What is the name of Beethoven's Symphony 6. Beethoven. Symphony No. 6, Pastoral. Determination of the form of the work as a whole, analysis of parts of the symphony

This term has other meanings, see Beethoven's Symphony No. 5 in 1804. Fragment of a portrait by V. Mahler. Symphony No. 5 in C minor, op. 67, written by Ludwig van Beethov ... Wikipedia

Beethoven, Ludwig van Beethoven redirects here; see also other meanings. Ludwig van Beethoven Ludwig van Beethoven Ludwig van Beethoven in the portrait of Karl Stieler ... Wikipedia

BEETHOVEN (Beethoven) Ludwig van (baptized December 17, 1770, Bonn March 26, 1827, Vienna), German composer, representative of the Viennese classical school (see VIENNA CLASSICAL SCHOOL). He created a heroic dramatic type of symphonism (see SYMPHONISM) (3rd ... ... encyclopedic Dictionary

Beethoven Ludwig van (baptized 12/17/1770, Bonn, ‒ 3/26/1827, Vienna), German composer. Born into a family of Flemish origin. Grandfather B. was the head of the court Bonn chapel, his father was a court singer. B. learned to play early… Great Soviet Encyclopedia

- (Ludwig van Beethoven) the greatest composer of the 19th century, born, 16 Dec. 1770 in Bonn, where his grandfather Ludwig fan B. was a bandmaster, and his father Johann fan B. was a tenor in the elector's chapel.V. showed very early an amazing musical gift, but a heavy ...

BEETHOVEN (Beethoven) Ludwig van (1770 1827), it. composer. In the atmosphere of the post-December years in Russia, attention to the music of B. increased. The drama of his rebellious work, which aroused hope and faith in people, called for struggle, answered ... ... Lermontov Encyclopedia

- (from the Greek symphonia consonance) a piece of music for a symphony orchestra, written in sonata cyclic form; the highest form of instrumental music. Usually consists of 4 parts. The classical type of symphony took shape in con. 18 early 19th century ... Big Encyclopedic Dictionary

- (Greek consonance) the name of an orchestral composition in several parts. S. is the most extensive form in the field of concerto-orchestral music. Due to the similarity, in its construction, with the sonata. S. can be called a great sonata for orchestra. How in… … Encyclopedia of Brockhaus and Efron

- (Greek symphonia - consonance) a piece of music for a symphony orchestra, written in sonata cyclic form, the highest form of instrumental music. Usually consists of 4 parts. The classical type of symphony took shape in the XVIII century - early. XIX… … Encyclopedia of cultural studies

LUDWIG VAN BEETHOVEN. Portrait by J. K. Stieler (1781 1858). (Beethoven, Ludwig van) (1770 1827), German composer, who is often considered the greatest creator of all time. His work is attributed to both classicism and romanticism; on the… … Collier Encyclopedia

- (Beethoven) Ludwig van (16 XII (?), baptized 17 XII 1770, Bonn 26 III 1827, Vienna) German. composer, pianist and conductor. The son of a chorister and grandson of the bandmaster of the Bonn court. choir, B. joined the music at an early age. Muses. activities (game ... ... Music Encyclopedia

Books

• Symphony no. 9, op. 125 , L.V. Beethoven. This book will be produced in accordance with your order using Print-on-Demand technology. L. W. Beethoven, Symphony no. 9, op. 125, Score, For orchestra Edition type: Score Instrumentation:…
• Symphony no. 6, op. 68 , L.V. Beethoven. This book will be produced in accordance with your order using Print-on-Demand technology. L. W. Beethoven, Symphony no. 6, op. 68, Score, For orchestra Edition type: Score Instrumentation:…

Ludwig van Beethoven. Symphony No. 6 in F Major, Op. 68, "Pastoral"

Symphony No. 6 in F major, Op. 68, Pastoral

Orchestra composition: 2 flutes, piccolo flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, strings.

