Methodical development

OPEN LESSON

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

music teachers

MBOU RSOSH No. 1 of Rudnya

Smolensk region

Datskiv Ilona Alexandrovna

2016 Nov.

Have rock music in the 6th grade "Instrumental concert"

Lesson type -forming and improving new knowledge, but taking into account the requirements of the Federal State Educational Standard, this is a lesson in the "discovery" of new knowledge.

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

Based on the purpose of the lesson, the following are settasks:

Educational : to acquaint students with the origin and development of the genre of instrumental concert on the example of the concert "The Four Seasons" by A. Vivaldi, to consolidate ideas about various types of concerts, to expand ideas about program music.

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

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

Recently, the tasks of the music lesson have expanded. It is gaining in importanceself-educational andstimulating tasks.

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

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

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

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

Expand the topic of the lesson in a fun and accessible form through working visibility.

Methods :

organization and implementation of educational and cognitive activities:

explanatory-illustrative

stimulation and motivation of educational and cognitive activities:

entertaining situation

comparison, analysis, generalization

reception of juxtaposition with related arts

by source of information and nature of activity:

verbal-inductive (conversation), visual-deductive (comparison, analysis of a piece of music heard, urge to empathy, retrospective).

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

Technologies: information and communication, health-preserving

Equipment: multimedia projector, music center, laptop, phono-chrestomatics for the textbook "Music" for 6 grades, music dictionary by V. Razhnikov, printed words of A. Ermolov's song "The Four Seasons"

DURING THE CLASSES

1. Organizational moment

Teacher:

– Hello guys!
Children's answer:

– Hello!

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

Music inspires the whole world, provides the soul with wings, helps the imagination fly,
music gives life and fun to everything that exists ...
She can be called the embodiment of all that is beautiful and sublime.

Plato

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

(An excerpt from Vivaldi's instrumental concert "The Four Seasons"

Let's try to answer, what will be discussed in today's lesson?

Music by Antonio Vivaldi (1 slide)

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

Students: "The world of images of chamber and symphonic music"

Teacher: What is chamber music?

Students: Chamber, i.e. room music designed to be performed in small spaces for a small audience.

Teacher: In order to understand what will be discussed in today's lesson, let's guess the musical crossword puzzle. The word is hidden vertically. (Slide 2)

7.

To

O

n

c

e

R

T

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

Multi-part work for chorus, soloists and orchestra (KANTATA)

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

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

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

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

Formulate the topic of the lesson

The topic of the lesson "Instrumental concert" ( slide 3)

What goal can we set?

What is a concert?

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

soloist

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

The genre of the concert emerged in the 17th century in connection with the intensive development of violin playing.

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

Lesson plan:

Musical greeting

Listen to music

Analysis of a piece of music

Working in groups

Vocabulary work

Singing

Conclusions. Results.

Homework (5 slide)

Who is Antonio Viaaldi?

What do we know about him?

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

Cycle "Seasons"

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

Teacher: Before you on the tables are the dictionaries of aesthetic emotions by V. Razhnikov.

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

What do you think, poets artists turned to the theme of the seasons?

Do you know such works?

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

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

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

1st group: composers

What feelings does this music express?

What season can this music be associated with??

Students: Students determine the initial intonation, the nature of the music, the fast pace, contrasts of dynamics, visual moments - imitation of birdsong - this is spring

The music listened to is bright, ringing, joyful. You can feel flight, movement, birdsong in it. The melody is light, the arrival of spring is felt in the music.

How can you characterize a melody?

Students: Possible children's answers: 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 the major scale, is very clear, bright, easy to remember, in a dance rhythm. The melody performed by the soloist is much more complicated, it is virtuoso, beautiful, decorated with musical chants, similar to the singing of birds).

Students determine that it is SPRING

Group 2: artists

On the table are reproductions of paintings of the seasons

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

What colors are prevailing?

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

Group 3: poets

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

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

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

The snow is already melting, streams are running,

Spring breathed through the window ...

The nightingales will soon swear

And the forest will be clothed with foliage!

Pure sky blue

The sun became warmer and brighter

It's time for blizzards of evil and storms

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

Discussion of the responses of the groups. (Slide 10)

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

Define the emotional content of the part, pace, dynamics?

Listen to the violin passages. What pictures appear in the imagination?

