Variations on a theme. Variation forms. Techniques of end-to-end development in variation form

Period complications

Russian folk song

Simple two-part form

Tripartite form

Complex three-part form

Theme with variations

Rondo

Sonata form

Rondo-Sonata

Cyclic forms

Mixed forms

Vocal forms

A theme with variations is a form consisting of an initial presentation of a theme and several repetitions of it in a modified form, called variations. Since the number of variations is not limited, the diagram of this form can only have a very general form:

A + A 1 + A 2 +A 3 …..

The method of varied repetition was already encountered in relation to the period, as well as to two- and three-part forms. But, manifesting itself there during the repetition of some part or in the methods of thematic work, it plays, in a certain sense, an auxiliary, service role, even with the dynamization it introduces. In the variational form, the method of variation1 plays the role of the basis for shaping, since without it the result would be a simple repetition of the theme in a row, which is not perceived as development, especially in instrumental music.
Due to the fact that the oldest examples of variations are directly related to dance music, it can be assumed that it was this that served as the direct source and reason for the emergence of the variation form. In this regard, it is quite likely that it originates, although perhaps not directly, from folk music.

Variations on basso ostinato

In the 17th century, variations appeared based on the continuous repetition of the same melodic turn in the bass. Such a bass, consisting of multiple repetitions of one melodic figure, is called basso ostinato (persistent bass). The initial connection of this technique with dance is manifested in the names of plays constructed in this way - passacaglia and chaconne. Both are slow dances in three-beat time. It is difficult to establish a musical difference between these dances. At a later time, sometimes even the connection with the original three-beat size is lost (see Handel. Passacaglia g-moll for the clavier) and the old names of the dances indicate only a kind of variation form. The dance origins of the passacaglia and chaconne are reflected in the structure of the theme, which is a sentence or period of 4 or 8 bars. In some cases, variations of the described species do not have a name indicating their structure.
As already mentioned, the ostinato melody is usually repeated in the bass; but sometimes it is temporarily transferred, for variety, to the upper or middle voice, and also subjected to some ornamentation (see Bach Passacaglia in C minor for organ)
When the ostinato bass remains unchanged, variational development falls on the do/no upper voices. Firstly, in different variations, different numbers are possible, giving one or another degree of condensation of harmonies, which can be adjusted in order to increase interest. Secondly, with a constant bass, melodic at least one upper voice must change in order to overcome monotony. Therefore, the ratio of some extreme voices is to some extent polyphonic. The remaining voices also often develop, polyphonizing the entire musical fabric. Diversity can be created by different degrees and types of general movement. This is directly related to the distribution of movements over larger or smaller durations. In general, a gradual increase in the saturation of music with movement of various kinds, melodic-polyphonic and rhythmic, is typical. In large cycles of variations on the basso ostinato, a temporary thinning of the texture is introduced, as if for a new takeoff
The harmonic structure of the variations on the basso ostinato in each cycle is more or less homogeneous, since the unchanging foundation of harmony - the bass - allows for a limited number of variations in harmony. Cadenzas occur mostly complete at the end of repeating figures; sometimes the dominant of the last measure of a figure forms, together with the initial tonic of the next similar figure, an intruding cadence. This technique, of course, creates greater unity and coherence, contributing to the integrity of the entire form. On the verge of two variations, interrupted cadences are also possible (see “Crucifixus” from Bach’s Mass in B minor ).
The structure of the variations, due to the repetition of an ostinato four- or eight-bar, is generally uniform, and a certain masking of periodicity is possible only on the basis of the intruding cadences mentioned above, as well as with the help of polyphonic overlaps of ends and beginnings. The latter is relatively rare. Besides everything else, the brevity of the parts of the form itself serves as a driving force; they are so small that they cannot be imagined as independent.
Variations on the basso ostinato, having emerged around the beginning of the 17th century, became widespread towards the end of the 17th century and in the first half of the 18th century. After this, they give way to more free forms of variation and are quite rare. Late examples: to a certain extent - Beethoven. 32 variations; Brahms Fourth Symphony, finale; Shostakovich Eighth Symphony, Part IV. Limited use occurs from time to time, for example, in the coda of the first movement of Beethoven's ninth symphony, in the coda of the first movement of Tchaikovsky's sixth symphony. In both of these works, ostinato has no independent meaning, and its use in conclusions is reminiscent of a tonic organ clause. Still, occasionally you can find independent pieces based on ostinato. Examples: Arensky. Basso ostinato, Taneyev Largo from piano quintet, op. thirty.

Strict variations. Their theme

In the 18th century, partly parallel to the existence of the basso ostinato, but especially towards the end of the century, a new type of variation form was formed - strict (classical) variations, sometimes called ornamental. Their prototype can be seen in the following of one of the dances of the ancient suite of variations on it, equipped with numerous small decorations, without any significant changes in all the main elements (the so-called Doubles). The techniques developed in ostinato variations also left their mark on the formation of a new type of variation form. Individual features of continuity will be shown below.
First of all, both continuity and new features are already evident in the theme itself.
From the melodic side, the theme is simple, easily recognizable, and contains typical turns. At the same time, there are no overly individualized phrases, since they are more difficult to vary, and repeating them would be intrusive. The contrasts are slight, but there are elements that can be developed independently. The tempo of the theme is moderate, which, on the one hand, favors its memorization, and on the other hand, makes it possible to speed up or slow down the variations.
From the harmonic side, the theme is tonally closed, internal structure its typical and simple, as well as its melody. The texture also does not contain any complex figurational patterns, harmonic or melodic.
When structuring a topic, the most important thing is its length. Already in Bach's time, themes are found in a simple two-part form, along with short themes. The theme of classical variations is most characteristic of a two-part form with a reprise; tripartite is less common.
The latter, apparently, is less favorable for the variational form, since on the verge of every two variations, in this case, there are parts of the same length, with similar content:

It is especially rare to find a theme consisting of one period. Such an example is the theme of Beethoven's 32 variations, which, however, resemble ancient variations on ostinato, in particular in the structure of the theme. In the structure of two-part themes, slight deviations from squareness are not uncommon.

Examples: Mozart. Variations from f-p. sonatas in A major (extension of the 2nd period); Beethoven. Sonata, op. 26, part I (expansion of the middle).

Variation methods

Orna mental variation as a whole gives a more or less constant proximity to those. It seems to reveal different aspects of the topic without significantly changing its individuality. Such an approach, as if from the outside, can be characterized as objective.
Specifically, the main ways of variation are the following:
1) The melody (sometimes the bass) is subjected to figurative processing. Melodic figuration is of great importance - treatment with auxiliary, passing and detention. The supporting sounds of the melody remain in their places or are pushed aside to another nearby beat, sometimes transferred to another octave or another voice. Harmonic figuration in melody processing
is of slightly less importance. The melody in its original or modified form can be placed in another voice.
Rhythmic changes, mainly acceleration of movement, are directly related to the figuration of the melody. Sometimes the meter also changes. Most of these techniques can be found already in the music of the first half of the XVIII centuries (see Bach’s “Goldberg Variations”). The tradition of polyphonization of at least some parts in the variation cycles of that time was also reflected in the ornamental variations of the classics. Some variations in their cycles are constructed entirely or partially canonically (see Beethoven. 33 variations). There are entire fugues (see Beethoven. Variations, op. 35) and fuguettes.
2) Harmony, in general, changes little and is often the most recognizable element, especially with wide figurations in the melody.
The general plan is usually unchanged. In the details one can find new consonances formed from figurative changes in voices, sometimes new deviations, an increase in chromaticity.
Varying the accompaniment of harmonic figuration is very common.
The tonality remains the same throughout the entire cycle of variations. But, partly at the beginning of the 18th century, and quite often in the variations of the classics, modal contrast is introduced. In small cycles one, and in large ones sometimes several variations are composed in the key of the same name as the main one (minore in major cycles, maggiore in minor ones). In these variations, chord changes are relatively common.
3) The form of the theme before the classics and among them, as a rule, does not change at all or almost not, which, in turn, contributes to its recognition. Deviations from the form of the theme are most common for those variations in which polyphonic elements play the main role. Fugues or fuguettes that occur as variations, based on the motives of the theme, are constructed according to their own rules and laws, regardless of its form (see Beethoven. Variations, op. 35 and op. 120).
So, many methods of variation invented in pre-classical art were adopted by the classics, and, moreover, significantly developed by them. But they also introduced new techniques that improved the variation form:
1) Some contrast is introduced within individual variations.
2) The variations, to a greater extent than before, contrast in character with each other.
3) The contrast of tempos becomes common (in particular, Mozart introduced a slow penultimate variation into cycles).
4) The last (final) variation is somewhat reminiscent in character of the final parts of other cycles (with its new tempo, meter, etc.).
5) Codes are introduced, the spaciousness of which partly depends on the total length of the cycle. In the codas there are additional variations (without number), sometimes developmental moments, but, in particular, techniques usual for the final presentation (additional cadences). The generalizing meaning of the coda is often reflected in the appearance of turns close to the theme (see Beethoven. Sonata, op. 26, part I), individual variations (see Beethoven. 6 variations G-dur); sometimes, instead of a coda, the theme is carried out in full (see Beethoven. Sonata, op. 109, part III). In pre-classical times there was a repetition of the Da Capo theme in passacaglia.

