What works are combined into musical cycles? Lectures on the discipline “Analysis of musical works” Module Aesthetic and methodological foundations of the analysis of a musical work Section Musical art as one of the forms of social consciousness.
Section 2 Genres of choral music
Topics 11 -12 CYCLES IN VOCAL AND CHORAL MUSIC
Composers often combine vocal, choral and instrumental works into cycles. Let us recall Camille Saint-Saëns’ instrumental cycle “Carnival of the Animals.” The music of this work is full of humor, it contains the voices of animals.
The most favorite play of many fans of the work of K, Saint-Saëns is “The Swan”. The main theme of this work, performed by the cello, depicts the graceful movement of a swan on the water.
A vocal cycle is a cycle of romances or songs united by one idea.
Remember which plays from C. Saint-Saens’ cycle “Carnival of the Animals” you listened to in previous classes. What unites the works of this cycle?
Russian composer Modest Petrovich Mussorgsky created an unsurpassed vocal cycle “Children's”, consisting of seven musical miniatures for performance by one or two vocalists accompanied by piano. The composer himself wrote the poems for each of these small scenes.
A miniature is a small piece of music, most often an instrumental piece.
In the first play, entitled “With the Nanny,” a child persuades his nanny to tell different stories. The peculiarity of this work is that the composer conveys the boy’s emotional appeal through recitative. In this case, the stressed syllables in the words akh coincide with the melodic leap. Thanks to these musical means, the impression of a child’s living speech is created.
The second work of the cycle - “In the Corner” begins with a “high” emotional note of a nanny who is angry with her pet Mikhasik. Continuous eighth notes are a kind of accompaniment to the vigukuvan: “Oh, you prankster! I unwound the ball and lost the rods! Wow! Got all the hinges down! The stocking is splattered all over with ink!” 3 angles to hear the boy's heart-warming response, embodied in minor intonations with a falling ending. The baby explains to the nanny that it was the kitten who caused the harm, not him.
Cover of printed sheet music for the “Children’s” series. Mussorgsky
Mikhas's speech gradually develops - the dynamics change, the pace accelerates, the uncertain intonations of excuses develop into the cries of an offended child. In the last four bars, the tempo of the music slows down somewhat - the boy “threatens” the nanny that he will not love her in the future, since she insulted him.
The cycle included the plays “Bug”, “With a Doll”, “Bedtime”, “Sailor the Cat”, “On a Stick”. Others, which the composer played for his friends, have not been preserved in musical form.
In each part, children show their character traits in various life situations. To achieve this, the author harmoniously combines words and music. Thanks to this interaction, each of the musical and poetic plays creates the impression of a holistic and complete work, which has the right to life outside the cycle.
Modest Mussorgsky, “With a Nanny”, “In the Corner” from the vocal cycle “Children’s”.
What was your favorite vocal scene? By what musical means does the composer reveal the child’s world? Pay attention to the expressiveness of the vocal melody and its connection with the text. What is the role of instrumental accompaniment in the creation of musical and poetic images?
PORTRAIT OF A COMPOSER
Modest Petrovich Mussorgsky:
“If the sound expression of human thought and feeling in simple speech is faithfully reflected in my music, and such reproduction is musically artistic, then everything is in order!”
Modest Petrovich Mussorgsky (1839-1881) - Russian innovative composer, author of the operatic masterpieces “Boris Godunov” and “Khovanshchina”, the music of which has deep national roots. He is also the author of orchestral and chamber instrumental works, romances, the creation of which was based on folk art. The artist’s works are distinguished by depth, drama and truthfulness of images.
Born in the village. Karevo, Pskov province. He studied and worked in St. Petersburg, served in the military. The composer did not receive a professional musical education and began creating music as an amateur (amateur).
However, he subsequently decided to devote his life to art, leaving the service.
He began his active creative work in the ranks of the famous national-patriotic circle of Russian composers “The Mighty Handful”. Material need, however, forced him to work again as an official in various institutions, which distracted him from creativity.
In 1879, together with the opera singer Daria Leonova, he made a concert tour in the cities of Ukraine. Ukrainian motifs are reflected in his unfinished opera “Sorochinskaya Fair” based on the work of the same name by Nikolai Gogol.
Monument to N. Mussorgsky near the music school in Krivoy Rog (Ukraine)
1. What works are combined into musical cycles? What is the basis of the vocal cycle?
2. Give examples of musical ones in the work: instrumental, vocal, written in the form of a cycle.
Musical project. Enter the school library section “Music for Children.” Select pictures about children that can serve as epigraph illustrations for each cycle from your music library. Assignment at will. Create a cycle of several famous songs on a specific topic, give it a name. Consider the construction of the vocal cycle, the development of music according to the chosen plot of the work and the content of the surrounding songs.
Musical cycles include collections of songs or plays, created according to a specific theme or concluded with the authors of fragments of their own operas, ballets, symphonies.
One of the most beloved themes that has always inspired composers to create “magical” music is the holiday of Christmas. Thus, the piano cycle of miniatures to the melody of carols, common in the everyday life of Ukrainians, belongs to the work of Vasily Barvinsky.
Foreign artists did not stand aside either, many of whom presented listeners with joyful moments of Christmas music. For example, the British composer Benjamin Britten created a choral cycle of carols, which can be heard during the Christmas holidays in concert halls in different countries.
I am in the world of music: I perceive, I understand
Benjamin Britten, “Wreath of Carols” or “Wreath of Christmas Carols” for choir, treble soloists and harp (No. 2, 5, 10).