The sun is shining brightly
The air is warm.
And wherever you look,
Everything is light around.
The meadow is dazzling
Bright flowers,
Doused with gold
Dark sheets.
The forest is dormant; not a sound
The leaf does not rustle
Only a lark
The air rings. I. Surikov.

Teacher: listening to the 3rd part of the concert

The forest, as if we were looking at a painted one,
Purple, gold, crimson,
With a cheerful, colorful wall
Stands over a bright glade.
Birch yellow carvings
Shine in the azure blue,
Like towers, Christmas trees are darkening,
And between the maples turn blue
Here and there in the foliage through
Clearances in the sky, that little window. K. Balmont

(slide 12)

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

Sorceress Winter
Bewitched, the forest stands
And under the snowy fringe,
Motionless, dumb,
He shines with a wonderful life.
And he stands, bewitched,
Not dead and not alive -
Enchanted by magic sleep,
All pubescent, all shackled
With a light down chain ... F. Tyutchev

Physical education

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

In our modern time, there are also works of the vocal genre about the season.

Let's sing the song "The Four Seasons" by the contemporary composer Alexander Ermolov.

Vocal and choral work over the song "The Four Seasons" lyrics by and muses. Alexandra Ermolova

We will define the tasks: in what character we will sing, what articulatory tasks we will solve.

Let's checkhomework

Investigate whether Vivaldi's music is contemporary today.

What is the secret of the popularity of the composer's music.

Which of the modern people is-va refers to the work of the composer.

Interesting facts from the life of the composer

Poems about the composer and his work

Reflection

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

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

The study of the genre of the piano concert determines the field of scientific interests of such scientists-musicologists as: L. N. Raaben ("Soviet instrumental concert"), I. I. Kuznetsov ("Piano concert" (to the history and theory of the genre)), M. E Tarakanov ("Instrumental Concert"), GA Orlova ("Soviet Piano Concerto"). Significant perspectives of the latest trends in the analysis of the genre, from the standpoint of performing practice, are demonstrated by the works of A. V. Murga, D. I. Dyatlov, B. G. Gnilov; genre and historical aspects of the piano concerto have been analyzed in the scientific publications of D.A. require deeper study. This circumstance determined goal publications: to explore the peculiarities of the origin and development of the genre of the piano concert. To achieve this goal, the following were determined tasks publications:

1. Explore the genesis of the instrumental concert genre;
2. Analyze the origins of the formation and development of the genre of the piano concert;
3. Reveal the genre specificity of a piano concert.

The historical movement of music is clearly reflected in the fate of musical genres. The live connection of times is clearly manifested in the example of an instrumental concert - one of the oldest genres of European music. As the researchers testify, the etymology of the word "concert" is associated with the Italian "concertare" ("to agree", "to come to an agreement") or with the Latin "concertare" ("to challenge", "to fight"), because the relationship between the solo instrument and the orchestra contains elements of "partnership" and "rivalry". Traditionally, a concert is defined as a one-part or multi-part piece of music for one or more solo instruments and an orchestra.

One of the varieties of the instrumental concert is the piano concerto. Since the history of the development of the piano concerto cannot be separated from the genesis of the instrumental concerto as a whole, let us explore the peculiarities of the origin of this unique musical genre. The origins of the piano concert go back to the distant musical past. We focus on the fact that until the end of the 17th century. the instrumental concert did not exist as an independent genre. The concept of "concert" was first discovered in musical use in the 16th century. This definition was used to refer to vocal and instrumental works. Concerts were called sacred choral compositions with instrumental accompaniment. As an example, it is advisable to name the concerts of G. Gabrieli, L. da Viadana and G. Schütz. The emergence of the genre of the instrumental concert is associated with the emergence of the homophonic style in music. At this stage, composers, as never before, sought to emphasize the leading importance of the melodic principle expressed by the solo instrument, as opposed to the accompanying orchestra. The competition between a solo musical instrument and an orchestra actualized the importance of virtuoso beginning in the concert genre. The practice of instrumental ensembles and the traditions of playing musical instruments together, dating back to folk music-making in the European culture of the Middle Ages, also had a great influence on the development of the instrumental concert.

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

The master of the instrumental concert of the 17th century. A. Corelli is the author of the first classical examples of the Concerto Grosso genre (a large concert), based on a comparison of the solo ripieno and the accompanying Grosso. Concerts A. Corelli, as a rule, are many parts. The composer included in the concertos from four to seven parts, as well as small Adagio, which serve as links between the fast parts. The musical unity of A. Corelli's Concerto Grosso was manifested in the preservation of the basic tonality throughout all the parts. The music of almost all the concerts of this amazing Italian master is pathetic, sometimes you can hear lyrical melody in it, you can feel the connection with folk origins.

