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

bringing together the full orchestra, is the ripieno, sometimes more simply called 'grosso'.

While this form seems to have been inaugurated in 1674 by the German Schmelzer, it was the Italian Gregori who was the first to use the title 'concerto grosso' in 1698. Yet Stradella (164482), Corelli (1653-1713), Muffat (1653-1704) and Torelli (16581709) were the principal initiators of this form, and Corelli is even considered to be its inventor for having been the first to perfectly master the form with Twelve Concerti Grossi for Strings opus 6, published in 1712.

In the beginning, the concerti grossi, such as those by Corelli, hovered between the old form of the Church Sonata, with its four movements 'slow-fast-slow-fast', and that of the series of French dances which contained most often a free plan of four to six movements. Under the influence, notably, of concertos for a solo instrument by Vivaldi, the concerto grosso adopted the preclassic division into three movements 'fast-slow-fast', and spread, in this form, throughout Europe.

In 1721, with his Brandenburg Concertos BWV 10461051, J. S. Bach renovated the form of concerto grosso, by the large variety which he exhibited in his choice of solo instruments which, before him, had been principally limited to strings. G.F.Handel, on the other hand, seemed to be more traditional, as his Twelve concerti grossi opus 6 published in 1739, went back to both the free plan and the string orchestra used by Corelli.

Independently of these characteristics, the form of concerto grosso, as Nikolaus Harnoncourt remarked, depends equally on the possibilities and conditions of execution. Furthermore, Corelli's concertos were played with a fairly considerable instrumental strength; and Handel's required, in order that the alternating play between concertino and ripieno worked well, a spatial separation of soloists. In other words: 'for many generations concerto grosso meant both a certain genre of

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instrumental music and the manner of execution that corresponded' (N. Harnoncourt).

From 1750 the concerto grosso gave way to the solo concerto, but the 19th-century formula of the triple or double concertos — for piano, violin and cello; or violin and cello — as tried by Beethoven or Brahms, was very probably derived from concerto grosso.

In the 20th century, the concerto grosso reappeared in the form of the orchestral concerto, where each instrument is capable of becoming soloist. The best received attempt of this type is, without a doubt, that of Bela Bartok (Concerto for Orchestra, 1943).

Answer the questions:

1.When did the form appear?

2.Who was the first to use the title?

3.Who were the principal initiators of the form?

4.Between what forms did the concerti grossi hover in the beginning?

5.How did Bach renovate concerto grosso in his Brandenburg Concertos?

6.How did Handel’s Twelve concerti grossi opus 6 differ from Bach’s Brandenburg Concertos?

7.Does concerto grosso mean a certain genre of instrumental music or a corresponding manner of execution?

8.What musical genre was probably derived from concerto grosso?

9.In what form did the concerto grosso reappear in the 20th century?

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specific dance music gradually gets taken over by individual composers which makes the form more complex and causes it to lose its primary function of accompaniment which gives way to concert pieces that are only inspired by dance rhythm.

The basse-danse was the first major dance of the Renaissance: the music which acted as the accompaniment was adapted to the steps invented by the dancers. Next came the gaillard, a popular dance, the pavane which was a Court dance, and to name just a few others; the courante, the minuet, the bourree which was used by many composers, including Lully and Bach.

The waltz appeared during the 18th century and derived from German peasant dances and Austrian Ländler. In the 19th century, in Vienna, this dance of three movements triumphed with Johann Strauss (the Elder and Younger) in pieces such as

The Champagne Waltz and The Blue Danube} However many composers had used the form earlier: Schubert (piano dances), Weber (Invitation to Waltz), and of course, Chopin with 19 waltzes for piano. The waltz is perhaps the only dance to have successfully incorporated both popular and erudite music. For, as

Michel Chion noted, it “has the particularity of being a dance capable of adaptation to complex and baroque styles, all the while conserving its fundamental dance characteristics. This is why such diverse composers have been able to integrate it into very different works: symphonic pieces, ballets and operas. It also explains how the waltz can be both a piece of music without pretension and a very sophisticated piece, or can even lend itself to a consequential musical effort, as in the cases of Liszt, Ravel and Schonberg.

Already widespread by the 18th century, but most celebrated in the romantic era, the polonaise and the mazurka are triple time dances of Polish origin. The first is a Court dance and the second, choreographically very complex, a folk dance. Telemann and Bach, Chopin and Liszt, among many others,

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wrote polonaises but it was really only Chopin who wrote a piece based on the mazurka, giving it an original harmonic colour which was reflected in Wagner.

The polka, a Czech dance in double time which was also very famous, never went beyond the status of music for amusement.

From the 19th century, and at the beginning of the 20th, it was principally the other side of the Atlantic that produced new dances. The United States of America, as a place of ethnic convergence, favoured the advent of new dance forms: ragtime, the foxtrot, the Charleston, the boogie-woogie... And Latin America saw the emergence of the tango, the samba, etc.

