Musical impression of the romance Sad Night by Rachmaninov. Rachmaninov. Romances. They wrote about her: “Shumskaya had a light voice of a silvery timbre and had impeccable command of vocal technique. Contemporaries noted the extraordinary precision of phrasing in her performance.

MAIN DATES IN THE LIFE AND WORK OF A. A. VOZNESENSKY 1933, May 12 - in Moscow, in the family of Andrei Nikolaevich Voznesensky (1903–1974) and Antonina Sergeevna (1905–1983), nee Pastushikhina, a second child was born - son Andrei (elder sister - Natalia).1941 - together with her sister and

Music by Yakov Prigozhy
Words by L.G.

I fly to you in a dream, I repeat your name,
Under the moon, in silence, I feel sad with flowers.

<1885>

First published in 1885 in a supplement to the magazine "Rainbow" with the indication of the author of the music Y. F. Prigozhey and the author of the words - "L.G." Under the same cryptonym, a romance to the music of N. I. Filippovsky “Song of the Spirit” (“He sat on a rock”) was published. There is no other information about the author of the words. The romance gained wide popularity performed by Nadezhda Obukhova.

The authorship of this romance in the collections is a complete mess. The author of words (sometimes word processing) is often indicated as “M. Yazykov” or “N. Yazykov” (this does not mean the poet of the first half of the 19th century Nikolai Mikhailovich Yazykov, but his namesake, who lived half a century later); the author of the music is “M. Shishkin” or “N. Shishkin”.

Yakov Prigozhy (1840-1920) - arranger and pianist at the Moscow restaurant "Yar". He is the author of a huge number of arrangements and melodies of gypsy romances, and for many of them it is difficult to establish whether he was the original author or arranger.

N.I. Shishkin (?-1911) - obviously, this means Nikolai Shishkin, from the Kursk gypsies, guitarist and singer of the Sokolovsky gypsy choir; after the death of Grigory Sokolov, he headed the choir and inherited the family Sokolov guitar (see The Legend of the Sokolov Guitar). In some publications, the author of the music is M.I. Shishkin, singer, guitarist-accompanist of Varia Panina. On the other hand, K. Vasiliev and N. Shishkin are mentioned as accompanists of Panina (1872-1911). There is also Mikhail D. Shishkin, the author of romances (“The joy of the sea lives”, etc.). From the above, it can be assumed that two people are meant throughout here: Nikolai I. Shishkin (erroneously sometimes referred to as M.I. Shishkin) and Mikhail D. Shishkin.

OPTIONS (3)

1.

The night is bright, the moon is shining quietly over the river,
And the blue wave shines with silver.
Dark forest... There in the silence of the emerald branches
The nightingale does not sing her sonorous songs.

Blue flowers bloomed under the moon.
This color blue is in the heart of dreams.
I fly to you in a dream, I whisper your name.
In the silence of the moon I feel sad with flowers.

Dear friend, tender friend, I love you as before,
On this moonlit night I remember you.
On this moonlit night, on a foreign side,
Dear friend, tender friend, remember me.

The night is bright, the moon is shining quietly over the river,
And the blue wave shines with silver.

2. The night is bright

Music by N. Shishkin
Words by M. Yazykov

The night is bright. Above a river
The moon is shining quietly.
And shines with silver
Blue Wave.
Dark forest... It's quiet there
Emerald branches
Of their sonorous songs
The nightingale does not sing.

Bloomed under the moon
Blue flowers.
They are in my heart
Awakened dreams.
I'm flying to you in a dream,
I whisper your name.
Dear friend, tender friend,
I'm sad about you.

The night is bright. Above a river
The moon is shining quietly.
And shines with silver
Blue Wave.
On this moonlit night
On the wrong side
Dear friend, tender friend,
Remember about me.

<1885>

3. The night is bright

Music by M. Shishkin
Words by N. Yazykov

The night is bright. The moon is shining quietly over the river,
And the blue wave shines with silver.

The dark forest is all in the shadow of emerald branches,
The nightingale does not sing her sonorous songs.

Dear friend, tender friend, I love you as before,
At this hour, under the moon, I remember you.

On this moonlit night, on a foreign side
Dear friend, tender friend, remember me.

Blue flowers bloomed under the moon,
This color is blue - this is the heart of dreams.

I'm flying to you in a dream. I whisper your name
In silence, under the moon, I feel sad with flowers.

This night, under the moon, on a foreign side,
Dear friend, gentle friend, remember me...

The predominant sphere of Rachmaninov's chamber vocal creativity was lyricism, the world of personal feelings and moods. In its origins, it is associated mainly with the legacy of Tchaikovsky, which is manifested in the general emotional “openness”, sincerity and spontaneity of expression, and in some more specific stylistic features. Like Tchaikovsky, Rachmaninov sought first of all to capture the main mood of a particular poetic text in a bright melodic image, showing it in growth, dynamics and development. Hence those long lines of rise, build-up and pathetic climaxes that abound in Rachmaninov’s romances. At the same time, he did not ignore the experience of the senior masters of the “St. Petersburg school” with their careful, attentive attitude To poetic word. Rachmaninov, with some rare exceptions, does not allow arbitrary rearrangements of words or repetitions that violate the form of the verse; his vocal recitation is, as a rule, precise and distinct. In this respect, he stands completely at the level of his time - the era of the highest, most refined poetic culture.

One of the features that characterized the development of the chamber vocal genre at the beginning of the 20th century was the growing role of the piano part, which often acquired not only an equal status with the singer’s part, but even a dominant one. The piano accompaniment in Rachmaninov's romances is also distinguished by its exceptional richness, colorfulness and variety of forms. Rimsky-Korsakov even thought the sound richness and density of Rachmaninov’s accompaniments, their complex multi-layered texture, which sometimes seemed to develop completely independently, to be excessive. However, the melodically bright, textured vocal part never gets lost in this dense dense fabric, clearly standing out against its background. Sometimes the piano has a special melodic voice that intertwines with the vocal line, resulting in an expressive dialogue between the two partners. Regarding the romance “Sad Night” to the words of I. A. Bunin, Rachmaninov notes in one of his letters that “actually not to him (Sobinov. - Yu. K.) you need to sing, and the accompanist on the piano.” But whatever the degree of complexity and form of presentation, the parts of the voice and piano are almost always in close interaction, forming a single inseparable artistic whole.

Over the twenty-five-year period of time separating Rachmaninov’s first vocal opus from the last group of his romances, the nature of his chamber vocal lyrics experienced significant changes: not only did the sound palette become more complex and enriched, the selection of expressive means became more strict, but its figurative and emotional structure also changed in many respects .

Rachmaninov's early vocal work of the 90s is not yet completely independent stylistically and, in general, develops within the framework of the established forms and traditions of Russian romance of the 19th century. The influence of Tchaikovsky is especially noticeable (for example, “ I'm waiting for you", "Oh, don't be sad"). The composer pays tribute to such traditional genres, as a song in the folk spirit (“You, my field”, “I fell in love with my sadness”), an elegy (“It’s been a long time, my friend” with an insufficiently justified bravura ending). At the same time, already in the very first youthful examples of Rachmaninov’s vocal lyrics, the features of independent creative individuality. The nineteen-year-old composer’s romance “Don’t sing, beauty, in front of me” is remarkable for its unity and consistency of mood. Unlike Balakirev, Rachmaninov does not strive for ethnographic accuracy of color in the musical interpretation of this Pushkin poem; the music of his romance is colored only in the most general, conventional oriental tones (patterned melodic pattern of the refrain, the material of which develops mainly in the piano part, numerous organ points). The main thing in it is a feeling of deep nostalgic sadness, longing for something beautiful, dear, but distant and unattainable. This characteristic motif of Rachmaninov’s lyrics is expressed with artistic strength and completeness that is striking in such a young author.

Noteworthy is the beautiful poetic romance to the words of A. A. Fet “In the Silence of a Secret Night,” in which a passionate lyrical feeling merges with the image of nature. As in the previous romance, the piano part is distinguished by its careful development, developing independently and as if parallel to the vocal line. This unique counterpoint contributes to the special expressive richness of the music. The dreamy atmosphere of a quiet night landscape gives way at the moment of climax to an enthusiastic impulse, in which one can hear a joyful rapture of life and a thirst for merging with the surrounding world.

In the elegant vocal miniature “Island” to the words of K. D. Balmont, Rachmaninov achieves a subtle expressive effect using extremely simple and economical means. The mood of serene peace and silence, disturbed only by a light breeze, is conveyed smoothly and smooth movement vocal melody, invariably returning to the original sound, with a spare, transparent piano accompaniment that is almost graphic in design.

One of the peaks of Rachmaninov’s vocal creativity of the 1890s is “Spring Waters” to the words of F. I. Tyutchev, this, according to the characterization of V. A. Vasina-Grossman, “a hymn to spontaneous impulses, the wild flowering of young forces.” Here you can already hear those moods of spring renewal, emancipation and uplift mental strength, which will be heard in full voice in the works of Rachmaninov at the beginning of the new century. Thus, the image of nature acquires a broader symbolic meaning. The vocal part of the romance, unfolding against the backdrop of rolling, wave-like piano passages, is imbued with active, inviting intonations. The phrase “Spring is coming!” sounds almost like a battle cry. at the moment of climax, which occurs at the beginning of the reprise.

The 1900s brought a new rise in Rachmaninov's vocal creativity. Among the two series of romances op. 21 and , written in the period between the Second and Third piano concertos, we find a number of the most perfect examples of Rachmaninov's lyrics, in which the composer appears as a fully established master with his own unique creative personality. “Rachmaninov’s romances, like “Lilac”, “At My Window,” notes Asafiev, “although they were not a confession of symbolism, in reality they were a reflection of the atmosphere of a new, subtle (but not modernist refined) soulfulness and a touch of the music of Russian nature - quality, which was heard both in Chekhov’s wise “Pipe” and in a number of lyrical moments in Bunin...”

The romances “”, “The Night is Sad” are imbued with a similar Chekhov-Bunin poetic feeling of nature. At the same time, the composer is not interested in the landscape as such: nature in all these romances is only a kind of resonator of lyrical experience. Sound-written elements are kept to a minimum and are entirely subordinated to the expression of internal emotional experience. The selection of expressive means is strictly thought out and excludes everything unnecessary, unnecessary, serving only to fill the sound space. In “Lilac” to the words of the once popular poetess E. Beketova, the vocal part, accompanied by an invariably smooth rhythmic ostinato movement at the piano, is born from a short half-tone trichord chant. The predominance of anhemitonic turns conveys both a feeling of morning freshness and a state of unclouded mental peace. Only gradually does the expression grow, thicken, and the chromatic progression of the melody on the final words “My poor happiness is blooming” introduces a hint of aching sadness.

