Виконавська складова форми Concert grossi Арканджело Кореллі (модель da chiesa) - Статья

Підкреслюється, що модель da chtesa є прообразом сольного концерту з оркестром. Key words: concerto grosso, violin style, da chiesa model, timbre-texture complex, texture attributes. Але характерні особливості скрипкового стилю, що відіграють важливу роль у концертах А. Кореллі, жанровий стиль і жанрова форма яких невідємні від скрипкового стилю як композиторсько-виконавського феномену, що відіграв головну роль у барочній музиці в аспекті формоутворення. Кореллі в жанрі Concerto grosso базується на двох основних типах інтонаційних моделей, що сприяло виникненню двох жанрових форм концертів ор.

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UDC [785.6:783.1] : 78. От 71.2 (450) “16/17”

I. V. Grebneva, Candadate of Art Criticism, Kharkiv State Academy of Culture, Kharkiv

THE PERFORMING COMPONENT OF A. CORELLI CONCERTI GROSSI FORM (DA CHIESA MODEL)

The aim of this article is to examine the issues of A. Corelli violin style interaction with the processes of his concerti grossi forming. a special significance of concerts performing component is specified. It is emphasized that the model da chiesa is a prototype of the solo concert with orchestra.

Research methodology. The value of an ensemble division into the concertino and grosso groups is considered. a special role of the timbre-texture component in concerto grosso genre is emphasized. The division into two semantic-compositional models - da chiesa (concert in church) and da camera (secular chamber concert) established in A. Corelli concerti grossi is especially considered.

Results. Typical features of the first group concerts forming are singled out, which quantitatively predominate in Corellian grandiose cycle of 12 concerti grossi (8 of them are da chiesa, 4 - da camera).

It is noted that the «church» model tends toward three-part nature and anticipates the Viennese-classical examples of the solo violin concerto. At the same time, a specific character of concerto grosso, the actual creator of which was A. Corelli in his stable genre typology, consists in a special nature of concerts, where a solo function is a chamber-ensemble one (concertino group, consisting of three instruments, usually of two violins and a violoncello), and an orchestral function is represented by a «mass» of a chamber string-bow orchestra (in the final version, 12 Corellian concerti grossi were string-bow instruments, without adding the cembalo and wind instruments). Despite the cult origins of the da chiesa model, Corellian interpretations of this model go beyond the tradition existing at that time. First of all, they combine the polyphonic and homophonic fundamentals of instrumental polyphony, and, secondly, the strengthening of the virtuoso performer’s side, which meant, as a result, the allocation of a new type antiphonal quality, and not just the «game of lighting» typical for concerto grosso. This quality is defined as an «individual solo» which is the first violin in concertino appearing most of all in the duet with the second one (the version of the double concert, its historical prototype).

Novelty. The intensification of solo-virtuosic beginning influenced the texture of da chiesa concerts where Corelli, using traditional polyphonic forms, actively introduces solo-cadence fragments designed for high-class performers including himself, as well as his best students - Locatelli, Somis, Geminiani.

The practical significance. The aspect of giving concerts of actual practice studying, the «great baroque concert» being one of its first specimen, is important.

Keywords: concerto grosso, violin style, da chiesa model, timbro - texture complex, texture attributes.

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