Music concert |

Musical concert – public, paid performance of music according to a pre-announced program, by one or more musicians in a specially equipped room. Approval in the 18th century. TO. as forms of society. playing music was due to the growth of mountains. bourgeois-democratic arts. culture. Increasing public interest in instr. music, which up to that time gave away exclusion. preference for opera, led to the formation of a new, concert audience, which was facilitated by the theater environment. performances of those years – in the intermissions of operas, and sometimes dramas. performances were instr. virtuosos (such performances survived until the 80s. 19th century), as well as between individual churches. services, sermons (more often in Zap. Europe). Struggling with secular music. culture, churchmen used since the 17th century. along with the organ and choir skr. music, creating a semblance of conc. during a religious service. the setting. Violin as a solo instrument and skr. the ensemble occupied an important place in the design of the Catholic. masses, as a result of which in Italian. instrument music were developed special. ice genre and form, providing for the originality of the situation (church. sonata, concerto grosso). Throughout the 17th century and almost all of the 18th century. for adjectives life, aristocratic salons, widespread at that time academies, collegium musicum was Ch. arr. typically the so-called closed music. TO. was designed to be limited. circle of specially invited persons. VC. musicians who were in the service of one or another noble patron of the arts, who often had their own instruments, usually took part. and choir. chapels (given to listeners free of charge). The selected composition of the audience and the small size of the premises determined the content of such concerts, which most often bore the character of chamber-ensemble music-making. Along with this, in the 18th century. there is another form of K. – public paid performances of musicians, designed for a wider, democratic. audience. The first open paid K. were organized in London in 1672-78 by violinist J. Banister in his own. home; listeners were given the right to choose a program. In 1678-1714 the famous organizer K. in London was T. Britton. In 1690-93 here K. arranged by R. King joint. with him. opera entrepreneur I. AT. Frank, also in his own conc. hall. At that time, subscription K. and K. by subscription. In 1765-82, subscription cards were popular in London; AND. TO. Bach joint. with K. F. Abel, subscription K., osn. scribbler I. AP Zolomon (for them Y. Haydn wrote his so-called. London Symphonies). In France, there were “Spiritual Concerts” (1725-91), osn. comp. F. A. Philidor; in them, along with cult music, secular instruments were also performed. ensembles, symphonies, solo op. Following their example, similar to K. organized in Leipzig, Vienna, Stockholm. With horse. 18 in. the so-called. academies – copyright K., when the composer performs his own performance. Op. (AT. A. Mozart, L. Beethoven and others). In Russia, the first public concerts were held in the 40s. 18 in. Petersburg, where by the 70s. they acquire systematically. character (in Moscow – in the 80s). However, only after the Great French. During the revolution, the form of public cinema, already paid for, was finally approved, with a pre-compiled program corresponding to the social changes that had taken place in society. A new type of performer, the “concert” virtuoso, is being formed; the form of his public performances, the solo k., is being worked out; the type of program performed throughout the k. soloist with piano accompaniment However, in the 1st half. 19 in. the mixed program of K. soloist – virtuoso instrumentalist or singer, in which the orchestra took part, etc. performers (ie. Mr. entourage). This form was transitional from the performance of the soloist in the church between parts of the mass, oratorio, or in the t-re, during the intermissions of the theater. representations, to his independent K. — piano-violin-leader-abendum (German. piano-violin-songs-evening). Back in the late 30s. 19 in. even N. Paganini performed in the entourage. Only in the 40s. F. Liszt was the first to give a solo K., without the participation of others. performers. Music growth. art-va and performing culture, the spread of K., the development of muses. ties between countries contributed to the emergence of new, capitalist. forms of organization conc. life. In 1880 in Berlin G. Wolf founded the first conc. an agency that began to organize performances by artists on certain material conditions. This marked the beginning of the modern conc. “industry”, which has received especially great development in the United States, where there is a huge amount of conc. agencies, impresario and managers organizing K., tours abroad. artists. Throughout the 19th century TO. (symphonic, chamber, solo) are becoming more widespread, in which the activity of dec. kind of music societies that existed in all major Europe. cultural centers. At 19 in. the greatest fame was won by permanent symphony. TO. Society of Concerts of the Paris Conservatoire (main. in 1828), K. Leipzig Gewandhaus, Vienna (main. in 1842) and Berlin (main. in 1882) philharmonic. orchestras, Lamoureux Concerts in Paris (main. in 1881), the London Promenade Concerts, etc.; in the 20th century – K. Boston (main. in 1881) and Philadelphia (main. in 1900) orchestras, the BBC Orchestra (London), the Paris Orchestra, etc. In the 2nd half. 20 in. symbols are widely used. and chamber concerts organized within the framework of the international. ice festivals. Zarub became common. tours of major performers. collectives (opera t-ditch, symphony. orchestras, chamber ensembles, etc.). In many countries are building concert halls that can accommodate huge audiences. In the pre-revolutionary Russia is of great importance for the development of conc. life and organization symph. and chamberlain K. had the St. Petersburg Philharmonic Society, the Moscow Philharmonic Society, and especially the Russian Musical Society, as well as such conc. organizations like “Concerts S. A. Koussevitzky” (1909-1914), “Concerts by A. AND.