Describe the general mood of the work and individual choral miniatures. What timbre colors does the sound of a harp bring?
PORTRAIT OF A COMPOSER
Benjamin Britten:
“Don’t give up the first time you listen to a new piece and don’t understand it... Remember that music is not entertainment, although that is what light music serves.”
Benjamin Britten (1913-1976) - British pianist, conductor, one of the greatest composers of the 20th century, whose work represents almost all musical genres.
Born in Suffolk, in the family of a doctor. As a child, he discovered musical abilities and began studying music under the guidance of his mother, an amateur pianist and active participant in the local choir. The first small plays, inspired by the impressions of family life, appeared early - at the age of 8. At the age of 12, Benjamin wrote a “Simple Symphony” for string orchestra, and at 16 he entered the Royal College of Music (Conservatory of Music). During his studies, he wrote many choral, symphonic and chamber works, including several children's songs. Since then, the author has constantly turned to music for children.
The young composer got his first job at a documentary film company, where there was a small instrumental ensemble. Thanks to his work in cinema, Britten learned to write music quickly, even when there was no inspiration, and for various, often not at all poetic, subjects (for example, about the unloading of a ship).
In 1939, when World War II began, Britten left for America. As a response to the tragic events that took place in Europe, the cantata “Ballad of Heroes” arose - dedicated to the fight against fascism in Spain. Three years later, the composer returned to his homeland and settled in the seaside town of Aldbour. There, several operas saw the world, in particular “Peter Grimes”.
The artist also wrote many musical works for children and youth. Young spectators themselves take part in the “let’s create an opera” performance.
OH U POLI PLOW ORE
Oh, there's a plow in the field.
Generous evening, good evening,
Good health to good people!
(Repeat after each line.)
There Vasilko walks with a plow.
His mother brings him food.
Ori, son, thuyu nivka.
Yes, and we’ll sow some wheat.
1. Name the vocal-choral cycles known to you and their authors.
2. Remember and explain when during the Christmas and New Year holidays carols are sung, and when šedrivki are performed.
Musical project. Find out what carols and schedrivkas are common in your area. Write down the titles and lyrics of your favorite songs. If possible, record melodies. Together with your parents or adults, create a “Wreath of Carols and Gifts for My Family” or “Christmas Wreath of Songs from My Land.”
Classical music in mp3
- music.edu.ru Music collection. Music in mp3. Biographies of composers
- classical.ru Classical music in Russia
- classic.chubrik.ru Classical music. Music in mp3, sheet music, biographies of composers
- classic.manual.ru Classical music. Mp3 classical music with comments, sheet music
- belcanto.ru In the world of opera. Libretto, singers, mp3
- ClassicMp3.ru Collection of classical music in mp3
- firemusic.narod.ru Music in mp3, composers, librettos of operas, ballets
Classic. Composers
- wolfgang-mozart.ru Wolfgang Mozart. Biography, reviews
- itopera.narod.ru G. Verdi. Libretto, biography, mp3
- glinka1804.narod.ru Mikhail Glinka. Biography of the founder of Russian classical music
- rachmaninov1873.narod.ru Rachmaninov. Composer, pianist and conductor
- skill21.ru Balakirev Russian composer and pianist
- borodin1833.narod.ru Alexander Borodin. Life of a composer and scientist, mp3
Philharmonic societies and performers
- classicalmusic.ru Moscow Philharmonic. History, Philharmonic halls, poster
- philharmonia.spb.ru St. Petersburg Acad. Philharmonic. Structure, musicians, repertoire
- lifanovsky.com Boris Lifanovsky - cellist. Articles, mp3
Musical instruments
- simphonica.narod.ru Symphony orchestra. Description of musical instruments
- sheck.ru Workshop of ancient European instruments
Keyboard instruments
- digitalpiano.ru - Digital pianos
- keys.rni.ru - Musical synthesizers. Models
Wind instruments
- trumpetclub.ru Portal of trumpeters. Articles, performers, notes
- brassmusic.ru Community of musicians - brass instruments
- partita.ru For brass band. Sheet music, parts, scores
- soprano-recorder.ru Following in the footsteps of recorder lessons with a teacher
- blockfluete.newmail.ru Recorder. Game skills
- Fagotizm.narod.ru Fagoto: Sheet music, mp3, midi
- harmonica.ru Harmonica. Learning to play
- shaku-rus.com School, music, making shakuhachi
Percussion instruments
- drumspeech.com Drummers. Communication, articles, lessons, sheet music
- drums.ru Project of drummer E. Ryaboy
- EthnoBeat.ru Learning to play ethnic drums
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- skripach.ru About violinists and for violinists, Mp3
- domraland.narod.ru Website about domra. Information, notes
- gukovski.narod.ru Folk instruments
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- guitarhistory.narod.ru History of the classical guitar, dictionary of terms
- guitarra-antiqua.km.ru History of the classical guitar, sheet music, mp3
- eslivamnravitsa.narod.ru If you like to play the guitar. Chords, educational literature
Ethnic instruments
- vargan.ru Acoustic and ethnic instruments. Description, tips, mp3
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- folkinst.narod.ru Russian folk instruments, links, mp3
- kuznya.ru Ethnic instruments and folk music, photo, mp3
- khomus.ru Jew's harp music
Music sites. Other
- classic-music.ru - Classical music. Biographies of composers, dictionary of terms
- cdguide.nm.ru - Music on CD. Reviews, CD reviews, notes on classical music
- stmus.nm.ru - Early Music Magazine
- abc-guitar.narod.ru - Guitarists and composers. Biographical Dictionary
- music70-80.narod.ru - Songs and music of the 70-80s.
