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

Abstract

A preference of the 20^th 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 (symphonic or chamber orchestra) 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 consist of structures of the classical form, the soloist instrument is attributed the leading role. The soloist instrument is integrated in the symphony (starting from the transformation of the musical soloist discourse into a symphony within the instrumental concerto), in Prokofiev’s (Concerto Symphony for Cello and Orchestra opus 125, 1953) and Enescu's creation (Concertizing Symphony for Cello and Orchestra, 1901).