Fundamental changes in conc. activities occurred in the USSR, where the organization and leadership of the conc. life is in the hands of the socialist. state-va. In the very first post-revolutionary During the years, such new mass forms of concerts arose as a concert-meeting, the “Corporation of Artists – Soloists of the Bolshoi T-ra” in Moscow, Leningrad. choir. mountain olympiads. music amateur performances (the first was held in 1927, up to 100000 musicians participated in some). Guide conc. life in the USSR is concentrated in the state. concert organizations – Soyuzconcert, Rosconcert, Ukrconcert and others, republican, regional and cities. philharmonics. In his work, owls conc. organizations are based on new principles. Musical-educational and cultural activities come to the fore. To. are organized not only in conc. halls of large cities, but also in small towns, in clubs, houses of culture and workshops of plants and factories, in state farms, collective farms. The philharmonic societies are doing a lot of musical and educational work among the listeners. Annotated K. programs are published, brochures are published (to help the listener), with many others. Philharmonics have permanent lecture halls. The philharmonic societies have first-class soloists and performing groups that have won world fame: the State Symphony Orchestra of the USSR, the Moscow Philharmonic Symphony Orchestra, Moscow. Chamber Orchestra (founded in 1956), Symphony Orchestra of the Leningrad Philharmonic, State Academic Russian Choir of the USSR, Republican Russian Choir, String Quartet. Borodin (founded in 1945);

References: Albrecht E., General overview of the activities of the St. Petersburg Philharmonic Society, St. Petersburg, 1884; Imperial Russian Musical Society. Moscow branch. Symphony Meetings 1-500. Statistical index, M., 1899; 100th anniversary of the St. Petersburg Philharmonic Society. 1802-1902, St. Petersburg, 1902 (with a list of programs for symphonic concerts); Circle of lovers of Russian music. X (1896-1906), M., 1906 (with a list of concert programs); Findeizen N.F., Essay on the activities of the St. Petersburg branch of the Imperial Russian Musical Society (1859-1909), St. Petersburg, 1909 (with the appendix: programs of symphony and chamber concerts; performers); St. Petersburg concerts by A. Siloti. Concert program for ten seasons (1903/1904-1912/1913), St. Petersburg, 1913; State Academic Philharmonic Society (Leningrad). Ten years of symphonic music. 1917-1927, L., 1928 (with a list of programs); Leningrad Philharmonic. Articles. Memories. Materials, (sb.), L., 1972; Moscow State Philharmonic, M., 1973; Elwart AAE, Histoire de la Société des concerts du Conservatoire imperial de musique, P., 1860; Deldever EME, Histoire des concerts populaires, P., 1864; Brenet M. (Babilljer M.), Les concerts en France sous l Ancien régime, P., 1900; Rierre C., Le concert spirituel 1725 a 1790, P., 1900; Bekker P., Das deutsche Musikleben, Stuttg. – V., 1916; Dandelot A., La Société des concerts du Conservatoire de 1828 a 1923, P., 1923; Meyer K., Das Konzert, ein Führer, Stuttg., 1925; Preussner E., Die bürgerliche Musikkultur, Hamb., 1935, “Kassel-Basel, 1954; Van der Wall W., Liepmann S. M., Musik in institutions, NY, 1936; Maugé G., Concert, P., 1937; Gerhardt E., Recital, L., 1953; Bauer R., Das Konzert, B., 1955.

I. M. Yampolsky