History of creation

The birth of the Pastoral Symphony falls on the central period of Beethoven's work. Almost simultaneously, three symphonies, completely different in character, came out from under his pen: in 1805 he began to write the heroic symphony in C minor, now known as No. and in 1807 he set about composing the Pastoral. Completed simultaneously with the C minor in 1808, it differs sharply from it. Beethoven, resigned to an incurable disease - deafness - here does not struggle with a hostile fate, but glorifies the great power of nature, the simple joys of life.

Like the C minor, the Pastoral Symphony is dedicated to Beethoven's patron, the Viennese philanthropist, Prince F. I. Lobkovitz and the Russian envoy in Vienna, Count A. K. Razumovsky. Both of them were first performed in a large "academy" (that is, a concert in which the works of only one author were performed by himself as a virtuoso instrumentalist or an orchestra under his direction) on December 22, 1808 at the Vienna Theater.

The first number of the program was "Symphony entitled" Reminiscence of rural life ", in F major, No. 5". It wasn't until some time later that she became the Sixth. The concert, held in a cold hall, where the audience sat in fur coats, was not a success. The orchestra was prefabricated, of a low level. Beethoven quarreled with the musicians at the rehearsal, conductor I. Seyfried worked with them, and the author only directed the premiere.

The pastoral symphony occupies a special place in his work. It is programmatic, and, the only one out of nine, has not only a common name, but also headings for each part. These parts are not four, as long ago established in the symphonic cycle, but five, which is connected precisely with the program: between the ingenuous village dance and the peaceful finale, a dramatic picture of a thunderstorm is placed.

Beethoven loved to spend his summers in quiet villages around Vienna, wandering through forests and meadows from dawn to dusk, in rain and sun, and in this communion with nature, the ideas of his compositions arose. "No person can love rural life as much as I do, because oak forests, trees, rocky mountains respond to the thoughts and experiences of a person." Pastoral, which, according to the composer himself, depicts feelings born from contact with the world of nature and rural life, has become one of Beethoven's most romantic compositions. No wonder many romantics saw her as a source of their inspiration. Berlioz's Fantastic Symphony, Schumann's Rhine Symphony, Mendelssohn's Scottish and Italian Symphonies, the symphonic poem "Preludes" and many of Liszt's piano pieces testify to this.

The first part is called by the composer     "Awakening joyful feelings during your stay in the countryside."    The uncomplicated, repeatedly repeated main theme that sounds on the violins is close to folk round dance melodies, and the accompaniment of the violas and cellos resembles the hum of a village bagpipe. A few side themes contrast little with the main one. The development is also idyllic, devoid of sharp contrasts. A long stay in one emotional state is diversified by colorful juxtapositions of tonalities, a change in orchestral timbres, rises and falls in sonority, which anticipates the principles of development among the romantics.

The second part -     "Scene by the Stream"     - is imbued with the same serene feelings. A melodious violin melody slowly unfolds against a murmuring background of other strings that persists throughout the movement. Only at the very end does the stream stop, and the call of birds becomes audible: the trills of a nightingale (flute), the cry of a quail (oboe), the cuckoo's call (clarinet). Listening to this music, it is impossible to imagine that it was written by a deaf composer who has not heard birdsong for a long time!

The third part -     "Cheerful pastime of the peasants"     - is the most cheerful and carefree. It combines the crafty innocence of peasant dances, introduced into the symphony by Beethoven's teacher Haydn, and the sharp humor of Beethoven's typical scherzos. The opening section is built on the repeated comparison of two themes - abrupt, with persistent stubborn repetitions, and lyrical, melodious, but not without humor: the bassoons accompaniment sounds out of time, like inexperienced village musicians. The next theme, flexible and graceful, in the transparent timbre of an oboe accompanied by violins, is also not without a comic shade, which is given to it by the syncopated rhythm and the suddenly entering bassoon basses. In a faster trio, a rough chant with sharp accents is persistently repeated in a very loud sound - as if the village musicians played with might and main, sparing no effort. In repeating the opening section, Beethoven breaks the classical tradition: instead of running through all the themes, there is only a brief reminder of the first two.

