Concert as a musical genre

Concert (from lat. – competition)- a musical genre based on the contrasting opposition of the parts of a soloist, several soloists, and a minority of performers to the entire ensemble.

There are concerts for one or more instruments with orchestra, for orchestra, and for unaccompanied choir. Works called"concerts", first appeared at the endXVI century. In Italy. As a rule, these were vocal polyphonic pieces, but instruments could also participate in their performance. INXVIIV. a concert was a vocal work for voice accompanied by instrumental accompaniment. In Russia inXVII-XVIIIcenturies a special type of concert was formed -unaccompanied polyphonic choral work .

The principle of “competition” gradually penetrated into purely instrumental music. The juxtaposition of the entire ensemble (tutti) with several instruments (solo) became the basis of the concerto grosso - a genre that became widespread in the Baroque era (the pinnacle examples of the concerto grosso belong toA. Corelli, A. Vivaldi, J. S. Bach, G. F. Handel).

In the Baroque era, a type of solo concert for clavier, violin and other instruments accompanied by an orchestra also developed. In creativityW. A. ​​Mozart, L. Beethoventhe type of instrumental concerto for a solo instrument/common with an orchestra received its classical embodiment. In the first movement, the themes are first presented by the orchestra, then by the soloist and the orchestra; shortly before the end of the first movement, a cadenza appears - a free improvisation by the soloist. The tempo of the first movement is usually agile. The second part is slow. Her music expresses sublime thought and contemplation. The third part - the finale - is fast, cheerful, often associated with folk genre sources. This is how many concerts are built,created by composersXIX-XXcenturies

For example, P. I. Tchaikovsky in his famous1st concertfor piano and orchestra uses a three-part cycle form.In the first partpathetic and lyrical-dramatic images are combined. The composer based its main theme on the melody of the lyre players (blind singers accompanying themselves on the lyre). The second part is lyrical in nature. In the third, Tchaikovsky recreates a picture of festive fun, using the Ukrainian folk song-vesnyanka.

The development of the instrumental concert in the work of romantic composers went in two directions: on the one hand, the concert in its scale and musical images came closer to the symphony (for example, in I. Brahms), on the other hand, the purely virtuoso principle intensified (in the violin concertos of N. . Paganini).

In Russian classical music, the instrumental concert genre received a unique and deeply national interpretation in the piano concertos of Tchaikovsky andS.V. Rachmaninov, in the violin concertos of A.K. Glazunov and P.I. Tchaikovsky.

The instrumental form of the concerto can be considered a genuine contribution of the Baroque, which embodied the aesthetic ideals of an era marked by sudden changes, anxiety and tense anticipation. A concert is a kind of musical play of light and shadow, a kind of construction where each component part is in opposition to the other parts. With the advent of the concert, a tendency is born towards musical storytelling, towards the development of melody as a kind of language capable of conveying the depths of human feelings. In fact, the etymology of the word “concertare” comes from the words “to compete”, “to fight”, although the understanding of the meaning of this musical form is also connected with “consertus” or “conserere”, which means “to harmonize”, “to put in order”, “to unite” . The etymological meanings correspond very well to the purpose of the composers, who, through the new form, contributed to the amazing advancement of the musical language of the era.

Historians consider the birth of the instrumental concerto grosso to be the 70s of the 17th century, and its ancestry is traced either to the vocal-instrumental concerto and the organ and orchestral canzone of the 16th-17th centuries, which is in many ways close to it, or to the ensemble sonata, which developed in the 17th century. These genres, along with opera, embodied the main features of the new musical style - Baroque.

L. Viadana, in the preface to the collection of his concerts (Frankfurt, 1613), emphasized that the melody in the concert sounds much more clearly than in the motet, the words are not obscured by counterpoint, and the harmony, supported by the general bass of the organ, is immeasurably richer and fuller. In fact, the same phenomenon was described in 1558 by G. Zarlino: “It happens that some psalms are written in the manner of a choros pezzato (implying performance by a “divided, torn choir” - N. 3.). Such choirs are often sung in Venice during vespers and at other solemn hours and are located or divided into two or three choirs, with four voices in each.

The choirs sing alternately and sometimes together, which is especially good at the end. And since such choirs are located quite far from each other, the composer, in order to avoid dissonance between individual voices, must write in such a way that each choir separately sounds good... The basses of different choirs must always move in unison or an octave, sometimes in a third, but never in a fifth." The movement of the bass of various choirs in unison testifies to the gradual formation of homophony. In parallel, the continuous imitation of the old polyphony is replaced by the principle of dynamic echoes, related to it, but already leading into the new era - one of the first non-polyphonic principles of formation.

However, imitation also continued to play an important role in musical development - often stretta-shaped, as in the old style. The rudiments of forms that will become characteristic of the future concerto grosso are noticeable. Double exposition will be especially common in concertos based on dance themes, and while in Corelli the first exposition is usually solo, in the later concerto the tutti opening is more popular. In general, double exposures are natural for concerto grosso: after all, the listener needs to imagine both sound masses from the very beginning. The simplest way of development is obvious - a roll call of two masses. And the result of the “concert dispute” should be summed up by the final tutti: so it was with Pretorius, so it will be with Bach, Handel, Vivaldi. The example from Benevoli's Mass anticipates the concerto, or ritornello, form that dominated music in the first half of the 18th century. There is still no consensus regarding the origins of this form.

Its discoverer X. Riemann associated it with the fugue and likened the ritornello to a theme, and the solo development to an interlude. On the contrary, Schering, citing the testimony of A. Scheibe (1747), disputed the relationship of the concert form with the fugue and directly derived it from the aria with ritornello. A. Hutchings, in turn, disagrees with this: he considers the source of this form to be the sonata for trumpet with string orchestra, which existed in Bologna at the end of the 17th century and which, in his opinion, had a direct impact on the recital. Hutchings emphasizes that only after the concert's distribution did the operatic aria with ritornello acquire a finished form.

Only one thing is indisputable: in the first half of the 18th century, the concert form was found in almost all genres, and it is no coincidence that researchers consider it the main form of its time (like the sonata form in the second half of the 18th century). Being “an independent formation between monothematics and classical thematic dualism,” the concert form provided both thematic unity and the necessary degree of contrast, and also gave the performer the opportunity to demonstrate his skill in solo passages. And yet, with all their novelty, the analyzed samples directly follow from the music of the 16th century, primarily from the canzone - the ancestor of almost all later instrumental genres. It was in the instrumental canzone (canzonada sonar) that the future sonata cycle was born, forms such as a fugue or a three-part frame-type reprise began to crystallize (many canzones ended with an initial theme); The canzones were the first instrumental works to be published and, finally, here for the first time purely orchestral groups began to be compared, without the participation of voices.

It is believed that this step towards a new concerto grosso was made by G. Gabrieli, the organist of the Cathedral of St. Mark in Venice (from 1584 to 1612). Gradually, in his canzones and sonatas, not only the number of instruments and choirs increases, but also a thematic contrast arises: for example, the solemn tutti chords are contrasted with the imitative construction of one of the choirs. It is on this contrast that many forms of the early and middle Baroque will be built: entire instrumental cycles will grow out of it, and in some parts such contrasts, characteristic of the canzone, will persist until the era of Corelli and even later.

Through the canzone, the form-building technique characteristic of the motet - the stringing of episodes of different themes - penetrated into the instrumental music of the Baroque.

