Uvertjura v ėpochu barokko: issledovanie
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Moskva
Izdat. Dom "Kompozitor"
2005
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., russ. - Zsfassung in engl. Sprache u.d.T.: Y. Bočarov, The overture in the baroque era. - Teilw. zugl.: Moskva, Moskovskaja Gosudarstvennaja Konservatorija Im. P. I. Čajkovskogo, dokt. diss., 2000 |
| Beschreibung: | 279 S. Notenbeisp. |
| ISBN: | 5852858218 |
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| adam_text | СОДЕРЖАНИЕ
Предисловие
Глава
в музыкальном театре итальянского сеиченто
Глава
и развитие в эпоху Людовика
1.
Увертюры Люлли
2.
последней четверти
3.
конца
Глава
1.
и развитие в эпоху барокко
2.
Германии и Австрии первой половины
3.
первой трети
Глава
эпохи барокко
Глава
ческие произведения первой половины
Глава
Глава
Примечания
Литература
Указатель имен
Summary
Нотное приложение
SUMMARY
F. Bočarov.
This book is the first published musicological research devoted
particularly to the overture in the Baroque era.
The overture is one of those musical genres, which was originated in the
Baroque era. It was used by European composers during the 17th
centuries in various spheres of their creative work (stage music, concert music
etc.), in various genres (operas, oratorios, orchestral and keyboard suites etc.),
and in works for varying numbers of musicians (from solo to theatrical
orchestra).
The overture is a genre of instrumental music, though it arose in the
musical theatre. This dual nature of the overture allowed it to serve as a link
between stage works and non-stage instrumental genres. Interaction between
these two spheres of music proceeded vigorously thanks to the overture.
Before the origin of the concert symphony in the 18th century, the
overture was a major genre of real orchestral music. The baroque overture
was one of the important sources both for the classical overture, and for the
classical symphony and sonata. However baroque overtures are not only a
transitional stage form on the path to classical overtures, but they have
independent historical significance. They constitute quite a long stage in the
history of the overture with their own logic of development.
However in the baroque overture one can find some features, which
become characteristic of the overtures of later periods (thematic links between
overture and proper opera; program tendencies etc.).
So, it can be claimed that the overture was a very important musical genre
during the Baroque era. But unfortunately there are no enough studies of
such an important genre in musicology. The traditional conception of the
history of the Baroque overture is based on Hugo Botstiber s
Ouvertüre und der freien Orchester/ormen ,
But the contents of this book are obsolete and even wrong in many respects.
In contrast Y.
overture during the 17th
in the history of music as a whole.
240
His book consists of an introduction and seven chapters. In the
introduction the justification for the choice of this research theme is given
and a review of relevant musicological literature follows. Chapter
a brief sketch of the prehistory of the overture (from antique times up to the
end of the
the overture during the Italian
the so-called French overture during the reign of Louis
the origin of the French overture, the specific features ofJ.-B. Lully s overtures
and their influence on the stage music and ensemble suites of not only French,
but also English, German and Austrian composers from the second half of the
17th century to the beginning of the 18th century. Chapter
overtures in the European musical theatre of the 18th century, and chapter
to instrumental introductions to oratorios, cantatas and church music of the
Baroque era. In chapter
is discussed and in chapter
overtures in post-baroque music and about the role of the baroque overture
in the development of instrumental music of the classical era. The final chapter
contains the main results of this research.
The author especially notes that not only the so-called French and Italian
overtures (the Neapolitan opera
also many other variants of the overture
(especially in the 17th century). One should also mention the so-called
canzona-overíure
composers of the Roman opera
overtures of the Venetian
Among the instrumental introductions to church works there were many
single movement
sectional sonata-overtures. They usually consist of two different sections (or
movements) in thematic and often in metrical and
Some of them are like the prelude and fugue type of composition, and others
consist of two homophonic parts, whereas the second part is related to the
dance (typical examples of such introductory
anthems by H.
One more version of the baroque overture (the author names it French-
Italian ) unites compositional features of the French overture and sonata da
chiesa
Thus the so-called French overture and the Italian overture are indeed
the most widespread types of instrumental introductions to operas or oratorios
during the Baroque era. They represent not only two opposite modes of
composition (the two-sectional slow-fast French model and the three*·
241
movement fast-slow-fast Italian model), but also two different types of
phenomenon.