The melodically prominent initial phrase of the voice becomes the source of all further development in the romance “” to the words of G. Galina. In the second stanza, a gradual increase in sonority, leading to a pitch climax, is accompanied by a simultaneous thickening of the texture; the piano has an independent melodic voice, intertwined with the vocal melody. This counterpointing voice continues to develop even after the end of the vocal part, as if proving what was not fully expressed in words. The constant fluctuation of modal coloring between major and parallel minor emphasizes the peculiar duality of the expressed feeling. As in “Lilac,” the mood of quiet, serene joy and peace is mixed with a note of some hidden, unaccountable sadness.

The same subtlety of nuance, constant “play of chiaroscuro” with unity and consistency of the main emotional tone is distinguished by the romance “At my window” to the words of G. Galina, close to the previous one not only in general color and language, but also in the nature of the presentation and even the direct similarity of some intonation turns.

One of the most remarkable examples of Rachmaninov’s vocal lyrics in terms of depth and capacity of figurative content is the romance “The Night is Sad” to the words of I. Bunin. The image of a lonely traveler wandering at night in the remote steppe towards a distant, unclear, but irresistibly attractive goal acquires symbolic meaning in this short, laconic poem by Bunin.

The eternal desire for the unattainable is one of the main motives of romantic art - such is the whole idea of ​​the romantic artist. human life. Rachmaninov subtly grasped the lyrical ambiguity of the poetic text, which he conveys through the simultaneous combination of several independent musical planes. The even, monotonous movement of fifths at the piano, which forms a constant background, is associated with the infinity of the wanderer’s path and at the same time contributes to the unity and consistency of the main mood of hopeless melancholy. The vocal part, unfolding in a relatively limited range, is stern and restrained in expression. At the same time, a broad, expressive melody emerges in the piano part with a typical Rachmaninov long, gradual ascent to the top, in which one can hear a passionate thirst for life.

The other side of Rachmaninov's lyrics is represented by romances of the dramatic type, imbued with feelings of loneliness, dissatisfaction or passionate protesting pathos. This group includes “Excerpt from Musset” (translation by A. Apukhtin), “I’m lonely again” based on the words of Bunin and a number of others. In the first of these romances, Rachmaninov unexpectedly comes close to Mussorgsky: in terms of the power of tragedy, it can be compared with some of the songs in the “Without the Sun” cycle. Stormy outbursts of despair are contrasted with an eerie numbness of silence and silence in the declamatory middle section, distinguished by a subtle differentiation of expressive means. Each phrase of the text, each word is intonationally outlined and shaded with the help of special textural and harmonic techniques.

The large dramatic monologue “Fate” based on poems by Apukhtin, dedicated to Chaliapin, is also presented in a declamatory manner. In form, this romance is an expanded composition of a ballad-narrative type, consisting of a sequence of more or less independent contrasting episodes. The unifying principle is the “rhythm of fate” from Beethoven’s Fifth Symphony as a symbol of inexorable fate that overtakes a person at different moments of his life and in different situations. However, a certain touch of stiltedness and monotony of color reduce the artistic value of this work, which does not belong to the best examples of Rachmaninov’s vocal creativity.

III. HARMONIC FABRIC OF S. RACHMANINOV’S ROMANCES

The musical language of S. Rachmaninov did not immediately acquire those peculiar features that we see in the mature period of his work. However, from the first steps the young composer began to look for his own way of filling the harmonic fabric with meaning, allowing him to convey the necessary image to the listener as accurately as possible.

The individuality of S. Rachmaninov's harmonic language has deep roots in the national nature of the musical fabric. The construction of a harmonic fabric on the principles of homophony - a melody plus harmonic accompaniment subordinate to it - attracted the composer's attention for a relatively short time. Only a small number of romances correspond to this model. Thus, the leading role of the vocal part with the complete subordination of harmonic accompaniment to it is clearly visible in the romances “It was getting dark” and “Do you remember the evening” (without an opus). The functional relationships of the elements of harmonic accompaniment are here subordinated to the steadily unfolding melody, reinforcing and deciphering it. Each new step, conquering another pillar a third higher than the previous one, involves harmony in this renewal.

The same method of relating melody and accompaniment is implemented in the romances “These Summer Nights” (Op. 14, No. 5) “Oh, no, I pray, don’t go!” (Op. 4, No. 1), “I was with her” (Op. 14, No. 4). However, even in these works the structure of the harmonic fabric is not so simple and, of course, cannot be reduced to a sequence of isolated chords, each with its own harmonic function - their boundaries are always overcome by the continuity of melodic lines based on the contrast of their intonation structure.

FUNCTIONAL STRUCTURE OF TEXTURE

One of the most attractive qualities of the musical fabric in Rachmaninov's romances is its polymelody. In most of S. Rachmaninov's romances leading the voice is the vocal part. Exceptions here are quite rare. The structure of the texture in romances is of interest both in terms of the intonational interaction of the voices that compose them, and in relation to their thematic functions, as well as in revealing the subtleties of their modal organization.

Vote thematic, sounding against the background of harmonic voices. Among them one can distinguish the voice leading - the most meaningful, capable of becoming the main representative of this work. Most often (but not always) this is the soloist's part.

Along with the presenter there are voices counterpointing to the leader, forming it doubling, imitating key intonations of the vocal part that form its countermovement, and pedals or their more developed variants in the form ostinato.

. The most interesting are thematic educationas echoes to the vocal part or to individual accompanying voices. They certainly make up the most important feature Rachmaninoff harmonic fabric. There are cases when the vocal part itself turns out to be only echoing one of the voices of the piano part, acting as presenter voices (romance “Daisies” (op. 38, No. 3).

ABOUT THE ROLE OF THE PEDAL

Of particular importance in the fabric of romances is pedal, which we encounter in most of the composer’s romances, especially the pedal on the sounds of the tonic - not only on the main one, but simultaneously or alternately with it, on the third and fifth.

Example 10S. Rachmaninov. Duma (op. 8, No. 3, ending).

The functional isolation of the chord tones is especially noticeable if each of them becomes melodic foundation in its own lines and reinforced by its own inconsistencies. In such conditions pedal serves in one of the voices altitude landmark to evaluate rotating modal positions steps in the voices are mobile, which creates a play of light and shadow, accompanied by a change in intonation tension. This The composer's desire, even in simple harmonies, to isolate their constituent tones, to give them a special, independent meaning, is manifested in most romances, starting with the first ones (without an opus), acquiring new forms each time. An example is the romance “April, Spring Holiday” (without opus), where already in the piano introduction all the tones of the tonic triad are texturally and rhythmically isolated.

Example 11S. Rachmaninov. April, spring holiday

In this example, the rivalry between the prima and the fifth, which equally claim the right to be the pillars of their lines, is noticeable from the first bars. The fifth tone even has its own melodic dominant.

The typical Rachmaninov behavior is interesting here. high steps going down , against its modal position, and the variation of the third and sixth steps.

A through pedal using the tonic serves to unify the variant modal structure in the romances “She is as good as noon” (Op. 14, No. 9), “In my soul” (Op. 14, No. 10), “Over a fresh grave” (Op. 24 No. 2) and a number of others.

In some cases, a sustained voice, thanks to rhythmic, melodic or harmonic figuration, turns into ostinato, and becomes more noticeable thematic meaning. In the late work of S. Rachmaninov, one of the striking examples is the romance “To Her” (Op. 38, No. 2), where the foundation on the fifth is the basis of the melodic subsystems with its own way, on which it is built ostinato .

This ostinato can take on meanings counterpoint, where the rhythmic figuration of a sustained voice gives it a special thematic weight, as happens in the romance “Night” (example 21).

In other cases, the ostinato acquires a new dramatic meaning - it becomes leitmotif works, as happens in the romances “Christ is Risen” (Op. 26 No. 6), “Muse” (Op. 34 No. 1), “Migratory Wind” (Op. 34, No. 4). Arising on this basis polytonicity, in turn, becomes the basis multimodality, with an elegant, multi-colored modal coloring arising from it.

This technique becomes the basis for education in the music of S. Rachmaninov complex fret structures , connecting principles variability And variations (romances without opus “Song of the Disappointed”, “The Flower Has Withered”, “Don’t Sing, Beauty, in My presence” op. 4, No. 4, “You, My Field” op. 4, No. 5, “River Lily”, op. 8, No. 1, “Child, like a flower, you are beautiful,” op. 8 No. 2).

ABOUT THE RELATIONSHIP OF VOCAL AND PIANO PARTS

One of the key issues in constructing the harmonic fabric is the method by which the isolation of the intonation material of the solo vocal part among the accompanying voices is achieved. This question arises already in the introduction to the first of the published, without indicating an opus, the romance “At the Gates of the Holy Monastery.” Here the contradiction between the leading voice and the accompaniment is created by the isolation of the tones of tonic harmony: the prima of the tonic, held pedal bass, opposes the foundation on its fifth, achieved as a result of long development. Both of these tones acquire equal weight in the semantic content of the texture, acquire their own imbalances, thus forming a special Rachmaninov musical space:

Example 12S. Rachmaninov. At the gates of the monastery there is a saint (without opus).

In the future, such functional isolation of the sounds of the supporting harmony becomes an increasingly typical technique for the composer: each tone of the supporting chord acquires its own faults, and sometimes its own scale or its fragments.

However, the contradiction of the melody with the harmonic accompaniment in the introduction of the romance “At the Gates of the Holy Monastery” is manifested only by the contrast of the motionless bass with the active, excited pattern of the melody of the leading voice. Behavior of steps in voices harmonic quite traditional for a tonal system: high and elevated the steps are coming up, low and reduced - down, due to which melodic connections enhance and decipher the harmonic functions of chords.

Example 12aS. Rachmaninov. At the gates of the saint's monastery.

Here they contrast in their own way modal basis , and according to them tonal guidelines: The melody of the vocal part is predominantly diatonic and focused on the sounds of tonic harmony, while the accompanying voices develop into tense and unstable chromatic harmonies.

Particularly interesting here is the appearance of the characteristic “Rachmaninoff” intonation: the steps behave in contradiction with their modal position - low III is coming up , high II - down . This gives special expression to melodic connections, emphasizes independence steps from tonal connections, thanks to which laconicism is combined with tension.

In the second stanza of the romance there is a recitative vocal part, with its constant reliance on the sounds of the tonic E-flat major, comes into semantic contradiction with the intense nature of the accompaniment.

The entire harmonic fabric here consists of active and melodically developed counterpoints . This is especially noticeable at the end of the stanza, where the third of the tonic is established by the melodic foundation of the vocal part E-flat major - sound salt, while the harmonic accompaniment takes us far from the main key:

Example 12bS. Rachmaninov. At the gates of the saint's monastery.

In the third (not quoted here) stanza of the text, the recitative of the solo part counterpoints with the material of the piano introduction, which then becomes the basis of the author's afterword.

