About French Violin Concertos at the last third of the 19th century.
Background.In the first decades of the 19th century a violin concerto’s genre was developed very actively in France through creativity of R. Kreutzer, P. Rode, P. Baillot, Ch. Lafont, as well as J. F. Mazas and F. A. Habeneck. And if we have some general ideas about these works, then further ways of the national genre branch are little inves-tigated in the domestic musicology. For example, the dissertation by V. Velikaya (1992) represents only the works by E. Lalo and C. Saint-Saens (op. 61) among French Violin Concertos at the 2nd half of the 19th century. Deficient research degree of this material determines the relevanceof stated topic. The objectivesof this study are the attrac-ting researches attention to French Violin Concertos at the last third of the 19th century and presentment of national genre branch panorama. There has been realized musical-theoretic analysis of basic structural elements, as well as historical approach noting pre-mieres and publications dates, dedication names, and first performers. Reference of the foreign material is complemented by musical examples from considered works. C. Saint-Saens’s Concerto A-dur (1859) demonstrates author’s technical compositional proficiency with masterful development of opening theme motives, as well as independent thinking with avoiding flaming pathetic of Concertos by H. Vieuxtemps (Nos. 4, 5) and H. Wieniawski (Nos. 1, 2). Here we find quite sanguine and objective manner of utte-rance. The choice of the compact one-movement structure is driven by a prompt execution of the P. Sarasate’s request, also as the reluctance to repeat, because little earlier com-poser created three-movement Violin Concerto C-dur (1857–1858). The stylistics of this opus reveals his belonging to the early creativity period, as indicated, in particular, by the abundance of festive moments in all movements of the cycle. The far-famed Concerto No. 3 (1879–1880) by C. Saint-Saens is the undisputed masterpiece, because it success-fully combines the accomplished compositional technique with the sensuality of emotions. Two Violin Concertos (1873 and 1879) by E. Lalo are attractive with their brilliant and colorful orchestration and springy rhythmic, which inherit Berlioz’s tradition. Often the author achieves this through alternation of double and triple rhythmic patterns in different embodiments. Highly original melodic-harmonic thematism gives the incon-trovertible advantage to Concertos by E. Lalo. B. Godard’s Violin Concertos (1877 and 1891) often comprise talented musical ideas: whether it’s melodic findings, or original orchestral effects. At times the com-poser lacks the skill to refine a felicitous musical thematism, so that it is different from C. Saint-Saens. On the other hand B. Godard’s lyric has its own unique inimitable shade of subtle melancholy and sincerity. It sometimes reaches fervor narration that is not so common for C. Saint-Saens. B. Godard was influenced by his teacher H. Vieuxtemps, but at the same time he showed the individual talent side, which undoubtedly testifies to the originality of his creative person. The incomplete Concerto A-dur (1878–1879) by G. Faure demonstrates a completely different feelings sphere, which contrasts with the above-described works. There are neither lush genre sketches like E. Lalo nor sensitive expression like B. Godard, but narrative lyrics prevails here. Schumann’s influence puts this Concerto somewhat apart from extrovert active opuses by E. Lalo, B. Godard and C. Saint-Saens. Also involuntary comparisons with C. Saint-Saens arise when we turn our attention to the creative personality of T. Dubois. They are united by their lifetime dates, widely represented instrumental line (Symphonies, Piano Concertos, Violin Con-certo, Concert Suite), moderate romanticism, normative musical language. Concerto d-moll (published in 1898) by T. Dubois is very traditional for the time of its creation. It reveals the academic composer style. The resultsof the research bring to light that authors of examined works are often violinists themselves (E. Lalo, B. Godard, J. Garcin, A. Toudou, L. Grobet). In addition, powerful traditions of French and Franco-Belgian violin schools are of great importance in this matter. The present results are significant in narration of little-known French au-thors. We conclude that discussed here Violin Concertos demonstrate inertia, tradition-alism, somewhat typical in French music, that reflected in compositional structure and melody-harmonic thinking. It should be noted three-movement structure without adding poem principles, also as aspiration to briefness of form (without overgrowth of cycle even using four-movement structure). Traditionally, French composers are paying atten-tion to timbre aspect of sounding and clarity of presentation. There is difficult to find the display of philosophicity, reflection or dramatic effect (unlike German Violin Concertos by R. Schumann, J. Brahms, M. Bruch, C. Reinecke, for example).