A special place in the history of the development of the instrumental concert of the 17th - 18th centuries. belongs to the Italian composer, violin virtuoso A. Vivaldi. In the concerts of this brilliant composer, a typical structure of an instrumental concert was formed, which assumed a three-part form. If in A. Corelli's Concerto Grosso, a closed whole is formed by short solo episodes, then in A. Vivaldi the parts of the soloists were born of an unlimited flight of fantasy and pass in a free improvisational presentation. In A. Vivaldi's concerts, the scale of orchestral rituals grows, and the whole form takes on a new dynamic character. The creator of the solo concert strove for bright and unusual sounds, mixed the timbres of different instruments, and often included dissonances in the music.

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

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

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

Representatives of Viennese classicism were the creators of the new type of instrumental concert. It is in the work of the Viennese classics that the instrumental concert becomes a new genre of concert music, which differs from the previous ConcertoGrosso, as well as from the solo concert of the 17th century. In the classical style, the appearance of cyclic compositions changes, a strict normative three-part cycle is approved, with an accentuation of the first movement of the sonata Allegro.

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

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

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

The depiction of the process of experiences, a change in affect, a picture of mental movements, required a special musical form. The implementation of the given semantic task was the sonata form, the functions of which were to strengthen, exacerbate the initial instability, and only at the end achieve equilibrium. The scale, the choice of atypical orchestral ensembles, the monumental nature of the cycles of the classical piano concert contributed to the activation of the process of liberating the boundaries of the concert genre. As a result of these innovative assumptions, composers have more opportunities to realize their own artistic ideas. It should be noted that in addition to musical drama, the form of a classical piano concert demonstrates an attitude to cadence, thematic that is not typical for concerts of previous eras, the relationship between the soloist and the orchestra is transformed.

As the researchers testify, the genre of the classical piano concerto can be compared with theatrical action, in which the musical game logic acts as the logic of game situations, turns into the logic of stage action, which allows the concert genre to realize complex drama and hidden author's subtext.

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

It should be noted that the cadenzas found in baroque instrumental concerts caused a lot of torment to inexperienced performers, inexperienced in improvisation. Many performers learned the cadences in advance. Gradually, inserted cadenzas began to be squeezed out of concerts. It was during the period of Viennese classicism that a radical change occurred in the nature of cadence constructions, which completed the transition of cadences from the framework of improvisational culture to a purely written tradition. In the formed classical concert form, the cadenza, like a virtuoso solo of the performer, was an obligatory part of the form. The first step in this direction was made by L. van Beethoven, who wrote in his Fifth Concerto the entire cadenza in full notes. In the piano concerto of the era of classicism, virtuoso complex cadenzas were widespread. The beginning of the cadence, most often, was emphasized by either a bright chord or a virtuoso passage. At the moment of sounding this fragment of the concert, the listener's attention was sharpened many times. The principles by which the cadence was built are concretized by elements of surprise, a bright virtuoso beginning, and showiness. Exploring the peculiarities of the formation and development of cadence in a piano concerto, it is advisable to cite the rules from DG Türk's “Piano School”: “A cadence should not only support the impression made by a piece of music, but, as far as possible, strengthen it. The surest way to achieve this is to present the most important main ideas in a cadence in an extremely concise manner, or to remind about them with the help of phrases. Therefore, the cadenza should be closely connected with the piece being performed and, moreover, from it, mainly, draw your material. The cadenza, like any free ornamentation, should not consist of deliberately introduced difficulties, but rather of such thoughts that correspond to the basic character of the play. "

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

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

The musical themes of the piano concerts of the Viennese classics, influenced by the Italian belcanto style, are especially unique. As GF Telemann stated: “Singing is the universal basis of music. Whoever takes up the composition must sing in each of the parts. Those who play the instruments must be well versed in singing. " Since belcanto presupposes a combination of beautiful cantilena and virtuoso ornamentation, themes of two types stand out in classical piano concerts: themes close to vocal cantilena and virtuoso thematic complexes. In this regard, the soloist appears in two roles - as an inspired musician and a virtuoso performer.

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

Researchers traditionally single out the following as the most important specific properties of the piano concerto genre: game logic, virtuosity, improvisation, competition, and concert performance.