The independence of the dramatic roles of the solo part and the accompaniment is already ensured in a number of early romances, along with other means, by a certain autonomy of their modal organization. This is exactly how the relationship between melody and accompaniment is built in the first period of the romance “I won’t tell you anything.” Here, at the main key C major , the vocal part is frankly focused on the tonic and scale D minor . As a result, at the end of the first period, the melodic tonic “drags”, and the period ends at in D minor.

Example 13S. Rachmaninov. “I won’t tell you anything” (without opus).

The complex relationships between the main and subordinate tonalities are preserved right up to the piano afterword. Here you should pay attention to the difference in harmonic pulsation in the melody (one harmony for two measures) and accompaniment - a change in harmony in each measure:

Example 13a

In the future, such independence of modal guidelines and pulsation in the vocal part and harmonic accompaniment becomes one of the important stylistic devices, characteristic of the composer.

"TEXT" AND "SUBTEXT"

An example of the most complex relationship between the vocal and piano parts is given to us by one of S. Rachmaninov’s early romances - “Don’t sing, beauty, in front of me,” which represents the incredible rise of his genius, quite comparable to the level of his later romances and worthy of the wonderful text of the great A.S. Pushkin. The musical material of the romance very subtly reveals both the text and the psychological subtext of the poetic basis. The composer for the first time turns to the style of Eastern music, reproducing it very convincingly and subtly, but without direct quotation. Here the idea becomes a new quality of musical dramaturgy leitmotif, which will become the norm for later romances.

The material of the leitmotif originates in the music of the piano introduction, which reproduces the characteristic techniques of generalized oriental ensemble music-making. The flowery solo voice of the solo instrument sounds here in the background heterophonic layer - the descending chromatic movement of the middle voices and the dull sound of the tonic pedal, sounding in a constant rhythm with a missing beat.

Example 14S. Rachmaninov. “Don’t sing, beauty, in front of me.” Op. 4, No. 4

Almost all the elements of this introduction, with various variational transformations, perform a leitmotiv function in the complex dramaturgy of this romance.

The modal structure of the upper voice is of particular interest. Here the composer used elements non-octave - fourth fret in alternating diatonic conditions: the melody is built from two reduced tetrachords at a distance of a perfect fourth, which makes its structure close to ancient examples of oriental music.

Scheme 1:

In the second half of the first stanza of the romance, the vocal part reproduces the graces of the upper voice of the introduction, the bass is set to the tonic before, its rhythm sounds in the middle voices of the accompaniment, and the chromatic counterpoint - in the upper voice of the piano part.

The beginning of the second stanza is preceded by a dramatic introduction, preparing new intonation material for the vocal part. New intonations sound here accompanied by a tonally intense dominant harmony, and are picked up by a dramatic-sounding vocal part. IN counterpoint to them, the upper voice of the piano part continues the flourishes heard in the upper voice of the introduction, and the middle voices reproduce the characteristic rhythm of the bass.

Example 14aS. Rachmaninov. “Don’t sing, beauty, in front of me.”

The entire second stanza sounds against the background of the harmony of the dominant of the main key. Its resolution also occurs in dominant harmony, but tonality D minor, forming the introduction to the third, most dramatic stanza of the romance.

The material of the third stanza (“I am a dear, fatal ghost”) develops the intonations of the second stanza. Now these intonationsin an aggravated formsound in both the vocal and piano parts, in the form of three links of an ascending sequence.

The climax of the romance is marked by the most conflicting sound of the entire fabric, arising from the divergence of the diatonic melody and the heavily chromatic accompaniment harmony and reaching its maximum in the third link. The explosive nature of this climax is determined by both the tonal and modal conflict of the layers of fabric. Here diatonic the melody, finally arriving at the tonic of the main key, is accompanied by chromatic movement of the lower voice, and the harmony of a purely diatonic nature - a large major seventh chord of the second low degree - is compared with whole tone the harmony of a small major seventh chord without a fifth, in which the melodic tonic turns out to be a seventh.

Example 14bS. Rachmaninov. Don't sing, beauty, in front of me.

The unforgettable coda of the romance is built on the repetition of the first stanza of the text (absent in A.S. Pushkin), where the introduction material is accompanied by a counterpointing melody of the vocal part, reproducing the chromatic counterpoint from the introduction in the form of a hidden voice.

I fell in love with my sadness, Op.8, No.4

A wonderful example of the dramaturgy of a romance can also be the wonderful vocal miniature “I fell in love with my sadness.” There are no piano introductions and conclusions, nor other episodes with solo piano, but the roles of the soloist and accompaniment parts are spelled out very clearly: text from the soloist, subtext at the piano. Their semantic difference is emphasized by contrast modal basis and difference systems of functions in different parts - the basis of a multifaceted musical image.

Homogeneity of vocal part based on diatonic G minor, here it is only apparent, each new phrase is built on a more active pairing of steps.

Example 15 S. Rachmaninov. “I fell in love out of my sorrow.”

The scale of the first phrase (first measure) is based on whole tone trichord, with a local abutment on the IV stage, which at the end of the phrase is supplemented to pentatonic tetrachord. The second phrase (bars 4 and 5) is based on a trichord diatonic , already containing a semitone and one of the tritone sounds. The third, summing phrase forms a climax, built on a very characteristic upward movement along low steps for the composer G minor and subsequent decline.

Essential piano part counterpoints with the melody of the vocal part: with its tense phonism it reveals the hidden emotional tension and tragic “subtext” of the narrative. The most conflicting harmonic means arise precisely at those moments when the melody reaches one of the foundations. Thus, a repeating local melodic structure on the sound before in the first measure is accompanied by a very conflicting harmony of the “Rachmaninoff” subdominant, sounding on the tonic pedal, and the end of the first phrase on the main pillar salt - intense sonority of the altered subdominant. In the second and third stanzas of the romance, it is the changes in the accompaniment part that explain to the listener the hidden shades of the emotional coloring of the heroine’s speech. In the summing phrase of the vocal part, the harmony and melody are equally open, the tension of the harmonic accompaniment reveals the emotional state of the heroine.

Another important circumstance, which later acquired a very important role in Rachmaninov’s vocal work, is the use of explicit or hidden pedals on the sounds of tonic harmony. If the first stanza has a sustained sound salt is not so noticeable, although it serves as a general tone in a chain of chords, then in the following example its role is especially important: thanks to its presence, the difference in the modal basis in different layers of the harmonic fabric is clearly felt.

Example 15aS. Rachmaninov. I fell in love out of my sorrow.

Sound salt- the melodic tonic of the vocal part - simultaneously serves as the seventh of the accompanying non-chord and the fundamental tone of the upper layer of this chord - the tonic third.

An equally important issue is the intonation interaction of the vocal part with the accompanying voices. In the romances of S. Rachmaninov, the piano conclusion of the romances often “finishes” and completes the plot that began in the vocal part - a technique that continues the tradition established in the romances of P.I. Tchaikovsky.

In the romance “I won’t tell you anything,” the upper voice of the piano part enters into an active dialogue with the soloist’s part, continuing, developing and finishing the material with its most striking intonations.

In the romance “Song of the Disappointed” (without opus), vivid semantic richness is achieved by building the accompaniment part on material that counterpoints the soloist’s part with the recitative.

In the romance “The Flower Has Withered” (without opus), dramatization of the content is achieved by the gradual inclusion counterpoints in the accompanying party.

Sometimes the piano conclusion turns into a fairly independent section of the form, as in the romances “These Summer Nights” (Op. 14, No. 5), “Don’t Trust Me, Friend” (Op. 14, No. 7) and in the previously cited “At the Gates of the Monastery” saint".

The composer finds numerous and varied options both for identifying the kinship of the intonation content of the voices of the harmonic fabric, and for their opposition. One of the ways to cement the harmonic fabric of romances is the use of imitation of the key intonations of the vocal part - its core or completion - in the accompanying voices. This technique, repeatedly used by his predecessors such as P.I. Tchaikovsky, we find, starting already in the earliest works of the composer.

One of them is a wonderful vocal miniature “You, heart, have stirred again.”

Example 16S. Rachmaninov. Again my heart began to shake (without opus)

The expressive intonations that complete each phrase are echoed in the piano part. The imitation that forms the echo effect is especially noticeable here against the background of the motionless triad of the tonic.

Less direct imitations of the key intonations of the vocal part appear in the accompanying voices in the romance “Morning,” filling all the cadence structures of the romance. These cadence rhymes emphasize the novelty and freshness of the colors of each new key by juxtaposing the contrasting modal positions of the new tonics with the main harmonic foundation.

In the romance “These Summer Nights”, based on the intonations that complete the initial phrases of the vocal part, a significant connecting section between sentences is built, sounding in the minor scale of the same name.

The texture in the romance “Dream” (Op. 8, No. 5) is interestingly resolved. In the first bars In the example below, the pattern of the lower accompaniment voice forms counterpoint to the melody of the vocal part, then the initiative passes to the upper voice of the accompaniment, representing free imitation soloist melodies.

The dialogue between the solo part and the piano accompaniment ends with an unexpected turn into a very dark tonality of the third low level -Ges dur. The meaning of this tonal shift surprisingly clearly conveys the psychological state of the lyrical hero, embedded in the poetic text.

Example 17S. Rachmaninov. Dream, op. 8, No. 5

Traditionally counterpoint is a voice that opposes the leader in a number of ways - primarily in terms of melodic and intonation content, as well as rhythm, syntax, modal and genre basis, articulation, etc.

A typical counterpoint to the vocal part is the upper voice of the piano part in the romance “Do you remember the evening” (without opus), structurally coinciding with the phrases of the leading voice, but opposing in its chromatic modal nature and melodic pattern. The melody of the vocal part also counterpoints with the descending scale of three octaves in the lower voice of the piano part of the romance “Island” (an image of the depths of the sea).

In the romance “Duma” the recitative of the solo part sounds against the background of an excited chromatic counterpoint as part of a conflicting harmony (again “text and subtext”). The excited nature of the unstable and tense harmonies is contrasted with the restrained and gloomy appearance of the soloist’s part, with its reliance on the sounds of the tonic:

Example 18S. Rachmaninov. Thought. Op. 8 No. 3

Particularly expressive here is the juxtaposition of the high, light in modal position harmony of the dominant and dark subdominant with a minor sixth as a detention.

The dramatic romance “Prayer” (Op. 8, No. 6) is built on the expressive dialogue between the soloist and accompaniment. At the climax of the vocal part, a characteristic melodic pattern arises:

Example 19

This intonation is then repeatedly imitated by the lower accompanying voice in several registers:

Example 19a S. Rachmaninov. Prayer. Op.8, No.6

The final section of the romance contains a striking counterpoint to the vocal part, built on an ascending chromatic movement.

