CLARINET CONCERTO AND ITS PECULIARITIES IN THE FORM-BUILDING DURING THE 20TH–21ST CENTURIES
UDC index:
7.035
DOI: 10.31773/2078-1768-2019-46-33-38
Article ID in the RSCI:
Article file: Download
Information about authors: Chernaya Marina Radoslavovna, Dr of Art History, Professor of Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: marina-chernaya@yandex.ru Zhao Yú, Applicant of PhD in Art History, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation, Tianjin, China). E-mail: zhaoyuchina@ mail.ru
Annotation: The article deals with clarinet concertos composed in the 20th–21st centuries. There were composed many different clarinet concertos at that time. Some of them have one part, some have few ones. The longest concert that is mentioned in the article (composer K. Meyer, 2000) has seven parts. Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture, sometimes the scheme has variants. We have a question: how does the concerto genre function in the 20-21st centuries? To answer it we had to search many musical compositions of the 20-21st centuries in the clarinet concerto genre. In some cases, the clarinet is accompanied by the orchestra, in some cases it was surrounded by the ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez (‘Domaines’), J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. There is an especially complete analysis of the Pierre Boulez’ concerto named ‘Domaines’ in this article. This one was written for the clarinet and 21 instruments that were divided into 6 groups. At the very beginning, the composer made 6 sheets for clarinet. They were named from A to F. Each of them has its “mirror” version, so the composition contains 12 sheets having 6 fragments of music. Boulez’s attitude to the concert routine is based on the aleatory principle. So, the authors made the following conclusions in the article: the clarinet concerto genre was developed very highly in the 20-21st centuries; structures of clarinet concert compositions have a very high diversity; as a rule, concerto’s music has very big expressiveness and technicality, the soloist’s part is connected with the expressive concertizing; the special role acts in the Pierre Boulez’s composition called “Domaines,” where is a new interpretation of the concertizing principle.
Keywords: clarinet, clarinet concert, shaping, wind instruments, concert for clarinet and orchestra, concert genre.
DOI: 10.31773/2078-1768-2019-46-33-38
Article ID in the RSCI:
Article file: Download
Information about authors: Chernaya Marina Radoslavovna, Dr of Art History, Professor of Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation). E-mail: marina-chernaya@yandex.ru Zhao Yú, Applicant of PhD in Art History, Department of Musical Upbringing and Education, Herzen State Pedagogical University of Russia (St. Petersburg, Russian Federation, Tianjin, China). E-mail: zhaoyuchina@ mail.ru
Annotation: The article deals with clarinet concertos composed in the 20th–21st centuries. There were composed many different clarinet concertos at that time. Some of them have one part, some have few ones. The longest concert that is mentioned in the article (composer K. Meyer, 2000) has seven parts. Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture, sometimes the scheme has variants. We have a question: how does the concerto genre function in the 20-21st centuries? To answer it we had to search many musical compositions of the 20-21st centuries in the clarinet concerto genre. In some cases, the clarinet is accompanied by the orchestra, in some cases it was surrounded by the ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez (‘Domaines’), J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. There is an especially complete analysis of the Pierre Boulez’ concerto named ‘Domaines’ in this article. This one was written for the clarinet and 21 instruments that were divided into 6 groups. At the very beginning, the composer made 6 sheets for clarinet. They were named from A to F. Each of them has its “mirror” version, so the composition contains 12 sheets having 6 fragments of music. Boulez’s attitude to the concert routine is based on the aleatory principle. So, the authors made the following conclusions in the article: the clarinet concerto genre was developed very highly in the 20-21st centuries; structures of clarinet concert compositions have a very high diversity; as a rule, concerto’s music has very big expressiveness and technicality, the soloist’s part is connected with the expressive concertizing; the special role acts in the Pierre Boulez’s composition called “Domaines,” where is a new interpretation of the concertizing principle.
Keywords: clarinet, clarinet concert, shaping, wind instruments, concert for clarinet and orchestra, concert genre.
