T. G. Savelyeva. Basic notes on musical literature of foreign countries. V.N. Bryantseva - Musical literature of foreign countries Download musical literature of foreign countries for children's music school

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Title: Musical literature of foreign countries

About the book “Musical Literature of Foreign Countries” by I. A. Prokhorov

The textbook entitled “Musical Literature of Foreign Countries,” compiled by I. Prokhorova, is intended for independent study. This explains the conciseness and accessibility of the presentation of the material.

The book “Musical Literature of Foreign Countries” will introduce students to short biographies and the best works of famous composers. Children will be able to learn about the life and work of such geniuses as I.S. Bach, J. Haydn, W.A. Mozart, L. Beethoven, F. Schubert and F. Chopin. I. Prokhorova did not describe in too much detail the stories of talented composers; in the textbook you will find the main dates of life, origin, ranks and titles, field of activity, conditions that influenced the choice of profession. The book will tell about the main stages of the life and work of musicians, their socio-political views.

The publication “Musical Literature of Foreign Countries” is intended for students of music schools, however, everyone who is partial to classical works will find something interesting for themselves in this book. I. Prokhorov’s text was enriched with explanations of some musical and extra-musical concepts, which makes it less academic. The part describing the life of musicians is presented in the context of the historical and cultural life of European countries of that period. This gives students the opportunity to gain a deeper and broader understanding of the conditions in which legendary composers lived and worked.

Since the book “Musical Literature of Foreign Countries” is intended for home reading, all symphonic works present in it are offered in a four-hand arrangement. It is worth noting that the story about the work of Bach, which, according to the program, is studied at the very end of the year, is placed at the beginning. The author took this step in order to maintain the chronology of the presentation.

The compiler of this book is confident that regular use of the textbook will awaken in students a taste for independent acquaintance with popular and scientific musical literature. In addition, children will be able to develop and strengthen the skills of reading musical works from sight, and will also get used to playing four hands.
Independent learning of famous works will allow you to perform them during lessons, in the presence of other children, which will make collective classes more active and significantly improve the perception of classical music.

On our website about books lifeinbooks.net you can download for free without registration or read online the book “Musical Literature of Foreign Countries” by I. A. Prokhorov in epub, fb2, txt, rtf, pdf formats for iPad, iPhone, Android and Kindle. The book will give you a lot of pleasant moments and real pleasure from reading. You can buy the full version from our partner. Also, here you will find the latest news from the literary world, learn the biography of your favorite authors. For beginning writers, there is a separate section with useful tips and tricks, interesting articles, thanks to which you yourself can try your hand at literary crafts.

FROM THE COMPILERS
This book is a textbook on the musical literature of that historical period, which begins with the last decades of the 19th century. This is the first time such a textbook appears: the fifth edition ends, as is known, with the works of K-Debussy and M. Ravel.
The book includes characteristics of various national music schools, which determined its overall structure. The first section characterizes the general processes that were implemented in their own way in the musical art of different countries and in the work of composers of different individuals. Each subsequent section consists of an overview of the musical culture of a given country, as well as a monographic section devoted to the work of the most significant composers of this school. Only the section devoted to the work of I. Stravinsky differs in its structure: it does not contain an introductory overview. And this is understandable: after all, having spent most of his life outside Russia due to special circumstances, Stravinsky remained a Russian master and did not belong to any of the foreign schools. The decisive influence of his creative principles on almost all leading musicians of our century does not allow Stravinsky to be removed from the general picture of the development of musical art of the 20th century. The inclusion of this monographic chapter in the textbook on foreign musical literature is also due to the peculiarities of the educational programs at the school: by the time they studied foreign music of the 20th century, students were not yet at all familiar with either the personality or the music of I. Stravinsky. They will turn to this page of musical art only at the end of the IV course, where only the first, Russian period of the composer’s work is considered.

The attention of the compilers and authors of the textbook is focused both on showing the general musical and historical processes of the period under consideration, and on analyzing the most outstanding works that have become classics of our century. Due to the exceptional complexity of the events of the musical art of the 20th century, their contradictory nature, mutual intersections, and their rapid change, review chapters took up a much larger place in this book than in previous editions. Nevertheless, in accordance with the methodological principles of the subject, the compilers sought to maintain the focus on analyzes of musical works, which in this case are intended to reveal the diversity of creative methods, ways of thinking, different stylistic solutions and the multiplicity of compositional techniques of the masters of our century.

Due to the fact that the book provides a wide panorama of musical art, and the analysis is in many cases very complex (which is largely predetermined by the material itself), the compilers consider it possible to address this textbook to students not only of performing, but also of theoretical departments of music schools. The content of the book allows for a selective approach to it in the educational process; The depth and detail of the study of the chapters is determined by the teachers themselves, depending on the level of preparedness of the students, the material equipment of the educational process with notes and recordings of music and the number of hours allocated by the curriculum for this part of the course.
A large team of authors worked on this book. Hence the inevitability of different ways of presenting material; at the same time, in the very approach to it, the compilers sought to preserve uniform methodological principles.

CONTENT
From the compilers
Ways of development of foreign musical art of the 20th century.
Musical culture of Austria
GUSTAV MAHLER
Vocal creativity. "Songs of the Wandering Apprentice"
Symphonic creativity. First Symphony
ARNOLD SCHOENBERG
Life and creative path
"Survivor from Warsaw"
ALBAN BERG
Life and creative path
Musical drama "Wozzeck"
Concerto for violin and orchestra
ANTON WEBERN.
Life and creative path
Musical culture of Germany
RICHARD STRAUSS
Life and creative path
Symphonic creativity. Symphonic poems "Don Juan" and "Till Eulenspiegel"
PAUL HINDEMITH
Life and creative path
Symphonic creativity. Symphony "The Artist Mathis".
CARL ORF
Life and creative path
The main genres of Carl Orff's work and their features.
Opera "Clever Girl"
"Carmina Burana"
IGOR STRAVINSKY
Life and creative path
"Symphony of Psalms"
Opera "Oedipus Rex"
Musical culture of France.
ARTHUR HONEGGER
Life and creative path
Theatrical and oratorio creativity. Oratorio “Joan of Arc at the stake”
Symphonic creativity. Third Symphony ("Liturgical")
DARIUS MILLO
Life and creative path
Vocal-instrumental, creativity. "Fire Castle"
FRANCIS POULENC
Life and creative path
Opera "The Human Voice"
Musical culture of Spain
MANUEL DE FALLA
Life and creative path
Ballet “Love the Sorceress”
Opera "A Short Life"

Basic notes on musical literature of foreign countries are an addition to existing textbooks on musical literature. The content of the textbook corresponds to the curriculum of the subject PO.02.UP.03. “Musical literature” of additional pre-professional general education programs in the field of musical art “Piano”, “String instruments”, “Wind and percussion instruments”, “Folk instruments”, “Choral singing”, recommended by the Ministry of Culture of the Russian Federation.

Basic notes on musical literature are designed to develop humanitarian education and special competencies of students, in particular: “...to form musical thinking, skills of perception and analysis of musical works, acquire knowledge about the laws of musical form, the specifics of musical language, expressive means of music” 1 .

In the textbook, the work of composers is presented in the context of cultural and historical eras and is studied in close connection with historical events and related arts. The material of the notes represents the main theses of research on the history of music and musical literature by V. N. Bryantseva, V. S. Galatskaya, L. V. Kirillina, V. D. Konen, T. N. Livanova, I. D. Prokhorova and others famous musicologists, generalized and condensed instructional material in the form of tables, diagrams and visual supports. Visual supports (reproductions of paintings by famous artists, portraits of composers, their relatives and friends, outstanding cultural and artistic figures, historical figures, etc.) not only accompany and complement verbal information, but are carriers of information in the field of fine arts, are directly related to eras and trends in music, the work of composers, reflect the history, culture and art of European countries.

The content of the supporting notes consists of four sections, which, in turn, are divided into topics covering periods of development of European music from the musical culture of Ancient Greece to the work of romantic composers of the 19th century. So the first section examines the musical culture of Ancient Greece, the Middle Ages and the Renaissance. The second section studies the Baroque era, the work of J. S. Bach and G. F. Handel. The third section is devoted to the era of classicism, where the emphasis is on the work of the Viennese classics - J. Haydn, W. A. ​​Mozart and L. Beethoven. The fourth section presents materials on the era of romanticism, the work of F. Schubert and F. Chopin, and gives a brief overview of the work of the 19th century romantic composers F. Mendelssohn, F. Liszt, R. Schumann, G. Berlioz, D. Verdi, R. Wagner, I. Brahms, J. Bizet.

The manual also includes dictionaries of meanings, terms and concepts found in the text, a brief analysis and musical examples of the works being studied.

Along with a strict presentation of the material in tables and diagrams, the manual includes interesting facts from the life of composers, presented in the form of a narrative and accompanied by colorful artistic illustrations, which refreshes the perception and attention of children.

Basic notes on musical literature of foreign countries are intended for students of children's art schools, children's music schools of the second and third years of study (grades 5 and 6), studying in additional pre-professional general education programs in the field of musical art. Teachers of music-theoretical and special disciplines of children's musical schools and children's art schools can use the textbook when studying new material, repeating and systematizing covered topics, preparing for intermediate and final certification of students, preparing for music-theoretical Olympiads, independent work of students, group and individual training, partially when implementing additional general development programs in the field of musical art, in cultural and educational activities.

The supporting notes are accompanied by a workbook, which is intended for use in classroom lessons.

Below are fragments of the manual “Basic notes on musical literature of foreign countries.”

Regarding the purchase of Tatyana Guryevna Savelyeva’s manual “Basic notes on the musical literature of foreign countries,” please contact the author at [email protected]

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1 Sample program for the academic subject PO.02. UP.03. Musical literature. - Moscow 2012

