Solovyova O. Clavier concerto of the XVIII century in the music of Austro-German composers: theoretical and performing aspect

The research is devoted to the systematization of many aspects of the genre of clavier concerto by Austro-German composers of the XVIII century, which has significant achievements in the scientific practice of researchers from different countries, primarily Austria and Germany. Ukrainian musicology, as part of the scientific and artistic field of Europe, also has developments on this topic, and this dissertation research, on the one hand, systematizes the material developed, on the other – offers an original approach to the role and place of Austro-German clavier concert of the specified time in the performing arts, in particular native. Understanding the complex phenomena that accompany the development of the clavier concerto genre, allows us to draw conclusions about its genre hierarchy, life in the concert life and secular environment of German-speaking countries of the Enlightenment, its role in changing the stylistic paradigm, which entails qualitative changes at all levels of music art: from intonation and speech units to the creation of methodological developments in performance and the skill of playing the clavier. The clavier concerto in the creation of Austrian and German composers of the XVIII century. occupies one of the central places, the emergence of a solo concerto for clavier, whose family includes instruments of wind, plucking and percussion mechanics, namely in the Austro-German musical tradition, arouses primary interest and generates a variety of theoretical concepts. Instrumental «pluralism» is characteristic of the compositional and performing practices of that period and gives rise to many options for the use of solo instruments. Accordingly, certain expressive possibilities are used – hence the diversity of thematism and its development. The evolution of the clavier concerto went from the practice of musical translations of already existing concertos (JS Bach's Weimar transcriptions) to the creation of original opuses, which influenced the formation of stylistic constants. The further «life» of the clavier concerto in the performing environment is clearly different from the genres that developed in parallel, it was also influenced by the evolution of instrument construction, a smooth transition from the plucked to the percussion mechanics with temporary «forgetting» the harpsichord and musical literature for him.