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 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 depths. human feelings. In fact, the etymology of the word “concertare” comes from the words “compete”, “fight”, although also understanding the meaning of this musical form connected with “consertus” or “conserere”, which means “to harmonize”, “to put in order”, “to unite”. Etymological meanings very well correspond to the goals 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. The named 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 indicates the gradual formation of homophony. In parallel, the continuous imitation of the old polyphony is replaced by something related to it, but already leading into new era the principle of dynamic echoes - one of the first non-polyphonic principles of shaping.

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 concert, or ritornello, form that dominated the music of the first half of the XVIII century. Still not yet 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 was distributed opera aria with the ritornello it acquired a finished look.

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

TO end of XVII 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 links 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, such Allegro can combine fugue and concert form. 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 genre divisions early XVIII century is introduced 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, general character- lively, 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” concert A-dur (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 nature 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 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. The Germans love mixed trains Schering associated this genre with the traditions of performing wind instruments: even 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 popularity 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 timbral—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.

Visitors to the Philharmonic are familiar with the special, upbeat atmosphere that reigns in the hall where an instrumental concert is performed. Of particular interest is the competition between the soloist and the whole group - the orchestra. Indeed, the concert is one of the most difficult instrumental genres. Its specificity lies in the fact that the soloist is placed in the most difficult conditions that can exist in music. He will have to prove the superiority of his instrument in competition with dozens of others.

It is not without reason that composers give concerts a brilliant, virtuosic character, striving to reveal all the technical and artistic capabilities of their chosen instrument. Concertos are mainly written for the most developed and resource-rich instruments - piano, violin, cello.

At the same time, the concert presupposes not only competition between the participants, but also the alternating coordination of the solo and accompanying parts in the embodiment of the overall concept of the composition.

Thus, the instrumental concert contains seemingly contradictory tendencies:

• on the one hand, it is designed to reveal the capabilities of one instrument in comparison with the whole orchestra;
• on the other hand, it requires a complete and perfect ensemble.

And, apparently, the word concert has a dual origin: from the Latin “concertare”, which means “to compete”, and from the Italian “concerto”, that is, “agreement”. In this double meaning– the meaning and specificity of this genre.

Instrumental concert. History of the genre

The history of the concert as a form of ensemble performance goes back to ancient times. Cooperative play on several instruments with the advancement of the soloist found in musical culture many peoples.

But the term itself appeared in the late Renaissance, in the 16th century, in Italy. This was the name given to vocal polyphonic works performed in church. Such works were based on a comparison (competition) of two or more singing parts, accompanied by an organ and sometimes an instrumental ensemble.

Later this name was transferred to chamber works for several instruments. Similar concerts can be found at the beginning of the 17th century, but by the middle of the century the concerto becomes an orchestral work and takes on a new name - “concerto grosso”.

Concerto grosso

The creator of the new genre Concerto grosso (“big concert”) was the outstanding Italian violinist and the 17th – early 18th century composer Arcangelo Corelli. Concerto grosso already had a division into solo and accompanying instruments, and there were always several of the first and they were called concertino.

The subsequent development of this form is associated with Corelli, a younger contemporary. In Vivaldi's work, the concert cycle took on a 3-part form, where the outer fast parts framed the middle, slow part. He also created the first concerts with one solo instrument, the violin. Bach and Handel wrote such concertos.

Later, the harpsichord, which initially performed accompanying functions in the Concerto grosso, also began to emerge as a solo instrument. Gradually his part became more complex, and over time the harpsichord and orchestra switched roles.

Structure of the concerts of Wolfgang Amadeus Mozart

The 3-part structure of the concert was finally established as the main form. Moreover, the first part is written in sonata form with a double exposition (the first time it is presented by the orchestra, the second, with some changes, by the soloist). At the end of the movement there is a virtuoso cadenza - an episode performed by one soloist.

As a rule, at that time the cadence was not written down by the composer, but was marked with a special symbol in the part of the solo instrument. The soloist here was given complete freedom to improvise and demonstrate his virtuoso abilities. This tradition persisted for quite a long time, and only in the post-Beethoven era did the cadenza begin to be written down by authors, acquiring important significance in the development of the idea of ​​the composition.

But if the cadenza in one form or another is included in the instrumental concert today, then the double exposure of the main themes has gradually disappeared.

