Notes on musical literature. T
Basic notes on musical literature foreign countries are an addition to existing textbooks on musical literature. The content of the textbook corresponds to the curriculum of the subject PO.02.UP.03. “Musical literature” of additional pre-professional general education programs in the field of musical art “Piano”, “ Stringed instruments"," Brass and percussion instruments", "Folk instruments", " Choral singing", recommended by the Ministry of Culture of the Russian Federation.
Basic notes on musical literature are designed to develop humanitarian education and special competencies of students, in particular: "...to form musical thinking, skills of perception and analysis of musical works, acquire knowledge about patterns musical form, about the specifics of musical language, expressive means music" 1 .
In the textbook, the work of composers is presented in the context of cultural and historical eras, studied in close connection with historical events and related arts. The material of the notes represents the main theses of research on the history of music and musical literature by V. N. Bryantseva, V. S. Galatskaya, L. V. Kirillina, V. D. Konen, T. N. Livanova, I. D. Prokhorova and others famous musicologists, generalized and condensed instructional material in the form of tables, diagrams and visual supports. Visual supports (painting reproductions famous artists, portraits of composers, their relatives and friends, outstanding cultural and artistic figures, historical figures etc.) not only accompany and complement verbal information, but are carriers of information in the field visual arts, are directly related to eras and trends in music, the work of composers, and reflect the history, culture and art of European countries.
The content of the supporting notes consists of four sections, which, in turn, are divided into topics covering periods of development European music from musical culture Ancient Greece to the work of romantic composers of the 19th century. So the first section examines the musical culture of Ancient Greece, the Middle Ages and the Renaissance. The second section studies the Baroque era, the work of J. S. Bach and G. F. Handel. The third section is devoted to the era of classicism, where the emphasis is on the work of the Viennese classics - J. Haydn, W. A. Mozart and L. Beethoven. The fourth section presents materials on the era of romanticism, the works of F. Schubert and F. Chopin, given short review works of the 19th century romantic composers F. Mendelssohn, F. Liszt, R. Schumann, G. Berlioz, D. Verdi, R. Wagner, I. Brahms, J. Bizet.
The manual also includes dictionaries of meanings, terms and concepts found in the text, a brief analysis and musical examples of the works being studied.
Along with a strict presentation of the material in tables and diagrams, the manual includes interesting facts from the life of composers, presented in the form of a narrative and accompanied by colorful artistic illustrations, which refreshes the perception and attention of children.
Basic notes on musical literature of foreign countries are intended for students of children's art schools, children's music schools of the second and third years of study (grades 5 and 6), studying additional pre-professional general education programs in the field of musical art. Teachers of musical theoretical and special disciplines of children's music schools and children's art schools can use tutorial when studying new material, repeating and systematizing covered topics, preparing for intermediate and final certification of students, preparing for music theoretical olympiads, independent work students, group and individual training, partly during the implementation of additional general developmental programs in the field of musical art, in cultural and educational activities.
Attached to the supporting notes workbook, which is intended for use in classroom teaching.
Below are fragments of the manual “Basic notes on musical literature of foreign countries.”
Regarding the purchase of Tatyana Guryevna Savelyeva’s manual “Basic notes on the musical literature of foreign countries,” please contact the author at [email protected]
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1 Sample program for the academic subject PO.02. UP.03. Musical literature. - Moscow 2012
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FROM THE COMPILERS
This book is a textbook on the musical literature of that historical period, which begins with the last decades of the 19th century. This is the first time such a textbook appears: the fifth edition ends, as is known, with the works of K-Debussy and M. Ravel.
The book includes characteristics of various national music schools, which determined its overall structure. The first section characterizes general processes, which were implemented in their own way in the musical art of different countries and in the work of composers of different individuals. Each subsequent section consists of an overview of the musical culture of a given country, as well as a monographic section devoted to the work of the most significant composers of this school. Only the section devoted to the work of I. Stravinsky differs in its structure: it does not contain an introductory overview. And this is understandable: after all, having spent most of his life outside Russia due to special circumstances, Stravinsky remained a Russian master and did not belong to any of the foreign schools. Its decisive influence creative principles almost all the leading musicians of our century do not allow us to remove Stravinsky from the general picture of the development of musical art of the 20th century. The inclusion of this monographic chapter in the textbook on foreign musical literature is also due to the peculiarities of the educational programs at the school: by the time of study foreign music XX century students are not yet at all familiar with either the personality or the music of I. Stravinsky. They will turn to this page of musical art only at the end of the IV course, where only the first, Russian period of the composer’s work is considered.
The attention of the compilers and authors of the textbook is focused both on showing the general musical and historical processes of the period under review, and on analyzing the most outstanding works, which have become classics of our century. Due to the exceptional complexity of the events of the musical art of the 20th century, their contradictory nature, mutual intersections, and their rapid change, review chapters took up a much larger place in this book than in previous editions. Nevertheless, in accordance with the methodological principles of the subject, the compilers sought to maintain the focus on analyzes of musical works that in this case are designed to reveal the diversity of creative methods, ways of thinking, different stylistic solutions and the multiplicity of compositional techniques of the masters of our century.
Due to the fact that the book provides a wide panorama of musical art, and the analysis is in many cases very complex (which is largely predetermined by the material itself), the compilers consider it possible to address this textbook to students not only of performing, but also of theoretical departments of music schools. The content of the book allows for a selective approach to it in the educational process; the depth and detail of the study of the chapters is determined by the teachers themselves, depending on the level of preparedness of the students, the material equipment of the educational process with notes and recordings of music and the emphasis curriculum for this part of the course the number of hours.
