"Sounding form of piano" in A. Karamanov`s authorial style
Background. In the latest years the attention of musicologists is paled by problematics connected with “the sounding form of an instrument”, its influence on a composer’s concept of musical work and the following performer implementation. It is proved that the specifics of musical instrument which a composer plays, has an essential influence at a composer’s mind. Especially if it is referred to composers-pianists, who is A. Karamanov. Objectives. The aim of research is to point out certain stages of musical culture developing, texture potential of piano, specifics of piano texture and the nature of A. Karamanov’s piano mentality and style of playing. Methods. A. Karamanov, as the majority of composers-pianists, “thinks a piano”, uses this instrument as well all-sufficient, having the purposeful genre destination, as well purposed for sketchy development of symphonic concepts (all the A. Karamanov’s symphonies were created and were performed for the first time by him in piano variant). The musical mind of A. Karamanov is always subjectified in a real-sounding form, that is why “the figure of the instrument” standing behind a work, is entering unavoidably to the structure of artistic result which is the final fixation of composition in note text. The organology of piano as an instrument which has a quite ancient history, flows out of the needs of esthetic demand-offer, which appeared at the certain stages of musical culture developing. The texture potential of piano is realized in the two basic musical-stylish aspects: the piano in its own and the orchestral one. However, the orchestral treatment of piano is conventional to a large extent, which is proved by the practice of transcriptions-offers of orchestral texture to the piano. The specifics of piano texture is mentioned by the specific character of playing modus which is peculiar to pianist-performer’s mind. The piano style as the one of aspective instrumental styles is differed by transformation of playing quality which is related to the discovering of performer’s virtuous opportunities through innate specific piano-playing tendencies which are innate in composer’s text. The improvisational freedom of piano texture “creating” for A. Karamanov, the composer who had the especial hearing and musical mind, suprevences from this exact feature which is peculiar to pianists-virtuosos of a high class. The texture-phonic face of piano in the composer’s creativity who knew well the grounds of pianism as performing system which is based on the phenomenon of “hearing hand” is differed not only by “convenience” for performing but also by specific qualities connected with positional playing in the parties of right and left hand of a pianist. Facture forms which are in the note text of piano work, are the result of a composer’s motor-acoustic activity, who created the mentioned work on the ground of individual interpreting by it “figure” of the instrument. The nature of Karamanov’s piano mentality could be mentioned by the term “controlled improvisation” which G. Barrake can apply in relation to piano writing style and performing of C. Debussy. Improvisation as the principle of simultaneous creating-performing of music always combines “control” and “freedom”. In the number of the necessary elements of “control” for pianist-improvisator and pianist-composer who “processed” the improvised sound text in the form of the written note one, is one of the fundamental principles of piano playing - the position of two “hands-parties”, their correlation in the playing process and the reflection in note-texture variant of the text. The unity of composer-improvised and itself performing partials of piano playing art and writing, where the both principles (instrument and musician) are integral in terms of artistic result is peculiar to A. Karamanov. Results. The results of the research support the idea that for A. Karamanov who gravitates to the genre clarity coupled with improvisational freedom, the piano texture is initial genetic birth environment and development of musical thoughts, their exposition and transformation in the process of crystallization-establishing of the integral form of work. In the field of piano writing the composer keeps multi-attribute style orientation which leads to some “form of the instrument”, - illusive-pedal, real-unpedal, impulsive-noising, “singing” etc (L. Hakkel’s classification). The typical texture-harmonic formulas which is related to solo concert genres prevails in A. Karamanov’ style of writing. Concert dialogism and improvisational nature of A. Karamanov’s piano texture are the typical features of piano “instrumental implementation” which appears to different extents in solo and piano-orchestral music. The general “pianism” which is understood by performing “utility”, the practicability of texture-harmonic complex of A. Karamanov’s piano writing, does not exclude the using of unordinary playing methods which are practiced by the author as a pianist himself. Conclusion. The piano style of A. Karamanov comes from performing: in the field of “instrumental implementing” (A. Corto) the composer-pianist follows the synthesis of two models of piano playing - illusive-pedal and real-unpedal (L. Hakkel).