- viaansambles.narod.ru - VIA 60-70-80x. Information about ensembles, songs, forum
- elf.org.ru Folk music
The viability of the “Glinka” verse-variation form is evidenced by its use by Soviet composers. At the same time, development techniques and means of expression (especially harmonic language) are updated, but the type of form itself is preserved: the initial section of the “Little Cantata” (“Maiden Ditties”) from Shchedrin’s opera “Not Only Love.”
IN verse-variant form The vocal part is the first to be varied.
Distinctive features of variation: a variation that involves melodic changes allows structural and large-scale changes, but maintains figurative and genre unity. The consequence of this is the relative equality of variant and theme, while variation is a derivative, secondary phenomenon, subordinate to the theme.
The combination of clarity, clarity of structure, the ability to make various changes, and the ability to follow the text make the verse-variant form one of the most common forms of vocal music. This form occupies a huge place in the songwriting of Schubert and Mahler. Of the Soviet composers, G. Sviridov willingly turns to it: the chorus “How the Song Was Born”, “In That Land” from “Poem in Memory of S. Yesenin”. Other examples are “Gretchen at the Spinning Wheel” by Schubert, “Polina’s Romance” from “The Queen of Spades” by Tchaikovsky.
Through form
The cross-cutting form arose from the need for the music to follow the development of the plot. More than in any other form, the pictorial possibilities of music and its ability to enhance the emotional side of the text are used here. It is no coincidence that great attention was paid to this form by those composers who were especially sensitive to the subtlest shades of text images and psychological subtext - Schubert, Mussorgsky. Most of Liszt's songs are written in a through form. This form occupied a large place in the music of the late 19th - early 20th centuries, especially in the genre of “poems with music”, which became widespread in the work of Wolf, in Russian music - by Medtner, Prokofiev, Gnessin, Cherepnin, partly by Rachmaninov, and in vocal works on prose texts (“The Ugly Duckling” by Prokofiev).
Any end-to-end form is based on the principle of continuous updating of musical material in accordance with the content of the text. However, composers strive to introduce certain musical unifying factors into cross-cutting forms. For this purpose, the principles of reprisal, reprisal closure, end-to-end refrain (“leaf chords” of death in Mussorgsky’s “Lullaby” and the chorus “bayushka, byu, byu”), intonation-thematic connection between parts of the form, and tonal organization are used.
Examples of cross-cutting form: “The Forest King” by Schubert, the chorus “The Stars Are Fading” by Kalinikov.
Topic 14. Cyclic forms: suite, sonata-symphonic cycle
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Cyclic is a form consisting of several separate contrasting parts, independent in form, but connected by a single artistic concept.
The main features of cyclic forms:
♦ presence of several parts (from 2 to 10),
♦ independence of the form of each part,
♦ separation of parts (a part can be performed separately),
♦ tempo contrast,
♦ contrast in character,
♦ tonal community:
a) a single tonality of all parts,
b) creation of a tonal reprise (sonata-symphonic cycle),
c) highlighting tonal centers (predominant tonalities),
♦ general idea:
a) one cast of performers,
b) one genre sphere,
c) thematic community,
d) program.
Cyclic forms are vocal, instrumental and stage.
Vocal(vocal-instrumental) cycles are divided into cantata-oratorial(cantata, oratorio, mass, requiem, passions) and chamber-vocal(vocal cycles).
Stage cycles: opera and ballet.
Instrumental loops
There are two main types of cyclic forms: the suite and the sonata-symphonic cycle. The independence of the parts of the cycle is determined by the fact that they can be performed separately (dances of suites, parts of sonatas or symphonies).
Suite (row, sequence) – a cyclic work consisting of independent parts of a dance or genre nature, contrasting in character and tempo. The alternation of parts in the suite is not strict, and their number is not regulated. Often all parts are written in the same key.
The suite has several historically assigned types. The ancient (baroque) suite was finally formed by the middle of the 17th century. – first half of the 18th century. in the works of composers of different national schools: Froberger, Handel, Corelli, Couperin, Rameau, etc. In different countries it was called differently: in Germany - partita, in England - lessons, in France - overture, in Italy - sonata da camera, ballet.
For suites of the 17th century. and earlier thematic community of dances was common, but in the 18th century. it has become relatively rare (not in Bach, but can be found in Handel). Dance suites have been around since the middle of the 17th century. lost their applied character, and in the 18th century. their form became much more complex, although small forms predominated (simple 2- and 3-part, composite form, old sonata, concerto and contrast-composite).
The basis of an ancient suite of the 17th-18th centuries. consisted of 4 dances: allemande, courante, sarabande and gigue. The cycle contrasted calmly slow dances with lively and fast ones twice:
1) allemande – moderate-slow tempo,
2) chime - moderately fast,
3) sarabande – very slow,
4) jig – very fast.
Allemande – a two-beat (4/4 time signature) smooth round dance of moderate tempo, of German origin. Begins in a beat (towards the 17th century) with one eighth or sixteenth of duration. In terms of the number of voices, the allemande is often 4-voice, with an abundance of echoes and imitations. At the same time, polyphonic development smoothes out the danceability of the rhythm. The form of the allemande is ancient, two-part (Part II is a reversed version of Part I).
Kuranta − three-beat (3/4 or 3/2) dance of French origin. The pace is moderate or fast. Typical rhythm. Together with the allemande in the beginning. XVIII century The couranta fell out of use and served as an object of stylization (Bach). According to the number of voices, the chime usually has two voices. The form is simple two-part (at the end there is a kind of reprise).