Worked on this book large team authors. Hence the inevitability different ways supply of material; at the same time, in the very approach to it, the compilers sought to preserve uniform methodological principles.
CONTENT
From the compilers
Ways of development of foreign musical art of the 20th century.
Musical culture of Austria
GUSTAV MAHLER
Vocal creativity. "Songs of the Wandering Apprentice"
Symphonic creativity. First Symphony
ARNOLD SCHOENBERG
Vital and creative path
"Survivor from Warsaw"
ALBAN BERG
Life and creative path
Musical drama "Wozzeck"
Concerto for violin and orchestra
ANTON WEBERN.
Life and creative path
Musical culture of Germany
RICHARD STRAUSS
Life and creative path
Symphonic creativity. Symphonic poems "Don Juan" and "Till Eulenspiegel"
PAUL HINDEMITH
Life and creative path
Symphonic creativity. Symphony "The Artist Mathis".
CARL ORF
Life and creative path
The main genres of Carl Orff's work and their features.
Opera "Clever Girl"
"Carmina Burana"
IGOR STRAVINSKY
Life and creative path
"Symphony of Psalms"
Opera "Oedipus Rex"
Musical culture of France.
ARTHUR HONEGGER
Life and creative path
Theatrical and oratorio creativity. Oratorio “Joan of Arc at the stake”
Symphonic creativity. Third Symphony ("Liturgical")
DARIUS MILLO
Life and creative path
Vocal-instrumental, creativity. "Fire Castle"
FRANCIS POULENC
Life and creative path
Opera "The Human Voice"
Musical culture of Spain
MANUEL DE FALLA
Life and creative path
Ballet “Love the Sorceress”
Opera "A Short Life"
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Baroque" href="/text/category/barokko/" rel="bookmark">baroque (bizarre, strange); representatives: Corelli, Vivaldi, Purcell, partly Bach and Handel, rococo(shell; representatives – Couperin, Rameau), classicism(exemplary; representative in the 17th century by Lyuli, in the 18th century by Gluck, Haydn, Mozart, Beethoven, etc.).
GEORGE FRIEDERIC HANDEL
1685 (Halle) – 1759 (London)
Great German composer, organist, harpsichordist. Father - barber - surgeon. Teacher - Zachau, 1698 - 1702 - gymnasium, 1702 - 1703 - law faculty of the university, service in the cathedral (organist) and gymnasium (teacher). 1703 – 1706 – Hamburk, 1706 – 1710 – Italy, 1710 – 1717 – “years of wanderings”, 1717 – 1759 – London. Genres: oratorio, cantata, opera, concerto grosso, organ works, suites, etc. Handel is a secular artist, the creator of the heroic style in music. Most of the works are sublime and majestic. “The art of light and joy” is what Romain Rolland called Handel’s work.
JOHANN SEBASTIAN BACH
Brilliant German composer, organist, harpsichordist, teacher. He played the organ and violin, directed a choir, and was an expert in acoustics and organs. From a family of hereditary musicians (his 4 sons also became composers). He studied with his father, then with his older brother. Graduated from high school. Started at age 15 independent activity: choir singer, violinist, organist. Until 1708, “travelling” (Luneburg, Weimar, Arnstadt, Mühlhausen). 1708 – 1717 – Weimar period. Court organist. Creation of the best organ works. 1717 – 1723 – Keten period. Court musician. Creation of keyboards and orchestral works. 1723 – 1750 – Leipzig period. Cantor in the Church of St. Thomas. Creation of the best vocal and instrumental works.
Not an easy fate: at the age of 10 he was orphaned and began to suffer independent life, slowly but persistently moved up the ranks, often experienced humiliation, and at the end of his life he became blind. He was underestimated by his contemporaries - known only in Germany and mainly as a performer (he competed with L. Marchand). Despite this, I achieved quite high position, although the true meaning of creativity was revealed only 100 years after his death.
Bach's style is homophonic polyphonic. Homophony is a polyphony in which one voice (melody) is dominant, and the rest have a subordinate meaning. Polyphony is polyphony based on equality of voices. Contrasting polyphony is a combination of independent themes. Imitation polyphony - repetition of a theme in different voices (imitation - imitation). Fugue(running) – polyphonic genre and higher form polyphonic music. It begins monophonically with the theme (the main musical idea of the work). The voices come in one by one. 3 sections: exposition, middle section, final section.
1. Exposition– the initial section of a fugue in which the theme is carried out in all voices. The number of performances of the theme is equal to the number of fugue voices. Subject at the beginning of the fugue it is performed in one voice. Answer– carrying out the topic in a dominant key. 2 types: real (accurate) and tonal (with changes). Counteraddition- a melody that sounds simultaneously with the answer in the voice that began the fugue. 2 types: held (repeated several times) and unheld. An interlude is an episode without a theme. Fugue exposure diagram:
 |
Legend:
Subject and answer; opposition, interlude.
2. Middle section- development. Methods of development: sequences, modulations, polyphonic techniques for transforming the theme - increasing, decreasing, inversion, rakhohod, strett (compressed) imitation.
3. Final part– carrying out the topic in the main key (at least once).
A simple fugue - on one topic. Double fugue - on two themes.
Organ creativity.