Order of Variations

The separateness and closedness of the parts of the variation cycle creates the danger of breaking up the form into isolated units. Already in the early examples of variations, there is a desire to overcome such a danger by combining variations into groups according to some characteristic. The longer the entire cycle, the more necessary the enlargement general outlines forms, by grouping variations. In general, in each variation, one method of variation dominates, without completely excluding the use of others.

Often a number of neighboring variations, although differing in detail, have a similar character. Particularly common is the accumulation of motion through the introduction of smaller durations. But the larger the entire form, the less the possibility of a single unbroken line of ascent to the maximum of movement. Firstly, limited motor capabilities are an obstacle to this; secondly, the final monotony that would inevitably result from this. A design that produces an ascent alternating with declines is more expedient. After a recession, a new recovery may provide more high point than the previous one (see Beethoven. Variations in G major on an original theme).

An example of strict (ornamental) variations

An example of ornamental variations, with very high artistic merit, can serve as the first movement of the piano sonata, op 26, by Beethoven. (To save space, the theme and all variations, except the fifth, are given the first sentence.) The theme, constructed in the usual two-part form with a reprise, has a calm, balanced character with some contrast, in the form of sf arrests on a number of melodic peaks. The presentation is full-voiced for the most part the topic. Register favoring cantilence:

In the first variation, the harmonic basis of the theme is completely preserved, but the low register gives a density of sound and a “gloomy” character to the beginnings of sentences I and II, the end of sentence I, and the beginning of the reprise. The melody in these sentences with the mouth is in a low register, but then leaves it in a lighter area. The sounds of the theme melody are partly shifted to other beats, partly transferred to other octaves and even to another voice. Harmonic figuration plays a large part in the processing of the melody, which is why the new placement of the sounds of the melody is connected. The predominant rhythm is as if running

encountered an obstacle. In the first sentence of the second period, the rhythms are more uniform, smoother, after which the main rhythmic figure returns in the reprise:

In the second variation, also while maintaining the harmony of the theme, changes in texture are very distinct. The melody is placed partly in the bass (in the first two bars and in the reprise), but already from the third bar, in the broken intervals of the bass, a second, lying above it, middle voice is outlined, into which the theme passes. From the fifth bar, wide leaps in the left hand quite clearly stratify vote. The melody of the theme is changed very little here, much less than in the first variation. But, in contrast to the theme, the new texture gives the second variation a character of excitement. The movement in the left hand part is almost entirely sixteenth notes, in general, with the accompaniment voices of the right hand being thirty-second notes. If the latter in the first variation seemed to “encounter an obstacle,” then here they flow in a stream, interrupted only by the end of the first period:

The third variation is minore, with a characteristic modal contrast. This variation contains the greatest changes. The melody, previously undulating, is now dominated by an upward movement in seconds, again with overcoming obstacles, this time in the form of syncopation, especially in moments of arrest. At the beginning of the middle there is a more even and calm movement, while its end is rhythmically close to the upcoming reprise, which is completely similar to the second sentence of the first period. The harmonic plan is significantly changed, except for the four main cadences. The changes in the chords are partly due to the requirements of the ascending line, as if pushed by the bass, which advances in the same direction (the basis of the harmony here is parallel sixth chords, sometimes somewhat complicated). In the middle, the deviation in the II degree of major is replaced by a deviation in the IV degree of minor, as a consequence of a change in mode. Register - low and medium, mainly with low bass. In general, the prevailing color is gloom and depression:

In the fourth variation, the main major key returns. The contrast of the mode is also enhanced by the clearing of the register (mainly the middle and upper). The melody is constantly thrown from one octave to another, followed by accompaniment Staccato accompaniment, together with leaps in melody and syncopation, gives the variation a scherzando character. The appearance of sixteenth notes in the second sentences of both periods makes this character somewhat sharper. The harmony is partly simplified, probably for the sake of the main rhythmic figure, but partly it is more chromatic, which, together with the elements described above, contributes to the effect of some whimsicality. Several turns are given in a low register, as a reminiscence from previous variations:

The fifth variation, after the scherzo fourth, gives a second wave of increasing movement. Already her first sentence begins with sixteenth-note triplets; from the second sentence to its end, the movement is thirty-second. At the same time, in general, despite the condensed movement, it is the lightest in color, since the low register is used to a limited extent in it. The fifth variation is no less close to the theme than the second, for in it the harmonic plan of the theme is completely returned. Here, in the second sentences of both periods, the melody of the theme is reproduced almost literally in the middle voice (right hand), in the 6 measures of the middle - in the upper voice. In the very first sentences it is slightly disguised: in vol. 1-8 in the upper voice its sounds are drawn to the end of each triplet; in bars 17-20, the two upper voices of the theme are made lower, and the bass of this part of the theme is located above them and appears:

Techniques of end-to-end development in variation form

The general trend has already been mentioned several times mature classicism to a broad end-to-end development of form. This trend, which led to the improvement and expansion of many forms, was also reflected in the variation form. The importance of grouping variations for enlarging the contours of a form, despite its natural dismemberment, was also noted above. But, thanks to the isolation of each individual variation and the general predominance of the main tonality, the form as a whole is somewhat static. For the first time in a very large variation form, Beethoven, in addition to the previously known means of constructing such a form, introduces significant sections of an unstable developmental order, connecting parts, uses the openness of individual variations and conducts a number of variations in subordinate tonalities. It was thanks to new techniques for the variation cycle that it became possible to construct such a large form of this kind as the finale of Beethoven’s third symphony, the outline of which is given (the numbers indicate the bar numbers).
1 -11 - Brilliant, rapid introduction (introduction).
12— 43— Theme A in a two-part form, presented in a completely primitive manner (actually, only the contours of the bass); Es-dur.
44—59—I variation; theme A in middle voice, counterpoint in eighth notes; Es-dur.
60-76-II variation, theme A in the upper voice, counterpoint in triplets; Es-dur
76—107—111 variation; theme A in the bass, above it melody B, counterpoint in sixteenth notes; Es-dur.
107—116—Connecting part with modulation; Es-dur - c-minor.
117—174—IV variation; free, like fugato; c-moll - As-dur, transition to h-moll
175-210 - V variation; theme B in the upper voice, partly with fast counterpoint in sixteenth notes, later in triplets; h-moll, D-dur, g-moll.
211-255 - VI variation; theme A in the bass, above it a completely new counter-theme (dotted rhythm); g-moll.
256—348 — VII variation; as it were, development, themes A and B, partly in circulation, contrapuntal texture, main culmination, C major, C minor, Es minor.
349-380 - VIII variation; Theme B is carried out extensively in the Andante; Es-dur.
381—403—IX variation; continuation and development of the previous variation; theme B in bass, counterpoint in sixteenth notes Transition to As major.
404—419 — X variation; theme B in the upper voice, with a free continuation; As-dur transition to g-moll.
420—430—XI variation; theme B in the upper voices; g-moll.
429-471 - Coda introduced by an introduction similar to that which was at the very beginning.