In general, the melody of the Baroque - be it the "mosaic" of a canzone and an early sonata or the "endless melody" of Bach and his contemporaries - always has the character of progress from a certain impulse. Different energy of the impulse determines different duration of development, but when the inertia is exhausted, cadence must begin, as happened in the canzone of the 17th century or in the polyphonic miniatures of the mature Baroque. B.V. Asafiev reflected this pattern in the famous formula i:m:t. Concert deployment overcame the closedness of this formula, rethinking the cadence, turning it into an impulse of a new deployment or endlessly delaying it with the help of ever new local impulses and modulations at the level of motivic structures (structural modulations - A. Milka's term).

Less often, sudden contrast was used, transferring development to another plane. Thus, already in Marini’s sonata, the “technique of gradual transition” characteristic of the Baroque begins to take shape: subsequent development directly follows from the previous one, even if it contains contrasting elements. As a legacy from the music of the Renaissance, the early Baroque also inherited another principle of formation: reliance on the rhythmic and intonation formulas of popular dances established in the everyday music of the Renaissance.

Mention should also be made of the “chamber” and “church” sonatas. According to historians, both genres finally took shape in the second half of the 17th century, when Legrenzi worked. The names of the genres are associated with the theory of “styles” (hereinafter, the term “style” in the understanding of the 18th century is given in quotation marks), which, in turn, was part of the aesthetics of “rhetorical rationalism” common to all Baroque art. (This term was proposed by A. Morozov in the article “Problems of European Baroque”).

Rhetoric developed in the oratorical practice of Ancient Greece and was outlined in the treatises of Aristotle and then Cicero. An important place in rhetoric was given, firstly, to “locitopici” - “commonplaces”, which helped the speaker to find, develop a topic and present it clearly and convincingly, instructively, pleasantly and touchingly, and, secondly, to “theories of styles”, according to which the nature of speech changed depending on the place, subject, composition of the audience, etc. For baroque musicians, locitopici became a set of expressive means of their art, a way to objectify an individual feeling as well-known and typical. And the category of “style” helped to comprehend the diversity of genres and forms of modern times, introduced criteria of historicism into musical aesthetics (often under the guise of the word “fashion”), explained the difference between the music of different nations, highlighted individual features in the work of the largest composers of the era, and reflected the formation of performing schools .

By the end of the 17th century, the terms sonata da camera, dachiesa meant not only and not so much the place of performance, but the nature of the cycle, recorded in 1703 by de Brossard, the author of one of the very first musical dictionaries. Corelli's forty-eight cycles, combined into four opuses, largely correspond to Brossard's description: op. 1 and 3 - church sonatas, op. 2 and 4 - chamber.<...>The basic principle of construction for both types of cycle is tempo and often metric contrast. However, in a church sonata, the slow parts are usually less independent: they serve as introductions and connections to the fast ones, so their tonal plans are often open.

These slow parts consist of only a few bars or approach an instrumental arioso, are built on a continuous pulsation of piano chords, with expressive delays or imitation, sometimes even include several independent sections, separated by caesuras. The fast parts of a church sonata are usually fugues or freer concert formations with elements of imitation; later in such Allegro the fugue and concert form can be combined. In a chamber sonata, as in an orchestral or clavier suite, the parts are mostly tonally closed and structurally complete; in their forms one can trace the further development of the elementary two- and three-part structure.

The theme of chimes, and especially sarabands and gavottes, is usually homophonic, often symmetrical; rudiments of sonata form are noticeable. On the contrary, allemandes and gigues often move without stopping or repeating; polyphonic elements are common in allemandes; the gigue is often imbued with the spirit of a concert. The dachiesa and dacamera sonatas are not connected by a strict compositional scheme.

All chamber concerts begin with a prelude, followed by dance pieces, only occasionally “replaced” by slow introductions or concert Allegro. Church concerts are more solemn and serious, but the rhythms of a gigue, gavotte or minuet can be heard every now and then in their themes. Considerable confusion in the genre divisions of the early 18th century is brought about by the so-called chamber concert, which had nothing in common with the suite-like sonata dacamera and, according to researchers, originated not in chamber music, but in church music of the Bolognese school.

We are talking about a contemporary and “twin” of the so-called Italian overture - a three-part concerto by Torelli, Albinoni and Vivaldi, a textbook description of which was left to us by I.-I. Quantz. The first part of the “chamber concert” was usually composed in four-beat meter, in concert form; her ritornello should have been distinguished by its pomp and polyphonic richness; in the future, a constant contrast of brilliant, heroic episodes with lyrical ones was required. The second, slow part was intended to excite and calm passions, contrasted with the first in meter and key (the minor of the same name, keys of the first degree of kinship, the minor dominant in the major) and allowed a certain amount of decoration in the soloist’s part, to which all other voices were subordinated.

Finally, the third movement is again fast, but absolutely different from the first: it is much less serious, often dance-like, in three-beat meter; her ritornello is short and full of fire, but not without some flirtatiousness, the general character is lively and playful; Instead of a solid polyphonic development of the first movement, there is a light homophonic accompaniment. Quantz even names the optimal duration of such a concert: the first part is 5 minutes, the second is 5-6 minutes, the third is 3-4 minutes. Of all the cycles in Baroque music, the three-part cycle was the most stable and figuratively closed form. However, even the “father” of this form, Vivaldi, often varies the genre types of individual parts. So, for example, in the two-horn “Dresden” concerto in A major (in the collected works of Vivaldi edited by F. Malipiero - volume XII, no. 48), he opens the first part of the three-part cycle, adding to the Allegro a slow frame in the character of a French overture. And in the Eighth Concerto from Volume XI of Malipiero’s collection, the third movement, unlike Quantz’s description, is a fugue.

Bach sometimes acts in a similar way: in the Brandenburg Concerto No. 2, the form of the cycle “modulates” from three-part to four-part, church, closed by a fugue. Often, parts borrowed from a suite, church sonata or operatic overture are added to a three-part cycle. In the Brandenburg Concerto No. 1 it is a minuet and a polonaise. And in the Violin Concerto in F major by G. F. Telemann, the ritornello form of the first movement is followed by a typically suite continuation: Corsicana, allegrezza (“gaiety”), scherzo, rondo, polonaise and minuet. Modulation at the cycle level is carried out through a common link - Corsicana: it is in 3/2 time, Unpocograve, but with its melodic strangeness and angularity it leads away from the traditional genre type of the slow part of the concert. Thus, one can note the increased importance of “improvisation”.

Meanwhile, Quantz, like other theorists of that time, considered one of the most important features of concerto grosso to be “clever mixtures of imitations in concert voices,” so that the ear would be attracted by one instrument or another, but at the same time all soloists would remain equal. Consequently, already during Corelli's time the concerto grosso was exposed to the influence of its brothers - the solo and rippie (without soloists) concerts. In turn, in a recital, additional soloists from the orchestra are sometimes highlighted, for example in the first part of the concert “Spring” op. 8 Vivaldi in the first episode depicting the singing of birds, the solo violin is joined by two more violins from the orchestra, and in the finale of the concert the second solo violin is introduced without any pictorial intentions - to enrich the texture.

This genre is characterized by a mixture of various concert instruments, numbering from two to eight or even more. Quantz's compatriot, Matteson, considered the number of parts in a concerto grosso excessive and likened such concerts to a table set not to satisfy hunger, but for the sake of pomp and impressiveness. “Everyone can guess,” adds Matteson thoughtfully, “that in such a dispute between instruments ... there is no shortage of images of jealousy and vindictiveness, feigned envy and hatred.” Both Quantz and Matteson came from the German concertogrosso tradition. Schering associated the Germans' love for mixed compositions in this genre with the traditions of performing wind instruments: back in medieval Germany there was a guild of Stadtpfeifer (city musicians) who played in churches, at ceremonies, at weddings, and also gave various signals from fortress or town hall towers .

