Background. A play principle is one of the essential properties of the artistic worldview and creative thinking of C. M. Weber. Declaring itself in works of different genres, it takes on many different shades, speaking in the form of comic, ironic, characteristic and carnival. In the instrumental opuses by the composer, the play aspect appears in complex of texture, articulation, intonation and thematic, dynamic and formative techniques that lead to immediate visual and theatrical associations. Expression of play principles in this genre sphere can be considered, on the one hand, as various types of ensemble dialogue, and on the other hand, as virtuosity, producing aesthetic pleasure and sincere joy. The Piano Quartet by the composer, a typical example of the instrumental and play beginnings in the work by C. M. Weber, is a part of repertoires of many ensembles, but it has not yet become an object of serious scientific interest. The question of the historical and stylistic affiliation of C. M. Weber is debatable, as evidenced by significant differences in the views of scientists on this issue. Some of them, as La Mara (1886), R. Teryokhin (1983), R. Mizitova (1999), see him as the custodian of the Viennese classical tradition, focusing on “mozartianism” of C. M. Weber, others, as J. Warrack (1976) and B. Smallman (1994), considered him as one of the pioneers of romanticism. The former notes the improvisational nature of the emergence of the quartet cycle, the latter ‒ the elegance of writing and the unusual form of the last part, which served as a model for creating the finale of instrumental opuses for subsequent romantic composers. The pianistic texture by C. M. Weber as reflection of the virtuosoromantic direction is described in the works of N. Kashkadamova (2006) and O. Skorbyaschenskaya (1993). The aforementioned works also note the unusual form-making of the composer and the fantasy nature of his Minuets-Scherzo, that anticipate the experiments of F. Mendelssohn and other romantic composers. I. Karachevtseva (2015: 24) takes a special position toward the work by C. M. Weber acknowledging it as “the quintessence of a new artistic and stylistic quality that defines the boundary between two historical eras”. Objectives. The purpose of this article is to identify the genre, dramatic and the shaping characteristics of the Piano Quartet by C. M. Weber as a manifestation of play logic. Results. The play principle is manifested at all levels of the text of Weber’s work: genre, compositional, dramatic, thematic. C. M. Weber does not resort to the typical of classical piano ensembles three-part cycle, but to the four-part, placing Minuet between Adagio and the Finale. In our opinion, the inclusion of the Minuet in the sonata cycle is due to the theatrical and playful mindset of C. M. Weber. This assumption is corroborated by the nature of the dramatic logic of the Piano Quartet cycle, where in each part the listener (including the performer) something unusual, captivating and witty lies in wait. Playful interest in the movement’s intrigue extends even to Adagio, which by its nature is less likely to surprise. The entire first section of this part is built of short statements, changes in the types of movement, rhythmic pulsation, contradicting dynamic shades, and ultimately figurative details, as a result of which instead of a holistic meditative theme, a dynamic, instrumental “mise-en-scene” arises. Equally fractional is the main part of the sonata Allegro, where the delicate phrase of the solo piano is suddenly interrupted by the irritated intonation of the sf and ff trills, and the exhorting statement of the string trio makes the piano to have second thoughts. We observe the play logic of the event canvas as the piano and string trio are endowed with their own thematicism, “personified”. The Minuet is unexpected in a minor modus (g-moll) in the context of a major composition (B-dur), the rapid change of textural-thematic units, and the simplicity of the trio theme ‒ in the spirit of rural German dances, contrasting the blasting extreme parts. The final rondo (Presto) plunges into a whirlpool of refrains and episodes, creating the impression of carnival fuss and kindling the listener’s “interest in continuation”, and the multipart composition turns into a comparison of musical “scenes”, anticipating the principles of constructing miniature cycles of R. Schumann. Conclusions. The thematic plethora of the Piano Quartet by C. M. Weber, a totally dynamic character, the violation of the classical linearity and predictability of the plot provide the author with a gargantuan opportunity of ensemble dispositions. The composer follows to the parity of communicants achieved by W. A. Mozart in his piano quartets, grouping them into various combinations. Among them, there are a dialogue of the piano and string trio, a melodic communication of the strings against the background of the figured movement of the piano, the solo of the string instrument against the background of keyboard chords, as well as the pianos’ solo in the context of dialogue at the composition level. Thus, assigning primary importance to the play principle, C. M. Weber signifies a universal factor in creating stylistic harmony, which covers figurativelythematic, compositional, ensemble spheres. In structuring of the cycle and its individual parts, in the course of the music-event process, in the art of ensemble writing, the composer showed his mastery creating the “second reality” that merges with play in its intrinsic value.
Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)