Genesis of the Concerto for Orchestra

Vadim Rakochi

Özet


The main goal of this article is to classify the origins of the concerto for orchestra and thus to determine its genesis. The methodologies applied include the analytical (study of literature), the functional (concerto for orchestra in the context of musical culture), and the historical (transformation of the genre due to the evolution of orchestral thinking) approaches. A mainstream tendency for synthesis of different styles within the disappearance of the very concept of ‘normal––un-normal’ regarding the orchestra should be mentioned as the first factor which caused the birth of the concerto for orchestra. No matter how important the changes in the orchestra’s functions and structure along with the fusion of different origins for the genesis of the concerto for orchestra were, it is true that it was not a single factor which influenced the genre transformations of the concerto. Search for new sounds and techniques to embody them, popularity of the chamber orchestra, strengthening and diversifying of the ‘inside-the-orchestra solo’, growth of theatricality in symphonic music, transformation of longstanding genres and amplification of the colorfulness in the orchestra are the principle reasons for the appearance of the concerto for orchestra in 1925. The review of Hindemith’s, Petrassi’s, Bartók, Tippett’s and Lutosławski’s concertos demonstrates two different approaches to the synthesis. The conclusion of this article is that the rethinking of the ‘old’ genres within a tendency to synthesize different styles and to merge dissimilar music schools, folklore and ‘classical’ music in tandem with transformations that stroked the integrity of the orchestra as a whole, paved the way for the birth of the concerto for orchestra. The concerto for orchestra became one of the iconic genres of twentieth-century music and embodied ‘a positive vision of a world in a kind of harmony’ in a number of works.


Anahtar Kelimeler


Concerto for orchestra, History of the orchestra, Twentieth-century music, Inter-style synthesis, Bartók, Hindemith, Petrassi, Tippett, Lutosławski.

Tam Metin:

PDF (English)

Referanslar


Berger, A. (2002). Reflections on an American Composer. Berkeley, Los Angeles, London: University of California Press.

Cooper, D. (1996). Bartók: Concerto for Orchestra. Cambridge: Cambridge University Press.

Davis, K. (2008). Confidence for Terrified Hearts: Concerto for Orchestra and Writing Center. Writing on the Edge, 19(1), 63-67.

Fortunatoff, Y. (2004). Lectures on the history of orchestral styles. Moscow: Muzyka.

Fosler-Lussier, D. (2000). Bartók’s Concerto for Orchestra in Postwar Hungary: A Road Not Taken. International Journal of Musicology, 9, 363–383.

Ewen, D. (1991). The world of twentieth-century music. 2nd edition. London: Robert Hale & Company.

Kemp, I. (1984). Hindemith. The New Grove modern masters: Bartók, Stravinsky, Hindemith. New York, London: W.W. Norton and company, 229–282.

Kerman, J. (1999). Concerto Conversations. Cambridge, Mass: Harvard University Press.

Merlin, C. (2012). Au coeur de l’orchestre. Paris: Fayard.

Móricz, K. (1993). New Aspects of the Genesis of Béla Bartók’s ‘Concerto for Orchestra’: Concepts of ‘Finality’ and ‘Intention’. Studia Musicologica Academiae Scientiarum Hungaricae, 35(1/3), 181–219.

Raaben, L. (1967). Soviet instrumental concerto. Leningrad: Muzyka.

Samoilenko, E. (2003). Genre nature of the instrumental concerto and concerto compositions of Andrei Eshpay. Extended abstract of PhD thesis. Moscow: Gnesins Russian Academy of Music.

Savchuk, I. (2013). Ivan Karabits: An attempt to approach understanding. In: Karabits, I. Three Concertos for Orchestra. Kyiv: Muzychna Ukraina.

Stakhevich, G. (2018). Piano concerto of XVIIIth–XIXth centuries: style transformations of the genre. Kherson: Molodyj Vcheniy, 6(58), 87–91.

Suchoff, B. (2000). Background and Sources of Bartók’s Concerto for Orchestra. International Journal of Musicology, 9, 339–361.

Tarakanoff, M. (1988). Symphony and instrumental concerto in Russian Soviet music (60–70s). Ways of development. Moscow: Sovietski compositor.

Vinton, J. (1973). For Jan LaRue: The Concerto for Orchestra. Notes. 30(1), 15–23.




DOI: http://dx.doi.org/10.7596/taksad.v9i1.2435

Refback'ler

  • Şu halde refbacks yoktur.




Telif Hakkı (c) 2020 Journal of History Culture and Art Research

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.