Instrumental concert
This word itself is, of course, familiar to you, especially in its first meaning. “Concert,” says the musical dictionary, - public performance of works according to a pre-compiled program.”
But the fact is that this word has another meaning: this is the name of a composition for a musical instrument (or voice) accompanied by an orchestra. But why is it called that? And why did the competition participants have to play the concert?
This word can be translated as “competition,” thus “Concerto for Piano and Orchestra” is a competition between a pianist and a symphony orchestra.
When are you interested in watching a sporting event? When the “opponents” are equal in strength and skill, right? Because if a weak and strong team or a master of sports competes with an amateur beginner, then it is already clear in advance who will win. And this is not at all interesting.
The concert involves a competition between some musical instrument and... a whole symphony orchestra. That's it! Is it really possible for any tiny flute or fragile, graceful violin to win or at least, in sports language, “make a draw” with such a bulk? What kind of competition is this?
Magnificent, my friends, wonderful competition! Since the strength, power and brilliance of a symphony orchestra are contrasted with the talent of the soloist performer, his skill, achieved over years and years of hard work. I’ll tell you a secret that the winner is almost always the one who at first glance seems weakest. The soloist subjugates the orchestra. Of course, only if he a real musician, a talented performer, because this is a very serious test for him. And when there is no skill and talent, the orchestra wins. But what a sad victory this is. There is victory, but there is no music.
Concert music. You won’t find any difficulties in it! Passages that are complex to the point of puzzling, strong chords, rapidly rolling scales... These are all so-called technical difficulties, testing the fluency of the fingers, the strength of the blow - in a word, the skills of the performing musician. And the composer, when creating a concert, always thinks about how the musician can show all his skills in this work.
However, if the composer thought only about this, if the concert consisted only of tasks and ingenious puzzles, it could not be called a real work of art. Such a work would lack the most important thing - thought, content.
Here is what Tchaikovsky writes about the concert: “There are two equal forces here, that is, a powerful orchestra, inexhaustibly rich in colors, with which the small, nondescript, but strong-willed rival. There is a lot of poetry in this struggle and an abyss of combinations that are tempting for the composer.”
If the pages of the book could begin to sound after these words, we would immediately hear the bright, full-sounding chords of the orchestra - the beginning of the First Piano Concerto. With the first sounds of this music, it’s as if joy itself bursts into the hall. How small and weak the pianist sitting at the piano seems. The powerful sound of the orchestra seemed to isolate it from the hall with a thick wall.
And into this jubilant mass of sounds a mighty bell poured new voice. “Listen! - the measured, solemn chords seem to be telling us. - Listen! You can't help but hear me." And we hear, we hear perfectly the sonorous, strong voice of the piano. The violins burst out in a wide melody and, taming their unbridled rejoicing, the orchestra gradually fell silent.
Now only the piano sounds... Masterly chords and passages replace each other, dressing the melody in a sparkling, rich outfit. But the orchestra has not yet come to terms with it. He will not give in so easily, he will not give up without a fight. A passionate argument breaks out. The main theme is heard either in the orchestra or in the piano part... Yes, of course, this is, first of all, wonderful music. Real music, not just puzzling, virtuoso tricks.
Usually the concert music is bright, joyful and elegant. I must tell you that the word “concert” is translated not only as “competition”, but also as “agreement”. This means that the competition is always friendly.
But, of course, while listening to a concert, you will sometimes feel sad, and dream, and think about something. Sometimes the music can be very dark, even tragic. For example, in Shostakovich’s violin concerto or in the Third Piano Concerto, which we will talk about later. However, this happens much less frequently.
The subtle and expressive musical color of Felix Mendelssohn's violin concerto is combined here with the rigor of form. The composer achieved here that high drama, which allows us to talk about his connection with Beethoven's symphonic traditions. At the same time, the concert is filled with the spirit of romanticism - from the first to last note. It concentrated the most characteristic features of Mendelssohn's work - lyricism, songfulness, grace, a sense of beauty and harmony of the surrounding world.
A concerto is a large, multi-movement work (although there are also one-movement concerts). Typically there are three parts. The first is the most effective, “the main area of struggle.” The second is slow, lyrical. Her images are often associated with nature. The third part is the finale. The music of the finale is often especially cheerful, fast-paced and brilliant.
What does this structure resemble? Well, of course, a symphony! A little symphony. Only with a new character - a soloist.