The wind concertino, according to Schering, appears very early, almost simultaneously with the strings. His most popular model was also a trio of two oboes and "bass" unison bassoons. Sometimes oboes were replaced by flutes. The widespread use of such compositions (soon there will also be two trumpets with a timpani “bass”) is attributed not only to their acoustic merits and similarity to a string trio, but also to the authority of Lully, who in the 70s of the 17th century transferred them from French military bands to opera. The juxtapositions of three- and five-voices—purely dynamic, not timbre—excellently organize and articulate its forms. In fact, this is a further development of the techniques of the old multichoral concerto.

Following the example of Lully, Georg Muffat will use the echoes of closed masses in the developing parts of his concertigrossi; this technique will not be neglected by Corelli and his followers. However, in the 18th century, Vivaldi “discards the old understanding of concertino, which required the stylistic unity of both sound matters, and puts forward a new, colorful and programmatic one, dictated by the spirit of the times. This principle itself was already known to Venetian opera composers. Torelli and Corelli gradually developed it in their pastoral concerts "Vivaldi combined it with the poetry of solo concerts." As has often happened in the history of music, the colorful programmatic interpretation of the orchestra came into the symphonic style from the theatrical one. In turn, many overtures to operas, oratorios, and cantatas of the early 18th century turn out to be concerto grosso cycles. One of the first "Italian overtures" - to the opera "Eraclea" (1700) by A. Scarlatti - a three-part "Vivaldi" cycle.

The principle of juxtaposing sound masses was one of the fundamental principles of the Baroque orchestra, and it was not without reason that the ritornello form, based on these juxtapositions, fit so well into all genres. Its influence can be traced back in the early classicist symphonies (rarefaction of texture in the secondary part, tutti invasions - “ritornellos”, etc.), in the operas of Gluck, Rameau, and the Graun brothers. And symphonies for two orchestras, to the roll calls of which were added comparisons of concertini isolated from them, were written in Italy back in the second half of the 18th century; in everyday and program music, polychoranes were sometimes used by Haydn and Mozart.

German Konzert, from Italian. concerto - concert, lit. - competition (of votes), from lat. concerto - compete

A work for many performers, in which a smaller part of the participating instruments or voices opposes the majority or the entire ensemble, standing out due to thematic features. relief of music. material, colorful sound, use of all the capabilities of instruments or voices. From the end of the 18th century. The most common are concertos for one solo instrument with an orchestra; less common are concertos for several instruments with an orchestra - “double”, “triple”, “quadruple” (German: Doppelkonzert, Triepelkonzert, Quadrupelkonzert). Special varieties include music for one instrument (without an orchestra), music for orchestra (without strictly defined solo parts), music for voice(s) with orchestra, and music for a cappella choir. In the past, vocal polyphonic music was widely represented. K. and concerto grosso. Important prerequisites for the emergence of music were polychorany and the juxtaposition of choirs, soloists and instruments, which were first widely used by representatives of the Venetian school, highlighted in vocal instruments. compositions of solo parts of voices and instruments. The earliest cathedrals arose in Italy at the turn of the 16th and 17th centuries. in the wok. polyphonic church music (Concerti ecclesiastici for double choir by A. Banchieri, 1595; Motets for 1-4 voice singing with digital bass “Cento concerti ecclesiastici” by L. Viadana, 1602-11). In such concerts various types were used. compositions - from large ones, including numerous. wok and instr. parties that numbered only a few woks. parts and the general bass part. Along with the name concerto, compositions of the same type often bore the names motetti, motectae, cantios sacrae, etc. The highest stage of development of church music. K. polyphonic style represent those that emerged in the 1st half. 18th century cantatas by J. S. Bach, which he himself called concerti.

The K genre has found wide application in Russian. church music (from the end of the 17th century) - in polyphonic works for a cappella choir, related to the field of partes singing. The theory of the “creation” of such K. was developed by N. P. Diletsky. Rus. Composers have greatly developed the polyphonic technique of church music (works with 4, 6, 8, 12 or more voices, up to 24 voices). In the library of the Synodal Choir in Moscow there were up to 500 songs from the 17th and 18th centuries, written by V. Titov, F. Redrikov, N. Bavykin and others. The development of the church concert continued at the end of the 18th century. M. S. Berezovsky and D. S. Bortnyansky, whose work is dominated by a melodic-ariotic style.

In the 17th century, initially in Italy, the principle of “competition”, “competition” of several solo (“concerting”) voices penetrated into the instrument. music - in the suite and church. sonata, preparing the emergence of the instrumental music genre (Balletto concertata P. Melli, 1616; Sonata concertata D. Castello, 1629). The contrasting juxtaposition (“competition”) of an orchestra (tutti) and soloists (solo) or a group of solo instruments and an orchestra (in concerto grosso) is based on the contrasts that emerged at the end of the 17th century. the first examples of instrumental K. (Concerti da camera a 3 con il cembalo G. Bononcini, 1685; Concerto da camera a 2 violini e Basso continuo G. Torelli, 1686). However, the concertos of Bononcini and Torelli were only a transitional form from the sonata to K., which actually took shape in the 1st half. 18th century in the works of A. Vivaldi. K. of this time was a three-part composition with two fast outer parts and a slow middle part. Fast parts were usually based on one topic (less often on 2 topics); This theme was carried out in the orchestra in an unchanged form as a refrain-ritornello (monothematic allegro of the rondal type). Vivaldi created both concerti grossi and solo K. - for violin, cello, viol damour, various spirits. tools. The part of the solo instrument in solo concerts initially performed primarily connecting functions, but as the genre evolved, it acquired an increasingly clearly expressed concert character and thematic character. independence. The development of music was built on the opposition between tutti and solo, the contrasts of which were emphasized by the dynamic. means. The figurational texture of smooth movement of a purely homophonic or polyphonic type predominated. The soloist's concerts, as a rule, had the character of ornamental virtuosity. The middle part was written in an ariatic style (usually a pathetic aria of the soloist against the backdrop of chord accompaniment by the orchestra). K. received this type in the 1st half. 18th century general distribution. The keyboard compositions created by J. S. Bach also belong to this group (some of them represent adaptations of his own violin concertos and Vivaldi’s violin concertos for 1st, 2nd and 4th claviers). These works by J. S. Bach, as well as K. for clavier and orchestra by G. F. Handel, laid the foundation for the development of php. concert. Handel is also the founder of the organ music. As solo instruments, in addition to the violin and clavier, the cello, viol damour, oboe (which often served as a substitute for the violin), trumpet, bassoon, transverse flute, etc. were used as solo instruments.

In the 2nd half. 18th century a classic was formed. a type of solo instrumental music, clearly crystallized among the Viennese classics.

In K. the sonata-symphonic form was established. cycle, but in a peculiar refraction. The concert cycle, as a rule, consisted of only 3 parts; it lacked the 3rd part of the complete four-part cycle, i.e., a minuet or (later) a scherzo (the later scherzo is sometimes included in K. - instead of a slow movement, such as, for example, , in the 1st K. for violin and orchestra by Prokofiev, or as part of a complete four-movement cycle, as, for example, in the concertos for piano and orchestra by A. Litolf, I. Brahms, in the 1st K. for violin and orchestra Shostakovich). Certain features were also established in the construction of individual parts of K. In the 1st part, the principle of double exposure was used - first, the themes of the main and secondary parts were sounded in the orchestra in the main. tonality, and only after that in the 2nd exposition they were presented with the leading role of the soloist - the main theme in the same basic. key, and the secondary one is in a different key, corresponding to the scheme of the sonata allegro. The comparison and competition between the soloist and the orchestra took place mainly in development. Compared to the pre-classical samples, the very principle of concertizing has changed significantly, and it has become more closely related to thematic themes. development. In K., the soloist provided for improvisation on the themes of the composition, the so-called. the cadence was located at the transition to the coda. In Mozart, the texture of K., while remaining predominantly figurative, is melodic, transparent, and plastic; in Beethoven, it is filled with tension in accordance with the general dramatization of the style. Both Mozart and Beethoven avoid any cliche in the construction of their scenes, often departing from the principle of double exposure described above. The concertos of Mozart and Beethoven represent the highest peaks of the development of this genre.

