Dana Nagina
The article is devoted to evolution of musical-theoretical conception of the term and the genre of the concert arias – an obscure and almost unexplored phenomenon of musical culture of XVIII – early XIX centuries. Exploring the epistolary, musical criticism, reference and research sources from the XVIII century to the present day, the author picks out three stages in the history of these ideas. The first stage is contemporary to the active phase of the existence of the genre (XVIII – the first third of the XIX century) and characterized by absence of the literary data on the concert arias and identifying them with operatic arias in practice. The second phase (mid-1830s – the end of XIX century) marked the inclusion of the term «concert aria» with brief definitions in music dictionaries (G. Schilling, H. Riemann, A. von Dommer, H. Mendel and others). The third stage (XX – beginning of XXI century) is associated with the appearance of the analyzes of the concert arias by W.A. Mozart, J.C. Bach, Beethoven (H. Abert, C. Wysocki, L. Kirillina, S. Kunze, P. Lutsker, R. Maunder, I. Susidko, A. Einstein), and the first attempts of the scientific understanding of the genre (R. Gerber, S. Kunze, I. Fuchs, A. Einstein). Outlining a number of important problems in the theory of the genre of the concert arias, such as its origins, specific musical features, genre variety, musical science of the last hundred years marked the beginning of his study.
Keywords: concert aria, aria, the music of the XVIII century, Mozart, Beethoven, Johann Christian Bach.
Contacts: E-mail: dana.nagina@mail.ru
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