Unlike a symphony, a concert has a so-called cadenza - a large episode that the soloist performs without an orchestra. It is interesting that in ancient times, when the concert form was just beginning to emerge, the cadenza was composed not by the composer, but by the performer himself. The composer only indicated the place where it should be (usually in the first movement). Then the cadenza was like an insert number in which the soloist showed all his skills and demonstrated the capabilities of the musical instrument. It is not difficult to guess that the musical merits of such a cadenza were, for the most part, not particularly great and did not play a big role in the content of the work.
He was the first to write a cadenza for a pianist in his Fourth Piano Concerto. Since then this has become the rule. Cadenzas have ceased to be “alien” in the general music of the concert, although to this day they retain virtuosity and brilliance and still provide the opportunity for the performer to show real skill, to demonstrate all the capabilities of a musical instrument, be it a piano or a flute, a violin or a trombone.
We say that a concert is a competition, but first of all, it is, of course, a very serious test for the soloist, a serious exam for the title of a real performing musician.
Now you probably understand why performing a concert is always included in the competition program.
And if the soloist is a real, talented musician, then...
Text by Galina Levasheva.
Presentation
Included:
1. Presentation - 10 slides, ppsx;
2. Sounds of music:
Tchaikovsky. Concerto for piano and orchestra No. 1. I. Allegro non troppo e molto maestoso (fragment), mp3;
Rachmaninov. Concerto for piano and orchestra No. 3. I. Allegro (fragment), mp3;
Mendelssohn. Concerto for violin and orchestra. I. Allegro molto appassionato (fragment), mp3;
Beethoven. Concerto for piano and orchestra No. 4. I. Allegro moderato. Cadence, mp3;
3. Accompanying article, docx.
Lesson topic: “Instrumental concert.”
Pedagogical goal: 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 concert, expand ideas about program music.
Developmental: continue to introduce the best examples of Baroque music.
Educational: cultivate emotional responsiveness to the perception of classical music, develop interest and respect for musical heritage composers from other countries...
Planned results:
Personal : the student will develop motivation to study music and the ability to conduct self-assessment in the process of reflection; the student will have the opportunity to develop sustainable adherence to moral standards and ethical requirements in behavior;
Subject: the student will learn consciously perceive and perform music. works; navigate musical genres, images, forms; refer to literary primary sources, highlight moral issues literary texts as a basis for the development of ideas about moral ideal; comprehend the specifics of music and literature as forms of art.
Metasubject.
Personal: the student will learn show emotional responsiveness and a personal attitude when perceiving music; the student will have the opportunity to learn explain the meaning of your assessments, motives, goals.
Cognitive: will learn analyze, compare musical works and images of one work, find commonalities and differences; evaluate and correlate the features of the composer’s work. Will get the opportunity to learn master certain special terms within the course being studied, use different sources of information, strive for independent communication with art.
Regulatory: will learn perform music conveying artistic meaning; will have the opportunity to learn determine and formulate the topic and problem of the lesson; evaluate musical works from the standpoint of beauty and truth.
Communicative: will learn organize work in pairs or groups; express your opinion, giving reasons and supporting it with facts; n will have the opportunity to learn collaborate with peers while performing songs and working in a group.
Lesson type: a lesson in “discovering” new knowledge.
Lesson type: lesson-reflection.
Equipment: laptop, phonographs for the textbook “Music” for 6th grade, the cycle “The Seasons” by A. Vivaldi, printed words of the song “The Seasons” by A. Ermolov, etc.
PROGRESS OF THE LESSON
Org. moment. Emotional mood.
Greetings;
Hello, dear guys, glad to see you.
I see you again today
Let the music sound again
And beautiful art
Will enchant us again.
All hearts with one desire
Music will unite
Both solemn and wonderful
It will sound in our souls!
I hope you will actively participate in the lesson. In turn, I will try to make the lesson interesting and informative for you.
2. Lesson topic. Goal setting.
1) For several lessons we have been talking about chamber music. Tell me what is " chamber music»?
Chamber, i.e. room music, intended for performance in small rooms for a small audience (children's answers).
To understand what will be discussed in today's lesson, I suggest you solve a crossword puzzle. The word is hidden vertically. We work in pairs.
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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)
(vertical) A large musical work for a symphony orchestra and any solo instrument, consisting of 3 parts (CONCERT)
- verification, evaluation;
2) - Formulate the topic of the lesson.