Free variations

In the 19th century, along with many examples of the variational form, which clearly reflected the continuity of the main methods of variation, a new type of this form appeared. Already in Beethoven's variations, op. 34, there are a number of innovations. Only the theme and the last variation are in the main key; the rest are all in subordinate tonalities, located in descending thirds. Further, although the harmonic contours and the main melodic pattern in them are still little changed, the rhythm, meter and tempo change and, moreover, in such a way that each variation is given an independent character.

Subsequently, the direction outlined in these variations received significant development. Its main features:
1) The theme or its elements are changed in such a way that each variation is given an individual, very independent character. This approach to the treatment of the topic can be defined as more subjective compared to the one manifested by the classics. Variations begin to be given programmatic meaning.
2) Thanks to the independent character of the variations, the entire cycle turns into something similar to a suite (see § 144). Sometimes connections appear between variations.
3) The possibility of changing tonalities within a cycle, outlined by Beethoven, turned out to be very appropriate for emphasizing the independence of variations through differences in tonal color.
4) Variations of the cycle, in a number of respects, are constructed quite independently of the structure of the theme:
a) tonal relationships change within the variation;
b) new harmonies are introduced, often completely changing the color of the theme;
c) the topic is given a different form;
d) the variations are so far removed from the melodic-rhythmic pattern of the theme that they represent plays only built on individual motives of the theme, developed in a completely different way.
All of the listed features, of course, are manifested to varying degrees in different works of the 19th and 20th centuries.
An example of free variations, some of which retain significant proximity to the theme, and some, on the contrary, move away from it, is Schumann’s “Symphonic Etudes” op. 13, written in variation form.

Schumann's Symphonic Etudes

Their structure in general outline is this:
The theme is of a cis-minor funeral nature—in the usual simple two-part form with a reprise and a somewhat contrasting smoother middle. The final cadence, quite “ready” for completion, however, turns to the dominant, which is why the theme remains open-ended and ends as if interrogative.
Variation I (Etude I) has a march-like, but more lively character, becoming smoother towards the end of the middle. The new motive, carried out first imitatively, is “embedded” in the first sentence in the harmonic plan of the theme. In the second sentence he counterpoints to the theme carried out in the upper voice. The first period, which ended in the theme with a modulation to parallel major, does not modulate here; but in the middle of the form there is a new, very fresh deviation in G-major. In the reprise the connection with the theme is again clear.
Variation II (Etude II) is constructed differently. The theme in the first sentence is carried out in the bass, the upper voice is assigned a new counterpoint, which in the second sentence is left alone, replacing the theme and obeying mainly its harmonic plan (the same modulation in E-dur).
In the middle, the melody of the theme is often carried out in the middle voice, while in the reprise a slightly modified counterpoint from the first period remains, while maintaining the harmonic plan of the theme, in its main features.
III etude, not called a variation, has a distant theme with
connection. The dominant tonality is E-dur, which was previously subordinate. In the second measure of the melody of the middle voice there is an intonation corresponding to the same intonation of the theme in the same measure (VI-V). Further, the direction of the melody only approximately resembles the pattern of the verse. 3-4 themes (in the theme fis-gis-е-fis in the etude e-)is-efts-K). The middle of the form approximately corresponds to the middle of the theme on the harmonic plane. The form became three-part with a small middle.
III variation (IV etude) is a canon, which is built on the melodic pattern of the theme, slightly changed, probably for the sake of imitation. The harmonic plan has been slightly changed, but its general outlines, as well as its form, remain close to the theme. Rhythm and tempo give this variation a decisive character.
Variation IV (Etude V) is a very lively Scherzino, proceeding mainly in light sounds with a new rhythmic figure. Elements of the theme are visible in the melodic contours, but the harmonic plan is changed much less, only both periods end in E major. The form is two-part.
Variation V (Etude VI) is both melodically and harmonically very close to the theme. The character of agitation is given not only by the general movement of the thirty-seconds, but also by the syncopate accents in the left hand part, contrary to the smooth movement of the upper voice by the eighths. The form of the topic is again unchanged.
VI variation (VII etude) gives a great distance from the theme. Its main key is once again E-major. In the first two bars there are topical sounds in the upper voice, as at the beginning of the theme. In vols. 13-14, 16-17 the first figure of the theme is carried out in quarters. This, in fact, is where the connection with the original source is limited. The form is three-part.
VII variation (VIII etude)—an approach to the theme in harmony of the first period and a number of new deviations in the second. The extreme points of both periods coincide with the same places in the theme. The form is still two-part, but the periods have become nine-bar. Thanks to the dotted rhythm, graceful sixty-fours in imitations and constant accentuation, the character of decisiveness is again created. Horse racing introduces an element of capriccioso.
Etude IX, not called a variation, is a kind of fantastic scherzo. Its connection to the theme is small (see notes 1, 4, 6 and 8 in the opening melody). There is something in common in tonal terms (I period cis - E, middle cis - E, reprise E - cis). The form is a simple three-part with a very large coda of 39 bars.
VIII variation (X etude) comes much closer to the theme. Not only have the main features of its harmonic plan been preserved, but many of the sounds of the melody on strong and relatively strong beats have remained intact. The auxiliaries in the upper voice that figure the melody are accompanied by auxiliary chords on the fourth sixteenth of almost every beat. The rhythm resulting from this, together with the continuous common sixteenth notes, determines the energetic character of the variation. The topic form has been saved.
Variation IX is written in a key that has not yet been touched upon (gis-minor). This is a duet, mainly of an imitation warehouse, with accompaniment. In terms of rhythm and melodic outlines, it is the softest (almost plaintive) of all. Many features of the melody and harmony of the theme have been preserved. The theme form has also been slightly changed by extensions. For the first time, an introductory step has been introduced. General character and final
morendo stand in stark contrast to the upcoming finale.
Progression from the funeral theme through various variations, sometimes close to the theme, sometimes moving away from it, but mainly mobile, decisive and not repeating the main mood of the theme, leads to a bright, brilliant rondofial.
The ending resembles the theme only vaguely. The chord structure of the melody in its first motive main topic, the two-part form of this theme, the holding in episodes between its appearances of the first melodic figure with which the “Symphonic Etudes” opens - this, in fact, is how the finale is connected with the theme on which the entire work is based.

A new type of variations introduced by M. Glinka

The verse structure of Russian folk song served as the primary source of a new type of variation form, which was introduced by M. I. Glinka, and became widespread in Russian literature, mainly in opera numbers of a song nature.
Just as the main melody of a song is repeated in each verse completely or almost unchanged, in this kind of variation the melody of the theme also does not change at all or almost unchanged. This technique is often called soprano ostinato, since there really is something in common between it and the old “stubborn” bass.
At the same time, the variation of subvoices in folk music, being somewhat related to the ornamentation of classical variations, gives impetus to the addition of contrapuntal voices to the ostinato melody.
Finally, the achievements of the Romantic era in the field of harmonic variation, in turn, were inevitably reflected in a new type of variation, being especially appropriate in a variational form with a constant melody.
Thus, the new variety of variational form created by Glinka combines a number of features characteristic of both Russian folk art and pan-European compositional technique. The combination of these elements turned out to be extremely organic, which can be explained not only by the talent of Glinka and his followers, but also, probably, by the commonality of certain presentation techniques (in particular, variation) among many peoples of Europe.