Sarabande − three-beat (3/4 or 3/2) dance of Spanish origin. Deprived of the initial beat. Typical rhythmic patterns:
in cadences - . The change of harmonies emphasizes the basic type of rhythm. The saraband is dominated by chord structure (homophonic-harmonic texture). The form tends to be three-part (repetition is more pronounced).
Zhiga − fast three-beat (3/8, 6/8, 9/8, 12/8, 12/16) dance of English origin. There are frequent delays. It was often subject to fugue development, including the reversal of the theme in Part II. According to the number of voices - two or three voices. The form is simple three-part.
In addition to the main dances, additional pieces are often included in the suite:
1) some dances had a double (variant), a kind of ornamental variation;
2) before the allemande there is a prelude (preamble, overture, toccata, fantasy, sinfonia); such a play can be a small two- or three-part cycle;
3) inside the suite (usually between the sarabande and the gigue) other dances are placed - minuet, gavotte, bourrée, passier, rondo, burlesque, scherzo, capriccio or pieces (aria).
Among other cyclic forms, the sonata and concerto became widespread in the Baroque era.
Section 5. Cyclic formsThe musical form is called cyclical, if it consists of several parts, independent in form, contrasting in character (primarily in tempo), but connected by the unity of ideological and artistic concept.
The term "cycle" is of Greek origin and means circle. The cyclic form is understood as covering one or another circle of different musical images, genres, and tempos. The independence of the parts is expressed in the fact that sometimes they allow separate performances (“Funeral March” from Chopin’s B-moll sonata, Sonata-memory from the cycle “Forgotten Motives” by Medtner). Cycles can consist of a different number of parts: two-movement prelude and fugue, three-movement concerto and sonata, four movements in a sonata and symphony, seven or eight movements in a suite. Cyclic forms are found in a variety of genres of music: vocal and instrumental, solo and orchestral.
Cyclic forms are based on dramatic functions. The connection of parts based on them is the leading principle of cyclic forms. ^ Principles for combining parts in a cycle are divided into two types:
Suite principle(old sonatas by Bach and Handel are also built on this principle) is a combination of a number of contrasting works. The suite is based on unity in plurality.
^ Sonata principle - this is the division of a single work into a number of individual works subordinate to the whole. Based on the plurality of unity.
Suite is a cyclic work consisting of several different plays, interconnected by a single concept, but not having a single line of sequential development. The suite can be imagined as a display of different images in their comparison, as different statements on one issue.
The suite as a genre and form arose in the 16th century (other genres of the 16th-18th centuries were also written in the form of a suite: partita, sonata, concerto).
With the advent and development of the form and genre of the sonata, the suite temporarily ceased to exist and was revived later, in the 19th century, in a new form. The suite gave birth to many compositional techniques that were further developed later.
^ Ancient suite.
The ancient suite is most clearly represented in the works of composers of the first half of the 18th century: Bach and Handel. An ancient suite is a series of dance pieces arranged in a cycle in a certain order according to the principle of contrast (tempo, meter, rhythm, character of movement). The unifying principle is a common tonality, genre (all plays are dances) and often a common intonation basis.
The ancient suite included 4 mandatory(main ) dance.
1. Allemande(German dance) - four-beat, moderately slow, polyphonic. This is a round dance procession, performed in the open air when the nobility entered the city and entered the castle.
2. Kuranta(Italian dance) - three-beat, moderately fast, polyphonic. This is a pair-solo dance, common in court life.
3. Sarabande(Spanish dance) - three-beat, slow, often chord style. According to its origins, this funeral dance-procession, later, having lost its obligatory affiliation with the funeral rite, retained its sternly mournful, majestic character. The genre features of the sarabande were widely used by composers of different eras (Beethoven's Egmont Overture, Shostakovich's 7th Symphony, finale, middle episode).
4. Zhiga(Irish dance) is a very fast collective comic dance with a specific triplet movement (3/8, 12/8) and often has a fugue presentation.
Some of the obligatory dances were repeated twice with variation development, a double. The variation was reduced mainly to the ornamental chant of one of the voices.
In addition to the obligatory dances, the suite almost always included additional(usually between sarabande and gigue): minuet, gavotte, bure, sometimes non-dance pieces were included: aria, scherzo, which enhanced the contrast. Often the suite began with an introduction - a prelude or overture. In general, the ancient suite contained plays of a different nature and reflected a fairly wide range of life phenomena, but not in interaction and development, but in their comparison.
^ Dance form in a suite, as a rule, there is an old two-part dance (for compulsory dances) and a three-part dance for additional ones. In the ancient suite, some compositional structures emerged that later developed into independent musical forms, so the structure of additional dances anticipated the future complex three-part form (Bach English Suite in g minor: Gavotte I - Gavotte II - Gavotte I, each of which is in a simple three-part form). The doubles in the suites contributed to the development of the variation form. The nature of the arrangement of contrasting dances in the suite anticipated the arrangement of parts of the sonata cycle
^ New Suite.
In the 19th century, a new suite appeared, significantly different from the old one in its content and compositional features. The programmatic nature of 19th-century music and the desire for greater concreteness of musical images also affected the new suite. The founder of the new program suite was Schumann (“Butterflies”, “Carnival”, “Children’s Scenes”). Subsequently, the program suite develops in the works of composers of later times (Mussorgsky’s “Pictures at an Exhibition,” Rimsky-Korsakov’s “Scheherazade,” Debussy’s “Children’s Corner”).
