The metamorphoses of concernity aesthetics in Krzysztof Penderecki’s violins and doppio concerts

Abstract

The First and Second Concerts for violin and orchestra and the Concerto doppio for violin and viola with orchestra by Krzysztof Penderecki are analyzed in terms of expressing the concernity idea. An attempt was made to trace the dynamics of concernity aesthetics in the mentioned works. It is emphasized that works in different genres for stringed instruments became the artist’s art search laboratory, at the same time, the pinnacles of the main compositional and stylistic periods in the composer’s life. It is a 1960 avant-garde piece for 52 strings chamber orchestra ―The Crying for Hiroshima Victims‖ and 48 Strings ―Polymorphia‖, written a year later. The Master’s return to subtle self-reflection is a milestone, and string instruments have also played a significant role in this process. It has been determined that the metamorphoses of concerto aesthetics in semantic invariant of violin concert on the example of violin concerts by K. Penderecki manifested in the following dynamics: in the works of the author deep tragedy (the First concert), deeply reflexive, sophisticated, and sophisticated music were manifested. Thus, the concertize process in the works is carried out through a return to the symphonic thinking and theatrical procedural, while the musical thinking of the ―last great symphonist‖ (First and Second concerts) is supplemented by the iconic work of neo-romantic stylistics with vivid virtuosity (Concerto doppio). Such polar stylistic features create an artistic concept and predetermine the metamorphoses of concernity aesthetics in the Master’s violin and doppio concerts, which is a movement from form to process, when concertize as a process becomes the main concernity idea. New horizons of such development constitute further prospects of this research.