In the era of romanticism there was a departure from the classical. relationship of parts in K. The Romantics created a one-part K. of two types: small form - the so-called. concerttük (later called concertino), and a large form, corresponding in structure to a symphonic poem, in one movement embodying the features of a four-part sonata-symphonic cycle. In classic K. intonation and thematic. connections between parts, as a rule, were absent, in romantic. K. monothematism, leitmotif connections, and the principle of “end-to-end development” have acquired great importance. Vivid examples of romanticism. the one-part poem by K. was created by F. Liszt. Romantic claim 1st half. 19th century developed a special kind of colorful and decorative virtuosity, which became a stylistic feature of the entire movement of romanticism (N. Paganini, F. Liszt, etc.).

After Beethoven, two varieties (two types) of music emerged - “virtuoso” and “symphonized”. In virtuoso K. instr. virtuosity and concertizing form the basis for the development of music; It is not thematic that comes to the fore. development, and the principle of contrast between cantilena and motor skills, decl. types of texture, timbres, etc. In plural virtuoso K. thematic. development is completely absent (Viotti's concertos for violin, Romberg's concertos for cello) or occupies a subordinate position (1st movement of the 1st Paganini concerto for violin and orchestra). In symphonized K. the development of music is based on symphonies. dramaturgy, thematic principles. development, based on the contrast between figurative and thematic. spheres Implementation of symphony dramaturgy in K. was determined by its rapprochement with the symphony in the figurative, artistic, ideological sense (J. Brahms’s concertos). Both types of K. differ in dramaturgy. basic functions components: virtuoso music is characterized by the complete hegemony of the soloist and the subordinate (accompanying) role of the orchestra; for symphonized K. - dramaturgical. the activity of the orchestra (the development of thematic material is carried out jointly by the soloist and the orchestra), leading to the relative equality of the parts of the soloist and the orchestra. In symphonized K. virtuosity became a means of drama. development. The symphonization even embraced such a specifically virtuosic element of the genre as cadenza. If in virtuoso K. the cadenza was intended to demonstrate technical skills. mastery of the soloist, in the symphonized she was involved in the general development of music. Since the time of Beethoven, composers themselves began to write cadenzas; in the 5th fp. Beethoven's concerto, the cadenza becomes organic. part of the work's form.

A clear distinction between virtuoso and symphonized music is not always possible. The K type has become widespread, in which concerto and symphonicity appear in close unity. For example, in the concerts of F. Liszt, P. I. Tchaikovsky, A. K. Glazunov, S. V. Rachmaninov symphonic. the dramaturgy is combined with the brilliant virtuoso character of the solo part. In the 20th century the predominance of virtuoso concert performance is characteristic of the concerts of S. S. Prokofiev, B. Bartok, the predominance of symphonic. qualities are observed, for example, in Shostakovich’s 1st violin concerto.

Having had a significant influence on K., the symphony, in turn, was influenced by K. At the end of the 19th century. a special “concert” variety of symphony arose, represented by prod. R. Strauss ("Don Quixote"), N. A. Rimsky-Korsakov ("Spanish Capriccio"). In the 20th century Quite a few concerts for orchestra also appeared, based on the principle of concertoing (for example, in Soviet music - by the Azerbaijani composer S. Gadzhibekov, the Estonian composer J. Rääts, etc.).

Practically K. created for all Europe. instruments - fp., violin, cello, viola, double bass, woodwind and brass. R. M. Gliere owns the very popular K. for voice and orchestra. Sov. composers written by K. for people. instruments - balalaika, domra (K.P. Barchunov and others), Armenian tar (G. Mirzoyan), Latvian kokle (Ya. Medin), etc. In Sov. music, the genre of K. has become extremely widespread in various fields. standard forms and is widely represented in the works of many composers (S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian, D. B. Kabalevsky, N. Ya. Myaskovsky, T. N. Khrennikov, S. F. Tsintsadze and others).

Literature: Orlov G. A., Soviet piano concert, Leningrad, 1954; Khokhlov Yu., Soviet violin concerto, M., 1956; Alekseev A., Concert and chamber genres of instrumental music, in the book: History of Russian Soviet music, vol. 1, M., 1956, pp. 267-97; Raaben L., Soviet instrumental concert, Leningrad, 1967.

Methodological development

OPEN LESSON

Music lesson in 6th grade on the topic: “Instrumental concert »

music teachers

MBOU RSOSH No. 1, Rudnya

Smolensk region

Datskiv Ilona Alexandrovna

2016

U rock music in 6th grade "Instrumental concert"

Lesson type -formation and improvement of new knowledge, but taking into account the requirements of the Federal State Educational Standard, this is a lesson in the “discovery” of new knowledge.

The purpose of the lesson: give an idea of ​​the instrumental concert genre, when and how it arose, and how it developed.

Based on the purpose of the lesson, the following are stated:tasks:

Educational : to introduce students to the origin and development of the instrumental concert genre using the example of the concert “The Four Seasons” by A. Vivaldi, to consolidate ideas about various types of concerts, to expand ideas about program music.

Developmental : continue to introduce the best examples of Baroque music.

Educational : to cultivate emotional responsiveness to the perception of classical music, to develop interest and respect for the musical heritage of composers from other countries.

Recently, the tasks of a music lesson have expanded. It is becoming increasingly importantself-educational Andstimulating tasks.

Self-educational : develop skills and abilities of musical and aesthetic self-education (independent work in groups)

Stimulating: promote the formation of a sustainable interest in what is being studied, encourage schoolchildren to further knowledge, to develop the need to constantly replenish, update, develop their knowledge (use of a variety of teaching tools)

Activation of creative and cognitive activity of pupils is achieved through the use of modern pedagogical technologies, through the integration of various types of art and information technologies.

Using the example of musical paintings and literary works, show students the role of music in life and works of fine art and literature, the relationship of music with other types of art.

Through working clarity, reveal the topic of the lesson in a fun and accessible way.

Methods :

organization and implementation of scientific and educational activities:

explanatory and illustrative

stimulation and motivation of educational and cognitive activities:

entertaining situation

comparison, analysis, generalization

method of comparison with related arts

by source of information and nature of activity:

verbal-inductive (conversation), visual-deductive (comparison, analysis of a piece of music heard, incentives for empathy, retrospectives).

The lesson is based on two types of musical practical activities of students - listening (active perception) of music and intonation, which is expressed in performing activities. The choice of these types of activities is determined by the topic of the lesson, its purpose and objectives.

Technologies: information and communication, health-preserving

Equipment: multimedia projector, stereo system, laptop, phonographs for the textbook “Music” for 6th grade, music dictionary by V. Razhnikov, printed words of A. Ermolov’s song “Seasons”

DURING THE CLASSES

1. Organizational moment

Teacher:

– Hello guys!
Children's answer:

– Hello!