II, the slow movement, does not have any firmly established form, but III, the fast finale, is written in sonata or rondo form.

Development of the instrumental concert in the 19th-20th centuries

The concert genre has come a long way in its formation and development, obeying the stylistic trends of a particular period of time. Let us note only the most important, key points.

The concerto experienced its rebirth in Beethoven's work. If in Mozart it was still endowed with the features of entertainment, then Beethoven decisively subordinated it to ideological tasks and brought it closer to the symphony.

The symphonization of the concert was continued by composers of the Romantic era. Under the influence of the symphonic poem, the parts of the concert merged into one continuously developing composition. The creator of such a 1-part concert was. He gave it a brilliant, virtuosic appearance.

Instrumental concert in the works of Mendelssohn, Chopin, Schumann, Grieg reveals a desire for lyricism. This, in turn, led to a decrease in the role of the virtuoso element of the concert. If Beethoven had equal rights with the solo instrument and the orchestra, then among the Romantics the first reigns supreme, and the second is assigned a modest accompanying role.

Meanwhile, Beethoven's traditions of the symphonized concert continued to develop in Brahms's work. The influence of the lyric-dramatic symphony affected the concerts of Tchaikovsky and especially Rachmaninoff.

A new word in the revival of Chopin's concerto was said. His piano concertos were of a virtuoso scale and forced the piano to successfully compete with a developed orchestral part. Prokofiev's violin concertos are lyrical and attract primarily with the melodic interpretation of the solo instrument.

In the works of composers of the 20th century, trends in the revival of the ancient concert can be traced. Thus, the magnificent virtuoso “baroque” flourishes in the works of Gershwin and Khachaturian, the renaissance of ancient forms can be traced in the works of Hindemith, Bartok and Stravinsky.

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1. The concept of a concert, specifics, classification

A concert is a special, complete stage form, which is based on a number, its own laws of construction, its own artistic principles and its own “conditions of the game.” Each of them has its own characteristics in form and content.

Concerts are the most various types:

· mixed (musical numbers, artistic reading, scenes from plays, etc.),

· pop (light vocal and instrumental music, humorous stories, circus acts etc.),

· musical,

· literary.

The most common is a divertissement (combined) concert, which may include: singing, music, dancing, skits, parodies, etc. Such a concert, especially a theatrical one, is a work of stage performance pop art, and the most important role in it belongs to the director.

Also, a concert - (German - “competition”) - a competition in skill, its demonstration.

1) A piece of music for one or more solo instruments and orchestra.

2) Public performance of musical works.

3) Public performance of works of small forms, competition of different genres and types of performing arts.

The concert is perhaps the most popular and publicly accessible form of cultural and educational work, characterized by significant educational potential. Main function concert - the formation of aesthetic taste and aesthetic feelings, familiarization with the world of beauty. Finally, a successful concert, whether professional or amateur, is always a good opportunity to relax after working day, relieve fatigue and tension, get a boost of energy for working week. The practical methodology provides for a number of requirements and conditions that should be taken into account by directors: high ideological content of the repertoire being performed; its artistic value; genre diversity, especially when we're talking about about a concert for a mixed audience; high quality performance of numbers and episodes; originality of the numbers performed, variety of genres; proper quality of dramaturgical basis and appropriate level of direction.

A concert is a public performance of musical works according to a pre-compiled program. During the Middle Ages, the concert had a musical and instrumental character. Only members of aristocratic, noble families could be invited to it. It was organized for a small number of guests and was closed from prying eyes. The first public concerts were organized in the second half of the 18th century and were purely musical.

The first entertaining concert, with the introduction of a well-thought-out program, was organized in England. They were held in theaters, beer bars with a stage, and in hotel music halls. Types of concerts are independent programs, the originality of which is determined by the objectives, the needs of the viewer, and the aesthetic needs of a specific audience. The main types of concerts can be defined:

1. Solo - a concert of one performer, whose popularity, combined with a deep and vibrant repertoire, can maintain unflagging interest throughout the evening. Recitals also include: concerts choreographic group, choir, one ensemble, orchestra, as a single organism.

2. Concert-divertissement - combined, mixed. Determined by the performance of artists of different genres.

3. Academic, Philharmonic - concert organizations whose goal is to promote highly artistic and musical works (and sometimes various types of pop art and performing arts). The genres performed in such concerts are quite complex in form and content and require special preparedness from the audience.