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Music Library We are glad that you have found and downloaded the materials you are interested in in our music library. The library is constantly updated with new works and materials, and next time you will definitely find something new and interesting for you. The project library is compiled on the basis of the curriculum, as well as materials recommended for training and broadening the horizons of students. Both students and teachers will find useful information here, because... The library also contains methodological literature. Our pets Composers and performers Contemporary artists Here you will also find biographies of outstanding artists, composers, famous musicians, as well as their works. In the work section we post recordings of performances that will help you in learning; you will hear how this work sounds, the accents and nuances of the work. We are waiting for you at classON.ru. V.N. Bryantseva Johann Sebastian Bach 1685 – 1750 Wolfgang Amadeus Mozart 1756 – 1791 Franz Schubert 1797 – 1828 www.classon.ru Joseph Haydn 1732 – 1809 Ludwig van Beethoven 1770 – 1827 Fryderyk Chopin 1810 – 1949 Children’s education in the field of art in Russia Information about it become increasingly abundant from about the 10th century BC. Fine art is developing - and artists depict musicians who accompany religious rituals, military campaigns, hunting, ceremonial processions, and dances with singing and playing instruments. Such images were preserved, in particular, on the walls of temples and ceramic vases found during excavations. Writing appears - and the authors of manuscripts add poetic lyrics to songs and hymns and provide interesting information about musical life. Over time, writers pay a lot of attention to philosophical discussions about music, its important social, including educational role, as well as the theoretical study of the elements of its language. Most of this information has been preserved about music in some countries of the Ancient World, for example in Ancient China, Ancient India, Ancient Egypt, and especially much in the so-called ancient countries - Ancient Greece and Ancient Rome, where the foundations of European culture were laid2. Introduction Music from ancient times to J. S. Bach Dear guys! Last year you already had music literature lessons. They discussed the basic elements of musical language, some musical forms and genres, the expressive and visual possibilities of music, and the orchestra. At the same time, the conversation was freely conducted about a variety of eras - sometimes about antiquity, sometimes about modernity, sometimes returning to centuries less or more distant from us. And now the time has come to get acquainted with musical literature in chronologically sequential - historical - order1. About music in Ancient Greece In what ways has information about the music of the Ancient world reached us? Convincing evidence of the great cultural and historical role of antiquity is the fact that in Ancient Greece in the 8th century BC public sports competitions - the Olympic Games - were born. And two centuries later, musical competitions began to be held there - the Pythian Games, which can be considered the distant ancestors of modern competitions. The Pythian games took place at a temple built in honor of the patron of the arts, the god of the sun and light, Apollo. According to myths, he, having defeated the monstrous serpent Python, himself instituted these games. It is known that Sakkad from Argos once won on them, playing on the aulos, a wind instrument close to the oboe, a program piece about the struggle between Apollo and Python. Ancient Greek music had a characteristic connection with poetry, dance, and theater. The heroic epic poems “Iliad” and “Odyssey”, attributed to the legendary poet Homer, were chanted. Singers were usually, like the mythological Orpheus, the authors of both poetic text and music, and they themselves accompanied themselves on the lyre. At the festivities, choral dance songs with pantomimic gestures were performed. In ancient Greek tragedies and comedies, a large role belonged to the chorus: it commented on the action, expressed its attitude towards. Carrying out excavations, archaeological scientists found the simplest musical instruments (for example, wind instruments - animal bones with drilled holes) and determined that they were made about forty thousand years ago. Consequently, the art of music already existed then. After the phonograph, the first apparatus for mechanical recording and reproduction of sound, was invented in 1877, musician-researchers began to travel to those corners of the globe where some tribes still preserved their primitive way of life. From representatives of such tribes, using a phonograph, they recorded samples of singing and instrumental tunes. But such recordings, of course, give only an approximate idea of ​​what music was like in those ancient times. The word "chronology" (it means "the sequence of historical events in time") comes from two Greek words - "chronos" ("time") and "logos" ("teaching"). 1 The Latin word "antiguus" means "ancient". The definition “antique” derived from it refers to the history and culture of Ancient Greece and Ancient Rome. 2 2 www.classon.ru Children's education in the field of art in Russia to the actions of heroes. Modern musicologists have certain information about music in the ancient world and yet envy historians of other arts. For a large number of magnificent monuments of ancient architecture, ancient fine art, especially sculpture, have been preserved; many manuscripts with the texts of tragedies and comedies of the great ancient playwrights have been discovered. But musical works created in the same eras and even much later remain essentially unknown to us. Why did it happen so? The fact is that inventing a sufficiently accurate and convenient system of musical notation (notation), the one that each of you mastered when just starting to learn music, turned out to be a very difficult task. It took many centuries to solve it. True, the ancient Greeks invented letter notation. They designated the degrees of musical modes with certain letters of the alphabet. But rhythmic symbols (from dashes) were not always added. Only in the middle of the 19th century AD did scientists finally unravel the secrets of this notation. However, if they were able to decipher the ratio of sounds in height in ancient Greek musical manuscripts accurately, then the ratio in duration was only approximately. And very few such manuscripts have been found, and they contain recordings of only a few single-voice works (for example, hymns) and more often - their excerpts. sufficient visibility. Therefore, musicians have been using auxiliary hint icons for a long time. These icons were placed above the words of the chants and designated either individual sounds or small groups of them. They did not indicate the exact relationship of sounds either in height or in duration. But with their outline, they reminded the performers of the direction of movement of the melody, who knew it by heart and passed it on from one generation to another. In the countries of Western and Central Europe, the music of which will be discussed later in this textbook, such icons were called neumas. Neumas were used when recording ancient Catholic liturgical chants - Gregorian chant. This common name is derived from the name of Pope Gregory I3. According to legend, at the end of the 6th century he compiled the main collection of these monophonic chants. Intended to be sung during church services by men and boys only - solo and choir in unison, they are written to prayer texts in Latin 4. Early non-immutable recordings of Gregorian chant cannot be deciphered. But in the 11th century, the Italian monk Guido d'Arezzo (“from Arezzo”) invented a new method of notation. He taught boy singers in the monastery and wanted it to be easier for them to memorize spiritual chants. By that time, neumas began to be placed on a horizontal line, above and below it. This line corresponded to one specific sound and thereby established the approximate height level of the recording. And Guido came up with the idea of ​​​​drawing four parallel lines (“rulers”) at the same distance from each other and placing neumas on them and between them. This is how the ancestor arose modern musical notation - like a strictly drawn outline, which made it possible to accurately indicate the pitch relationship of sounds in tones and semitones. And at the same time, the musical notation became more visual - like a drawing depicting the movement of the melody, its bends. Guido designated the sounds corresponding to the lines with Latin letters alphabet. Their outlines subsequently began to change and eventually turned into signs, which were called keys. And the neumas, “sitting” on the rulers and between them, over time turned into individual notes, the heads of which at first had the shape of squares. Questions and tasks 1. When, according to scientists, were the oldest musical instruments made? What does this mean? 2. What is a phonograph, when was it invented, and how did researchers begin to use it? 3. About the music of which countries of the Ancient World has the most information been preserved? Determine from the map which sea these three countries were located around. 4. When and where did the ancient musical competitions - the Pythian Games - begin to be held? 5. What arts was music closely associated with in Ancient Greece? 6. What notation was invented by the ancient Greeks? How is it inaccurate? The title “Pope” is borne by the clergyman who heads the Catholic Church as an international spiritual organization. Catholicism is one of the Christian faiths along with Orthodoxy and Protestantism. 4 The ancient Romans spoke Latin. After the fall of the Roman Empire in 476, Latin gradually ceased to be spoken. From it came the so-called Romance languages ​​- Italian, French, Spanish, Portuguese. 3 How a convenient notation was created In the Middle Ages (the beginning of this historical period is considered to be the 6th century AD), letter notation was almost forgotten. It did not contain 3 www.classon.ru Children's education in the field of art in Russia Rumors about a new method of notation - just like some kind of miracle - reached Pope John XIX. He summoned Guido and sang a melody unknown to him from an invented recording. Subsequently, the number of parallel lines was changed many times, sometimes even increased to eighteen. It was only towards the end of the 17th century that the current five-line staff “won”. We used many different keys. It was only in the 19th century that the treble and bass clefs became the most commonly used. After the invention of Guido d'Arezzo, they spent a long time solving another difficult problem - how to improve the notation so that it would indicate the exact relationship of sounds not only in height, but also in duration. After some time, they came up with the idea of ​​​​using note symbols for this, different in shape. .But to At first, many conventional rules were added to this, making it difficult to apply in practice. And over the course of several centuries, a more convenient notation was gradually developed - exactly the one that we now continue to use. After the onset of the 17th century, it was improved only in detail. And its rhythmic principle, which we have been looking for for so long, now seems to be the simplest thing in existence: it consists in the fact that a whole note in duration is always equal to two halves - others in style, one half - two quarters, one quarter - two eighths, and so on. that the bar line began to separate bars in the 16th century, and the size at the beginning of musical notation began to be indicated without fail from the 17th century. However, at that time there were not only music manuscripts, but also printed music. For music printing began soon after the invention of printing - towards the end of the 15th century. In the Ancient World and for a long time in the Middle Ages, music was, as a rule, monophonic. There were only a few simple exceptions. For example, a singer performed a song and duplicated it (that is, simultaneously reproduced it) while playing some instrument. At the same time, the voice and instrument could sometimes diverge a little, deviate from each other and soon converge again. Thus, in a monophonic sound stream, “islands” of two-voice appeared and disappeared. But at the turn of the first and second millennia AD, the polyphonic style began to consistently develop and subsequently became dominant in professional musical art. This complex and long-lasting formation concentrated mainly in the field of Catholic church music. The matter began with the invention (by whom - unknown) of the following technique. One singer (or several singers) sang the main voice - a slow, flowing melody of Gregorian chant. And the second voice moved strictly in parallel - exactly in the same rhythm, only all the time at a distance of an octave, or a fourth, or a fifth. Now to our ears it sounds very poor, “empty.” But a thousand years ago, such singing, echoing under the arches of a church or cathedral, amazed and delighted, opening up new expressive possibilities for music. After some time, church musicians began to look for more flexible and varied methods of conducting the second voice. And then they began to more and more skillfully combine three, four voices, and later sometimes even more voices. Questions and tasks 1. Why was letter notation inconvenient in practice? 2. What did the neumas tell the medieval singers? 3. What is Gregorian chant and why is it called that? 4. Explain the essence of Guido d'Arezzo's invention. 5. What was the next problem that needed to be solved after Guido's invention? 6. Since when did the notation no longer change significantly? Long chants with three and four voices that were already clearly different from each other were created at the beginning of the 13th century century church musician Perotin. He was an outstanding representative of the singing art - the Parisian "School of Notre Dame" ("School of Our Lady"). Perotin's chants sounded in a building of remarkable beauty. This is a famous monument of medieval Gothic architecture, described by the 19th century French writer Victor Hugo in the famous the novel “Notre Dame de Paris." How polyphony began to develop in music. This is how polyphony began to develop. Translated from Greek, this word means “polyphony.” But polyphony is only a type of polyphony in which two or more equal voices sound simultaneously, Moreover, each of them has its own independent melodic line. If one voice leads the main melody, and the others are subordinate to it (accompany it, accompany it), then this is homophony - the other. Thanks to the improvement of notation, gradually, especially from the 13th century, music manuscripts became more and more accurate decipher. This made it possible to get acquainted not only with information about musical culture, but also with the music of past eras itself. It was no coincidence that the successes of notation coincided with the beginning of the development of polyphony - an important stage in the history of musical art. 4 www.classon.ru Children's education in the field of art in Russia, the mass has become a major musical genre. Regular Mass 5 includes six main chants based on Latin prayer texts. These are "Kyriyo eleizon" ("Lord, have mercy"), "Gloria" ("Glory"), "Credo" ("I Believe"), "Sanctus" ("Holy"), "Benedictus" ("Blessed") and " Agnus Dei" ("Lamb of God"). Initially, the Gregorian chant sounded monophonically in masses. But around the 15th century, the mass turned into a cycle of complex polyphonic parts 6. At the same time, imitations began to be used very skillfully. Translated from Latin, “imitatio” means “imitation.” In music, one can sometimes imitate extra-musical sounds, for example, the trills of a nightingale, the cuckooing of a cuckoo, or the sound of sea waves. This is then called onomatopoeia or sound-imagery. And imitation in music is a technique when, following a melody that ends in one voice, another voice accurately (or not quite accurately) repeats it from another sound. Other voices can then enter in the same way. In homophonic music, imitations may appear briefly. And in polyphonic music this is one of the main development techniques. It helps to make the melodic movement almost continuous: pauses and cadences simultaneously in all voices occur in polyphonic music only as rare exceptions7. Combining imitations with other polyphonic techniques, composers made their masses large choral works in which four or five voices intertwine into a complex sound texture. In it, the melody of the Gregorian chant is already difficult to discern and it is just as difficult to hear the prayer words. There were even masses where the melodies of popular secular songs were used as the main ones. This situation worried the highest Catholic ecclesiastical authorities. In the middle of the 16th century, it was going to completely ban polyphonic singing during church services. But such a ban did not take place thanks to the wonderful Italian composer Palestrina, who spent almost his entire life in Rome and was close to the papal court (his full name is Giovanni Pierluigi da Palestrina, that is, “from Palestrina” - a small town not far from Rome). Palestrina, with his masses (and he wrote more than a hundred of them), managed to achieve a form of polyphony. Since the accompaniment has a chord-harmonic basis, the homophonic structure of musical presentation is also called homophonic-harmonic. Questions and tasks 1. Since when did music manuscripts begin to be deciphered more accurately? 2. What important new stage in the history of musical art did the successes of notation coincide with? 3. When, in what music and on the basis of what melodies did polyphony begin to consistently form? 4. What was parallel two-voice? Sing together several parallel fourths, fifths and octaves. 5. What is the difference between polyphony and homophony? How polyphony continued to develop While polyphony began to develop in church singing, monophony continued to dominate in secular music. For example, many recordings of one-voice songs that were composed and performed by medieval poets and singers in the 12th-14th centuries have been deciphered. In the south of France, in Provence, they were called troubadours, in the north of France - trouvères, in Germany - minnesingers. Many of them were famous knights and in their songs they often sang the beauty and virtue of the “fair lady” whom they worshiped. The melodies of the songs of these poet-singers were often close to folk tunes, including dance tunes, and the rhythm was subordinated to the rhythm of the poetic text. Later, in the 14th-16th centuries, German poet-singers from among artisans united into guilds, calling themselves Meistersingers (“master singers”). Church polyphony and secular song monophony did not turn out to be isolated from each other. Thus, in the voices that were added to the Gregorian chant in spiritual chants, the influence of secular songs (for example, songs of troubadours and trouvères) became noticeable.At the same time, by the end of the 13th century, purely secular polyphonic works appeared in France, where the parts of all voices were based on melodies of a song nature, and the texts were composed not in Latin, but in French. Over time, in Catholic church music there are also special masses dedicated to church holidays. Let us recall that a cycle is a work of several separate parts (or plays), united by a common concept. 7 Cadence (cadence ) - a melodic and harmonic turn that completes the entire musical work or its section 5 6 5 www.classon.ru Children's education in the field of art in Russia to prove that polyphonic compositions, while remaining very skillful, can sound transparent and liturgical texts can be clearly heard. Palestrina's music is one of the peaks of ancient choral polyphony of the so-called strict style. It takes us into the world of enlightened, sublime contemplation - as if emitting an even, peaceful radiance. poets, musicians, scientists and art lovers. They became captivated by the idea of ​​creating a new type of expressive solo singing with accompaniment and combining it with theatrical action. This is how the first operas were born, the plots of which were taken from ancient mythology. The very first is “Daphne”, composed by composer Jacopo Peri (together with J. Korea) and poet O. Rinuccini. It was performed in 1597 in Florence (the work as a whole has not survived). In ancient Greek mythology, Daphne is the daughter of the river deity Ladon and the earth goddess Gaia. Fleeing from the pursuit of Apollo, she prayed for help to the gods and was turned into a laurel (in Greek “daphne” - “laurel”) - the sacred tree of Apollo. Since Apollo was considered the patron god of the arts, the winners of the Pythian Games, of which Apollo was considered the founder, began to be crowned with a laurel wreath. A laurel wreath and a separate laurel branch have become symbols of victory, glory, and reward. Two other operas, composed in 1600 (one by J. Peri, the other by G. Caccini), are both called “Euridice” because they both use the same poetic text, based on the ancient Greek myth of the legendary singer Orpheus. The first Italian operas were performed in palaces and houses of noble persons. The orchestra consisted of a few ancient instruments. It was led by a musician who played the cymbal (the Italian name for harpsichord). There was no overture yet, and the start of the performance was announced by trumpet fanfares. And in the vocal parts, recitative prevailed, in which musical development was subordinated to the poetic text. Soon, however, music began to acquire an increasingly independent and important meaning in operas. The great merit of this is the first outstanding opera composer - Claudio Monteverdi. His first opera, Orpheus, was staged in 1607 in Mantua. Its hero is again the same legendary singer who, with his art, appeased Hades, the god of the underworld of the dead, and he released Eurydice, the beloved wife of Orpheus, to earth. But Hades’ condition - not to look at Eurydice even once before leaving his kingdom - Orpheus violated and again, forever, lost her. Monteverdi's music gave unprecedented lyrical and dramatic expressiveness to this sad story. Vocal parts, choirs, and orchestral episodes became much more diverse in character in Monteverdi's Orpheus. In this work, a melodic ariatic style began to take shape - the most important distinctive quality of Italian operatic music. Following the example of Florence, operas began to be composed and performed not only in Mantua, but also in such Italian cities as Rome, Venice, and Naples. Interest in the new genre began to arise in other European countries, and their Questions and tasks 1. Who are troubadours, trouvères, minnesingers and meistersingers? 