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

In the encyclopedic literature, the following definition of play is presented: "play is a kind of meaningful unproductive activity, where the motive lies both in its result and in the process itself."

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

The game unfolds before the listener as a fascinating chain of events, each of which, being a response to the previous one, in turn generates new responses or a new stream of thought. Play logic develops in music like playing an instrument. As the great German composer R. Schumann noted, “the word“ play ”is a very good one, since playing an instrument should be the same as playing with it. Whoever does not play with the instrument, we do not play on it either ”.

In the concert genre, game logic is of great importance. The gradation of dynamics in the microworld of game logic often acts as a means of contrasting juxtapositions, intrusions, and unexpected accents. As E.V. Nazaikinsky notes, at the compositional level, game logic can manifest itself in a special interpretation of the form. Syntactically, in special "game pieces". The scientist singles out as such “game figures” such as: change of mode, intonation trap, intrusion, challenge, replica-second, imperceptibly creeping repetition, breaking blow, coup, overlapping, merging, overcoming an obstacle, stuck tone, variant pickup, game error and others. It should be noted that the participants in the game action can be both certain thematic constructions, and small motives, short musical remarks. Their combination forms the basis of instrumental-game logic.

The playful nature of the piano concerto is realized through virtuosity. We emphasize that the defining element of virtuosity is the performing skill of a musician who should be much better than the average performer. A virtuoso (from Italian virtuoso - from Latin Virtus - valor, talent) is a performer who masterfully masters the technique of art. The first mentions of "virtuosos" are associated with Italy in the 16th - 17th centuries. This term was intended for a person noted in any intellectual or artistic field. The term developed over time, simultaneously expanded and narrowed in scope. Initially, musicians were awarded this classification, being composers, theorists or famous maestros, which was more important than masterful performance.

Concert as a genre presupposes a public demonstration of the mastery of a performer and his virtuosity. At the same time, virtuosity is subordinated to the inner content of music and is an organic element of the artistic image. It should also be noted that virtuosity expresses nothing more than the artistic principle of the human person and is part of the performing style of the musician himself. In the genre of the concert, for the first time, the organic unity of virtuosity and melodiousness is embodied. The virtuosity in the soloist's part, on the one hand, makes him a leader in dialogue with the orchestra, and on the other hand, contributes to the "sociability" of the concert genre itself.

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

Various types of orchestra-soloist ratio, which determine specific methods of textured organization of musical material, as well as concert instrumentation, are concretized by the principles of concert. We emphasize that the principle of concert performance was first applied in Italy, at the turn of the 16th - 17th centuries, in the interpretation of vocal and instrumental concerts. However, based on the scientific research of the German music historian A. Schering, we can talk about the more ancient origin of this principle. According to the researcher, its origins "... can be traced back to antiquity, to the switching singing in Greek tragedy and to the psalms of the ancient Jews, which are then again found in the Middle Ages as antiphors in Catholic ritual." This is an indication of the musical and dramatic origin of concert performance. According to B.V. Asafiev, it is through the concert that the instrumental dialogue, characteristic of the concert, is realized, based on the disclosure of the impulses inherent in the thesis, in the role of which a variety of elements can act, up to a hum or "the simplest conjugation of sounds", not to mention about expanded constructions such as a melodic theme.

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

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

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

The speed of artistic reaction, the brightness of suddenly appearing images, ingenuity in their sharp change are the qualities that an improviser must possess. The soloist's introductions, sudden variation coverage of themes, their juxtapositions, contrasts of harmony, orchestral color are marked by improvisational surprise. But these shifts are held together by wise musical logic. The improvisational nature is also characteristic of the cadenza of the classical concert, but the principle of improvisation in the cadenza of the classical piano concerto was strictly regulated.