Teacher: Hello, dear guys and guests, I’m glad to see you. I hope that you will take an active part in the lesson. In turn, I will try to make the lesson interesting and informative for you.

Music inspires the whole world, supplies the soul with wings, promotes the flight of imagination,
music gives life and joy to everything...
She can be called the embodiment of everything beautiful and sublime.

Plato

Teacher: And we will start the lesson, of course, with music!

(An excerpt from Vivaldi’s instrumental concert “The Four Seasons” is played.

Let's try to answer, what will we talk about in today's lesson?

Music by Antonio Vivaldi (1 slide)

Guys, remind me of the topic of the 2nd half of the year:

Students: “The world of images of chamber and symphonic music”

Teacher: What is chamber music?

Students: Chamber, i.e. room music intended for performance in small rooms for small audiences.

Teacher: In order to understand what we will talk about in today's lesson, let's solve a musical crossword puzzle. The word is hidden vertically. (slide 2)

7.

To

O

n

ts

e

R

T

A large group of instrumental musicians performing a piece together (ORCHESTRA)

Multi-movement work for choir, soloists and orchestra (CANTATA)

A musical performance in which the main means of expression is singing (OPERA)

Orchestral introduction to an opera, play or independent symphonic work (OVERTURE)

Ensemble of four performers (singers or instrumentalists) (QUARTET)

7. (vertical) A large musical work for a symphony orchestra and any solo instrument, consisting of 3 parts (CONCERT)

Formulate the topic of the lesson

The topic of the lesson is “Instrumental concert” ( slide 3)

What goal can we set?

What is a concert?

Concert (it.concerto – competition, from lat. –concerto – consent) (slide 4)

solo

instrument (piano, violin, etc.) and symphony orchestra.

The concerto genre emerged in the 17th century in connection with the intensive development of violin performance.

-H What are we going to do in class today?

Lesson plan:

Musical greeting

Listen to music

Analysis of a piece of music

Group work

Vocabulary work

Singing

Conclusions. Results.

Homework (5 slide)

Who is Antonio Vialdi?

What do we know about him?

Teacher: Antonio Vivaldi - virtuoso violinist, conductor and teacher, one of the greatest composersXVII – XVIIIcenturies Lived and worked in the erabaroque
He was the creator of the genre -instrumental concert .(slide 6-7)

Cycle "Seasons"

The pinnacle of Vivaldi's creativity. This cycle unitedfour concerts for solo violin and string orchestra. In them, the development of a musical image is based on a comparison of sound* violins - solo* orchestra – tutti(translated from Italian it meansAll ) " The principle of contrast determined the three-part form of the concert: 1st movement – ​​fast and energetic; 2nd – lyrical, melodious, small in shape; Part 3 – the finale, lively and brilliant(8-9 slide)

Teacher: On the tables in front of you are V. Razhnikov’s dictionaries of aesthetic emotions.

I suggest you listen to one of the parts of the concert and work in groups.Nature has always delighted musicians, poets and artists. The beauty of nature, the change of seasons: autumn, winter, spring, summer - unique, each in its own way

Do you think artists and poets addressed the theme of the seasons?

Do you know such works?

Poets have written many poems about nature, artists have written many pictures about nature, and composers have written a lot of music depicting pictures of nature.

Today we will compare how each season is depicted in poetry, painting and music. And the poems of Russian poets, reproductions of paintings by Russian artists and the magical music of the Italian composer Antonio Vivaldi, who managed to reflect the beauty of his native nature with his music, will help us in this. Italy is a country rich in its culture, ancient monuments, and beautiful nature. That is why many Russian artists, after graduating from the Academy of Arts, went on an internship to Italy

Poems, paintings and music will help us see, hear and feel every season.(The 1st part plays, the teacher does not name the title) .

Group 1: composers

What feelings does this music express?

What time of year can this music be associated with??

Students: Students determine the initial intonation, the nature of the music, fast tempo, contrasts in dynamics, artistic moments - imitation of birdsong - it's spring

The music I listened to was bright, sonorous and joyful. You can feel flight, movement, birdsong in it. The melody is light, the music senses the arrival of spring.

How would you describe the melody?

Students: Possible answers from the children: you can clearly hear where the orchestra is playing and where the solo violin is sounding. The melody, which is performed by the orchestra in a major scale, is very clear, bright, easy to remember, in a dance rhythm. The melody performed by the soloist is much more complex, it is masterly, beautiful, decorated with musical chants, similar to the singing of birds).

Students determine that it is SPRING

Group 2: artists

On the table there are reproductions of paintings of the seasons

Write down in the table what colors you heard and saw, and what feelings these works of art evoked in you, and, of course, determine the time of year

Tell me, what colors predominate?

Student answers: The color of the first greenery is yellow-green, the blooming of the first flowers is white, pink, blue sky, birds in the sky.

Group 3: poets

Teacher: Concert cycle “Seasons” -program essay , which is based on poetic sonnets, with the help of which the composer reveals the content of each of the concerts of the cycle. It is assumed that the sonnets were written by the composer himself

On each table there is a poem about one of the seasons.

Write down in the table which poems are associated with this music, and what feelings these works of art evoked in you

The snow is already melting, the streams are flowing,

There was a breath of spring through the window...

The nightingales will soon whistle,

And the forest will be dressed in leaves!

Pure heavenly azure,

The sun became warmer and brighter,

It's time for evil blizzards and storms

Again for a long time passed... A. Pleshcheev

Discussion of the group work answers. (slide 10)

Teacher: I suggest you listen to a fragment of part 2 of the concert (slide 11)

Determine the emotional content of the part, tempo, dynamics?

Listen to the violin passages. What pictures come to mind?

The sun is shining brightly,
There is warmth in the air.
And wherever you look,
Everything around is bright.
The meadow is colorful
Bright flowers,
Covered in gold
Dark sheets.
The forest sleeps; not a sound
The leaf doesn't rustle
Only a lark
There's a ringing in the air. I. Surikov.

Teacher: listening to part 3 of the concert

The forest is like a painted tower,
Lilac, gold, crimson,
A cheerful, motley wall
Standing above a bright clearing.
Birch trees with yellow carving
Glisten in the blue azure,
Like towers, the fir trees are darkening,
And between the maples they turn blue
Here and there through the foliage
Clearances in the sky, like a window. K. Balmont

(slide 12)

4th part of the concert: “Winter”(slide 13)

Enchantress in Winter
Bewitched, the forest stands,
And under the snow fringe,
motionless, mute,
He shines with a wonderful life.
And he stands, bewitched,
Not dead and not alive -
Enchanted by a magical dream,
All pubescent, all shackled
Light down chain... F. Tyutchev

Physical education minute

Teacher: The theme of the seasons has always been popular in art.

In our modern times, there are also works of the vocal genre about the seasons.

Let's sing the song of the modern composer Alexander Ermolov “Seasons”.

Vocal and choral work over the song “Seasons” lyrics. and music Alexandra Ermolova

Let’s define the tasks: what character we will sing in, what articulation tasks we will solve.

Let's checkhomework

Explore whether Vivaldi's music is contemporary today.

What is the secret of the popularity of the composer’s music?

Which of the modern people of art turns to the work of the composer.

Interesting facts from the life of the composer

Poems about the composer and his work

Reflection

What did you remember, what was interesting, what surprised you during the lesson?

The piano concert is one of the most significant and sought-after genres in the world of music. The genre nature of the concert, concretized by its dynamism, developed game logic, and the ability to convey deep life collisions, turned out to be very attractive to composers of various time and national traditions. Representatives of Viennese classicism showed particular interest in the genre under study, in whose work the solo instrumental concert received final crystallization.

