ON THE SPECIFICS OF COMMUNICATION IN QUARTET PERFORMANCE

The article deals with the peculiarities of communication in the string quartet, one of the most difficult and, at the same time, attractive forms of chamber ensemble music. Through the exchange of artistic information, i.e. communication, the quartet achieves the unity of performance intentions and ways of their realisation, organically correlates individual artistic aspirations with collective tasks, and, eventually, unites efforts to create a performance version of a quartet work that corresponds to the author’s intention and conveys it to the audience. Сommunication in quartet performance has a very complex structure. Firstly, it covers all the subjects of B. Asafyev’s famous triad “composer — performer — listener”, forming the communicative dyads “composer — performer” and “performer — listener”. Secondly, it is manifested at the internal local level in the interactions between the ensemble participants, as a result of which specific communicative links are formed, different types of communication are used, and characteristic means of expression are applied. Finally, it is concluded that communication in quartet performance is multilevel and multidirectional in nature. Despite the variety of manifestations, they are all aimed at solving the key task of the performer as the central link in the communicative triad: to understand the artistic concept of the work and to create a convincing interpretation of it in real sound. As a key feature of the bowed quartet, communication serves as an impetus for the genre’s constant self-development, ensuring its vitality and relevance for composers, performers, and listeners.