Later in the 19th and 20th centuries. The genre of the suite receives even wider development, incorporating features borrowed from the ancient suite - danceability, from Schumann's suite - programmaticity, diversity of genres, from the sonata-symphonic cycle - elements of dramatic development and the scale of the parts. The suite includes new dances: waltz, polonaise, national ones - bolero, tarantella, etc. Dance numbers are interspersed with non-dance numbers (scherzo, andante, march, nocturne).
Composers of the 19th century used the suite genre in quite a variety of ways. Suites composed of numbers from a major composition: ballet, music for drama, as well as suites on the themes of songs or dances.
^ Sonata cycle.
A sonata-symphonic cycle is a cyclic work belonging to one of the following genres: sonata, symphony, concerto, trio, quartet, etc., in which it is customary to present at least one part (in typical cases the first) in sonata form.
From the definition it follows that sometimes there are cases when multi-movement works that do not have a sonata form in any of the movements are considered sonata cycles (Mozart 11th sonata, Beethoven 12th sonata). The overall significance of the cycle and the unity of the whole made it possible to classify them as a sonata cycle.
The revelation of deep, serious content based on the significant development of bright musical images, in the contrasting alternation of parts of a musical work with the unity of the general concept and integrity of the musical form - these are the characteristic features of mature sonata-symphonic cycles. These features are united by the general concept of symphonism, which means the highest type of musical thinking, especially characteristic of symphonic cycles. The name of a sonata is reserved only for works for one or two instruments; more complex ensembles of the sonata type are named according to the number of instruments (trio, quartet, quintet). A work of sonata type for orchestra is called a symphony.
The sonata cycle is distinguished by the significance of the content of each part and their special internal organic connection. The classical sonata-symphonic cycle most often has three (sonata, concerto) or four (symphony) movements.
I hour– usually has a more effective, dramatic, contrasting, and often conflicting nature, presented in a developed sonata form and most often in fast movement (sonata allegro).
II hours. – usually andante or adagio. As a rule, this is the sphere of lyrics. It conveys a person’s feelings and thoughts, reveals his inner world (often against the backdrop of pictures of nature). Form of the slow movement: complex three-part with an episode, theme with variations, sonata form without development (less often with development), rarely other forms.
Part III– usually a minuet or scherzo. Introduces a genre-characteristic or everyday element - scenes of folk life. It is distinguished by its lively movement and cheerful character. The form is usually complex tripartite with trio or sonata.
IV hours. – the finale is usually in fast motion, with song-and-dance features. The form of the finales is sonata, rondo, rondo-sonata, rarely a theme with variations.
The classical relationship of parts has become a kind of norm for the sonata-symphonic cycle, because covers different aspects of reality, the artist’s main “point of view” on the world: drama, lyricism, genre-characteristic, everyday and epic. By epic in the finale we mean not the calm form of the narrative, but the nationality as the content of the finale. This classical relationship of parts is more typical of Haydn and Mozart; Beethoven often swaps the second and third parts.
There are also other numbers of parts in a cycle. ^ Two-part cycle – Gliere Concerto for voice and orchestra, where 1 hour is in sonata form, but at a moderate tempo, of a lyrical nature, which seems to combine the first and slow lyrical parts of the cycle; 2 parts – in the waltz genre, written in the form of a rondo, combining the features of the third part and the finale of a four-part cycle. Five-part cycle- Scriabin 2nd symphony, where the first movement plays the role of an extended introduction.
In the sonata-symphonic cycle, a number of patterns have developed that contribute to the unity of the whole. The extreme parts are usually written in the same key (in minor works the finale is the same major). The tone of the cycle is determined by the tone of the first part. The middle parts are written in other keys, but usually in ones close to the main one. In general, the slow parts are characterized by keys S spheres, eponymous or parallel major. The 3rd part of the classics is usually in the main key. Later, the choice of keys for the middle parts became freer.
For the unity of the sonata cycle, intonation connections between the parts are very important. There are frequent intonation connections between the side part of the first movement and the slow part of the cycle, as well as between the first movement and the finale. In addition to intonation connections, the same motive or theme can be used in different parts of the cycle (Beethoven’s “motif of fate” from the 5th symphony), performing a special dramatic function.
The sonata-symphonic cycle has specific features in various genres. Thus, an instrumental concerto usually has three parts (there is no scherzo). A specific feature is the principle of competition between solo and orchestral parts. This feature, as well as the tradition of the classics to repeat the exposition, is associated double exposure in the first part of the concert (first in the orchestra, then with the soloist). The differences in these exhibitions are often of a textural order, however, there are exhibitions that differ in theme (Beethoven 1st and 2nd concertos), in these cases the themes of both exhibitions are involved in the development. In general, the first part of the concert has a virtuoso character, most clearly manifested in the traditional cadenza (before the reprise or coda).
^ Other types of cyclic forms.
Often a number of romances or songs are combined into vocal cycle, connected by a single concept (Schubert “Winterreise”, Schumann “The Love of a Poet”, Mussorgsky “Without the Sun”, Sviridov “My Father is a Peasant”). The degree and nature of unity in such cycles can be different (the connection of the text makes tonal unity unnecessary). The general logic of the vocal cycle has some characteristic instrumental cycles: development is based on contrasting comparisons and is directed towards a climax, the last romance (song) has signs of a final final part.
Some vocal cycles have a plot development. The action unfolds in them, new characters appear, which is emphasized by musical means: contrasting changes in tempo, genre, tonality, texture, etc.
