Sonata for French horn and piano by Belgian female composer Jane Vignery (1913–1974), which has not been studied before, is analyzed in the article. The main attention is focused on the role of the pianist-accompanist in the process of composing dramaturgy. Skillful manipulation of musical time is the key to the convincingly constructed dramaturgy of a piece of music. Time management is especially evident in the moments of dramatic knots. By the dramaturgical knot we mean the transition from the completion of one dramaturgical element to the beginning of the next. At the beginning of a piece of music (or part of it) it is the transition from inaction to action, from silence to music. In the proposed chamber sonata, the overwhelming majority of the dramaturgical nodes are entrusted with the part of the solo piano, which forms the hypothesis of the research theme : the successful construction of the dramaturgical profile of the sonata, and, as a result, reporting to the listener a quality product, that can cause an emotional response, depends largely on the pianist’s professional knowledge of time. Objectives. The aim of the article is an attempt to prove the leading role of the piano part in the process of constructing the dramatic relief of the proposed sonata. In connection with the tasks set, the issues of correlating between the concepts of "concertmaster" and "accompanist" are clarified. As a conclusion, we see the central orientation in the activity of the pianist-in-ensemble in the conductor’s work, which includes the coverage of the score of the work and the management of musical time - the most important component of dramatic art. Results. A dramaturgical analysis of the sonata for French horn and piano by Jane Vignery has been made. The strategically important sections of the musical form are discussed and described in detail. The first part of the sonata is represented by the sonata allegro. There is no introduction in the sonata, so the initial impulse with which the pianist will take the first chords is very important. The development of the transition leads to the first culmination wave, which is given entirely to the piano part. Since the second subject part is also performed by the solo piano soloist, the conversion from the transition to the second subject pianist is free to act. Pianist has the right to determine the pace and, consequently, the nature of the second subject party. The development, as well as the previous dramaturgical elements, begins solo in the piano part. The development is crowned by the central culmination of the first movement. And, again, its performance is entrusted to the solo piano. In the second part of the sonata the melodic line, which is set out in the horn part, is performed three times without any changes in the musical notation. Its emotional coloring entirely depends on the nature of the piano texture. It is on the pianist that the formation of the correct dramaturgical profile depends, the development of which moves from the personal-subjective to the extrapersonal-objective. The culminating waves, which precede the second and third realization of the theme, are set out in the solo piano part. It is they who represent the most important dramaturgical nodes of this part. The finale of the sonata begins with a short two-stroke introduction, where the piano must switch moods and set the soloist to the desired character in an instant. The episodes of the final part of the sonata changed before the listener as in the kaleidoscope. The pianist is responsible for the change of pace and, as a result, the mood in each of elements. Based on the numerous audio and video recordings of this sonata, as well as our own practical experience, we offer performing recommendations for the piano part. In addition to analytical work, the article includes biographical data on the little-known composer. Also literary sources, which address to the problem of concertmaster skills are considered and classified in the article. We focused on the significant limitation of the range of problems in this field. Conclusions. The accompanist’s mastery consists not so much in accompanying the soloist, creating a comfortable background for him, but above all in conductor’s work, including the coverage of the score and management of musical time – an essential component of drama. Taking into account the acuteness and urgency of the problem, I emphasize the importance and practical necessity of such a type of performing analysis as concertmaster analysis. It’s not always the case that the development of dramaturgy depends on the will of the soloist. Sonata for French horn and piano by J. Vignery is an illustrative example of a compositional form in which all the key dramaturgical nodes are concentrated in the part of the solo piano. Performed according to the laws of dramaturgical logic, this sonata is capable of producing a tremendous effect on the listener. Despite the fact that it is considered a French horn sonata and requires the highest professionalism from the soloist, the construction of the dramatic relief is entirely subordinated to the skills of the concertmaster.
The Accompanist as the Lord of Time (on the Example of Sonata for French Horn and Piano by Jane Vignery)