Abstract
Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms
Highlights
In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness
Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music
That while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied
Summary
Розглядаються також і твори багатьох інших авторів, які не входять до кола загальновизнаних шедеврів, але дають уявлення про стан концерту на ранніх етапах становлення музичного романтизму. Існуючі відмінності між суто симфонічними жанрами та концертом не перешкоджають взаємодії їх властивостей, про що свідчить так званий симфонізований тип концерту (Раабен, 1974: 922–925), який дослідники виводять з концертів В.
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