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

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

LITERATURE

1. Alekseev A. D. History of piano art: a textbook for students of music. universities: at 3 o'clock / A.D. Alekseev. - Ed. 2nd, rev. and add. - Part 1. - M.: Music, 1967 .-- 286 p.
2. Asafiev B.V. Musical form as a process / B.V.Asafiev. - Ed. 2nd. - M.: Music, Leningrad. otdel., 1971. - 373 p.
3. Badura-Skoda E. Interpretation of Mozart / E. Badura-Skoda, P. Badura-Skoda. - M.: Music, 1972 .-- 373 p.
4. Great Soviet Encyclopedia / Ch. ed. B.A.Vvedensky. - Ed. 2nd, rev. and add. - M.: TSE, 1954 .-- T. 28 .-- 664 p.
5. Druskin M. S. Piano Concertos by Mozart / M. S. Druskin. - Ed. 2nd. - M.: Muzgiz, 1959 .-- 63 p.
6. Musical encyclopedic dictionary / Ch. ed. G.V. Keldysh. - M.: Sov. encycl., 1990 .-- 672 p.
7. Nazaikinsky E.V. The logic of musical composition / E.V. Nazaikinsky. - M.: Music, 1982 .-- 320 p.
8. Rosenschild K.K. History of foreign music: until the middle of the 18th century / K.K.Rosenschild. - Ed. 3rd, rev. and add. - Issue. 1. - M.: Muzyka, 1973 .-- 375 p.
9. Tarakanov M.E. Instrumental concert / M.E. Tarakanov. - M.: Knowledge, 1986 .-- 55 p.
10. Huizinga J. Homo Ludensc. In the shadow of tomorrow / J. Heizinga. - M.: Progress, 1992 .-- 464 p.

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

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

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

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

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

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

The history of the emergence and development of the genreCONCERT.

Good afternoon, dear friends, music lovers! I welcome you to the next meeting of our Music Room! Today we will talk about the musical genre.

You all know the word "concert" very well. What does this term mean? (listeners' answers). Concerts are different. Let's list them. (Meeting attendees pull out notes listing the types of concerts:

Symphony concert

Concert of Russian pop stars

Concert of classical music

Concert of Russian folk music

Brass Music Concert

Concert of early music

Concert of the Governor's Orchestra of Russian Folk Instruments "

Concert of soloists of the Bolshoi Theater

Solo concert of the artist

Benefit (spectacle or performance in a theater, the collection of which is paid for the benefit of one of the participating artists or the whole group, e.g. choir, orchestra), etc.

But there is another meaning of this word. Concert is a musical genre. The story will go about him today. You will get to know briefly the history of the genre's origin and development and hear fragments of concerts created by great masters in different historical eras.

What is a concert? The word is formed from concerto - harmony, consent and from 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 concerts for one instrument - without orchestra (concerts -solo) , concerts for orchestra - without strictly defined solo parts, concerts for voice (or voices) with an orchestra and concerts for choir ... The creator of such a concert is the Russian composer Dmitry Bortnyansky.

BACKGROUND.

The concert appeared in Italy at the turn of the 16th-17th centuries as a vocal polyphonic work of church music (the so-called sacred concert) and developed from the polychorus and juxtaposition of choirs, which were widely used by representatives of the Venetian school. Works of this kind could be called both concerti and motets; later J.S.Bach called his polyphonic cantatas concerts.

Representatives of the Venetian school widely used instrumental accompaniment in a sacred concert.

Concert from the Baroque era.

By the beginning of the 18th century. several types of concerts have come into use. In the first type of concerts, a small group of instruments - a concertino (“small concert”) - was contrasted with a larger group, which was called, like the work itself, a concerto grosso (“big concert”). Among the famous works of this type are 12 Concerto grosso (op. 6) by Arcangelo Corelli, where the concertino is represented by two violins and a cello, and the Concerto grosso is represented by a wider composition of stringed instruments. Concertino and Concerto Grosso are linked by basso continuo ("constant bass"), which is represented by the accompaniment composition of a keyboard instrument (most often a harpsichord) and a bass string instrument typical for baroque music. Corelli's concerts consist of four or more parts.

A fragment of a concert by A. Corelli is played

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, andthe first almost always had the form of a rondo: the introductory orchestral section (ritornelle), in which the main thematic material of the part was exhibited, was repeated in whole or in fragments after each solo section. Solo sections usually gave the performer the opportunity to show off virtuosity. They often developed riturnal material, but often consisted of only scale passages, arpeggios and sequences. The riturnel in its original form usually appeared at the end of the movement.The second , the slow part of the concerto was lyrical and composed in free form. Fastfinal part was often of the dance type, and quite often the author returned in it to the form of rondo. , one of the most famous and prolific composers of the Italian Baroque, has written numerous recitals, including four violin concertos known asSeasons .

I suggest listening to 3h. Concert "Summer", which is called "Thunderstorm"

Final Concerto in A Minor for Violin and Orchestra ("Moscow Virtuosi")

Vivaldi also has concerts for two or more solo instruments, where elements of the forms of a recital, a concerto grosso and even a third type of concert - only for the orchestra, sometimes called the concerto ripieno, are combined.