"Persian Choir" by Glinka

An example of the Glinka type of variations is the “Persian Chorus” from the opera “Ruslan and Lyudmila”, associated with images of the fabulous East (in examples 129-134 only the first sentence of the period is written out).
The theme of the variations, which is given a two-part form with the repetition of the middle and reprise, is presented extremely simply, with a sedentary harmony, part (in the first conduction of the middle) - without chords at all. Deliberate monotony, with tonal contrast E - Cis - E - and slight dynamization, through emphasizing vertices h in reprise:

The first variation is given a more transparent character. There are no low bass, the accompaniment pattern, located in the middle and high registers of wooden instruments, is very light. The harmonies change more often than in the theme, but are almost to the same extent diatonic. More colorful harmonies appear, mainly of the subdominant function. A tonic organ point (Fag.) appears:

In the second variation, against a background of approximately equally transparent harmonic accompaniment (there are relatively low basses, but also pizzicato chords above them), a chromatic flute ornament appears, mainly in the high register. This pattern has an oriental character. In addition to the flute counterpoint, cellos were introduced with a simple melody, moving more slowly (the role of the cello voice is partly orchestral pedaling):

The third variation contains significant changes in harmony and texture. The E-dur parts of the theme are harmonized in cis-tnoll. In turn, the cis-moll "mu part of the theme is, to some extent, given a kind of E-dur harmony (the first two of the parallel sixth chords of this part). The choir melody is duplicated by a clarinet, which has not yet performed with the leading voice. Quite low bass with triol figuration, mainly with auxiliary sounds in the eastern gender, are set out for the most part at the organ point Harmony is slightly colored in the extreme parts by a major subdominant:

The fourth variation, which goes directly into the coda, is close in texture to the theme, which is very reminiscent of the general traditions of the form. In particular, low bass is again introduced, and the sonority of the strings predominates. The difference from the theme is a certain imitation and chromatization of the harmony of the extreme parts of the theme, greater than in previous variations:

The harmonies are not polyphonic, the plagal cadences are somewhat chromatic, as they were in the third variation. All extreme parts of the theme and variations ended in a tonic. This property easily imparts a final character to the reprise itself, emphasized by the repetition of its last two-beat as an addition. This is followed by another pianissimo plagal cadence.
In general, the “Persian Chorus”, which opens the third act of the opera (taking place in the magical castle of Naina), gives the impression of luxury and stillness of the fabulous East, enchantment and is very important on stage in terms of the color it creates.
A more complex example of variations, generally close to this type, is Finn's Ballad from the opera Ruslan and Lyudmila. Its difference is a departure from ostinatism in some variations and the introduction of a developmental element into two of them.

The introduction of episodes in subordinate keys with a deviation from ostinato, to some extent, makes this form similar to the rondo (see Chapter VII), however, with a significant predominance of the variational principle. This type of variation, due to its somewhat greater dynamism, turned out to be historically persistent (operas by Rimsky-Korsakov).

Double Variations

Occasionally there are variations on two themes, called doubles. They first present both themes, then follow in turn variations on the first of them, then on the second. However, the arrangement of the material can be freer, as exemplified by the Andante from Beethoven's fifth symphony: vols. 1—22 A Topic
vol. 23-49 B Theme (together with development and return to A)
50-71 A I variation
72—98 V I variation
98-123 A II variation 124-147 Thematic interlude 148-166 B II variation 167-184 A III variation (and transition) 185-205 A IV variation 206-247 Coda.

Scope of variation forms

The variation form is very often used for independent works. The most common titles are: “Theme with Variations”, “Variations on a Theme...”, “Passacaglia”, “Chaconne”; less common is “Partita” (this term usually means something else, see Chapter XI) or some individual name, like “Symphonic Etudes”. Sometimes the name says nothing about variational structure or is completely absent and the variations are not even numbered (see the second movements of Beethoven's sonatas, op. 10 no. 2 and op. 57).
An independent isolated structure has variations as part of a larger work, for example choruses or songs in operas. Particularly typical is the construction in variational form of completely isolated parts in large cyclic, that is, multi-part forms.

The inclusion of variations in a large form, as a non-independent part, is rare. An example is the Allegretto of Beethoven's seventh symphony, the plan of which is very peculiar by placing the trio among the variations, resulting in a complex three-part form as a whole.

Even more exceptional is the introduction of the theme with variations (in the truest sense of the term) as an episode in the middle part of the sonata form in Shostakovich's seventh symphony. A similar technique is observed in Medtner's first piano concerto.

Methodological development on the topic:

« The artistic and educational significance of variation music-making in the process of developing a variation form».

Introduction

Throughout the entire period of study at the Children's Art School, students are accompanied by variation music playing (starting from the first grade, when they play “Shadow-Shadow” or “Oh, the hoop broke” and ending with complex works of classics or modern composers). But, without mastering the laws of the variation form, it is impossible to competently perform a piece using those stylistic devices and features of piano writing that would correspond to a certain type of variation. That's why this topic, I think is relevant.

A variation form, or variations, a theme with variations, a variation cycle, is musical form, consisting of a theme and its several (at least two) modified reproductions (variations). Changes can occur in texture, mode, tonality, harmony, the ratio of counterpointing voices, timbre, etc. In each variation, not only one component, but also a number of components together can undergo a change. The unity of the variation cycle is determined by the commonality of thematicism arising from a single artistic concept and a coherent line musical development, dictating the use of certain variation techniques in each variation and ensuring the logical coherence of the whole.

It is necessary to distinguish between variational form and variation as a principle. The latter has an unlimited range of applications (a motive, a phrase, a sentence in a period, etc., can vary, up to varying a reprise in sonata form). However, a single application of the principle of variation does not create a form based on it. A variational form arises only with the systematic application of this principle, therefore at least two variations are necessary to create it.

Classification options

Variations are usually classified according to four parameters:

1. Does the process of variation affect the theme or only the accompanying voices highlight:

a) direct variations (the theme varies);

b) indirect variations (the accompanying voices vary).

2. By degree of change:

a) strict (the variations preserve the tonality, harmonic plan and

topic form);

b) free (wide range of changes, including harmony,

form, genre appearance, etc.; connections with the topic are sometimes conditional;

each variation can achieve independence as a piece with

individual content).

3. Which method of variation predominates:

a) polyphonic;

b) harmonic;

c) textured;

d) timbre;

e) figurative;

e) genre-characteristic.

4. By the number of themes in variations:

a) monochrome;

b) double (double);

c) triple (three-theme).

In the process of development of this form, several main types of variations with a relatively stable combination of these characteristics became stronger: variations on a sustained (ostinato) bass (basso ostinato); variations on a sustained melody (soprano ostinato); strict variations (figurative or ornamental), free variations (genre-characteristic). These types existed in parallel since the 17th century, but in different eras some of them were more in demand.

Folk origins variation form

Variations are one of the oldest musical forms, known since the 13th century. The variational principle of development originates in folk music. In folk (in particular, in Russian) music, the melody of any song was subject to variation development directly in the very process of performance. The most inventive folk singers varied the melody of the repeated verses of the song in every possible way, enriching it with a variety of intricate echoes. If singing was accompanied by playing an instrument, then changes often occurred precisely with the accompaniment.

IN professional music Western European variations were associated with the development instrumental genres. Back in the XIV-XV centuries. many outstanding masters of playing the lute, clavier, and organ could improvise for hours on some popular theme, finding new shades and colors of its sound. This is how the form of variations was born.

IN In the 16th century, secular instrumental art, due to favorable social conditions, received intensive development in France and England. In clavier music, predominantly forms of works associated with everyday music and the traditions of lute art were used: in France it was a dance suite, in England it was variations.

In 1611, the first collection of harpsichord pieces by virginalist composers - William Bird, John Bull, Orland Gibbons - was compiled in England. .

It is characteristic that these composers often took themes for their variations from folk music. One of famous works Bird had variations on the popular song “Cabin Whistling.” Anton Rubinstein performed this piece in Historical Concerts as a typical example of Old English virgin art. These variations are of little contrast (monotonous). Their texture is chordal, somewhat heavy (see example No. 1).

Grounds, or variations on sustained bass

English virginalism reached its highest point in the second half of the 17th century in the work of Henry Purcell (1659-1695). A peculiar type of variation in English music of that time was the so-called ground. As in chaconnes and passacaglia, in the grounds one constant figure was repeated throughout the entire piece. It was an ostinato bass - hence the name “ground” (which in English means theme, basis, soil), and in other words, variations on basso ostinato, that is, a sustained bass.

Purcell's New Ground is an excellent example of his style. Here we can talk about the artistic image of the work. This is a lyrical play - no longer an everyday dance, but a poetic picture of a mood (see example No. 2). For the artistic and educational development of students, Purcell's miniatures (in particular plays of variation form) should be used more widely as a concert and pedagogical repertoire. When working on them, as well as on the works of other virginalists, collections edited by N.I. can be useful. Golubovskaya:

"G. Purcell, Selected Keyboard Works and Selected Keyboard Pieces of Ancient English Composers.

As mentioned above, variations on the ostinato bass were closely related to the dance genres of that time - chaconne and passacaglia. Subsequently, they lose their obligatory affiliation with the dance and designate precisely this form of variation.