2. Is there a connection between ancient church polyphony and secular song melodies? 3. Name the main parts of the regular Mass. 4. Give examples of onomatopoeia in music. 5. What is called imitation in music? 6. What did Palestrina achieve in his masses? The birth of opera. Oratorio and Cantata Just before the beginning of the 17th century - the first century of the historical period called the Modern Age - an event of extreme importance occurred in the art of music: opera was born in Italy. Music has been heard in various theatrical performances since ancient times. In them, along with instrumental and choral numbers, individual vocal solos, for example songs, could be performed. And in opera, singers and singers became actors and actresses. Their singing, accompanied by an orchestra, in combination with stage action, began to convey the main content of the performance. It is complemented by scenery, costumes, and often also dances - ballet. Thus, in opera, music led the close collaboration of different arts. This opened up new great artistic possibilities for her. Opera singers began to convey with unprecedented power the personal emotional experiences of people - both joyful and sorrowful. At the same time, the most important means of expression in the opera was the homophonic combination of the solo singing voice with orchestral accompaniment. And if until the 17th century, professional music in Western Europe developed mainly in the church, and the largest genre was the mass, then the musical theater became the main center, and the largest genre was opera. At the end of the 16th century, in the Italian city of Florence, a circle gathered 6 www.classon.ru Children's education in the field of art in Russia, the rulers made it a custom to invite Italian musicians to their court service. This contributed to the fact that Italian music became the most influential in Europe for a long time. In France, in the 17th century, its own national opera emerged, different from the Italian one. Its founder, Jean-Baptiste Lyulli, is Italian by birth. Nevertheless, he correctly sensed the peculiarities of French culture and created a unique French opera style. In Lully's operas, a large place was occupied, on the one hand, by recitatives and small arias of a recitative nature, and on the other, by ballet dances, solemn marches and monumental choruses. Together with mythological plots, lush costumes, and the depiction of magical miracles with the help of theatrical machines, all this corresponded to the splendor and splendor of court life during the reign of the French king Louis XIV. The first opera in Germany, “Daphne” (1627), was created by the largest German composer of the pre-Bach era, Heinrich Schütz. But her music has not been preserved. But the conditions for the development of the opera genre in the country did not yet exist: they really only emerged with the advent of the 19th century. And in Schutz’s work, the main place was occupied by expressive vocal-instrumental compositions based on spiritual texts. In 1689, the first English opera “Dido and Aeneas” by a composer of remarkable talent, Henry Purcell, was performed in London. The music of this opera captivates with its heartfelt lyrics, poetic fantasy and colorful folk images. However, after Purcell's death, for almost two centuries there were no outstanding musical creators among English composers. At the turn of the 16th-17th centuries, simultaneously with opera and also in Italy, the birth of a cantata. They are similar to opera in that they are also performed by soloists, a choir and an orchestra, and in that they also feature arias, recitatives, vocal ensembles, choirs, and orchestral episodes. But in opera we learn about the development of events (the plot) not only from what the soloists sing, but also from what they do and what generally happens on stage. But in oratorio and cantata there is no stage action. They are performed in a concert setting, without costumes or decorations. But there is also a difference between oratorio and cantata, although not always clear-cut. Usually an oratorio is a larger work with a more developed religious plot. It often has an epic-dramatic character. In this regard, the oratorio often includes a narrative recitative part of the singer-storyteller. A special type of spiritual oratorio is “passion” or “passive” (translated from Latin as “suffering”). The Passion tells of the suffering and death of Jesus Christ crucified on the cross. 7 www.classon.ru Children's education in the field of art in Russia Cantatas, depending on the content of the verbal text, are divided into spiritual and secular. In the 17th century and at the beginning of the 18th century, many small, chamber cantatas arose in Italy. They consisted of alternating two or three recitatives with two or three arias. Subsequently, cantatas of a predominantly ceremonial nature became widespread. Spiritual cantatas and “passions” of various constructions received the greatest development in Germany. arias, and it is fascinating to deploy virtuosic passage movement. In the heritage of Corelli and Vivaldi, a large place belongs to the trio sonata genre. In most trio sonatas, the two main parts are performed by violins, and the third part, the accompanying part, is performed by a harpsichord or organ, with the bass voice doubled by a cello or bassoon. Following the trio sonata, a sonata for violin or other instrument accompanied by harpsichord appeared. as well as concerto grosso - concerto for orchestra (first string). Many works of these genres are characterized by the form of an ancient sonata. Usually this is a cycle of four parts with a tempo ratio of “slow-fast-slow-fast”. Somewhat later, already in the 18th century, Vivaldi began to compose solo concerts for violin and some other instruments with orchestra accompaniment. A three-part cycle was established there: “fast-slow-fast.” Questions and tasks 1. Where and when was opera born? Explain how opera differs from a theatrical performance with music. 2. What is the most important means of expression in opera music? 3. What is the name of Claudio Monteverdi's first opera, and what qualities were evident in its music? 4. Tell us about the features of ancient French operas. 5. Name the first opera written in Germany and the first opera written in England. 6. What is the main difference between oratorio and cantata from opera? 7. What are “passions” (“passive”)? The organ began its centuries-long history back in Ancient Egypt. By the 17th century, it had become a very complex instrument with wide artistic possibilities. Small organs could then be found even in private homes. They were used for educational activities, and variations on the melodies of folk songs and dances were performed on them. And large organs with sparkling rows of pipes, with wooden bodies decorated with carvings, sounded, as they do now, in churches and cathedrals. Nowadays, organs are also available in many concert halls. Modern organs have several thousand pipes and up to seven keyboards (manuals), located one above the other - like steps of a staircase. There are so many pipes because they are divided into groups - registers. The registers are switched on and off using special levers to obtain a different color (timbre) of sound. The organs are also equipped with a pedal. This is a whole foot keyboard with many large keys. By pressing them with his feet, the organist can produce and also sustain bass sounds for a long time (such sustained sounds are also called a pedal or organ point). In terms of richness of timbres, the ability to compare the lightest pianissimo with a thunderous fortissimo, the organ has no equal among musical instruments. In the 17th century, organ art reached a particularly high peak in Germany. As in other countries, German church organists were both composers and performers. They not only accompanied spiritual chants, but also performed solos. Among them were many talented virtuosos and improvisers who attracted entire crowds of people with their playing. One of the most remarkable among them is Dietrich Buxtehude. The young Johann Sebastian Bach came on foot from another city to listen to him play. Buxtehude's varied and extensive oeuvre represents the main types of organ music of the time. On the one hand, these are preludes, fantasies and About instrumental music of the 17th century, its genres and forms For a long time, playing instruments most often duplicated voice parts in vocal works or accompanied dances. Instrumental transcriptions of vocal compositions were also common. The independent development of instrumental music intensified only in the 17th century. At the same time, it continued to develop the artistic techniques that had developed in vocal polyphony. They were enriched with homophonic elements based on song and dance. At the same time, instrumental compositions began to be influenced by the expressive achievements of operatic music. The violin, along with brilliant virtuoso capabilities, has a very melodious voice. And it was in the homeland of opera, Italy, that violin music began to develop especially successfully. At the end of the 17th century, the work of Arcangelo Corelli flourished and the creative activity of Antonio Vivaldi began. These outstanding Italian composers created many instrumental works with the participation and leading role of the violin. In them, the violin can sing as expressively as the human voice in an operatic toccata. In them, polyphonic episodes freely alternate with improvisational ones - passages and chords. On the other hand, these are more strictly constructed pieces that led to the emergence of the fugue, the most complex form of imitative polyphony. Buxtehude also made many organ arrangements of Protestant chants in the form of choral preludes. Unlike Gregorian chant, this is the general name for spiritual chants not in Latin, but in German. They appeared in the 16th century, when a new type of Christian doctrine, Protestantism, separated from Catholicism. The melodic basis of the Protestant chorale was German folk songs. In the 17th century, the Protestant chorale began to be performed in chorus by all parishioners with the support of an organ. For such choral arrangements, a four-voice chord structure with a melody in the upper voice is typical. Subsequently, such a structure began to be called chorale, even if it occurs in an instrumental work. The organists also played stringed keyboard instruments and composed for them. The general name of works for these instruments is keyboard music8. The first information about stringed keyboard instruments dates back to the 14th-15th centuries. By the 17th century, the most common of them was the harpsichord. This is what they call it in France, in Italy it is called harpsichord, in Germany it is called keelflugel, in England it is called harpsichord. The name of smaller instruments in France is epinet, in Italy - spinets of England - virginel. The harpsichord is the ancestor of the piano, which began to come into use in the mid-18th century. When you press the keys of the harpsichord, feathers or leather tongues mounted on the rods seem to pinch the strings. The result is abrupt, ringing and at the same time slightly rustling sounds. On a harpsichord, the strength of the sound does not depend on the force of striking the keys. Therefore, it is impossible to make crescendos and diminuendos on it - unlike the piano, on which this is possible due to a more flexible connection of the keys with hammers striking the strings. The harpsichord may have two or three keyboards and a device that allows you to change the color of the sound. The sound of another small keyboard instrument - the clavichord - is weaker than the sound of the harpsichord. But on the clavichord, more melodious playing is possible, because its strings are not plucked, but metal plates are pressed on them. One of the main genres of ancient harpsichord music is a suite of several complete movements written in the same key. Each part usually uses some kind of dance movement. The basis of the ancient suite consists of four dances of different, not always clearly identified, national origins. These are the slow allemande (possibly originally from Germany), the more active courante (originally from France), the slow sarabande (originally from Spain) and the fast gigue (originally from Ireland or England). From the end of the 17th century, following the example of Parisian harpsichordists, suites began to be supplemented with such French dances as the minuet, gavotte, bourrée, and passier. They were inserted between the main dances, forming interlude sections (“integ” translated from Latin means “between”). Ancient French harpsichord music is distinguished by elegance, grace, and an abundance of small melodic ornaments, such as mordents and trills. The French harpsichord style flourished in the work of François Couperin (16 68 - 1733), nicknamed the Great. He created about two and a half hundred plays and combined them into twenty-seven suites. Pieces with various program titles gradually began to predominate in them. Most often these are like miniature harpsichord portraits of women - apt sound sketches of some character trait, appearance, demeanor. Such, for example, are the plays “Gloomy”, “Touching”, “Nimble”, “Abstract”, “Mischievous”. His great contemporary Johann Sebastian Bach showed great interest in French harpsichord music, including the plays of François Couperin. Questions and tasks 1. When did the independent development of instrumental genres intensify? 2. Name the favorite instrument of Arcangelo Corelli and Antonio Vivaldi. 3. Tell us about the structure of the organ. 4. In which country did organ art reach a particularly high peak? What is a Protestant chorale? 5. Tell us about the structure of the harpsichord. What dance movements are used in the main parts of the ancient harpsichord suite? So, the introductory section of the textbook briefly introduced some important events in the world of music since ancient times. This was a historical “excursion” with the goal of helping to further familiarize ourselves with the heritage of the great Western European musicians who worked in the 18th and 19th centuries. For some time, keyboard music was the name given to music for all keyboard instruments, including the keyboard-wind instrument - the organ. 8 9 www.classon.ru Children's education in the field of art in Russia Life path Johann Rod, family, childhood. Johann Sebastian Bach was born in 1685 in Thuringia, one of the regions of Central Germany, in the small city of Eisenach, surrounded by forests. In Thuringia, the dire consequences of the Thirty Years' War (1618-1648), in which two large groupings of European powers clashed, were still felt. The ancestors of Johann Sebastian, who were closely connected with the German artisan and peasant environment, had to survive this devastating war. His great-great-grandfather named Veit was a baker, but he loved music so much that he never parted with a zither, an instrument similar to a mandolin, even playing while the flour was being ground during trips to the mill. And among his descendants, who settled throughout Thuringia and neighboring regions, there were so many musicians that everyone who practiced this profession began to be called “Bach.” These were church organists, violinists, flutists, trumpeters, some showed talent as composers. They were in the service of city municipalities and at the courts of the rulers of small principalities and duchies into which Germany was fragmented. Sebastian Bach 1685-1750 The fate of the music of this great German composer, more than three hundred years since his birth, is amazing. During his lifetime he gained recognition mainly as an organist and connoisseur of musical instruments, and after his death he was almost forgotten for several decades. But then they gradually began to rediscover his work and admire it as a precious artistic treasure, unsurpassed in skill, inexhaustible in the depth and humanity of its content. “Not a stream! “The sea should be his name.” This is what another musical genius said about Bach - Beethoven9. Bach managed to publish only a very small part of his works himself. Now there are more than a thousand of them published (many more are lost). The first complete collection of Bach's works began to be printed in Germany a hundred years after his death, and it occupied forty-six voluminous volumes. But it is impossible to even roughly calculate how many individual editions of Bach’s music have been printed and how many continue to be printed in different countries. So great is the incessant demand for it. For it occupies an extensive and honorable place not only in the world concert repertoire, but also in the educational one. Johann Sebastian Bach continues to be the teacher of literally everyone involved in music. He is a serious and strict teacher, requiring the ability to concentrate in order to master the art of performing polyphonic works. But those who are not afraid of difficulties and are attentive to his demands will feel behind his severity the wise and heartfelt kindness that he teaches with his beautiful immortal creations. The house in Eisenach where J. S. Bach was born 9 “Bach” means “stream” in German. 10 www.classon.ru Children's education in the field of Russian art The father of Johann Sebastian was a violinist, city and court musician in Eisenach. He began teaching music to his youngest son and sent him to a church school. Possessing a beautiful high voice, the boy sang in the school choir. When he was ten years old, his parents died. The elder brother, a church organist in the neighboring town of Ohrdruf, took care of the orphan. He sent his younger brother to the local lyceum and himself gave him lessons in playing the organ. Later, Johann Sebastian also became a harpsichordist, violinist, and violist. And from childhood he mastered musical composition on his own, rewriting the works of various authors. He had to copy out one notebook that particularly interested him on moonlit nights, secretly from his older brother. But when the long, difficult work was completed, he discovered this, became angry with Johann Sebastian for his unauthorized act, and mercilessly took the manuscript from him. The beginning of independent life. Luneburg. At the age of fifteen, Johann Sebastian took a decisive step - he moved to the distant northern German city of Luneburg, where he entered the school at the monastery church as a choir student. In the school library he was able to familiarize himself with a large number of manuscripts of works by German musicians. In Lüneburg and Hamburg, where he walked along country roads, one could listen to talented organists play. It is possible that in Hamburg Johann Sebastian visited the opera house - at that time the only one in Germany that gave performances not in Italian, but in German. He successfully completed school three years later and began looking for a job closer to his native land. Weimar. Having briefly served as a violinist and organist in three cities, Bach in 1708, already married, settled in Weimar (Thuringia) for nine years. There he was an organist at the Duke's court, and then a vice-kapellmeister (assistant to the head of the chapel - a group of singers and instrumentalists). While still a teenager, in Ohrdruf, Bach began composing music, in particular making arrangements of a Protestant chorale for organ, his favorite instrument. And in Weimar a number of his wonderful mature organ works appeared, such as Toccata and Fugue in D minor, Passacaglia10 in C minor, and chorale preludes. By that time, Bach had become an unsurpassed performer and improviser on the organ and harpsichord. This was convincingly confirmed by the following case. One day Bach went to the capital of Saxony, Dresden, where they decided to arrange a competition between him and Louis Marchand, the famous French organist and harpsichordist. But he, having first heard how Bach improvised on the harpsichord with amazing creative ingenuity, hastened to secretly leave Dresden. The competition did not take place. At the Weimar court there was an opportunity to get acquainted with the works of Italian and French composers. Bach reacted to their achievements with great interest and artistic initiative. For example, he made a number of free arrangements for harpsichord and organ of Antonio Vivaldi’s violin concertos. Thus were born the first keyboard concerts in the history of musical art. For three years in Weimar, Bach was required to compose a new spiritual cantata every fourth Sunday. In total, more than thirty works arose in this way. However, when the elderly court conductor, whose duties were actually performed by Bach, died, the vacated position was given not to him, but to the mediocre son of the deceased. Outraged by such injustice, Bach submitted his resignation. For his “disrespectful demand” he was subjected to house arrest. But he showed courageous, proud persistence, insisting on his own. And a month later, the Duke had to reluctantly give the “unmerciful order” to release the rebellious musician. Köthen. At the end of 1717, Bach and his family moved to Köthen. The position of court bandmaster was offered to him by Prince Leopold of Anhalt of Köthen, the ruler of a small state neighboring Thuringia. He was a good musician - he sang, played the harpsichord and viola da gamba 11. The prince provided his new bandmaster with good financial support and treated him with great respect. Bach's duties, which took up relatively little of his time, included leading a chapel of eighteen vocalists and instrumentalists, accompanying the prince and playing the harpsichord himself. Many Bach works for various instruments originated in Köthen. Among them, keyboard music is represented very diversely. On the one hand, these are plays for beginners - Passacaglia is a slow three-legged dance of Spanish origin. On its basis, instrumental pieces arose in the form of variations with a melody repeated many times in the bass. 10 11 Viola da gamba is an ancient instrument that looks like a cello. 