Б. Барток – Б. Гудмен: принципи композиторсько-виконавської взаємодії на прикладі тріо «Контрасти»

Abstract

The purpose of the research is to reveal the peculiarities of visual and artistic interaction of composer and performers, performers’ influence on the reproduction of musical material and to characterize the specifics of “The Contrasts” trio for clarinet, violin and piano. Methods. The research methodology: historical, genre, stylistic performing and interpretive approaches. The scientific novelty of the research is connected with the first experience of the analysis of the creative composition and performance interaction between B. Bartok and B. Goodman concerning the trio “Contrasts”. The 20th century clarinet repertoire is full of chamber works by many composers, due to the rapid development of art, the search for originality of instruments, the development of artistic and timbre features and innovations in all areas of performing and composing. For clarinet performance of the 20th century it is a period that revealed the full timbral features of the instrument, expanded technical boundaries as well as figurative and artistic content. Composers who represented different styles and directions wrote many pieces for clarinet, the instrument attracted composers with its constantly developing technical and sound properties. Igor Stravinsky was one of the first in the 20th century to introduce clarinet to a new level as a solo instrument. He wrote 3 clarinet solo pieces, where he clearly shows new trends of musical expression of the 20th century. The work was based on Russian folk themes. Folk topics will later be addressed by Bela Bartok in his clarinet trio. Claude Debussy also gave a boost to the development of clarinet art. He wrote “The Rhapsody” for Clarinet and Orchestra, filled with the latest techniques. In addition to its unique complexity, the work contains a fragment where we can see the first echoes of jazz influence on European composers, first of all, on French ones. When Goodman first proposed to write for him, he had in mind an easy Hungarian-style play with slow introduction followed by quick main section. However, to demonstrate Goodman’s skill of playing clarinet, Szigeti sent several Goodman trio records to the composer. In Bela Bartok’s creativity, there is only one work where a wind instrument is present among his chamber works. That is “The Contrasts” trio for clarinet, violin and piano. It is unlikely that we would have seen such an ensemble in the list of Bartok’s works, if not for Benny Goodman, the legendary American clarinetist. Creative interactions analysis will be made on the record made by J. Szigeti, B. Goodman, and B. Bartok at Carnegie Hall on April 21st, 1940. Conclusions. All three parts of “The Contrasts” are extremely demanding in terms of technique and ensemble. Rhythm dimensions and intervals in many fast passages, complex rhythms in specific parts and continuous rhythmic counterpoint are unusual. Goodman, who initiated “The Contrasts” creation, could not complain that the composer did not give him the opportunity to prove himself a brilliant virtuoso as Bartok introduced the technique of clarinet play at its best: scale-like and arpeggioed passages in different registers, trills, contrasting articulations. The violin party is equally complicated. For example, at the beginning of the third part, a performer must set two strings halftone below, and then turn the instrument back to normal tune. Such complexity was required for the violinist to perform the tritones on open strings. It is possible that “The Contrasts” name got another meaning: the contrast of the parts. This work’s creation process involved people across the oceans, different cultures and musical styles representatives. Thus, we can see how many different life paths crossed, what kind of musical and technical means symbiosis was involved to create such a work as “The Contrasts” by Bela Bartok.