The theme of ostinato variations is usually short and simple. In more developed forms - with the outline of the main functions in cadence or with descending chromatic movement - a favorite technique for constructing an ostinato theme (J.S. Bach “Mass in E Minor” - example No. 3). But a harmonic structure is also possible, in which the theme serves as a bass voice (J.S. Bach “Chaconne” in D minor, see example No. 4). This form is undergoing development. The ostinato melody is usually repeated in the bass, but sometimes it is temporarily transferred, for variety, to the upper or middle voice, and is also subjected to some ornamentation. For example, “Passacaglia in G minor” for clavier G.F. Handel, which is in the collection we use

T.I. Smirnova “Allegro”; Intensive course; notebook No. 5 Ed. TsSDK, M., 1993 (see example No. 5).

Also in the collection “Kalinka” (compiled by A.A. Bakulov and K.S. Sorokin. All. Publishing house “ Soviet composer", M., 1987) there is "Chaconne" (on p. 133) by G.F. Handel played by our students junior classes. It combines the features of danceability and variations on the basso ostinato (see example No. 6).

Due to the brevity of the theme, variations are often combined in pairs (based on the principle of similar texture of the upper voices) - in G. Handel’s “Passacaglia” in G minor. The boundaries of variation do not always coincide clearly in all voices (as in Purcell's New Ground, for example). In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. Completion of the cycle may extend beyond variations. Thus, the organ “Passacaglia” in C minor by I.S. Bach ends with a grand fugue, and the above “Passacaglia” by G.F. Handel from Sat. T.I. Smirnova ends with a short coda.

IN XVII - early XVIII centuries this is the most common type of variation.

In the classical era it disappears, sometimes found in local areas of the form. Some of the variations on basso ostinato are the famous “32 variations in C minor” by L. Beethoven. This type is also irrelevant for romantics. It was rarely used by them (Brahms, “Finale of Symphony No. 4”).

Interest in these variations re-emerged in the 20th century. R. Shchedrin has a work called “Basso ostinato”, and

D. Shostakovich, an example of such variations is found in the opera “Katerina Izmailova” (intermission between the 4th and 5th scenes of the opera).

Variations on a sustained melody

There are also variations in which the melody of the upper voice is invariably repeated, called soprano ostinato. They are most characteristic of vocal music, the origins of which go back to folk song patterns, where the main melody remained unchanged during verse repetition, and changes occurred with accompaniment. In choral singing, when the main melody was identical or similar, changes occurred in other voices of the choral texture. These variations have become widespread in opera, in particular Russian vocal creativity XIX century. For example, "Persian Choir"

M. Glinka from his opera “Ruslan and Lyudmila” or Marfa’s song “The Baby Was Coming” from M. Mussorsky’s opera “Khovanshchina”.

The theme may be original or borrowed, usually from folk music. The form of the topic is regulated. This can be one or two phrases, a period, a large sentence, up to a simple three-part form. According to the method of variation, variations on a sustained melody belong to indirect variations, because variation occurs due to accompanying voices. Since the theme is unchanged, variation can be textural, timbre, polyphonic, harmonic and genre. Textural-timbre variation involves changing the texture, introducing a new pattern, re-orchestration, and in the choir - transferring the melody to other voices.

With polyphonic variation, the composer introduces new subvoices or fairly independent melodic lines. It is possible to have a polyphonic design of the theme itself in the form of a canon, etc.

Harmonic variation is expressed in the reharmonization of the melody. The scale of changes can be different, up to changing the mode (M. Glinka “Persian Choir” from the opera “Ruslan and Lyudmila”) or even transferring the melody itself to a different key (Rimsky-Korsakov – chorus “Height” from the opera “Sadko”).

Genre variation occurs when the listed types of variation lead to the formation of a new genre appearance of the theme, which is rare in variations on a consistent melody.

This type of variation was introduced and widespread in Russian musical literature by M.I. Glinka. In addition to the constant melody, he also introduces harmonic variation, which is characteristic of the romantic era. Thus, the new variety of variational form created by Glinka combines a number of features characteristic of both Russian folk art and pan-European compositional technique.

In instrumental music, an example of such variations is the work of E. Grieg “In the Cave of the Mountain King” from the music to the drama “Peer Gynt”. It is believed that ostinato variations laid the foundation for the polyphonic type of variation and were formed in professional music of Western Europe from the 16th to the 18th centuries.

Strict Variations

IN In the 18th century, with the development of the homophonic style, along with polyphonic ostinato variations, variations with a predominant importance of textural transformation of the theme - the so-called strict (classical), sometimes called ornamental or figurative variations - became increasingly widespread.

Their prototype can be seen in following one of the dances of the ancient suite of variations on it, equipped with numerous small decorations, without any significant changes in all the basic elements, the so-calledDoubles(Dubs), also found in sheet music literature for music schools. The techniques developed in ostinato variations also left their mark on the formation of a new type of variation form. First of all, both continuity and new features are already evident in the theme itself. From the melodic side, the theme is simple, easily recognizable, and contains typical turns. The contrasts are slight, but there are elements that can be developed independently. The pace of the topic is moderate. From the harmonic side, the theme is tonally closed, its internal structure is typical and simple. The texture does not contain complex figurative patterns. The form of the theme is usually a simple two-part, sometimes three-part, and much less often a period. In strict variations, direct variation is carried out, since the theme itself is transformed. But in general, ornamental variation gives constant closeness to the theme. The melody (sometimes bass) is subjected to figurative processing. Of great importance is the enrichment of the melody with non-chord sounds (passing, auxiliary, delays). Harmony changes little and is a recognizable element. Varying accompaniment with harmonic figuration common. The tonality throughout the cycle is the same, although in the variations of Viennese classics modal contrast is introduced (using keys of the same name). The form of the theme before the classics and among them does not change at all or almost (but there are exceptions, as we will see below in our example).

The scope of application of such variations is almost exclusively instrumental music. They are especially common in the music of Viennese classics. They may have an independent piece (many variation cycles by Haydn, Mozart, Beethoven) or part of a cycle (finale, slow movement, less often the first movement).

The innovation of the Viennese classics is their introduction of contrast within individual variations; contrast between variations; contrast of tempos; the last variation often resembles the final parts of other cycles; sometimes a code is entered.

In general, classical variations are determined by the unity of figurative content, and variations help to reveal the artistic possibilities of the theme and its expressive elements. As a result, a versatile but united musical image emerges.

For example, consider “Song with Variations” (la Roxelana) by J. Haydn (see example No. 7). History and literature mention Roxelana, the wife of Ottoman Sultan Suleiman the Magnificent. Haydn even has Symphony No. 63 in C major “Roxelana”. It can be assumed that the composer dedicated these variations to a certain Roxelana, creating in music a multifaceted image of a girl or woman with a changeable character. We can imagine her as sad and cheerful, intelligent and deep in nature, and sometimes flirtatious and frivolous, which can be seen in different variations. The theme is a song (or in other publications it is called “Aria with variations”) written as if for female voice(in the upper register) and is a simple two-part form with a contrasting small middle and a dynamic reprise, which speaks of the depth of feelings and character of the image. The theme is calm, somewhat tense in the middle and reprise due to the deviation into the key of the minor dominant - G minor (and the main key is C minor) and the introduction of a double dominant. Short leagues on the 1st beat of a measure and staccato throughout the theme give the music an elegant character.

Next we observe the contrast between the variations due to the introduction of the eponymous major (C major) and the deviation from the form of the theme. The form of the first variation is already a period, and not two-part. The major mode creates an uplifting mood, and the introduction of sixths, thirds and dotted rhythms into the melody gives the music a festive solemnity (as in Polonaise).

The second variation is the same in form, theme and key again in C minor. The character is sad. The variation of the melody is ornamental due to the enrichment of the theme with non-chord sounds (foreshlags, auxiliaries, passing, delays), and the music acquires an elegant, flirtatious character. In the reprise, a polyphonic element of variation is introduced, which creates even greater expressiveness compared to the theme.

The third variation is again in C major. The form, as in the first variation, is period. The variation is textured. 16th notes are introduced into the left hand part; chords, octaves to melody. The dynamics are brighter than in the first variation, the mood is more upbeat. There is a technical, dynamic, emotional development of the music, which brings the listener to the climax.

