INTERACTION BETWEEN PIANIST AND STRING PLAYER IN CHAMBER ENSEMBLE SETTING: TECHNOLOGICAL ASPECT

Abstract

The purpose of the article is to identify the specific features of interaction between a pianist and a performer on a string instrument from a technological perspective, taking into account the peculiarities of sound production techniques of each instrument. The research methodology is based on a set of scientific approaches that contribute to revealing the chosen issue, including: the comparative method – used to analyze articulation and sound production techniques on different instruments; the empirical method – applied to record real situations of ensemble performance and identify problems of intonational, bowing, and timbral coordination; and the descriptive method – aimed at systematizing and generalizing conclusions regarding the technological aspect of ensemble interaction. The scientific novelty lies in identifying specific technological mechanisms of ensemble interaction between the pianist and the string player, based on a comparative analysis of their performance techniques. For the first time, the correlation between bowing techniques of string instruments and piano articulation in ensemble practice has been analyzed, their interdependence traced, and practical ways of achieving unity of articulatory and timbral expression in a chamber-instrumental ensemble have been determined, which constitutes an integral part of effective ensemble communication. Conclusion. The study established that collaboration between musicians in a chamber ensemble takes place through constant dialogue and creative interaction, where both technical mastery and a deep understanding of the sound production specifics, articulation, and organological characteristics of each instrument are crucial. It has been proven that the interaction between the pianist and the string performer in ensemble playing is based on the mutual coordination of articulation, timbre, and dynamic means of expression, ensuring intonational unity of performance. Practical approaches to achieving the most homogeneous sound between instruments that are seemingly “conflicting” in timbre and sound production principles have been proposed. It was found that the piano, due to its timbral flexibility and wide dynamic range, functions as a kind of “mediator” in the ensemble, ensuring timbral accommodation and sound balance. Thus, it has been determined that the conscious use of performance techniques, articulation, and timbral correspondences in piano playing contributes to forming a qualitatively new level of ensemble interaction based on co-creativity, aural sensitivity, and interpretative coherence.