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«“√ “√ √“™∫— ≥±‘ µ¬ ∂“π ªï ∑’Ë Û ©∫— ∫∑’Ë Ù µ.§.-∏.§. ÚıÙ¯ 1047 ≥— ™™“ ‚ §µ‘ ¬“πÿ √— °…å ¥â «¬§«“¡ “¡“√∂¥â “π°“√ª√–æ— π∏å ‡æ≈ß∑’Ë ´— ∫´â Õπ¢Õßπ— °·µà ߇æ≈ß ·≈– §«“¡ “¡“√∂„π°“√∫√√‡≈ߥπµ√’ ¢—È π Ÿ ß¢Õßπ— °¥πµ√’ ∑”„Àâ ∫√√¬“°“» ¢Õß°“√ª√–™— π°— π„π·ßà ‡π◊È ÕÀ“¥πµ√’ ∑’Ë Õ¬Ÿà „π∫∑‡æ≈ß°≈“¬‡ªì πÀ— «„®¢Õß ¥πµ√’ ¡“µ√∞“π§≈“ ‘ ° °“√∫√√‡≈ß ‡™‘ ߪ√–™— π„π∫∑‡æ≈ßµà “ß Ê ∑ÿ °«— ππ’È ®÷ ߬— ߧߡ’ Õ¬Ÿà ‡æ’ ¬ß·µà ª√“°Ø„π√Ÿ ª·∫∫ ∑’Ë ‡ª≈’Ë ¬π‰ª‡ªì π°“√ª√–™— π‡™‘ ߇π◊È ÕÀ“ ¥πµ√’ ∑’Ë ¡’ §«“¡‡ªì ππ“¡∏√√¡·≈–´— ∫ ´â Õπ´à Õπ‡ß◊Ë Õπ¡“°¢÷È π°«à “‡¥‘ ¡ ∫√√≥“πÿ °√¡ Brown, Clive. Classical and Romantic Per- forming Practice 1750-1900. London: Oxford University Press, 1999. Randall, Don Michael. Harvard Dictionary of Music, 4 th ed. Cambridge, Massachusetts: Harvard University Press, 2003. Roeder, Michael Thomas. A History of the Concerto. Oregon: Amadeus Press, 1994. Sadie, Stanley, ed. The Norton/Grove Concise Encyclopedia of Music. New York: W.W. Norton, 1994. «’ ¥‘ ∑— »πå Õâ “ßÕ‘ ß ≥√ß§å ƒ∑∏‘Ï ∏√√¡∫ÿ µ√. ‡æ≈ߧÕπ·™√å ‚µ¡À“√“™“ . ‡¥’Ë ¬«√–π“¥‡Õ°‚¥¬ ∂“«√ »√’ ºà Õß √à «¡°— ∫ «ß´‘ ¡‚øπ’ ÕÕ√å ‡§ µ√“·Àà ß®ÿ Ó≈ß°√≥å ¡À“«‘ ∑¬“≈— ¬ Õ”π«¬‡æ≈ß‚¥¬ æ— π‡Õ°™Ÿ ™“µ‘ æ‘ ∑— °…“°√, ÀÕª√–™ÿ ¡®ÿ Ó≈ß°√≥å ¡À“- «‘ ∑¬“≈— ¬, ÚıÙÚ. ª√–¥‘ …∞‰æ‡√“–, À≈«ß. ‡æ≈ßÕ“ÀπŸ . ‡¥’Ë ¬« √–π“¥‡Õ° Ú √“ß‚¥¬ ≥— ∞æß»å ‚ «— µ√ √à «¡°— ∫«ß®ÿ Ó«“∑‘ µ°‘ µµ‘ ¡»— °¥‘Ï , ÀÕª√–™ÿ ¡ ®ÿ Ó≈ß°√≥å ¡À“«‘ ∑¬“≈— ¬, ÚıÙ˜. Õ‘ ∑∏‘ ÿ π∑√ «‘ ™— ¬≈— °…≥å , Õ”π«¬°“√ √â “ß. ¿“æ¬πµ√å ‡√◊Ë Õß ‚À¡‚√ß, ÚıÙ˜. Bach, Johann Sebastian. Concerto for Four Pianos and Orchestra in A minor BWV 1065. Pianists: Martha Argerich, Evgeny Kissin, James Levine, Mikhail Pletnev; Birthday Festival Orchestra, The Verbier Festival and Academy. Beethoven, Ludwig van. Piano Concerto No.1 in C major, Op.15. Pianist: Murray Perahia; Conductor: Sir Georg Solti; The London Symphony Orchestra. Falla, Manuel de. Nights in the Gardens of Spain. Pianist: Daniel Barenboim; Con- ductor: Placido Domingo; Chicago Sym- phony Orchestra. Mercadante, Saverio. Flute Concerto in E minor. Flutist: Andrea Griminelli; Con- ductor: Leone Magiera; New York Philhar- monic. Abstract Concerto Natchar Socatiyanuruk Associate Fellow of the Academy of Art, The Royal Institute, Thailand The term Concerto conveys an image of a virtuoso instrumental soloist displaying dazzling skills, either along with the accompaniment of an orchestra or against an orchestra. Composers have created rich variety of works since the seventeenth century. The concerto, however, meant something different to each composer during the past three hundreds of years. The contrast of sounds and characters between the two sides seems to be the most significant feature during the high peak of concertos in the seventeenth through the nineteenth centuries. After such period, however, the form of the concerto tended to leave, solely, the soloistic idea of the composition. The sense of the concerto has also been apparent in the music of the East, comparable to that of the Western concerto. In the history of Thai music, it has been obvious that the idea of solo concerto as well as that of orchestral concerto existed during the past century, for the initiations of Luang Pradit Pairoh himself and his disciples, and for the adaptations of composers such as Bruce Gaston and Narongrit Dhamabutra, despite the fact that there has been no links between the two sides of the world in the case of Luang Pradit Pairoh’s. The main idea of concertos, after all, purely emerges from the need of musicians who were well equipped with higher artistic caliber. Key words : Concerto, Thai Music