The study of the piano concert genre determines the field of scientific interests of such musicologists as: L. N. Raaben (“Soviet instrumental concert”), I. I. Kuznetsov (“Piano concert” (on the history and theory of the genre)), M. E. Tarakanov (“Instrumental Concerto”), G. A. Orlova (“Soviet Piano Concerto”). Significant perspectives on the latest trends in genre analysis, from the perspective of performing practice, are demonstrated by the works of A. V. Murga, D. I. Dyatlov, B. G. Gnilov; genre and historical aspects of the piano concerto are analyzed in scientific publications by D. A. Nagin, O. V. Podkolozin, Sh. G. Paltajanyan and others. Despite the undying interest of musicologists in the concert genre, some historical as well as theoretical aspects of the problem under study require deeper study. This circumstance determined target publications: explore the features of the origin and development of the piano concerto genre. To achieve this goal, the following were identified: tasks publications:

1. Explore the genesis of the instrumental concert genre;
2. Analyze the origins of the formation and development of the piano concerto genre;
3. Identify the genre specifics of the piano concerto.

The historical movement of music is clearly reflected in the fate of musical genres. The living connection of times is clearly manifested in the example of the instrumental concert - one of the most ancient genres of European music. According to researchers, the etymology of the word “concert” is associated with the Italian “concertare” (“agree”, “come to agreement”) or the Latin “concertare” (“dispute”, “fight”), because the relationship between the solo instrument and the orchestra contains elements of “partnership” and “rivalry”. Traditionally, a concerto is defined as a single-movement or multi-movement musical work for one or more solo instruments and orchestra.

One of the varieties of instrumental concert is the piano concerto. Since the history of the development of the piano concert cannot be separated from the genesis of the instrumental concert as a whole, we will explore the features of the origin of this unique musical genre. The origins of the piano concert go back to the distant musical past. We focus on the fact that until the end of the 17th century. The instrumental concert did not exist as an independent genre. The concept of “concert” was first discovered in musical usage in the 16th century. This definition was used to designate vocal-instrumental works. Concerts were choral spiritual compositions with instrumental accompaniment. As an example, it is advisable to name the concerts of G. Gabrieli, L. da Viadana and G. Schütz. The emergence of the instrumental concert genre is associated with the emergence of the homophonic style in music. At this stage, composers, more than ever before, sought to emphasize the leading importance of the melodic principle expressed by the solo instrument, as opposed to the accompanying orchestra. The competition between a solo musical instrument and an orchestra has actualized the importance of the virtuoso principle in the concert genre. The development of the instrumental concert was also greatly influenced by the practice of instrumental ensembles and the traditions of playing musical instruments together, dating back to folk music-making in the European culture of the Middle Ages.

It should be noted that during the period under study, the orchestra (in the modern sense) did not exist. Ensemble associations of musicians were popular, whose interests and preferences determined stable forms of combining instruments. A feature of concert ensembles of the 17th century. was the obligatory participation of the so-called Continuo part, which was usually assigned to the harpsichord. This instrument acted as the leader of the ensemble, its conductor, thereby cementing the overall sound. It was at this time that the main principle of concert playing penetrated into the instrumental concert genre - the principle of competition and competition. The form of competition assumed an organic connection between coordination and martial arts, a combination of the leader and the accompanying person, and the mutual coordination of their efforts. The harpsichord supported or doubled the bass voice and filled the so-called “middle floor” of the musical space. And yet, the main thing lay not so much in the external properties of concert music of the 17th century, but in the internal nature characteristic of the musical consciousness of Europeans of the period under study. The new genre of instrumental concert had many similarities with the dance suite.

Master of the instrumental concert of the 17th century. is A. Corelli, the author of the first classical examples of the Concerto Grosso (big concert) genre, based on the comparison of solo ripieno and accompanying Grosso. A. Corelli's concerts, as a rule, have many movements. The composer included four to seven parts in his concerts, as well as small Adagios, which served as links between the fast parts. The musical unity of A. Corelli's Concerto Grosso was also manifested in the preservation of the main tonality throughout all movements. The music of almost all concerts of this amazing Italian master is pathetic, sometimes you can hear a lyrical melody in it, and you can feel the connections with folk origins.

A special place in the history of the development of the instrumental concert of the 17th – 18th centuries. belongs to the Italian composer, virtuoso violinist A. Vivaldi. In the concerts of this brilliant composer, a typical structure of an instrumental concert developed, which assumed a tripartite form. If in A. Corelli's Concerto Grosso a closed whole is formed by short solo episodes, then in A. Vivaldi the soloists' parts are born of an unlimited flight of imagination and take place in a free improvisational presentation. In A. Vivaldi's concertos, the scale of orchestral ritornellos increases, and the whole form takes on a new dynamic character. The creator of the recital strove for bright and unusual sounds, mixed the timbres of different instruments, and often included dissonances in the music.

It should be noted that A. Vivaldi’s concerts provided musicians with ample opportunities to show off their virtuoso playing and show their perfect mastery of the instrument. Certain concert dialogues arise between the soloists and other participants in the concert performance. It was in the concertos of A. Vivaldi that the alternation of solo and tutti became a generic feature of the concert Allegro. Also, the defining characteristic feature of this form is rondality, which becomes a consequence of the life-affirming nature of the instrumental concert of the 17th – early 18th centuries. A striking example of the style of instrumental concerts by A. Vivaldi is the cycle “The Seasons”.

A new stage in the evolution of the instrumental concert is associated with the work of representatives of the late Baroque - J. S. Bach and G. F. Handel. The discoveries of these masters of musical thought in the field of instrumental concert became an insight into the distant future. The abundance of timbre contrasts, the variety of rhythmic combinations, the intense interaction of the soloist and the ensemble-orchestra - all this works to complicate and more deeply interpret the concert. Thus, a striking example of J. S. Bach’s concert skills are the “Brandenburg Concertos” for various instrumental compositions and the “Italian Concerto,” which established the independent significance of the clavier as a concert instrument. We focus on the fact that it was the keyboard concertos of J. S. Bach that determined the vector of development of the future piano concert. As researchers testify, J. S. Bach worked for a long time in the field of the concert genre; He carefully studied the violin concertos of Italian masters and made transcriptions of violin concertos for the clavier. Then the composer began to write his own violin concertos and arrange them. Later, J. S. Bach moved on to writing his own keyboard concertos. It should be noted that, when creating keyboard concertos, J. S. Bach follows the traditions and experience of Italian masters, which is expressed in a three-part cyclic structure, lightweight texture, melodic expressiveness and virtuosity.

The solo instrumental concert also revealed the deep vital basis of G. F. Handel’s work. It is absolutely no coincidence that in a letter to one of his friends M.I. Glinka wrote: “For concert music - Handel, Handel and Handel.” The pinnacle of the instrumental concert creativity of this amazing master is the Concerto Grosso - the great treasures of orchestral music of the 18th century. These works are distinguished by classical rigor and restraint of writing. Speaking about the festivity of this genre in G. F. Handel, one could define his style as “Handelian baroque” and characterize it as energetic, lively, brilliant with bright contrasts and an abundance of bright rhythms. G. F. Handel's concertos are strict in melody and texture, and more laconic in compositional structure. The music of Concerto Grosso is predominantly homophonic. The structure of each cycle is varied (from two to six parts); Each concert is characterized by special genre connections, a certain figurative and poetic appearance. Thus, the traditions established in concert music of the 17th century developed throughout the 18th century.

