Lesson “Symphonic music. History of the symphony Briefly describe the symphony genre

Word "symphony" translated from Greek as “consonance”. And indeed, the sound of many instruments in an orchestra can only be called music when they are in tune, and do not each produce sounds on its own.

IN Ancient Greece This was the name for a pleasant combination of sounds, singing together in unison. IN Ancient Rome This is how the ensemble or orchestra began to be called. In the Middle Ages, secular music in general and some musical instruments were called a symphony.

The word has other meanings, but they all carry the meaning of connection, involvement, harmonious combination; for example, a symphony is also called a symphony formed in Byzantine Empire the principle of the relationship between the church and secular authorities.

But today we will only talk about a musical symphony.

Varieties of symphony

Classical symphony- This musical composition in sonata cyclic form, intended for performance by a symphony orchestra.

A symphony (in addition to a symphony orchestra) may include a choir and vocals. There are symphonies-suites, symphonies-rhapsodies, symphonies-fantasies, symphonies-ballads, symphonies-legends, symphonies-poems, symphonies-requiems, symphonies-ballets, symphonies-dramas and theatrical symphonies as a type of opera.

IN classical symphony usually 4 parts:

first part - in fast pace(allegro ) , in sonata form;

second part - in at a slow pace , usually in the form of variations, rondo, rondo sonata, complex three-movement, less often in the form of a sonata;

the third part - scherzo or minuet- in three-part form da capo with trio (that is, according to the A-trio-A scheme);

fourth part - in fast pace, in sonata form, in rondo or rondo sonata form.

But there are symphonies with fewer (or more) parts. There are also one-movement symphonies.

Program Symphony is a symphony with a specific content, which is set out in the program or expressed in the title. If the symphony has a title, then this title is the minimum program, for example, “Symphony Fantastique” by G. Berlioz.

From the history of the symphony

The creator of the classical form of symphony and orchestration is considered Haydn.

And the prototype of the symphony is the Italian overture(an instrumental orchestral piece performed before the start of any performance: opera, ballet), which developed at the end of the 17th century. Significant contributions to the development of the symphony were made by Mozart And Beethoven. These three composers are called "Viennese classics". Viennese classics created the tall type instrumental music, in which all the wealth of figurative content is embodied in a perfect artistic form. The process of formation of the symphony orchestra - its permanent composition and orchestral groups - also coincided with this time.

V.A. Mozart

Mozart wrote in all the forms and genres that existed in his era; he attached special importance to opera, but also paid great attention to symphonic music. Due to the fact that throughout his life he worked in parallel on operas and symphonies, his instrumental music is distinguished by the melodiousness of an operatic aria and dramatic conflict. Mozart created more than 50 symphonies. The most popular were the last three symphonies - No. 39, No. 40 and No. 41 (“Jupiter”).

K. Schlosser "Beethoven at work"

Beethoven created 9 symphonies, but in terms of the development of symphonic form and orchestration, he can be called the largest symphonic composer of the classical period. In his Ninth Symphony, the most famous, cross-cutting theme all its parts into one whole. In this symphony, Beethoven introduced vocal parts, after which other composers began to do so. In the form of a symphony he said a new word R. Schumann.

But already in the second half of the 19th century. the strict forms of the symphony began to change. The four-part system became optional: it appeared one-part symphony (Myaskovsky, Boris Tchaikovsky), symphony from 11 parts(Shostakovich) and even from 24 parts(Hovaness). The fast-tempo classical finale was supplanted by the slow finale (P.I. Tchaikovsky's Sixth Symphony, Mahler's Third and Ninth Symphonies).

The authors of the symphonies were F. Schubert, F. Mendelssohn, J. Brahms, A. Dvorak, A. Bruckner, G. Mahler, Jean Sibelius, A. Webern, A. Rubinstein, P. Tchaikovsky, A. Borodin, N. Rimsky- Korsakov, N. Myaskovsky, A. Scriabin, S. Prokofiev, D. Shostakovich and others.

Its composition, as we have already said, took shape during the era Viennese classics.

The basis of a symphony orchestra is four groups of instruments: bowed strings(violins, violas, cellos, double basses), woodwinds(flute, oboe, clarinet, bassoon, saxophone with all their varieties - ancient recorder, shawl, chalumeau, etc., as well as a number folk instruments– balaban, duduk, zhaleika, flute, zurna), brass(horn, trumpet, cornet, flugelhorn, trombone, tuba), drums(timpani, xylophone, vibraphone, bells, drums, triangle, cymbals, tambourine, castanets, tom-tom and others).

Sometimes other instruments are included in the orchestra: harp, piano, organ(keyboard-wind musical instrument, the largest type of musical instrument), celesta(a small keyboard-percussion musical instrument that looks like a piano and sounds like bells), harpsichord.

Harpsichord

Big a symphony orchestra can include up to 110 musicians , small– no more than 50.

The conductor decides how to seat the orchestra. The arrangement of performers in a modern symphony orchestra is aimed at achieving a coherent sonority. In 50-70 years. XX century became widespread "American seating": the first and second violins are placed to the left of the conductor; on the right are violas and cellos; in the depths there are woodwinds and brass winds, double basses; on the left are drums.

Symphony orchestra musicians' seating arrangement

The symphonies came to a head. 18 - beginning 19th centuries (J. Haydn, W. A. ​​Mozart, L. Beethoven). Among romantic composers, lyric symphonies (F. Schubert, F. Mendelssohn) and program symphonies (G. Berlioz, F. Liszt) became of great importance. Western European composers of the 19th and 20th centuries made important contributions to the development of symphonies. (I. Brahms, A. Bruckner, G. Mahler, S. Frank, A. Dvorak, J. Sibelius, etc.). The significant place of the symphony in Russia (A. P. Borodin, P. I. Tchaikovsky, A. K. Glazunov, A. N. Scriabin, S. V. Rachmaninov, N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian and others) music.

Big Encyclopedic Dictionary. 2000 .