In the romance “You, my field” (op. 4, No. 3), written to the words of A.K. Tolstoy, the composer uses, following the meaning of the text, a direct stylization of folk polyphony, reminiscent of some of the experiments of P.I. Tchaikovsky. This also applies to the intonation structure of the diatonic melody, its modal basis, presented in the introduction by diatonics with a quart ratio of foundations, and the nature of the voice leading, using the principles of folk choral polyphony. The manifestation of modal variability, in particular, the clearly expressed shade of the dominant mode at the end of stanzas, also echoes the principles of national folklore. The intonation connection between the leading voice and the bass of the piano accompaniment, which forms a countermovement to it, is very noticeable.

In the process of development, bright counterpoints appear in the texture, complementing the intonation structure of the romance with chromatic elements.

This is how it happens in the romance “I'm Waiting for You,” Op. 14:

Example 20S. Rachmaninov. I'm Waiting for You, Op. 14, №1

In the romance “Everyone Loves You So” (Op. 14, No. 6), the most developed of the accompanying voices is built on the development of the initial and final intonations of the vocal part and, thanks to this, combines the functions of counterpoint and echo:

Example 21S. Rachmaninov. “Everyone loves you so much”, op. 14, No. 6

In the second sentence, counterpoint forms a countermovement to the melody, and in the final section of the romance the technique of imitation of the main intonation of the vocal part on which the piano conclusion is built returns.

We observe the subtle relationships between the intonation structure of the vocal part and its reflection in the accompanying voices in the romance “In the Silence of a Secret Night” (Op. 4, No. 3). In the example below, the votes are written out thematic- vocal part and reflection of its intonations in the accompanying voices.

Example 22S. Rachmaninov. “In the silence of a secret night, op. 4, No. 3.

The bright emotional structure of the text is conveyed here by overtly tonal means, based on the active attraction of unstable steps towards their resolutions. The reflection of the intonations of the vocal part is expressed first in the form of free doublings, then precise and free imitations, and at the climax is expressed in the use of the most expressive intonations of the voice in magnification. This purely Rachmaninoff technique of saturating the musical fabric by “dissolving” the most expressive intonations of the vocal part among all the accompanying voices is very close to the principles subvocal warehouse, coming from folk polyphony.

The romance “She is as good as noon” (Op. 14, No. 9) is entirely built on a through tonic pedal, creating a high-altitude reference point for assessing the changing modal positions of the steps of the variant mode. A very expressive dialogue arises in the vocal part with the upper layer of accompaniment, built on the tertian “second”. The counterpoint in the two upper voices of the piano part is constructed as a choral response to the rhythmically and melodically transformed final intonation of the vocal part. With each new phrase he gets variational development, which forms the basis of the dramatic concept.

Example 23S. Rachmaninov. “She is as good as noon”, op. 14, No. 9

It is interesting to trace the means that make up musical image. Already the opening phrase of the romance is distinguished by its richness in conveying the shades of the internal state, very clearly conveyed against the background of the tonic pedal. Here the major tonic is juxtaposed with the harmony of the low sixth degree, the high, light harmony of the sixth degree is juxtaposed with the dark minor subdominant, and ultimately the series of tertian juxtapositions ends in the minor of the same name.

The melodic plan of the mode is also very richly presented, based on the comparison of various fragments of a complex mode: the first phrase contains whole-tone pentachord, which in the second phrase is replaced by its minor diatonic version, and the two final constructions are in the minor of the same name with an increased second (in this case, following the school tradition, such a minor should not be called “harmonic”).

The music of the second stanza, in accordance with the poetic text, combines the features of a developing middle and a varied reprise. Its beginning is distinguished by a dramatic sound, ensured by increasing tonal tension - the appearance of a dominant mode based on the harmony of a small non-chord, with a peeling upper, choral layer based on a diminished seventh chord and the “semitone-tone” scale. At the same time, the intonation connection of the accompanying voices with the transformed final phrases of the vocal part is preserved.

The modal basis of the reprise is dominated by light coloring and tonal stability, affirming light image poetic text.

"In My Soul" (Op. 14, No. 10)

Like many other romances, this one is built on a through tonic pedal, which allows you to appreciate the richness of the fret colors.

The semantic relationships between the vocal part and the upper accompaniment voice are interestingly resolved. The first phrase of the vocal part sounds against the backdrop of sparse harmonic accompaniment. Attracts attention complex composition mode of the vocal part: first the phrase is pentatonic, then diatonic, and its ending fits into a whole-tone fragment of the variant mode.

The characteristic Rachmaninoff intonation is in the behavior of the steps that make up this ending: high steps go down, low steps go up, opposite their modal position.

Example 24S. Rachmaninov. In my soul. Op. 14, No. 10

The upper voice of the piano part, which enters in the second sentence, represents a subvoice, in its outline sounding like a more developed version of the soloist’s melody. He continues and varies its characteristic descending endings, rhythmic turns and the characteristic “Rachmaninoff” resolution of the discontinuities.

Continuation of the second stanza, including dark, low steps ( II and VII ), develops into the harmony of a secondary dominant to the second low stage, on the tonic of which the climax of the romance is built.

At the end of the second stanza, the upper voice of the accompaniment forms a bright dialogue with the vocal part, based on imitation using the dark steps of the variant mode, then continued in the piano afterword. Here the light character of the major tonic is emphasized by comparison with the dark subdominants.

Example 24aS. Rachmaninov. In my soul.

The piano conclusion completes the plot of the romance based on the variations of the core vocal part. Here both the tonal plan of the romance and its intonational content are generalized.

A very complex structure of the fabric appears in the romance “To the Death of a Siskin,” where a recitative melody sounds against the background of several counterpointing lines, among which the upper voice of the accompaniment has the character of a leitmotif, the bass acts as a countermovement to it, and the harmonic figuration of the middle layer plays the role of harmonic filling.

In the romance “To the Children,” a vocal part of a recitative nature sounds against the background of a pedal on the sounds of the tonic fifth. As a counterpoint to it there is a choral layer of middle voices, which is a duplication of parallel quartet-sex chords, intonationally connected with the generalized intonations of the vocal part in magnification.

The modal basis of pure diatonic with support for major, light tonic harmony continues throughout two stanzas of the text, telling about the bright days gone by.

Example 25S. Rachmaninov. To the children. Op. 26, No. 7

The second part of the romance, in accordance with the content of the poetic text, is distinguished by increased tonal tension, enhanced by aggravation in the sphere of the modal basis. The tonic pedal, now with a distinctive syncopated rhythm, counters the tense harmonies of the top accompaniment voices and the heavily chromatic vocal line. Only at the climax - in a pathetic address (“Oh children!”) The bass leaves the tonic in order to come to it again in an upward movement along the low steps - VI, VII, I - at the beginning of the reprise.

The reprise returns the source material of the first part of the romance, but in the minor key of the same name and with active tonal development. Its climax is again emphasized by a deviation in key VI steps. here is also a purely Rachmaninov touch - the descending movement of the high steps to the tonic fifth.

Night (without opus, year 1900)

The romance “Night” (without opus, year 1900) was written by the composer during a period of creative maturity. As in other works of this period, the value of each melodic intonation is especially noticeable in the texture with the extraordinary sparingness of the means of the harmonic fabric, built on a pure natural minor.

The vocal part has the character of a recitative, closed within the narrow framework of a limited range. As the plot develops, the range gradually expands, but the relationship between the initial leap and the smooth wave-like movement at the end of phrases is preserved and serves as material for the accompanying voices, which have a frankly choral cast.

Example 26S. Rachmaninov. Night.

From the final intonation of the vocal part grows echo- the basis of the ostinato in the middle accompaniment voice. It sounds, in direct and reverse form, throughout the extreme sections of the romance, and its rhythm permeates the entire romance. The upper accompaniment voice is a tonic pedal, but thanks to the contrasting rhythm, it acquires a function as the plot moves on. counterpoint- a voice that carries a special meaning that contrasts with the leading voice.

The middle accompanying voice develops the final intonations of the first phrase of the vocal part. The bottom layer is formed by free bass duplication. Its melodic pattern represents another melodic variant of the echo in rhythmic increase.

The musical material of the second stanza is dramatized. The upper voice of the accompaniment now rests on the transformed initial intonation of the vocal part, sounding against the backdrop of a very tense accompaniment, representing a juxtaposition of inversions of the minor major seventh chord in a tritone ratio. The richness of the harmonic content is complemented by the isolation of the vocal part, with its constant melodic foundation la, as if continuing the tonic of the first part as part of alternating conflicting harmonies, in which this foundation represents one of the sounds of the tritone.

Example 26aS. Rachmaninov. Night.

The dramaturgy of the romance “The Ring” (Op. 26, No. 14) is built very close to the romance “She is as good as noon” - here the initial intonations of the counterpoint to the vocal part, presented in the form of a third second, receive active intonation development, reflecting the dramatic development of the plot romance.

In the romance “There are many sounds” (Op. 26, No. 1), the vocal part of a recitative type sounds against the background of a choral accompaniment, where the upper voice forms a more organized line of counterpoint.

At the end of the romance “Sad Night” (Op. 26, No. 12), a wonderful duet of melody and its free counterpoint-echo is completed in a piano afterword (the figure is released here).

Example 27S. Rachmaninov. The Night is Sad, Op. 26, No. 12 (conclusion)

Muse, op. 34, No. 1

The romance “The Muse” is of interest due to the unusual structure of the musical fabric, special intonation drama, as well as the active use of the modal properties of the elements of harmony.

The beauty and richness of the complex mode is already presented in the introduction. It begins with a flute tune - a figured pedal on the sounds of the tonic fifth, ending with a scale-like move. The second thematic element in the form of choral harmonic accompaniment is built on a comparison of harmonies contrasting in modal positions, sounding on the tonic organ point, and is revealed in the harmonic figuration of the middle layer. The introduction ends with the initial fifth move.

Example 28S. Rachmaninov. Muse

Each of these elements receives its continuation and development, giving rise to more and more new options. The first thematic element, with its characteristic pattern and rhythm, plays the role of a leitmotif in the dramaturgy of the romance, appearing in a different tonal and harmonic context.

From the intonations of the scale-like progression, the material of the vocal part is born. Her narrative character is transmitted using links of a free sequence of a wave-like pattern, with gradually rising and also gradually descending melodic peaks. In the second sentence, against the background of the figuration on the sounds of the tonic fifth and the organ point in the middle layer, a colorful movement of major harmonies appears along the chromatism, ultimately leading to new tonal foundations: G major, E minor, B minor.

At the same time, the melodic peaks of the undulating vocal line move along a descending diatonic scale, up to the final scale-like movement from the introduction.