11 www.classon.ru Children's education in the field of art in Russia small preludes, two-voice and three-voice inventions. They were written by Bach for lessons with his eldest son, Wilhelm Friedemann. On the other hand, this is the first of two volumes of a monumental work - “The Well-Tempered Clavier”, which in total includes 48 preludes and fugues, and a large concert work - “Chromatic Fantasy and Fugue”. The Köthen period also includes the creation of two collections of keyboard suites, known as “French” and “English”. Prince Leopold took Bach with him on trips to neighboring states. When Johann Sebastian returned from such a trip in 1720, he was overcome by severe grief - his wife Maria Barbara had just died, leaving four children (three more died early). A year and a half later, Bach married again. His second wife, Anna Magdalena, had a good voice and was very musical. While studying with her, Bach compiled two keyboard “Note Books” from his own plays and partly from the plays of other authors. Anna Magdalena was a kind and caring life partner of Johann Sebastian. She bore him thirteen children, of whom six lived to adulthood. Leipzig. In 1723, Bach moved to Leipzig, a major trading and cultural center of Saxony, neighboring Thuringia. He maintained good relations with Prince Leopold. But in Köthen the possibilities for musical activity were limited - there was neither a large organ nor a choir. In addition, Bach had older sons growing up, whom he wanted to give a good education. In Leipzig, Bach took the position of cantor - director of the boys' choir and teacher of the singing school; at the Church of St. Thomas (Thomaskirche). He had to accept a number of restrictive conditions, for example, “not to leave the city without the permission of the burgomaster.” Cantor Bach had many other responsibilities. He had to divide into parts a small school choir and a very small orchestra (or rather, an ensemble) so that the music could be heard during services in two churches, as well as at weddings, funerals, and various celebrations. And not all choir boys had good musical abilities. The school house was dirty, neglected, the pupils were poorly fed and squalidly dressed. Bach, who was also considered the Leipzig “music director,” more than once drew the attention of the church authorities and the city government (magistrate) to all this. But in return he received little material assistance, but a lot of petty official quibbles and reprimands. He taught his students not only singing, but also playing instruments; in addition, he hired a Latin teacher for them at his own expense. Church and school of St. Thomas (left) in Leipzig. (From an old engraving). Despite difficult life circumstances, Bach was passionate about creativity. In the first three years of his service, he composed and practiced a new spiritual cantata with the choir almost every week. In total, about two hundred works by Bach in this genre have survived. And several dozen of his secular cantatas are also known. They were, as a rule, greetings and congratulations, addressed to various noble persons. But among them there is such an exception as the comic “Coffee Cantata” written in Leipzig, similar to a scene from a comic opera. It tells how the young, lively Lizhen becomes interested in the new fashion for coffee, against the will and warnings of her father, the old grumbler Shlendrian. In Leipzig, Bach created his most outstanding monumental vocal and instrumental works - “The St. John Passion”, “The St. Matthew Passion”12 and the Mass in B minor, which is similar in content, as well as a large number of various instrumental works, including the second volume “ Well-Tempered Clavier,” a collection of John and Matthew (as well as Mark and Luke) - followers of the teachings of Jesus Christ who compiled the Gospels - stories about his earthly life, suffering (“passion”) and death. “Gospel” translated from Greek means “good news.” 12 12 www.classon.ru Children's education in the field of art in Russia “The Art of Fugue”. He traveled to Dresden, Hamburg, Berlin and other German cities, played the organ there, and tested new instruments. For more than ten years, Bach headed the “Music College” in Leipzig, a society consisting of university students and music lovers - instrumentalists and singers. Under the direction of Bach, they gave public concerts of works of a secular nature. Communicating with musicians, he was alien to any arrogance and spoke about his rare skill like this: “I had to study hard, whoever is just as diligent will achieve the same.” His large family brought Bach a lot of worries, but also a lot of joy. In her circle, he could organize entire home concerts. Four of his sons became famous composers. These are Wilhelm Friedemann and Carl Philipp Emanuel (children of Maria Barbara), Johann Christoph Friedrich and Johann Christian (children of Anna Magdalena). Over the years, Bach's health declined. His vision deteriorated sharply. At the beginning of 1750, he underwent two unsuccessful eye operations, became blind, and died on July 28. Johann Sebastian Bach lived a difficult and hard-working life, illuminated by brilliant creative inspiration. He did not leave a significant fortune, and Anna Magdalena died ten years later in a charity home for the poor. And Bach's youngest daughter Regina Susanna, who lived until the 19th century, was saved from poverty by private donations, in which Beethoven took a large part. Bach's music is connected with the culture of his native country. He never had the opportunity to travel outside of Germany. But he enthusiastically studied works of both German and foreign composers. In his work, he brilliantly summarized and enriched the achievements of European musical art. Most of the cantatas, “St. John Passion”, “Matthew Passion”, Mass in B minor and many other works on spiritual texts were not just written by Bach according to the duty or habitual custom of a church musician, but warmed by a sincere religious feeling. They are full of compassion for human sorrows, imbued with an understanding of human joys. Over time, they went far beyond the confines of churches and never cease to deeply impress listeners of different nationalities and religions. Spiritual and secular works of Bach their true humanity is related to each other.Together they form a whole world of musical images. Bach's unsurpassed polyphonic mastery is enriched with homophonic-harmonic means. His vocal themes are organically permeated with instrumental development techniques, and instrumental themes are often so emotionally rich, as if something important is being sung and spoken without words. Toccata and Fugue in D minor for organ13 This work, which is very popular, begins with an alarming but courageous cry of will. It sounds three times, descending from one octave to another, and leads to a thunderous chordal boom in the lower register. Thus, at the beginning of the toccata, a gloomily shaded, grandiose sound space is outlined. 1 Adagio Questions and tasks 1 . Why is the fate of Bach's music unusual? 2. Tell us about Bach’s homeland, his ancestors and his childhood. 3. When and where did Bach begin his independent life? 4. How did Bach’s activity in Weimar proceed and how did it end? 5. Tell us about Bach’s life in Köthen and his works during these years. 6. What instruments did Bach play and what was his favorite instrument? 7. Why did Bach decide to move to Leipzig, and what difficulties did he encounter there? 8. Tell us about the activities of Bach the composer and Bach the performer in Leipzig. Name the works he created there. Toccata (in Italian “toccata” - “touch”, “blow” from the verb “toccare” “touch”, “touch”) is a virtuoso piece for keyboard instruments. 13 13 www.classon.ru Children's education in the field of art in Russia Next, powerful “swirling” virtuosic passages and wide chordal “splashes” are heard. They are separated several times by pauses and stops on extended chords. This juxtaposition of rapid and slow movement is reminiscent of cautious respites between fights with the violent elements. And after the freely, improvisationally constructed toccata, a fugue sounds. It is focused on the imitative development of one theme, in which the volitional principle seems to curb elemental forces: 2 Allegro moderato Having expanded widely, the fugue develops into a coda - the final, final section. Here the improvisational element of the toccata bursts out again. But she is finally pacified by intense imperative remarks. And the last bars of the entire work are perceived as a stern and majestic victory of the unyielding human will. A special group of Bach's organ works consists of chorale preludes. Among them, a number of relatively small plays of a lyrical nature are distinguished by deep expressiveness. In them, the sound of the chorale melody is enriched by freely developed accompanying voices. This is how, for example, one of Bach's masterpieces is presented - the chorale prelude in F minor. Keyboard music of the Invention Bach compiled several collections of simple pieces from among those that he composed while teaching his eldest son Wilhelm Friedemann. In one of these collections he placed fifteen two-voice polyphonic pieces in fifteen keys and called them “inventions.” Translated from Latin, the word “invention” means “invention”, “invention”. Bach's two-voice inventions, which can be performed by beginning musicians, are truly remarkable for their polyphonic inventiveness and at the same time for their artistic expressiveness. Thus, the first two-voice invention in C major is born from a short, smooth and leisurely theme of a calm, judicious nature. The upper voice sings it and immediately imitates it _ repeats it in another octave - the lower one: 14 www.classon.ru Children's education in the field of art in Russia And to the sounds of the eighth two-voice invention in F major, one can imagine a cheerful, fervent game-competition: it seems that] they are jumping up and elastic balls are rolling. During repetition (imitation), the upper voice continues the melodic movement. This creates a counterposition to the theme sounding in the bass. Further, this counterposition - with the same melodic pattern - sometimes sounds when the theme appears again in one voice or another (bars 2-3, 7-8, 8-9). In such cases, the counteraddition is called retained (in contrast to non-retained ones, which are composed anew each time the topic is carried out). As in other polyphonic works, in this invention there are sections where the theme is not heard in its full form, but only some of its turns are used. Such sections are placed between the topics and are called interludes. The overall integrity of the C major invention is given by development based on one theme, which is typical for polyphonic music. In the middle of the play there is a departure from the main key, and towards the end it returns. Listening to this introduction, one can imagine that two students are diligently repeating the lesson, trying to tell each other better, with greater expression. In this piece, similar in structure to the C major invention, a large role is played by a special technique. Following the initial introduction of the theme in the upper voice, the lower voice imitates not only it, but also its continuation (opposition). Thus, for some time, a continuous canonical imitation or lycanon arises. Simultaneously with the two-voice inventions, Bach composed fifteen three-voice polyphonic pieces in the same keys. He named them! “symphonies” (translated from Greek as “consonances”). For in the old days this was often the name given to polyphonic instrumental works. But later it became customary to call these plays three-part inventions. They use more complex techniques of polyphonic development. The most striking example is the three-part invention in F minor (ninth). It begins by presenting two contrasting topics simultaneously. The basis of one of them, sounding in the bass voice, is a measured, intense descent through chromatic semitones. Similar moves are common in tragic arias from ancient operas. It’s like the gloomy voice of evil fate, fate. The second theme in the middle, alto voice is permeated with mournful motives-sighs: Subsequently, these two themes are closely intertwined with the third theme with even more heartfelt pleading exclamations. Until the very end of the play, the voice of evil fate remains inexorable. But the voices of human sorrow do not cease. They contain an unquenchable spark of human hope. And for a moment it seems to flare up in the final F major chord. Bach's "symphony" in B minor Harpsichord in Bach's house in Eisenach 15 www.classon.ru Children's education in the field of art in Russia (three-part invention No. 15) is also distinguished by its lyrical penetration. In the preface to the manuscript of his inventions and “symphonies,” Bach indicated that they should help develop a “singing manner of playing.” This was difficult to achieve on the harpsichord. Therefore, Bach preferred to use another stringed keyboard instrument at home, including in classes with students, the clavichord. Its weak sound is unsuitable for concert performance. But, as already mentioned, unlike the harpsichord, the strings of the clavichord are not plucked, but are gently clamped with metal plates. This contributes to the melodiousness of the sound and allows for dynamic shades. Thus, Bach, as it were, foresaw the possibilities of melodious and coherent voice performance on the piano - an instrument that in his time was still imperfect in design. And this wish of the great musician should be remembered by all modern pianists. Courant is a three-beat dance of French origin. But French harpsichord chimes were characterized by a certain rhythmic sophistication and mannerism. The Courant in Bach's Suite in C Minor is akin to the Italian version of this dance genre - more lively and mobile. This is facilitated by the flexible combination of two voices, which seem to egg each other on: “French Suite” in C minor Three collections of Bach’s keyboard suites have different names. He himself called the six suites included in the third collection “partitas” (the name of the suite “partita” is not only found in his works14). And the other two collections - six pieces each - began to be called “French Suites” and “English Suites” after Bach’s death for reasons that are not exactly clear. The second of the “French Suites” is written in the key of C minor. According to the tradition established in ancient suites, it contains four main parts - Allemande, Courante, Sarabande and Gigue, as well as two more interlude parts - Aria and Minuet, inserted between Sarabande and Gigue. Allemande is a dance that was formed in the 16th-17th centuries in several European countries - England, the Netherlands, Germany, France and Italy. For example, the old German allemande was a slightly ponderous group dance. But, having entered the clavier suites, the allemande almost lost its dance features by the 18th century. From her “ancestors” she retained only a leisurely, sedate gait with a four- or two-quarter size. Eventually it turned into a loosely structured foreplay. The Allemande from Bach's C minor suite is also similar to the thoughtful lyrical prelude. Three voices most often lead their lines here. But sometimes a fourth voice joins them. At the same time, the most melodic voice is the top one: Sarabande is a three-beat Spanish dance. It was once fast and temperamental, but later it became slow, solemn, often close to a funeral procession. The sarabande from Bach's suite is staged from beginning to end in a three-part structure. The movement of the middle and lower voices is always strict and concentrated (quarters and eighths predominate). And the movement of the upper voice is much more free and mobile, very expressive. Sixteenth notes predominate here; moves on wide intervals (fifth, sixth, seventh) are often found. This creates two contrasting layers of musical presentation, creating a lyrically intense sound15: “Divided into parts” - the word “partita” is translated from Italian (from the verb “partire” - “to divide”). In a sarabande, the leading upper voice does not so much contrast with the others as complement them. 14 15 16 www.classon.ru Children's education in the field of art of Russia Prelude and Fugue in C minor from the first volume of “The Well-Tempered Clavier” Prelude and Fugue in C major, Prelude and Fugue in C minor, Prelude and Fugue in C sharp major, Prelude and Fugue C sharp minor - and so on through all twelve semitones included in the octave. The result is a total of 24 two-part cycles of “prelude and fugue” in all major and minor keys. This is how both volumes (in total - 48 preludes and fugues) of Bach's Well-Tempered Clavier are structured. This grandiose work is recognized as one of the greatest in world musical art. Preludes and fugues from these two volumes are included in both the educational and concert repertoire of all professional pianists. During Bach's time, equal temperament was gradually finally established in the tuning of keyboard instruments - the division of the octave into twelve equal semitones. Previously, the setup system was more complex. With it, in keys with more than three or four signs, some intervals and chords sounded false. Therefore, composers avoided using such tonalities. Bach was the first to brilliantly prove in The Well-Tempered Clavier that with equal temperament, all 24 keys can be used with equal success. This opened up new horizons for composers, increasing, for example, the ability to make modulations (transitions) from one key to another. In The Well-Tempered Clavier, Bach established the type of two-part cycle “prelude and fugue.” The prelude is built freely. In it, a significant role may belong to the homophonic-harmonic nature and improvisation. This creates a contrast to the fugue as a strictly polyphonic work. At the same time, the parts of the “Prelude and Fugue” cycle are united not only by a common tonality. Between them, in each case, subtle internal connections manifest themselves in their own way. These general typical features can be traced in the Prelude and Fugue in C minor from the first volume of The Well-Tempered Clavier. The prelude consists of two main sections. The more spacious first is completely filled with fast, uniform movement of sixteenth notes in both hands. It is internally saturated with expressive melodic and harmonic elements. It seems as if, constrained by the banks, a restless stream is seething: The Gigue is a fast, playful dance that originates from Ireland and England16. In the old days, English sailors loved to dance the jig. In suites, the gigue is usually the final, final movement. In his C minor Giguet, Bach often uses the technique of canonical imitation between two voices (as in the Invention in F major). The presentation of this piece is thoroughly permeated with a “bouncing” dotted rhythm: Compared to the contrast between Allemande and Courant, the contrast between Sarabande and Gigue is sharper. But it is softened by two additional parts inserted between them. The piece, called “Aria,” sounds less like a solo vocal number in an opera, and more like a calm, simple-minded song. The following Minuet is a French dance that combines mobility with grace. So in this suite, with a single general tonality, all parts are compared in different ways in a figurative sense. The sizes of the jig are predominantly three-length. In the 18th century it was mainly 3/8, 6/8, 9/8, 12/8. 16 17 www.classon.ru Children's education in the field of Russian art in a medium voice, a clear, prominent, well-remembered theme with an elastic dance rhythm: 11 Moderato Energetic perseverance is combined in the theme with grace, a sly mischief peeks through the strong-willed composure. This provides opportunities for further diverse and dynamic development. At the beginning of development, the theme sounds light - the only time it is performed in a major key (E-flat major). In the reprise, of the three main presentations of the theme in the main key (C minor), the second, in the bass, acquires such a powerful scope that it makes us remember the rage of natural forces in the prelude. And one more, final implementation of the fugue theme ends with an enlightened major chord. This similarity between the endings of the prelude and fugue reveals the internal emotional kinship of the contrasting parts of the cycle. Having accumulated powerful energy, this flow at the end of the first section seems to overflow and at the beginning of the next section becomes even more rapid, threatening to sweep away everything in its path. This climax of the prelude is marked by a change in tempo to the fastest (Presto) and the use of a polyphonic technique - a two-voice canon. But the raging elements are suddenly stopped by the imperative strikes of the chords and meaningful phrases of the recitative. Here the second change of tempo occurs - to the slowest (Adagio). And after the third change of tempo to a moderately fast A11ego in the final bars of the prelude, the tonic organ point in the bass gradually slows down the movement of sixteenth notes in the right hand. It becomes softly spreading and freezes on a C major chord. Calm and peace sets in. After such a free, improvisational completion of the prelude, attention switches to a different, contrasting plane. A three-part fugue begins. This word in Latin and Italian means “running”, “escape”, “fast flow”. In music, a fugue is a complex polyphonic work where the voices seem to echo each other, catching up with each other. Most fugues are based on a single theme. Fugues with two themes are less common, and even less common with three and four themes. And according to the number of voices, fugues are two-, three-, four- and five-voice. Single-themed fugues begin with the presentation of a theme in the main key in one voice. The theme is then imitated in turn by other voices. This is how the first section of the fugue is formed - the exposition. In the second section - development - the theme appears only in other keys. And in the third and last section - reprise9 - it is again carried out in the main key, but is no longer presented monophonically. The exhibition here is definitely not repeated. Fugues make extensive use of sustained counterpositions and interludes. Bach's C minor fugue in question begins, appearing in Fugue - the highest form of polyphonic music - reached full maturity and brightest flowering in Bach's work. The famous Russian composer and pianist of the 19th century, Anton Grigorievich Rubinstein, in his book “Music and Its Representatives,” wrote, admiring the “Well-Tempered Clavier,” that one can find there “fugues of the religious, heroic, melancholic, majestic, plaintive, humorous, pastoral, dramatic character; in one thing only they are all alike - in beauty...” The same age as Johann Sebastian Bach was the great German composer Georg Friedrich Handel (1685-1759) - a wonderful master of polyphony, a virtuoso organist. His fate turned out differently. He spent most of his life outside Germany, moving from one country to another (he lived in England for several decades). 