The creators of a new type of instrumental concert were representatives of Viennese classicism. It is in the work of the Viennese classics that the instrumental concert becomes a new genre of concert music, different from the previous Concerto Grosso, as well as from the solo concert of the 17th century. In the classical style, the appearance of cyclic compositions changes, a strict normative three-part cycle is established, with accentuation of the first part of the sonata Allegro.

The concert works of J. Haydn, W. A. ​​Mozart, L. van Beethoven in their sound and in the scale of development of thematic material are not inferior to their symphonies and combine the principles of solo and concert-symphonic music, which is characteristic of this genre as a whole.

Despite the fact that the instrumental concerto of the Viennese classics was related to symphonies, the genre under study is not a type of symphony. The concert in the era of classicism acts as an independent established genre with certain features. The composition of the orchestra is very important, where the string group is fundamental, it is supplemented by a group of woodwinds and brass, and percussion instruments are occasionally used. The practice of continuo is practically being eliminated - keyboard instruments are leaving the main composition of the orchestra. The solo instrument (violin or piano) becomes an equal participant in the concert competition and concert dialogue. The soloist and the orchestra become closer in their performing techniques, thereby creating conditions for closer interaction. The inclusion of new themes and the variability of functions in the presentation of one theme indicate the formation of a new type of interaction between the soloist and the orchestra.

The novelty of the classical piano concerto also lay in the method of showing emotion. If the baroque instrumental concert recorded a motionless emotion, then the concert of the classical era demonstrated the transfer of affects in movement, development, and internal contrast. The stable baroque concert was replaced by a dynamic classical concert.

The depiction of the process of experiences, changes in affect, pictures of mental movements, required a special musical form. The implementation of the given semantic task was the sonata form, the functions of which were to strengthen, sharpen the initial instability and only at the end achieve equilibrium. The scale, the choice of atypical orchestral compositions, and the monumentality of the classical piano concerto cycles contributed to the intensification of the process of liberating the boundaries of the concert genre. As a result of such innovative assumptions, composers were given more opportunities to realize their own artistic ideas. It should be noted that in addition to musical dramaturgy and form, the classical piano concerto demonstrates an attitude towards cadence and thematics that is not typical for concerts of previous eras; the relationship between the soloist and the orchestra is transformed.

As researchers testify, the genre of a classical piano concert can be compared with a theatrical action, in which the musical game logic acts as the logic of game situations and turns into the logic of stage action, which allows complex dramaturgy and hidden authorial subtext to be realized through the means of the concert genre.

The innovation that determined the appearance of the piano concert of the classical era was also the attitude of composers and performers to cadenzas. As researchers testify, in the concert genre of the eras preceding classicism, special attention was paid to cadenzas. In the 18th century, when the art of free improvisation flourished, cadenzas were considered the “highlight” of performance. It was the cadenzas that demonstrated the creative ingenuity, as well as the virtuosity of the performer. The cadence had to correspond to the general mood of the work and include its most important themes. Every high-class virtuoso had to master this art. The ability to improvise was not only a musician’s responsibility, but also a right that he enjoyed when performing other people’s (author’s) compositions.

It should be noted that the cadenzas found in baroque instrumental concerts caused a lot of torment for inexperienced performers inexperienced in improvisation. Many performers learned the cadences in advance. Gradually, inserted cadences began to be forced out of concerts. It was during the period of Viennese classicism that a cardinal change occurred in the nature of cadence structures, which completed the transition of cadences from the framework of improvisational culture into a purely written tradition. In the established classical concert form, the cadenza, as a virtuoso solo by the performer, was an obligatory part of the form. The first step in this direction was taken by L. van Beethoven, who wrote the entire cadenza entirely in notes in his Fifth Concerto. In the piano concerto of the classical era, virtuosic, complex cadenzas were common. The beginning of the cadenza, most often, was emphasized either by a bright chord or a virtuosic passage. While this fragment of the concert was playing, the listener’s attention was sharpened many times over. The principles by which the cadence was built are concretized by elements of surprise, a bright virtuoso beginning, and showiness. When exploring the peculiarities of the formation and development of a cadence in a piano concert, it is advisable to quote the rules from the “Piano School” by D. G. Turk: “The cadence should not only support the impression made by the musical piece, but, as far as possible, strengthen it. The surest way to achieve this is to present the most important main thoughts in an extremely concise manner in a cadence or to remind them with the help of turns. Therefore, the cadence should be closely connected with the piece being performed and, moreover, it should mainly draw its material from it. A cadence, like any free ornamentation, should not consist of deliberately introduced difficulties, but rather of such thoughts as correspond to the main character of the play."

The piano concerto of the classical era is a genre in which the musical theme is established, not only as a carrier of a certain expressiveness, but also as an artistic image that contains potential development possibilities. It is in piano concertos that composers of the Viennese classical school achieve the highest mastery in the field of thematic development, development, using a variety of techniques - changing tonality, harmonization, rhythm, and melody elements. Also characteristic is the division of the theme into individual motifs, which themselves undergo various transformations and are combined with each other in different ways. The thematic material of the piano concertos of the Viennese classics is distinguished by its figurative relief and individual character.

Among the most important musical sources is folk music. Relying on the riches of folk song art, representatives of the Viennese classical school came to a new understanding of melody, its functions and capabilities.

The musical themes of the piano concerts of the Viennese classics, influenced by the Italian bel canto style, are particularly unique. As G. F. Telemann stated: “Singing is the universal basis of music. Whoever undertakes the composition must sing in each part. Whoever plays instruments must be versed in singing.” Since bel canto involves a combination of a beautiful cantilena and virtuoso ornamentation, in classical piano concertos there are two types of themes: themes close to the vocal cantilena and virtuoso thematic complexes. In this regard, the soloist appears in two roles - as an inspired musician and a virtuoso performer.

Representatives of the Viennese classical school realized themselves in the genre of the piano concerto in quite interesting and diverse ways, thereby arousing interest and development of this genre in the era of romanticism, as well as in the work of composers of the 20th century.

Researchers traditionally identify the following as the most important specific properties of the piano concerto genre: game logic, virtuosity, improvisation, competition, concerto.

The genre-forming principle of a classical concert is the game. It is in the instrumental concert that the key components of the game are most fully realized - the opposition of different principles and competition. In musicology, the concept of game musical logic was used by E. V. Nazaikinsky. The scientist’s brilliant work (“The Logic of Musical Composition”) presents a definition of the definition under study as the logic of concert performance, the collision of various instruments and orchestral groups, various components of the musical fabric, different lines of behavior, together forming a “stereophonic”, theatrical picture of the developing action. Since the concept of play is decisive for the concert genre, let us dwell in more detail on its characteristics.

The encyclopedic literature presents the following definition of game: “game is a type of meaningful unproductive activity, where the motive lies both in its result and in the process itself.”

The game is an attribute of any musical and theatrical performance. Among modern concepts of the game, a special place is occupied by the theory of the Dutch cultural historian J. Huizinga, who considered the cultural function of the game in its historical development. The scientist’s works say that “game” is, first of all, a free activity. Playing by order is no longer a game. J. Huizinga finds the relationship between music and play through attempts to find terms common to both concepts. “The game is outside the prudence of practical life, outside the sphere of need and benefit. The same applies to musical expression and musical forms. The laws of the game operate outside the norms of reason, duty and truth. The same is true for music... In any musical activity there is a game. Whether music serves entertainment and joy, or seeks to express sublime beauty, or has a sacred liturgical purpose, it always remains a game.”

The game unfolds before the listener as a fascinating chain of events, each of which, being a response to the previous one, in turn gives rise to new responses or a new stream of thought. Game logic develops in music as playing an instrument. As the great German composer R. Schumann noted, “the word “play” is a very good one, since playing an instrument should be the same as playing with it. If we don’t play an instrument, we don’t play it either.”