- The topic of the lesson is “Instrumental concert” (write on the board).
What goals can we set?
3) repetition and introduction of new material.;
Let's remember what a concert is?
- Concert -(translated from Italian it means agreement, from Latin it means competition). A concert is a musical work for a symphony orchestra and a solo instrument. Usually consists of three parts. There are concerts for one instrument, without orchestra, for orchestra without soloist, concerts for choir. The genre of the choral spiritual concert was widely used in Russian music.
Instrumental concert - a concert for only one musical instruments, no singing.
- The concerto genre emerged in the 17th century in connection with the intensive development of violin performance.
Antonio Vivaldi - virtuoso violinist, conductor and teacher, one of greatest composers XVII – XVIII centuries Lived and worked in the era baroque
He was the creator of the genre - instrumental concert.
Define in one word Baroque era?( Quirkiness).
About 450 Vivaldi concertos are known. The drama in the music, the contrast between the choir and the soloist, voices and instruments amazed the audience: richness gave way to calm, tenderness to power, the solo was interrupted by the orchestra.
The compositions of Vivaldi's concertos alternated solo and orchestral parts.
The pinnacle of Vivaldi's creativity. This cycle united four concerts for solo violin and string orchestra. Development in them musical image based on sound comparison * violins - solo * orchestra – tutti (translated from Italian means All).
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 is the finale, lively and brilliant.
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 music, will help us in this. native nature.
Poems, paintings and music will help us see, hear and feel every season.
(The 1st part plays, the teacher does not name the title).
What feelings does this music express?
What time of year can this music be associated with? ?
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.
What does the main melody of the 1st part of the concert sound like?
This part begins with a cheerful, carefree melody, light, bright, transparent, and relaxed.
What did the composer depict in the episodes?
Birds singing, streams babbling, thunderclaps and lightning flashes.
When the thunderstorm passes, then again in every sound the joy of the arrival of spring. The birds are singing again, signaling the arrival of spring.
Students: Possible answers from the children: you can clearly hear where the orchestra is playing and where the solo violin is playing. 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 birdsong).
So, what did you feel and imagine?
This early spring or late?
Yes. Early, as the music depicts the awakening of nature.
What does music sound like that conveys this state (fast, energetic, impetuous...)
Student answers
Did you hear how the instruments imitated the sounds of nature? (slide show)
Joyful singing of birds, cheerful murmur of streams, gentle breeze, followed by a thunderstorm.
Or maybe this is the state of a person observing the spring awakening of life?
How do you feel in spring?
What new feelings arise for you?
Student answers
The teacher adds: a feeling of happiness, light, warmth, triumph of nature.
Students determine that it is SPRING. We hang a reproduction about spring.
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 in the cycle. It is assumed that the sonnets were written by the composer himself
- A literary text is similar to a musical text, and each of the arts, with its own means, reproduces the human condition, his feelings caused by the arrival of spring.
The theme of the seasons has always been popular in art. This is explained by several factors.
Firstly, it made it possible to use the means of this particular art to capture events and affairs that were most characteristic of a particular time of year.
Secondly, she has always been endowed with a certain philosophical meaning: the change of seasons was considered in terms of the change of periods human life
spring, that is, the awakening of natural forces, personified the beginning and symbolized youth
winter - the end of the road is old age.
Listening to “Winter” (2 hours Largo) by A. Vivaldi.
(Study the answers). Music calm, melodious, soulful, thoughtful, lyrical.
Why is music written more than three centuries ago often performed today?
(Study the answers).
So guys, what are your impressions?
What time of year is this?
What did you imagine while listening to this music?
How is this conveyed in sound and performance?
(theme, melody movement, sound strength)
Yes. One gets the feeling of an all-penetrating winter cold, as if “under the gusts of an icy wind, all living things are trembling in the snow” (slide show)
Do you think the music only conveys the image of nature, winter, or does it convey the feelings of the human composer?
Yes. After all, man is a part of nature, and in this music we feel the composure, will, and readiness of man to overcome the hardships of winter: cold, cold.
4) physical training;
If there is time, then we characterize the “Summer” part and the “Autumn” part by the same time.
Teacher determine together with the childrenThe principle of contrast works
1st part – Allegro (Spring has come)
fast, energetic, usually without a slow introduction
2nd part – Largo e pianissimo sempre (The sleeping shepherd) lyrical, melodious, more modest in size
3rd part – Allegro danza pastorale. (Village dance) finale, moving, brilliant
- Please mark this work on your mark sheets.
