THE MUSIC FOR WIND INSTRUMENTS SOLO AT THE EPOCH OF CLASSICISM (for example Sonata a-moll for flute solo by K.F.E. Bach)
DOI:
https://doi.org/10.32461/2226-3209.2.2018.162595Keywords:
composer, performer, wind instrument solo, composition, concert, sonata, classicism, instrument.Abstract
The purpose of this scientific article is revealing of the most characteristic lineaments for scenically single performing on the wind academic instruments at the music of classicism’s epoch (the period from the middle of the 18th – before the beginning of the 19th centuries). The musically performing analysis of the Sonata a-moll for flute solo by K.F.E. Bach is also target of this paper. Consequently, the results of analysis are going to make an opportunity for disclosing of particular features from the music for wind instruments solo of the classicism’s epoch. Methodology of the scientific investigation of music for wind instruments solo is based on the comparative method, which has the manifestation into correlation between wind compositions solo with orchestral accompaniment and wind instrument masterpieces solo without anyensem bleescort. Thereis historical method, by means of whichtheauthorabidescertainchronologicalframeworks for studyingnoticedfacts.Emphasizealsotherearespecializedperforminganalysis(investigationoftheSonataa-mollforflute solo by K.F.E. Bach) and system-complex method (holistic processing character-logical constituents of the music for wind instruments solo). The novelty of this research is conditioned by appealing to scenically single performing on wind academic instruments in the time of musical classicism’s epoch. It was namely that period, when solo performing with orchestra or ensemble accompaniment at the sphere of wind instruments academic playing achieved the great development. Conclusions. The explorer has detected the priority improvisational character of individual, scenically single performing of the not numerous classical music compositions for wind instruments solo, with maximal immersion into personallyspecificworldofartist-soloist.But,allthespiritualworldofinneressencefrompersonality,whichwasestablished in the musical baroque by composers J.S. Bach and G.F. Telemann, stays, in the most extent, to the outside from wide- scale evolutional processes of European classical music performingculture.
References
Апатский В.Н. История духового музыкально-исполнительского искусства / В.Н. Апатский. – К. : "Задруга”, 2010. – 320 с.
Апатский В.Н. Актуальные проблемы духового музыкально-исполнительского искусства / В.Н. Апатский. – К. : "Задруга", 2013. – 588с.
Должиков Ю. Пьесы для флейты соло / Ю. Должиков. – М. : Музыка, 1980. – 40с.
Друскин М.С. Иоганн Себастьян Бах : [Монография] / М.С. Друскин. – М. : Музыка, 1982. – 383с.
Карпяк А.Я. Концепційні засади художнього мислення сучасного флейтиста : [Монографія] / А.Я. Кар-пяк. – Львів : Наукове товариство ім. Т.Г. Шевченка, 2013. – 378с.
Карпяк А.Я. Жанр флейтового концерту у творчості австрійських та італійських композиторів – сучас-ників В.А. Моцарта / А.Я. Карпяк // Історія становлення та перспективи розвитку духової музики в контексті націо-нальної культури України та зарубіжжя. – В. 8. – Рівне : Волинські обереги, 2016. – С.8–14.
Качмарчик В.П. Немецкое флейтовое искусство ХVІІІ – ХІХ вв. : [Монография] / В.П. Качмарчик. – Донецк : Юго-Восток, 2008. – 311с.
ЛевинС. Духовые инструменты в истории музыкальной культуры. Ч.І./ С.Левин.–Л.: Музыка,1973.–264с.
Маркова Е.Н. Понятийная триада в определении предмета культурологии, семиотики и искусствознания / Е.Н.Маркова//МистецькаосвітавкультурномупросторіУкраїниХХІстоліття.–К.:НАКККіМ,2015.–С.11–14.
Усов Ю. История зарубежного исполнительства на духовых инструментах / Ю. Усов. – М. : Музыка, 1989. – 207с.
Громченко В. Музика для інструмента соло: витоки становлення жанру (на прикладі виконавства на духовихінструментах)//Вісник Національної академії керівних кадрів культури і мистецтв. Київ: Міленіум,2013. №3. С. 122-126.
Apatskij, V.N. (2010). History of wind musical performance art. Kiev: Zadruga [in Russian].
Apatskij, V.N. (2013). Actual problems of wind musical performance art. Kiev: Zadruga [in Russian].
Dolzhikov, Ju. (1980). Pieces for flute solo. Moskva: Muzyka [in Russian].
Druskin, M.S. (1982). Johann Sebastian Bach. Moskva: Muzyka [in Russian].
Karpyak, A.Ya. (2013). Conceptual foundations of artistic thinking of modern flutist. L`viv: Naukove tovary`stvo im. T.G. Shevchenka [in Ukrainian].
Karpyak, A.Ya. (2016). The genre of the flute concert in the works of Austrian and Italian composers-contemporaries V.А. Mozart. Istoriya stanovlennya ta perspekty`vy` rozvy`tku duxovoyi muzy`ky` v konteksti nacional`noyi kul`tury` Ukrayiny` ta zarubizhzhya, 8–14 [in Ukrainian].
Kachmarchik, V.P. (2008). German flute art of the XVIII – XIX centuries. Doneck: Jugo-Vostok [in Russian].
Levin,S.(1973). Wind instruments in the historyofmusicalculture.Leningrad:Muzyka[in Russian].
Markova, E.N. (2015). The conceptual triad in defining the subject of cultural studies, semiotics and art history. My`stecz`ka osvita v kul`turnomu prostori Ukrayiny` XXI stolittya, 11–14 [in Russian].
Usov, Ju. (1989). The history of foreign performance on wind instruments. Moskva: Muzyka [in Russian].
Gromchenko, V. (2013). Music for the instrument solo: the origins of the formation of the genre (on an example of performance on wind instruments). Visnyk Natsionalnoi akademii kerivnykh kadriv kultury i mystetstv. Kyiv: Milenium, 3, 122-126 [in Ukrainian].
Downloads
Published
Issue
Section
License
Authors who publish with this journal agree to the following terms:
1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).