Among the best concerts of the Baroque era are works by Handel, and his 12 concertos (op. 6), published in 1740, are modeled after the Concerto Grosso Corelli, with which Handel met during his first visit to Italy.

Concerts of I.S. Bach, among which there are seven concertos for clavier, two for violin and six so-called. Brandenburg concerts, in general, also follow the model of Vivaldi's concerts: they, like the works of other Italian composers, Bach studied very zealously.

Fragment of the Brandenburg Concert No. 3 G-dur

Classical concert.

Although sons , especially Carl Philippe 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 clavier concertos, Mozart, who possessed inexhaustible imagination, synthesized elements of a baroque recital with the scale and consistency of the form of a classical symphony. In Mozart's later piano concerts, the riturnel turns into an exposition containing a number of independent thematic ideas, the orchestra and the soloist interact as equal partners, in the solo part, an unprecedented harmony between virtuosity and expressive tasks is achieved. Even , who qualitatively changed many traditional elements of the genre, clearly viewed the manner and method of Mozart's 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 linked by a short passage, followed by a cadence, and such a link further emphasizes the strong figurative contrast between the parts. The slow movement is based on a solemn, almost hymn-like melody, which gives enough room for its skillful lyrical development in a 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 contrasting with the rondo refrain, but retaining the general dance makeup.

Nineteenth century.

Some composers of this period (for example, Chopin or Paganini) fully retained the classical form of the concert. However, they also adopted the innovations introduced to the concerto by Beethoven, such as the solo introduction at the beginning and the integration of the cadence into the form of the part (a cadence is a solo episode that serves as a link between the parts). A very important feature of a concert in the 19th century. the cancellation of the double exposure (orchestral and solo) in the first movement began: now the orchestra and soloist performed together in the exposition. Such innovations are characteristic of large piano concertos by Schumann, Brahms, Grieg, Tchaikovsky and Rachmaninoff, violin concertos by Mendelssohn, Brahms, Bruch and Tchaikovsky, cello concerts by Elgar and Dvorak. Other innovations are 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, Busoni's Piano Concerto, where a male choir is introduced. In principle, however, the form, content, and techniques typical of the genre changed very little during the 19th century. The concert held out in competition with program music, which strongly influenced many of the instrumental genres of the second half of this century. Stravinsky and , do not deviate far (if at all) from the basic principles of the classical concert. For the 20th century. the revival of the genre of concert grosso is characteristic (in the works of Stravinsky, Vaughan Williams, Bloch and ) and the cultivation of a concerto for orchestra (Bartok, Kodai, ). In the second half of the century, the popularity and vitality of the concert genre persists, and the situation of the "past in the present" is typical in compositions as diverse as John Cage's concertos (for prepared piano), (for violin), Lou Harrison (for piano), Philip Glass (for violin), John Corigliano (for flute) and György Ligeti (for cello).

concertus) - a piece of music written for one or several instruments, with the accompaniment of an orchestra, in order to enable soloists to show virtuosity of performance. A concert written for 2 instruments is called double, for 3 - triple. In such K., the orchestra is of secondary importance and only in acting out (tutti) acquires an independent significance. A concert in which the orchestra is of great symphonic significance is called symphonic.

The concert usually consists of 3 parts (the outer parts are in fast motion). In the 18th century, the symphony, in which many instruments played solos in places, was called concerto grosso. Later, the symphony, in which one instrument acquired a more independent meaning in comparison with others, was called symphonique concertante, concertirende Sinfonie.

The word Concert, as the title of a musical composition, appeared in Italy at the end of the 16th century. The concert in three parts appeared at the end of the 17th century. The Italian Corelli (see) is considered the founder of this form K., from which they developed in the XVIII and XIX centuries. K. for different instruments. The most popular are violin, cello and piano. Later K. wrote Bach, Mozart, Beethoven, Schumann, Mendelssohn, Tchaikovsky, Davydov, Rubinstein, Viotti, Paganini, Vieuxtemps, Bruch, Wieniawski, Ernst, Serve, Litolph, etc. concertina.

A public meeting in halls with special acoustic acoustics is also called a classical concert, in which a number of vocal or instrumental works are performed. Depending on the program, the Concert gets the name: symphonic (in which mainly orchestral works are performed), spiritual, historical (composed of works from different eras). A concert is also called an academy, when the performers, both solo and in the orchestra, are first-class artists.