4. Chamber concerts - (translated as "room") - by the sound of the repertoire, by the nature of the performance, intended for a small room, for a small circle of listeners.

4. Thematic concert - a concert of one dominant theme. She, like a rod, strings and groups everything around herself artistic components concert. Here the genres can be different.

6. Concert-review - (from French "panorama", "review") - a review on a specific topic, its plot, its course, presentation of numbers of various genres, a combination of the pathetic and the comic.

Conventionally, reviews can be divided into 2 types:

1) Revue extravaganza.

2) Chamber revue.

In (1) the decisive factor is the combination of the significance of the content with vivid entertainment. The staging of the revue extravaganza is typical for musical halls and pop groups of this type. In revue extravaganzas, the main components are a variety of pop, circus and other dramatic performances, large groups, dance groups, pop orchestras. Music plays the main role. Scene The solution in the revue extravaganza is distinguished by the effective use of the technical capabilities of the stage.

7. A pop concert is the pinnacle of entertainment, in them less attention is given to chamber music, especially instrumental music and serious genres. Main place: pop song, humor, dance.

8. Gala concert - (from French “big”) - a particularly festive, solemn spectacle that attracts the public.

9. A show is a magnificent spectacle with the participation of pop stars, circus, jazz, sports, etc., in which the spoken words, as the most complete expression of the content of the work being performed, turn out to be a hidden entourage of scenery, light, and technical capabilities.

10. Concert-shatan - entertainment events with different programs in bars, restaurants, hotels, concert halls.

Organizing concerts is an administrative and technical process. It consists of several stages:

2. Scenario development. Director's preparation of the project;

3. Invitations of star performers;

4. Technical support for the concert;

5. Decorating holidays with design solutions;

6. Administrative control and processing of transfers of performers and participants.

Various kinds of celebrations, presentations of albums of favorite performers, concert tours of world and state stage, corporate and public holidays, sports competitions all year round gather tens of thousands of people in stadiums, squares, concert halls, and parade grounds. Entire teams of specialists work to organize each event.

The basis of the concert is the numbers. Depending on their content, structure and character, the following types of concerts are distinguished: divertissement, thematic, theatrical and reporting. Divertimento concerts are composed of musical numbers of various genres. They are usually plotless. Thematic concerts are held in clubs in connection with holidays and anniversaries.

Recently, theatrical concerts have become very popular - a type of themed concert, in which the numbers are combined into a single whole. The theatrical concert is a synthesis of various musical genres. Theatrical thematic concerts are organized in connection with major events of a political nature, significant dates. They are part of a ceremonial meeting, the end of amateur art shows, music celebrations, and music festivals.

Unlike a thematic concert, a theatrical concert, in addition to the theme, has its own clear storyline. As a rule, a theatrical concert structurally looks like this: a prologue, the main part of the program, consisting of episodes and theatrical numbers, and a finale. Amateur music hall programs have become widespread, bringing together various genres pop art. Drawing up such a program is one of the most important and difficult aspects of organizing concert activities.

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CONCERT(Italian concerto), one-part or multi-part piece of music for one or more solo instruments and orchestra. The origin of the word "concert" is not entirely clear. Perhaps it is related to Italian. concertare (“agree”, “come to agreement”) or from lat. concertare (“to challenge”, “to fight”). Indeed, the relationship between the solo instrument and the orchestra in a concert contains elements of both “partnership” and “rivalry”. The word "concert" was first used in the 16th century. to denote vocal-instrumental works, in contrast to the term a cappella, which denoted purely vocal compositions. Concertos by Giovanni Gabrieli, written for the Cathedral of St. The March in Venice, or the concertos of Lodovico da Viadana and Heinrich Schütz, are mainly polychoric sacred works with instrumental accompaniment. Until the middle of the 17th century. the word “concert” and the adjective “concert” (concertato ) continued to relate to vocal-instrumental music, but in the second half of this century, first in Bologna, and then in Rome and Venice, purely instrumental concerts appeared.

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 is a concertino (concertino, “ small concert") - was contrasted with a larger group, which was called, like the work itself, concerto grosso ("big concert"). Among the famous works of this type are the 12 Concerto Grosso (op. 6) by Arcangelo Corelli, where the concertino 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 a typical baroque music accompaniment of a keyboard instrument (most often a harpsichord) and a bass string instrument. Corelli's concertos consist of four or more movements. Many of them resemble in form a trio sonata, one of the most popular baroque genres. chamber music; others, consisting of a number of dances, are more like a suite.