18 www.classon.ru Children's education in the field of art in Russia Handel is the author of many operas, oratorios, and various instrumental works. About the formation of the classical style in music Questions and tasks 1. What do Bach’s spiritual and secular works have in common? 2. Tell us about the figurative nature of the Toccata and Fugue in D minor for organ. 3. Sing the themes of the Bach inventions that you know. What is counter addition when it is called withheld? 4. What is an interlude in a polyphonic work? Which imitation is called canonical or canon? 5. Name and characterize the main parts of the “French Suite” in C minor. 6. How is Bach's Well-Tempered Clavier constructed? 7. What is the main difference between a prelude and a fugue? Illustrate this with the example of the Prelude and Fugue in C minor from the first volume of The Well-Tempered Clavier. Are there any similarities between them? Musical theater of the 18th century, especially its middle and second half, was a time of great changes in all areas of European musical art. With the advent of this century, two genres gradually emerged in Italian opera - opera seria (serious) and opera buffa (comic). Opera seria continued to be dominated by mythological and historical subjects, which featured so-called “high” heroes - mythological deities, kings of ancient states, and legendary generals. And in buffa operas, the plots became predominantly modern, everyday ones. The heroes here were ordinary people who acted energetically and realistically. The first striking example of opera buffa was Giovanni Battista Pergolesi's The Maid and Madam, which appeared before the public in 1733 in Naples. The heroine, the enterprising servant Serpina, cleverly marries her grumpy master Uberto and becomes a mistress herself. Like many early Italian buffa operas, “The Servant-Mistress” was originally performed as a stage interlude during the intervals between acts of Pergolesi’s opera seria “The Proud Captive” (remember that the word “interlude” is of Latin origin and means “interaction”). Soon “The Maid-Mistress” gained great popularity in many countries as an independent work. In France, comic opera was born in the second half of the 18th century. It arose from the cheerful, witty comedy performances with music given in theaters at Parisian fairs. And the example of the Italian opera buffa helped the French fair comedies to turn into a comic opera, where the main characteristic of the characters were vocal numbers. The performances in Paris of the Italian “buffon” opera troupe were of significant importance for this, when the capital of France was literally enchanted by Pergolesi’s “The Maid and Mistress”. Unlike Italian opera buffas, in French comic operas arias alternate not with recitatives, but with spoken dialogues. The Singspiel is also built - a German and Austrian type of comic opera, which appeared in the second. Main works Vocal and instrumental works “St. John Passion”, “Matthew Passion” Mass in B minor Sacred cantatas (about 200 preserved) and secular cantatas (preserved over 20) Orchestral works 4 suites (“overtures”) 6 “Brandenburg Concertos” Concertos for solo instruments with chamber orchestra 7 harpsichord concertos 3 concertos for two, 2 for three harpsichords 2 violin concertos Concerto for two violins Works for bowed instruments 3 sonatas and 3 partitas for solo violin 6 sonatas for violin and harpsichord 6 suites (“sonatas”) for solo cello Organ works 70 chorale preludes Preludes and fugues Toccata and fugue in D minor Passacaglia in C minor Keyboard works Collection “Little Preludes and Fugues” 15 two-voice inventions and 15 three-voice inventions (“symphonies”) 48 preludes and fugues “The Well-Tempered Clavier” 6 “French” and 6 “English” suites 6 suites (partitas) “Italian Concerto” for solo harpsichord “Chromatic Fantasia and Fugue” “Art” fugues" 19 www.classon.ru Children's education in the field of art in Russia in the half of the 18th century17. The musical language of all varieties of comic opera is characterized by a close connection with folk song and dance melodies. In the second half of the 18th century, serious opera genres were radically reformed by the great German composer Christoph Willibald Gluck (1714-1787). He wrote his first reform opera, “Orpheus and Eurydice” (1762), based on a plot about the legendary ancient Greek singer, which had already been repeatedly used in operas from the earliest ones (this was discussed in the Introduction). Gluck's path to reform in opera was not easy. He had the opportunity to visit many European countries - Germany, Austria, Denmark, as well as the Czech Republic inhabited by the Slavs, along with Italy - England. Before settling firmly in Vienna, Gluck staged 17 of his opera seria on the stages of theaters in Milan, Venice, Naples, London, Copenhagen, Prague and other cities. Operas of this genre were performed in the court theaters of many European countries. The exception was France. There, in the mid-18th century, they continued to compose and stage serious operas only in the traditional French style. But Gluck carefully studied the opera scores of the famous French composers Jean-Baptiste Lully and Jean-Philippe Rameau. In addition, Gluck wrote and successfully staged eight works in Vienna in the new genre of French comic opera. He was undoubtedly well acquainted with the Italian buffa operas and the German and Austrian Singspiels. All this knowledge enabled Gluck to decisively update the already outdated principles of composition for serious operas. In his reform operas, staged first in Vienna and then in Paris, Gluck began to convey the emotional experiences of the characters with much greater truthfulness and dramatic tension and effectiveness. He abandoned the accumulation of virtuoso passages in the arias and increased the expressiveness of the recitatives. His operas became more purposeful in musical and stage development, more harmonious in composition. Thus, in the musical language and in the construction of new comic and reformed serious operas, important distinctive features of the new, classical style emerged - the active effectiveness of development, the simplicity and clarity of expressive means, compositional harmony, the general noble and sublime character of the music. This style gradually took shape in European music throughout the 18th century, matured by 1770-1780 and dominated until the middle of the second decade of the 19th century. It is necessary to take into account that the definition of “classical” may have another, broader meaning. “Classical” (or “classics”) are also called musical and other artistic works that have been recognized as exemplary, perfect, unsurpassed - regardless of the time of their creation. In this sense, the masses of the 16th century Italian composer Palestrina, the operas of Prokofiev, and the symphonies of Shostakovich - Russian composers of the 20th century - can be called classical, or classics. Instrumental music On the same broad international basis as Gluck's operatic reform, the 18th century saw an intensive development of instrumental music. It was carried out by the concerted efforts of composers from many European countries. Relying on song and dance, developing classical clarity and dynamism of the musical language, they gradually formed new genres of cyclic instrumental works - such as the classical symphony, classical sonata, classical string quartet. In them, the sonata form acquired great importance. Therefore, instrumental cycles are called sonata or sonata-symphonic. Sonata form. You already know that the highest form of polyphonic music is a fugue. And the sonata form is the highest form of homophonic-harmonic music, where polyphonic techniques can only sometimes be used. In their construction, these two forms are similar to each other. As in the fugue, the sonata form has three main sections: exposition, development and reprise. But there are also significant differences between them. The main difference between the sonata form and the fugue immediately appears in exhibition 18. The vast majority of fugues are entirely built on one theme, which in the exhibition is carried out alternately in each. This German word comes from “singen” (“sing”) and “Spiel” (“play”). . 18 The word is of Latin origin and means “presentation”, “showing”. 20 www.classon.ru Children's education in the field of art in Russia voice. And in the exposition of sonata form, as a rule, two main themes appear, more or less different in nature. The theme of the main part sounds first, and later the theme of the side part appears. Just under no circumstances should the definition of “side” be understood as “secondary”. For in fact, the theme of the secondary part plays no less important role in the sonata form than the theme of the main part. The word “secondary” is used here because, unlike the first one, in the exhibition it necessarily sounds not in the main key, but in a different one, that is, as if in a secondary one. In classical style music, if the main part in the exposition is major, then the secondary part is set out in the key of the dominant (for example, if the key of the main part is C major, then the key of the secondary part is G major). If the main part in the exposition is minor, then the secondary part is presented in parallel major (for example, if the key of the main part is C minor, then the key of the secondary part is E-flat major). Either a small bundle or a binding lot is placed between the main and side lots. An independent, melodically prominent theme may appear here, but the intonations of the theme of the main part are more often used. The connecting part acts as a transition to the side part; it modulates into the key of the side part. Thus, tonal stability is violated. The ear begins to expect the onset of some new “musical event.” This turns out to be the appearance of the theme of the side game. Sometimes the exposition may be preceded by an introduction. And after the side part there is either a short conclusion or a whole final part, often with an independent theme. This is how the exposition ends, establishing the tone of the side part. At the composer's direction, the entire exposition may be repeated. Development is the second section of the sonata form. In it, themes familiar from the exhibition appear in new versions, alternated and compared in different ways. Such interaction often involves not whole themes, but rather motifs and phrases isolated from them. That is, the themes in development seem to be split into separate elements, revealing the energy contained in them. In this case, there is a frequent change of keys (the main key is rarely affected here and not for long). Appearing in different keys, themes and their elements seem to be illuminated in a new way, shown from new points of view. After the development in development reaches significant tension at the climax, its course changes direction. At the end of this section, a return to the main key is prepared and a turn to the reprise occurs. Reprise is the third section of sonata form. It begins with the return of the main part in the main key. The connecting part does not lead into a new key. On the contrary, it fixes the main key, in which both the secondary and final parts are now repeated. Thus, the reprise, with its tonal stability, balances the unstable nature of the development and gives the whole classical harmony. The reprise can sometimes be complemented by a final structure - a coda (derived from the Latin word meaning "tail"). So, when a fugue sounds, our attention is focused on listening, thinking and feeling into one musical thought, embodied by one theme. When a work sounds in sonata form, our hearing follows the comparison and interaction of two main (and complementary) themes - as if the development of various musical events, musical action. This is the main difference between the artistic possibilities of these two musical forms. Classical sonata (sonata-symphonic) cycle. Around the last third of the 18th century, the classical sonata cycle finally took shape in music. Previously, instrumental works were dominated by the form of a suite, where slow and fast movements alternated, and the closely related form of an ancient sonata. Now, in the classical sonata cycle, the number of parts (usually three or four) has been precisely determined, but their content has become more complex. The first part is usually written in sonata form, which was discussed in the previous paragraph. It walks at a fast or moderately fast pace. Most often this is A11e§go. Therefore, such a movement is usually called a sonata allegro. The music in it often has an energetic, effective character, often tense and dramatic. The second part always contrasts with the first in tempo and general character. Often it is slow, the most lyrical and melodious. But it can also be different, for example, similar to a leisurely narrative or dance-graceful. In a three-part cycle, the last, third part, the finale is again fast, usually more rapid, but less internally intense in development in comparison with the first. The finales of classical sonata cycles (especially symphonies) often paint pictures of crowded festive fun, and their themes are close to folk songs and dances. In this case, the rondo shape is often used (from the French “ronde” - “circle”). As you know, the first section here (refrain) is repeated several times, alternating with new sections (episodes). 21 www.classon.ru Children's education in the field of art in Russia your first opera? 3. At what time did the classical style dominate in music and until what time did it mature? Explain the difference between the two meanings of "classical". 4. What are the similarities in general construction between fugue and sonata form? What is the main difference between them? 5. Name the main and additional sections of the sonata form. Draw its diagram. 6. How do the main and secondary parts of the sonata form relate to each other in its exposition and in its reprise? 7. What is characteristic of development in sonata form? 8. Describe the parts of the classical sonata cycle. 9. Name the main types of classical sonata cycles depending on the composition of performers. All this distinguishes many finales of four-part cycles. But in them, between the outer parts (first and fourth), two middle parts are placed. One - slow - is usually the second in a symphony, and the third in a quartet. The third movement of classical symphonies of the 18th century is the Minuet, which takes second place in the quartet. So, we mentioned the words “sonata”, “quartet”, “symphony”. The difference between these cycles depends on the composition of the performers. A special place belongs to the symphony - a work for orchestra, intended to be played in a large room in front of numerous listeners. In this sense, the symphony is close to the concerto - a three-part composition for a solo instrument with orchestral accompaniment. The most common chamber instrumental cycles are sonata (for one or two instruments), trio (for three instruments), quartet (for four instruments), quintet (for five instruments)19. The sonata form and the sonata-symphonic cycle, like the entire classical style in music, were formed in the 18th century, which is called the “Age of Enlightenment” (or the “Age of Enlightenment”), as well as the “Age of Reason”. In this century, especially in its second half, representatives of the so-called “third estate” emerged in many European countries. These were people who had neither noble titles nor spiritual titles. They owed their success to their own work and initiative. They proclaimed the ideal of a “natural man”, whom nature itself endowed with creative energy, a bright mind and deep feelings. This optimistic democratic ideal was reflected in its own way by music, other forms of art, and literature. For example, the victory of the human mind and tireless hands at the beginning of the Enlightenment was glorified by the famous novel by the English writer Daniel Defoe, “The Life and Amazing Adventures of Robinson Crusoe,” published in 1719. Joseph Haydn 1732-1809 The classical style in music reached its maturity and high flowering in the works of Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. The life and work of each of them lasted for a long time in the capital of Austria, Vienna. That's why Haydn, Mozart and Beethoven are called Viennese classics. Austria was a multinational empire. Along with the Austrians, whose native language is German, there lived Hungarians and various Slavic peoples, including Czechs, Serbs, and Croats. Their songs and Questions and tasks 1. Name the national varieties of comic operas of the 18th century. How does the structure of the Italian opera buffa differ from the structure of the French comic opera? 2. With which countries and cities was the activity of the great opera reformer Christoph Willibald Gluck connected? What subject did he write on? The names of other chamber ensemble instrumental cycles are sextet (6), septet (7), octet (8), nonet (9), decimet (10). The definition of "chamber music" comes from the Italian word "camera" - "room". For until the 19th century, works for several instruments were often performed in the home, that is, they were understood as “room music.” 19 22 www.classon.ru Children's education in the field of art in Russia dance melodies could be heard in both villages and cities. In Vienna, folk music sounded everywhere - in the center and on the outskirts, at street intersections, in public gardens and parks, in restaurants and taverns, in rich and poor private houses. Vienna was also a major center of professional musical culture, centered around the imperial court, chapels of the nobility 1 and aristocratic salons, cathedrals and churches. The Italian opera seria has long been cultivated in the Austrian capital; here, as already mentioned, Gluck began his operatic reform. Music abundantly accompanied court festivities. But the Viennese also willingly attended the cheerful farce performances with music, from which the Singspiel were born, and they loved to dance. Of the three great Viennese musical classics, Haydn is the oldest. He was 24 years old when Mozart was born and 38 years old when Beethoven was born. Haydn lived a long life. He outlived Mozart, who died early, by almost two decades and was still alive when Beethoven had already created most of his mature works. For the private princely theater, he wrote more than two dozen operas in the genres of seria, buffa, as well as several “puppet” operas for performances performed by puppets. But the area of ​​his main creative interests and achievements is symphonic and chamber2 instrumental music. In total this is more than 800 essays3. Among them, more than 100 symphonies, more than 80 string quartets and more than 60 keyboard sonatas are especially significant. In their mature examples, the optimistic attitude of the great Austrian composer was revealed with the greatest completeness, brightness and originality. Only sometimes this bright worldview is shaded by a gloomier mood. They are always overcome by Haydn's inexhaustible love of life, keen observation, cheerful humor, simple, healthy and at the same time poetic perception of the surrounding reality. Life path Early childhood. Rohrau and Hainburg. Franz Joseph Haydn was born in 1732 in the village of Rohrau, located in eastern Austria, near the Hungarian border and not far from Vienna. Haydn's father was a skilled carriage maker, his mother served as a cook on the estate of the count, owner of Rohrau. His parents early began to teach their eldest son Joseph, who was affectionately called Zepperlem in the family, to be hardworking, neat, and clean. Haydn's father did not know music at all, but he loved to sing, accompanying himself on the harp, especially when playing his. guests were gathering in a small house. Zepperl sang along in a clear silver voice, revealing a wonderful ear for music. And when the boy was only five years old, he was sent to the neighboring town of Hainburg to live with a distant relative who ran a church school and choir. In Hainburg, Sepperl learned to read, write, count, sing in the choir, and also began to master the skills of playing the clavichord and violin. But life was not easy for him in someone else’s family. Many years later, he recalled that he then received “more beatings than food.” As soon as Sepperl got to Hainburg, he was ordered to learn how to beat the timpani in order to participate in the same church procession with music. The boy took a sieve, pulled a piece of cloth over it and began to exercise diligently. He successfully completed his task. Only when organizing the procession was it necessary to hang the instrument on the back of a very short man. And he was hunchbacked, which made the audience laugh. In the chapel of Vienna's St. Stephen's Cathedral. While passing through Hainburg, the Viennese cathedral conductor and court composer Georg Reuther drew attention to his outstanding musical abilities. Haydn was a sincerely religious person. He is the author of a number of masses and other vocal and instrumental works based on spiritual texts. 