In the concert genre, game logic is of great importance. The gradation of dynamics in the microcosm of game logic often acts as a means of contrasting comparisons, intrusions, and unexpected accents. As E.V. Nazaikinsky notes, at the compositional level, game logic can manifest itself in a special interpretation of form. Syntactically, in special “game figures.” As such “game figures”, the scientist identifies the following: change of mode, intonation trap, invasion, contestation, second cue, imperceptibly creeping repetition, cutting off blow, revolution, overlap, merger, overcoming an obstacle, stuck tone, variant pick-up, game error etc. It should be noted that participants in the game action can act as certain thematic structures, as well as small motives and short musical cues. Their combination forms the basis of instrumental game logic.

The playful nature of the piano concerto is realized through virtuosity. We focus on the fact that the defining element of virtuosity is the performing skill of the musician, who must be much better than the average performer. Virtuoso (from Italian virtuoso - from Latin Virtus - valor, talent) - a performer who masterfully masters the technique of art. The first mention of “virtuosos” is associated with Italy in the 16th – 17th centuries. This term was intended for a person who has distinguished himself in any intellectual or artistic field. The term has evolved over time, simultaneously expanding and contracting in scope. Initially, musicians were awarded this classification by being composers, theorists or famous maestros, which was more important than masterful performance.

The concert as a genre involves a publicly demonstrative manifestation of the skill of the performing musician and his virtuosity. At the same time, virtuosity is subordinated to the internal content of music and is an organic element of the artistic image. It should also be noted that virtuosity expresses nothing more than the artistic principle of the human personality and is part of the performing style of the musician himself. For the first time, the concert genre embodies the organic unity of virtuosity and melodiousness. Virtuosity in the soloist’s role, on the one hand, makes him a leader in dialogue with the orchestra, and on the other, contributes to the “sociability” of the concert genre itself.

An equally important principle that determines the genre nature of a piano concert is the principle of competition. It should be noted that the idea of ​​competition has its roots in ancient Greece, where the Olympic Games were born. Until now, competition determines almost all spheres of human life, promotes creative expression, as well as creative self-realization of the individual. The principle of competition in music, in particular in an instrumental concert, does not imply confrontation “seriously”. Concert competition is a conditional situation where an atmosphere of dialogue is felt, expressed in the “communication” of the main participants in the competition. Therefore, competition in a concert is only an idealized picture of the confrontation between solo and orchestra. Competitiveness involves an alternating alternation of the soloist's remarks and the orchestra's performances, therefore some thoughts can appear both in the part of the leading participant in the competition, and in a purely orchestral presentation together with the soloist or without his participation. It should be noted that in a concert competition, as in any game action, what is important is not so much the result (who is first?), but the action itself, as the fact of the existence of such a confrontation.

Various types of relationships between orchestra and soloist, which determine specific ways of textural organization of musical material, as well as the instrumentation of a concert, are specified by the principles of concert performance. We focus on the fact that the principle of concertizing was first applied in Italy, at the turn of the 16th – 17th centuries, in the interpretation of vocal and instrumental concerts. However, based on the scientific research of the German music historian A. Schering, we can talk about a more ancient origin of this principle. According to the researcher, its origins "...can be traced back to antiquity, to the switch chant in Greek tragedy and to the psalms of the ancient Jews, which are then rediscovered in the Middle Ages as antiphora in Catholic ritual." This is an indication of the musical and dramatic origin of the concert. According to B.V. Asafiev, it is through concertizing that the instrumental dialogue characteristic of a concert is realized, based on the disclosure of impulses embedded in the thesis, the role of which can be played by a variety of elements, up to singing or “the simplest pairing of sounds,” not to mention about expanded constructions such as a melodic theme.

The concert technology, namely the interaction of the soloist with the orchestra in the concert genre, originated in the concerts of A. Vivaldi. The fundamental points are the alternation of tutti and solo, genre and programming, the use of timbre, dynamic and rhythmic means of expression. The combination of these features, in harmonious combination, increases the significance and relevance of the concert principle. It should be noted that in the era of the Viennese classics this principle changes significantly. Concerting becomes closely linked to thematic development. Improvisation by the soloist (cadence) is provided. The soloist's part has the character of ornamental virtuosity.

The implementation of free, creative self-expression in a piano concert is the principle of improvisation. This principle symbolizes the highest manifestation of the playful nature of a piano concerto. Improvization is a consequence of the spontaneous creative initiative of the performing musician. The essence of improvisation lies in new elements of interpretation of the work and aspects of musical expressiveness.

It is advisable to note that the role of performing improvisation was great in the activities of musicians of the 17th - first half of the 18th centuries. According to the practice of that time, the pianist was supposed to use the motives of previous music in a relaxed improvisation, but he could also weave new, extraneous themes into it. In instrumental concerts of this era, there are musical episodes where the orchestra is silent, and the soloist gets the opportunity to show his skill and imagination. It is known that both W. A. ​​Mozart and L. van Beethoven were great improvisers, which was reflected in their piano concertos.

The speed of artistic reaction, the brightness of suddenly appearing images, the ingenuity in their acute change are qualities that an improviser must have. The soloist's introductions, sudden variational coverage of themes, their comparisons, contrasts of harmony and orchestral color are marked by improvisational surprise. But these changes are held together by wise musical logic. The improvisational nature is also characteristic of the cadenzas of a classical concerto, but the principle of improvisation in the cadenzas of a classical piano concerto was strictly regulated.

Thus, having examined the features of the origin and development of the piano concert, as well as analyzing the specifics of its genre nature, we came to the conclusion that the piano concert is one of the largest monumental genres of instrumental music. The emergence of the genre under study is associated with the emergence of a homophonic style in music. The crystallization of the main genre features of the concert (multi-part contrasting structure, the principle of competition and improvisation, vivid imagery) was carried out in the Baroque era (the works of A. Vivaldi, A. Corelli, J. S. Bach, G. F. Handel). A new milestone in the history of the development of the piano concert genre was opened by the masters of “Viennese classicism” (J. Haydn, W. A. ​​Mozart, L. van Beethoven). The piano concert of these innovators of musical vocabulary is distinguished by the scale of its concept, the dramatization of musical images, the brightness of the melodies, the symphonic development of thematic material, and virtuosity with a great organic connection between the soloist and the orchestra. The genre essence of the piano concert is concretized by the following principles: game logic, virtuosity, improvisation, competition, concerto. The identified principles determine not only the features of the structure and content of the concert, but also form the field of tasks and methods for solving them in the pianist’s performing practice.

The results presented in the work do not claim to be a complete study of the analyzed problem and suggest further development. It is advisable to study the features of the implementation of the genre nature of the concert using specific examples of concert works by classical composers, as well as representatives of musical culture of the second half of the 19th – early 21st centuries.

LITERATURE

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PRISCHEPA N. A. PIANO CONCERT: HISTORY, THEORY OF THE ISSUE

This publication presents an analysis of the piano concerto genre as a type of instrumental music. The features of the historical development of the genre under study are outlined. The structural and genre features of the concert are identified and analyzed.

Key words: piano concerto, genre, structure, musical form.

PRISCHEPA N. A. PIANO CONCERTO: HISTORY, THEORY OF THE QUESTION

The article deals with the analysis of the piano concerto genre as a form of instrumental music. The characteristics of the genre development are defined. Structural-and-genre characteristics of the piano concerto are analyzed.

Key words: piano concerto, genre, structure, musical form.