Some 20th-century composers seized upon these dances to integrate them into their works. Stravinsky was the composer most aware of these new rhythms, as can be seen in his Ragtime for eleven instruments (1918) and his Tango for piano (1940, orchestrated in 1953).

Answer the questions:

1.What does the word “dance” mean?

2.What was the primary function of a dance?

3.Name the dances popular in the Renaissance.

4.When did the waltz appear?

5.What composers wrote dances?

6.What triple time dances of Polish origin were widespread in the 18th century?

7.Is Polka a Czech or Polish dance?

8.What new dances appeared in the North and South America at the end of the 19th and at the beginning of the 20th century?

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The title etude was not given to a musical piece until the 19th century

IV. Translate the word combinations, pay attention to the prepositions of Genitive, Dative and Instrumental cases of nouns:

1.a point of exploring;

2.a technical problem of instrumental execution;

3.the principal of didactic compilations;

4.the development of compilations of etudes;

5.exploration of specific problems

6.proliferations of compilations of piano etudes;

7.the series of etudes;

8.the beginning of the 20th century;

9.manifestation of the genre;

10.give to a musical piece;

11.pieces by Telemann;

12.works allied to etudes;

13.display similarity to Debussy’s etudes;

14.the title etude applied to electro-acoustic works.

Read and translate the text

Etudes are didactic pieces generally intended for solo instruments, particularly the piano. Quite short, and usually put together in a collection, etudes make a point of exploring a technical problem of instrumental execution or of style.

Although the title etude was not given to a musical piece until the 19th century, the principle of didactic compilations had emerged much earlier. In this regard it is worth mentioning, in England: Lessons, by Purcell (1659-95) and by Handel (16851759), in Italy: Sonates by Domenico Scarlatti (1685— 1757) published as 'Essercizi' (exercises). Certain pedagogical pieces by Tele-mann (1681-1767) excepted, the German didactic collection par excellence is the Well-Tempered Klavier by J. S. Bach (16851750), even though it is much more associated with the learning

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of particularities of a musical language than with their execution, questions of touch or instrumental technique. Finally, some works by French harpsichordists, such as F. Couperin (1668-1733) and J. P. Rameau (1683-1764) can be allied to this didactic genre as they demand a new method of playing.

In the 19th century the emergence of great piano virtuosos (Liszt, Hummel) as well as violin virtuosos (Paganini) favoured the development of compilations of etudes and the exploration of specific problems associated with these instruments: 'scales, arpeggios, trills, thirds, octaves, parallel chords, etc., for the piano, double strings and rapid passages for the violin' (Michel Chion). However, the virtuoso stylistic innovations are primarily punctilious and are often made to the detriment of the ensemble structure which remains simple. The 19th century saw the proliferation of compilations of piano etudes (J. B. Cramer

Etudes in 42 exercises, (1804-10), Clementi, Gradus ad Parnassum (1817-26), Czerny, Moscheles, Hummel, etc.), but it was not until Chopin, Schumann and Liszt came on the scene that the etude went beyond its teaching role and became a fullyfledged concert piece. Among the series of etudes written by these three men it is necessary to mention: Chopin's 24 Etudes, opus 10 and 25 (1833, 1837), Schumann's Etudes Symphoniques for piano opus 13 (1837) and Liszt's 12 Etudes d'execution transcendante (1851).

Although the etude survived until the beginning of the 20th century with, notably, Scriabin's 24 Etudes (opus 8, 42 and 65, composed, respectively, in 1895, 1904 and 1912), the last important collection published under the title of etude was Debussy's, whose 12 Etudes for the piano (1916) prolonged and renovated the genre.

Displaying a certain similarity to Debussy's etudes, the Quatre Etudes du rhythme (1949) by Olivier Messiaen count among the last etudes written for the piano. More recently, the

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title etude has more and more been applied to electro-acoustic works (Pierre Schaeffer, Pierre Henry, Karlheinz Stockhausen...). Finally, the series of sequenzas for an unaccompanied instrument, composed by Luciano Berio in 1958 may be considered, for now, to be the last, highly successful, manifestation of this genre.

Answer the questions

1.What are etudes intended for?

2.When was the title etude given to a musical piece?

3.Etudes by what composers are worth mentioning?

4.Why can some works by Couperin and Rameau be allied to this didactic genre?

5.What are some specific problems associated with the piano and the violin?

6.Does the ensemble structure remain simple or not?

7.What can you say about the genre in the 19th century?

8.When did etude go beyond its teaching role and become a fully-fledged concert piece?

9.What was the last important collection published under the title of etude?

10.Is the title etude applied to electro-acoustic works?

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