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G. Kosenko

Representation of viola timbre in the genre of concerto (on the example of Concerto for Viola and Orchestra by D. Klebanov)

The article is devoted to the peculiarities of the concerto genre in its specification for the viola solo with orchestra. The author summarizes the available data about «the origin and principle of concertos» and highlights the dialogue to be the basis for the concerto’s «competition-agreement» (B. Asafiev), as well as the solo component of the concerto as a musical genre. The positions of the theory of concerto genre are extrapolated into its viola version; in this regard the author proposes the original term «concerto-viola style», extended to one of its modern examples – Concerto for Viola and Orchestra by D. Klebanov. This work is analyzed for the first time. The study of structural and textural features of this work helps to reveal successively various representations of viola timbre in the imaginative sphere, covering the various shades of the general lyric state. The author noted that the analyzed work combines two semantic functions of the instrument’s timbre, they are: ‘coloristically characteristic’ one and ‘distinctive’ one (terms by D. Klebanov). The logic development of these two origins of the timbre role of viola are realized in a large concerto form, distinguished by a dispersed cadence, the presence of the autonomized dialogues of viola and orchestra instruments, common line of development aimed at the final goal, which is the code-apotheosis to be a conclusion in its dramaturgical function.

Key words

concerto, viola-concerto style, Concertо for Viola and Orchestra by D. Klebanov, timbre functions of viola.