See what "SYMPHONY" is in other dictionaries:

See agreement... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. symphony harmony, agreement; consonance, dictionary index, symphonietta Dictionary of Russian synonyms ... Synonym dictionary

- (Greek consonance). A large piece of music written for orchestra. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. SYMPHONY Greek. symphonia, from syn, together, and phone, sound, harmony, harmony of sounds.… … Dictionary of foreign words of the Russian language

Symphony No. 17: Symphony No. 17 (Weinberg). Symphony No. 17 (Mozart), G major, KV129. Symphony No. 17 (Myaskovsky). Symphony No. 17 (Karamanov), “America”. Symphony No. 17 (Slonimsky). Symphony No. 17 (Hovaness), Symphony for Metal Orchestra, Op. 203... ...Wikipedia

SYMPHONY, symphonies, women. (Greek symphonia harmony of sounds, consonance). 1. A large musical work for orchestra, usually consisting of 4 movements, of which the first and often the last are written in sonata form (music). “A symphony can be... ... Ushakov's Explanatory Dictionary

symphony- and, f. symphonie f. , it. sinfonia lat. symphonia gr. symphonia consonance. Krysin 1998. 1. A large piece of music for orchestra, consisting of 3-4 parts, differing from each other in the nature of the music and tempo. Pathetic Symphony... ... Historical Dictionary of Gallicisms of the Russian Language

Female, Greek, music harmony, agreement of sounds, polyphonic consonance. | A special type of polyvocal musical composition. Hayden Symphony. | Symphony on Old, on New Testament, code, indication of places where the same word is mentioned. Intelligent... ... Dahl's Explanatory Dictionary

- (Latin symphonia, from Greek symphonia consonance, agreement), work for symphony orchestra; one of the main genres of instrumental music. The symphony of the classical type developed among the composers of the Viennese classical school Y... ... Modern encyclopedia

Symphony- (Latin symphonia, from Greek symphonia - consonance, agreement), a work for symphony orchestra; one of the main genres of instrumental music. The symphony of the classical type was developed by the composers of the Viennese classical school - J. ... ... Illustrated Encyclopedic Dictionary

SYMPHONY, and, female. 1. A large (usually four-movement) piece of music for orchestra. 2. transfer Harmonic compound, combination of something n. (book). S. flowers. S. paints. S. sounds. | adj. symphonic, aya, oe (to 1 value). S. orchestra... ... Ozhegov's Explanatory Dictionary

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

Books

• Symphony. 1, A. Borodin. Symphony. 1, Score, For orchestra Publication type: Score Instruments: orchestra Reproduced in the original author’s spelling of the 1862 edition.…

Among the numerous musical genres and forms, one of the most honorable places belongs to the symphony. Having emerged as an entertainment genre, from the beginning of the 19th century to the present day it most sensitively and fully, like no other type of musical art, reflects its time. The symphonies of Beethoven and Berlioz, Schubert and Brahms, Mahler and Tchaikovsky, Prokofiev and Shostakovich are large-scale reflections on the era and personality, on the history of mankind and the ways of the world.

The symphonic cycle, as we know it from many classical and modern designs, developed approximately two hundred and fifty years ago. However, during this historically short period of time, the symphony genre has come a long way. The length and significance of this path was determined precisely by the fact that the symphony absorbed all the problems of its time, was able to reflect complex, contradictory eras full of colossal upheavals, and embody the feelings, suffering, and struggles of people. It is enough to imagine the life of society in the middle of the 18th century - and remember the symphonies of Haydn; great upheaval late XVIII- the beginning of the 19th centuries - and Beethoven’s symphonies that reflected them; the reaction in society, disappointment - and romantic symphonies; finally, all the horrors that humanity had to endure in the 20th century - and compare the symphonies of Beethoven with the symphonies of Shostakovich in order to clearly see this huge, sometimes tragic path. Nowadays, few people remember what the beginning was like, what the origins of this most complex of purely musical genres, not related to other arts, were.

Let's take a quick look musical Europe mid-18th century.

In Italy, the classical country of art, the trendsetter of all European countries, opera reigns supreme. The so-called opera seria (“serious”) dominates. There are no bright individual images in it, there is no genuine dramatic action. Opera seria is an alternation of different states of mind, embodied in conventional characters. Its most important part is the aria in which these states are conveyed. There are arias of anger and revenge, arias of complaint (lamento), mournful slow arias and joyful bravura ones. These arias were so generalized that they could be transferred from one opera to another without any damage to the performance. In fact, composers often did this, especially when they had to write several operas per season.

The element of the opera seria was the melody. The famous art of Italian bel canto received its supreme expression. In arias, composers reached the true heights of the embodiment of a particular state. Love and hate, joy and despair, anger and sorrow were conveyed by the music so vividly and convincingly that you did not need to hear the lyrics to understand what the singer was singing about. This, in essence, finally prepared the ground for textless music designed to embody human feelings and passion.

From interludes - insert scenes performed between acts of opera seria and not related to its content - its cheerful sister, comic opera buffe, arose. Democratic in content (its characters were not mythological heroes, kings and knights, and ordinary people from the people), she consciously opposed herself to court art. Opera buffa was distinguished by naturalness, liveliness of action, spontaneity musical language, often directly related to folklore. It featured vocal patter, comic parody coloraturas, and lively and light dance tunes. The act finales unfolded as ensembles in which characters Sometimes everyone sang at once. Sometimes such endings were called a “tangle” or “confusion,” because the action rushed into them so quickly and the intrigue turned out to be confusing.

Instrumental music also developed in Italy, and above all the genre most closely associated with opera - the overture. Being an orchestral introduction to an opera performance, it borrowed from the opera bright, expressive musical themes, similar to the melodies of arias.

The Italian overture of that time consisted of three sections - fast (Allegro), slow (Adagio or Andante) and again fast, most often the entire minuet. They called it sinfonia - translated from Greek - consonance. Over time, overtures began to be performed not only in the theater before the curtain opened, but also separately, as independent orchestral works.

At the end of the 17th and beginning of the 18th centuries, a brilliant galaxy of virtuoso violinists appeared in Italy, who were also gifted composers. Vivaldi, Yomelli, Locatelli, Tartini, Corelli and others, who played the violin perfectly - musical instrument, which in its expressiveness can be compared with the human voice, created an extensive violin repertoire, mainly from pieces called sonatas (from the Italian sonare - to sound). In them, as in the keyboard sonatas of Domenico Scarlatti, Benedetto Marcello and other composers, some common structural features developed, which later turned into a symphony.

Formed differently music life France. They have long loved music associated with words and action. Ballet art has received high development; A special type of opera was cultivated - lyrical tragedy, akin to the tragedies of Corneille and Racine, which had the imprint of the specific life of the royal court, its etiquette, its festivities.

