The thematism of the baroque concert form as a determinant of its compositionalsolutions (based on the material Concerti grossi op. 6 nos. 7 and 8 by G. F. Handel)

Information about authors: Strezh Yuliya Vladimirovna, teacher of the Department of «Music Theory» of the V. K. Merzhanov College at the S. V. Rachmaninov TGMPI, postgraduate student of the Tambov State Music and Pedagogical Institute named after S. V. Rachmaninov (Tambov, Russian Federation). E-mail: strezh.yuliya@mail.ru

Annotation: The purpose of the article submitted for publication is to explore how thematism determined the compositional decision of the concert forms of Handel's Concerti grossi op. 6. nos. 7 and 8. In the process of analysis, attention is drawn to the intonation basis of the theme elements, their syntactic structure, the rules of working with them. For example, the principle of comparing contrasting materials themes and interludes, techniques of combinatorics (permutation and combination) in rhythmic and intonation variation, vertical permutations (double counterpoint), various types of combinations of melodic elements, changes in modal and key. In conclusion, in both concerti grossi, a correlation was found between which sections of the composition use the melodic formula of the theme and how it was embedded in the structure of the theme when it was first presented. The author reveals the conditionality of the theme structure for the further development of this musical material, the logic of large-scale correlations of thematic and interlude constructions. In addition, the specifics of the composition, in which the diversity is manifested, are investigated. For example, in the concert form of the Concerto no. 7, features of a sonata and two-part symmetrical form (according to the terminology of A. Chugaev) were found. In the considered works, there is a similarity in the interpretation of the orchestra: the typological signs of concertation are less pronounced.

Keywords: G. F. Handel, Concerto grosso op. 6, theme, interlude, combinatorics, concert form, concertation.

DOI: 10.31773/2078-1768-2024-67-135-143

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