The separateness and closedness of the parts of the variation cycle creates the danger of fragmentation of the form. Already in the early examples of variations, there is a desire to overcome this danger by combining variations into groups according to some characteristic. Sometimes the classics mentally reduce the form to tripartite, like the form of a sonata allegro.

The fourth variation plays the role of development and culmination. It is developed in form. This is already a three-part form (8+10+8t.). The middle is extended to 10 bars. The left hand part is complicated due to the figuration of 16th triads according to the sounds (variation by harmonic figuration) and the introduction of thirds. The harmony is complicated: the main tonality of the fourth variation is C minor, and the middle in E flat major is parallel major. But both the harmony and the melody remain recognizable. In Part III of this variation, the melody is moved to the lower register. The dynamics are more varied (from “p” to “f” and “sf”). All this creates an excited, intense character of the music and the image as a whole.

All contradictions are resolved in the fifth variation, which plays the role of the final part of the cycle (finale) - joyful, cheerful, impetuous. The key is C major again. The tempo remains the same, but due to the figurative variation of the melody in in this case(and not harmony) and the introduction of 16th triads and scale passages, the variation “sweeps by” quickly and is technically the most difficult to perform. The harmony, as before, is simple - alternating tonic and dominant, as in other major variations (first and third). The form here is free with features of a verse (chorus and chorus), which is typical vocal music and corresponds to the title of this work - “Song with Variations”.

The thematic material in the works of the Viennese classics is distinguished by brightness, relief of images, and always bears the stamp of originality and unique individuality of the composer, as we have seen in the example of these variations by J. Haydn. Therefore, for the artistic and educational development of students, it is very important for them to familiarize themselves with the work of the Viennese classics and the style of their piano writing.

Free variations

IN In the 19th century, starting from its second third, a new type of variation form appeared - free variations. Their emergence is closely related to the romantic trend in music.

The theme in free variations undergoes much more transformation than in strict ones. In them, it is possible to change the structure (form), harmony, tonality, theme. Often, some variations do not use the entire theme, but only certain of its elements, small, sometimes seemingly minor turns. (“Variations on a Belarusian song” by N. Rakov for children’s art school students, 6th grade). Therefore, in many free variations the connection with the theme is no longer expressed as directly as it was in strict ones; the forms of its manifestation become more diverse. A theme can serve not only as the basis for variational development, as in strict variations, but also as a reason for creating a chain of different miniatures, many of which are very distantly related to it (R. Schumann “Children’s Scenes”). A number of variations acquire such individual features that it becomes possible to write them in various genres, for example, variations in the genre of waltz, mazurka, march.

Consider “Variations on a Theme of Ukrainian Folk Song”

E. Andreeva for high school students of the Children's Art School (see example No. 8). The theme differs little in character from the theme of strict variations. It is only worth noting the complexity of its musical language, which can be explained by the variety of techniques used for further variation, which in strict variations were reduced mainly to the complication of texture. Key G minor, size, form – period (6+6 bars).

The first variation is called "Song". Tonality and form, as in the theme. Only the lower voice in the left hand part varies: from a polyphonic two-voice presentation in the theme it turns into a one-voice one. Grace notes appear, durations are reduced from quarter notes to eighth notes due to the introduction of passing sounds (like strict variations, but it is not the melody that varies in an ornamental way, but the accompaniment). In fact, the theme and the first variation are the same Ukrainian song.

The second variation is called “Polyphonic Piece”. The theme is transferred to the left hand part and is presented in enlarged durations - quarter notes and half notes, in contrast to the theme, where eighth notes and quarter notes are used. The echoes in the right hand part have undergone a complete rhythmic change - triplets and sixteenth notes are introduced. Due to the enlargement of the duration of the theme, the form of this variation is also enlarged - this is a period of two sentences of ten bars plus one bar of the conclusion.

The third variation is called “Etude”. The texture is completely changed, the technique of hidden polyphony is introduced. The theme with some melodic changes is heard in the upper voice. The period is extended to 24 cycles.

The fourth variation is the play “The Top”. The tonality is the same, but the meter and tempo of Vivace changes, which corresponds to the new character and image. The theme, although weak, is heard. The form is the same (24 bars).

Fifth variation – “Mazurka”. The size is as it should be in Mazurka -. The melody is based on the sounds of the theme. A dotted rhythm is introduced (the rhythmic pattern is completely changed). Written in a new form - three-part with a contrasting middle in a distant key - E flat major.

The sixth variation is “Musical toy”. There is polyphonic variation here with the transfer of a highly modified melody to different registers and hand parts. The tempo slows down - Andante cantabile is the slowest tempo of all the miniature variations. The key changes to the major of the same name - G major. The form is three-part, but consists of only 16 bars.

The seventh variation “March” is energetic, agile, and is the final one in this cycle. The time signature changes to , the key of G major. The theme is almost unrecognizable rhythmically and intonationally. The form is three-part, but greatly enlarged in the number of bars (57 bars – 16 + 25 + 16). In the middle movement the original theme appears, but in the key of E major, then in A minor. Again, a polyphonic element is introduced, as in the theme. All this reminds us that the title of this work is “Variations on a Theme of a Ukrainian Folk Song.” This is an example of genre variations written in modern times. Artistically, it is of great importance for the development of imaginative thinking and the emotional sphere of the performer.

If we turn to another example of free variations, namely R. Schumann’s “Children’s Scenes,” we will see that the cycle consists of miniatures of different character, form, and tonal plan, united only by a common design. They reveal the world of children's fun, joys and sorrows, draw pictures surrounding life. The plays are called: “About Foreign Lands and People”, “A Strange Story”, “A Game of Blind Man’s Buff”, “A Child’s Request”, “Happy Contentment”, “An Important Event”, “Dreams”, “By the Fireplace”, “Riding on stick”, “Isn’t it too serious?”, “Frightening”, “A falling asleep child”, “Words of a poet”. This is a more complex variation cycle, which belongs to the repertoire of music colleges, and not the Children's Art School. However, one play from this cycle is found in collections of works for students in the 6th grade of art schools - the play “Dreams”.

The greatest achievements are associated with the name of R. Schumann romantic music: the ability to deeply and subtly penetrate into the life of the human heart, the desire to see the wonderful and extraordinary in life, hidden from indifferent ordinary people. Therefore, familiarity with the music of Schumann and other romantic composers always brings an invaluable contribution to the formation of a certain piano style and artistic taste of students.

Let's consider another example of free variations of the twentieth century - this is “Variations on a Belarusian Song” by N. Rakov (see example No. 9). The theme consists of separate short motives, which is typical for folklore genre crying (lamentations). The key is A minor. It should be noted that the instrumental theme is “vocal”. Its presentation is two-voice (sexts), movement in a descending third (III-I degree, V-III degree). Priority of melody: harmony is given late. The harmonies are lush and colorful. Parallel major-minor means are used (for example, the D flat triad

major in A minor is nothing more than the triad of the second lowered degree from C major - measure 7), DD43 in C major - measure 12. The form of the theme is a sentence of two phrases (8 + 8 t).

Further the topic varies, acquiring different character: sometimes waltz-like, sometimes lyrical, sometimes alarming. In the coda, the theme sounds monumental and persistent (compared to the beginning) due to the powerful texture and bright dynamics (ff). The tonal plan is very diverse (dynamics are replaced by chromaticity). The variations in this cycle are not separated from each other and their boundaries are not precisely defined. Between the variations there are connections, and, as previously mentioned, in free variations individual elements of the theme can vary, here we can even highlight a variation of passages (bars 119-154). The theme is included three times in the variations, so we can say that the form of the work is mixed - variations + rondo! Harmonic means are determined by a complex modal system. Only the rhythm undergoes little transformation.

We see an avoidance of strict forms in the variations, improvisation, and a tendency towards vocal strophic form, which seems to follow from the lyrics of the song. All these are the colors of the twentieth century. These variations, with their improvisational nature, develop the student's creative thinking, individuality, technique and freedom of performance.

In the twentieth century, the range of possibilities of the variational form gradually expanded. An example of an original interpretation of it can be “Variations and Fugue on a Theme of Purcell” by B. Briten, which has the subtitle: “A Guide to the Orchestra for Young People.” The theme here travels from one instrument to another, introducing the listener to their timbres and means of expression.