French composers gravitated toward plot, program, and verbal definition of music when creating instrumental pieces. “Flying Cap”, “Reapers”, “Tambourine” - these were the names of the harpsichord pieces, which were either genre sketches or musical portraits - “Graceful”, “Tender”, “Hardworking”, “Flirtatious”.

More large works, consisting of several parts, originated from dance. The strict German allemande, the mobile, like a sliding French chime, the stately Spanish sarabande and the swift jig - the fiery dance of English sailors - have long been known in Europe. They were the basis of the instrumental suite genre (from the French suite - sequence). Often other dances were included in the suite: minuet, gavotte, polonaise. Before the allemande, an introductory prelude could sound; in the middle of the suite, a measured dance movement was sometimes interrupted by a free aria. But the core of the suite - four diverse dances of different peoples - was certainly present in an invariable sequence, outlining four different moods, leading the listener from the calm movement of the beginning to the exciting, rapid finale.

Many composers wrote suites, and not only in France. The great Johann Sebastian Bach also paid them a significant tribute, with whose name, as well as with the German musical culture of that time in general, many musical genres are associated.

In the countries of the German language, that is, numerous German kingdoms, principalities and bishoprics (Prussian, Bavarian, Saxon, etc.), as well as in various regions of the multinational Austrian Empire, which then included the “people of musicians” - the Czech Republic enslaved by the Habsburgs - Instrumental music has long been cultivated. Every small town, town or even village had its own violinists and cellists, and in the evenings there were solo and ensemble pieces enthusiastically performed by amateurs. Churches and their schools usually became centers for music-making. The teacher was, as a rule, also a church organist, who performed musical fantasies on holidays to the best of his abilities. In large German Protestant centers, such as Hamburg or Leipzig, new forms of music-making also took shape: organ concerts in cathedrals. These concerts featured preludes, fantasies, variations, choral arrangements and, most importantly, fugues.

Fugue - the most complex look polyphonic music, which reached its peak in the work of I.S. Bach and Handel. Its name comes from the Latin fuga - running. This is a polyphonic piece based on one theme, which moves (runs across!) from voice to voice. Each melodic line is called a voice. Depending on the number of such lines, the fugue can be three-, four-, five-voice, etc. In the middle section of the fugue, after the theme has sounded completely in all voices, it begins to develop: first its beginning will appear and disappear again, then it will will expand (each of the notes that make it up will become twice as long), then it will shrink - this is called a theme in increase and a theme in decrease. It may happen that within a theme, descending melodic moves become ascending and vice versa (theme in circulation). Melodic movement moves from one key to another. And in the final section of the fugue - Reprise - the theme again sounds unchanged, as at the beginning, returning to the main tonality of the play.

Let us remind you again: we are talking about the middle of the 18th century. An explosion is brewing in the depths of aristocratic France, which will very soon sweep away absolute monarchy. A new time will come. And while revolutionary sentiments are still only latently being prepared, French thinkers are speaking out against the existing order. They demand the equality of all people before the law and proclaim the ideas of freedom and fraternity.

Art, reflecting changes in social life, is sensitive to changes in the political atmosphere of Europe. An example of this is immortal comedies Beaumarchais. This also applies to music. It is now, in a difficult period fraught with events of colossal historical significance, that a new, truly revolutionary genre is being born in the depths of old, long-established musical genres and forms - the symphony. It becomes qualitatively, fundamentally different, because it embodies and new type thinking.

One must think that it is no coincidence that, having prerequisites in different regions of Europe, the symphony genre was finally formed in the countries of the German language. In Italy national art there was an opera. In England, the spirit and meaning of the historical processes taking place there were most fully reflected in the oratorios of George Handel, a German by birth who became the national English composer. In France, other arts came to the fore, in particular literature and theater, which were more concrete, directly and clearly expressing new ideas that excited the world. The works of Voltaire, “The New Heloise” by Rousseau, “The Persian Letters” of Montesquieu, in a veiled but quite intelligible form, presented readers with a stinging criticism of the existing order, and offered their own options for the structure of society.

When, several decades later, it came to music, song joined the ranks of the revolutionary troops. The most striking example of this is the Song of the Army of the Rhine, created overnight by officer Rouget de Lisle, which became world famous under the name Marseillaise. Following the song, music appeared for mass celebrations and mourning ceremonies. And finally, the so-called “salvation opera”, which had as its content the pursuit of a hero or heroine by a tyrant and their salvation in the finale of the opera.

The symphony required completely different conditions both for its formation and for full perception. "Center of gravity" philosophical thought, which most fully reflected the deep essence of the social changes of that era, ended up in Germany, far from social storms.

There, first Kant and later Hegel created their new philosophical systems. Like philosophical systems, the symphony - the most philosophical, dialectical-processual genre of musical creativity - was finally formed where only distant echoes of approaching thunderstorms reached. Where, moreover, strong traditions of instrumental music have developed.

One of the main centers for the emergence of the new genre was Mannheim, the capital of the Bavarian Electorate of the Palatinate. Here, at the brilliant court of Elector Karl Theodor, in the 40s and 50s of the 18th century there was an excellent orchestra, perhaps at that time the best in Europe.

By that time, the symphony orchestra was just taking shape. And in the court chapels and in the cathedrals, orchestral groups with a stable composition did not exist. Everything depended on the means at the disposal of the ruler or magistrate, on the tastes of those who could give orders. At first, the orchestra played only an applied role, accompanying either court performances or festivals and ceremonies. And it was considered, first of all, as an opera or church ensemble. Initially, the orchestra included viols, lutes, harps, flutes, oboes, horns, and drums. Gradually the composition expanded, the number of string instruments. Over time, violins replaced the ancient viol and soon took a leading position in the orchestra. Woodwind instruments - flutes, oboes, bassoons - united into a separate group, and brass instruments also appeared - trumpets, trombones. The obligatory instrument in the orchestra was the harpsichord, which created the harmonic basis of the sound. Behind him was usually the leader of the orchestra, who, while playing, simultaneously gave instructions for the introduction.

At the end of the 17th century, instrumental ensembles that existed at the Courts of nobles became widespread. Each of the numerous small princes of fragmented Germany wanted to have their own chapel. The rapid development of orchestras began, and new techniques of orchestral playing emerged.

