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SOURCE:   Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art.
Issues of Theory and Practice
. Tambov: Gramota, 2015. № 1. Part 1. P. 198-201.
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Fialko Olesya Vladimirovna
N. G. Zhiganov Kazan State Conservatory (Academy)

Abstract. The return of harpsichord into musical practice at the turn of the XIX-XX centuries was marked by its entering the sphere of the interests of modern composers. The systematization and analysis of modern harpsichord repertoire identified the most stable model while creating compositions for the revived instrument - solo concerto. The article examines the period of the neo-classic harpsichord concerto of the 1920-1930s represented by the compositions of M. de Falla, F. Poulenc and B. Martin?, who most clearly represented the initial stage of forming modern harpsichord style and laid the foundation for the development of the genre of harpsichord concerto during the subsequent decades.
Key words and phrases: клавесин в ХХ веке, репертуар для клавесина, концерт для клавесина, Фалья, Пуленк, Мартину, Ландовская, неоклассицизм, harpsichord in the XX century, harpsichord repertoire, harpsichord concerto, Falla, Poulenc, Martin?, Landovskaya, neo-classicism.
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