4) compiling syncwines (in groups);
SINQWAIN (5 lines)
First line- noun;
Second line- two adjectives;
Third line- three verbs;
Fourth line-
Fifth line-
She came, blossomed, woke up.
Grace!
Grading.
Conclusion: The composer, in his concerts, expressed his own perception of the world around him. Music conveys the feelings of man, his relationship to nature and the world. They are unchanging, constant, no matter what era a person lives in.
Vivaldi's concertos marked the beginning of the development of the instrumental concert genre.
4. Vocal work.
Breathing exercises;
Chanting;
Hearing;
Singing a song by Yu. Antonov. “Beauty lives everywhere”;
4. Results. Reflection.
What did you learn?
What did you like?
(fill out the mood sheet).
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| Overall grade for the lesson | Overall grade for the lesson |
Self-assessment sheet Self-assessment sheet
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| Overall grade for the lesson | Overall grade for the lesson |
Self-assessment sheet Self-assessment sheet
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| Overall grade for the lesson | Overall grade for the lesson |
Self-assessment sheet Self-assessment sheet
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| Overall grade for the lesson | Overall grade for the lesson |
Self-assessment sheet Self-assessment sheet
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| Overall grade for the lesson | Overall grade for the lesson |
Self-assessment sheet Self-assessment sheet
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| Overall grade for the lesson | Overall grade for the lesson |
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SPRING (La Primavera)
Spring is coming! And a joyful song
Nature is full. Sun and warmth
Streams are babbling. And holiday news
Zephyr spreads like magic.
Suddenly velvet clouds roll in,
The sound of heavenly thunder sounds like good news.
But the mighty whirlwind quickly dries up,
And the twitter floats again in blue space.
The breath of flowers, the rustle of grass,
Nature is full of dreams.
The shepherd boy is sleeping, tired for the day,
And the dog barks barely audibly.
Shepherd bagpipe sound
The buzzing sound spreads over the meadows,
And the nymphs dancing the magic circle
Spring is colored with wondrous rays.
SUMMER (L"Estate)
The herd wanders lazily in the fields.
From the heavy, suffocating heat
Everything in nature suffers and dries up,
Every living thing is thirsty.
Coming from the forest. Tender conversation
The goldfinch and the dove lead slowly,
And the space is filled with a warm wind.
Suddenly a passionate and powerful
Borey, exploding the silence and peace.
It's dark all around evil midges clouds.
And the shepherd boy, caught in a thunderstorm, cries.
The poor thing freezes with fear:
Lightning strikes, thunder roars,
And he pulls out the ripe ears of corn
The storm is mercilessly all around.
AUTUMN (L"Autunno)
The peasant harvest festival is noisy.
Fun, laughter, lively songs!
And Bacchus juice, igniting the blood,
It knocks all the weak off their feet, granting sweet dream.
And the rest are eager for a continuation,
But I can no longer sing and dance.
And, completing the joy of pleasure,
The night plunges everyone into the deepest sleep.
And in the morning at dawn they gallop towards the forest
Hunters, and with them huntsmen.
And, having found the trail, they unleash a pack of hounds,
They drive the beast excitedly, blowing the horn.
Frightened by the terrible noise,
Wounded, weakening fugitive
He runs stubbornly from the tormenting dogs,
But more often he dies in the end.
WINTER (L"Inverno)
You're shaking, freezing, in the cold snow,
And a wave of north wind rolled in.
The cold makes your teeth chatter as you run,
You beat your feet, you can’t keep warm
How sweet it is in comfort, warmth and silence
Take shelter from bad weather in winter.
Fireplace fire, half asleep mirages.
And frozen souls are full of peace.
In the winter expanse the people rejoice.
He fell, slipped, and rolled again.
And it’s joyful to hear how the ice is cut
Under a sharp skate that is bound with iron.
And in the sky Sirocco and Boreas met,
The battle between them is going on in earnest.
Although the cold and blizzard have not yet given up,
Winter gives us.
SINQWAIN (5 lines)
First line- noun;
Second line- two adjectives;
Third line- three verbs;
Fourth line- a phrase of 4 words conveying one’s own attitude, mood;
Fifth line- conclusion, in one word or phrase.
