FORMATION AND DEVELOPMENT OF THE CONCERT FORM: FROM MOZART TO LISZT

Abstract

The article presents a comprehensive musicological study of the historical development and stylistic transformation of the instrumental concerto genre in the Western European musical tradition. The author traces the path of the genre's evolution from the era of High Classicism to Late Romanticism, focusing on changes in form, texture, and the interaction between the soloist and the orchestra. Significant attention is paid to the analysis of the classical model of the concerto, which was formed in the second half of the 18th century in the works of the Viennese Classics. The structure of the sonata-symphonic cycle is examined in detail, particularly the specific construction of the first movement using a double exposition (orchestral and solo), as well as the tonal relationships of the main and secondary themes. The author compares the approaches of W. A. Mozart and L. van Beethoven, noting the transition from a transparent, figurative texture to a dramatically saturated and dense sound fabric, which marked the beginning of the symphonization of the genre. A separate section is dedicated to the transitional period of “Pre-Romanticism” and early Romanticism. The influence of technical improvements to the piano on the growing popularity of virtuoso performance is investigated. The role of John Field as a forerunner of romantic pianism is highlighted; he introduced elements of nocturne-like songfulness, refined pedaling, and “poeticized” virtuosity into the concerto genre. A key aspect of the article is the analysis of the transformation of the concerto in the Romantic era (19th century). The author details the process of abandoning strict classical schemes, including the elimination of the double exposition, the integration of the cadenza into the musical development, and the emergence of one-movement poem-type concertos (F. Liszt). The influence of outstanding virtuosos (N. Paganini, F. Chopin, F. Liszt) on the changing balance of forces is considered: from classical competition to the dominance of the soloist or, conversely, to deep symphonic integration. The work proposes a classification of piano concertos of the “post-Beethoven” period into two types: “virtuoso”, where development is based on the contrast of textures and timbres with an accompanying role of the orchestra, and “symphonized”, characterized by thematic development, dramaticism, and equality of parts (J. Brahms, R. Schumann). The article demonstrates how the concerto genre, while retaining its virtuoso nature, adapted to the aesthetic demands of Romanticism by absorbing features of the symphonic poem and expanding the expressive possibilities of solo instruments