The century of the French overture s popularity among composers retained
the framework of the Baroque era. So the French overture can properly be
considered baroque. On the other hand the Italian overture, though it arose in
the Baroque era, continued its development after
consists in their significance. The Italian overture is only a composite type of
the overture as an introduction to opera, oratorio etc., while the French overture
is a particular, specific, individual musical genre. It is possible to define many of
its specific features in style and form. They were constant during the history of
the French overture from J.-B. Lully to J.S. Bach and G.F. Handel and these
specific features allow the identification of the French overture in any case.
The French overture influenced the style of many works of other genres (see
first movements in some of Handel s concertos and sonatas). This cannot be
said about the Italian overture which does not have such unique stylistic
features. The French overture was frequently used not only in stage music, but
also as an important part of various instrumental works (suites,
It may enter into a synthesis with other genres, for example with sonata da
chiesa,
forming a unique type of choral setting in the first parts of several J.S. Bach s
cantatas (including BWV
found not only right at the beginning, but also within works (see Bach s
Goldberg-Variation ; Act
It is not surprising that Y. Bofarov devotes many pages to the complex
characteristics of the French overture. He describes in detail the specific features
of its contents, characterizes its context of performance, its functions in larger
works (stage or concert), and also its specific features of style and composition.
Following the tradition of the Baroque era, the author describes not only
various opening
of the instrumental suite of that time.
The overture was one of the most widespread baroque genres. Practically
every European composer of that time wrote opening instrumental pieces for
operas, ballets, oratorios, and cantatas. We find a large quantity of overtures
among ensemble and keyboard suites and instrumental concertos. Thus the
history of the development of the overture in the period from the
up to the middle of the 18th is an original contribution to the history of
Western music in the Baroque era.
242
|
| adam_txt |
СОДЕРЖАНИЕ
Предисловие
Глава
в музыкальном театре итальянского сеиченто
Глава
и развитие в эпоху Людовика
1.
Увертюры Люлли
2.
последней четверти
3.
конца
Глава
1.
и развитие в эпоху барокко
2.
Германии и Австрии первой половины
3.
первой трети
Глава
эпохи барокко
Глава
ческие произведения первой половины
Глава
Глава
Примечания
Литература
Указатель имен
Summary
Нотное приложение
SUMMARY
F. Bočarov.
This book is the first published musicological research devoted
particularly to the overture in the Baroque era.
The overture is one of those musical genres, which was originated in the
Baroque era. It was used by European composers during the 17th
centuries in various spheres of their creative work (stage music, concert music
etc.), in various genres (operas, oratorios, orchestral and keyboard suites etc.),
and in works for varying numbers of musicians (from solo to theatrical
orchestra).
The overture is a genre of instrumental music, though it arose in the
musical theatre. This dual nature of the overture allowed it to serve as a link
between stage works and non-stage instrumental genres. Interaction between
these two spheres of music proceeded vigorously thanks to the overture.
Before the origin of the concert symphony in the 18th century, the
overture was a major genre of real orchestral music. The baroque overture
was one of the important sources both for the classical overture, and for the
classical symphony and sonata. However baroque overtures are not only a
transitional stage form on the path to classical overtures, but they have
independent historical significance. They constitute quite a long stage in the
history of the overture with their own logic of development.
However in the baroque overture one can find some features, which
become characteristic of the overtures of later periods (thematic links between
overture and proper opera; program tendencies etc.).
So, it can be claimed that the overture was a very important musical genre
during the Baroque era. But unfortunately there are no enough studies of
such an important genre in musicology. The traditional conception of the
history of the Baroque overture is based on Hugo Botstiber's
Ouvertüre und der freien Orchester/ormen",
But the contents of this book are obsolete and even wrong in many respects.
In contrast Y.
overture during the 17th
in the history of music as a whole.