Students give examples using syncwine, then compare with the teacher’s example
Early, sunny, long-awaited.
She came, blossomed, woke up.
The soul is full of presentiment of happiness.
Grace!
SINQWAIN (5 lines)
First line- noun;
Second line- two adjectives;
Third line- three verbs;
Fourth line- a phrase of 4 words conveying one’s own attitude, mood;
Fifth line- conclusion, in one word or phrase.
Students give examples using syncwine, then compare with the teacher’s example
Early, sunny, long-awaited.
She came, blossomed, woke up.
The soul is full of presentiment of happiness.
Grace!
SINQWAIN (5 lines)
First line- noun;
Second line- two adjectives;
Third line- three verbs;
Fourth line- a phrase of 4 words conveying one’s own attitude, mood;
Fifth line- conclusion, in one word or phrase.
Students give examples using syncwine, then compare with the teacher’s example
Early, sunny, long-awaited.
She came, blossomed, woke up.
The soul is full of presentiment of happiness.
Grace!
SINQWAIN (5 lines)
First line- noun;
Second line- two adjectives;
Third line- three verbs;
Fourth line- a phrase of 4 words conveying one’s own attitude, mood;
Fifth line- conclusion, in one word or phrase.
Students give examples using syncwine, then compare with the teacher’s example
Early, sunny, long-awaited.
She came, blossomed, woke up.
The soul is full of presentiment of happiness.
Grace!
History of the origin and development of the genreCONCERT.
Good afternoon, dear friends, music lovers! I welcome you to the next meeting of our Music Living Room! Today we will talk about the musical genre.
You all know the word “concert” well. What does this term mean? (listener responses). Concerts are different. Let's list them. (Meeting participants pull out notes listing the types of concerts:
Symphony concert
Concert of Russian pop stars
Classical music concert
Concert of Russian folk music
Wind music concert
Early music concert
Concert of the Governor's Orchestra of Russian Folk Instruments "
Concert of Bolshoi Theater soloists
Artist's solo concert
Benefit performance (a spectacle or performance in a theater, the proceeds from which go to one of the participating artists or an entire group, for example, a choir, orchestra), etc.
But there is another meaning of this word. Concert - musical genre. This is what the story will be about today. You will briefly learn about the history of the origin and development of the genre and hear fragments of concerts created by great masters in different historical eras.
What is a concert? The word is formed from concerto - harmony, agreement and concertare - compete) - a piece of music, most often for one or more solo instruments with an orchestra.Indeed, the relationship between the solo instrument and the orchestra in a concert contains elements of both “partnership” and “rivalry.”. There are also concertos for one instrument - without orchestra (concertos -solo) , concertos for orchestra - without strictly defined solo parts, concerts for voice (or voices) with orchestra and concerts for choir . The creator of such a concert is considered to be the Russian composer Dmitry Bortnyansky.
BACKGROUND.
The concerto appeared in Italy at the turn of the 16th-17th centuries as a vocal polyphonic work church music(the so-called spiritual concert) and developed from polychorany and comparison of choirs, widely used by representatives Venetian school. Works of this kind could be called both concerts (concerti) and motets (motetti); later J. S. Bach called his polyphonic cantatas concerts.
Representatives of the Venetian school widely used spiritual concert instrumental accompaniment.
Baroque concert.
By the beginning of the 18th century. Several types of concerto came into use. In concerts of the first type, a small group of instruments - a concertino ("small concert") - was opposed to a larger group, which, like the work itself, was called concerto grosso ("concerto grosso") big concert"). Among famous works This type is 12 Concerto Grosso (op. 6) by Arcangelo Corelli, where the concertina is represented by two violins and a cello, and the Concerto Grosso by a wider cast of string instruments. Concertino and concerto grosso are connected by basso continuo (“constant bass”), which is represented by an accompanying composition typical of baroque music keyboard instrument(most often harpsichord) and bass string instrument. Corelli's concertos consist of four or more movements.
A fragment of A. Corelli's concert sounds
Another type of Baroque concerto was composed for a solo instrument with an accompanying group called ripieno or tutti. Such a concert usually consisted of three parts, withfirst almost always had the form of a rondo: the introductory orchestral section (ritornello), in which the main thematic material of the movement was exhibited, was repeated in whole or in fragments after each solo section. Solo sections usually gave the performer the opportunity to show off his virtuosity. They often developed ritornello material, but often consisted only of scale-like passages, arpeggios and sequences. At the end of the movement the ritornello usually appeared in its original form.Second , the slow part of the concert was lyrical in nature and composed in free form. Fastfinal part It was often of a dance type, and quite often the author returned to the rondo form in it. , one of the most celebrated and prolific composers of the Italian Baroque, wrote numerous recitals, including four violin concertos known asSeasons .