Links

• Scores of concert works for brass band

in the Concert there are 2 "competing" perties between the soloist and the orchestra, this can be called a competition.

Wikimedia Foundation. 2010.

See what "Instrumental Concert" is in other dictionaries:

Concert on musical instruments alone, without singing. Dictionary of foreign words included in the Russian language. Pavlenkov F., 1907 ... Dictionary of foreign words of the Russian language

A concert (German Konzert, from Italian concerto ≈ concert, harmony, consent, from Latin concerto ≈ I compete), a piece of music in which a smaller part of the participating instruments or voices oppose most of them or the whole ensemble, ... ...

instrumental- oh, oh. instrumental adj., ger. instrumental. Rel. to the tool attachment. Sl. 18. Instrumental masters are acquired at the Academy of Sciences. MAN 2 59. Instrumental art. Lomont. АСС 9 340. | muses. The glorious virtuoso Mr. Hartmann, ... ... Historical Dictionary of Russian Gallicisms

I Concerto (German Konzert, from Italian concerto, harmony, consent, from Latin concerto I compete) is a piece of music in which a smaller part of the participating instruments or voices oppose most of them or the whole ensemble, ... ... Great Soviet Encyclopedia

1. public performance of music Initially, the word concert (consort) meant rather a composition of performers (for example, consort viols) than a process of performance, and in this sense it was used up to the 17th century. Until that time, serious music ... ... Collier's Encyclopedia

concert- a, m. 1) Public performance of artists according to a certain, pre-compiled program. Arrange a concert. To go to a concert. Symphony concert. 2) A piece of music for one or more solo instruments and orchestra. Concert… … Popular dictionary of the Russian language

- (German Konzert, from Italian concerto concert, literal competition (voices), from Latin concerto I compete). A piece for many performers, in which a smaller part of the participating instruments or voices oppose most or all of them ... ... Musical encyclopedia

Concert- (from Italian and Latin concerto agreement, competition) 1) Instrument, wok. instr. or wok. genre, benefits. cyclical, with the opposition of decomp. participants and groups will perform. composition. K. is generated by the idea of ​​creative. competitions, games, rivalries, ... ... Russian humanitarian encyclopedic dictionary

CONCERT- (Italian concerto, French concert, German Konzert), 1) public performance of music. works (symphonic, church, military orchestra, garden, etc.). - 2) Major music. piece for any instrument solo with accompaniment of orchestra ... Riemann's Musical Dictionary

Plant Sestroretsk Instrumental Plant named after SP Voskova Sestroretsk Arms Factory ... Wikipedia

Books

• Belarusian music of the second half of the twentieth century. Reader,. The collection includes works by Belarusian composers created in the second half of the 20th century. It presents works of various genres: song (including folklore), romance, chamber ...

The content of the article

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 ("to agree", "to come to an agreement") or from lat. concertare ("challenge", "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. Concerts by Giovanni Gabrieli, written for the Cathedral of St. Mark in Venice, or the concerts of Lodovico da Viadana and Heinrich Schütz, are mostly multi-chorus sacred compositions with instrumental accompaniment. Until the middle of the 17th century. the word "concert" and the adjective "concert" (concertato ) continued to relate to vocal and instrumental music, but in the second half of this century, first in Bologna, and then in Rome and Venice, purely instrumental concerts appeared.

Concert from the Baroque era.

By the beginning of the 18th century. several types of concerts have come into use. In the first type of concerts, a small group of instruments - a concertino (“small concert”) - was contrasted with a larger group, which was called, like the work itself, a concerto grosso (“big concert”). Among the famous works of this type are 12 Concerto grosso (op. 6) by Arcangelo Corelli, where the concertino is represented by two violins and a cello, and the Concerto grosso is represented by a wider composition of stringed instruments. Concertino and Concerto Grosso are linked by basso continuo ("constant bass"), which is represented by the accompaniment composition of a keyboard instrument (most often a harpsichord) and a bass string instrument typical for baroque music. Corelli's concerts consist of four or more parts. Many of them resemble trio sonatas in form, one of the most popular genres of baroque chamber music; others, consisting of a series 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 in the form of a rondo: the introductory orchestral section (ritornelle), in which the main thematic material of the part was exhibited, was repeated in whole or in fragments after each solo section. Solo sections usually gave the performer the opportunity to show off virtuosity. They often developed riturnal material, but often consisted of only scale passages, arpeggios and sequences. The riturnel in its original form usually appeared at the end of the movement. The second, slow part of the concerto was of a lyrical character and was composed in free form, sometimes it used the technique of “repeating bass”. The quick 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 famous and prolific composers of the Italian Baroque, has written numerous recitals, including four violin concertos known as Seasons... Vivaldi also has concerts for two or more solo instruments, where elements of the forms of a recital, a concerto grosso and even a third type of concert - only for the orchestra, sometimes called the concerto ripieno, are combined.