The fourth part -     “Thunderstorm. Storm»     - starts immediately, without interruption. It is in sharp contrast to everything that preceded it and is the only dramatic episode of the symphony. Drawing a majestic picture of the raging elements, the composer resorts to visual techniques, expanding the composition of the orchestra, including, as in the finale of the Fifth, the piccolo flute and trombones, which were not previously used in symphonic music. The contrast is particularly sharply emphasized by the fact that this movement is not separated by a pause from the neighboring ones: starting suddenly, it also passes without a pause into the finale, where the moods of the first movements return.

Finale -     “Shepherd's tunes. Joyful and grateful feelings after the storm.     The calm melody of the clarinet, which is answered by the horn, resembles the roll call of shepherd's horns against the background of bagpipes - they are imitated by the sustained sounds of violas and cellos. The roll calls of the instruments gradually fade away - the last melody is played by a horn with a mute against the background of light passages of strings. This is how this one-of-a-kind Beethoven symphony ends in an unusual way.
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Beethoven Symphony No 6 in F Major Op 68 "The Pastoral" Mvt. 1 Allegro ma non troppo. Performed by the Peter Seymour Orchestra PSO led by the legendary John Ockwell at the Sydney Youth Orchestra SYO concert, December 4, 2010.

01 Allegro ma non troppo, Beethoven, Symphony 6/1, F major, Op 68, "Pastoral", Thielemann, Vienna Philharmonic Orchestra

Pastoral (derived from French pastorale, pastoral, rural) is a genre that poetizes peaceful and simple rural life.
Pastoral is a genre in literature, painting, music and theater that poeticizes the peaceful and simple rural life. Pastoral can be called:

Pastoral music, which can include both large and small works, dedicated to the depiction of nature or rural life. The musical pastoral is characterized by the sizes 6/8, 12/8, the smooth, calm movement of the melody, often doubled into a third. Examples of pastorals are found in the works of A. Vivaldi, D. Scarlatti, F. Couperin, J. S. Bach and other composers. Also known as Beethoven's Pastoral Symphony.

A pastoral can also be called a symphonic episode in a musical stage work that draws pictures of nature (for example, a pastoral in the music of J. Bizet to the Arlesian by A. Daudet).

A small opera, pantomime, ballet based on idealized scenes from rural life. The first pastorals that arose in the 14th-15th centuries. are the forerunners of classical opera (for example, the French "performance with songs" The Tale of Robin and Marion). In the musical theater, the pastoral survived until the 18th and 19th centuries. (Mozart's opera The Shepherd King, 1775; ballet Delibes Silvius, 1876; etc.). Pastoral operas were written by K. V. Gluck, W. A. ​​Mozart, J. B. Lully, J. F. Rameau.
Bucolic (from the Greek "shepherd") poetry of antiquity, dedicated to depicting the life of shepherds. Synonyms - eclogue and idyll.

A type of European literature that copies the bucolic worldview.
A genre of court theater that originated in Italy in the 16th century. and spread throughout Western Europe. The pastoral was a small play, often introduced into the program of court festivities. It depicted the rural life of gallant shepherds and shepherdesses, endowed with the manners, feelings and vocabulary of the aristocracy.

Kiyar Pierre-Antoine - Pastoral.

6 minutes

Post a new topic.

Updating existing knowledge about Beethoven

Teacher: At the last lesson we will get to know youthe work of the Viennese classic, who combined two eras in his work. Say his name.-

Students: L.inen Beethoven.

Teacher: What song did we listen to?

What is a symphony?

What name?

Main idea, idea?

Students: struggle

On the board is a presentation with the topic of the lesson and a portrait of Beethoven -

Conversation, survey method, visual method.