Sometimes the concept of “cycle” is applied to a number of independent works, united by some characteristic, for example, one genre or opus, and producing the most favorable artistic impression when these works are performed in a row (Scriabin Preludes op. 11).
^ Contrasting composite forms.
The concept of “contrast-composite forms” was introduced by the domestic musicologist V. Protopopov in the 60s. XX century.
Contrast-composite is a form consisting of several contrasting parts, in many ways similar to parts of a cyclic form, but less independent, running without interruption and, in the degree of their merging into one whole, forming a form close to a one-part (non-cyclic).
What cyclic contrasting-composite forms have in common is that they contain a sequence of several contrasting parts. With one-part plays, there are no breaks between parts and the inability to consider these parts as independent plays that allow separate performance.
Contrasting composite forms also have specific features. They may contain 2, 3, 4 or more parts, have or not have a reprise, occur in different historical eras and in different genres. The origin of contrasting-composite forms dates back to the emergence of opera (recitative-aria), and in instrumental music - toccatas and fugues. In the 2nd half of the 18th and 19th centuries. with the development of the sonata principle, contrasting-composite forms fade into the background, but still retain their importance for vocal music (many arias, ensembles, and opera finales are written in this form). This form was widely used in such genres as fantasy, rhapsody, poem and, especially, in Liszt’s transcriptions. Contrast-composite forms received great development in the works of Glinka (“Capriccio”, many numbers in operas), Tchaikovsky (“Italian”, “Spanish Capriccio”). A striking example of a contrast-composite form is Shostakovich's 12th Symphony.
Protopopov divides contrast-composite forms, with all their diversity, into several types:
two-movement (Fantasia in f moll by Chopin),
suites (Capriccio by Glinka, Tchaikovsky, Rimsky-Korsakov),
sonata-symphonic (Beethoven quartet cis minor, Shostakovich 11th and 12th symphonies).
Section 1. Free and mixed forms.
In addition to the standard forms discussed above, there are special forms called free and mixed.
Free those forms are called that do not correspond to the typical structures discussed above, but represent constructions of a special order (musical development is carried out in individual structures).
Free forms originated in ancient organ music and reached their peak in Bach's work (mainly in the fantasy genre). In contrast to the clear structural forms of homophonic music, improvisation, prelude, free sequential-modulation development, and continuity of development predominate here. Among the Viennese classics, free forms are rare. These forms reached their true flowering in the works of composers of the 2nd half of the 19th century (Chopin, Liszt, Tchaikovsky). One of the reasons for the spread of free forms was the desire of romantic composers to make the musical form more flexible, capable of more fully corresponding to the individual content (often programmatic) of each individual work.
It is necessary to distinguish two main type of free forms:
system forms, i.e. in their development relying on a certain system, for example, reprisal;
non-systemic forms with free alternation of sections.
^ Non-systemic free forms extremely diverse, individual in structure and cannot be classified. They are used mainly in large instrumental compositions and contain a large number of topics and sections: ^ ABCDA, ABCDB, ABCDAE.
Mixed forms.
Single-part forms that combine the features of several previously established standard structures are called mixed forms.
Symphonic poems, one-movement sonatas, fantasies, ballads, and, less often, individual parts of cyclic works are often written in mixed forms. The desire of composers for greater specification of figurative content and a more complete and direct reflection of life processes and phenomena through new, more plastic forms led to program music. The struggle for the programmatic content of music and the forms that serve its fullest expression contributes to the rapprochement and interpenetration of different arts(literary program in instrumental music, poetry and music in romance), as well as different genres within one art. Works that combine the features of lyricism, epic, drama, fantasy (ballad) are becoming widespread, which entails interpenetration of various forms, for example, variations of a lyrical-epic nature and a sonata, which provides great opportunities for dramatic development.
In the work of Russian classical composers, new combinations of forms, genres, and development techniques arise that are characteristic of folk music with complex genres and forms of developed professional musical art. These combinations define a nationally unique type of mixed forms in Russian music.
Among the mixed forms, the most common are the following: varieties:
^ Combination of sonata and variation.
This type of mixed forms was widely developed by Russian classics. When creating large-scale compositions in folk style, Russian composers used sonata form, transforming it in accordance with new ideological and artistic goals for the development of national music variational development methods.
Russian composers usually build double variations(on two topics) based on the creation of large, contrasting sections of the form, built on alternating variations of topics. If the juxtaposition of such contrasting sections is given twice (with a tonal contrast at the beginning of the work and a tonal convergence at the end), and there is also a section where both themes are freely developed (including through polyphonic devices), then the contours become obvious sonata form.
Single-movement forms, combining variation and sonata, are found not only in symphonic, but also in piano works by Russian composers, based on variations of folk themes (Balakirev’s Fantasia “Islamey”).
Western European composers of the 19th century, who created major works based on variations of folk themes, also combined the principles of sonata and variation (Liszt, Spanish Rhapsody). However, in Western European music there is another type of combination of sonatism and variation, where sonatism arises on the basis of free variation (transformation) one topic. Freedom of variation provided a greater degree of contrast between sections. This principle of constructing large works based on the transformation of one theme is called monothematism(widely distributed in the works of Liszt, symphonic poems “Preludes”, “Tasso”).
^ Combination of sonata and cyclic forms .