23 www.classon.ru Children's education in the field of Russian art Zepperl. So in 1740, eight-year-old Haydn found himself in the capital of Austria, where he was accepted as a singer in the chapel of the cathedral (main) St. Stephen's Cathedral. doing it myself. Difficult start to independent life. When, by the age of eighteen, the young man’s voice began to break - it became temporarily hoarse and lost flexibility, he was rudely and mercilessly thrown out of the chapel. Finding himself homeless and without funds, he could have died from hunger and cold if he had not been sheltered for a while by a singer he knew, who lived with his wife and child in a tiny room under the roof. Haydn began to take on any musical work that came his way: he transcribed notes, gave penny lessons in singing and playing the clavier, and participated as a violinist in street instrumental ensembles that performed serenades at night in honor of one of the townspeople. Finally he was able to rent a small room on the sixth, last floor of a house in the center of Vienna. The room was pierced by wind, there was no stove, and in winter the water often froze. Haydn lived in such a difficult situation for ten years. But he did not lose heart and enthusiastically practiced his favorite art. “When I sat at my old, worm-eaten clavier,” he recalled in his old age, “I did not envy the happiness of any king.” Haydn was helped to overcome everyday difficulties by his lively, cheerful character. Once, for example, at night he placed his fellow musicians in secluded corners on one of the streets of Vienna, and at his signal, everyone began to play whatever they wanted. The result was a “cat concert” that caused a stir among the surrounding residents. Two of the musicians ended up in the police custody, but the instigator of the scandalous “serenade” was not extradited. Having met the popular comic actor, Haydn, in collaboration with him, composed the singspiel “The Lame Demon” and earned a small amount of money 20. And in order to take advantage of the professional instructions of the famous Italian composer and vocal teacher Nicola Antonio Porpora, Haydn accompanied his students in singing lessons and, in addition, , served him as a footman. Gradually, Haydn began to gain fame in Vienna both as a teacher and as a composer. He met famous people; musicians and music lovers. In the house of a prominent official, he began to participate in the performance of chamber ensembles and created his first string quartets for concerts on his country estate. And Haydn wrote his first symphony in 1759, when he received a small orchestra at his disposal, becoming the head of Count Morcin's chapel. The Count kept only single musicians. Haydn, who married the daughter of a Viennese hairdresser, was forced to keep it a secret. But this lasted only until 1760, when in Vienna, a large beautiful city with magnificent buildings and architectural ensembles, a wave of new vivid impressions washed over the boy. Multinational folk music sounded all around. Solemn vocal-instrumental works were performed in the cathedral and at the imperial court, where the chapel also performed. But the conditions of existence again turned out to be difficult. During classes, rehearsals and performances, the choir boys were very tired. They were fed meagerly; they were constantly half-starved. They were severely punished for pranks. Little Haydn continued to diligently study the art of singing, playing the clavier and violin, and he really wanted to compose music. However, Reuther did not pay attention to this. Too busy with his own affairs, during the entire nine years of Haydn’s stay in the chapel, he gave him only two composition lessons. But Joseph persistently achieved his goal, diligently. A few years later he wrote another singspiel called “The New Lame Demon.” 20 24 www.classon.ru Children's education in the field of art in Russia the count's material affairs were shaken and he disbanded his chapel. Haydn's marriage was unsuccessful. His chosen one was distinguished by a difficult, grumpy character. She was not at all interested in her husband's composing affairs - to the point that she made curlers and linings for pate from the manuscripts of his works. A few years later, Haydn began to live separately from his wife. They had no children. In the Chapel of the Princes of Esterházy. In 1761, a rich Hungarian; Prince Pal Antal Esterházy invited Haydn to Eisenstadt as vice-kapellmeister. From that moment on, Haydn began his service with the Esterhazy family, which lasted for three whole decades. Five years later he became bandmaster - after the elderly musician who held this position died. The heir of Pal Antal, who died in 1762, was distinguished by his commitment to luxury and expensive entertainment - his brother Miklos 1, nicknamed the Magnificent. A few years later, he moved his residence from Eisenstadt to a new country palace of 126 rooms, surrounded it with a huge park, built an opera house with 400 seats and a puppet theater nearby, and significantly increased the number of musicians in the chapel. Working there gave Haydn good financial support, and in addition, the opportunity to compose a lot and immediately test himself in practice, directing the orchestral performance of his new works. In Eszterhaza (the name of the new princely residence), crowded receptions were often held, often with the participation of high-ranking foreign guests. Thanks to this, Haydn's work gradually became known outside Austria. But there was, as they say, another side of the coin in all this. Upon entering the service, Haydn signed a contract, according to which he became a kind of musical servant. He had to appear every day, before and after lunch, in the front of the Palace in a powdered wig and white stockings to listen to the orders of the prince. The contract obligated Haydn to urgently write “any music that his lordship wishes, not to show new compositions to anyone, much less allow anyone to copy them, but to keep them solely for his lordship and not to compose anything for anyone without his knowledge and gracious permission.” . In addition, Haydn was required to monitor the order in the chapel and the behavior of the musicians, give lessons to singers, and be responsible for the safety of instruments and notes. He did not live in the palace, but in a neighboring village, in a small house. From Eisenstadt, the princely court previously moved to Vienna in winter. And from Eszterhazy Haydn could only get to the capital occasionally with the prince or with special permission. Over the many years spent in Eisenstadt and Eszterhaza, Haydn went from a novice musician to a great composer, whose work reached high artistic perfection and received recognition not only in Austria, but also far beyond its borders. Thus, six “Paris Symphonies” (No. 82-87) were written by him on order from the capital of France, where they were performed with success in 1786. Haydn's meetings with Wolfgang Amadeus Mozart in Vienna date back to the 1780s. The friendly rapprochement had a beneficial effect on the work of both great musicians. Over time, Haydn began to feel his dependent position more and more acutely. His letters to friends from Esterhazy in Vienna, written in the first half of 1790, contain the following phrases: “Now - I sit in my wilderness - abandoned - like a poor orphan - almost without the company of people - sad... The last Princes of Esterhazy owned vast estates, had many servants and led a life similar to royalty in their palaces. Special 25 www.classon.ru Children's education in the field of art in Russia for days I did not know whether I was a bandmaster or a conductor... It’s sad to be a slave all the time...” A new turn in fate. Trips to England. In the fall of 1790, Miklós Esterházy died. He was an enlightened music lover, played string instruments and could not help but appreciate in his own way such a “musical servant” as Haydn. The prince bequeathed to him a large lifelong pension. The heir, Miklos Antal, indifferent to music, disbanded the chapel. But wanting the famous composer to continue to be listed as his court conductor, he even increased the monetary payments to Haydn, who, thus, became free from official duties and could completely control himself. Haydn moved to Vienna with the intention of composing music, and at first refused offers to visit other countries. But then he agreed to an offer to make a long trip to England and arrived in London at the beginning of 1791. Thus, approaching his sixtieth birthday, Haydn saw the sea for the first time with his own eyes and for the first time found himself in another state. Unlike Austria, which was still feudal-aristocratic in its order, England had long been a bourgeois country, and the social, including musical, life of London was very different from Vienna. In London, a huge city with many industrial and commercial enterprises, concerts prevailed not for selected persons invited to the palaces and salons of the nobility, but organized in public halls, where everyone came for a fee. The name of Haydn in England was already surrounded by an aura of fame. Both famous musicians and dignitaries treated him not only as an equal, but also with special respect. His new works, in which he acted as a conductor, were enthusiastically received and generously paid for. Haydn conducted a large orchestra of 40-50 people, that is, twice the size of the Esterhazy Chapel. Oxford University awarded him an honorary Doctor of Music degree. Haydn returned to Vienna a year and a half later. Along the way, he visited the German city of Bonn. There he first met the young Ludwig van Beethoven, who soon moved to Vienna with the intention of studying with Haydn. But Beethoven did not take lessons from him for long. Two musical geniuses, too different in age and temperament, did not find real mutual understanding then. However, Beethoven dedicated his three piano sonatas (Nos. 1-3) to Haydn during publication. Haydn's second trip to England began in 1794 and even lasted a little more than a year and a half. The success was again triumphant. From the many works created; During these trips and in connection with them, the twelve so-called “London Symphonies” were especially significant. The last years of life and creativity. The next prince of Esterházy, Miklós II, was more interested in music than his predecessor. Therefore, Haydn began to sometimes travel from Vienna to Eisenstadt and wrote several masses commissioned by the prince. The composer's main works of recent years - two monumental oratorios "The Creation of the World" and "The Seasons" - were performed in Vienna with great success (one in 1799, the other in 1801). Depiction of ancient chaos, from which the world then emerges, the creation of the Earth, the birth of life on Earth and the creation of man - this is the content of the first of these oratorios. The four parts of the second oratorio (“Spring”, “Summer”, “Autumn”, “Winter”) are made up of apt musical sketches of rural nature and peasant life. 26 www.classon.ru Children's education in the field of Russian art After 1803, Haydn composed nothing else. He lived out his life quietly, surrounded by fame and honor. Haydn died in the spring of 1809, at the height of the Napoleonic Wars, when the French entered Vienna. cellos and double basses. The group of woodwind instruments consists of flutes, oboes, clarinets and bassoons 21. Haydn’s group of brass instruments consists of horns and trumpets, and of the percussion he used only timpani and only in the last, twelfth “London Symphony” he added a triangle, cymbals and a drum. Questions and tasks 1. Which three great composers are called Viennese musical classics? What explains this definition? 2. Tell us about the musical life of Vienna in the 18th century. 3. Name the main musical genres in Haydn’s work. 4. Where and how did Haydn spend his childhood and youth? 5. How did Haydn begin his independent path? 6..How did Haydn’s life and work proceed during his service in the Chapel of the Princes of Esterházy? 7. Tell us about Haydn’s trips to England and his last years of life. Symphonic creativity When Haydn wrote his first symphony in 1759, many works in this genre already existed and continued to be created. They arose in Italy, Germany, Austria and other European countries. In the middle of the 18th century, for example, symphonies that were composed and performed in the German city of Mannheim, which had the best orchestra of that time, became universally famous. Among the composers of the so-called “Mannheim school” there were many Czechs. One of the ancestors of the symphony is a three-part Italian opera overture (with the ratio of parts in tempo: “fast-slow-fast.”). In the early (“pre-classical”) symphonies, the path was still being paved for the future classical symphony, the distinctive features of which were the significance of figurative content and the perfection of form. Taking this path, Haydn came to create his mature symphonies in the 1780s. And then the mature symphonies of the still very young Mozart appeared, who moved amazingly quickly to the heights of artistic mastery. Haydn created his London Symphonies, which crowned his achievements in this genre, after Mozart’s untimely death, which deeply shocked him. In Haydn's mature symphonies, the following typical composition of a four-movement cycle was established: sonata allegro, slow movement, minuet and finale (usually in the form of a rondo or sonata allegro). At the same time, the classical composition of the orchestra consisting of four groups of instruments was determined in its main features. The leading group is the strings. It includes violins, violas, and Haydn did not always use clarinets. Even in his London Symphonies they are heard in only five (out of twelve). 21 27 www.classon.ru Children's education in the field of art in Russia This symphony is known as “Military”. Some of Haydn's other symphonies also have titles. In most cases, they are not given by the composer himself and mark only one particular detail, often figurative, for example, imitation of clucking in the slow movement of the “Chicken” symphony or “ticking” in the slow movement of the “Clock” symphony. A special history is associated with the symphony in F-sharp minor, to which the name “Farewell” was assigned. It has an additional fifth part (more precisely, an Adagio type coda). During its performance, the orchestra members, one by one, extinguish the candles at their consoles, take their instruments and leave. Only two violinists remain, who quietly and sadly finish playing the last bars and also leave. There is the following explanation for this. It is as if one summer Prince Miklós I kept the musicians of his chapel in Eszterháza longer than usual. And they wanted to quickly get a vacation to see their families who lived in Eisenstadt. And the unusual second finale of the Farewell Symphony served as a hint of these circumstances. In addition to symphonies, Haydn wrote many other works for orchestra, including over a hundred individual minuets. And suddenly everything joyfully transforms: the exposition of the sonata allegro begins. Instead of a slow tempo - a fast one (Allegro con spirito - “Quickly, with enthusiasm”), instead of heavy bass unisons - from the same sounds of G and A-flat in the high register, the first motive of the moving, infectiously cheerful, dance theme of the main part is born. All motives of this theme, set out in the main key, begin with a repetition of the first sound - as if with a fervent stamp: Symphony in E-flat major This is the eleventh of Haydn’s twelve “London Symphonies”. Its main key is E-flat major. It is known as the "symphony with tremolo timpani" 22. The symphony consists of four movements. The first part begins with a slow introduction. The tremolo (“roll”) of a timpani tuned to the tonic sounds quietly. It is like a distant clap of thunder. Then the theme of the introduction itself unfolds in smooth, wide “ledges.” First it is played in octave unison by cellos, double basses and bassoons. It seems as if some mysterious shadows are quietly floating, sometimes pausing. So they hesitate and freeze: in the last bars of the introduction, unisons alternate several times on the adjacent sounds G and A-flat, forcing the ear to expect - what will happen next? The double performance of the theme by stringed piano instruments is complemented by a riotous peal of dance fun, sounding forte throughout the entire orchestra. This boom rushes by quickly, and a touch of mystery again appears in the connecting part. Tonal stability is broken. There is a modulation to B-flat major (dominant of E-flat major) - the tonality of the secondary part. In the connecting part there is no new theme, but the original motive of the Timpani theme is heard - hemispheres with skin stretched over them, which is struck with two sticks. Each hemisphere can produce sound at only one pitch. Classical symphonies usually use two hemispheres, tuned to the tonic and dominant. 22 28 www.classon.ru Children's education in the field of Russian art of the main part and a distant reminder of the opening theme: The exposition ends with the statement of the tonality of the secondary part (B-flat major). The exposition is repeated, and then the development follows. It is full of polyphonic imitative and tonal-harmonic development of motives isolated from the theme of the main part. The theme of the side game appears towards the end of development. It is conducted entirely in the key of D-flat major, far from the main one, that is, it appears as if in a new, unusual light. And one day (after a general pause with the fermata) the intonations of the mysterious opening theme appear in the bass. The development sounds predominantly piano and pianissimo and only occasionally forte and fortissimo with individual accents of sforzando. This enhances the impression of mystery. Motives from the theme of the main part in their development sometimes resemble a fantastic dance. One can imagine that this is a dance of some mysterious lights, sometimes flashing brightly. In a reprise in the key of E-flat major, not only the main part, but also the secondary part is repeated, and the connecting part is skipped. Some mystery appears in the code. It begins, like the introduction, with an Adagio tempo, a quiet timpani tremolo and slow unison runs. But soon, at the very end of the first movement, the fast tempo, loud sonority and cheerful dance “stomps” return. The second part of the symphony - Andante - is a variation on two themes - a song in C minor and a song-march in C major. The structure of these so-called double variations is as follows: the first and second themes are presented, then follow: the first variation of the first theme, the first variation of the second theme, the second variation of the first theme, the second variation of the second theme and coda, based on the material of the second theme. To this day, researchers argue about the nationality of the first topic. Croatian musicians believe that by its characteristics it is a Croatian folk song, and Hungarian musicians believe that it is a Hungarian song. Serbs, Bulgarians, and Poles also find their national traits in it. This dispute cannot be resolved with certainty, because the recordings are like this. The theme of the side part is again a fun dance song. But compared to the main party, she is not so energetic, but more graceful and feminine. The melody sounds from violins and oboe. A typical waltz accompaniment brings this theme closer to the lander - an Austrian and South German dance, one of the ancestors of the waltz: 29 www.classon.ru Children's education in the field of art of Russia the ancient melody and its words were not found. Apparently, it merged the features of several Slavic and Hungarian tunes; such, in particular, is the peculiar move for the extended second (E-flat - fadieuse): the variations of the second theme resume the heroic marching gait, embellished with virtuosic passages - flute flourishes. And in the big code there are unexpected turns in the development of “musical events”. First, the march theme turns into a gentle, transparent sounding one. Then the motif isolated from it with a dotted rhythm develops intensely. This leads to the sudden appearance of the key of E-flat major, after which the final conduction of the march theme sounds brightly and solemnly in C major. The third part of the symphony - Minuet - originally combines the sedate gait of a high-society dance with capricious wide leaps and syncopations in the melody: a tune and a second, marching major theme. Contrasting with the first, it at the same time has some kinship with it - a quart beat, an ascending and then descending direction of the melody and an elevated IV degree (fadieuse): This whimsical theme is highlighted by a smooth, calm movement in the Trio - the middle section of the Minuet, located between the first section and by his exact repetition23: The presentation of the first theme with string instruments piano and pianissimo resembles a leisurely narrative, the beginning of a story about some unusual events. The first of these may be a suddenly loud presentation of the second, marching theme, in which wind instruments are added to the string group. The narrative tone continues in the first variation of the first theme. But its sound is joined by plaintive and wary echoes. In the first variation of the second theme, the solo violin colors the melody with whimsical patterned passages. In the second variation of the first theme, the narrative suddenly takes on a stormy, excited character (all instruments are used, including the timpani). In the second, the Minuet (or rather, its extreme, sophisticated and whimsical sections) contrasts with the folk-everyday themes of, on the one hand, the first and second parts of the symphony, and on the other, its last, fourth part - the finale. Here, as befits a classical sonata allegro, in the exposition the main part is set out in the main key of E-flat major, the secondary part is in the dominant key of B-flat major, and in the reprise both of them sound in E-flat major. However, in the side part, it was not for a long time that the middle section of orchestral works was usually performed by three instruments. This is where the name “trio” comes from. 23 30 www.classon.ru Children's education in the field of art in Russia, a completely new topic appears. It is based on the theme of the main part. derived from the French word "ronde", which means "circle" or "round dance". Questions and tasks 1. When did Haydn and Mozart come to create their mature symphonies? 