Abstract
Purpose of the article is an analysis Concerto for clarinet with orchestra J.Stamitz, W.Mozart and the First from four compositions of this sort L.Spohr in directivities on revealing the most impressive responsible moments of sounding, which require escalated attention of the performers when preparing to appearance and in the process of the concert play. Scientific novelty of the study is defined that that for the first time in domestic musicology are analyzed in elected foreshortening of the works of J.Stamitz, W.Mozart, L.Spohr. Conclusions. From offered history review follows that phenomenon of the concert interpretation of the clarinet with the artistic approbation of his specifics in composer creative activity J.Stamitz, W.Mozart, L.Spohr formed in a time of the late classicism - an early romanticism. In recommended burn-in collection etude more than 70% whole material is subordinated, naturally, specified base technician-stroke factor mastery of clarinetist. Offered jagging of the passing of the technical borders in working of the clarinetist-professional, from beginning to Master, concerns the gradation of the difficulties accordingly stage technical and of the artistic growth of instrumentalist and particularity his readiness. However, specified three base technicians-stroke positions (lеgаtо, stаccаttо, detached), which source moment is realized "imitation operatic vocal" (lеgаtо), but instrumental "facility" show two other technical acceptances, - cover, as far as possible, the whole instructive material in collection, collected by author given work. In them incarnate stylistic "symbols of mastery" of clarinetist, forming source point and development art plays itself on clarinet.
Highlights
Характерные виды кларнетной техники в произведениях пограничья классицизма и романтизма Целью данной работы является анализ Концертов для кларнета с оркестром Я.Стамица, В.Моцарта и Первого из четырех композиций этого рода Л.Шпора в направленности на выявление наиболее выразительно ответственных моментов звучания, которые требуют усиленного внимания исполнителей при подготовке к выступлению и в процессе концертной игры
Typical types сlarine technology in the product on the demolition of classicism and romanticism Purpose of the article is an analysis Concerto for clarinet with orchestra J.Stamitz, W.Mozart and the First from four compositions of this sort L.Spohr in directivities on revealing the most impressive responsible moments of sounding, which require escalated attention of the performers when preparing to appearance and in the process of the concert play
From offered history review follows that phenomenon of the concert interpretation of the clarinet with the artistic approbation of his specifics in composer creative activity J.Stamitz, W.Mozart, L.Spohr formed in a time of the late classicism - an early romanticism
Summary
Характерные виды кларнетной техники в произведениях пограничья классицизма и романтизма Целью данной работы является анализ Концертов для кларнета с оркестром Я.Стамица, В.Моцарта и Первого из четырех композиций этого рода Л.Шпора в направленности на выявление наиболее выразительно ответственных моментов звучания, которые требуют усиленного внимания исполнителей при подготовке к выступлению и в процессе концертной игры. From offered history review follows that phenomenon of the concert interpretation of the clarinet with the artistic approbation of his specifics in composer creative activity J.Stamitz, W.Mozart, L.Spohr formed in a time of the late classicism - an early romanticism. Метою дослідження є аналіз концертів для кларнета з оркестром Я.Стаміца, В.Моцарта і першого з чотирьох композицій цього роду Л.Шпора і виявлення найбільш виразно відповідальних моментів звучання, що вимагають посиленої уваги виконавців під час підготовки до виступу і в процесі концертної гри.
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