Ensemble concertation by I.F. Stravinsky and B. Martinů

The relevance of this article stems from the growing interest in the concerto grosso – a quintessential Baroque genre – and the identification of its unique characteristics and their individual manifestations in the works of major 20th-century composers. The study focuses on the dynamics of ensemble concertation in two landmark instrumental works from the 1930s: Igor Stravinsky’s Concerto in E-flat “Dumbarton Oaks” and Bohuslav Martinů’s Concerto for Harpsichord and Small Orchestra. These works were selected because they exemplify a distinctive complex of Neo-Baroque concertation traits that would continue to evolve throughout the second half of the century. Methodologically, the author employs the principle of historicism, utilizing both analytical and comparative research methods. The aim of the study is to identify the commonalities and differences in the Neo-Baroque techniques employed by Stravinsky and Martinů. The specific objectives include: 1) examining the structural and semantic characteristics of the Baroque concerto grosso; 2) explaining the reasons for its 20th-century revival; and 3) characterizing significant Neo-Baroque works created during the first half of the century. The main body of the article compares the concertos by Stravinsky and Martinů across several parameters: the variability of the concertino and ripieno instrumentations; the interplay between solo and ensemble concertation; the nuanced juxtaposition of concertation groups (involving two or three instruments with distinct timbral qualities); and the transformation of the Baroque concerto form through the incorporation of lyrical sections based on Slavic-inspired thematic material. In the conclusion, the author traces lines of continuity from the concertos of the first half of the 20th century to the Russian Neo-Baroque Concerti grossi from the 1960s through the 1990s, highlights the renewal of timbral dramaturgy and ensemble-based concertante writing, and demonstrates new compositional models of the concerto grosso that synthesize the early genre with modern symphonism characterized by a blend of meditation and conflict.

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