5

minutes

The story about and the history of the creation of symphony 5

Teacher: We know that the theme of struggle pervades all of Beethoven's work and his life.

Today we will get acquainted with another symphony No. 5.

20 minutes

listening to music

Teacher: So, let's listen to the very beginning of the 1st movement of the symphony. The symphony begins with an epigraph motif.(An epigraph is a short sentence conveying the main idea.)Hearing a motive that you probably already knowWhat thought does he convey to us?

//The motive of fate sounds//

Teacher: What does the motive sound like? What associations did you have after listening to this tune?

Students: The opening motive sounds short, decisive and strong. It's like someone is knocking on the door.

Teacher: This motive is called - The motive of the fate of man. And you correctly noted that this motive is like a knock on the door. "That's how fate knocks on the door."The entire 1st part of the symphony is built on this motive-epigraph.

And here againwrestling theme man and destiny.

Let's write the topic of the lesson. We will write GP, PP, development, reprise, dramaturgy.

Let's listen to the 1st movement of the 5th symphony and thinkwho wins part 1man or destiny ?

// Sounds 1 part Allegro con brio - 7 min. 15 sec. //

(Children write down the title of the work, listen to the music and find out that the motive of fate sounds menacing and strong, so the person loses in this duel.)

Teacher: - Indeed, in part 1 victory remains with the evil fate, but the composer in each part shows us the relentless struggle of the human will and spirit with blows from fate. The epigraph motif sounds differently: now menacingly and close, now deafly and far away, as if reminding of oneself. But with each part, the struggle becomes more and more intense.

Listen to the sound of the finale, the last 4th part. That we will hear the victory of the human spirit or defeat?

//Sounds part 4 Allegro-3 min. 38 sec.//

(Children listen to the finale and answer that the human spirit and will win.)

Teacher: Quite right, the composer from part to part reveals his plan: "from darkness to light, through heroic struggle to victory." And the fourth part - the final - already sounds like a victorious procession, singing the joy of life and faith in bright ideals.

Audio recording of the work.

Verbal-inductive (conversation, dialogue)

Visual - deductive (comparison)

3 minutes

Generalization. Outcome

DoveLet's summarize:

Describe Beethoven's 5th symphony, what is it dedicated to?

(Symphony 5 is a kind of composer's challenge to fate, it is a battle of the human spirit with evil fate.)

10 minutes

Song learning.

Learning a piece

Expressive display of the teacher

Beethoven first gave the symphony public appointment raised it to the level of philosophy. It was in the symphony with the greatest depth that the revolutionary democratic composer's mindset.

Beethoven created majestic tragedies and dramas in his symphonic works. Beethoven's symphony, addressed to huge human masses, has monumental forms. Thus, the I part of the "Heroic" symphony is almost twice the size of the I part of the largest of Mozart's symphonies - "Jupiter", and the gigantic dimensions of the 9th symphony are generally incommensurable with any of the previously written symphonic works.

Until the age of 30, Beethoven did not write a symphony at all. Any symphonic work by Beethoven is the fruit of the longest labor. Thus, the "Heroic" was created for 1.5 years, the Fifth Symphony - 3 years, the Ninth - 10 years. Most of the symphonies (from the Third to the Ninth) fall on the period of the highest rise of Beethoven's creativity.

Symphony I sums up the searches of the early period. According to Berlioz, "this is no longer Haydn, but not yet Beethoven." In the Second, Third and Fifth, images of revolutionary heroism are expressed. The fourth, sixth, seventh and eighth are distinguished by their lyrical, genre, scherzo-humorous features. In the Ninth Symphony, Beethoven returns for the last time to the theme of tragic struggle and optimistic life-affirmation.

Third symphony, "Heroic" (1804).

The true flowering of Beethoven's work is associated with his Third Symphony (the period of mature creativity). The appearance of this work was preceded by tragic events in the life of the composer - the onset of deafness. Realizing that there was no hope for recovery, he plunged into despair, thoughts of death did not leave him. In 1802, Beethoven wrote his will to his brothers, known as the Heiligenstadt.

