Инвазия и капитулация на клавирността. Исторически решения на клавирния концерт
Invasion and Capitulation of Clavier Virtuosity. Composers’ Approaches to the Keyboard Concerto Genre

Summary/Abstract: On the example of a number of composers’ approaches to the keyboard concerto that are emblematic for their respective epochs, the present study traces the historical tendencies in the concept of this particular type of the solo concerto genre: the first steps toward its keyboard realisation; the changes in the way composers interpret the keyboard sound and in the preferences which keyboard instrument to use; the types of compositional strategies both in terms of architectonic and in the interpretation of the role of the soloist and especially the latter’s interaction with the orchestra; the treatment of the keyboard concerto as a means of showcasing brilliant virtuosity regardless of the specific type of solo keyboard instrument involved – the harpsichord and the prototypes of the modern piano in the Bach family, the harpsichord and organ in Handel, the piano in the composers of the Classical and the subsequent periods; questioning our understanding of the genre and the capitulation of the clavier virtuosity in the second half of the last century.

• Details
• Contents