In some sonata forms of the romantics there are side parts that run at a different tempo in relation to the main one and represent an expanded independent and closed form (Tchaikovsky 6th symphony, 1st movement), approaching the independent part of the cycle. On the other hand, in the cyclic forms of the 19th century, the process of strengthening the unity of the cycle continues. This is expressed in strengthening connections between different parts of the cycle (thematic connections, attaca). All this creates the prerequisites for combining all parts of the cycle into a large one-part work, for compressing the cycle into one part.
The desire for completeness and concreteness in the embodiment of various contrasting images, for greater unity of large ideological and artistic concepts, as well as for continuity of development leads to the creation of works combining in itself features of the sonata cycle and one-part sonata form.
Combination of sonata, i.e. reprise form with cyclic, i.e. non-reprise implies a significant transformation of the sonata reprise, without which the reprise and coda could not perform the functions of the scherzo and finale of the cyclic form. The role of the slow part of the cycle is taken over either by a slow episode in development, or by a side part in the exposition (Liszt Sonata H moll).
A mixed form can also have completely individual, unique features, combining the features of various standard structures (Medtner Sonata-memoir, which combines the features of a sonata, sonata cycle and rondo).
^ Module 6. Special forms of vocal music
Classical composers are known all over the world. Each name of a musical genius is a unique individuality in the history of culture.
What is classical music
Classical music is enchanting melodies created by talented authors who are rightly called classical composers. Their works are unique and will always be in demand by performers and listeners. Classical, on the one hand, is usually called strict, deeply meaningful music that is not related to the following genres: rock, jazz, folk, pop, chanson, etc. On the other hand, in the historical development of music there is a period of the late XIII - early XX centuries, called classicism.
Classical themes are distinguished by sublime intonation, sophistication, variety of shades and harmony. They have a positive effect on the emotional worldview of adults and children.
Stages of development of classical music. Their brief description and main representatives
In the history of the development of classical music, the following stages can be distinguished:
- Renaissance or Renaissance - early 14th - last quarter of the 16th century. In Spain and England, the Renaissance period lasted until the beginning of the 17th century.
- Baroque - replaced the Renaissance and lasted until the beginning of the 18th century. The center of the style was Spain.
- Classicism is the period of development of European culture from the beginning of the 18th to the beginning of the 19th century.
- Romanticism is a direction opposite to classicism. Lasted until the mid-19th century.
- Classics of the 20th century - modern era.
Brief description and main representatives of cultural periods
1. Renaissance - a long period of development of all areas of culture. - Thomas Tallis, Giovanni da Palestina, T. L. de Victoria composed and left immortal creations for posterity.
2. Baroque - in this era new musical forms appear: polyphony, opera. It was during this period that Bach, Handel, and Vivaldi created their famous works. Bach's fugues are built in accordance with the requirements of classicism: obligatory adherence to the canons.
3. Classicism. Viennese classic composers who created their immortal creations in the era of classicism: Haydn, Mozart, Beethoven. The sonata form appears and the composition of the orchestra increases. and Haydn differ from the ponderous works of Bach in the simple construction and elegance of the melodies. It was still a classic, a striving for perfection. Beethoven's works are the border between romantic and classical styles. In the music of L. van Beethoven there is more sensuality and ardor than rational canon. Such important genres as symphony, sonata, suite, and opera emerged. Beethoven gave rise to the Romantic period.
4. Romanticism. Musical works are characterized by color and drama. Various song genres are being formed, for example, ballads. Piano works by Liszt and Chopin received recognition. The traditions of romanticism were inherited by Tchaikovsky, Wagner, and Schubert.
5. Classics of the 20th century - characterized by the authors’ desire for innovation in melodies; the terms aleatorics, atonalism arose. Works by Stravinsky, Rachmaninov, Glass are classified in the classical format.
Russian classical composers
Tchaikovsky P.I. - Russian composer, music critic, public figure, teacher, conductor. His compositions are the most performed. They are sincere, easily perceived, reflect the poetic originality of the Russian soul, picturesque pictures of Russian nature. The composer created 6 ballets, 10 operas, more than a hundred romances, 6 symphonies. The world-famous ballet “Swan Lake”, the opera “Eugene Onegin”, “Children’s Album”.
Rachmaninov S.V. - the works of the outstanding composer are emotional and cheerful, and some are dramatic in content. Their genres are varied: from small plays to concerts and operas. The author’s generally recognized works: the operas “The Miserly Knight”, “Aleko” based on Pushkin’s poem “The Gypsies”, “Francesca da Rimini” based on a plot borrowed from Dante’s “Divine Comedy”, the poem “The Bells”; suite “Symphonic Dances”; piano concerts; vocalise for voice with piano accompaniment.
Borodin A.P. was a composer, teacher, chemist, and doctor. The most significant creation is the opera “Prince Igor” based on the historical work “The Tale of Igor’s Campaign”, which the author wrote for almost 18 years. During his lifetime, Borodin did not have time to finish it; after his death, the opera was completed by A. Glazunov and N. Rimsky-Korsakov. The great composer is the founder of classical quartets and symphonies in Russia. The “Bogatyr” Symphony is considered the crown of world and Russian national-heroic symphony. The instrumental chamber quartets, the First and Second Quartets, were recognized as outstanding. One of the first to introduce heroic figures from ancient Russian literature into romances.
Great musicians
Mussorgsky M.P., about whom one can say, is a great realist composer, a brave innovator who touches on acute social problems, a magnificent pianist and an excellent vocalist. The most significant musical works are the opera “Boris Godunov” based on the dramatic work of A.S. Pushkin and “Khovanshchina” - folk musical drama, the main character of these operas is the rebel people from different social strata; creative cycle “Pictures at an Exhibition”, inspired by the works of Hartmann.