It was at that terrible moment for the artist that the idea of ​​the 3rd symphony was born and a spiritual turning point began, from which the most fruitful period in Beethoven's creative life begins.

This work reflected Beethoven's passion for the ideals of the French Revolution and Napoleon, who personified in his mind the image of a true folk hero. Having finished the symphony, Beethoven called it "Buonaparte". But soon the news came to Vienna that Napoleon had changed the revolution and proclaimed himself emperor. Upon learning of this, Beethoven was furious and exclaimed: “This is also an ordinary person! Now he will trample on all human rights with his feet, follow only his own ambition, will put himself above all others and become a tyrant! According to eyewitnesses, Beethoven went to the table, grabbed the title page, tore it from top to bottom and threw it on the floor. Subsequently, the composer gave the symphony a new name - "Heroic".

With the Third Symphony, a new new era began in the history of world symphony. The meaning of the work is as follows: in the course of a titanic struggle, the hero dies, but his feat is immortal.

Part I - Allegro con brio (Es-dur). G.P. - the image of the hero and the struggle.

Part II - funeral march (c-moll).

Part III - Scherzo.

Part IV - Finale - a feeling of all-encompassing folk fun.

Fifth Symphonyc- mall (1808).

This symphony continues the idea of ​​the heroic struggle of the Third Symphony. “Through the darkness - to the light”, - this is how A. Serov defined this concept. The composer did not give this symphony a name. But its content is associated with the words of Beethoven, said by him in a letter to a friend: “There is no need for rest! I don't recognize any other rest than sleep... I'll grab fate by the throat. She won’t be able to bend me at all.” It was the idea of ​​fighting fate and fate that determined the content of the Fifth Symphony.

After a grandiose epic (Third Symphony), Beethoven creates a laconic drama. If the Third is compared with Homer's Iliad, then the Fifth Symphony is compared with the classicist tragedy and Gluck's operas.

The 4th part of the symphony is perceived as 4 acts of tragedy. They are interconnected by the leitmotif with which the work begins, and about which Beethoven himself said: “Thus fate knocks at the door.” Extremely succinctly, like an epigraph (4 sounds), this theme is outlined with a sharply knocking rhythm. This is a symbol of evil, tragically invading a person's life, as an obstacle that requires incredible efforts to overcome.

Part I rock theme reigns supreme.

In Part II, sometimes her “tapping” is alarmingly alarming.

In the third part - Allegro - (Beethoven here refuses both the traditional minuet and the scherzo ("joke"), because the music here is disturbing and conflicting) - sounds with new bitterness.

In the finale (holiday, triumphal march), the rock theme sounds like a memory of past dramatic events. The finale is a grandiose apotheosis, reaching its climax in a coda expressing the victorious jubilation of the masses seized with a heroic impulse.

6th Symphony, "Pastoral" (F- dur, 1808).

Nature and merging with it, a sense of peace of mind, images of folk life - such is the content of this symphony. Among Beethoven's nine symphonies, the Sixth is the only program symphony; has a common title and each part is titled:

Part I - "Joyful feelings upon arrival in the village"

II part - "Scene by the brook"

Part III - "A Merry Gathering of Villagers"

IV part - "Thunderstorm"

Part V - "Shepherd's song. Song of gratitude to the deity after a thunderstorm.

Beethoven strove to avoid naive figurativeness and in the subtitle to the title emphasized - "more an expression of feeling than painting."

Nature, as it were, reconciles Beethoven with life: in his adoration of nature, he seeks to find oblivion from sorrows and anxieties, a source of joy and inspiration. Deaf Beethoven, secluded from people, often wandered in the forests on the outskirts of Vienna: “Almighty! I am happy in the forests where every tree speaks of you. There, in peace, I can serve you.”

