The Concertizing Spirit in the European Music in the first Half of the 20th Century

Abstract

A preference of the 20th century composers is to be noticed not only in the combination of the symphonic with the concertizing elements (Prokofiev, Honegger, Enescu) but also in the impregnation of the compact orchestra assembly (symphony or chamber) with specific concertizing elements – thus developing the genre of ‘concerto for the orchestra’. The rapport between the soloist and the orchestra changes in direct connection to the configuration of the form in which the concertizing compositions are made up: if the latter basically consist of structures of the classical forms, then the soloist instrument is attributed the leading role, without the orchestra’s representing only the support of the accompaniment and the harmonious and modulant milieu, but actually representing also a means of thematic support and transformation.