The genre of string trio in historical retrospect
Abstract
The article examines the process of formation of the string trio as a type of ensemble and as a genre of chamber and instrumental music. Based on the analysis of the available musicological studies and systematization, the path from the time of the appearance of the first instrumental ensembles, their typification into a trio composition, through the formation, development, flowering and transformation of the genre of baroque trio sonatas, orchestral trios of composers of the Mannheim school to outstanding examples of classical era trios (both string and piano) is traced. There is a decline in interest in the possibilities of the genre in the romantic era and its revival in the works of composers of the XX century. The article considers the specifics of the monotembre string ensemble, the expressive possibilities of the string trio genre, the peculiarities of the formation of the cycle and the variety of its interpretations, the conditions of existence of the genre both in the classical era and in subsequent ones as a specific form of “experimental” ensemble music.
About the Author
G. A. Golovina
Bratsk Musical College
Russian Federation
Russian Federation
Galina A. Golovina, teacher
References
1. / Bakuto, S.V. (2016), Arkandzhelo Сorelli – Anfione nashego vremeni [Arcangelo Corelli – Anfione of Our Time], KGII, Krasnoyarsk, 292 p. (in Russ.)
2. / Dvornickaja, A.V. (2018), Muzykal’naja kul’tura Mangejma 1760–1770-h godov: pojetika zhanrov [Musical culture of Mannheim in the 1760s – 1770s: poetics of genres]: Cand. Sc. Thesis, Moscow, 283 p. (in Russ.)
3. / Evdokimova, Ju. (1972), “The formation of the sonata form in the pre-classical era”, Questions of musical form, Vol. 2, pp. 98–139. (in Russ.)
4. / Epishin, A. (2006), Magija muzyki barokko: ital’janskaja trio-sonata [The Magic of Baroque Music: Italian Trio Sonata], Kompozitor, Saint-Petersburg, 148 p. (in Russ.)
5. / Epishin, A. (2010), “At the origins of Instrumental Drama: Trio Sonata”, OPERA MUSICOLOGICA, No. 3, pp. 49–85. (in Russ.)
6. / Kirillina, L. (1996), Klassicheskij stil’ v muzyke XVIII – nachala XIX vekov: chast’ I: Samosoznanie jepohi i muzykal’naja praktika [Classical style in music of the XVIII – early XIX centuries: Part I: Self-consciousness of the epoch and musical practice], Nauchno-izdatel’skij centr “Moskovskaja konservatorija”, Moscow, 192 p. (in Russ.)
7. / Kirillina, L. (2007), Klassicheskij stil’ v muzyke XVIII – nachala XIX vekov: chast’ II: Muzykal’nyj jazyk i principy muzykal’noj kompozicii [Classical style in music of the XVIII – early XIX century: Part II: Musical language and principles of musical composition], Kompozitor, Moscow, 224 p. (in Russ.)
8. / Konen, V. (1975), Teatr i simfonija: rol’ opery v formirovanii klassicheskoj simfonii [Theater and Symphony: the role of opera in the formation of classical symphony], Muzyka, Moscow, 376 p. (in Russ.)
9. / Livanova, T.N. (1983), Istorija zapadnoevropejskoj muzyki do 1789 goda [The History of Western European music before 1789], Vol. 2, Muzyka, Moscow, 696 p. (in Russ.)
10. / Petrash, A. (1975), “Genres of late Renaissance instrumental music and the formation of sonatas and suites”, Questions of music theory and aesthetics, Vol. 14, pp. 177– 201. (in Russ.)
11. / Protopopov, Vl. (1979), Ocherki iz istorii instrumental’nyh form XVI – nachala XIX veka [Essays from the history of instrumental forms of the XVI – early XIX century], Muzyka, Moscow, 327 p. (in Russ.)
12. / Raaben, L. (1986), Kamernaja instrumental’naja muzyka pervoj poloviny XX veka. Strany Evropy I Ameriki: Issledovanie [Chamber instrumental music of the first half of the twentieth century. European and American countries: A study], Sovetskij kompozitor, Leningrad, 197 p. (in Russ.)
Review
For citations:
Golovina G.A. The genre of string trio in historical retrospect. ARTE. 2023;(1):14-19. (In Russ.)
Views:
345
Email this article 