The organ is Bach's favorite instrument, the “king of instruments” (Mozart) of that time. Genres: chorales, small cycles (prelude and fugue, fantasy and fugue, toccata and fugue), concertos, trio sonatas. Chorales are the basis of Bach's work. Chorale arrangements are combined into collections, the most famous of which is the “organ book” (45 chorales, No. 40 – “I cry to You, Lord”, F minor). The character depends on the text; in chorales there are musical symbols, musical and rhetorical figures (“cross”, “Ascension”, “I Believe”, etc.). Theme – monogram BASN (found in Bach’s last work – the chorale “Before Thy throne, O Lord, I stand” - legend) – symbol of the “cross”:
Toccata and Fugue in D minor- the most famous organ piece Bach. The character is majestic and tragic (the beginning symbolizes the “crucifixion of Christ”):
https://pandia.ru/text/78/586/images/image016_28.gif" align="left" width="412" height="48">Toccata and fugue are contrasting, but they also have common features: the conclusion of the fugue (coda) echoes the beginning of the work, and the theme of the fugue is prepared in the toccata. The work ends in a minor key, which was extremely rare at that time.
Keyboard creativity.
Genres: suites, concertos, preludes and fugues, inventions (“Fiction”). Capriccio et al.
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Bakhovskoe keyboard creativity features a new interpretation of the instrument. He turns into concert.
“The Well-Tempered Clavier” (HTK)
A cycle of 2 volumes (1st 1722, 2nd - 1744) with 24 preludes and fugues in each. For the first time, Bach used all 24 keys and arranged them according to the chromatic principle (C major, C minor, C sharp major, C sharp minor, D major, etc.). Proved the advantages of tempered tuning. "HTK" - "musical Bible", contains religious images, chorales, symbols.
Prelude and Fugue in C major from Volume 1- Annunciation. Prelude - sublime peace, lute texture, clear harmonies. The theme of the fugue is the chorale “What the Lord does is for good”
Prelude and Fugue in C minor from Volume 1"Flaming Faith" The prelude resembles a toccata:
Her conclusion is of an improvisational nature.
Prelude and Fugue in E flat minor from Volume 1- tragic work, - “The Descent from the Cross.” Prelude in the rhythm of a sarabande. The theme of the fugue is song.
Variation" href="/text/category/variatciya/" rel="bookmark">variations (less often - sonata).
Part 3 - minuet (in Beethoven - scherzo); complex three-part form.
4th movement - fast - rondo sonata or, less commonly, rondo.
JOSEPH HAYDN
1732 (village Rorau) - 1809 (Vein)
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Main section- fast in sonata form: dance themes. Main theme:
The theme of the side part takes place in the exposition in the key of B-flat major:
and in the reprise - in the main key, E-flat major.
part 2- double variations (on two themes), the first theme is a Croatian folk song (C minor):
the second theme is its major version:
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Complex three-part form: AVA. The middle section (trio) is smoother:
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3 sections: exposition, development, reprise.
Note: sometimes there is an introduction before the exposition, and a coda after the reprise.
Exposition.
MAIN BATCH SIDE BATCH
 |
subject binder subject final
main Part side Part
pariahs modulates parties in key
in the main in the key in the dominant secondary theme
tonality of a secondary key (or….. fixes
party in parallel side
major,
if the key
fundamental key
minor)
T → D (III) D (III)
Note: GP and PP Must be required. and Sv. h. and 3. h. may be absent
Development .
Develops exposition material. Development techniques: tonal instability (modulation), sequences, variation, isolating short motifs from themes, introducing new themes, changing registers, polyphonic development techniques.
Reprise.
The topics of the exhibition are carried out in the main key.
Note: sonata form without development is sometimes found (usually in slow movements and operatic overtures).
Sonata in D major.
One of Haydn's most famous sonatas. Contains features characteristic of a classical sonata: optimistic, 3-part (fast-slow-fast), 1 part in sonata form, finale in rondo form: AVASA (A - refrain, B and C - episodes),
1 part- all sections are present in the exhibition (t. GP, Sv. part, t. PP, Z. part), they are independent, but not contrasting (cheerful, dance)
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The tonal plan is classic: t. GP - D major, t. PP and Z. h. - A major. Various development techniques are used in development, and a minor appears. In the reprise, all themes are in D major.
part 2- slow, in D minor. Character is strict, stern, restrained:
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and the first episode (B) is close to 2 parts (tonality, texture, harmony). The final delivery of the refrain is varied.
Sonata in E minor.
Haydn's only sonata where first part a pronounced lyrical character is combined with a very fast tempo. The theme of the main party consists of two elements. In the bass there are moves on a tonic minor triad, and in the top there are reverent motives-answers:
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The theme of the side part in G major is light and dreamy:
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Part 3- rondo, the refrain of which is of an inspired nature:
https://pandia.ru/text/78/586/images/image042_5.jpg" align="left" width="109" height="156"> WOLFGANG AMADEUS MOZART
1756 (Zalzburg) - 1791 (Vein)
Brilliant Austrian composer, pianist, organist, conductor, violinist, teacher. Representative Viennese classicism. He addressed all genres that existed at that time. The creative heritage is enormous, most of the works are masterpieces.
Mozart's name is surrounded by legends (about his childhood, about the extraordinary speed of work on his works, about the last days of his life). There is some truth in them: very early development (he began composing at the age of 5, out of 35 years of life, 30 are spent on the creative path). Reasons: genius talent, an excellent teacher (father - Leopold Mozart) and numerous trips since 1762, which brought many musical impressions, but they also caused overwork, weakened health and led to early death.
