The interchangeable concerto : historical precedence and composition of the work
The interchangeability of instrumental soloists in a given concerto solo is essentially a Baroque practice. The majority of concerto transcriptions lie in the Baroque Period and the Twentieth Century. Much of the attitude toward transcription comes from economic considerations as well as the desire...
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2011
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| Online Access: | http://cardinalscholar.bsu.edu/handle/handle/183065 http://liblink.bsu.edu/uhtbin/catkey/447776 |
| Summary: | The interchangeability of instrumental soloists in a given concerto solo is essentially a Baroque practice. The majority of concerto transcriptions lie in the Baroque Period and the Twentieth Century. Much of the attitude toward transcription comes from economic considerations as well as the desire to increase the utility of specific compositions. The creation of the interchangeable concerto is an outgrowth of this practice. In a work where the individual solo parts are both idiomatic and unique, interchangeability may provide a new and exciting addition to the approach of the composition of concerti and other works for solo and orchestra in the future.The work has as its main feature three interchangeable idiomatic concerto solos. Only one soloist of the three is featured per performance. While each of the three concerto solo parts is idiomatic for the specified instrument, each contains different material. The term interchangeable is used to describe the solos, as the solo itself is interchangeable with the single orchestral accompaniment, not merely a transcription of the single solo line. These features allow the concerto a greater potential for repeated performances by the same organization, providing utility for the work, and as far as it is known, make this work unique.The fundamental objective of the implementation of a single orchestral accompaniment with different concerto solos is realistic. The utility of the work was proven in the recording of the three versions of the concerto.The first chapter of the paper deals with the problem, purpose and uniqueness of the project. The second chapter of the paper is a brief review of transcription of works for soloist and orchestra. The third chapter is an analysis of the composed interchangeable concerto, Essay. The fourth chapter is a summary of the project. Appendix A is a list of transcriptions of works for soloist and orchestra, compiled from numerous sources. Appendix B is a list of addresses to which inquiries were sent concerning the project in seeking similar repertoire. Appendix C is the full score of the concerto. In addition to the paper and score, a reel-to-reel recording was made of all three concerti, giving complete documentation for the project. === School of Music |
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