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Ekaterina A. Mikhaseva – graduated from the Department of Music Theory (SPO) at the State Musical Pedagogical Institute named after M. M. Ippolitov-Ivanov.
Scientific advisor – lecturer of the Chair of Musicology and Composition Maria L. Vitte.
Scientific advisor – lecturer of the Chair of Musicology and Composition Maria L. Vitte.
State Musical Pedagogical Institute named after M.M. Ippolitov-Ivanov, Moscow, Russia, mikhaseva_k@rambler.ru
Abstract
Four-handed works for the piano are a special kind of piano art, which was addressed by composers of different eras, directions, and creative aspirations.
In Russia, four–handed piano works began to appear quite late - in the second half of the nineteenth century, when the Russian piano school was being formed and strengthened. Under the influence of romantic piano music, and, above all, the works of R. Schumann, a certain genre "interpretation" of the piano ensemble became very characteristic for Russian composers: this is the combination of small pieces into cyclic forms of suite type. A. G. Rubinstein was the first person in Russia who began to widely develop the form of a cycle of piano pieces. He began with small suites written for one instrument, then a large cycle appeared – a suite of 24 pieces "Stone Island" Op. 10 (a kind of album of musical portraits of ladies – members of the imperial family and court maids of honor), and in the late 1870s Rubinstein wrote a large four-handed suite "Costumed Ball" Op. 103, here the plays are also united by a plot – carnival theme.
Two-piano suites have become a new and original genre in Russian piano music. The priority in their creation belongs to Anton (Anthony) Stepanovich Arensky (1861–1906). These works were written between 1888 and 1902. Almost simultaneously with Arensky, S. V. Rachmaninoff wrote suites Op. 5 (1893), Op. 17 (1901) and "Russian Rhapsody" (1891) for two pianos.
This article examines one of Arensky's frequently performed compositions – "Silhouettes" four-hand suite Op. 23. The author focuses on the issues of figurative content and genre‑style compositions studied on the basis of archival materials.
In Russia, four–handed piano works began to appear quite late - in the second half of the nineteenth century, when the Russian piano school was being formed and strengthened. Under the influence of romantic piano music, and, above all, the works of R. Schumann, a certain genre "interpretation" of the piano ensemble became very characteristic for Russian composers: this is the combination of small pieces into cyclic forms of suite type. A. G. Rubinstein was the first person in Russia who began to widely develop the form of a cycle of piano pieces. He began with small suites written for one instrument, then a large cycle appeared – a suite of 24 pieces "Stone Island" Op. 10 (a kind of album of musical portraits of ladies – members of the imperial family and court maids of honor), and in the late 1870s Rubinstein wrote a large four-handed suite "Costumed Ball" Op. 103, here the plays are also united by a plot – carnival theme.
Two-piano suites have become a new and original genre in Russian piano music. The priority in their creation belongs to Anton (Anthony) Stepanovich Arensky (1861–1906). These works were written between 1888 and 1902. Almost simultaneously with Arensky, S. V. Rachmaninoff wrote suites Op. 5 (1893), Op. 17 (1901) and "Russian Rhapsody" (1891) for two pianos.
This article examines one of Arensky's frequently performed compositions – "Silhouettes" four-hand suite Op. 23. The author focuses on the issues of figurative content and genre‑style compositions studied on the basis of archival materials.
Keywords
genre of suite for two pianos, A.S. Arensky, suite No. 2 "Silhouettes"
REFERENCES
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3. Taneev S. I. Dnevniki, 1894–1909 Tekst: v 3-kh kn. / S. I. Taneev; tekstol. red. I komment. L. Z. Korabel'nikovoy. Kn. 1: 1894-1898 [Diaries, 1894-1909 Text: in 3 books / S.I. Taneev; text. ed. and commentary by L. Z. Korabelnikova. Book 1: 1894–1898]. Moscow, 1981. 333 p.
4. O. V-va. Anton Stepanovich Arenskiy // Russkaya muzykal'naya gazeta» [Anton Stepanovich Arensky // Russian musical newspaper]. 1906. № 9. Stb. 203–208.
5. Bukinik M. E. Molodoy S. Rakhmaninov: sayt Senar [Young S. Rachmaninov: Senar website.]. [Elektronnyy resurs]. URL: https://senar.ru/memoirs/Bukinik/ (data obrashcheniya: 27.03.2024).
6. Arenskiy A. S. «Siluety», syuita v 5 chastyakh dlya dvukh fortepiano, soch. 23. 1892. Avtograf // Rossiyskiy natsional'nyy muzey muzyki [Russian National Museum of Music]. F. 52. 20 L.
7. Arenskiy A. S. «Siluety», syuita dlya dvukh fortepiano, soch. 23. Perelozhenie dlya fortepiano v 4 ruki. Avtograf // Rossiyskiy natsional'nyy muzey muzyki [Russian National Museum of Music]. F. 53.
8. Arenskiy A. S. «Siluety», syuita dlya dvukh fortepiano, soch. 23. Perelozhenie dlya orkestra. Partitura. Avtograf // Rossiyskiy natsional'nyy muzey muzyki [Russian National Museum of Music]. F. 55a. 32 l.
9. P. I. Chaykovskiy, S. I. Taneev. Pis'ma. / Sost. i red. V. A. Zhdanov [Letters. / Comp. and ed. V. A. Zhdanov.]. Moscow, 1951. 555 p.
10. Taneev S. I. Dnevniki, 1894–1909 Tekst: v 3-kh kn. / S. I. Taneev; tekstol. red. i komment. L. Z. Korabel'nikovoy. Kn. 2: 1899-1902 [Diaries, 1894-1909 Text: in 3 books / S. I. Taneev; text. ed. and commentary by L. Z. Korabelnikova. Book 2: 1899–1902]. Moscow, 1982. 428 p.
Received: 30.05.2024
Accepted: 16.06.2024
Issue №2(3) June 2024
Pages
51-67
Pages
51-67