Main periods of creativity:
1) early - until the 70s - concerts in Munich, Paris, London, The Hague, etc. (harpsichordist, organist, violinist, conductor), sister Nannerl also participated in the concerts (). Creation of works in all genres (5 years - first pieces for harpsichord, 8 years - symphonies, 10 - variations, 11 - works for the stage): 1769 - appointment as court conductor (without salary).
2) 70s: 3 trips to Italy (awarding the Papal Order of the Golden Spur, election to membership in the Bologna Academy, staging operas in Milan). 1772 - court conductor (with salary), concerts in Vienna, Munich. 1777 - dismissal from service, visit to Mannheim. 1778-79 - Paris, unsuccessful attempt to get a job, death of mother, return to Salzburg to serve the archbishop, creation of a large number of works (the best - symphony No. 25, sonatas No. 8, 11, concerts No. 9, 10, opera “The Imaginary Gardener” ").
3) Vienna period. 80s. The pinnacle of creativity. Mozart is a free artist. Best works: symphonies No. 39-41, concerts No. 23, 24, operas “The Marriage of Figaro”, “Don Giovanni”, “The Magic Flute”, Requiem.
OPERA “MEDIA OF FIGARO”
Created in 1786 based on the comedy by Beaumarchais, banned in Vienna, “Crazy Day, or The Marriage of Figaro.” Libretto (text of the opera) by da Ponte. The work combines the traditions of buffa (comic) and seria (serious) opera. Traditions: intricate plot with a happy ending, victory of the servant in the conflict with the master, number structure. Innovation: the combination of the comic and the serious, the creation of individual characters (each hero has his own intonation), the dependence of the arrangement of numbers on the plot, and not on traditions, the increasing role of ensembles.
Countess soprano
Figaro, the Count's servant bass or baritone
Suzanne, maid of the Countess, fiancee of Figaro soprano
Cherubino, soprano page or mezzo-soprano
Marcelina, housekeeper, mezzo-soprano mother of Figaro
Doctor Bartolo, Father Figaro bass
Basilio, tenor music teacher
Don Curzio, tenor judge
Antonio, gardener, Susanna's uncle bass
Barbarina, his soprano daughter
Overture- sonata form without development. Not on the themes of the opera, but clearly conveys its mood: cheerful bustle:
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Cavatina Figaro (1 d.) - 3-part form. Sections 1 and 3 - minuet rhythm (“portrait” of the Count):
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Aria Cherubino (1 d.) - excitement, trepidation. Cherubino is a symbol of youth, love of life:
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Suzanne's Aria (4 d.) - old features and new ones - serious experiences:
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Sv. h. - development of intonations of Comrade GP and a new, more decisive theme. t. PP - B-flat major, gentle, graceful:
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Part 3- minuet, but of an unusual dramatic nature:
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PP theme - B-flat major, lyrical, calmer:
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Size 6/8. The form is simple two-part reprisal. The variations are strict (figurative, ornamental: the melody, texture, rhythm changes, but the tonality, form, and reference points of the melody are preserved). 1 var. - the melody becomes more complicated; 2 var. - triplets appear; 3 var. - minor, movement with even durations:
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The trio (2nd section) resembles the 4th variation from the 1st movement.
Part 3- the famous “Turkish style rondo”. The form is a complex 3-part with a refrain (refrain, which gives the part the features of a rondo):
V A S A V A CODA
main chorus trio chorus reprise chorus
theme refrain (middle part) refrain 1st theme refrain
A minor A major F sharp A major A minor. A major A major
Main theme of the finale (IN):
Trio theme (WITH):
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Requiem.
Funeral Mass, D minor. The text is Latin. Performing composition: 4 soloists (soprano, mezzo-soprano or alto, tenor, bass), choir, orchestra (strings, bassoons, basset horns - a type of clarinet, they are usually replaced by horns, trumpets, trombones, timpani). organ. Written by order of Count Walsegg, who wanted to pass off this work as his own. Work on the Requiem was interrupted by death; his student Sussmayer was finishing the work. Requiem is Mozart's most tragic work. Consists of 12 parts. 1 part- two sections: 1st - “Eternal Peace”, grief, slow pace; 2nd - double fugue, V of which the first theme is the symbol of the “cross”, and the second is the rotational movement (“Cup of Suffering”) Part 3“Trumpet of the Eternal”, ensemble of soloists, trombone solo. 7 Part- Lacrimosa (“Tearful Day”). prayer, ariot intonations, seconds - the motives of a sigh in the violins. This piece is the last thing Mozart created in his life.
Conclusion on creativity. The main direction in Mozart's work is classicism(harmony, appeal to the genres of symphony, sonata, quartet. concert: perfection of forms), but in early works- features rococo(grace, melismas). in the later ones - anticipation romanticism(increased attention to feelings, unsolvability of problems - for example, symphony No. 40).
In his works, Mozart revealed life with all its contrasts, but at the same time his music always beautiful and harmonious. She combines the ardor of youth, the restraint of maturity and the wise tranquility of old age.
The origins of Mozart's work are varied: early classicism (for example, the music of Bach's sons), Italian opera, Viennese everyday music, the works of Haydn, Handel and Bach. He implemented these traditions individually, selecting what was close to him. “The master is known in limitation,” this thought of Goethe defines Mozart’s work: without destroying traditions, but only by reading them in a new way, he became a great innovator. Mozart's music has been admired at all times. She is perfection, she is the highest manifestation of the human spirit, she is inspiration and beauty.
