Articulo de Musica
Articulo de Musica
Articulo de Musica
rapport à une normalité plus large dans un écart par rapport au système qui
l’entoure,” Nicolas Meeùs, “Les rapports associatifs comme
déterminants du style,” Analyse musicale 32 (1993): 9.
9 Jean-Jacques Nattiez, Fondements d’une sémiologie de la musique
opera from 1871 until 1904, who also enjoyed great fame as a
private teacher.
24 Friedrich Seitz, 1848–1918, founder of the School of music in
Magdeburg.
25 Ferdinand Küchler, 1867–1937, professor with the Academy
Magdeburg.
27 Leo Portnoff, 1875–1940, American teacher of Ukrainian
origin.
Lachat-Sarrete ▪ Corpus/Counter-Corpus 65
of Lyon.
30 Hans Milliès, 1887–1957, German teacher. The Concertino in
Saint-Petersburg Conservatory.
36 Arkadie Kouguell, 1898–1985, American pianist and composer
of Russian origin.
37 Roger Roche, violist with the Loewenguth Quartet & Doury
of Paris.
39 Magali Soulatges, “Désordre et prolifération des genres,” in Le
1840.
41 Charles de Bériot, 1902–1870, professor with the
Paris.
43 Giovanni Battista Viotti, 1755–1824, composer of twenty-nine
violin concertos.
Lachat-Sarrete ▪ Corpus/Counter-Corpus 67
Display of virtuosity
In all of the studied concertos, virtuosic passages
occupy a significant portion of each work. When
there are three movements, virtuosic passages are
more common in the first movement. Composers
inserted such passages after each statement of a
Lachat-Sarrete ▪ Corpus/Counter-Corpus 75
1831.
Lachat-Sarrete ▪ Corpus/Counter-Corpus 79
56 “La virtuosité n’est pas seulement une mécanique des doigts mais aussi
un élément indispensable de la vie musicale,” quoted by R. Larry Todd,
“Nineteenth-century Concertos for Strings and Winds,” in The
Cambridge Companion to the Concerto, ed. Simon P. Keefe
(Cambridge UK : Cambridge University Press, 2005), 122.
57 Cécile Reynaud, “La notion de virtuosité dans les écrits
Facit
The corpus and counter-corpus pair may now be used
to try to understand the expectations of the
nineteenth century public regarding the concerto. The
counter-corpus is supposed to provide information
about the standards of the time rather than focusing
on innovative or diverting pieces.
Some aspects of the counter-corpus faithfully mirror
the standards of the corpus. Thus, apart from
exceptions, which are readily explained by the
purpose of the student concertos, there are almost
always three movements. This corresponds to the
standard of the concertos of the nineteenth century
and leads one to suppose that the attempts to
introduce a fourth movement to the concerto on the
model of the scherzo in the symphony did indeed
surprise the public. Wished for by Schumann, 61 such a
movement is present in some works of the nineteenth
century, in particular in the Concerto pathétique op. 93 by
Moscheles 62 dated 1835-1836, in a concerto by
Litolff, 63 and in the B♭ Major Piano Concerto op. 83
by Brahms dated 1878-1881, but the movement was
never essential to the form.
Studying student concertos shows progressive
questioning of the conventional three-movement
form, and in particular their sequence. One of the
first works in the repertoire that is emblematic of this
composer.
Lachat-Sarrete ▪ Corpus/Counter-Corpus 85
Bibliography
Adam, Louis and Ludwig Wenzel Lachnith. Méthode ou
principe général du doigté pour le forte piano. Paris:
Sieber, 1798.
Adler, Guido. Der Stil in der Musik. Leipzig: Breitkopf
& Härtel, 1911.
Amster, Isabella. Das Virtuosenkonzert in der ersten Hälfte
des 19. Jahrhunderts: Ein Beitrag zur Geschichte des
deutschen Klavierkonzerte. Wolfenbüttel, Berlin:
Kallmeyer Verlag, 1931.
Audéon, Hervé. “Le Conservatoire et l’édition
musicale: l’activité du Magasin de musique”
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Alain Poirier, 205–226. Paris: Buchet/Chastel,
1999.
Bartoli, Jean-Pierre. “La notion de style et l’analyse
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musicale 17 (1989): 11–14.
Dratwicki, Alexandre. Un nouveau commerce de la
virtuosité : émancipation et métamorphoses de la musique
concertante au sein des institutions musicales parisiennes
(1780-1830). Lyon: Symétrie, 2005.
François-Sappey, Brigitte. Robert Schumann. Paris:
Fayard, 2000.
Lachat-Sarrete, Priscille. “L’entrée du soliste dans les
concertos de 1750 à 1810, à travers les œuvres de
Johann Christian Bach, Haydn, Mozart, Viotti et
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Lindeman, Stephen D. The Concerto: A Research and
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Lachat-Sarrete ▪ Corpus/Counter-Corpus 89
Abstract
In order to establish the implicit expectations of the
public for concertos in the nineteenth century, a
“counter-corpus”, which, following Jean-Jacques
Nattiez, may be compared to the main corpus, is
obtained by applying to the standard repertoire a
sorting filter comprising essential and secondary
conditions. This counter-corpus consists of concertos
and concertinos written for students, which offered
intermediate-level instrumentalists the opportunity to
discover the principles of the concerto genre.
Although some of the theatrical effects specific to the
genre were neglected in the works of this counter-
corpus, these works nevertheless provide some
reliable information about the public’s expectations
for concertos and the conventions regarding the
three-movement form. Displaying virtuosity was a key
issue for the composers of student concertos. These
virtuosic passages appear to be almost always uniform
with a formula developed at will, without being
mingled with other formulas. This leads to the
question of whether this is a characteristic of the
concerto repertoire or a deformation due to the
sorting filter. It also invites reassessment of the
importance of the nineteenth century virtuosic
concerto in comparison with the symphonic concerto
of the nineteenth century.