SPECIFICITY OF THE VIOLIN CONCERT GENRE IN THE WORK OF JEAN-MARIE LECLAIR (ON THE MATERIAL OF THE CONCERT OR. 7 No. 2 D MAJOR)
Abstract
The aim of this paper is to determine the genre, stylistic and compositional features of the musical language of the violin concerto op. 7 No. 2 by the French composer Jean-Marie Leclair. Research methodology. Many serious
publications on this topic have been analyzed.
Research methodology. It was analyzed a lot of major publications on this topic. The principles of historical and cultural approach, stylistic analysis and historical methods were used.
The results. The article examines the specifics of the concert genre in the work of Jean-Marie Leclair. It was found that in the violin concerto op. 7 No. 2 D major characteristic features of the Italian concert model are intertwined with the
traditions of French music. The composer focuses on the traditional tripartite genre of the concerto (fast extreme parts and an ariad lyrical center of the work), although the concerto has a slow solemn introduction, which is written in the spirit of overtures to French «lyrical tragedies». The peculiarities of the form of each of the parts are noted (the rhythmic form in the extreme parts, the boundaries of which are additionally indicated in the notes as Tutti and Solo, and the two-part form of the second part of the concerto). Features of the musical language (thematism, rhythm, texture, harmonic and timbre features) of the work are characterized. Special emphasis is placed on the virtuosity of the solo violin part, which in this concert is closely connected with sound-image elements and imitation of birdsong. A similar tradition is characteristic of French musical culture. In the performance aspect, the careful consideration of the composition, the economy in the use of effects, the accuracy of intonation and the noble expression characteristic of the French tradition are emphasized.
The novelty of the work lies in the involvement of music that have not yet been studied and a new stylistic perspective on the problem.
The practical significance. Results of this issue may be useful for Ukrainian musicology in studying baroque concert music. The conclusions summarize the main conclusions and outline the prospects of the research.
