The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg

V.O Metlushko

doi:10.34064/khnum2-15.02

Abstract

The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg

Highlights

Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century
The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various
As the presented literature testifies, the performer, first of all, should get acquainted with the scientific researches in order to facilitate the subsequent interpretation process. This is important for understanding the figuratively emotional and meaningful side of music, and the novelty of the ensemble ratio of instrumental voices. From this point of view, the clarinetist should be aware of his part both in its individual features, and as an integral part of a single thematic process

Summary

Introduction

Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century. The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various. Features of use of a clarinet in chamber genres are researched, as a rule, in aspect of wider perspective. Owing to this fact information on many compositions which entered the repertoire of modern performers in scientific and methodical literature either is absent, or does not exhaust all complex of the questions arising in connection with updating of musical language at preservation of the developed receptions of the instrumental and ensemble composing

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Results

Conclusion