Variations on several themes

In addition to variations on one theme, there are variations on two themes (double) and three (triple). Double variations are rare, triple variations are exceptional (M. Balakirev “Overture” on the themes of three Russian songs).

In double variations, both themes are first presented, then variations on the first of them, then on the second, follow in turn. However, the arrangement of the material can be more free. Topics may be close to each other in nature or, conversely, contrasting. An example of such variations is “Kamarinskaya” by M. Glinka, where two themes were subject to variation treatment: the wedding song “Because of the Mountains, High Mountains” and the playful dance song “Kamarinskaya”.

Variations with a theme at the end

Finally, there are variations with a theme at the end. The emergence of this type of variation is associated with a departure from classical thinking in the field of form, which required a theme at the beginning and its further development. They appear at the very end of the 19th century (there were precedents in the Baroque era in some variation compositions). Most significant works of this kind: symphonic variations of “Ishtar” by Vincent d’Indy (1896), “Third Piano Concerto by R. Shchedrin” (1973), “Piano Concerto by A. Schnittke” (1979). There is no regulation of the form. In Shchedrin's concerto, the variations are combined in a very complex way, up to an asynchronous beginning in the orchestra and in the soloist's part. Elements of the theme are scattered throughout the concerto, and it emerges entirely in the final cadenza. In Schnittke's concerto the theme is a complex, including a dodecaphonic series, triads and recitation on one sound.

Conclusion

So, we see that as the art of music develops, musical forms also change. They serve new ideological and artistic tasks and therefore new methods of presentation and development appear in them, and the general composition of the musical material also changes.

In the pedagogical repertoire, variation cycles occupy a prominent place among works of large form. Getting to know them is of great artistic and educational importance for the musical and technical development of students. The uniqueness of variation cycles is that they combine elements of both large and small forms. Therefore, the student, working on them, acquires especially diverse executive skills. Like a miniature, each individual variation requires laconism of expression, the ability to say a lot in a little. At the same time, when combining individual variations into a single whole, the student is required to have a large amount of memory and attention, and the ability to switch from one artistic task to another.

The student must know what type of variations and variations his work belongs to, be able to find a theme and its elements, delve into the features of modal and harmonic structure, form, texture and other means of expression. This will help you consciously analyze the text and penetrate deeper into the content of the music being performed.

By learning variations relating to different historical eras, we introduce students to various stylistic features of piano writing, and consider different solutions to artistic problems by composers. By performing variations on themes of different peoples (Russian, Belarusian, Ukrainian, Moldavian, Slovak, etc.) we introduce the folklore of these peoples.

I would like to say from practice that working on variational form is very interesting. In each variation it is necessary to convey a certain character and mood, using various technical techniques of performance.

All the knowledge acquired in the process of working on the variation cycle helps to achieve the most important task - the education of a versatile musician - a performer with creative thinking, a sense of style and a rich emotional palette.

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Alekseev A., “Methods of teaching piano,” ed. 3rd, M., “Music”, 1978.

Kyuregyan T., “Form in music of the 17th - 20th centuries”, M., 1998.

"Musical Form", ed. Yu.N. Tyulina, ed. "Music", M., 1965.

Spogin I.V., “Musical Form”, 6th ed., M., “Music”, 1980.

“Problems of Musical Science”, collection of articles, compiled by V.I. Zak, E.I. Chigareva, vol. 6, M., “Sov. composer", 1985.

Fraenov V., “Musical form. Course of lectures", M., 2003.

Kholopova V., “Form of musical works”, St. Petersburg, “Lan”, 1999.

Shatskaya V.N., “Musical and aesthetic education of children and youth”, M., “Pedagogy”, 1975.

"Encyclopedic Dictionary of a Young Musician", comp. Medushevsky V.V., Ochakovskaya O.O., M., “Pedagogy”, 1985.

A virginel is a musical instrument, a type of small harpsichord in England, hence the name of the performers on it - virginalists.

Variations, or more precisely, a theme with variations, is a musical form that is formed as a result of the use of variation technique. Such a work consists of a theme and several repetitions of it, in each of which the theme appears in a modified form. Changes can concern different aspects of music - harmony, melody, voice guidance (polyphony), rhythm, timbre and orchestration (if we are talking about variations for an orchestra). Variations created spontaneously right at a concert by a virtuoso performer, if he has the gift of an improviser, have a special effect and impact on listeners...

Alexander Maikapar

Musical genres. Variations

Shape Features

A characteristic feature of the variation form is a certain static nature (especially in comparison with the sonata form Allegro, which we examined in one of the previous essays and which, on the contrary, is characterized by extraordinary dynamism). Staticity is by no means a disadvantage of this form, but rather a characteristic feature. And in the most significant examples of variation cycles, staticity was what the composer wanted and achieved. It followed from the very fact of repeated repetition of the same formal structure (theme).

The melody in its recognizable moments, the bass line, which is the basis of the harmonic sequence, the tonality common to all variations (in classical variations the mode may change - in a major cycle there will be a minor variation and vice versa, but the tonic always remains the same) - all this creates feeling of static.

The form of variations and this musical genre itself are very popular among composers. As for listeners, wittily composed variations usually arouse keen interest, since they very clearly demonstrate the skill and inventiveness of the composer. This clarity is ensured by the fact that in variations, as a rule, the structure of the theme and its form are preserved, while the instrumental texture is subject to variation.

Characterizing variations and the technique of variation itself in this way, we mean, at least at the beginning of our story about this musical form, the classical type of variations that developed in the work primarily of composers of the Baroque era, then among the so-called Viennese classics (, Mozart, and their environment) and, finally, among the romantics - R. Schumann,. Generally speaking, there is hardly a composer who does not have in his creative baggage works written in the form of variations.

Improvisation by Jean Guillou

Variations created spontaneously right at a concert by a virtuoso performer, if he has the gift of an improviser, have a special effect and impact on listeners. And in our time such musicians are known, mainly among organists, who dare to undertake such artistic experiments.

The author of these lines witnessed such improvisations performed by the outstanding modern French organist Jean Guillou. They made such a strong impression that they encourage us to talk about them in more detail. Let us first note that any improvisation on a given theme contains elements of variation, but in this case these were not just elements of such a technique, but the entire improvisation was structured as variations.

This happened on the stage of one of the best concert halls Europe - Tonhalle in Zurich. Here, for almost forty years, J. Guillou held a summer master class for young organists from different countries. At the end of one of the classes, the young organists who participated in it decided to make a gift to the maestro. The gift was an elegantly wrapped and tied box. The maestro was pleasantly surprised, unwrapped the gift and discovered... a musical snuff box. You had to press a button, and characteristic mechanical music began to sound from the opened snuffbox. Guillou had never heard the melody of the gifted snuffbox.

But then there was a surprise for everyone present. The maestro sat down at the organ, turned on the quietest register on top keyboard instrument and absolutely accurately repeated the piece from the snuff box, reproducing both the melody and harmony. Then, immediately after this, he began to improvise in the form of variations, that is, while maintaining the structure of this piece each time, he began to carry out the theme over and over again, changing the texture, gradually including more and more new registers, moving from manual to manual.

The piece “grew” before the eyes of the listeners, the passages intertwining the constant harmonic backbone of the theme became more and more virtuosic, and now the organ is already sounding in all its power, all registers are already involved, and depending on the nature of certain combinations of registers, the nature of the variations also changes . Finally the theme sounds powerfully solo on the pedal keyboard (in the feet) - the climax has been reached!

Now everything smoothly winds down: without interrupting the variation, the maestro gradually comes to the original sound - the theme, as if saying goodbye, again sounds in its original form on the upper manual of the organ at its quietest register (as in a snuffbox).

Everyone - and among the listeners there were very talented and technically equipped organists - was shocked by the skill of J. Guillou. It was an unusually bright way to show off your musical imagination and demonstrate the enormous capabilities of a magnificent instrument.

Subject

This story allowed us, albeit very briefly, to outline the artistic goals that every composer pursues when undertaking the creation of a cycle of variations. And, apparently, the first goal is to demonstrate the possibilities hidden in the theme for the development of the images contained in it. Therefore, first of all, it is worth taking a close look at the musical material that composers choose as the theme for future variations.

