Development of the Genre of Russian Concerto for Orchestra Since the Early 1960s
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Abstract
The article examines the main trends in the development of the genre of the concerto for orchestra in Russian music in the second half of the 20th – beginning of the 21st centuries from the standpoint of the stageness theory. There are three stages. The first stage covers the time period from the early 1960s – to the mid 1970s and is characterized by the assimilation of the genre that has developed in Western European music, in the context of modern Russian musical culture. At this stage, the genre of the concerto for orchestra is refracted in line with such stylistic trends as neofolklorism, neoclassicism, as well as in the context of various stylistic experiments related to jazz and popular music. The second stage takes place during the second half of the 1970s and until the mid-1980s, a characteristic feature of the genre development in this period is its active interaction with the polystylistics method. The third stage begins in the second half of the 1980s and continues to thepresent. The peculiarities of this stage are the refraction of the concerto genre for orchestra in the context of stylistic pluralism, the individualization of the content of the works. A new phenomenon in the history of the orchestral genre is its implementation in the sacred space.
Keywords: instrumental concert, concerto for orchestra, concerto grosso, stageness theory, genre, style.
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