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, with the first almost always taking 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. The second, slow part of the concert was lyrical character and was composed in free form, sometimes using the “repetitive bass” technique. The fast final movement was often of the dance type, and quite often the author returned to the rondo form in it. Antonio Vivaldi, one of the most celebrated and prolific composers of the Italian Baroque, wrote many recital concertos, including the four violin concertos known as Seasons. 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 the works of Handel, with his 12 concertos (op. 6), published in 1740, 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. Brandenburg Concertos, in general, also follow the model of Vivaldi’s concertos: theirs, like the works of others Italian composers, Bach studied very zealously.

Classical concert.

Although Bach's sons, especially Carl Philipp Emanuel and Johann Christian, played an important role in the development of the concerto in the second half of the 18th century, it was not they who raised the genre to new heights, but Mozart. 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 Beethoven, who qualitatively changed many traditional elements of the genre, clearly regarded the manner and method of the Mozart concerto as an ideal.

Beethoven's Violin Concerto in D major (op. 61) begins with an extended orchestral introduction, where the main ideas are presented in the minted form of a sonata exposition. Starting theme has a march-like appearance, which is typical for a classical concert, while Beethoven this quality emphasized important role timpani The second and third themes are more lyrical and expansive, but at the same time retain the noble sophistication established by the first theme. When the soloist enters, however, everything changes. As a result unexpected turn the secondary motives of the orchestral exposition come to the fore, presented in the brilliant texture of the solo instrument: each element is rethought and sharpened. The soloist and orchestra then compete in developing different themes, and in the reprise they repeat the main thematic material as partners. Towards the end of the movement, the orchestra falls silent to allow the soloist to perform a cadenza - an extended improvisation, the purpose of which is to demonstrate the virtuosity and ingenuity of the soloist (in modern times, soloists usually do not improvise, but play recorded cadenzas by other authors). The cadenza traditionally ends with a trill, followed by an orchestral conclusion. Beethoven, however, makes the violin recall the lyrical second theme (it sounds against the background of a calm orchestral accompaniment) and then gradually moves on to a brilliant conclusion. 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 retained the classical concerto form. 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 cadenza into the form of the movement. Very important feature 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 Rachmaninoff, 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 the symphony for viola and orchestra Harold in Italy Berlioz, in Busoni's Piano Concerto, where he introduces male choir. In principle, the form, content and techniques typical of the genre changed very little during the 19th century. The concert held its own in competition with program music, which had a strong influence on many instrumental genres second half of this century.

Twentieth century.

Artistic revolutions that took place during the first two decades of the 20th century. and the period after the Second World War, did not greatly transform the basic idea and appearance of the concert. Even the concerts of such brilliant innovators as Prokofiev, Shostakovich, Copland, Stravinsky and Bartok 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 Schnittke) and the cultivation of the concerto for orchestra (Bartók, Kodály, Hindemith). In the second half of the century, the popularity and vitality of the concerto genre continued, and the situation of "the past in the present" is typical in works as diverse as the concertos of John Cage (for prepared piano), Sofia Gubaidulina (for violin), Lou Harrison (for piano), Philip Glass (for violin), John Corigliano (for flute) and György Ligeti (for cello).

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 of church music (the so-called spiritual concerto) and developed from the polychoric and juxtaposition of choirs, widely used by representatives of the 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 instrumental accompaniment in spiritual concerts.

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 a concerto grosso ("big concert"). Among the famous works of this type are the 12 Concerto Grosso (op. 6) by Arcangelo Corelli, where the concertino 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 a typical baroque music accompaniment of a keyboard instrument (most often a harpsichord) and a 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, which combine elements of the forms of solo concerto, concerto grosso and even a third type of concerto - only for orchestra, which was sometimes called concerto ripieno.

Among the best concertos of the Baroque era are the works of Handel, with his 12 concertos (op. 6), published in 1740, 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 an 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 concertos for violin, flute, clarinet and other instruments, and especially in 23 keyboard concertos, Mozart, who had an inexhaustible imagination, synthesized the elements of a baroque solo concert with the scale and logic of the form of a 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 qualitatively changed many traditional elements of the genre, clearly regarded 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 retained the classical concerto form. 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 Rachmaninoff, 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).