Genre stylistics of the concert for accordion and quarter-tone accordion with the chamber orchestra of Joachim F. W. Schneider
DOI:
https://doi.org/10.24195/artstudies.2025-2.8Keywords:
musical art, accordion art, genre stylistics, concert, composer, performance, quarter-tone accordionAbstract
The article is devoted to the work of the modern German composer Joachim Friedrich Wilhelm Schneider, in particular his Double concerto for accordion, and quarter-tone accordion with chamber orchestra. The relevance of the genre of the accordion concerto with the orchestra in the work of German composers of the late 20th – early 21st centuries has been revealed.The artistic influence of J. Schneider in popularizing the genre of the accordion concerto with the orchestra in the world musical space has been studied. A creative portrait of J. Schneider, the features of his compositional style and vectors of artistic activity have been provided. The place of the composer’s creative searches in the field of microtonal music has been revealed.The influence of the Finnish accordionist and composer Veli Kujala and Finnish accordionist and organist Susanne Kujala in popularizing the music of J. Schneider has been determined.The comprehensive compositional analysis of the Double concerto for accordion and quarter- tone accordion with chamber orchestra by J. Schneider, its genre and stylistic features, has been carried out. The manifestations of the ensemble interaction of soloists and the orchestra with each other, the specificity of soloing accordion parts and various types of communicative situations have been studied. The presence of solo inserts in the violin and horn parts in the musical canvas has been revealed. The place of modern techniques of composer writing, in particular serial technique, sonorics and pointillism in the formation of the composition has been revealed. The genre features of the specified concerto have been analyzed, which consisted in the hybridization of the genre, primarily in the implementation of accordion solo intermezzos between parts of the composition and the absence of a solo cadence. The features of the use of microtonal alteration signs in the composition have been studied. The role of «extended» performance techniques in the soloist parts (glissando on 3/4 tone) and the orchestra (pizzicato fluido, glissando, whistle tones) has been revealed. The technical difficulties of performing the concerto have been identified, as well as the presence of a significant number of composer’s instructions for the soloists’ and orchestral parts.The conclusions summarize the general results of the study. The relevance of further scientific research devoted to the study of the genre of the concerto for accordion and the orchestra in the work of modern German composers and the genre of the concerto for quarter-tone accordion and orchestra in modern musical art has been determined.
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