DOI: 10.36871/hon.202003010
Authors
V. M. Akshentseva
Magnitogorsk State Conservatory (Academy) named after M. I. Glinka, Magnitogorsk, Russian Federation
Abstract
In the article, dialogue peculiarities are considered as one of the typical qualities of a classical concert, closely connected with the principles of virtuosity, concertizing and playing. On the example of instrumental concerts of J. Haydn, compositional and dramaturgical functions of the dialogue between orchestra and soloist are studied. They are illuminated through a system of attitudes based on the principles of consent and counteraction. Conflicting relationships between communication participants contribute to the demonstration of several points of view. Thus one can reveal various kinds and signs of dialogues forming the concept of the world of J. Haydn's compositions, which is developed in the process of stylistic exchange — Baroque and Classicism. Signs of typical oppositions in the text models of ancient genres — concerto grosso, trio-sonatas and "wandering" plots with the participation of dialogue structures are observed and described in the composer's instrumental concerts. Different functional relations between the structural-semantic text units, presented as cliched "formulas" of various etymology, through the prism of horizontal (tutti — solo) and vertical (continuo — solo) models, formed in Baroque ensemble music, are considered. Dialogue interactions, successive Baroque, vividly highlight the specificity of the general — classicist and individual — composer's view of the world.
Keywords
Joseph Haydn, concert, cycle, dialogue peculiarities, Classicism, Baroque, soloist, orchestra