LUDWIG VAN BEETHOVEN
1770 (Bonn) - 1827 (Vein)
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The last stage of the GP plays the role of the Holy Choir. Before the PP there is a short bunch of fanfare of horns. The theme of PP is E-flat major, lyrical, but accompanied by the rhythm of fate:
ZP - E-flat major: a new heroic theme that combines the features of so-called GP and so-called PP. Development compressed, energetic, mainly develops the so-called GP. Reprise contains changes: begins with a climax, incl. GP - the sorrowful recitative of the oboe, vol. PP, etc. GP in C major. The code is like a second development.
2 part - A flat major. Double variations. 1 theme - lyrical-philosophical, smooth, without decorations, with low strings:
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2 - menacing, marching, with the rhythm of fate:
https://pandia.ru/text/78/586/images/image072_0.gif" align="right" width="419" height="78 src=">The rhythm of fate is transformed from formidable to victorious. Development - it is developing . PP, becomes more and more solemn. But unexpectedly the 2nd theme (“fate” from the 3rd part invades - as a reminder of the past (reminiscence). Reprise - all themes in C major. Coda - the conclusion and culmination of the work: victory of the will and human reason. The theme of fate becomes the theme of the triumphal procession.
Overture "Egmont" 1810
Music for Goethe's tragedy "Egmont" was commissioned Vienna theater. Contents: the heroic struggle of the Dutch people against the Spanish yoke: Egmont - the commander who led the uprising and was executed by order of the Duke of Alba in 1568. The best episode of the tragedy created by Beethoven is the overture, which briefly conveys the meaning of Goethe's work. Sonata form with introduction and coda. The intro is slow, contrasting with a menacing saraband
and a sad theme with descending intonations:
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vol. PP - A-flat major, sarabande:
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It is theatrical (reminiscent of an operatic overture), based on the contrast of menacing forte chords and the lighter sound of a piano in the middle register with a dotted rhythm. The main section is fast, in sonata form. t. GP - stormy, angry protester:
https://pandia.ru/text/78/586/images/image079_0.gif" align="left hspace=12" width="420" height="78"> grows from the introduction, there is a tremolo in the bass (orchestral technique 1st theme PP in E-flat minor, on the intonations of pleas, complaints:
2nd theme of PP - E-flat major, impetuous, energetic.
t. ZP - E-flat major, active, excited. The development is dramatic. It begins with the theme of the introduction, then develops the so-called GP. In the reprise, all themes sound in C minor, more tragic. The coda begins with a modified introduction theme without the initial menacing chords, hopelessly, mournfully. But the ending is strong-willed, purposeful (i.e. GP).
part 2- slow, lyrical-philosophical in nature. A flat major. Rondo - AWASA. Refrain - a melody in a low (cello) register, without melismas (new for that time), measured in nature:
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Final scheme:
EXHIBITION CENTRAL REPRISE
t. GP Holy hour t. PP. Z. h. t. GP EPISODE t. GP Holy hour t. P.P. Z. h. t. GP
refrain 1 episode refrain instead of development refrain 1 episode refrain
A B A S A V A
C minor E-flat C minor A-flat major C minor C minor C minor
Sonata No. 14, C sharp minor, 1801.
The name “Lunar” belongs to the poet Relshtab and is inspired by the mood of the first part. Beethoven's designation is “sonata-fantasy” 1 part- adagio: reminiscent of Bach’s music (prelude texture, chorale melody), prepares a romantic nocturne (sublime lyrical character, thoughtfulness, contemplation, vocal melody and arpeggiated accompaniment); also contains features of a funeral march (mournful concentration, dotted rhythm, repetition of one sound). The form is very complex (combines the characteristics of a tripartite, sonata, ronda), as it embodies content of great depth. 2 Part- allegretto. D flat major. Complex 3x-particular form. Reminds me of a minuet. Dreamy character. “A flower between two abysses” (Leaf). Part 3- fast, tragically passionate. expresses despair and hope. The climax of the sonata. A huge contrast with part 1, although the main themes (parts I and 3) are based on similar figures. Sonata form. The work is surprisingly unified because:
I) is built on the principle of accelerating the tempo;
2) parts are performed without interruption;
3) tones of the same name are used;
4) there are similarities in the themes of part 1 and the finale.
Sonata No. 23, F minor, .
Heroic-dramatic work. The title “Appassionata” (passionate) is not the author’s, but it correctly reflects the content. R. Rolland called it “A fiery stream in a granite channel.” Indeed, it combines violent emotionality with strict logic of form. In terms of depth of ideas and scale, it is close to a symphony. Created shortly before Symphony No. 5 and in many ways prepares it. 1 part- sonata form. i.e. GP - anxious, conflictual, but at the same time strong-willed. It consists of several elements, one of which is the “rhythm of fate” (found in the 5th symphony). t. PP - a variant of t. GP, hymnical in nature. The development is complex, like a symphony. The reprise continues to develop themes. The code is like a second development. 2 Part- variations on a chorale theme of a sublimely philosophical nature. Part 3- enters without interruption. It is connected with the 2nd part by a dissonant chord (as if an alarm signal). Sonata form. All topics are of a strong-willed nature. Semantic conclusion: a person never achieves complete peace, but the struggle with fate is the meaning of his life.
Conclusion. Beethoven's work is the pinnacle in the development of musical classicism. It embodies faith in human reason and will (symphony no. 5. sonata no. 23), reflects the most important ideas Enlightenment(Schiller’s Ode “To Joy” is included in the finale of Symphony No. 9). Beethoven was attracted heroic stories: the struggle for independence (Egmont), the fight against tyranny (the opera Fidelio). His heroes are strong individuals who remain faithful to duty in spite of fate.