The Mannheim orchestra consisted of 30 string instruments, 2 flutes, 2 oboes, clarinet, 2 bassoons, 2 trumpets, 4 horns, timpani. This is the backbone of the modern orchestra, the composition for which many composers of the subsequent era created their works. The orchestra was led by the outstanding Czech musician, composer and violin virtuoso Jan Vaclav Stamitz. Among the orchestra's artists were also the greatest musicians of their time, not only virtuoso instrumentalists, but also talented composers Franz Xaver Richter, Anton Filz and others. They determined the excellent level of performing skills of the orchestra, which became famous for its amazing qualities - the previously unattainable evenness of violin strokes, the finest gradations dynamic shades, previously not used at all.

According to a contemporary, critic Bossler, “the exact observance of piano, forte, rinforzando, the gradual expansion and intensification of sound and then again a decrease in its strength until a barely audible sound - all this could only be heard in Mannheim.” Bernie, an English music lover who took a trip to Europe in the mid-18th century, echoes him: “This extraordinary orchestra has enough space and facets to demonstrate all its capabilities and produce a great effect. It was here that Stamitz, inspired by Yomelli's writings, first went beyond the usual operatic overtures... all the effects that such a mass of sounds could produce were tried. It was here that crescendo and diminuendo were born, and piano, which was previously used mainly as an echo and was usually synonymous with it, and forte were recognized as musical colors with their own shades ... "

It was in this orchestra that four-part symphonies sounded for the first time - works that were built according to one type and had general patterns, which absorbed many features of previously existing musical genres and forms and melted them into something qualitatively different; new unity.

The first chords are decisive, full-voiced, as if calling for attention. Then wide, sweeping moves. Again chords, replaced by arpeggiated movement, and then a lively, elastic melody, like an unfolding spring. It seems that it can unfold endlessly, but it goes away faster than the rumor wants it to: like a guest introduced to the owners of the house during a large reception, he moves away from them, giving way to others following behind. After the moment of general movement appears new topic- softer, feminine, lyrical. But it doesn’t sound for long, dissolving into passages. After some time, we see the first theme again, slightly changed, in a new key. The musical stream flows rapidly, returning to the original, main tonality of the symphony; The second theme organically flows into this flow, now becoming closer in character and mood to the first. The first part of the symphony ends with full-voiced joyful chords.

The second movement, the andante, unfolds slowly and melodiously, bringing out the expressiveness of the string instruments. This is a kind of aria for orchestra, in which lyricism and elegiac reflection dominate.

The third movement is an elegant gallant minuet. It creates a feeling of relaxation and relaxation. And then, like a fiery whirlwind, the fiery finale bursts in. Such is the general outline, a symphony of the time. Its origins can be traced very clearly. The first part most closely resembles an operatic overture. But if the overture is only the threshold of the performance, then here the action itself unfolds in sounds. Typically operatic musical images of the overture - heroic fanfare, touching lamento, stormy fun of the buffoons - are not associated with specific stage situations and do not bear characteristic individual features (remember that even the famous overture to " To the Barber of Seville"Rossini has nothing to do with the content of the opera and was originally written for another opera!), broke away from the opera performance and began independent life. They are easily recognizable in the early symphony - the decisive, courageous intonations of the heroic arias in the first themes, called the main ones, the gentle sighs of the lyrical arias in the second, the so-called secondary themes.

Opera principles are also reflected in the texture of the symphony. If previously instrumental music was dominated by polyphony, that is, polyphony, in which several independent melodies, intertwined, sounded simultaneously, here a different type of polyphony began to develop: one main melody (most often violin), expressive, significant, accompanied by an accompaniment that sets it off , emphasizes her individuality. This type of polyphony, called homophonic, completely dominates in the early symphony. Later in the symphony, techniques borrowed from the fugue appear. However, in the middle of the 18th century it could rather be contrasted with a fugue. There was, as a rule, one theme (there are double, triple and more fugues, but in them the themes are not opposed, but compared). It was repeated many times, but nothing contradicted it. It was, in essence, an axiom, a thesis that was repeatedly stated without requiring proof. The opposite is true in a symphony: in the appearance and further changes of different musical themes and images, one can hear disputes and contradictions. Perhaps this is where the sign of the times shows itself most clearly. Truth is no longer a given. It needs to be sought, proven, justified, comparing different opinions, clarifying different points of view. This is what encyclopedists do in France. Built on this German philosophy, in particular, Hegel's dialectical method. And the very spirit of the era of quest is reflected in music.

So, the symphony took a lot from the operatic overture. In particular, the overture outlined the principle of alternating contrasting sections, which in the symphony turned into independent parts. In its first part there are different sides, different feelings of a person, life in its movement, development, changes, contrasts and conflicts. In the second part there is reflection, concentration, and sometimes lyrics. In the third - relaxation, entertainment. And finally, the finale - pictures of fun, jubilation, and at the same time - the result musical development, the completion of the symphonic cycle.

This is how the symphony will turn out early XIX century, such, in the most general terms, it will be, for example, in Brahms or Bruckner. And at the time of her birth, she apparently borrowed the multiple movements from the suite.

Allemande, courante, sarabande and gigue are the four obligatory dances, four different moods that can be easily seen in the early symphonies. The dance quality in them is very clearly expressed, especially in the finales, which in terms of the nature of the melody, tempo, and even the size of the beat, often resemble a gigue. True, sometimes the finale of the symphony is closer to the sparkling finale of opera buffa, but even then its kinship with dance, for example, the tarantella, is undeniable. As for the third part, it is called a minuet. Only in Beethoven's work will the dance - gallant courtly or rude common - be replaced by a scherzo.

The newborn symphony thus absorbed the features of many musical genres, and genres born in different countries. And the formation of the symphony took place not only in Mannheim. There was the Vienna School, represented, in particular, by Wagenseil. In Italy, Giovanni Battista Sammartini wrote orchestral works, which he called symphonies and intended for concert performance not associated with an opera performance. In France, a young composer, Belgian by birth, François-Joseph Gossec, turned to a new genre. His symphonies did not meet with response and recognition, because French music programming dominated, but his work played a role in the formation of French symphony, in the renewal and expansion of the symphony orchestra. The Czech composer Frantisek Micha, who at one time served in Vienna, experimented a lot and successfully in search of a symphonic form. His famous fellow countryman Josef Myslewicz had interesting experiments. However, all these composers were loners, but in Mannheim a whole school was formed, which also had at its disposal a first-class “instrument” - a famous orchestra. Thanks to the happy chance that the Elector of the Palatinate was a great lover of music and had enough money to afford huge expenses on it, major musicians from different countries gathered in the capital of the Palatinate - Austrians and Czechs, Italians and Prussians - each of whom contributed contribution to the creation of a new genre. In the works of Jan Stamitz, Franz Richter, Carlo Toeschi, Anton Filz and other masters, the symphony arose in those of its main features, which then passed into the work of the Viennese classics - Haydn, Mozart, Beethoven.

