Музыкальные жанры. Учебно-методические материалы по обучению чтению специальной литературы

(Concerto for violin, cello and orchestra in A minor opus 102) and Dvorak (Concerto in B minor opus 104).

But this century, with the advent of the modern piano, a taste for contrasting tone, the often exaggerated virtuoso role of the soloist, is above all the century of the piano and orchestral concertos intended to convey all kinds of bursts of subjective expressions: Schumann (Concerto in A minor opus 54), Chopin (Concertos in E minor opus 11 and in F minor opus 21), Liszt (Concerto N.1 in D minor opus 15, N.2 in B flat major opus 83), Tchaikovsky (ConcertoN.1 in B flat minor opus 23, N.2 in G major opus 44), Grieg (Concerto in A minor opus 16); and not forgetting Weber (2 concertos), Mendelssohn (2concertos) and Saint-Saens (5 concertos).

In the 20th century, the solo concerto survived in its tripartite form (concertos for piano and orchestra by Ravel, Rachmaninov, Stravinsky, Prokofiev, Poulenc, Joliver) before giving way to more innovative pieces, whether or not labelled “concerto”, which in fact only vaguely follow the concertante principle: Chamber Concerto by Alban Berg, Concerto for nine instruments by Webern, Double Concerto for piano, harpsichord and two chamber ensembles by Elliott Carter, Domaines for clarinet and instrumental ensemble by Pierre Boulez, Tout un monde lointain (for cello and orchestra) by Henri Dutilleux, Chamber Concerto by Gyorgi Ligeti.

Answer the questions:

1.To whom is the classical form of a solo concerto attributed?

2.How many movements are there in the solo concerto and what are they?

3.When did the solo concerto become established?

4.What instrument influenced the solo concerto?

5.What other instruments were used in “dialogue” with the

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orchestra?

6.Who inaugurated the concerto for keyboard and orchestra?

7.Did Bach’s sons follow their father’s tradition in writing solo concertos?

8.What was the role of Haydn in the history of this genre?

9.What can you say about Mozart’s piano concertos?

10.What was Beethoven’s contribution to this genre?

11.What instrument played an important role in the solo concertos in the 19th century?

12.What above all characterizes the 19th century solo concertos?

13.Who composed in this genre in the 20th century?

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preserving their ease of execution, the writing of the vocal chorales remained simple, chorales composed by Bach, in acquiring its own identity, perfected the scoring, tunes subjected to all transformations, the theme accompanied in counterpoint, the implied text, allusions to this type disseminated and concealed

Read and translate the text

The word chorale (from the Latin choralis; 'pertaining to a chorus') describes, firstly, a type of canticle that serves as the basis of the Lutheran liturgy. This assembly singing, generally in unison, spread rapidly from the beginning of the Reformation, as it was, for Luther, one of the foundations of the religious practice. The popular musical style of chorales, their distinctive structure, the ease with which they are sung, all contributed to their success. Since the beginning of the 16th century, composers like Schein, Praetorius, Franck and Hassler harmonized chorales for many voices, while still preserving their ease of execution. And those composed by Bach for his Cantatas also comply, two centuries later, to this principle.

As well as this vocal chorale, the writing of which had remained fairly simple, an instrumental chorale, for the organ, was developing and gradually became one of the most complex musical forms. The choice of the organ is readily explained. Firstly its role is uniquely utilitarian: it allows the vocal chorale to be accompanied. Also, in acquiring its own identity in becoming concertante, the instrument gradually developed what we call, in short, chorales for the organ. 'In short' because these instrumental chorales, besides the fact that they occur in fairly diverse forms, serve either to introduce the vocal chorale (chorale prelude) or to comment upon it during the interlude (choral fantasia). Chorales for the organ always exhibit the melody of a canticle, generally a familiar one, and accompany it in counterpoint, the sense of which is underlined by the rhythmic,

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harmonic and melodic elements. In brief, the chorales make up the sound commentary of a text.

The history of the chorale for the organ did not really start until the beginning of the 17th century, with musicians like J. P. Sweelinck (1562-1621). And it was D. Buxtehude (1637-1707) whose chorale preludes already used symbolic motifs, who first attempted to musically transcribe the text. Finally, J. Pachelbel (1653-1706) added the partita de choral and the prelude fugue.

