THE FORMATION OF THE TRUMPET CONCERTO GENRE IN AUSTRIAN MUSIC OF THE PRE-CLASSICAL ERA

Abstract

At the end of the sixteenth century, the trumpet was relatively quickly integrated into art music, which necessitated its purposeful use in various contexts, not just in purely applied ones, as it had been before. A new performance style on the natural trumpet, called “clarino”, crystallized and became one of the most prominent markers of Baroque music in general. In the second half of the seventeenth century, new examples of trumpet literature by M. Cazzatti, J. B. Viviani, and others appeared in European music. The purpose of the article is to actualize the achievements of the Baroque and early classical repertoire for trumpet and to emphasize the role of the Austrian school in its formation. The research methodology is based on historical, cultural and analytical methods.In addition to Italy, Austria played a key role in the development of new areas of trumpet functioning, where this instrument was widely used in both church and court music. One of the determining prerequisites for this process was the intensive growth of the role of the Vienna Court Chapel. An additional factor that contributed to the expansion of the trumpet repertoire was the active musical life at the bishops' residences, particularly in Salzburg and the Kremsier. At this time, a powerful generation of Austrian national composers was being formed, most of whom turned to the genre of trumpet sonata: H. Schmelzer, P. J. Veivanovsky, and H. I. F. Biber. This trend continued at the stage of formation of the trumpet concerto, represented by the works of such Austrian composers as Johann Josef Fuchs, Johannes Matthias Sperger, Georg Reutter Jr.Scientific novelty: The present study examines most of these works in more detail and often for the first time in Ukrainian musicology, as well as identifies the performers for whom they might have been written.Conclusions: The main stylistic differences of the works for the Viennese and Salzburg court chapels are established: in the first case (G. Reuter Jr.) these are three-part compositions with a characteristic alternation of fast-slow-fast parts, in the second (M. Haydn, L. Mozart) – two-part compositions with signs of bipartiteness, that is, the inclusion of features of all four traditional parts in a two-part form.