THE PIANO CONCERTO IN THE CONTEXT OF THE EVOLUTION OF PIANO REPERTOIRE

Abstract

This article delves into the history and evolution of the piano concerto, viewing it not simply as an independent genre, but as an integral mirror of the development of all piano creativity. From the first timid steps to the complex multifaceted canvases of modernity, the piano concerto has constantly adapted and transformed, reflecting changes in musical aesthetics, compositional techniques, and, in fact, the capabilities of the instrument itself.The study begins with the origins of the genre, tracing its connection with Baroque concert principles and the early piano experiments of K. F. E. Bach and J. Haydn. Particular attention is paid to the formation of the classical piano concerto in the work of W. A. Mozart, who laid the fundamental foundations of the form and the interaction of the soloist with the orchestra. Next, we consider L. Van Beethoven, whose brilliant legacy brought the genre to a new level of symphonization and dramatic depth, significantly expanding the expressive capabilities of the piano.The core of the article is devoted to the Romantic era, which became the golden age of the piano concerto. It analyzes how Romantic composers, in particular F. Chopin, R. Schumann, F. Liszt, used the concerto to demonstrate virtuosity and embody the most subtle emotional nuances, as well as how J. Brahms enriched the genre with monumentality, lyricism, and national flavor. It is emphasized how this period saw an intensive development of piano texture, which included new techniques of octave technique, arpeggios and pedalization, which became an integral part of the virtuoso style.A separate section is devoted to the transformations of the piano concerto in the 20th century. The searches and experiments of B. Bartók, who introduced elements of neoclassicism and folklore motifs, are considered. The influence of jazz intonations in the works of J. Gershwin is analyzed. The avant-garde trends that led to the expansion of the sound range and new performance techniques are also studied.The final part of the article is devoted to the contemporary piano concerto, where postmodern approaches, minimalism, sonoristics, and the influence of electronic music prevail. The contribution of Ukrainian composers, such as L. Kolodub, M. Skoryk, and E. Stankovych, to the development of this dynamic genre is emphasized.In conclusion, the article demonstrates that the piano concerto is not only a landmark genre of academic music, but also a unique testament to the continuous evolution of piano expression, reflecting the most important stylistic and technical changes over the centuries.