Example 28aS. Rachmaninov. Muse

The solo piano episode preceding the second part of the romance is built on the material of the second sentence of the period, with one-third oscillation of triads E minor And E-flat major.

The beginning of the second movement retains its reliance on the sounds of the tonic fifth, on which a dominant seventh chord is superimposed. At first, this is perceived as a dominant precursor, but dominant expectations are not realized, the modal coloring frankly darkens, and a low seventh and low third degree appear. As a result of this movement, a polytonic combination appears D major And B minor, preceding the climax of the romance.

Of particular interest in this section is the plasticity of the melodic pattern. main party. At first she rests to melodic tonic si(first major, then minor) and continues the upward wave-like movement of the first part of the romance, with a persistent desire for the climactic G-sharp - How waiting for a miracle and the sound that follows it la, resolving tension - how to achieve it:

Example 28bS. Rachmaninov. Muse

The feeling of an achieved miracle is conveyed, in addition to the high-pitched culmination of the vocal part, by bright modal means. Particularly interesting here is the purely Rachmaninov interaction of melody and harmony: the preparation of the tonic D major(“a miracle achieved”) occurs with the help of harmony, the main tone of which is in a tritone relationship with it. Resolving it into tonic D major There is no way to justify it with a functional connection. The freshness of the diatonic harmony of the Lydian tonic D major is emphasized by its contrast with the chromatic modal nature of the preceding harmony.

However, with all the brightness of the contrast of these harmonies, there are means to ensure their kinship: both the melody of the vocal part and the bass line fit entirely into the scale Lydian D major. Only the harmonies of the middle layer of texture contrast in their modal nature. Sound G-sharp, so conflicting with tonic D major, in the melody behaves as an organic part of the Lydian scale, while in the bass it goes to the tonic with a jump to the tritone - a technique that sounded in a similar situation in the romance “It’s Good Here” (example 38a).

Example 28vS. Rachmaninov. Muse

The calm, peaceful decline of the melody that follows is accompanied by an equally calm harmony. The choral chord progressions from which the harmony of the final section of the romance is born unite G major, E minor and E major, and G major connects to the parallel minor through a chromatic connection based on enharmonicity E-flat and D-sharp.

The element connecting these tonalities is the sound that sounds continuously throughout the entire romance. si- fifth E major And E minor, third G major and even prima intermediate B minor.

The characteristic rhythm of the leitmotif is preserved within the framework of the new harmonic design with a characteristic harmonic touch G major, turning into the main version of the leitmotif in the form of flute figuration on the sounds of the tonic fifth.

ABOUT MODAL PROPERTIES OF ELEMENTS OF HARMONY

In the evolution of the composer’s harmonic language, the sphere of tonal relations that dominates the romances of the initial opuses is replaced by the search for new types of modal structures based on the increasing role modal properties sound elements and systems melodic functions. For the harmonic language of S. Rachmaninov’s romances, both principles of connection of sound elements - tonal and modal- are equally important, they balance each other, the activity of each of them ignites and fades depending on the content of the text and the development of the plot.

Of course, the scale of the works also matters. In miniatures, the text of which fits within the framework of a simple form, exposition predominates, and, accordingly, modal properties are more noticeable. In more extended plays, developed in form, the tonal plane comes into force, which is often also regulated by modal properties.

The modal properties of the elements of the harmonic fabric in the music of S. Rachmaninov manifest themselves in a very diverse manner. Even a simple list of means to draw attention to the modal properties of the elements of harmonic language can take up quite a lot of space. Let's name the most relevant ones:

1) Weakening and even neutralization of tonal connections between scale degrees to identify their modal positions.

As an example, we will demonstrate the introduction to the romance “River Lily”.

P example 29 S. Rachmaninov. River Lily, Op. 8, No. 1

The variation of the modal positions of the scale degrees occurs here against the background of sustained sounds of tonic harmony, giving rise to a play of shades of light and shadow.

For the composer, the comparison of harmonies containing contrasting modal positions of degrees largely replaces the usual alternation of faults and foundations in the tonal system: elements with a low position act as faults, elements with a high position become foundations, and vice versa.

In the same way, the richness of the modal basis in the romance “Child, like a flower, you are beautiful” is revealed. All layers of tissue are equally oriented towards different tones of tonic harmony. The pattern of the upper voice of the accompaniment, repeating the reference points of the vocal part, represents its supporting voice. In the first four measures of the example, the difference in the harmonic content of the even and odd measures is noticeable: the odd ones are based on a major subdominant harmony, which has a darker position, the even ones are based on light, minor mediants.

Example 30S. Rachmaninov. Child, like a flower, you are beautiful, op.8, No.2

Against the background of sustained tonic harmony, the sensation of movement is conveyed here by modal means: light the harmony of even bars is perceived as resolution dark harmonies standing on the downbeat of odd bars.

In the following bars, the modal basis of the accompaniment is chromaticized, but the melody remains diatonic, and its tonal reference emphasizes the isolation of one of the layers in the accompaniment harmony.

The harmonic idea of ​​this example is very close to the harmonic basis of the Prelude Op.33 No. 1 by A.N. Scriabin. Here the basis of the first sentence is the darker harmony of the small minor seventh chord II steps, and at the basis of the second sentence the paint is incomparably lighter in the modal positions of the steps - also small minor seventh chords III and VI stages.

Example 20aA.N. Scriabin. Prelude Or33, No. 1

The identical phonism of these harmonies does not interfere with the seventh chord III steps are perceived as enlightenment and resolution of a darker harmony ( II 7 ) on which the first sentence is based.

2) Weakening the unity of chord tones through the isolation of subchords in the composition of polyphonic verticals and the activation of vertical functions, as can be seen in the second sentence of the romance “You have stirred again, my heart” (without opus). Here, the supporting sounds of the melody are folded into separate isolated layers, each with its own fundamental tone, giving rise to more complex functional relationships of layers within the harmonic vertical. In the same way, the connection of tones in other chord structures is neutralized.

Example 31S. Rachmaninov. Again you, my heart, perked up (without opus).

An example is the episode that ends the first part of the romance “I'm Lonely Again” (op. 26, no. 9).

Example 32 S. Rachmaninov. I'm lonely again.

Here the augmented triad is the basis dominant mode D minor- represents the sum of three foundations, each of which organizes voices that have a different modal basis. The middle voice with the foundation stands out especially clearly F, the final whole-tone trichord, which by its intonation nature contrasts with the half-tone moves of the outer voices.

However, this property is noticeable not only in complex harmonies, which by their nature are prone to stratification into subchords, but even in the tonic itself.

3) Difference modal basis in different layers of fabric, which in certain cases can serve the purpose of shaping.

In the romance “It's been a long time, my friend” (Op. 4 No. 6), the prelude to the reprise is created using harmonies with an emphatically low modal position in relation to the expected tonic. It contains three separate layers, each with its own tonal reference and its own modal basis. In the opening section of the prelude, the vocal part relies on the sounds of the darkest third low minor G minor harmony. The middle layer, intonationally connected with the initial intonation of the romance, is then continued in the vocal part.

The lower floor rests on a chain of harmonies that are contrasting in position. The replacement of dark harmonies by the diatonic G major appearing in the reprise, emphasized by the raised fourth degree, replaces the resolution of dissonant dissonant foundations into consonant foundations, which is usual for classical music.

Example 33S. Rachmaninov. How long ago, my friend, op. 4, No. 6

4) In the organization of movement, an important role is played by the interaction of harmonies that are contrasting in their modal nature, enhancing or even replacing the differences in their tonal functions. As an example, let us give a fragment of the second part of the already quoted romance “In the Silence of a Secret Night.”

Example 34 S. Rachmaninov. In the silence of a secret night, op.4, No. 3

Here the movement towards the main climax is built on an active dialogue between the vocal part and the piano, based initially on precise imitations, which then develop into a more expressive response from the piano and culminate in an “explosive” climax. What gives it particular brightness is the contrasting comparison of harmonies of different modal natures that occurs in the second bar of the example, where the chain of diatonic harmonies ends with the unexpected resolution of the dominant seventh chord into whole-tone harmony on the tonic bass (second bar of the example).

A characteristic feature of S. Rachmaninov’s modal thinking is variation of the modal basis harmony. The composer does not strive to follow the principles of minimalism and does not limit his palette to any selected scale. Nevertheless, its modal palette is very diverse, as it very accurately corresponds to the figurative meaning of the narrative.

As a modal basis for his romances, variants of conventional diatonics, complicated by intratonal and modulation chromatics, are most often used. However, along with such familiar forms of modal scales, the harmonic fabric of romances also relies on unusual structures.

Already in the first group of romances (without an opus) there is the use of special modal forms, among which non-octave scales. In “Song of the Disappointed” we see features that were more fully revealed in the composer’s mature works: here the recitative of the vocal part serves, rather, as a counterpoint to the thematic material of the accompaniment, consisting of several separate layers.

Example 35S. Rachmaninov. Song of the Disappointed (without opus).

As a result, each tone of tonic harmony is isolated not only texturally, but is also opposed in its modal nature: the pedal on the dominant is replaced by a pathetic exclamation with the participation of the “Rachmaninoff” subdominant, which is opposed by a bass voice that has a very characteristic modal basis - pentatonic tetrachord in fifth.

In the third stanza of the romance, the modal basis of the bass voice is developed in the form of a non-octave (fifth) mode, built on the linkage of pentatonic tetrachords. The ascending movement in fifths creates a quick enlightenment of tonal coloring, corresponding to the semantic content of the text: “Tell me how to bring back the rushed summer, tell me how to revive withered flowers?”

The completion of the romance on a cadence quartsex chord of the main key opens the way for a piano afterword with a descending chromatic progression of the upper voice, completed by a questioning intonation in parallel major (as if the question asked in the text never received an answer).

Starting with the Romances Op. 4 and further there are examples of a more strict and economical use of the resources of the reference scale. Thus, the modal basis of the romance “You Are My Field” (Op. 4, No. 5) becomes archaic quart diatonic, reproducing the features of folk-modal coloring. The harmonic vertical is also organized here in a new way: the melodic foundation of the vocal part is located on the fifth of the accompanying chord.

Example 36S. Rachmaninov. You, my cornfield

Lilac (Op. 21 No. 5)

Romance represents one of the most striking examples of the use of modal technique. In the core of the theme, the scale of the melody, based initially on the four sounds of the pentatonic scale, is supplemented in the middle cadence by accompanying voices to a full diatonic scale.

A new twist is the transition at the beginning of the second sentence to the diatonic key of the dominant through a common pentatonic trichord ( B-flat - C - E-flat). Here the modal base is enriched by an introductory tone and a low sixth.

The middle of the two-part form is already openly based on tonal values ​​- the prolongation of the tonic, the introduction of the main seventh chords, with the participation of the subdominant and dominant tritones.

