Evaluation of the stylistic path of authors of concertos composed for double bass and orchestra in XVIII-XX centuries
Evaluation of the stylistic path of authors of concertos composed for double bass and orchestra in XVIII-XX centuries

Summary/Abstract: The choice of the following subject is conditioned by the artistic practice itself. Thedouble bass not only being today an indispensable element of symphony and chamberorchestras, of different instrumental ensembles (trio, quartets, quintets, etc.), but also as asoloistic instrument, whose expressive possibilities as a soloist and participant in theinstrumental dialogue reveals the genre of concerto for this instrument. The concerto has beenand remains an object widely explored both by musical practice, through the creation ofcomposers and the work of performers, and by musicological science by examining the mostdiverse aspects of the genre in numerous studies conducted by researchers in differentcountries. The dialogic character of narrating, the highlighting of the solo interpretation, andthe realization of the principal of the artistic act are most frequently called as specific featuresof the concerto. The genre of the instrumental concerto is a suitable field for the investigationand experiments of the composers, for the manifestation of the artistic potential of theperformers, as well as for the application of the analytical abilities of the researchers.

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