So, during the first half-century of the existence of the new genre, a clear structural and dramatic model emerged that could accommodate diverse and very significant content. The basis of this model was a form called sonata, or sonata allegro, since it was most often written at this tempo, and later typical for both the symphony and the instrumental sonata and concerto. Its peculiarity is the juxtaposition of different, often contrasting musical themes. The three main sections of the sonata form - exposition, development and reprise - resemble the beginning, development of action and denouement classical drama. After a brief introduction or immediately at the beginning of the exposition, the “characters” of the play are presented to the audience.

The first musical theme that sounds in the main key of the work is called the main theme. More often - the main theme, but more correctly - the main part, since within the main part, that is, a certain segment of the musical form, united by one tonality and figurative community, over time, not one, but several different theme-melodies began to appear. After the main batch, in early samples by direct comparison, and in later ones through a small connecting batch, a secondary batch begins. Its theme or two or three different themes contrast with the main one. Most often, the side part is more lyrical, soft, and feminine. It sounds in a different key than the main one, a secondary (hence the name of the part) key. A feeling of instability and sometimes conflict arises. The exhibition ends with the final part, which is either absent in the early symphonies or plays a purely auxiliary role as a kind of point, a curtain after the first act of the play, and subsequently, starting with Mozart, acquires the significance of an independent third image, along with the main and secondary ones.

The middle section of sonata form is development. As the title shows, in it the musical themes with which listeners became acquainted in the exhibition (that is, previously exhibited) are developed, subject to change, and development. At the same time, they are shown from new, sometimes unexpected sides, modified, and individual motives are isolated from them - the most active ones, which later collide. Development is a dramatically effective section. At the end there comes a climax, which leads to a reprise - the third section of the form, a kind of denouement of the drama.

The name of this section comes from the French word reprendre - to renew. It is a renewal, a repetition of the exposition, but modified: both parts now sound in the main key of the symphony, as if brought to agreement by the development events. Sometimes there are other changes in a reprise. For example, it can be truncated (without any of the themes sounded in the exposition), mirrored (first the side part sounds, and only then the main part). The first part of the symphony usually ends with a coda - a conclusion that establishes the main tonality and main image of the sonata allegro. In the early symphonies, the coda is small and is, in essence, a somewhat developed final part. Later, for example, in Beethoven, it acquires significant proportions and becomes a kind of second development, in which affirmation is once again achieved through struggle.

This form turned out to be truly universal. From the days of the symphony to the present day, it has successfully embodied the deepest content, conveying an inexhaustible wealth of images, ideas, and problems.

The second part of the symphony is slow. This is usually the lyrical center of the cycle. Its shape varies. Most often it is three-part, that is, it has similar outer sections and a contrasting middle section, but it can also be written in the form of variations or some other form, up to a sonata, which differs structurally from the first allegro only in a slower tempo and less effective development.

The third movement is a minuet in early symphonies, and a scherzo from Beethoven to modern times, as a rule, a complex three-part form. The content of this part has been modified and complicated over the decades from everyday or court dance to monumental powerful scherzos XIX century and further, to the menacing images of evil and violence in the symphonic cycles of Shostakovich, Honegger and other symphonists of the 20th century. Starting from the second half of the 19th century century, the scherzo increasingly changes places with the slow movement, which, in accordance with the new concept of the symphony, becomes a kind of spiritual reaction not only to the events of the first part, but also to figurative world scherzo (in particular in Mahler's symphonies).

The finale, which is the result of the cycle, in early symphonies is often written in the form of a rondo sonata. The alternation of cheerful episodes sparkling with fun with a constant dance refrain - such a structure naturally followed from the nature of the images of the finale, from its semantics. Over time, with the deepening of the problems of the symphony, the patterns of structure of its finale began to change. Finales began to appear in sonata form, in the form of variations, in free form, and finally, with oratorio features (with the inclusion of a choir). His images have also changed: not only life affirmation, but sometimes also a tragic outcome (Tchaikovsky’s Sixth Symphony), reconciliation with cruel reality or escape from it into the world of dreams, illusions have become the content of the finale of the symphonic cycle in the last hundred years.

But let's return to the beginning of the glorious path of this genre. Having emerged in the middle of the 18th century, it reached classical completion in the work of the great Haydn.

At the end of the Baroque era, a number of composers, such as Giuseppe Torelli (1658–1709), wrote works for string orchestra and basso continuo in three movements, with a fast-slow-fast tempo sequence. Although such works were usually called "concertos", they were no different from works called “symphonies”; for example, dance themes were used in the finales of both concerts and symphonies. The difference concerned mainly the structure of the first part of the cycle: in symphonies it was simpler - this is, as a rule, a binary two-part form of the Baroque overture, sonata and suite (AA BB). The word “symphony” itself dates back to the 10th century. meant harmonious consonance; by the end of the 16th century. such authors as J. Gabrieli applied this concept to the consonance of voices and instruments. Later, in the music of composers such as Adriano Banchieri (1568–1634) and Salomone Rossi (c. 1570–c. 1630), the word “symphony” came to mean the sound of instruments together without votes. Italian composers of the 17th century. The word “symphony” (sinfonia) often denoted the instrumental introductions to an opera, oratorio or cantata, and the term in meaning came close to the concepts of “prelude” or “overture”. Around 1680, in the operatic work of A. Scarlatti, the type of symphony was established as instrumental composition in three sections (or parts), built on the principle of “fast - slow - fast”.

Classical symphony.

18th century listeners I liked orchestral pieces in several parts with different tempos, which were performed both in home gatherings and in public concerts. Having lost the function of the introduction, the symphony developed into an independent orchestral work, usually in three movements (“fast – slow – fast”). Using the features of the baroque dance suite, opera and concerto, a number of composers, most notably G.B. Sammartini, created the model of the classical symphony - a three-movement work for string orchestra, where the fast parts usually took the form of a simple rondo or an early sonata form. Gradually, other instruments were added to the strings: oboes (or flutes), horns, trumpets and timpani. For listeners of the 18th century. the symphony was determined by classical norms: homophonic texture, diatonic harmony, melodic contrasts, a given sequence of dynamic and thematic changes. The centers where the classical symphony was cultivated were the German city of Mannheim (here Jan Stamitz and other authors expanded the symphonic cycle to four parts, introducing into it two dances from the Baroque suite - minuet and trio) and Vienna, where Haydn, Mozart, Beethoven (as well as their predecessors, among whom Georg Monn and Georg Wagenseil stand out, raised the symphony genre to a new level.