The "pastoral" symphony is often considered a forerunner of musical romanticism. The "free" interpretation of the symphonic cycle (5 parts, at the same time, since the last three parts are performed without a break - then three parts), as well as the type of programming, anticipating the works of Berlioz, Liszt and other romantics.

Ninth Symphony (d- mall, 1824).

The Ninth Symphony is one of the masterpieces of world musical culture. Here Beethoven again turns to the theme of the heroic struggle, which takes on a universal, universal scale. In terms of the grandeur of the artistic conception, the Ninth Symphony surpasses all the works created by Beethoven before it. No wonder A. Serov wrote that “all the great activity of the brilliant symphonist was leaning towards this“ ninth wave ”.

The sublime ethical idea of ​​the work - an appeal to all mankind with a call for friendship, for the fraternal unity of millions - is embodied in the finale, which is the semantic center of the symphony. It is here that Beethoven introduces the choir and soloists for the first time. This discovery of Beethoven was used more than once by composers of the 19th-20th centuries (Berlioz, Mahler, Shostakovich). Beethoven used lines from Schiller's Ode to Joy (the idea of ​​freedom, brotherhood, the happiness of mankind):

People are brothers among themselves!

Hug, millions!

Merge in the joy of one!

Beethoven needed word, for the pathos of oratory has an increased power of influence.

In the Ninth Symphony there are features of programming. In the finale, all the themes of the previous parts are repeated - a kind of musical explanation of the idea of ​​the symphony, followed by a verbal one.

The dramaturgy of the cycle is also interesting: first, two fast parts with dramatic images follow, then the third part - slow and final. Thus, all continuous figurative development is steadily moving towards the finale - the result of the life struggle, various aspects of which are given in the previous parts.

The success of the first performance of the Ninth Symphony in 1824 was triumphant. Beethoven was greeted with five applause, while even the imperial family, according to etiquette, was supposed to be greeted only three times. The deaf Beethoven could no longer hear the applause. Only when he was turned to face the audience, he was able to see the delight that seized the listeners.

But, with all this, the second performance of the symphony took place a few days later in a half-empty hall.

Overtures.

In total, Beethoven has 11 overtures. Almost all of them arose as an introduction to an opera, ballet, theater play. If earlier the purpose of the overture was to prepare for the perception of a musical and dramatic action, then with Beethoven the overture develops into an independent work. With Beethoven, the overture ceases to be an introduction to the subsequent action and turns into an independent genre, subject to its own internal laws of development.

Beethoven's best overtures are Coriolanus, Leonore No. 2 2, Egmont. Overture "Egmont" - based on the tragedy of Goethe. Its theme is the struggle of the Dutch people against the Spanish enslavers in the 16th century. Hero Egmont, fighting for freedom, perishes. In the overture, again, all development moves from darkness to light, from suffering to joy (as in the Fifth and Ninth Symphonies).

Pictures of the change of seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderstorms - all this can be conveyed in music. Many famous people were able to do this brilliantly: their musical works about nature have become classics of the musical landscape.

Natural phenomena, musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral compositions, and sometimes even in the form of program cycles.

"The Seasons" A. Vivaldi

Antonio Vivaldi

Vivaldi's four three-movement violin concertos, dedicated to the seasons, are without a doubt the most famous musical works about the nature of the Baroque era. Poetic sonnets for the concertos are believed to have been written by the composer himself and express the musical meaning of each movement.

Vivaldi conveys with his music thunder peals, and the sound of rain, and the rustle of leaves, and bird trills, and dog barking, and the howling of the wind, and even the silence of an autumn night. Many of the composer's remarks in the score directly indicate one or another natural phenomenon that should be depicted.

Vivaldi "The Seasons" - "Winter"

"The Seasons" by J. Haydn

Joseph Haydn

The monumental oratorio "The Seasons" was a kind of result of the composer's creative activity and became a true masterpiece of classicism in music.