I suggest listening to 3 hours. Concert “Summer”, which is called “Thunderstorm”
Finale of the Concerto in A minor for violin and orchestra (“Moscow Virtuosi”)
Vivaldi also has concertos for two or more solo instruments, where elements of the forms are combined solo concert, concerto grosso and even a third type of concerto - only for the orchestra, which was sometimes called concerto ripieno.
Among best concerts The Baroque era can be called Handel's works, and his 12 concertos (op. 6), published in 1740, are written on the model of Corelli's concerto grosso, whom Handel met during his first stay in Italy.
Concerts by I.S. Bach, including seven concertos for clavier, two for violin and six so-called. The Brandenburg Concertos, in general, also follow the model of Vivaldi's concertos: Bach studied them, like the works of other Italian composers, very zealously.
Fragment of the Brandenburg Concerto No. 3 G major
Classical concert.
Although sons , especially Carl Philipp Emanuel and Johann Christian, played important role in the development of the concert in the second half of the 18th century, it was not they who raised the genre to new heights, but . In numerous concerts for violin, flute, clarinet and other instruments, and especially in 23 keyboard concerts Mozart, who had an inexhaustible imagination, synthesized the elements of a baroque solo concert with the scale and logic of form classical symphony. In Mozart's late piano concertos, the ritornello turns into an exposition containing a number of independent thematic ideas, the orchestra and soloist interact as equal partners, and in the solo part a previously unprecedented harmony between virtuosity and expressive tasks is achieved. Even , which has qualitatively changed many traditional elements genre, clearly considered the manner and method of the Mozart concerto as an ideal.
Mozart Concerto for 3 pianos and orchestra
Beethoven Concerto for Violin and Orchestra
The second and third movements in Beethoven's concerto are connected by a short passage, followed by a cadenza, and such a connection highlights the strong figurative contrast between the movements even more clearly. The slow movement is based on a solemn, almost hymnic melody, which provides ample opportunity for its deft lyrical development in the solo part. The finale of the concert is written in the form of a rondo - this is a moving, “playful” part in which a simple melody, with its “chopped” rhythm reminiscent of folk violin tunes, is interspersed with other themes, although they contrast with the rondo’s refrain, but retain the general dance structure.
Nineteenth century.
Some composers of this period (for example, Chopin or Paganini) completely preserved classic shape concert. However, they also adopted the innovations introduced into the concerto by Beethoven, such as the solo introduction at the beginning and the integration of the cadence into the form of the movement (a cadence is a solo episode that serves as a link between parts). A very important feature of the concert in the 19th century. was the abolition of the double exposition (orchestral and solo) in the first part: now the orchestra and soloist performed together in the exposition. Such innovations are characteristic of the great piano concertos of Schumann, Brahms, Grieg, Tchaikovsky and Rachmaninov, the violin concertos of Mendelssohn, Brahms, Bruch and Tchaikovsky, and the cello concertos of Elgar and Dvorak. Another kind of innovation is contained in Liszt's piano concertos and in some works by other authors - for example, in Berlioz's symphony for viola and orchestra Harold in Italy, in Busoni's Piano Concerto, where a male choir is introduced. In principle, the form, content and techniques typical of the genre changed very little during the 19th century. The concerto has held its own in competition with program music, which has had a strong influence on many instrumental genres in the second half of this century. Stravinsky And , do not stray far (if at all) from the basic principles of the classical concerto. For the 20th century characterized by the revival of the concerto grosso genre (in the works of Stravinsky, Vaughan Williams, Bloch and ) and the cultivation of the concerto for orchestra (Bartok, Kodaly, ). In the second half of the century, the popularity and vitality of the concerto genre continued, and the situation of "the past in the modern" is typical in works as diverse as the John Cage concertos (for prepared piano), (for violin), Lou Harrison (for piano), Philip Glass (for violin), John Corigliano (for flute) and György Ligeti (for cello).
