance of Italian aesthetics belcanto, virtuoso-castrates. So in the musical environment another musician (usually accompanist) received minor auxiliary status. Paradoxical situation can be interpreted also by the fact that accompany as a kind of performance practice during long-term was cultivated primarily as domestic «music-making», so in professional activities it was considered as a secondary one. The personification of composer and performer as a one person dominated for a long time – so it seemed easier to carry out his (her) work by the composer, who could construct it on their own sense of interpretation. After the difficult path of self-affirmation and denial of established views on the definition of «primacy-secondary» participating musicians in the form of joint performance, this performing kind contributed the occurrence of such specialist as piano accompanist, and strengthening priority of this profession. Today creative tandem «piano-accompanist-soloist» is interpreted as «the art of dialogue», «equal duet», which combines different artistic identities for the purpose of implementing joint artistic challenges and creating a new format of the composition. Although outwardly structure interaction of soloist and pianist- accompanist has the effect of hierarchical inequality (soloist – in the foreground, accompanist – near the piano behind), we should not stress the sideline of musician near the instrument. Today, the art of piano-accompanist represents multidimensional vector of the formation of this kind of performance, which is subordinated to several areas: vocal, instrumental accompanist, concertmaster of Opera and Ballet Theatre (opera, ballet accompanists), choir accompanist, vocal accompanist, instrumental, opera and symphonic, choral and dance ballet classes in triad of music educational institutions: children's music school (choreographic school) – music college (choreographic college) – a musical institution of higher education.