240
His book consists of an introduction and seven chapters. In the
introduction the justification for the choice of this research theme is given
and a review of relevant musicological literature follows. Chapter
a brief sketch of the prehistory of the overture (from antique times up to the
end of the
the overture during the Italian
the so-called French overture during the reign of Louis
the origin of the French overture, the specific features ofJ.-B. Lully's overtures
and their influence on the stage music and ensemble suites of not only French,
but also English, German and Austrian composers from the second half of the
17th century to the beginning of the 18th century. Chapter
overtures in the European musical theatre of the 18th century, and chapter
to instrumental introductions to oratorios, cantatas and church music of the
Baroque era. In chapter
is discussed and in chapter
overtures in post-baroque music and about the role of the baroque overture
in the development of instrumental music of the classical era. The final chapter
contains the main results of this research.
The author especially notes that not only the so-called French and Italian
overtures (the Neapolitan opera
also many other variants of the overture
(especially in the 17th century). One should also mention the so-called
canzona-overíure
composers of the Roman opera
overtures of the Venetian
Among the instrumental introductions to church works there were many
single movement
sectional sonata-overtures. They usually consist of two different sections (or
movements) in thematic and often in metrical and
Some of them are like the "prelude and fugue" type of composition, and others
consist of two homophonic parts, whereas the second part is related to the
dance (typical examples of such introductory
anthems by H.
One more version of the baroque overture (the author names it "French-
Italian") unites compositional features of the French overture and sonata da
chiesa
Thus the so-called French overture and the Italian overture are indeed
the most widespread types of instrumental introductions to operas or oratorios
during the Baroque era. They represent not only two opposite modes of
composition (the two-sectional "slow-fast" French model and the three*·
241
movement "fast-slow-fast' Italian model), but also two different types of
phenomenon.
The century of the French overture's popularity among composers retained
the framework of the Baroque era. So the French overture can properly be
considered baroque. On the other hand the Italian overture, though it arose in
the Baroque era, continued its development after
consists in their significance. The Italian overture is only a composite type of
the overture as an introduction to opera, oratorio etc., while the French overture
is a particular, specific, individual musical genre. It is possible to define many of
its specific features in style and form. They were constant during the history of
the French overture from J.-B. Lully to J.S. Bach and G.F. Handel and these
specific features allow the identification of the French overture in any case.
The French overture influenced the style of many works of other genres (see
first movements in some of Handel's concertos and sonatas). This cannot be
said about the Italian overture which does not have such unique stylistic
features. The French overture was frequently used not only in stage music, but
also as an important part of various instrumental works (suites,
It may enter into a synthesis with other genres, for example with sonata da
chiesa,
forming a unique type of choral setting in the first parts of several J.S. Bach's
cantatas (including BWV
found not only right at the beginning, but also within works (see Bach's
"Goldberg-Variation"; Act
It is not surprising that Y. Bofarov devotes many pages to the complex
characteristics of the French overture. He describes in detail the specific features
of its contents, characterizes its context of performance, its functions in larger
works (stage or concert), and also its specific features of style and composition.
Following the tradition of the Baroque era, the author describes not only
various opening
of the instrumental suite of that time.
The overture was one of the most widespread baroque genres. Practically
every European composer of that time wrote opening instrumental pieces for
operas, ballets, oratorios, and cantatas. We find a large quantity of overtures
among ensemble and keyboard suites and instrumental concertos. Thus the
history of the development of the overture in the period from the
up to the middle of the 18th is an original contribution to the history of
Western music in the Baroque era.
242 |
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| title | Uvertjura v ėpochu barokko issledovanie |
| title_alt | The overture in the baroque era |
| title_auth | Uvertjura v ėpochu barokko issledovanie |
| title_exact_search | Uvertjura v ėpochu barokko issledovanie |
| title_exact_search_txtP | Uvertjura v ėpochu barokko issledovanie |
| title_full | Uvertjura v ėpochu barokko issledovanie Ju. S. Bočarov |
| title_fullStr | Uvertjura v ėpochu barokko issledovanie Ju. S. Bočarov |
| title_full_unstemmed | Uvertjura v ėpochu barokko issledovanie Ju. S. Bočarov |
| title_short | Uvertjura v ėpochu barokko |
| title_sort | uvertjura v epochu barokko issledovanie |
| title_sub | issledovanie |
| topic | Ouvertüre (DE-588)4172996-1 gnd |
| topic_facet | Ouvertüre Westeuropa |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015662741&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015662741&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT bocarovjurijs uvertjuravepochubarokkoissledovanie AT bocarovjurijs theovertureinthebaroqueera |