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The Concertizing Spirit in the European Music in the First Half of the 20 Th Century

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The Concertizing Spirit in the European Music in the First Half of the 20 Th Century Bulletin of the Transilvania University of Bra şov • Vol. 2 (51) - 2009 Series VIII: Art • Sport THE CONCERTIZING SPIRIT IN THE EUROPEAN MUSIC IN THE FIRST HALF OF THE 20 TH CENTURY Maria Cristina BOSTAN 1 Abstract: A preference of the 20 th century composers is to be noticed not only in the combination of the symphonic with the concertizing elements (Prokofiev, Honegger, Enescu) but also in the impregnation of the compact orchestra assembly (symphonic or chamber orchestra) with specific concertizing elements, thus developing the genre of ‘concerto for the orchestra’. The rapport between the soloist and the orchestra changes in direct connection to the configuration of the form in which the concertizing compositions are made up: if the latter consist of structures of the classical form, the soloist instrument is attributed the leading role. The soloist instrument is integrated in the symphony (starting from the transformation of the musical soloist discourse into a symphony within the instrumental concerto), in Prokofiev’s (Concerto Symphony for Cello and Orchestra opus 125, 1953) and Enescu's creation (Concertizing Symphony for Cello and Orchestra, 1901). Key words : concertizing spirit, European music of the 20 th century. After the supremacy held within the concertizing virtuosity reflects on the framework of the instrumental-soloist concerto entire orchestra assembly in whose by piano and violin (besides assigning the structure the soloist instrument is, most of soloist role to the cello and to other wind and the times, an “integrated” voice. The new brass instruments, such as: the flute, the oboe, tendencies of the dodecaphonism of the the clarinet, the bassoon, the horn), in the 20 th Second Viennese School become concrete century the composers extend the soloist's in Schönberg and Berg’s concertos and instrumental range, orienting to instruments will also influence the creation of the such as the viola (Batrók, Hindemith), the composers belonging to the national trumpet, the saxophone (Debussy and Milhaud modern schools (Stravinski, Batrók, compose a rhapsody and a concerto for Prokofiev). The creation of the composers saxophone and orchestra, alongside with Astor of the national schools reveal the structure Piazzolla), the clavichord or the Martenot of the composing language based on neo- waves (André Jolivet). The timbre range modals, triggered by the melodic content diversifies both on the soloist plan and within with folklore influence. The tonal-modal the symphonic assembly by the soloist synthesis in their creation contains individualization of an instrument or group of “generating archetypal modal cells” instruments, accomplished by virtuosity or (oligochords, pentatones, hexatones) increased expressivity, integrated in the characteristic of the popular modes. thematic discourse. The soloist instrumental concerto preserves One witnesses in the 20th century the the coordinates of form and the conditions of spreading of the concertizing genre in the the harmonic amplitude (from abundant composers’ creation, by the enrichment of chromatics to atonalism). the elements of technical difficulty. The 1 Faculty of Music, Transilvania University of Bra şov. 18 Bulletin of the Transilvania University of Bra şov ▪ Vol. 2 (51) - 2009 • Series VIII The structure of the soloist instrumental Fantasy (Claude Debussy – Fantasy for concerto is different from a composer to piano and orchestra, 1891, where the another, still preserving the classic patterns orchestra score is impregnated with soloist bi-, tri-, and quadripartite (as I shall try to elements, the piano being treated as a prove further on). Some baroque structures “voice” integrated in the symphonic such as Passacaglia, Fugue, Aria can be discourse, and Feruccio Busoni – Indian resumed. Fantasy for piano and orchestra, 1913). The In Max Reger’s creation, one can meet accent falls on the motility characteristic of quotations from the protestant chorals (the the instrument, with a focus on the emphasis second part of the Concerto for Piano and of the soloist virtuosity with composers such Orchestra opus. 114, 1910), the Concerto for as Batrók, Stravinski, Prokofiev (as Violin and Orchestra opus 101 (1908) is presented lower) or with the composers composed as an ample concertizing sonata. from the “Group of the six” who resume the Similarly, Hans Pfiztner is responsible for forms of the 18 th century (Germaine the interference between the symphonic Taillefère) in Concerto in D Major for Piano writing and the form of the theme with and Orchestra (1926), Darius Milhaud who, variations, in Concerto for Violin and besides the Concerto for Saxophone and