The symphonies of J. Haydn and W. A. ​​Mozart are brilliant examples of the classical style. The parts are clearly separated from each other, each having independent thematic material; The unity of the cycle is ensured by tonal comparisons and thoughtful alternation of tempos and the nature of themes. Strings, woodwinds, brass and timpani provide a variety of instrumental combinations; the lyrical beginning, coming from operatic vocal writing, penetrates the themes of the slow movements, the trio sections in the third movements and the secondary themes of other movements. Other motifs of operatic origin (octave leaps, repetitions of sounds, scale-like passages) become the thematic basis of the fast movements. Haydn's symphonies are distinguished by their wit, inventiveness of thematic development, originality of phrasing, instrumentation, texture and thematics; Mozart's symphonies are marked by richness of melody, plasticity, grace of harmony and masterful counterpoint.

An excellent example of a classical symphony from the late 18th century. – Mozart’s Symphony No. 41 (K. 551, C major (1788), known as Jupiter. Its score includes a flute, two oboes, two bassoons, two horns, two trumpets, timpani and a group of strings (first and second violins, violas, cellos, double basses). The symphony consists of four movements. The first, Allegro vivace, is written in a lively tempo, in the key of C major, in 4/4 time, in sonata form (the so-called sonata allegro form: themes first appear in the exposition, then develop in the development, followed by a reprise, usually ending with a conclusion - a coda). The second part of Mozart's symphony is written at a moderate (moderato) tempo, in the subdominant key of F major, again in sonata form and has a melodious character (Andante cantabile).

The third movement consists of a moderately active minuet and trio in C major. Although each of these two dances is written in a ronda-like binary form (minuet - AAVAVA; trio - CCDCDC), the return of the minuet after the trio gives general structure tripartite. The finale is again in sonata form, at a very fast tempo (Molto allegro), in the main key of C major. Built on laconic motifs, the finale's themes radiate energy and strength; in the finale's coda, Bach's counterpoint techniques are combined with the virtuosity of Mozart's classical style.

In the work of L. van Beethoven, the parts of the symphony are more closely connected thematically, and the cycle achieves greater unity. The principle of using related thematic material in all four movements, carried out in Beethoven's Fifth Symphony, led to the emergence of the so-called. cyclical symphony. Beethoven replaces the calm minuet with a more lively, often riotous, scherzo; he raises thematic development to a new level, subjecting his themes to all sorts of changes, including contrapuntal development, isolating fragments of themes, changing modes (major - minor), and rhythmic shifts. Beethoven's use of trombones in the Fifth, Sixth and Ninth Symphonies and the inclusion of voices in the finale of the Ninth are very impressive. In Beethoven, the center of gravity in the cycle shifts from the first movement to the finale; in the Third, Fifth, and Ninth, the finales are undoubtedly the culminations of the cycles. Beethoven has “characteristic” and programmatic symphonies - the Third ( Heroic) and Sixth ( Pastoral).

Romantic symphony.

With the work of Beethoven, the symphony entered a new century. The sharp changes of tempo characteristic of his style, the breadth of the dynamic range, the richness of imagery, virtuosity and drama, sometimes the unexpected appearance and ambiguity of themes - all this cleared the way for composers of the Romantic era. Realizing the greatness of Beethoven, they sought to follow his path without losing their own individuality. Romantic composers, starting with F. Schubert, experimented with sonata and other forms, often narrowing or expanding them; The symphonies of the romantics are full of lyricism, subjective expression and are distinguished by a richness of timbre and harmonic color. Beethoven's contemporary Schubert had a special gift for creating lyrical themes and unusually expressive harmonic sequences. When the logic and orderliness of classicism gave way to the subjectivity and unpredictability characteristic of the art of romanticism, the form of many symphonies became more spacious and the texture heavier.

Among the German romantic symphonists are F. Mendelssohn, R. Schumann and J. Brahms. Mendelssohn, with his classicism in the areas of form and proportions, was especially successful in the Third ( Scottish) and Fourth ( Italian) symphonies that reflected the author’s impressions of visiting these countries. Schumann's symphonies, influenced by Beethoven and Mendelssohn, tend to be cyclical and at the same time rhapsodic, especially the Third ( Rhineland) and Fourth. In his four symphonies, Brahms reverently combines Bach's counterpoint in style, Beethoven's method of development, Schubert's lyricism and Schumann's mood. P.I. Tchaikovsky avoided the typical tendency of Western romantics towards detailed programs for symphonies, as well as the use of vocal means in this genre. The symphonies of Tchaikovsky, a gifted orchestrator and melodist, capture the author's penchant for dance rhythms. The symphonies of another talented melodist, A. Dvorak, are distinguished by a rather conservative approach to symphonic form, adopted from Schubert and Brahms. The symphonies of A.P. Borodin are deeply national in content and monumental in form.

The author, in whose work a type of program symphony of the last century was formed, differing in many respects from the abstract or, so to speak, absolute symphony of the classical era, was G. Berlioz. In a program symphony, a narrative is told, or a picture is painted, or, generally speaking, there is an element of “extra-musical” that lies beyond the music itself. Inspired by Beethoven's Ninth Symphony with its final chorus to the words of Schiller's Odes to Joy, Berlioz went further in his epochal Fantastic Symphony(1831), where each part is a fragment of a seemingly autobiographical narrative, and leitmotifs-reminders run through the entire cycle. Among the others program symphonies composer - Harold in Italy according to Byron and Romeo and Juliet according to Shakespeare, where, along with instruments, vocal means are also widely used. Like Berlioz, F. Liszt and R. Wagner were “avant-gardists” of their era. Although Wagner's desire for a synthesis of words and music, voices and instruments led him from the symphony to opera, the magnificent mastery of this author influenced almost all European composers of the subsequent generation, including the Austrian A. Bruckner. Like Wagner, Liszt was one of the leaders of late musical romanticism, and his attraction to programmaticity gave rise to works such as symphonies Faust And Dante, as well as 12 program symphonic poems. Liszt's techniques of figurative transformations of themes in the process of their development greatly influenced the work of S. Frank and R. Strauss, authors of a later period.

