The influence of baroque musical traditions on the genre of J. Haydn’s cello concerto no. 2

The instrumental concert of the Classical era was formed under the influence of musical and textual models of solo and ensemble music of the Baroque era. The principles of virtuoso concertation, the nomination of a soloist from the ensemble mass, characteristic of the genre of the instrumental concert of the period of Viennese classicism matured in the Baroque era. The point of intersection was the typed thematic-figurative formulas, the shapes of the parts of the concert. These issues have been studied in detail in the works of musicologists. The issues of continuity of the instrumental concert genre of the forms of ensemble music-making remained on the periphery of research. This aspect has been studied in the works of V.M. Akshentseva, F.B. Sidtikova, I.V. Alekseeva. Thus, I.V. Akshentseva notes that the genre of instrumental concerts of Y. Haydn was influenced by the “Baroque concerto grosso, concerto for solo instrument with basso continuo, concerto for chamber orchestra, as well as trio sonata” [1. P. 37]. The composition of the orchestra in the concert is far from the classical double composition of a large orchestra. However, it is typical for a large instrumental concert by J.Haydn. This is a double composition of stringed instruments and woodwinds (2 Oboen. 2 Horner)[. The group of differentiated strings - Violin I, n,Viola,Violoncello,KontrabaB. When considering the functional-orchestral mass according to the principle of subordination, we see that it is divided into two layers. The upper one is solo, the lower one is basso continuo. This is clearly seen in the presentation of the main part of the tutti orchestra. At Violin I, II, the main theme is held. Woodwinds perform the function of sub-echoes or duplicating melodies. Violoncello, KontrabaB perform the bass. the ostinate function. This sound is typical for the distribution of voice functions in a Baroque trio sonata. In concerts of Y. Haydn reveals a situation in which the functions of ensemble music-making are constantly changing. Genetically, this phenomenon goes back to the type of Baroque instrumental dialogue, as well as to “the idea of organizing space through the contrast of different timbre and density of sound masses” [3. P. 39]. Such an organization of timbre drama is also characteristic of the genres of trio sonatas, chamber sonatas, concerto grosso. In Cello Concerto No. 2. Haydn can be found an even more ancient technique in timbre drama, dating back to the Middle Ages - colla parte, duplication in the score. The application of the principles of Baroque ornamentation of thematism in the 2nd cello Concerto by J. Haydn. There is an intensive development of the melodic voice in the soloist’s part. During this period, several factors influenced the development of voices. The upper voice began to separate from the ostinate complex of voices, which symbolized the beginning of the development of the homophonic-harmonic style. The development of thematism made it possible to express emotions, affects, and movements. In instrumental music, there were repetitive turns decorating, ornamenting, and figuring the melody. One of the methods of melodic ornamentation is associated with reference tones. The first one is aimed at preserving the reference tones. Melodic ornamentation does not change the essence of the basic tones. In the first part of the concert, there are various forms and types of figures and passages. The figurative movement organized by the trioles of the sixteenth is compared with the gamma-like movement of the thirty-second notes. The passages are organized in such a way that the upward movement begins with a return melodic turn. At the same time, the soloist must observe the smoothness of the bow movement, the unity of the melodic line. The author declares no conflicts of interests.

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