Beethoven's creative heritage is enormous and the main place in it belongs to the genres formed in the era of classicism: 9 symphonies, 32 piano sonatas, 10 violin sonatas, 5 cello sonatas, 16 quartets.
The classicism of Beethoven's work is also evidenced by the impeccable logic of his works and the clarity of forms (especially the sonata).
At the same time, Beethoven's music prepares romanticism: increased attention to human experiences (1st movement of the “Moonlight” Sonata), to images of nature (“Pastoral” Symphony); V piano pieces“Bagatelles” (“Trinkets”) and the vocal cycle “To a Distant Beloved” laid the foundations, soon developed by Schubert, Schumann and other romantic composers.
Beethoven's work is one of the most majestic pages in the history of musical art. It will always cause amazement and admiration. “Beethoven is the revived myth of Prometheus, this is the art of Aeschylus, Shakespeare, Michelangelo, Leo Tolstoy” (Asafiev).
ROMANTICISM
Leading art directionXIXcentury. Features: attention to human feelings. The most beautiful art Romantics considered music.
Themes: love, nature, art (the hero is an artist, poet, musician), loneliness, incomprehensibility of the artist (often autobiographical), the desire to escape from reality into a fairy tale, into the past (the Middle Ages), into exotic countries.
Genres: song, romance, instrumental miniatures (prelude, nocturne, waltz, etude, etc.), vocal and piano cycles, program music(idea of synthesis of arts).
Representatives: Schubert, Weber, Mendelssohn, Chopin, Schumann, Liszt, Wagner, Tchaikovsky, Rachmaninov and others.
FRANZ SCHUBERT
1797 (Lichtenthal) – 1829 (Vein)
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Forest King"(1815) - based on Goethe's poems. New genre - ballad(comes from folk poetry). Features: narrative, fascinating plot, often fantastic, tragic outcome, end-to-end development (therefore, the role of the piano part increases, and recitation appears in the melody). Most shining example – musical embodiment baby cries:
Accompaniment" href="/text/category/akkompanement/" rel="bookmark">accompaniment. Differences: “Winter Retreat” is a more tragic work (in the 1st cycle the hero has a “friend” - a stream, in the 2nd cycle the hero is lonely, his wanderings are aimless): in “The Beautiful Miller's Wife” the nature is spring, blooming, in “Winter Retreat” “- cold, frozen, hostile to people; the melodies of the 1st cycle remind folk songs(No. 1 “On the Road”):
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in the 2nd cycle the piano part is more complex, depicting the heavy step of a traveler (No. 1 “Sleep Well”), the playing of a barrel organ (No. 24), (the theme of the vocal pariah -
the rustling of leaves, the howling of the wind, the sound of a postal horn; Most of the songs in the 1st cycle are major, in the 2nd cycle they are minor, harmonically more complex than in the 1st cycle.
Unfinished Symphony, B minor, No. 8.
Created in 1822, first performed in 1865. - the fate of this work reflects the attitude of contemporaries to Schubert’s music. The first romantic symphony: the content is the disclosure of the experiences and feelings of a dreamy, easily vulnerable person. It consists of 2 parts, but the idea is exhausted: part 1 is dramatic, part 2 is lyrical and contemplative, expressing reconciliation with fate. The musical language is unusual: melodies of a song type, their introduction is preceded by several measures of accompaniment (as in a song); the tonality of the 1st part is B minor, 2 parts - E major, the tonal ratio of the GP and PP in the 1st part is tertian (B minor - G major), the orchestration is colorful, the role of the woodwinds increases (i.e. the GP is performed by oboe and clarinet against the backdrop of string accompaniment ). The form of the 1st movement is sonata:
introduction exposition development code reprise
T. GP bunch of t .PP Z. ch. insert., episode from t. PP t. GP bunch of t. PP Z. ch. insert.
B Sol si re si
minor major minor major minor
Introduction topic:
Main theme:
Side game theme:
Generalization. Schubert's fate is tragic: he lived only 31 years, there were no long travels, no brilliant acquaintances in his life (the meeting with Beethoven, which he so dreamed of, did not take place), no well-deserved fame. After the composer's death, his friends published the collection "Swan Song". In the 30s, Schubert's work began to be promoted by Liszt, Schumann, and Mendelssohn. Now his music is heard all over the world, because it reveals “the joys and sorrows of life, as most people feel and would like to convey them if they had Schubert’s talent.” (Asafiev).
One of the composer’s most popular works is Musical Moment in F minor:
FRYDERYK FRANTIŠEK CHOPIN
1810, Zelazowa Wola near Warsaw - 1849, Paris
Foreign languages" href="/text/category/inostrannie_yaziki/" rel="bookmark">foreign languages, played the violin and flute; mother (Justyna Chopin, née Krzyzanowska) played the piano and sang.
The first manifestations of genius at the age of 5. 6 years - lessons with V. Zhivny (piano). 7 years - first public speaking, publication of 2 polonaises and articles about the “Polish Mozart”. 12 years - composition classes with Elsner. 1823-26 - Lyceum. 1826-29 - graduate School music. 1830 - departure from Warsaw to Paris (on the way received news of the defeat Polish uprising). 1831 - Schumann’s article on Chopin “Opus 2”. 1832 - first concert in Paris, the beginning of European fame. From the mid-30s to the mid-40s - the most fruitful period, acquaintance with Liszt, Mickiewicz, Delacroix, Balzac, Hugo, Schumann, etc. Love for the French writer Georges Sand. The second half of the 40s - a serious illness, a break with Georges Sand. He died on October 17, 1849, was buried in Paris, but Chopin’s heart, according to his wishes, was transported to Poland.