At the end of the 19th century. the work of a number of talented symphonists, each of whom had a bright individual style, marked the final stage of the classical-romantic tradition with its predominance of sonata form and certain tonal relationships. The Austrian G. Mahler imbued the symphony with thematic themes that had their origins in his own songs and dance motifs; often he directly quoted fragments from folk, religious or military music. Mahler's four symphonies use chorus and soloists, and all ten of his symphonic cycles are marked by extraordinary variety and sophistication of orchestral writing. Finn J. Sibelius composed symphonies of an abstract nature, imbued with deep feeling; his style is characterized by a preference for low registers and bass instruments, but in general his orchestral texture remains clear. The Frenchman C. Saint-Saens wrote three symphonies, of which the most famous is the last (1886) - the so-called. Organ Symphony. The most popular French symphony of this period can perhaps be called the only symphony by S. Frank (1886–1888).

An excellent example of a post-Romantic symphony from the late 19th century. is Mahler's Second Symphony in C minor, completed in 1894 (sometimes called Resurrection in connection with the content of the chorale in the last part). The gigantic five-part cycle was written for a large orchestral cast: 4 flutes (including piccolos), 4 oboes (including 2 cor anglais), 5 clarinets (including one bass), 4 bassoons (including 2 contrabassoons), 10 horns, 10 trumpets, 4 trombones, tuba, organ, 2 harps, two soloists - contralto and soprano, mixed choir and a huge percussion group, including 6 timpani, bass drum, cymbals, gongs and bells. The first movement has a solemn (Allegro maestoso) march-like character (4/4 time signature in the key of C minor); in terms of structure, it is an extended sonata form with double exposure. The second part unfolds at a moderate tempo (Andante moderato) and is reminiscent in character of the graceful Austrian Ländler dance. This movement is written in the key of submediant (A-flat major) in 3/8 time and in simple ABABA form. The third movement is distinguished by the smooth flow of music; it is written in the main key and in 3/8 time. This three-movement scherzo is a symphonic development of a song simultaneously composed by Mahler Sermon of St. Anthony to the Pisces.

In the fourth part, “Eternal Light” (“Urlicht”), a human voice appears. This orchestral song, radiant and full of deep religious feeling, is written for solo viola and a reduced orchestra; it has the form ABCB, time signature 4/4, key of D-flat major. The stormy, “wild” finale at the tempo of a scherzo contains many changes in mood, tonality, tempo, and meter. This is a very large sonata form with a monumental coda; The finale includes motifs of a march, chorale, and songs reminiscent of the previous parts. At the end of the finale, voices enter (solo soprano and contralto, as well as the choir - with a hymn about the risen Christ to the words of the 18th century German poet F. Klopstock. In the orchestral conclusion, light, brilliant orchestral colors and the tonality of E-flat major, parallel to the main one, appear C minor: the light of faith dispels darkness.

The twentieth century.

In sharp contrast to Mahler's sprawling late-romantic cycles were the carefully finished neoclassical symphonies of such French authors, like D. Milhaud and A. Honegger. The Russian author I.F. Stravinsky wrote in the neoclassical (or neo-baroque) style, who filled traditional symphonic forms with new melodic and tonal-harmonic material. The German P. Hindemith also combined forms that came from the past with a sharply individual melodic and harmonic language (he was characterized by a preference for the fourth interval in thematics and chords).

The largest Russian symphonists are S.V. Rachmaninov, S.S. Prokofiev and D.D. Shostakovich. Rachmaninov's three symphonies continue the national-romantic tradition coming from Tchaikovsky. Prokofiev's symphonies are also associated with tradition, but reinterpreted; This author is characterized by rigid motor rhythms, unexpected tonal shifts, and there is a theme that comes from folklore. Creative life Shostakovich flowed into Soviet period history of Russia. The most “advanced” can be considered his First, Tenth, Thirteenth and Fifteenth symphonies, while the Third, Eighth, Eleventh and Twelfth are more associated with the traditional “Russian style”. In England, the outstanding symphonists were E. Elgar (two symphonies) and R. W. Williams (nine symphonies written between 1910 and 1957, including including a vocal element). Among other authors, each of whom is associated with the traditions of his country, one can name the Poles Witold Lutoslawski (b. 1913) and K. Penderecki, the Czech Boguslav Martinu (1890–1959), the Brazilian E. Villa-Lobos and the Mexican Carlos Chavez (1899– 1976).

At the beginning of the 20th century. American Charles Ives composed a number of avant-garde symphonies that used orchestral clusters, quarter-tone intervals, polyrhythms, dissonant harmonic writing, and collage techniques. In the next generation, several composers (all of whom studied in Paris in the 1920s with Nadia Boulanger) created the American symphonic school: A. Copland, Roy Harris (1898–1981) and W. Piston. In their style, thanks to elements of neoclassicism, the French influence is noticeable, but still their symphonies create an image of America with its open spaces, pathos and natural beauty. The symphonies of Roger Sessions are marked by the complexity and whimsicality of chromatic melodic lines, the tension of thematic development, and an abundance of counterpoint. Wallingford Rigger used A. Schoenberg's serial technique in his symphonies; Henry Cowell used such experimental ideas in his symphonies as fugue melodies of hymns, exotic instruments, sound clusters, and dissonant chromaticism.

Among other American symphonists of the mid-20th century. we can highlight H. Hanson, W. Schumann, D. Diamond and V. Persichetti. In the second half of the century interesting symphonies were created by E. Carter, J. Rochberg, W. G. Still, F. Glass, E. T. Zwilich and J. Corigliano. In England, the symphonic tradition was continued by Michael Tippett (1905–1998). The 1990s saw an unusual phenomenon: a modern symphony became a "hit" with the general public. It's about about the Third Symphony ( Symphonies of sad songs) Pole Heinrich Górecki. At the turn of the third millennium, composers from different countries created symphonies that reflected their authors’ attraction to such diverse phenomena as minimalism, total serialism, aleatorics, electronic music, neo-romanticism, jazz and non-European musical cultures.

Lecture

Symphonic genres

The history of the birth of the symphony as a genre

The history of the symphony as a genre goes back about two and a half centuries.

