Стахевич Г. О.
2018 Zenodo  
Changing of the styles from classical to romantic in the music of the first third of the nineteenth century received a vivid expression in the instrumental concert, which gained rapid distribution in that period. Immanent features of the genre – emotional uplift, virtuosity, shine, artistry – provided the popularity of these works among the public and brought the desired success to musicians. The greatest flowering got of the piano concerto, in which the weighty place took works of the
more » ... rks of the Austro-Germanic composers-pianists J. N. Hummel, I. Mosсheles, I. P. Pixis, F. Ris, W. Taubert, F. Hiller and others. In general they were pupils of the classical school. But, at the same time, they tried to invent new expressive means and techniques that, firstly, could satisfy the public desire of pleasure and acute effects, and secondly, would correspond to the spirit of the time and the new content of art. The interaction and contrast of the characters, both classical and early romantic styles, are clearly expressed in the piano concertos of one of the most significant representatives of the genre – Ignaz Mosсheles (1794 – 1870). Objectives. The main point of the article is to identify romantic projections in the genre of the piano concerto, the peculiarities of the interpenetration of classical and romantic features and the specifics of using new artistic and technical capabilities on the example of the Concerto for Piano and Orchestra No. 3 by I. Mosсheles. Results. In the Concert for Piano and Orchestra No. 3 g-moll (1820) is the most clearly revealed the desire of Mosсheles to combine the latest achievements of performing techniques with the classical architectonics of the themes and structures. The composition has a classical structure and consists of three parts: Allegro moderato, Adagio, Allegro agitato. The basic tone (g-moll) contains hidden drama in the disclosure of the artistic image. The exposition of the first part (Allegro moderato) is characterized by a special melodiousness of musical work. Even in the moments [...]
doi:10.5281/zenodo.1807122 fatcat:cz6tsaw6vzbpdnlpwhra47rvdi