Among the best concerts of the Baroque era are works by Handel, and his 12 concertos (op. 6), published in 1740, are modeled after the Concerto Grosso Corelli, with which Handel met during his first visit to Italy. Concerts of I.S. Bach, among which there are seven concertos for clavier, two for violin and six so-called. Brandenburg concerts, in general, also follow the model of Vivaldi's concerts: they, like the works of other Italian composers, Bach studied very zealously.

Classical concert.

Although the sons of Bach, especially Karl Philip 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, but Mozart, who raised the genre to new heights. In numerous concertos for violin, flute, clarinet and other instruments, and especially in 23 clavier concertos, Mozart, who possessed inexhaustible imagination, synthesized elements of a baroque recital with the scale and consistency of the form of a classical symphony. In Mozart's later piano concerts, the riturnel turns into an exposition containing a number of independent thematic ideas, the orchestra and the soloist interact as equal partners, in the solo part, an unprecedented harmony between virtuosity and expressive tasks is achieved. Even Beethoven, who qualitatively changed many of the traditional elements of the genre, clearly viewed the manner and method of Mozart's concerto as an ideal.

Beethoven's Violin Concerto in D major (op. 61) begins with a detailed orchestral introduction, where the main ideas are presented in the chased form of a sonata exposition. The opening theme has a march-like appearance, which is typical for a classical concert, while in Beethoven this quality is emphasized by the important role of the timpani. The second and third themes are more lyrical and expansive, but at the same time retain the noble sophistication given by the first theme. With the introduction of the soloist, however, everything changes. As a result of an 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. Then the soloist and the orchestra compete in the development of 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 give the soloist the opportunity to perform with a cadenza - a lengthy improvisation, the purpose of which is to demonstrate the soloist's virtuosity and ingenuity (at the present time, soloists usually do not improvise, but play recorded cadences of 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 to a brilliant conclusion. The second and third movements in Beethoven's concerto are linked by a short passage, followed by a cadence, and such a link further emphasizes the strong figurative contrast between the parts. The slow movement is based on a solemn, almost hymn-like melody, which gives enough room for its skillful lyrical development in a 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 contrasting with the rondo refrain, but retaining the general dance style.

Nineteenth century.

Some composers of this period (for example, Chopin or Paganini) fully retained the classical form of the concert. However, they also adopted the innovations introduced to the concerto by Beethoven, such as the solo introduction at the beginning and the integration of the cadenza into the form of the movement. A very important feature of a concert in the 19th century. the cancellation of the double exposure (orchestral and solo) in the first movement began: now the orchestra and soloist performed together in the exposition. Such innovations are characteristic of large piano concertos by Schumann, Brahms, Grieg, Tchaikovsky and Rachmaninoff, violin concertos by Mendelssohn, Brahms, Bruch and Tchaikovsky, cello concerts by Elgar and Dvorak. Other innovations are 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, at Busoni's Piano Concerto, where the male choir is introduced. In principle, however, the form, content, and techniques typical of the genre changed very little during the 19th century. The concert held out in competition with program music, which strongly influenced many of the instrumental genres of the second half of this century.

The twentieth century.

The 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 main idea and appearance of the concert. Even the concerts of such outstanding innovators as Prokofiev, Shostakovich, Copland, Stravinsky and Bartok do not deviate far (if at all) from the basic principles of the classical concert. For the 20th century. characterized by the revival of the genre of concert grosso (in the works of Stravinsky, Vaughan Williams, Bloch and Schnittke) and the cultivation of a concerto for orchestra (Bartok, Kodai, Hindemith). In the second half of the century, the popularity and vitality of the concert genre persists, and the situation of the “past in the present” is typical in such diverse compositions as concertos by John Cage (for prepared piano), Sofia Gubaidulina (for violin), Lou Harrison (for piano), Philip Glass (for violin), John Corigliano (for flute) and Gyorgy Ligeti (for cello).