But it was J. S. Bach (16851750) who, with more than 150 chorales for the organ, perfected the scoring. Simple canticle tunes, subjected to all the possible transformations (chorales in counterpoint, fugued, figured, in canon, with variations, in trio, harmonized and in choral fantasia), the majority of Bach's chorales ”derived their raison d'etre from the technique of variation” (Andre Hodeir). The method most characteristic of Bach “consists in the expression of the theme, accompanied in counterpoint, by the three other parts, in which the smallest, modulation, the smallest rhythmic movement elucidates the implied text”. (Gilles Cantagrel).

The history of Lutheran organ chorales was completed with J. S. Bach, for no other new chorale form was developed after him, and his best students, J. L. Krebs and J. C. Kittel, were content to maintain the tradition.

From the 19th century, instrumental chorale was divided into two groups. The first group included works which were organ chorales in the strict sense of the term; the sound commentary of a text. Notable examples of this type were the Choral Vorspiels (Chorale preludes; by J. Brahms (1833-1897) and M. Reger (1873-1916). The second group contained works whose passages borrowed or cited some of the aspects of chorales. In this group we find, disseminated and concealed, if not chorales in a strict sense, at least allusions to this type of composition by musicians like Mendelssohn, Franck, Stravinsky, Berg, Honegger and even in the last bars of Integrates by Edgar Varese.

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Answer the questions:

1.What does the word “chorale” describe?

2.What contributed to its success?

3.In what century did composers harmonize chorales for many voices?

4.Instrumental chorale for what instrument began to develop later?

5.How can the choice of this instrument be explained?

6.When did the history of the chorale for the organ start?

7.Who perfected the scoring of chorales?

8.In what did the method of Bach consist?

9.By whom was the history of Lutheran organ chorales completed?

10.Characterize two groups of instrumental chorales.

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for viol ensemble), in France (viol fantasias by C. Guillet and E. du Caurroy) and in Spain (tientos by A. de Cabezon).

For the French polyphonists of the 17th century (L. Couperin, N. Lebegue) fantasias were similar to harpsichord preludes in that they were written in an improvisational style. In Germany, S. Scheldt's fantasias were inspired by the ricercare and the English fancy, while J.J. Froberger's were related to the instrumental canzona.

After the death of G. Frescobaldi (1643), the Italian masters of the 18th century abandoned the fantasia permanently in favour of the sonata and the sinfonia. J. S. Bach, on the other hand, took an interest in this imprecise form, giving the name fantasia to his organ and harpsichord compositions which were organized like preludes or toccatas (Fantasia in C minor BWV 562; Chromatic Fantasia and Fugue in D minor BWV 903). With Wilhelm Friedmann and Carl Philipp Emanuel Bach, fantasias expressed the 'preromantic' desire to stir the passions (the Empfindsamkeit movement) by giving the impression of being impromptu.

The classical style transformed the fantasia dramatically; it became 'a sonata of sorts with less rigid construction' (Andre Hodeir): Mozart's Fantasia in C minor for piano K.475; the slow movement of Haydn's Quartet opus 76 No.6; and Beethoven's

Sonatas quasi una fantasia opus 27.

From Schubert (Wanderer-Fantasia for piano opus 15) to Brahms (Piano Fantasias opus 116) and including Mendelssohn, Chopin, Schumann (Fantasia for piano opus 17) and Liszt, all the romantic composers who wanted to break away from the framework of classical rules, adopted the fantasia form. Most often they gave it the form of an irregular sonata with a free variation. Towards the end of the 19th century the name 'fantasia' was also given to the assortment of opera or opera-comique motifs for piano or small orchestra, constituting a pot-pourri without much musical value (Fantaisie sur Carmen).

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In the 20th century several musicians episodically revived the form, such as Faure (Fantasia for piano and orchestra), Darius Milhaud (Pastoral Fantasia for piano and orchestra), Andre Jolivet (Fantaisie-capricefor flute and piano), Vaughan Williams (Fantasia on Greensleeves, Fantasia for string orchestra on a theme by Thomas Tallis) and Schönberg (Fantasia for violin and piano).

Answer the questions:

1.In what countries and when did fantasias appear?

2.Were fantasias essentially instrumental musical works similar to harpsichord preludes?

3.In favour of what genre did the Italian masters abandon fantasias?

4.Who was much interested in this imprecise form?

5.How did the classical style transform fantasias?

6.What was the attitude of romantic composers to fantasias?

7.What composers episodically revived the form in the 20th century?

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