Piano creativity.
The role of dance genres (a feature of Polish music) plays a great role in Chopin’s work.
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Mazurkas – their meaning for Chopin is similar to the meaning of songs for Schubert. Created from the mid-20s until the end of life ( last essay- Mazurka in F minor). "Lyrical Diaries". It is based on 3 dances: mazur, oberek, kujawiak. National traits: 3/4 time signature, accents on the 2nd or 3rd beat, dotted line on the downbeat, frets folk music, modal variability, depiction of playing folk instruments (for example, bagpipe basses). Diversity: close to folk- cheerful, picturesque (No. 15, C major introduction - “game folk instruments", 1st theme - modal variability - Lydian mode:
middle section of the 3x-particular form - emphasis weak shares, emphasized danceability), lyrical, sad(No. 49, A minor - danceability is not emphasized, it is characterized by smoothness, grace, and an expressive melodious melody:
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Episode 1 - soft, lyrical, smooth. 2nd - “bagpipes”, modal originality: emphasizing uv.2 and tritone in the melody.
Waltzes - poetic romantic miniatures - brilliant (No. 1), lyrical - No. 7:
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Sketches . Sample - 24 caprices by Paganini. Not educational plays - technique serve to create certain moods and images: rapid passages in the left hand and dense chords with strong-willed intonations in the high register - stormy drama (No. 12, C minor, called “revolutionary”, because it was created under the impression of the news of the events in Warsaw) :
playing legato on a pedal background in at a slow pace- sophisticated lyrics (No. 3, E major:
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despite the major key, there is a slight sadness. Prelude No. 20, C minor - funeral march, choral texture, low and middle register:
https://pandia.ru/text/78/586/images/image104_0.gif" align="left" width="241" height="30 src="> Funeral march B-flat minor, 1837. 3rd movement of Sonata No. 2, its climax. The picture of a funeral procession and the expression of deep grief: gloomy minor key, low register, chord texture, repetition of one sound in the melody and one harmonic turn (tragic numbness), ostinato rhythm. The middle section (complex 3x-partial form) is a major key, a memory of something that is irretrievably gone. The reprise is even more tragic. A sheet about the funeral march: “It is not the death of one hero that is mourned here,... an entire generation has fallen”:
Summary: Chopin's music, having received recognition during the composer's lifetime, is still popular today. Chopin is "the main and universally recognized the brightest representative the culture of his country and the spirit of his people before the world" (Mazel).
German musical culture of the 1st halfXIXcentury
The rise of German romanticism. () - creator of the German national romantic opera(“Magic Shooter”, “Oberon”, “Euryanthe”); music critic, pianist, conductor. F. Mendelssohn() - outstanding composer, teacher, founder of the Leipzig Conservatory), conductor, pianist. Promoted creation Bach, Mozart, Beethoven and others. The best works: “Songs without Words” (48 plays), music for Shakespeare’s comedy “A Dream in summer night"(including "Wedding March"), Violin concerto, 2 piano concertos. In his work, romantic features (lyrics, images of nature, programming, the genre of piano miniatures) are combined with classical ones (restraint, severity of forms, classical harmonies).
https://pandia.ru/text/78/586/images/image106_0.jpg" align="right" width="79" height="122 src=">Great German composer, conductor, music writer. Representative of romanticism. The main genre is opera (13 works).
He grew up in a theatrical environment: his stepfather is an actor, playwright, theater artist, older brother is a director and singer, three sisters are actresses.
Conclusion on creativity: Liszt is a representative of romanticism: the idea of synthesis of art is close (that’s why most of the works are programmatic); themes - love (nocturne “Dreams of Love”), nature (study “Blizzard”), art (“Betrothal” based on a painting by Raphael), wanderings (the cycle “Years of Wandering” is autobiographical); appeal to national cultures- Hungarian, Spanish, Italian (Tarantella), Russian (arrangement of Alyabyev’s song “The Nightingale.” “Chernomor’s March” by Glinka, etc.); genres - cycles of program piano miniatures: etudes, waltzes, ballads, rhapsodies, symphonic poems (program one-part works - the genre was created by Liszt).
Creative heritage : piano music- 19 Hungarian Rhapsodies, Spanish Rhapsody. Sketches based on Paganini's caprices, Sketches of the highest performing skills, the cycle “Years of Wanderings”. Sonata in B minor. 2 concertos for piano and orchestra, transcriptions, paraphrases, etc.; symphonic music - 13 symphonic poems (including “Preludes”, “Faust Symphony”, “Dante Symphony”, vocal and instrumental music - oratorios, romances and songs.
Liszt saw his role in music in the statement national art(“From cradle to grave, body and soul, I remain a Magyar: the goal of my life is that Hungary may one day point to me with pride”) and in search of new paths: “Even if all my works were unsuccessful, this would not mean that they are completely useless, for they gave impetus to further development"(F. Liszt).