Visitors to the Philharmonic halls are familiar with the special, upbeat atmosphere that reigns during the concert instrumental music. The way a soloist competes with an entire orchestral group is captivating. The specificity and complexity of the genre lies in the fact that the soloist must constantly prove the superiority of his instrument over others participating in the concert.
The concept of an instrumental concert, specifics
Basically, concertos are written for instruments rich in their sound capabilities - violin, piano, cello. Composers try to give the concerts a virtuosic character in order to reveal as much as possible artistic possibilities and the technical virtuosity of the chosen instrument.
However, an instrumental concert assumes not only a competitive nature, but also precise coordination between the performers of the solo and accompanying parts. Contains contradictory tendencies:
- Unlocking the capabilities of one instrument versus a whole orchestra.
- Perfection and consistency of the complete ensemble.
Perhaps the specificity of the concept “concert” has a double meaning, and all because of the dual origin of the word:
- Concertare (from Latin) - “to compete”;
- Concerto (from Italian), concertus (from Latin), koncert (from German) - “concord”, “harmony”.
Thus, an “instrumental concert” in the general sense of the concept is a musical work performed by one or more solo instruments with orchestral accompaniment, where a smaller part of those taking part opposes a larger part or the entire orchestra. Accordingly, instrumental “relationships” are built on partnership and competition in order to provide an opportunity for each of the soloists to demonstrate virtuosity in performance.
History of the genre
In the 16th century, the word “concert” was first used to denote vocal and instrumental works. The history of the concert as a form of ensemble playing has ancient roots. Joint performance on several instruments with a clear promotion of the solo “voice” is found in the music of many nations, but initially these were polyphonic sacred compositions with instrumental accompaniment, written for cathedrals and churches.
Until the middle of the 17th century, the concepts of “concert” and “concert” referred to vocal-instrumental works, and in the 2nd half of the 17th century strictly instrumental concerts already appeared (first in Bologna, then in Venice and Rome), and this name was assigned to chamber concerts. compositions for several instruments and changed its name to concerto grosso (“big concert”).
The first founder of the concert form is considered to be the Italian violinist and composer Arcangelo Corelli; he wrote a concert in three parts at the end of the 17th century, in which there was a division into solo and accompanying instruments. Then in XVIII-XIX centuries There was a further development of the concert form, where piano, violin, and cello performances were the most popular.
Instrumental concert in the 19th-20th centuries
The history of the concert as a form of ensemble playing has ancient roots. The concert genre has gone through a long path of development and formation, obeying the stylistic trends of the time.
The concerto experienced its new birth in the works of Vivaldi, Bach, Beethoven, Mendelssohn, Rubinstein, Mozart, Servais, Handel and others. Vivaldi's concert work consists of three parts, of which the two extreme ones are quite fast, they surround the middle one - the slow one. Gradually, the harpsichord, occupying the solo position, is replaced by the orchestra. Beethoven in his works brought the concert closer to a symphony, in which the parts merged into one continuous composition.
Until the 18th century, the composition of the orchestra was, as a rule, random, mostly strings, and composer's creativity directly depended on the composition of the orchestra. IN further education permanent orchestras, development and search for universal orchestral composition contributed to the development of the concert genre and symphony, and the musical works performed began to be called classical. Thus, speaking of instrumental performance musical classics, imply a classical music concert.
Philharmonic Society
In the 19th century, the countries of Europe and America actively developed symphonic music, and for its widespread public propaganda, state philharmonic societies began to be created, promoting the development of musical art. The main task of such societies, in addition to propaganda, was to promote development and organize concerts.
The word "philharmonic" comes from two components of the Greek language:
The Philharmonic today is an institution, usually a state one, which sets itself the task of organizing concerts, promoting highly artistic musical works and performing skills. A concert at the Philharmonic is a specially organized event aimed at introducing classical music, symphony orchestras, instrumentalists and vocalists. You can also enjoy musical folklore including songs and dances.
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 vocals. 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, in whose work the melodic-ariotic style predominates.
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 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, that is, 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-part cycle, as, for example, in concerts 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 - main topic on the same basis 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. Romantics created one-part K. of two types: small form- 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 and artistic, ideological sense(concerts by J. Brahms). 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 form of the work.
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 lot of 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. Räets, 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 instrumental music, in the book: History of Russian Soviet music, vol. 1, M., 1956, pp. 267-97; Raaben L., Soviet instrumental concert, Leningrad, 1967.