Four seasons sequentially appear before the listener in 44 scenes. The heroes of the oratorio are villagers (peasants, hunters). They know how to work and have fun, they have no time to indulge in despondency. People here are part of nature, they are involved in its annual cycle.

Haydn, like his predecessor, makes extensive use of the possibilities of various instruments to convey the sounds of nature, such as a summer thunderstorm, the chirping of grasshoppers and a frog choir.

Haydn's musical works about nature are associated with people's lives - they are almost always present in his "pictures". So, for example, in the finale of the 103rd symphony, we seem to be in the forest and hear the signals of hunters, for the image of which the composer resorts to a well-known means -. Listen:

Haydn Symphony No. 103 – finale

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The Four Seasons by P. I. Tchaikovsky

The composer chose for his twelve months the genre of piano miniatures. But the piano alone can convey the colors of nature no worse than the choir and orchestra.

Here is the spring jubilation of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of the white nights, and the song of the boatman, swaying on the river waves, and the field work of the peasants, and dog hunting, and the alarmingly sad autumn fading of nature.

Tchaikovsky "The Seasons" - March - "Song of the Lark"

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Carnival of the Animals by C. Saint-Saens

Among the musical works about nature, Saint-Saens' "great zoological fantasy" for a chamber ensemble stands apart. The frivolity of the idea determined the fate of the work: "Carnival", the score of which Saint-Saens even forbade to publish during his lifetime, was fully performed only in the circle of the composer's friends.

The instrumental composition is original: in addition to strings and several wind instruments, it includes two pianos, a celesta and such a rare instrument in our time as a glass harmonica.

There are 13 parts in the cycle, describing different animals, and the final part, which combines all the numbers into a single piece. It's funny that the composer also included beginner pianists diligently playing scales among the animals.

The comical nature of "Carnival" is emphasized by numerous musical allusions and quotes. For example, the "Turtles" perform Offenbach's cancan, only several times slower, and the double bass in "The Elephant" develops the theme of Berlioz's "Ballet of the Sylphs".

Saint-Saens "Carnival of the Animals" - Swan

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Sea element N. A. Rimsky-Korsakov

The Russian composer knew firsthand about the sea. As a midshipman, and then as a midshipman on the Almaz clipper ship, he made a long journey to the North American coast. His favorite marine images appear in many of his creations.

Such, for example, is the theme of the “blue ocean-sea” in the opera Sadko. Literally in a few sounds, the author conveys the hidden power of the ocean, and this motif pervades the entire opera.

The sea reigns both in the symphonic musical picture "Sadko" and in the first part of the "Scheherazade" suite - "The Sea and Sinbad's Ship", in which the calm is replaced by a storm.

Rimsky-Korsakov "Sadko" - intro "Ocean-sea blue"

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“The east was covered with a ruddy dawn…”

Another favorite theme of musical works about nature is the sunrise. Here, two of the most famous morning themes immediately come to mind, something in common with each other. Each in its own way accurately conveys the awakening of nature. These are the romantic "Morning" by E. Grieg and the solemn "Dawn on the Moscow River" by M. P. Mussorgsky.

In Grieg, the imitation of a shepherd's horn is picked up by stringed instruments, and then by the entire orchestra: the sun rises over the harsh fjords, and the murmur of a stream and the singing of birds are clearly heard in the music.

Mussorgsky's dawn also begins with a shepherd's melody, the ringing of bells seems to be woven into the growing orchestral sound, and the sun rises higher and higher above the river, covering the water with golden ripples.

Mussorgsky - "Khovanshchina" - introduction "Dawn on the Moscow River"

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It is almost impossible to list everything in which the theme of nature develops - this list will turn out to be too long. These include concertos by Vivaldi (The Nightingale, The Cuckoo, Night), The Bird Trio from Beethoven's 6th Symphony, Rimsky-Korsakov's Flight of the Bumblebee, Debussy's Goldfish, Spring and Autumn, and Winter the road" by Sviridov and many other musical pictures of nature.