However, the melody pattern at the beginning of the middle is again the same pentatonic trichord B-flat-C-E-flat, however, quickly giving way to very expressive half-tone intonations of the harmonic minor.

Example 37S. Rachmaninov. Lilac (middle)

The reprise of the romance, starting with the same intonation pattern, is built on one of the composer’s favorite types of major, combining a low seventh and high fourth degree, to which a low sixth is also added. However, along with the modal contrast, one should also note the derivative nature of the intonation structure of the reprise from the middle section that precedes it.

The original intonations return only in the piano conclusion. Here the scale of the mode “melts”, losing all conflicting elements - first, both tritone sounds disappear in turn, then only four pentatonic sounds remain:

Example 37aS. Rachmaninov. Lilac (ending)

“It’s good here” (op. 21, No. 7)

The romance provides an example of a unique use of the expressiveness of diatonic harmony. Unlike many previous examples discussed in our text, the composer does not provide here a sound reference in the form of a constant pedal on the sounds of the tonic, howeverthe initial harmony - a tonic quartet-sex chord - sets a clear tonal setting. Already the initial melodic turn of the vocal part creates an unforgettable and bright image: high seventh the step is coming down , against the usual upward “gravity”, overcoming its tonal connection.

Carefully analyzing the harmonic accompaniment, we will see that other voices live according to the same laws: in the third bar the upper voiceaccompaniment repeats the same move, and the bass, standing in the same bar, at high III steps, also goes down, opposite to its modal position.

The beauty and richness of the mode are revealed here by the polysemy of connections between diatonic harmonies in the conditions of changing foundations and education subsystems. Thus, the initial phrase of the romance contains alternating harmonic and melodic foundations on the harmonies of the sixth, third and fifth degrees A major.

The next stage is deviations through soft plagal turns in the tonality of the third and fifth degrees. Only in the last measure does the tonic of the main key appear.

The behavior of the steps is very characteristic of the modal system: it is clearly noticeable that at all key moments of the vocal part their movement is directed against the modal positions - high ones move down, low ones move up. This behavior of unstable steps constitutes the unique character of Rachmaninov’s melodic music, and is especially clearly manifested in this vocal masterpiece.

Example 38S. Rachmaninov. It's good here (op. 21, no. 7)

The harmonic basis of the first section is distinguished by the modal variability , manifested in the emergence subsystems with local foundations on light mediants, the stability of which is supported by soft plagal revolutions.

The middle section of the romance is built on a more active use of tonal conjugations; a number of secondary dominants appear here with the inclusion of tritones, which, however, do not receive direct resolution in their tonics (with the exception of deviation in B minor). However, the melodic pattern continues the character established in the first part. First phrasethe middle almost repeats the beginning of the vocal part, sounding against the background of a new harmonic accompaniment.

The climax of the romance - both the vocal and piano parts - contain typical Rachmaninov features in a concentrated form. The movement of the low steps up and the high steps down is completed by the movement of the bass from the raised fourth step down to the tritone. The end of the piano conclusion further emphasizes the modal properties of the harmonic elements: the high second goes down a second, as does the water tone in the final phrase of the bass, establishing a foundation on the fifth tone of the chord, while in the upper voice the sound of the dominant resolves into the tonic.

Example 38aS. Rachmaninov. It's good here (climax).

Examples of this kind can be found on every page of the composer’s romances, starting with the first ones, published without opus designation. You can call it “Do you remember the evening”, “Again you, my heart, stirred”, “In the silence of the secret night”, “I fell in love with my sadness”, “Oh, don’t be sad”, “She is as good as noon”, “April” ! Spring, holiday day."

“Non-standard” (from the point of view of school theory) resolutions of violations underlie the melody of many romances - such as “Don’t sing, beauty, in front of me”, “At night in my garden”, “She is as good as noon”, in of which the complete absence of quotations does not prevent the composer from accurately recreating the “oriental” flavor. The non-standard connection of steps in the conventional diatonic is especially noticeable - in the movement of the faults for an increased fourth, an increased second, a tritone.

“At my window” (op. 26, No. 10)

Romance demonstrates another way of revealing the expressiveness of the diatonic scale. Its entire first part (the first stanza of the text) is based on dominant mode A major. Its harmonic foundation is a dominant seventh chord with a subordinate non-foundation in the form of a seventh chord II stage.

Of greatest interest is the relationship between the scales of the vocal part and the accompaniment. The composer fragments the scale of the vocal part, highlighting two pentatonic fragments in it A major. The first one, mi - fa-sharp - la - si - do-sharp, is replaced by the following - F sharp - A - B - D - E. Both of them do not contain tritone sounds and complement well the harmony in which this tritone constantly appears in the supporting metrical moments. In the second sentence of the first period, both of these versions of the pentatonic scale counterpoint - the first in the piano part, the second in the voice part, complementing the colorful range of the dominant mode.

The beginning of the second stanza is also built in the dominant mode - now in the key of the subdominant. However, here the seventh of the dominant becomes the melodic foundation in the counterpointing voice of the piano part, creating a more active expectation of its resolution. This resolution occurs at the climax of the romance - first into a major subdominant, then a minor one, while the scale is built into a diatonic scale (first strict, then conventional).

The reprise returns the light coloring of the mode along with the pentatonic intonations of the counterpoint melody.

Elements chromatics in the vocal part of romances they occur only occasionally, but in counterpointing voices they are not uncommon. We find the most striking examples, starting with the early romances - “At the Gates of the Holy Monastery”, “Duma”, “Prayer”, “Long in Love”, “Don’t Trust Me, Friend”, “Spring Waters”, “Fate”, “ Over a Fresh Grave,” “The Storm,” “Arion,” “The Raising of Lazarus,” “You Knew Him,” “Dissonance.” But even here they form, as a rule, one of the layers of the fabric, complementing the motley and multi-colored picture of the modal basis of music.

COMPLEX FORTALS STRUCTURES

Elements of modal synthesis arise as a result of the variability of foundations and the variability of modal positions of the degrees of the mode. We find the combination of these principles in one modal structure in the romance “The Flower Has Withered.”

Example 39

Here, in the exhibition section, the sounds and harmonies of the main tonality are combined La Minor and its parallels, connected through a reinterpretation of the enharmonic equality of the leading tone A minor and thirds of the minor subdominant C major.

In the process of development, a divergence in the tonal guidelines of the vocal part and the accompaniment is revealed ( polytonicity).

Example 39a S. Rachmaninov. “The flower has faded” (without opus)

It is easy to see that in the example above, the counterpoint in the upper voice of the piano part is at first openly oriented towards the foundation D minor, then - F major, while the vocal part is focused on the foundation la.

In the final cadence of the romance “Do you remember the evening” (without an opus), the elements of “parallel major-minor”, ​​a structure that combines the harmonic material of parallel keys, with a characteristic turn - the resolution of the III major harmony into the tonic, are clearly visible.

The romance “Morning” (Op. 4, No. 2) ends with the same harmonic turn, connecting parallel tonalities into one structure - here the major harmony of the third degree brings bright light color to the major mode.

The nature of the mode structure in the romance “River Lily” is more harmonious. Here the elements are combined in one structure G major with the same name G minor and parallel in E minor.

Example 40S. Rachmaninov. "River Lily", op.8, No.1

The equality of parallel tonics is reinforced by their equal position in the form: the first of them opens the movement, the second completes it. Predominant position of tonic harmony G major is created by the fact that all the sounds of this harmony serve in turn as melodic foundations in the romance .

In this example, the interaction of the same keys is interestingly organized: against the background of the tonic pedal, an alternation of a major (but dark) harmony of a low sixth degree, containing two low degrees ( III and VI ) and tonic, which seems to have collected all the light of the major scale, including the leading tone and pentatonic scale.

Elements of modal synthesis are found in the tonal plan of the romance “Child, like a flower, you are beautiful” (op. 8, No. 2), where with the main key E flat major the tonality of its major third degree is compared, and the final cadence unites their tonics in one harmonic turn.

In the already quoted romance “I fell in love with my sadness,” the second stanza includes G minor melody to the system B flat major, connecting these tonics through the enharmonism of the “Rachmaninoff” subdominant G minor and inversion of the seventh chord of the second degree of the harmonic B flat major.

Elements of the minor minor of the same name penetrate into the tonal plan of the romance “Dream” (Op. 8, No. 5) where the first sentence ends in the key of the third low degree of E-flat major - G flat major.

In the romance “These Summer Nights” (Op. 14, No. 5), the tonic pedal combines harmonic elements into a complex modal structure E major with the same name E minor, as well as with the tonality of its sixth low degree - C major, the tonic of which is compared with its one-third variant - C sharp minor.

A peculiar option parallel-alternating fret with chromatic connection tonic(the term by S.S. Grigoriev) is given in the romance “Oh, don’t be sad” (op. 14, No. 8). Here at the main key B flat minor a subsystem arises on its parallel, the stability of which is reinforced by the harmony of the third major (dominant of the main key).

Principles eponymous major-minor determine the tonal plan of the romance “Spring Waters” (Op. 14, No. 11), built on a comparison of the main tonality E flat major with the keys of her low VI (written as B major) and low third (written as F sharp major).

The modal structure of the romance “Twilight” (Op. 21, No. 3) combines harmonic elements E minor, C major And E major. In all of these cases, the tonic of the main key serves as the main altitude reference for assessing the modal positions of new tonics combined into one structure.

The tonal plan of the romance “Melody” (Op. 21, No. 9) is very rich. The melodic pattern of his vocal part is an anticipation of the melody of “Vocalise”. Here, sounds and consonances are combined into one structure, subordinate to local foundations, connected by the common sound composition with the main tonality B flat major: this is her parallel G minor, dominant parallel - D major, its parallel is B minor(one-third with main tonic). In development, the same name appears to parallel the main tonic - G major. The basis of such multicolor is the variant composition of the original, main tonality, presented in diatonic and different shades of conditionally diatonic variants - harmonic and melodic types.

The romance “There are many sounds” (op. 26, No. 1) is built on a closer connection of local foundations, united into a complex structure. Here, at the main key D-flat major, its harmonic material very smoothly transitions into the same name C sharp minor, then into the key of its low third degree E minor- the darkest highlight in tonal terms.

The return of music to the sphere of attraction of the main foundation passes through the stage of the variant mode, including low and high degrees, to the bright, light modal coloring of the main key with the harmonies of the third major degree highlighting it.

The romance “We will rest” (op. 26, No. 3) (to the text from Act IV of “Uncle Vanya” by A.P. Chekhov) already at the very beginning contains vibrations of the tonics of the same name re minor And D major, especially noticeable on a sustained tonic bass.

Among the romances there are also examples where chromatic scale serves as the basis of the mode. Among latest works can be called the romance “In the Soul of Each of Us” (op. 34, No. 2), “The Storm” (Op. 34, No. 3).