2. What parts does a Haydn symphony usually consist of? Name the groups of instruments in Haydn's orchestra. 3. What names of Haydn’s symphonies do you know? 4. Why is Haydn’s symphony in E-flat major called “with tremolo or brand”? What section does it start with? 5. Describe the main themes of the sonata form in the first movement of this symphony. 6. In what form and on what themes was the second part of the symphony written? 7. Describe the main topics and sections of the third part. 8. What is the peculiarity of the relationship between the themes of the main and secondary parts in the finale? What is the connection between the character of the music in the first part of the symphony and in its finale? Thus, it turns out that the entire ending is based on one theme. The composer, as if in an intricate game, either resumes the theme in its entirety, or skillfully combines its variations and individual elements. And she herself is intricate. After all, a harmonic basis first appears in it - the so-called “golden stroke” of two horns - a typical signal of hunting horns. And only then a dance melody, close to Croatian folk songs, is superimposed on this base. It begins with “stomping” on one sound, and subsequently this motive is repeated many times, imitated, moving from one voice to another. This is reminiscent of the opening motive of the main theme of the first part and how it is developed there. In addition, the composer indicated the same tempo in the finale - Allegro con spirito. Thus, in the finale, the element of cheerful folk dance finally reigns. But it has a special character here - it resembles an intricate round dance, a group dance in which dance is combined with song and playful action. This is also confirmed by the fact that in the exposition the main part is repeated in the main key two additional times - after a small transitional episode and after a side part. That is, it seems to resume, moving in a circle. And this introduces features of the rondo form into the sonata form. The very word “rondo,” as already mentioned, Keyboard creativity When Haydn created his keyboard works, the piano gradually replaced the harpsichord and clavichord from musical practice. Haydn wrote his early works for these ancient keyboard instruments, and in editions of later years he began to indicate “for harpsichord or piano” and, finally, sometimes only “for piano”. Among his keyboard works, the most significant place belongs to the solo sonatas. Previously, it was believed that Haydn had only 52 of them. But then, thanks to the searches of researchers, this number increased to 62. The most famous of them include sonatas in D major and E minor24. Sonata in D major The theme of the main part, which begins the first part of this sonata, is a dance splashing with fun and cheerfulness with boyishly mischievous octave leaps, grace notes, mordents and repetitions of sounds. One can also imagine such music sounding in operebuffa: In earlier editions these sonatas are printed as “No. 37” and “No. 34”, and in later editions as “No. 50” and “No. 53”. 24 31 www.classon.ru Children's education in the field of art in Russia But the development of the theme of the secondary part is penetrated by mischievous leaps from the main part, and then by a fussy passage Movement from the connecting part. It becomes more intense, sweeping and suddenly quickly calms down - as if by some instantly made decision. After this, the exposition ends with a blithely dancing final part. There's a lot of activity going on in development again. Here the octave jumps from the theme of the main part, moving to the left hand, become even more mischievous, and the passage movement reaches even greater tension and wider scope than in the development of the theme of the side part in the exposition. In the reprise, the sound of the secondary and final parts in the main key (D major) firmly establishes the dominance of the joyful mood. The strongest contrast is introduced into the sonata by the brief second movement, slow and restrained in character. It is written in the key of the same name in D minor. In the music one can hear the heavy tread of the sarabande, an ancient dance that often took on the character of a funeral procession. And in the expressive melodic exclamations with triplets and dotted rhythmic figures there is a similarity with the sorrowful chants of the Hungarian gypsies: Cheerful, fussy passages of sixteenth notes fill the connecting part. And the theme of the side part (in the key of A major) is also dance, only more restrained and elegant: 32 www.classon.ru Children's education in the field of Russian art Sonata in E minor In the early 1780s, Haydn first received an invitation to make a concert trip to London . He diligently prepared for it, but was unable to carry it out then due to his official duties in the Esterhazy Chapel. It is possible that dreams of a distant “overseas” journey and the experiences associated with them were reflected in the E minor sonata that appeared at that time. This is the only one of the few minor sonatas by Haydn, where in the first movement a pronounced lyrical character is combined with a very fast tempo. The very theme of the main part of this movement, with which the sonata begins, is also peculiar: But in Haydn’s optimistic art, the dark images of death are always overcome by bright images of life. And the D minor second part of this sonata, ending not on the tonic, but on the dominant chord, directly proceeds to the rapid D major finale 25. The finale is built in the form of a rondo, where the main theme - the refrain (in the main key of D major) - is repeated three times, and between its repetitions there are changing sections - episodes: the first episode in D minor, and the second in G major. Here, only in the first, D minor episode, mournful memories slip through - an echo of the middle part. The second, G major episode is already carelessly cheerful and leads to a comic “roll call” of the right and left hands on the same note. And the flying-dancing main theme of the finale (rondo refrain) is one of the most cheerful in Haydn: The initial phrases of the theme are made up of a combination of two elements. In the bass, in the left hand, piano, moves on a minor tonic triad sound - like calls to rush somewhere into the distance. And immediately in the right hand follow trembling, as if doubting, hesitating motives-answers. The general movement of the theme is soft, wavy, swaying. In addition, the size of the first part - 6/8 - is typical for the barcarolle genre - “songs on the water”26. In the connecting part there is a modulation into G major parallel to E minor - the tonality of the side and final parts. The connecting and final parts, filled with moving passages of sixteenth notes, frame the side part - light, dreamy. This is indicated by the Italian words “attacca subito il Finale”, meaning “to begin the finale immediately”. Originally, songs of Venetian gondoliers were called barcarolles. The name of the genre itself comes from the Italian word “barca” - “boat”. 25 26 33 www.classon.ru Children's education in the field of art in Russia, as if soaring up: nature, when the signals sounded, as if calling to return, the heart seemed to flutter in joyful alarm! And here, after the chord transition, the main theme of the third movement (finale) appears. This is the refrain of the rondo form in which the Finale is written. It looks like an inspired accompanying song that helps you rush “in full sail” to your native land: So, the diagram of the rondo form in the finale is as follows: refrain (E minor), first episode (E major), refrain (E minor), second episode ( E major), refrain (E minor). Both episodes are connected to the refrain and to each other by melodic kinship. When the connecting, side and final parts are played, the imagination draws tempting images - how freely the tail wind blows, how joyfully the fast movement carries you forward. Further, in the development, built on the material of the main, connecting and final parts, deviations into minor keys predominate. In the main, that is, not a major, but a minor key, the side and final parts, which have become more extensive, are heard in the reprise. Nevertheless, sadness and spiritual doubts are eventually overcome by striving into the unknown. This is the meaning of the last bars of the first movement, where the invoking beginning of the theme of the main part is remarkably repeated. The second part of the sonata, slow, in G major, is a kind of instrumental aria, imbued with a bright contemplative mood. Her light coloraturas are saturated with echoes of the chirping of birds and the babbling of brooks: Questions and assignments 1. Name the main genre of Haydn’s keyboard music. How many of his sonatas are known? 2. Describe the main sections of the first movement of the sonata in D major. Is there a connection in this part between the main and secondary parties? 3. What contrast does the second part bring to the music of the sonata in D major? What is its relationship to the ending? 4. Tell us about the structural features and nature of the theme of the main part of the first movement of the sonata in E minor. Mature and characterize the remaining topics and sections of this part. 5. What is the character of the second movement of the sonata in E minor? 6. Tell us about the form of the finale of the sonata in E minor and the nature of its main theme. Major works Over 100 symphonies (104) A number of concerts for various instruments with orchestra Over 80 quartets (for two violins, viola and cello) (83) 62 keyboard sonatas Oratorios “The Creation of the World” and “The Seasons” 24 operas Arrangements of Scottish and Irish songs However, no matter how sweet the peaceful rest is somewhere far away, in the bosom of 34 www.classon.ru Children's education in the field of art of Russia written in many genres - his symphonies, instrumental concerts, various chamber ensembles, piano sonatas, Requiem for choir, soloists and orchestra. Mozart's phenomenal talent, which manifested itself unusually early and quickly developed, created a circle around his name; the halo of the legendary “musical miracle”. Vivid characteristics; A. S. Pushkin gave him as an inspired artist in the play (“little tragedy”) “Mozart and Salieri”. The opera of the same name by N. A. Rimsky-Korsakov was written based on it. 27. Mozart was P.’s favorite composer. I. Tchaikovsky 28. Wolfgang Amadeus Mozart 1756-1791 Life path Family. Early childhood. The birthplace of Wolfgang Amadeus Mozart, who was born in January 1756, is the Austrian city of Salzburg. It lies picturesquely on the hilly banks of the fast Salzach River, which runs its course in the eastern foothills of the Alps. Salzburg was the capital of a small principality, the ruler of which had the ecclesiastical rank of archbishop. The father of Wolfgang Amadeus, Leopold Mozart, served in his chapel. He was a serious and highly educated musician - a prolific composer, violinist, organist and teacher. The School of Violin Playing, published by him, became widespread in several countries, including Russia. Of the seven children of Leopold and his wife Anna Maria, only two survived - the youngest son Wolfgang Amadeus and daughter Maria Anna (Nannerl), who was older! brother for four and a half years. When his father began teaching Nannerl, who had excellent abilities, to play the harpsichord, he soon began to study with three-year-old Wolfgang, noticing his exquisite hearing and amazing musical memory. For four years, the boy was already trying to compose music, and his first surviving harpsichord pieces were recorded by his father when the author was only five years old. There is a well-known story about how four-year-old Wolfgang tried to compose a keyboard concerto. Together with the pen, he dipped his fingers into the inkwell and made blots on the music paper. It was not until my father looked closely at this childish recording that, through the blots, he discovered in it an undoubted musical meaning. One of the greatest musical geniuses, the Austrian composer Wolfgang Amadeus Mozart lived only 35 years. Of these, he composed music for thirty years and, leaving a legacy of more than 600 works, made an invaluable contribution to the golden fund of world art. The truest, highest assessment of Mozart's creative gift during his lifetime was given by his senior contemporary Joseph Haydn. “...Your son,” he once told Wolfgang Amadeus’s father, “is the greatest composer I know personally and by name; he has taste, and, moreover, the greatest knowledge of composition.” The music of Haydn and Mozart, called the Viennese classics, is related by an optimistic, active perception of the world, a combination of simplicity and naturalness in the expression of feelings with their poetic sublimity and depth. At the same time, there is a significant difference between their artistic interests. Haydn is closer to folk and lyric-epic images, while Mozart is closer to lyrical and lyric-dramatic images. Mozart's art is especially captivating with its sensitivity to human emotional experiences, as well as its accuracy and liveliness in the embodiment of various human characters. This made him a wonderful opera composer. His operas, and above all “The Marriage of Figaro”, “Don Giovanni” and “The Magic Flute”, have enjoyed constant success for the third century, having been staged on the stages of all musical theaters. One of the most honorable places in the world concert repertoire is occupied by the works of Mozart. The version that Salieri poisoned Mozart out of envy is only a legend. Tchaikovsky orchestrated four piano pieces by Mozart and composed them into the Mozartiana suite. 27 28 35 www.classon.ru Children's education in the field of art in Russia will perform a violin concert... play on a keyboard covered with a scarf as well as if it were in front of his eyes, then from a distance he will name all the sounds that are individually or the chords will be taken on the clavier or any other instrument or produced by objects - a bell, a glass, a clock. In the end, he will improvise not only on the harpsichord, but also on the organ for as long as the listeners want, and in any, even the most difficult, keys that are called to him...” First concert trips. Leopold Mozart decided to start making concert trips to major music centers with his gifted children. The first trip - to the German city of Munich - took place at the beginning of 1762, when Wolfgang was barely six years old. Six months later, the Mozart family went to Vienna. There, Wolfgang and Nannerl performed at the imperial court, had great success, and were showered with gifts. In the summer of 1763, the Mozarts took a long trip to Paris and London. But first they visited a number of German cities, and on the way back - again in Paris, as well as in Amsterdam, The Hague, Geneva and several other cities. The performances of the little Mozarts, especially Wolfgang, aroused surprise and admiration everywhere, even at the most magnificent royal courts. According to the custom of those times, Wolfgang appeared before a noble public in a suit embroidered with gold and a powdered wig, but at the same time he behaved with purely childish spontaneity; he could, for example, jump into the lap of the empress. The concerts, which lasted 4-5 hours in a row, were very tiring for the little musicians, but for the public they turned into a kind of entertainment. This is what one of the advertisements said: “...A girl in her twelfth year and a boy in her seventh year will play a concert on the harpsichord. .. In addition, boy 36 www.classon.ru Children's education in the field of art in Russia The concert tour continued for more than three years and brought Wolfgang many different impressions. He heard a large number of instrumental and vocal works, met some outstanding musicians (in London - with the youngest son of Johann Sebastian Bach, Johann Christian). In between performances, Wolfgang enthusiastically studied composition. In Paris, four of his sonatas for violin and harpsichord were published, with the indication that these were the works of a seven-year-old boy. In London he wrote his first symphonies. Return to Salzburg and stay in Vienna. First opera. At the end of 1766 the whole family returned to Salzburg. Wolfgang began to systematically study compositional technique under the guidance of his father. The Mozarts spent the entire year 1768 in Vienna. Under a contract with the theater, twelve-year-old Wolfgang wrote the opera buffa “The Imaginary Simpleton” in three months, following Italian models. Rehearsals began, but the performance began to be postponed and then completely canceled (probably due to the intrigues of envious people). It took place only the following year in Salzburg. In Vienna, Wolfgang composed a lot of other music, including five symphonies, and successfully conducted his solemn mass at the consecration of the new church. Trips to Italy. From the end of 1769 to the beginning of 1773, Wolfgang Amadeus made three long trips around Italy with his father. In this “land of music,” young Mozart performed with great success in more than a dozen cities, including Rome, Naples, Milan, and Florence. He conducted his symphonies, played the harpsichord, violin and organ, improvised sonatas and fugues on given themes, arias on given texts, excellently played difficult works from sight and repeated them in other keys. He visited Bologna twice, where for some time he took lessons from the famous teacher - theorist and composer Padre Martini. Having brilliantly passed a difficult test (writing a polyphonic composition using complex polyphonic techniques), fourteen-year-old Mozart was, as a special exception, elected a member of the Bologna Philharmonic Academy. And according to the charter, only musicians who had reached twenty years of age and had previous experience in this authoritative institution were allowed into it. In Rome, visiting the Sistine Chapel in Vatican City (papal residence) 29, Mozart once heard a large polyphonic spiritual work for two choirs by the 17th-century Italian composer Gregorio Allegri. This work was considered the property of the Pope and was not allowed to be rewritten or distributed. But Mozart wrote down the entire complex choral score from memory, and the papal choir member confirmed the accuracy of the recording. Italy, a great country not only of music, but also of fine arts and architecture, gave Mozart an abundance of artistic impressions. He was especially fascinated by visiting opera houses. The young man mastered the Italian opera style so much that in a short time he wrote three operas, which were then staged with great success in Milan. These are two opera seria - “Mithridates, King of Pontus” and “Lucius Sulla” - and a pastoral opera on a mythological plot “Ascanio in Alba”30. Trips to Vienna, Munich, Mannheim, Paris. Despite his brilliant creative and concert successes, Wolfgang Amadeus failed to obtain service at the court of any of the rulers of the Italian states. I had to return to Salzburg. Here, instead of the deceased archbishop, a new, more despotic and rude ruler reigned. It became more difficult for the father and son Mozarts who were in his service to get leave for new trips. But the opera house for which Mozart sought to compose was not available in Salzburg, and other opportunities for musical activity were limited. The trip to Vienna of the two musicians was able to take place only because the Salzburg Archbishop himself wished to visit the capital of Austria. Reluctantly, he also gave permission to the Mozarts to travel to; Munich, where a new opera buffa by the young composer was staged. And for the next trip, only Wolfgang Amadeus managed to obtain permission with great difficulty. His father was forced to stay in Salzburg, and his mother went to accompany his son. The first long stop occurred in the German city of Mannheim. Here Wolfgang Amadeus and Anna Maria were warmly received in his home by one of the leaders of the then famous symphony orchestra, a representative of the pre-classical Mannheim school of composition. In Mannheim, Mozart composed by Italian artists, including Michelangelo. 