Orchestra opus 34 (1924) and in Concerto Orchestra (1938), with jazz and south- for Piano and Orchestra in E flat major American elements, composes also a series (1923) he distributes the working out of the of concertos for piano and orchestra, études, themes both to the whole orchestra and the spiritually and humorously written, and soloist instrument. Beginning with the André Gedalge, who composes the Concerto second decade, the structure of the form and for Piano and Orchestra opus 16 in C Minor. the compositional technique develop new We meet a symbiosis of elements aspects within the framework of the soloist characteristic to the soloist and rhapsodic concerto. Within the bi-, tri-, and concerto (Ravel, Rhapsody – Concerto quadripartite structures one can identify Tzigane, 1924), between concerto and the musical structures which are constituted on symphonic poem or fantasy. The score of the polyphonic forms of baroque, the the orchestra accompaniment is written treatment of the musical elements (melody, either for a great symphonic assembly, for a rhythm, harmony, instrumental timbre chamber orchestra (Hindemith, Şostakovici), modulations, dynamics, agogics), unique to or for wind instruments (Kurt Weil – the new musical orientation (expressionism, Concerto for Piano and Woodwinds, and neoclassicism). For example, one can meet Igor Stravinski with his Concerto for Piano Passacaglia, Toccata and Aria as parts of the and Wind Instruments, 1924). Within the concerto (Schönberg, Stravinski, framework of impressionism, French Şostakovici). Hindemith is, as I have already composers such as Debussy and Ravel focus pointed out, an example for the re- on the concertizing style, Debussy evaluation of the concertizing genre of the composing the Fantasy for Piano and baroque (Concerto Grosso). In this context, Orchestra (1935) amply developing the Hindemith, as well as the modern symphonic discourse, and Maurice Ravel, composers such as Poulenc, orients towards the Concerto for Piano and Orchestra: № 1 instruments such as the organ, the in G Major and № 2 in D Major for the left clavichord, the viola d’amore, the viola and hand (1935) which I will present further on. the cello. The title changes in Kammermusic The return to the old art, especially for the (Hindemith), Concertino (Stravinski, polyphonic constructions and the modal Honegger, Şostakovici) for miniatures, language, is reflected by Ottorino Respighi whose dominant instrumental character is in the Gregorian Concerto for Violin and part of the concertizing spirit, Capriccio Orchestra (1921) and in the Mixolidian (Igor Stravinski, Capriccio for piano) and Concerto for Piano and Orchestra (1922). In Bostan, M.C.: The Concertizing Spirit in the European Music in the First Half of … 19 contrast to the modal preoccupations of (1986) by I. Xenakis. Composers such as some composers such as Respighi, the Bartók, Stravinski, and Lutoslawski address dodecaphonic technique was adopted by also the orchestra assembly which they Alban Berg in Concerto for Violin and enrich with concertizing elements specific to Orchestra (1935) and Arnold Schönberg in the instrumental soloist style, by Concerto for Violin and Orchestra opus 36 individualizing the instrumental timbre and (1936), a threefold work, and Concerto for the highlighting within the assembly of the Piano and Orchestra opus 42 (1942), a individual soloists marked by virtuosity. fourfold work, with strong contrasts A preference of the 20 th century between the assembly and the soloist. composers is to be noticed not only in the By synthesizing the already introduced combination of the symphonic elements aspects and summarizing the issues related with the concertizing ones (Prokofiev, to the evolution of the instrumental soloist Honegger, Enescu) but also in the concerto, one pictures the diversity of the impregnation of the compact orchestra options which refer either to the assembly (Symphony or chamber) with compositional writing or to the instruments specific concertizing elements, thus, for which the concertizing works are developing the “concert for orchestra”. The composed. Starting from the “classic” relationship between the soloist and the instruments, the concertizing works address orchestra changes according to the such instruments as: the saxophone, the configuration of the form in which the panpipe, the bandoneon, the clavichord, and concertizing work is made: if it is based on the Marternot waves. classic forms, the soloist instrument is The concertizing spirit reflects on the attributed the main role without the symphonic and chamber genre also by the orchestra’s being, its mere accompaniment symbiosis among the particular support and the harmonic and modular characteristics of these genres (the atmosphere, this representing also a means instrumental soloist virtuosity of the of support and technical work. The soloist
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