Європейський саксофонний концерт: теоретичні засади та виконавські інспірації

Максименко, Дмитро Петрович

Європейський саксофонний концерт: теоретичні засади та виконавські інспірації

Максименко, Дмитро Петрович

URI: http://elib.nakkkim.edu.ua/handle/123456789/2401

Date: 2018

Abstract:

У дисертації досліджено становлення та розвиток жанру саксофонного концерту ХХ ст. у світлі феномену виконавської інспірації репертуару. Визначено основні тенденції розвитку саксофона в контексті європейської академічної інструментальної традиції. Окреслено історичні етапи розвитку саксофона у ХІХ–ХХ ст., виділено основні центри виконавства в Європі. Вивчено тенденції розвитку концертного жанру, виділено домінантні ознаки інструментального концерту. Простежено шляхи формування концертного саксофонного репертуару, виявлено його зв’язок з провідними центрами європейського саксофонного мистецтва, що формувалися внаслідок діяльності яскравих віртуозів. Систематизовано репертуар за персоналіями видатних виконавців. Проаналізовано найпоказовіші концерти і концертино, створені європейськими, зокрема й українськими, композиторами. Їх досліджено з позицій прояву ознак симфонізації жанру, співвідношення соліста й оркестру, понять концерт i концертність, особливостей стилістики, архітектоніки, музичної мови.

Description:

The dissertation is devoted to the study of the evolution of saxophone concerto’ genre, which is demonstrated on the basis of a range of illustrative works: concerts and concertino for the saxophone period from the first third to the 80s of the twentieth century. The main tendencies of saxophone development in symphonic canvases in the context of the European academic instrumental tradition are determined. The study outlines the main historical stages of the development of the saxophone in the nineteenth and twentieth centuries, highlights the main centers of performance in Europe and highlights important points that have helped to consolidate the instrument in musical practice. The tendencies of the development of the concerto genre from the time of its emergence up to the twentieth century, as well as the dominant foundations of the genre-typological model of the instrumental concerto have been investigated. Beginning with the work of the masters of the Venetian instrumental school – Andrea and Giovanni Gabrieli, an instrumental concerto, based on the principle of the interaction of instrumental groups, shifts the emphasis until the nineteenth century and becomes one of the most important genres intended to reveal the personality of the virtuoso musician. In this context, it's quite logical to separate the genre of the concerto into two types: virtuosed and symphonized, in which the second expressed desire to achieve maximum organics of the combination of the soloist and the orchestra, and within the framework of the first role of the virtuoso musician is the main and often placed even higher than the aesthetic value of the work. Starting from the twentieth century, within the framework of the concerto, coexistence of various stylistic orientations, contrast compositional techniques and compositional and dramatic principles became possible. The general tendency of creating chamber music has led to the emergence of non-standard orchestral and ensemble works in samples of this genre. In particular, in a chamber concerto it is possible to have an equal dialogue between the soloist and orchestral instruments or with timbre groups. Another trend of the last century, which was reflected in the saxophone repertory – the growth of prestige of the artist, an increasing of specially written works. The ways of forming the conert saxophone repertory, in particular Concerts and Concertino for saxophone, have been tracked, their connection with the cells formed as a result of the activities of bright figures-soloists. Their classifications are based on the personalities of musicians-performers, since the overwhelming majority of the currently known works are related to just three outstanding saxophonists of the twentieth century, which the "classic" saxophone owes not only to its revival but also to its spread in the world. The first of these is the French musician Marcel Mull, thanks to whose efforts (and his students), the formation of the classic saxophone school in Paris took place. The other figure is Sigurd Rascher, who was an inspirer of saxophone concerts writing in different countries of the world, with which his work as a performer was directly related: in Germany, it is the concert by E. von Bork, in France – by O. Glazunov, in Sweden – by L.- E. Larsson and E. von Koch. Consequently, S. Rascher worked quite effec- tively as a ―moving center‖, which gave great results to spread the tendencies of "classical" saxophone performances not only in Europe but also in America. The third important figure was Margarita Shaposhnikova. She was the third strongest figure of the ―classic saxophone‖ of the twentieth century. In this case, these seemingly negative factors, such as political isolation and ideological dislike of a saxophone in the USSR, are related to his stereotypical vision of him as a jazz instrument, giving a radically opposite effect. The total majority of concerts for saxophone and orchestra, written in the Soviet period were devoted to her. In the framework of the research, the illustrative samples of the European saxophone concerto are analyzed in accordance with the musicaltheoretical parameters (architectonics, expressive means), from the standpoint of concepts of concerto, in the context of the establishment of the performing repertory. The following works are analyzed in detail: concerts by P. Bonno, A. Tomazi, P.-M. Dubois, O. Glazunov, L.-E. Larsson, A. Eshpai, O. Fliarkovskiy, V. Runchak, concertino by R. Palester and V. Tsaits.

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