In the soul of each of us, op. 34 No.2

The basis of this romance is a complex variant mode, combining variation with variability. Here the harmonic elements of the same name are combined C major and C minor, parallel A minor and one-third with him A-flat major.

The main altitude reference point is set by the initial bass sound of the piano part, which becomes both the melodic foundation of the vocal part and the general tone of the chords connected in one turn. The melodic line is initially based on a small diatonic scale in the volume of the minor third.

However, its harmonization anticipates the subsequent development of a complex modal structure, covering the entire chromatic scale, represented by both the melody of the vocal part and the harmonic accompaniment.

The cadenza that concludes the first stanza contains one of the composer's favorite turns, containing Rachmaninov's version of the dominant harmony in the form of a minor seventh chord with a diminished fifth.

Example 41S. Rachmaninov. In the soul of each of us

The new version of the cadence generalizes the entire chromatic scale, including enharmonically equal sounds. As a result, the mode structure of C major looks unusual.

Example 41aS. Rachmaninov. In the soul of each of us.

The contrast of modal positions of neighboring harmonies is overcome by their melodic connection. The final tonic, prepared by a sequence of harmonies of very low modal positions, is filled with life-affirming light:

Example 41b S. Rachmaninov. In the soul of each of us (end)

Migratory wind, op.34, no.4

The musical material of the romance “The Migratory Wind” combines extraordinary intonation unity of the musical fabric, built on diverse variations of the original leitmotif of the romance and a bright picturesque picture, subtly and accurately reflecting the content of the plot of the poetic text. What is striking is the surprisingly harmonious relationship between music and poetry, and the composer’s ability to choose the exact version of the melodic and rhythmic pattern of the initial core, corresponding to the changing meaning of the poetic text.

As in many other romances, moving thematic voices sound against the background of still ones harmonic. The chord tones that make up this background are fundamentally equal in weight, while each of them is presented in an independent register and has a unique rhythmic design.

The leitmotif of the romance appears first in the vocal part, and then develops in variants in other accompanying voices throughout the play.

Example 42 WITH. Rachmaninov. Migratory wind

The flexible, quivering pattern of the first bars (“the passing wind caressed me”) alternately emphasizes each step of the whole-note trichord. The contrasting pattern of the second element (on the words “and whispered sadly”) rests on low steps A minor, highlighting the darkest of them - sound F. The composer's sensitivity to the expressiveness of modal positions of sounds and chords is amazing, his art of conveying the innermost meaning of a poetic text through the means of harmony.

The final phrase of the first period, intonationally and rhythmically, is an expanded version of the core of the theme, affirming the original tonic. As a counterpoint to it in the upper voice of the accompaniment, a version of the leitmotif sounds, already in the volume of a minor trichord, accompanied by a chromatic echo.

Fifth tone of tonic harmony A minor acquires the role of a through pedal, against the background of which variations of the initial leitmotif intonation change, placed in different tonal and harmonic contexts, in accordance with the development of the poetic plot. First, on the words “and the sunset faded, the clouds turned black,” the main intonation sounds in the piano part in a triplet rhythm, against the background of which the intonations of the second thematic element develop. In accordance with the content of the poetic text, the harmonic content of the fabric changes noticeably, an increased triad appears, giving way to more intense consonances, and chromatic counterpoint stands out in the lower voice of the texture.

The development of the material leads us to C sharp minor, tonic which is permanently fixed in bass. The vocal part is based on the intonations of the leitmotif, but already in its minor trichord from mi - first in the triplet version, then in the original rhythm . The piano part completes the plot, illustrating the tremulous image of the sea swell based on the transformed intonation of the leitmotif. The final phrase of the middle (“Night reigned in the world”) is conveyed by a sustained tonic C sharp minor, against the background of which the bass descends through dark, low VII and VI steps, and in the middle voice there is a short-term glare of light, followed by darkness ( E - E-sharp - E).

Next - colorful modulation from C sharp minor in one-third C major, colored with the colors of the eponymous minor and altered harmonies of the subdominant. The ascending chromatic movement of the melody, painting a picture of the approaching sunrise, leads the listener to the foundation with the words “fiery eye” before and enlightened pure diatonic C major, with the intonation of the leitmotif in the accompanying voices.

Example 42aS. Rachmaninov. Migratory wind

In the reprise of the romance, the melody of the first thematic element is repeated without change, already against the background of harmony to major. The second thematic element is colored in dark colors minor of the same name. The melody ends with the third, extended version of the leitmotif, again in C major, affirming the poetic idea of ​​the text - “Day is stronger than night!”

The piano conclusion on the intonation material openly rhymes with the vocal part of the transition from C sharp minor V C major, to the words “Meanwhile, far beyond the sea, a fiery eye lit up” (see example 41a).

Example 42bS. Rachmaninov. Migratory wind (conclusion)

Here, in the middle layer of the texture, a gradual chromatic ascent appears with parallel large non-chords to the final tonic against the background of the tonic pedal in the outer voices.

THE LATEST ROMANS OF S. RACHMANINOV

The most interesting, complex and rich in expressiveness modal structures appear in the last of S. Rachmaninov's romances. The concentration of harmonic means of a complex mode is combined here with the laconicism of their use. In the system of expressive means of modal organization for the composer, the means of the modal system are undoubtedly predominant.

From the Gospel of John (without opus, 1915)

This work (without opus) is one of the last written in this genre, and can serve as an example of the mature stage of the composer’s work. The meaning of the choice of the text that served as the basis for the romance becomes clear if you pay attention to the year the romance was created - 1915, the second year of the World War, during which Russia lost a significant part of its people.

The modal basis of this bright pathetic monologue based on the Gospel text is a chromatic scale in which C sharp minor clearly marked as the tonal center , in relation to which the positions of all chromatic steps are determined.

The harmonic tonic of the romance is a triad with a sixth, the darkest degree of the minor scale. This harmony is reminiscent of vivid examples of the tonic function from the music of the composer’s predecessors: one can recall the peculiar, sad sound of the tonic with the sixth in F. Chopin’s mazurka in A minor (Op. 17, No. 4), the dramatic conclusion of the romance by M.P. Mussorgsky “You didn’t recognize me in the crowd” from the cycle “Within Four Walls”, light breathing of the beginning of the Prelude in C sharp minor Op. 9 for the left hand by A. N. Scriabin.

The expressiveness of S. Rachmaninov's romance is, of course, dominated by the modal properties of its elements. Already the very beginning of the romance is filled with dramatic pathos, the musical fabric is filled with conflicting content, as if refuting the tonic foundation of the bass. The secondary tone of the tonic has more weight here than in the above examples, due to its doubling in several voices and its metrical contrast with the main tone.

Example 43S. Rachmaninov. From the Gospel of John (1915)

The harsh, dark mode coloring here is further enhanced by the introduction of another low level - the fourth ( fa-bekar). Particular weight is given to the sixth tone of the tonic by its approval as the final melodic tonic:

Example 43a

On the way to the completion of the romance, the harmonic development passes through several supporting harmonies with a deepening into the dark sphere of more intense dissonances. The final cadence of the romance does not resolve the conflict of these spheres, since it contains sounds that are polar in their modal positions:

Example 43bS. Rachmaninov. From the Gospel of John

At night in my garden, op. 38, No. 2

The literary basis of the romance is a poem by A. Blok (from Isahakyan) - a poetic retelling of a poem by an Armenian poet.

Example 44S. Rachmaninov. At night in my garden.

The orientality of the melodic material and the touch of oriental exoticism are not accidental here. Although the composer does not set as his goal the creation of a specific national color, the content of the poem dictates such a character of the melody, with a heightened intonation structure. The author's goal is to identify the modal positions of each degree of the variant mode - minor with IV and VII by elevated steps, neutralizing their tonal connections: the high fourth step freely moves into the low third, for an increased second, and the low third smoothly goes up for an increased second.

At the same time, the relationship of tones within chords is neutralized - their vertical functions each of them becomes a melodic foundation, confirmed by its own foundations.

The beginning of the second part of the romance (the second stanza of the poem) is based on dominant mode G minor, where the local foundation on the light dominant harmony is compared with the dark harmonies of the adjacent foundations. The most interesting thing here is the multi-colored structure of the complex mode, based on a change in foundations re And salt, each with its own subsystem.

Scheme:

It is built on the principle everyday manner from combinations of diatonic tetrachords, with the opposition of high degrees in the lower register and low ones in the upper register. In accordance with the nature of the text, a special intonational tension of the melody is created here, corresponding to the position of this section of the form - the preparation of the final completion of the harmonic plot.

A brief reprise of the romance removes the conflict that has arisen among the elements of a complex mode and asserts the equality of all sounds of the tonic triad, separating them texturally and rhythmically. If the prima and third are established as pedals, then the fifth has its own subsystem with the inconsistencies subordinate to it.

Example 44aS. Rachmaninov. At night in my garden (end)

The independence of all the tones of the final chord is confirmed by the chromatic ascending moves to each of them.

To Her, Op. 38, No. 2

The form of the romance is closely linked to the form of the poetic text (A. Bely):

The herbs are dressed with pearls.

Somewhere sad greetings

I hear, dear greetings...

Honey, where are you, honey!

The evening lights are clear,

The evening lights are red!

Hands raised: I'm waiting for you,

Honey, where are you, honey?

Hands raised: I'm waiting for you

Washed away in the streams of Lethe

Pale streams of Lethe...

Honey, where are you, honey!

The form of the romance, like the structure of the poem, is built in the form of three stanzas, interspersed with a refrain, with connections that are insignificant in scale. The musical material of the stanzas and refrains differs markedly, reflecting the emotional meaning of the text, but has some features of cross-cutting development based on general intonations.

The modal structure of the romance is one example fretted versatility in the composer's work. The harmonic fabric of the first stanza here consists of several separate layers that have their own principles of organization, and is maintained at the organ point in the form of a tonic fifth, the sounds of which are equal in weight.

The leitmotif is an ostinato figure - a melodic subsystem in the volume of a diminished fifth on the fifth degree F major, sounding alternately in both the piano part and the soloist part. Its structure is heterogeneous; it alternates between a pentachord with a diminished fifth (in diagram - a) and a pentatonic trichord (in diagram - b):

Gives special expressiveness to the leitmotif presence in modal basis low levels - II and VII , with her behavior characteristic of Rachmaninov - against the modal position.

Example 45S. Rachmaninov. To her.

The constantly confirmed stability of the first stage is refuted by this behavior of the stages adjacent to it, creating a frank shade of the dominant mode, revealing the psychological meaning of the poetic text.

The material of the first refrain, based initially on the development of pentatonic intonations on the basis C minor And E flat minor, gradually becomes chromatic and moves into a link to the second stanza.

The music of the second stanza, in accordance with the content of the poetic text, is dramatized and forms a developing section of the form.

