CHАMBЕR-INSTRUMENTAL STYLE BY A. BERG: PROGRAMMABILITY OF "HIDDEN OPERA", CHAMBERINNESS AND CONCERTITY SYNTHESIS

Abstract

The article focuses on the chamber and instrumental ensemble as a special type of musical thinking, as well as distinguishes the style "constants" and "variables" of this artistic phenomenon. The main purpose of the article is to characterize the general and specific features of Second Viennese chamber-ensemble instrumentalism in the person of its representative, Alban Berg. In this connection, we propose the appropriate conclusions regarding the specifics and general patterns of the timbre complex in the chamber-instrumental style of the mentioned author, which was not specifically investigated in the previous works. The chamber-instrumental style of the Second Viennese School evolved from the embodiment and modernization of the traditions of European instrumentalism with an emphasis on its Austria-German branch. The fundamental generic features of chamber instrumentalism in the form of the ratio of voice parts based on their equi-potentiality and timbre complementarity were the initial and consonant with musical expressionism, technologically expressed by the twelve-tone composition. The chamber-instrumental style became the basis and the "title" sphere of artistic intents of creativity of such various in their aesthetic-poetic installations composers as A. Schönberg, A. Webern and A. Berg. Each of them, at his individually creative level, embodies the traditions of chamberinstrumentalism as a method of thinking, reflected through the timbre complex work. In the chamber thinking of the Second Viennese School representatives, in particular, of A. Berg, the timbre is not distinguished as an independent carrier of expression, but it complements (mainly through registration and articulation) the texture-spatial and texture-procedural (temporary) sides of the sound filling of the chamber-instrumental work.