At the end of the Middle Ages in Italy, an attempt was made to revive ancient drama. This marked the beginning of a completely different type of musically - theatrical arts- opera.
In early European opera the chorus did not play like this leading role as solo singers with a group of instrumentalists who accompanied them. In order not to interfere with the audience's view of the artists on the stage, the orchestra was located in a special recess between the stalls and the stage. At first, this particular place was called an “orchestra,” and then the performers themselves.

SYMPHONY(Greek) - consonance. During the period from the XVI-XVIII centuries. this concept meant “euphonious combination of sounds”, “harmonious choral singing” and “polyphonic musical work”.

« Symphonies" called orchestral intermissions between acts of the opera. « Orchestras"(ancient Greek) were called areas in front theater stage, where the choir was originally located.

Only in the 30s and 40s. In the 18th century, an independent orchestral genre was formed, which came to be called a symphony.

The new genre was a work consisting of several parts (cycle), with the first part containing main meaning the work must necessarily correspond to the “sonata form”.

The birthplace of the symphony orchestra is the city of Mannheim. Here, in the chapel of the local elector, an orchestra was formed, the art of which had a huge influence on orchestral creativity and on the entire subsequent development of symphonic music.
« This extraordinary orchestra has plenty of space and edges- wrote the famous music historian Charles Burney. Here the effects that such a mass of sounds can produce were used: it was here that the “crescendo” “diminuendo” was born, and “piano”, which was previously used mainly as an echo and was usually synonymous with it, and “forte” were recognized as musical colors, available in their own shades, like red or blue color in painting..."

Some of the first composers to work in the symphony genre were:

Italian - Giovanni Sammartini, French - Francois Gossec and Czech composer - Jan Stamitz.

But still, Joseph Haydn is considered the creator of the classical symphony genre. He owns the first brilliant examples of the keyboard sonata, string trio and quartet. It was in Haydn’s work that the symphony genre was born and took shape and took its final, as we now say, classical shape.

I. Haydn and W. Mozart summarized and created in symphonic creativity all the best that orchestral music was rich in before them. And at the same time, the symphonies of Haydn and Mozart opened up truly inexhaustible possibilities for a new genre. The first symphonies of these composers were designed for a small orchestra. But subsequently I. Haydn expands the orchestra not only quantitatively, but also through the use of expressive sound combinations of instruments that correspond only to one or another of his plans.

This is the art of instrumentation or orchestration.

Orchestration- this is a living creative act, the design of the composer’s musical ideas. Instrumentation is creativity - one of the aspects of the soul of the composition itself.

During the period of Beethoven's creativity, the classical composition of the orchestra was finally formed, which included:

Strings,

Doubles composition wooden instruments,

2 (sometimes 3-4) horns,

2 timpani. This composition is called small.

G. Berlioz and R. Wagner sought to increase the scale of the orchestra's sound by increasing the composition by 3-4 times.

The pinnacle of Soviet symphonic music was the work of S. Prokofiev and D. Shostakovich.

Symphony... It is compared to a novel and a story, a film epic and a drama, a picturesque fresco. Meaning All these analogies are clear. In this genre it is possible to express what is important, sometimes the most important thing for which art exists, for which a person lives in the world - the desire for happiness, for light, justice and friendship.

A symphony is a piece of music for a symphony orchestra, written in sonata-cyclic form. Usually consists of 4 parts, expressing complex artistic thoughts about human life, about human suffering and joys, aspirations and impulses. There are symphonies with more and fewer parts, up to one movement.

To enhance sound effects sometimes they are introduced in symphonies choir and solos vocal voices. There are symphonies for string, chamber, sacred and other orchestras, for an orchestra with a solo instrument, organ, choir and vocal ensemble... . Four parts symphonies express typical contrasts of life states: pictures of dramatic struggle (first movement), humorous or dance episodes (minuet or scherzo), sublime contemplation (slow movement) and a solemn or folk dance finale.

Symphonic music is music intended to be performed by a symphonic
orchestra; the most significant and rich field of instrumental music,
covering large multi-part works, rich in complex ideological
emotional content, and small musical pieces. The main theme of symphonic music is the theme of love and the theme of enmity.

Symphony Orchestra,
combining a variety of instruments, provides a rich palette
sound colors, expressive means.

The following symphonic works are still extremely popular: L. Beethoven Symphony No. 3 (“Eroic”), No. 5, “Egmont” Overture;

P Tchaikovsky Symphony No. 4, No. 6, Romeo and Juliet Overture, concerts (focus,

S. Prokofiev Symphony No. 7

I. Stravinsky fragments from the ballet “Petrushka”

J. Gershwin symphojazz “Rhapsody in Blue”

Music for orchestra developed in constant interaction with other types of musical art: chamber music, organ music, choral music, opera music.

Characteristic genres 17th-18th centuries: suite, concert- ensemble-orchestral, overture opera sample. Types of suites of the 18th century: divertissement, serenade, nocturne.

The powerful rise of symphonic music is associated with the promotion of the symphony, its development as a cyclic sonata form and the improvement of the classical type of symphony orchestra. They often began to introduce into the symphony and other types of symphonic music choir and solo vocals. Intensified symphonic opening in vocal and orchestral works, opera and ballet. Genres of symphonic music also include symphonietta, symphonic variations, fantasy, rhapsody, legend, capriccio, scherzo, medley, march, various dances, various miniatures, etc. The concert symphonic repertoire also includes individual orchestral fragments from operas, ballets, dramas, plays, films.

Symphonic music of the 19th century. embodied huge world ideas and emotions. It reflects broad social themes, deepest experiences, pictures of nature, everyday life and fantasy, national characters, images of spatial arts, poetry, and folklore.

Exists Various types orchestra:

Military band (consisting of wind - brass and wood instruments)

String orchestra:.

The symphony orchestra is the largest in composition and richest in its capabilities; intended for concert performance of orchestral music. The symphony orchestra in its modern form did not emerge immediately, but as a result of a long historical process.

A concert symphony orchestra, unlike an opera orchestra, is located directly on the stage and is constantly in the field of view of the audience.

By virtue of historical traditions concert and opera symphony orchestras for a long time differed in their composition, but nowadays this difference has almost disappeared.

The total number of musicians in a symphony orchestra is not constant: it can fluctuate between 60-120 (and even more) people. Such a large group of participants requires skillful leadership for a coordinated game. This role belongs to the conductor.

Until the beginning of the 19th century, the conductor himself played some instrument during the performance - for example, the violin. However, over time, the content of symphonic music became more complex, and this fact little by little forced conductors to abandon such a combination.