Suchergebnisse

The article deals with activities of the founded in 1725, the first regular French Association of public concerts of the "Concert spiritual".The novelty of this publication is in the study of regularities of formation of the concert repertoire, the influence on him of historical circumstances, the public and the Directorate of virtuosos musicians; the formation of the structure of the concert event-sequence representation of works in concerts the Concert spiritual", which became characteristic for concerts in European countries of XVIII century.Underlines that the opening of these concerts marked the end of the monopoly of courtly secular music – they are not funded by Royal Mint and not imposed by the Royal Academy of music, which has had the privilege to perform musical works. Music started to spread in all levels of the population and gradually allow sprouts idea about open, paid concert.Found that the most important feature of the forming of "concert style" Association "Concert spiritual" was that among its founders and patrons, the owners and managers have been exceptionally prominent French musicians – virtuosos, among which the famous violinists and famous composers, authors of popular operas, symphonies, instrumental concerts, sonatas, etc.The nine periods of the company according to the Guide: 1725-1728 – A.Philidor; 1728-1733 – J.-J.Muret, P.Simard; 1734-1748 – the temporary administration of the Royal Academy of music, F.Rebel and F.Francoeur; 1748-1754 – P.Royer, G.Capperan; 1748-1754 – J.-C. de Mondonville, wife of Royer; 1762-1771 – A.Dauvergne; G.Capperan, N. R. Joliveau; 1771-1773 – A.Dauvergne, M.Berto; 1773-1777 – P.Gavinies, F.J.Gossek, S.Leduc; 1777-1790 – J.Legros, I.Bertom.Notes that the first contract "Concert Spiritual, signed Fìlìdor in 1725, with the Royal Academy of Music City: play only Latin spiritual church music; do not perform works in the French language, and excerpts from the popular French and Italian operas; do not use the musicians of the Royal Academy of music."The Concert spiritual" opened March 18, 1725, in Salle des Suisses Royal Palace Tuileries and 13 April 1784 held a farewell performance in Salle des Suisses in which concerts took place nearly 60 years-was performed the "Farewell" Symphony of Haydn. After this company transferred in the Salle des Machines Tuileries Palace in 1789-1790 – in Theatre Favart and theatre Porte St-Martin, last concert of the Concert spiritual was held on 11 March 1790.It was discovered that with the arrival of new leadership – patent owners or directors changed and the Repertoire of the policy, the number of concerts, place them and even financial status "Concert spiritual".In the period from 1748-1754 becoming popular performances of French virtuosos: Gavinies played the Caprices Locatelli and concert Geminiani, Guion performed with works of Vivaldi, Leclair – own concerts and sonatas Corelli and Vivaldi, Pajen played the works of Tartini, L'Abbaye-son – ensembles playing their own variations for 1-3 violins.Invited foreign musicians sounded: "Stabat Mater" Pergolese performed by Italian singers; the concert of the famous castrato Kaffarelli; was the founder of the "mangejm's school" Stamitz, who performed their own works-Sonata for Viola d'amur, Violin Concerto and Symphony.Under the leadership of the de Mondonville are only his compositions: oratorios and French motets. There are new names: violinists Genin, cellists, brothers Duport, organist Balbastre; harpists to Hochbrucker.Directors of violin Dauvergne,Capperan, Joliveau and Gavinies, Gossek, Leduc to promote a new genre – Symphony.They greatly increased the composition of performers: orchestra – 60 instrumentalists, choir – 47 singers. Violinist-virtuoso and conductor P. Gavinies, promoted the works of authors of different styles – Corelli, Geminiani, Lokatelli, Vivaldi, Tartini, Stamitz, Leclair.In 1777 the conductor Legros, and violinis Bertom create a permanent Orchestra of 65 musicians. Changed artistic direction and repertory concerts: Haydn's Symphony sounded, Mozart, Stamitz, Lahnitz and overtures from operas, instead of motet performed the Italian aria. It was a special period for French artists-virtuosos: violinists, cellists and singers, flutists.Programs of recent years (1789-1790) traditionally consisted of two parts, each of which started Symphony by Haydn or Mozart. In the Centre is a concert Symphony, or instrumental concert. Such works were cellist Duport, pianist, Sejan, violinists Viotti, Djornovik. In final program of sacral music: oratorio Sakkini, motet and TeDeum Gossek, Philidor. You need to make the conclusions that, thanks to the creative initiative of the founding Board of Directors of "spiritual Concert": formed a type of open concerts – two departments of the Symphony and instrumental concert and solo, vocal numbers between them and sacral′ works at the end; for 65 years the Concert spiritual was completed 1253 musical works who wrote 456 composers; sacred music from the Church came in the concert hall; performers-Virtuosi (violinists, cellists, organists, klavesinìsts) approved the growing need of the public in the "virtuosity," which is a characteristic feature for the "concert style"; ended the monopoly of court secular music, the initiative in conducting concerts moved to musicians – professionals virtuosos-instrumentalists, singers and composers; began an active democratization of concert activities-born and had an open practice paid concert. ; В статье раскрывается деятельность первой постоянной французской ассоциации общественных концертов "Духовные концерты" (1725-1790). Подчеркнуто, что благодаря "Духовным концертам" и творческой деятельности их основателей и директоров сформировался тип открытого платного концерта – два отделения с симфонией и инструментальным концертом; завершилась монополия придворной светской музыки – инициатива концертирования перешла к музыкантам-профессионалам. ; У статті розкривається діяльність першої регулярної французької асоціації громадських концертів "Concert spiritual" (1725-1790). Підкреслено, що завдяки "Concert spiritual" та творчій діяльності його засновників та директорів сформувався тип відкритого платного концерту – два відділення з симфонією та інструментальним концертом; завершилась монополія придворної світської музики – ініціатива концертування перейшла до музикантів-професіоналів.