Example 45aS. Rachmaninov. To her.

Here the material of the leitmotif, sounding in the piano part, turns into an element dominant mode of D-flat major, based on its seventh stage. In this case, the melodic movement of the vocal part unfolds on the basis of the second element of the leitmotif - the pentatonic scale F minor.

In the second refrain, the modal coloring is clarified by a shift in parallel to the main key - D minor.

The tonal plan of the third stanza, in accordance with its most agitated text, leads far from the main pillar; here the tonalities of the major third series appear - A major And D-flat major. Accordingly, the intonation material of the vocal part and accompanying voices is chromaticized.

The third refrain returns the main pillar - F minor and the pentatonic scale of the main part and accompanying voices.

The romance ends with a peaceful author's afterword in the form of a piano conclusion, in which the enlightened character of the main tonic in the lightest, Lydian mode version is emphasized by the harmony of the minor of the same name that shades it.

Daisies (Op.38, No.3)

An amazing example of polymelodic fabric using the principles of subvocality is the fabric of the romance “Daisies.” Here the vocal material itself turns out to be only an accompaniment to the more developed and completed upper voice of the piano part. The modal basis of this romance consists of a combination of different shades of the variant scaleF dur, among which its characteristic fragments stand out in the form Lydian-Mixolydian major in the vocal part, chromatic twists of the middle voice and pedals on all sounds of tonic harmony.

Equally flowery is the harmonic basis that arises from this wealth of options for scale degrees against the backdrop of a sustained tonic fifth.

Example 46S. Rachmaninov. "Daisies", op. 38, No. 3

The middle of the romance enriches its modal basis with the introduction of scales based on the harmonies of low steps F major- low III, low II, low VI , the shadows of which are reflected in the reprise within the framework of the main pillar.

The Pied Piper, op. 38, No. 4

The harmonic material of the romance immediately poses several riddles, the solution of which requires an analysis of the system of harmonic and melodic functions.

The first of them is the construction of a harmonic vertical according to the principle polytonicity. The apparent agreement of all the voices of the tissue, created by their synchronicity, is destroyed by the contradiction of various melodic tonics simultaneously appearing in the voices, emphasized by the divergence in the composition of the scales belonging to each tonic.

Competing scales stand out here Lydian to, variant la(with options VI and VII steps) and Mixolydian D(with options IV steps). You can also see the element Locrian(from F sharp).

Example 47S. Rachmaninov. Pied Piper

All these tonics come together in the final harmony of the piano introduction, preceding the beginning of the vocal line, which firmly establishes the main foundation C major, colorful F-sharp, while the harmonic accompaniment is based on the harmonic scale in A minor. The motley picture of the harmonic vertical is complemented by the bass salt- dominant C major.

The second stanza of the poem (“I am walking along a quiet river”) begins the developing section of the romance. Its tonal plan is very free, it is dominated by the tertian relationships of minors: E minor - G minor - B flat minor, F minor - A-flat minor.

In the third stanza (“A sweet little house is hidden there”), in accordance with the content of the text, an episode of an ironic-lyrical nature arises, the peculiarity of which is a chain of tonal comparisons connected through common sounds: B major - D major, B flat major - D-flat major. The end of the stanza is the culmination of development; the most intense relationships between the layers of harmonic fabric and the vocal part are concentrated in it. Particularly interesting is the relationship between the melodic tonic la with harmonic accompaniment in the prelude to the reprise - here the sound la At first it becomes a tonic diminished fret, and then with a melodic foundation as part of the “Rachmaninoff” harmony of a minor with a diminished fifth of a seventh chord:

Example 47aS. Rachmaninov. Pied Piper.

The harmony of the reprise stanza adds new colors to the multicolored picture of the mode, coloring it with chromatisms, while maintaining two competing melodic foundations on the sounds before And la.

Dream, Op.38, No.5

The approach to the use of pure diatonic in the romances of the last period differs significantly from the techniques found in the works of earlier opuses, an example of which is the romance “Dream”. Here is the entire seven-step diatonic system (except before) comes to life from the first bar, uniting both in the melodic movement and in the structure of consonances, in which local foundations find themselves in different voices, on different tones of complex harmonies, one by one or at once. Of course, as in most of Rachmaninov’s romances, there is also a “sound axis” - sound D-flat, in relation to which The positions of the remaining steps of the scale are determined.

Example 48 S. Rachmaninov. Dream, op. 38, No. 5

In the process of development, the color of harmony darkens, the sound axis shifts downwards in semitones, shifting the entire coordinate system - first by before, then on si, B-flat, and finally - A-flat, the dominant of the main key.

This new melodic foundation turns out to be a sept tone in the dominant E flat minor. Its resolution into its own foundation occurs only in the lower layer of texture, and the total harmony again returns to the original diatonic scale of D-flat major, colored by the harmonies of the minor of the same name.

Aw! op. 38, No. 6

In this romance, which represents one of the outstanding masterpieces of Russian vocal music, we can see the principles of constructing a harmonic fabric already familiar from many romances. Isolation is very characteristic subchords in the vertical structure, which is already set in the core of the topic. Initially, in the expositional section, all tones of the tonic triad, and even its sixth, become melodic tonics and acquire equal weight in the organization of voices, creating the isolation of each tone with the sounds subordinate to it.

The characteristic course of the vocal part in the second measure only slightly outlines the contours of the composer’s favorite Lydian-Mixolydian major option. During the development of the material, sounds F And A-flat (third And quint tonic harmony) continue to maintain their supporting role in the modal structure. Despite their recoloring with the help of accompanying harmonies, they retain their connection with the main tonal support and at the same time serve as the basis for the construction of local harmonic foundations included in the structure of a complex mode.

Its supporting significance in the modal structure of the romance will be established in the final section and will finally be revealed in the piano afterword.

Example 49S. Rachmaninov. Aw! (conclusion).

Two competing tonics are demonstrated here - Lydian-Mixolydian D-flat major and the overlapping A-flat minor - Dorianwith introductory tone(see diagram):

Scheme:

Both of these tonics are very independent and, at the same time, complement each other well. The structure of the scale on which the leading voice of the piano part is built includes both tonics and their subordinate degrees. It is very rich in shades of light and shadow and varied in internal intonation connections, which are deciphered in the movement of the leading and accompanying voices. In its composition, in addition to two seven-step scales, you can see two whole tone tetrachord -des— es— f— g And ces— des— es— f, pentachord from the scale tone-semitone ( f— g— as— b— ces), and pentatonic fragment, a common tonic for both, clearly outlined by the final melodic move of the leading voice. The descending stroke of the high (Dorian) sixth is very characteristic of the modal technique A-flat minor.

MORE ABOUT THE STYLISTICS OF ROMANCE MELODICS

Assessing the contribution of the great composer to the development of the romance genre, it is necessary to remember the organic use here of the intonation structure of Znamenny chant. Characteristic features of znamenny chant, such as a relatively small range, extremely economical use of each step and each intonation, and preservation of the climax, can be seen in many melodies of romances op. 14 - such as “These Summer Nights”, “Oh, Don’t Be Sad”, “She is as Good as Noon”, “Melody” (Op. 21 No. 9), “Before the Icon” (Op. 21 No. 10), “ How it hurts me (Op. 21 No. 12), “There are many sounds (Op. 26, No. 1), “We will rest” (Op. 26, No. 3), “I’m lonely again” (Op. 26 No. 9). However, they can hardly be attributed to the style of Znamenny singing.

Much closer to Znamenny singing, with its modal basis, free rhythm and meter, and attitude to melodic leaps, can be attributed to the melody (not only the pattern of the vocal part, but also all the voices) in the extreme parts of the romance “Night”, as well as the romance “Music” ( Op. 34, No. 8) - especially the episode with the words “And the divine face for a moment...”.

The vocal part is built here on the intonations of choral znamenny singing, and the accompanying voices form a free canon in magnification, repeating the intonations of the vocal part in the form of hidden voices.

Example 50 S. Rachmaninov. Music.

Of particular interest in this regard is the romance “Vocalise” - the most significant and profound of the composer’s vocal works, which combines the characteristic features of S. Rachmaninov’s style.

Vocalise, op. 34, No. 14

The modal elements of Znamenny singing are used here more organically, in combination with tonal techniques, which provides a sense of harmony in the image. The harmonic material of the extreme parts is built on the basis of modal techniques. This is evidenced by many of its characteristic features:

. the initial preset of tonic harmony, which serves as a sound guide for assessing modal positions;

. metrhythmic freedom, excluding squareness with its characteristic predominance of even over odd beats and beats;

. the unconditional predominance of the system of melodic functions that provide chord connections;

. a predominant interest in the colorful properties of the elements of the modal basis, emphasizing the dark degrees of the natural minor, reinforced by the “Neapolitan subdominant;

. the composer's desire to neutralize the tonal connections of non-establishments with the ascending movement of low levels.

The tonal functions of the chords dominate only in the cadence structure, where all the rests move in accordance with their modal positions. This circumstance contributes to the harmonious relationship between the various properties of the elements of the mode.

The deepest connection between the thematic material of “Vocalise” is its reliance on the melodic style so characteristic of the composer Znamenny chant. In the first part of the romance, the texture warehouse reproduces this style in its choral appearance

Here the solo part is only the upper voice of the choir. The drawing of the remaining voices almost without exception uses the interval of a second, only sometimes chromatic moves are included.

The structure of the harmonic vertical is equally strict. Intense dissonances appear here only in the moments preceding the cadence.

Example 51S. Rachmaninov. Vocalise

The middle section of “Vocalise” is the area of ​​emotionally active music, here feelings are naked and frank, the sphere of tense tonal relationships dominates, with the openness of functional connections, pulling and overcoming tonics. The courageous, strong-willed and purposeful nature of this movement is striking.

The intonation structure of the vocal part of the middle section retains the features of the melodic pattern of the first part, however, the composer transfers its genre basis from choral singing to solo. In this new capacity, the updated material of the vocal part counterpoints with the voices of the piano accompaniment, continuing and developing choral thematic theme of the first part in a more intense intonation structure.

The greatest semantic concentration is achieved in reprise. The vocal part here is no longer the upper voice of the choir; it openly solos against the choral background of accompaniment, forming the semantic culmination of the work. It’s amazing how, with minimal means, the composer achieves maximum expressive effect: the upward movement of the low steps of the minor scale over almost two octaves seems to overcome gravity and rush to the sky!

Example 51aS. Rachmaninov. Vocalise (coda)

The piano afterword, sounding against the background of a “hung” tonic, takes the ear even lower - to the harmonies of the low sixth and even low fifth degrees, increasing the gap between the “earthly” and “heavenly”. This image, striking in its beauty and persuasiveness, is one of the peaks of Rachmaninov’s philosophical lyrics.