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CONTRASTIVE VIEWS ON THE NEOCLASSICAL TRIPLE CONCERTO FOR SOLOISTS AND ORCHESTRA: BOHUSLAV MARTINU AND PAUL CONSTANTINESCU
Abstract
“Stylistic synchronism” and “aesthetic analogy” are two of the most spectacular phenomena in the dynamics of the present-day artistic world which may acquire special (and even paradoxical!) connotations when they manifest “spontaneously” – i.e. involving no deliberative/predetermined factors. In this context, non-intentionality and, respectively, the absence of any individual attempt to relate to an antecedent (alternative) reference enhances the importance of identifying the stylistic and language vectors that shape phenomena which are very similar but completely independent in their manifestations due to a significant “interval” that separates them in time and space. This article aims to highlight a phenomenon of stylistic “synchronism” using as a common platform a musical genre – “the instrumental concerto for several soloists” – and two particular cases represented by two composers who never met and never listened to each other’s works. More precisely, this paper focuses on the Concertino for piano, violin, cello and orchestra by Bohuslav Martin? and the Triple Concerto for violin, cello, piano and orchestra by Paul Constantinescu. Besides their virtual contemporaneity and their basic neoclassical orientation, which formed the logistics of our comparative analysis, we were surprised to discover in-depth bonds between the two works, both at the level of compositional strategies and at that of sonority per se.
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