Жанр инструментального концерта в альтовом репертуаре: от Баха до Шнитке

Abstract

The article traces out the path of the genre of the concerto for solo viola during the course of the entire time span of its existence. The compositions comprising the basis of the repertoire of concertizing violists are highlighted: Johann Sebastian Bach (The Sixth Brandenburg Concerto), Georg Phillip Telemann, Karl Stamitz, Wolfgang Amadeus Mozart (Sinfonia Concertante for Violin and Viola with Orchestra in E-flat major), Hector Berlioz (the symphony for orchestra with a solo viola “Harold in Italy”), Max Bruch (Double Concerto for Clarinet and Viola), Paul Hindemith (Concerto for Viola and Orchestra “Der Schwanendreher”), Alfred Schnittke (Concerto for Viola and Orchestra) and others. Special mention is made of the innovative qualities typical for such compositions, as well as the performance challenges appearing upon acquaintance with each one of them. With the genre of the concerto, the overall attitude towards the instrument itself changed: gradually the viola became a full-fledged solo instrument, equal in stature to the violin and the cello. The zenith of the genre took place in the 20th century, when composers expanded the viola repertoire, most of which is comprised by concertos for viola and orchestra. This happened in many ways due to the appearance of brilliant performers, who demonstrated the special timbre of the viola, its ability to convey the diverse conditions of the human soul. Today the viola has firmly taken up the position of a solo instrument on the concert stage. Study of the development of the genre makes it possible to understand the process of the formation of solo viola performance. Keywords: the instrumental concerto, the viola as a solo instrument, the viola repertoire, concerto compositions for the viola, the history of the viola concerto.