Glinka M.I. - famous Russian composer, founder of the classical movement in Russian musical culture. He completed the procedure for creating a school of Russian composers, based on the value of folk and professional music. The master’s works are imbued with love for the Fatherland and reflect the ideological orientation of the people of that historical era. The world-famous folk drama “Ivan Susanin” and the opera-fairy tale “Ruslan and Lyudmila” have become new trends in Russian opera. The symphonic works “Kamarinskaya” and “Spanish Overture” by Glinka are the foundations of Russian symphonism.
Rimsky-Korsakov N.A. is a talented Russian composer, naval officer, teacher, publicist. Two trends can be traced in his work: historical (“The Tsar’s Bride”, “Pskov Woman”) and fairy-tale (“Sadko”, “Snow Maiden”, suite “Scheherazade”). A distinctive feature of the composer's works: originality based on classical values, homophony in the harmonic structure of early works. His compositions have the author's signature: original orchestral solutions with unusually constructed vocal scores, which are the main ones.
Russian classical composers tried to reflect in their works the cognitive thinking and folklore characteristic of the nation.
European culture
Famous classical composers Mozart, Haydn, Beethoven lived in the capital of musical culture of that time - Vienna. The geniuses are united by masterful performance, excellent compositional solutions, and the use of different musical styles: from folk tunes to polyphonic developments of musical themes. Great classics are characterized by comprehensive creative mental activity, competence, and clarity in the construction of musical forms. In their works, intellect and emotions, tragic and comic components, ease and prudence are organically linked together.
Beethoven and Haydn gravitated towards instrumental compositions, Mozart masterfully succeeded in both operatic and orchestral compositions. Beethoven was an unsurpassed creator of heroic works, Haydn appreciated and successfully used humor and folk genre types in his work, Mozart was a universal composer.
Mozart is the creator of the sonata instrumental form. Beethoven improved it and brought it to unsurpassed heights. The period became a period of quartet heyday. Haydn, followed by Beethoven and Mozart, made a significant contribution to the development of this genre.
Italian masters
Giuseppe Verdi - an outstanding musician of the 19th century, developed traditional Italian opera. He had impeccable skill. The culmination of his composing activities were the operatic works “Il Trovatore”, “La Traviata”, “Othello”, “Aida”.
Niccolo Paganini - born in Nice, one of the most musically gifted personalities of the 18th and 19th centuries. He was a master of the violin. He composed caprices, sonatas, quartets for violin, guitar, viola and cello. He wrote concertos for violin and orchestra.
Gioachino Rossini - worked in the 19th century. Author of sacred and chamber music, composed 39 operas. Outstanding works are “The Barber of Seville”, “Othello”, “Cinderella”, “The Thieving Magpie”, “Semiramis”.
Antonio Vivaldi is one of the greatest representatives of violin art of the 18th century. He gained fame thanks to his most famous work - 4 violin concertos "The Seasons". He lived an amazingly fruitful creative life, composing 90 operas.
Famous Italian classical composers left an eternal musical legacy. Their cantatas, sonatas, serenades, symphonies, operas will bring pleasure to more than one generation.
Peculiarities of a child’s perception of music
Listening to good music has a positive effect on the psycho-emotional development of a child, according to child psychologists. Good music introduces people to art and shapes aesthetic taste, teachers say.
Many famous creations were created by classical composers for children, taking into account their psychology, perception and specifics of age, i.e. for listening, while others composed various plays for little performers that were easily perceived by ear and technically accessible to them.
“Children's Album” by P.I. Tchaikovsky. for little pianists. This album is a dedication to my nephew who loved music and was a very gifted child. The collection contains more than 20 plays, some of them based on folklore material: Neapolitan motifs, Russian dance, Tyrolean and French melodies. Collection “Children's Songs” by P.I. Tchaikovsky. designed for auditory perception by children. Songs of an optimistic mood about spring, birds, a blooming garden (“My Garden”), about compassion for Christ and God (“Christ had a garden as a child”).
Children's classics
Many classical composers worked for children, the list of whose works is very diverse.
Prokofiev S.S. “Peter and the Wolf” is a symphonic fairy tale for children. Thanks to this fairy tale, children get acquainted with the musical instruments of a symphony orchestra. The text of the fairy tale was written by Prokofiev himself.
Schumann R. “Children's Scenes” are short musical stories with a simple plot, written for adult performers, memories of childhood.
Debussy's piano cycle "Children's Corner".
Ravel M. “Mother Goose” based on the fairy tales of C. Perrault.
Bartok B. “First steps at the piano.”
Cycles for children Gavrilova S. “For the little ones”; "Heroes of Fairy Tales"; "Guys about animals."
Shostakovich D. “Album of piano pieces for children.”
Bakh I.S. "The music book of Anna Magdalena Bach." While teaching his children music, he created special pieces and exercises for them to develop technical skills.
Haydn J. is the progenitor of the classical symphony. He created a special symphony called “Children’s”. The instruments used: a clay nightingale, a rattle, a cuckoo - give it an unusual sound, childish and playful.
Saint-Saëns K. came up with a fantasy for orchestra and 2 pianos called “Carnival of Animals”, in which he masterfully conveyed the cackling of chickens, the roar of a lion, the complacency of an elephant and its manner of movement, and the touchingly graceful swan through musical means.
When composing compositions for children and youth, great classical composers took care of the interesting storylines of the work, the accessibility of the proposed material, taking into account the age of the performer or listener.