EDWARD GRIEG 1843 (BergenBergen)
March 3" href="/text/category/3_marta/" rel="bookmark">March 3 - premiere of "Carmen". Overwork, illness, sudden death June 3, 1875
Opera "CARMEN"(1875) based on the novella French writer Merimee. Librettists - Meliac and Halevi. Created by order of the Comic Theater, therefore it did not have recitatives (tradition). they were written after Bizet's death by the composer Guiraud. Romantic traits(Spanish flavor, images of Carmen and Escamillo) and realistic (folk scenes, images of Jose and Micaela). A juxtaposition of cheerful folk scenes and the drama of the main characters: Carmen (mezzo-soprano), Jose (tenor), Toreador Escamidyo (baritone), Jose's bride Michaela (soprano).
Introduction- 1st theme - march from 4 d., 2nd theme - Escamillo's couplets from 2 d. They are contrasted with the leitmotif of Carmen - it sounds tragic, uv. 2 - Spanish flavor and tension.
March and boys' choir- introduction: trumpet fanfare behind the stage, main theme - flute and piccolo, then children's choir, perky character, clear rhythm, fourths in melody.
Habanera- introduction: leitmotif, but the character is lively, the main theme - folk song with a complex rhythm (dotted in accompaniment, triplets in melody).
Seguidilla– graceful, combines songfulness and danceability: lowered stage II, “guitar” accompaniment.
Intermission for day 2- the theme of Jose's song is reminiscent of folk music and has a clear rhythm.
Escamillo couplets(2 days) - a “portrait” of the hero, a spectacular, bright rhythm of the bolero. The second theme (the march from the introduction to the opera) is taken up by the choir.
Duet Carmen andJose(2 days) - scene with end-to-end development: the most bright episodes: Carmen's song - without words. Carmen dances with castanets - and Jose’s arioso “See how sacredly I preserve the flower that you gave me” - a gentle melody, accompaniment - woodwinds, harp.
Intermission for day 3- symphonic nocturne, calm character, light color - the melody of the flute and clarinet.
Smugglers March(beginning 3rd) - sounds gloomy and wary.
Arioso Carmen(fortune telling scene, 3rd) - a tragic premonition of death; reminiscent of a seguidilla melody, but with a different rhythm: the accompaniment chords sound funereal.
Intermission by 4 days - ( folk dance polo), march (1 opening theme) and dances ("Farandola" and " Gypsy dance" from "The Arlesienne", "Ole" from "The Beauty of Perth") - the culmination of folk scenes. They are sharply contrasted by the Duet of Carmen and Jose - a conflict of characters, a tragic denouement.
The premiere of the opera was not a success, but Tchaikovsky’s opinion turned out to be prophetic: “I am convinced that in ten years Carmen will be the most popular opera in the world.”
CLAUDE ACHILLE DEBUSSY 1862 (Saint Germain Paris)
https://pandia.ru/text/78/586/images/image112_0.jpg" align="left" width="51" height="69 src=">Great French composer, pianist, conductor. He grew up in an intelligent family: his father is a talented engineer, a lover of music and literature. Since childhood, she has been influenced by two cultures: French and Spanish (her mother came from an old Spanish family). Music lessons from the age of 7. 1st piece - Variations for piano on a theme by Schumann.
gg. - studies at the Paris Conservatory, unsuccessful attempts participate in competitions for the Grand Prix de Rome - the conservative jury did not accept Ravel's works.
Works from 90-9000: for piano - “Ancient Minuet”, “Pavane” (there is also an orchestral version), “The Play of Water”, cycles “Night Visions”, “My Mother Goose”, “Noble and Sentimental Waltzes”, vocal cycle “Scheherazade”, “Spanish Rhapsody” for symphony orchestra, opera “The Spanish Hour”, ballet “Daphnis and Chloe”, etc.
Years of the 1st World War - voluntary service in the army, serious illness, demobilization. Best works post-war period: piano suite“Tomb of Couperin”, 2 piano concertos, choreographic poem “Waltz”, “Bolero” (created by order of the ballerina Ida Rubinstein, became famous as symphonic work). “Ravel’s music is a mosaic of iridescent spots and highlights, sophisticated, gentle, whimsical” (Karatygin). A combination of the traditions of French (Couperin, Rameau, Debussy) and Spanish cultures, the principles of impressionism and neoclassicism. Interest in Russian music (orchestration of “Pictures at an Exhibition” by Mussorgsky).
Development of music until the 17th century. ……………...……………………3
Musical culture of Western Europe
XVII – beginning XVIII centuries………………………………………………………..…3
GEORGE FRIEDRICH HANDEL..……..………………………..………3
JOHANN SEBASTIAN BACH……………………….…………......4
CLASSICISM …………………………………………………...7
JOSEPH HAYDN…………………….………………….…………...……8
WOLFGANG AMADEUS MOZART……………………………...12
LUDWIG VAN BEETHOVEN…………………………………..…20
ROMANTICISM …………………………………………...……….25
FRANZ SCHUBERT…………………………………………......26
FRYDERYK FRANTIŠEK CHOPIN …………………………..30
ROBERT SCHUMANN ……………………………………..…….…35
RICHARD WAGNER ……………………………………………………….36
JOHANNES BRAHMS………………………………….………..…36
GIUSEPPE FORTUNATO FRANCESCO VERDI…………….37
FERENZ LIZT……………………………………………...…38
EDWARD GRIEG…………………………………………………………..…....39
HECTOR BERLIOZ………………………………………..…..…40
GEORGES Bizet……………………………………………………………....…..40
CLAUDE ACHILLE DEBUSSY ……………………………..….…42
MAURICE JOSEPH RAVEL…………………………..…….……42