30 The Kingdom of Pontus is an ancient state on the Black Sea, mainly the current Turkish coast (“Pont Euxine”, that is, “hospitable sea”, the ancient Greek name for the Black Sea). Lucius Sulla is an ancient Greek military and political figure. Pastoral (from the Italian word “pastore” - “shepherd”) is a work with a plot that idealizes life in the lap of nature. The Sistine Chapel is the home church of the popes in the Vatican; it was built in the 15th century under Pope Sixtus IV. The walls and ceiling of the chapel are painted with great 29 37 www.classon.ru Children's education in the field of art in Russia a number of works, most of all instrumental, marked by the already mature musical style. But there was no permanent job vacancy for Wolfgang Amadeus here either. In the spring of 1778, Mozart and his mother arrived in Paris. However, hopes of gaining real recognition there and occupying a prominent position did not come true. In the capital of France, they had already forgotten about the miracle child, this seemingly living toy, and failed to recognize the blossoming talent of the young musician. Mozart had no luck either in arranging concerts or in receiving an order for the opera. He lived on meager earnings from lessons; for the theater he could only write music for the small ballet “Trinkets.” New wonderful works came from his pen, but they did not attract serious attention then. And in the summer, Wolfgang Amadeus suffered a severe grief: his mother fell ill and died. At the beginning of the next year, Mozart returned to Salzburg. Opera "Idomeneo". Break with the archbishop and move to Vienna. The most important events of the next few years for Mozart were the creation and production of the opera “Idomeneo, King of Crete” in Munich, its great success. Here the best qualities of the Italian opera seria were combined with the principles of Gluck's operatic reform. This prepared the way for the emergence of Mozart's brilliantly original operatic masterpieces. ...The year was 1781. Mozart turned 25 years old. He is the author of three and a half hundred works, full of new creative ideas. And for the Archbishop of Salzburg, he is only a musical servant, whom the arrogant and despotic owner increasingly oppresses and humiliates, forces him to sit at the table in the people’s room “above the cooks, but below the footmen,” and does not allow him to go anywhere or perform anywhere without permission. . All this became unbearable for Mozart, and he submitted his resignation. The archbishop twice refused him with curses and insults, and his close associate rudely kicked the musician out the door. But he, having experienced mental shock, remained firm in his decision. Mozart became the first great composer to proudly break with the financially secure but dependent position of a court musician. Vienna: the last decade. Mozart settled in Vienna. Only occasionally did he leave the Austrian capital for a short time, for example, in connection with the first production of his opera Don Giovanni in Prague or during two concert tours in Germany. In 1782, he married Constance Weber, who was distinguished by her cheerful disposition and musicality. One after another, children were born (but of the six, four died as infants). Mozart's earnings from concert performances as a performer of his clavier music, from publishing works and staging operas were irregular. In addition, Mozart, being a kind, trusting and impractical person, did not know how to manage money matters prudently. The appointment at the end of 1787 to the meagerly paid position of court chamber musician, who was tasked with composing only dance music, did not save him from the often-experienced need for money. With all that, in ten Viennese years, Mozart created more than two and a half hundred new works. Among them his most striking artistic achievements in many genres shone. In the year of Mozart’s marriage, his sparkling singspiel “The Abduction from the Seraglio” was staged in Vienna with great success; humor31. And the opera buffa “The Marriage of Figaro”, original; In the genre of “funny drama” “Don Juan” and the opera tale “The Magic Flute”, which arose in the last Viennese years, are among the highest peaks achieved by musical theater in its entire history! his story. Mozart wrote his three best symphonies, which turned out to be his last, including the G minor (No. 40) in the summer of 1788. In the same decade, many other instrumental works by the composer appeared - the four-part orchestral “Little Night Serenade”, a number of piano concertos, sonatas, and various chamber ensembles. Mozart dedicated six of his string quartets to Haydn, with whom he developed a warm and friendly relationship. During these years, Mozart studied the works of Bach and Handel with great interest. Mozart's most recent work is the Requiem, a funeral mass for choir, soloists and orchestra32. In July 1791, it was commissioned from the composer by a man who did not want to give his name. This seemed mysterious and could give rise to gloomy forebodings. Only a few years later it became clear that the order came from a Viennese count who wanted to buy someone else’s work and pass it off as his own. Having become seriously ill, Mozart was unable to fully complete the Requiem. It was completed from drafts by one of the composer's students. There is a story that on the eve of the death of the great musician, which followed on the night of December 5, 1791, friends sang parts of an unfinished work with him. In accordance with the mournful concept in the Requiem, the inspired lyrical and dramatic expressiveness of Mozart's music acquired a special sublimity and seriousness. Due to lack of funds, Mozart was buried in a common grave for 31 32 Seraglio - the female half in the houses of wealthy eastern nobles. The Latin word "requiem" means "rest." 38 www.classon.ru Children's education in the field of art in Russia is poor, and the exact place of his burial remains unknown. for Suzanne dressed as a countess in her dress. Ashamed of his wife, Almaviva is forced to no longer prevent Figaro and Suzanne from celebrating their wedding, which ends a “crazy day” full of all sorts of unexpected events in a cheerful and happy way. The opera begins with an overture, which has gained great popularity and is often performed in symphony concerts. 34 Unlike many other overtures, this overture does not use themes heard in the opera itself. The general mood of the subsequent action, its fascinating swiftness and ebullient cheerfulness are vividly conveyed here. The overture is written in sonata form, but without development, which is replaced by a short connection between exposition and reprise. At the same time, five themes stand out clearly, quickly replacing each other. The first and second of them make up the main batch, the third and fourth - the side batch, the fifth - the final batch. They are all energetic, but at the same time each has its own special character. The first theme of the main part, performed by string instruments and bassoons in unison, moves swiftly, with mischievous agility: Questions and tasks 1. What does Mozart's music have in common with Haydn's music? What is the difference between the artistic interests of these two Viennese classics? 2. Tell us about the family and early childhood of Wolfgang Amadeus Mozart. 3. In what countries and cities did Mozart perform as a little boy? How were these performances? 4. At what age did Mozart write his first opera buffa? What was it called and where was it set? 5. Tell us about young Mozart’s trips to Italy. 6. What cities did Mozart visit later? Was his trip to Paris successful? 7. Tell us about Mozart’s break with the Archbishop of Salzburg. 8. Describe the last decade of Mozart’s life and work. Name the main works he created during this period. Opera "The Marriage of Figaro" The premiere of Mozart's opera "The Marriage of Figaro" took place in Vienna in 1786. The first two performances were conducted by the composer himself at the harpsichord. The success was enormous, many of the numbers were repeated as encores. The libretto (verbal text) of this opera in four acts was written in Italian by Lorenzo da Ponte, based on the comedy by the French writer Beaumarchais “Crazy Day, or The Marriage of Figaro.” In 1875, P. I. Tchaikovsky translated this libretto into Russian, and in his translation the opera is performed in our country. Mozart called The Marriage of Figaro an opera buffa. But it is not just an entertaining comedy with funny situations. The main characters are depicted in music as a variety of living human characters. And the main idea of ​​Beaumarchais's play was close to Mozart. For it consists in the fact that Count Almaviva’s servant Figaro and his bride, the maid Suzanne, turn out to be smarter and more decent than their titled master, whose intrigues they deftly reveal. The Count himself has taken a liking to Suzanne, and he is trying to delay her wedding. But Figaro and Susanna resourcefully overcome all the obstacles that arise, attracting to their side the count’s wife and the young page Cherubino 33. In the end, they arrange things so that in the evening in the garden the count accepts the Second, fanfare sweep: After the Page - a boy or youth of noble origin, serving in the service of a noble person. The connecting theme of the main part and the filled part differs mainly. Let us recall that the word “overture” is derived from the French verb “ouvrir”, which means “to open”, “to begin”. 33 34 39 www.classon.ru bold Children's education in the field of Russian art in scale-like passages, the first theme of the side part appears, the melody of which is played by violins. The theme has a rhythmically whimsical, slightly capricious, but persistent character: vocal numbers. Thus, the first solo number in the part of Figaro (it is entrusted to the baritone) - a small aria (cavatina) - sounds immediately after Suzanne informed her fiancé that the count began to pursue her with his advances. In this regard, Figaro mockingly hums the melody in the movement of the minuet - a gallant high-society dance (the extreme sections of the three-part reprise form of cavatina): The second theme of the side part resembles decisive exclamations: And the theme of the final part is the most balanced, as if settling everything: In the reprise, the side and final the parts are repeated in the main key of D major. They are accompanied by a coda that further emphasizes the cheerful and lively character of the overture. In this opera by Mozart, a large place is occupied by vocal ensembles, mainly duets (for two characters) and terzettos (for three characters). They are separated by recitatives accompanied by a harpsichord. And the second, third and last, fourth, acts end with finales - large ensembles with the participation of six to eleven characters. The solos are included in the dynamic development of the action in different ways. And in the middle section of the cavatina, the restrained movement is replaced by a rapid one, the graceful three-beat melody is replaced by an assertive two-beat melody. Here Figaro already resolutely expresses his intention to prevent the insidious plans of his master at all costs: 40 www.classon.ru Children's education in the field of art in Russia The most famous number in the role of Figaro is his aria “A frisky boy, curly, in love.” It is addressed to the young page Cherubino. He accidentally overheard the Count trying to declare his love to Suzanne, and such an unwanted witness was ordered to go to military service. In his aria, Figaro cheerfully and wittily mocks the current situation, painting pictures of harsh military life for the young man, pampered by court life. This is reflected in the music by a skillful combination of lively danceability with “militant” fanfare moves. This is the thrice-sounding refrain in the form of a rondo: The other is a small aria of a song nature, “The heart is stirred by hot blood.” This is a more restrained confession of tender feelings, timidly addressed to the Countess herself: Suzanne (soprano) is characterized in many ensembles as energetic, dexterous and resourceful, not inferior in this to Figaro. At the same time, her image is subtly poeticized in the bright, dreamy aria from the fourth act. In it, Suzanne mentally makes a gentle appeal to Figaro: As for Cherubino himself (his role is performed by a low female voice - mezzo-soprano), he is depicted in two arias as an ardent young man, still unable to understand his own feelings, ready to fall in love at every step. One of them is both a joyful and reverent aria “I can’t tell, I can’t explain.” Melodiousness is combined in it with rhythm, as if intermittently pulsating with excitement: 41 www.classon.ru Children's education in the field of art in Russia Questions and tasks 1. When and where did the premiere of Mozart's opera “The Marriage of Figaro” take place? 2. What comedy is its libretto based on? 3. What is the main idea of ​​this work? 4. How is the overture to the opera constructed? 5. Tell us about the features of the two solo numbers in the role of Figaro. 6. Which voice is assigned to Cherubino's party? Sing the melodies of his arias. 7. How is Suzanne characterized in the ensembles and how in the aria from the fourth act? The fourth variation (with the left hand thrown over the right), on the contrary, is more boldly sweeping. The fifth variation, where the initial leisurely tempo of Andante grazioso gives way to a very slow one - Adagio, is a melodious instrumental aria, colored by coloraturas. And then the change of tempo to a fast one (Allegro) corresponds to the cheerful dance character of the last, sixth variation. The second part of the sonata is Minuet. As usual, it is constructed in a three-part reprise form with an exact repetition of the music of the first movement in the reprise. Between them is the middle part (Trio) 35. In all parts of the Minuet, masculine, decisive and imperious sweeping intonations are compared with feminine intonations, gentle and smooth, similar to expressive lyrical exclamations and appeals. Sonata in A major for clavier Mozart's widely known sonata in A major, which is commonly called the “Sonata with Turkish March,” is an unusually constructed cycle. The first movement here is not a sonata allegro, but six variations on a light and calm, innocently graceful theme. It looks like a song that could be sung in a good, peaceful mood in Viennese musical life. Its gently swaying rhythm bears a resemblance to the movement of the siciliana - an ancient Italian dance or dance song: The composer called the third part of the sonata (finale) “A11a Turca” - “In the Turkish style”. Later, the name “Turkish March” was assigned to this finale. There is nothing in common here with the intonation structure of Turkish folk and professional music, which is unusual for European ears. But in the 18th century, in European, mainly theatrical music, a fashion arose for marches, conventionally called “Turkish”. They use the timbre coloring of the “Janissary” orchestra, which was dominated by wind and percussion instruments - large and small drums, cymbals, triangle. Janissaries were the name given to soldiers in the infantry units of the Turkish army. The music of their marches was perceived by Europeans as wild, noisy, and “barbaric.” There are no sharp contrasts between the variations, but they all have a different character. In the first variation, graceful, whimsical melodic movement predominates, in the second, graceful playfulness is combined with a humorous touch (the “mischievous” grace notes in the left hand part are noteworthy). The third variation - the only one written not in A major, but in A minor - is filled with slightly sad melodic figurations, moving evenly, as if with gentle shyness: At the end of the Trio there is the designation “Minuetto da capo”. Italian – “from the head”, “from the beginning”. 35 “Da capo” translated from 42 www.classon.ru Children's education in the field of art in Russia The finale is written in an unusual form. It can be defined as a three-part song with a chorus (in A major). The repeated holding of the chorus gives the structure of the finale the features of a rondo36. The first part - with easily “whirling” motifs (A minor) - and the middle part - with a melodious passage movement (F-sharp minor) - naturally combine graceful danceability with a clear marching gait: For a long time it was believed that Mozart composed the sonata in A major in the summer of 1778 years in Paris. But then they discovered information that this happened several years later, in Vienna. Such information is all the more plausible since the premiere of Mozart’s Singspiel “The Abduction from the Seraglio” took place there in 1782. In it, the action takes place in Turkey, and in the music of the overture, and in the two marching choruses, there is a noticeable imitation of “Janissary” music. Besides, it is noisy; Mozart added the forging “Janissary” coda in A major to the finale of the senates only in 1784, when publishing the work. It is also noteworthy that in the sonata, as in “The Abduction from the Seraglio,” a large role belongs to the genres of song and march. In all this, the connection between instrumental music and theatrical music, very characteristic of Mozart, was revealed. Questions and tasks 1. What is unusual about the cycle in Mozart's sonata in A major? Explain the nature of the theme and the six variations on it in the first part of this work. 2. What dance genre is used in the second part of the sonata? 3. Explain why the finale of the sonata in A major is called the “Turkish March”. What is special about its construction? Sing its main themes. 4. What musical and theatrical work of Mozart does the music of his “Turkish March” echo? Symphony in G minor Written in Vienna in 1788, the Symphony in G minor! (No. 40) is one of the most inspired works of the great composer. The first movement of the symphony is a sonata allegro at a very fast tempo. It begins with the theme of the main part, which immediately captivates as a confidential, sincere lyrical confession. It is sung by violins to the gently swaying accompaniment of other string instruments. In its melody one can recognize the same excited rhythm as at the beginning of Cherubino’s first aria from the opera “The Marriage of Figaro” (see example 37). But now these are more “adult”, serious and courageous lyrics: The chorus (in A major) sounds three times, it is similar to a kind of “janissary noise chorus”, in the left hand part one can hear an imitation of a drum roll: In this regard, the “Turkish March” is sometimes called “Rondo in Turkish style” (“Rondo alla Turca”). 36 43 www.classon.ru Children's education in the field of art in Russia A small development). But there are no contrasts in it, everything obeys the general bright mood, which from the very beginning is determined in the main part, sounded by the string instruments: The masculinity of character intensifies in the connecting part, into which the main part develops. There is a modulation into parallel G minor B-flat major - the tonality of the side part. Its theme is lighter, more graceful and feminine compared to the main theme. It is colored by chromatic intonations, as well as alternating timbres of strings and woodwind instruments: In the seventh measure, a lightly “fluttering” figure of two thirty-second notes appears here. Subsequently, it either penetrates the melodic lines of all themes, or seems to wrap around them, appearing in different registers for different instruments. These are like echoes of the voices of peaceful nature. Only at times a little worried, they can be heard either close or in the distance. According to established tradition, the third part of the symphony is Minuet. But only the middle part - the Trio - is clearly traditional in it. With its smooth movement, melodiousness of voices and G major key, the Trio sets off the G minor main, extreme sections of this Minuet, which is generally unusual in its lyrical and dramatic tension. It seems that after the quiet contemplation of nature embodied in the Andante, we now had to return to the world of spiritual anxieties and unrest that dominated the first part of the symphony. This corresponds to the return of the main tonality of the symphony - G minor: A new surge of energy occurs in the final part. Here the leading role belongs to the repeated and persistent development of the first - three-voice - motive of the theme of the main part. With the start of a rather strange development, clouds seem to be gathering alarmingly. From the bright B-flat major there is a sharp turn into the gloomy, distant key of F-sharp minor. The theme of the main part develops dramatically in development. It passes through a number of tonalities, is divided into separate phrases and motives, and they are often imitated in different voices of the orchestra. The first motive of this theme pulsates very intensely. But finally its pulsation weakens, restrains its trepidation, and a reprise occurs. However, the influence of the high dramatic intensity achieved in the development is also felt in this section of the first part. Here the length of the connecting part increases significantly, it leads to the presentation of the side and final parts not in major, but in the main key of G minor, which makes their sound more dramatic. The second movement of the symphony is Andante in E-flat major. It contrasts the lyrical-dramatic first part with its soft and gentle tranquility. The Andante form is also sonata (with G minor being the main key of the fourth movement of the symphony - the finale, which runs at a very fast tempo. The finale is written in sonata form. The leading theme in this part of the symphony is the theme of the main part. Together with the theme of the main part of the first movement, it belongs to the brightest Mozart instrumental themes. But if the theme in the first part sounds like a tender and reverent lyrical confession, then the theme of the finale is a passionate lyrical-dramatic appeal, full of courage and we will decide 44 www.classon.ru Children's education in the field of art in Russia 2. Tell us about the main themes of the first part of the symphony and their development. 3. What is the nature of the music in the second and third parts of the symphony? 4. What is the leading theme in the finale of the symphony? How does its character differ from the character of the theme of the main part of the first part? 5. How is the theme of the main game of the final structured? What is the development based on? Main works This fiery call is created by the rapid rise of the melody along the sounds of the chords; its impulse seems to be answered by energetic melodic figures circling around one sound. As in the first movement of the symphony, the graceful theme of the side part of the finale sounds especially bright in the exhibition when it is performed in B-flat major: 19 operas Requiem About 50 symphonies 27 concertos for clavier and orchestra 5 concertos for violin and orchestra Concertos with orchestra accompaniment flutes, clarinet, bassoon, horn, flute and harp String quartets (more than 20) and quintets Sonatas for clavier, violin and clavier Variations, fantasies, rondos, minuets for clavier The final part is based on the second element of the theme of the main part. In the development of the finale, the first, invoking element of the theme of the main part is developed especially intensively. High dramatic tension is achieved by the concentration of harmonic and polyphonic development techniques - conducting in many keys and imitating roll calls. In the reprise, the conduct of the side part in the main key of G minor is slightly shaded with sadness. And the second element of the theme of the main part (affirmative, energetic figures), as in the exposition, sounds at the heart of the final part in the reprise. As a result, the finale in this brilliant Mazartian creation forms a bright lyrical-dramatic peak of the entire sonata-symphonic cycle, unprecedented in its purposefulness of end-to-end figurative development. Ludwig van Beethoven 1770-1827 The great German composer Ludwig van Beethoven is the youngest of the three brilliant musicians who are called the Viennese classics. Beethoven had the opportunity to live and create at the turn of the 17th and 19th centuries, in an era of tremendous social changes and upheavals. His youth coincided with the times, Questions and tasks 1. When and where did Mozart create Symphony No. 40 in G minor? 45 www.classon.ru Children's education in the field of art in Russia