Usually the theme is a fairly simple melody (for example, in the finale of the fourth piano trio Op. 11 in B-flat major by Beethoven, the theme of the variations is, according to the composer’s explanation, a “street song”). Familiarity with the well-known themes taken as the basis for the variations convinces us that they are usually no less than eight and no more than thirty-two bars (this is due to the song structure of most themes, and the song structure is characterized by the squareness of musical periods, for example, a period of two sentences, each of which is eight bars).

As a small musical form, a theme is a complete musical structure - a small independent piece. As a rule, for a theme, variations are chosen from those already known or a melody is composed that contains typical, at least for a given era, features. Too characteristic or overly individualized melodic turns are avoided, since they are more difficult to vary.

There are usually no sharp contrasts in the theme: identifying and sharpening possible contrasts is reserved for the variations themselves. As a rule, the theme sounds at a moderate tempo - this allows, during the variations, to interpret it as more lively, and, conversely, as calmer. From a harmonic point of view, the theme sounds simple and natural, if not deliberately ordinary; again, all harmonic aggravations and “piquantities” are reserved for variations. As for the form of the topic, it is usually two-part. It can be represented as a - b.

Variation techniques

The earliest type of variations are variations on a certain move in the bass, the sounds of which form the foundation of the harmonic structure of the variation cycle. In variations of this kind, both this move itself and the harmonies that are formed remain unchanged throughout the entire cycle. This is usually a sequence of four or eight bars.

Often the rhythmic structure of such a theme, and therefore the entire variation cycle, uses the rhythm of some solemn ancient dance - chaconne, passacaglia, folia. Ingenious examples of this kind of variations were given. This is the organ Passacaglia in C minor and the violin Chaconne from the second Partita in D minor. These works are so exciting that various performers and even large orchestras have strived to have them in their repertoire.

The Chaconne, in addition to being one of the key works of every concert violinist, entered the repertoire of pianists in the transcription of the outstanding Italian pianist and composer Ferruccio Busoni (this kind of transcription in concert practice is called double name authors: “Bach–Busoni. Chaconne"). As for the Passacaglia, orchestras perform its transcription made by the American conductor Leopold Stokowski.

Variations written on the model of passacaglia or chaconne (add here English form such variations, known as ground), give a clear idea of ​​the so-called variations on basso ostinato (italian. - sustained, that is, constantly repeated bass). “How unusually she responded to the insistent bass motif repeated ad infinitum (lat. - endlessly), the fantasy of great musicians, - exclaims the famous harpsichordist Wanda Landowska. - With all their passion they devoted themselves to the invention of thousands of melodies - each with its own twists, enlivened by bold harmonies and complicated by the finest counterpoint. But that's not all. W. Bird, C. Monteverdi, D’Anglebert, D. Buxtehude, A. Corelli and F. Couperin - each not only a musician, but also a poet - realized the hidden power of expressiveness in the deceptively insignificant bass.”

He continued to use the type of variations on the bass voice, but by the mid-70s of the 18th century the type of so-called melodic variations, that is, variations on a melody placed in the theme in the upper voice, began to dominate. Haydn has few separate variation cycles, but
variations as parts of his larger works - sonatas, symphonies - are found very often in his work.

Mozart made extensive use of variations to demonstrate his musical inventiveness. It is noteworthy that, although he used the form of variations in his sonatas, divertissements and concertos, he, unlike Haydn, never used it in his symphonies.

In contrast to Mozart, he willingly resorted to the form of variations in his major works, namely in symphonies (III, V, VII, IX symphonies).

Romantic composers (Mendelssohn, Schubert, Schumann) created a type of so-called characteristic variations, which clearly reflected the new figurative structure of romanticism. Paganini, Chopin and Liszt brought the highest instrumental virtuosity to the characteristic variations.

Famous themes and variation cycles

Johann Sebastian Bach. Goldberg Variations

There are few works that have the word “variations” in the title or are built on the principle of a theme with variations. In addition to those already mentioned above, one can recall “Aria, Varied in the Italian Style”, organ partitas. However, the very method of varying a given theme was not only familiar to Bach, but is the cornerstone of his compositional technique. His last great creation - “The Art of Fugue” - is essentially a cycle of variations in the form of fugues on the same theme (which itself is subject to variation). All Bach's chorale preludes for organ are also variations on famous church hymns. Bach's suites, composed of dances, upon deeper analysis reveal within each cycle a certain melodic and harmonic grain, varying from dance to dance. It is this feature of the composer's technique that gives each cycle amazing integrity and completeness.

In all this enormous heritage, the pinnacle achievement of Bach’s genius is the “Goldberg Variations”. A master so skillful in embodying a wide variety of constructive ideas, Bach in this cycle implemented a completely original artistic plan. Bach made the theme an aria, which is sarabande in form. Its melody is so richly ornamented that it gives reason to consider the aria itself as a kind of variant of the intended simpler theme. And if so, then the actual theme is not the melody of the aria, but its lower voice.

This statement is supported by a relatively recent discovery - fourteen previously unknown Bach canons for the eight notes of the bass voice of this aria. In other words, Bach interprets the bass as an independent musical theme. But the most striking thing is that exactly these notes, and precisely in the lower voice, were already the basis of a variation cycle... by the English composer Henry Purcell (1659–1695), Bach’s senior contemporary; he wrote “Ground” with variations on this theme. However, there is no evidence that Bach knew Purcell's play. What is this - a coincidence? Or did this theme exist as a kind of common “musical property” like hymns or Gregorian chants?

The aria in the cycle sounds twice - at the beginning and at the end of the work (J. Guillou built his improvised variations on this principle). Inside this frame there are 30 variations - 10 groups of 3 variations, each third representing a so-called canon (a musical form in which one voice exactly repeats the other with a shift in the time of entry). And in each subsequent canon, the interval of entry of the voice conducting the canon increases by a step: the canon in unison, then in a second, then in a third, etc. - to canon to nonu.

Instead of a canon in decima (such a canon would be a repetition of a canon in thirds), Bach writes the so-called quodlibet (lat. - who knows what) - a play that combines two seemingly incompatible themes. At the same time, the bass line of the theme remains.

I. Forkel, the first biographer of Bach, exclaimed: “ Quodlibet… this alone could make the author’s name immortal, although here he does not play a primary role.”

So new topics for this quodlibet- two German folk songs:

I. I haven't been with you for so long,
Come closer, closer, closer.

II. Cabbage and beets have gotten me this far.
If only my mother would cook some meat,
I would have stayed longer.

So Bach, with his unique talent, skill and humor, combines “high” and “low”, inspiration and the greatest skill in this brilliant cycle.

Ludwig van Beethoven. Variations on a Theme of Diabelli's Waltz. op. 120

Thirty-three variations on a waltz theme by Anton Diabelli (known as the Diabelli Variations) were composed between 1817 and 1827. This is one of the masterpieces of piano literature; it shares the glory of the greatest variation cycle with Bach's Goldberg Variations.

The history of the creation of this work is as follows: in 1819, Anton Diabelli, a talented composer and successful music publisher, sent his waltz to all the then famous Austrian (or living in Austria) composers and asked everyone to write one variation on its theme. Among the composers were F. Schubert, Carl Czerny, Archduke Rudolf (Beethoven's patron, who took piano lessons from him), Mozart's son and even the eight-year-old child prodigy Franz Liszt. In total there were fifty composers who sent one variation each. Beethoven, naturally, was also invited to participate in this project.

Diabelli's plan was to publish all these variations as one overall work and use the proceeds to help widows and orphans who had lost their breadwinners in the Napoleonic wars. This is how an extensive work was compiled. However, the publication of this collective creation did not arouse much interest.

Beethoven's Variations are a different matter. His cycle of variations on this theme received global recognition and has given rise to a number of outstanding interpretations. Beethoven, long before this proposal, was already associated with Diabelli, who published his works. At first, Beethoven refused to take part in the creation of a collective work. Subsequently, he was captivated by the idea of ​​writing a large variation cycle on this theme himself.

It is quite remarkable that Beethoven called his cycle not variations, but the German word Veranderungen, which translates as “change”, “changes”, but essentially means transformation and can even be understood as “rethinking”.

Nicolo Paganini. Caprice No. 24 (theme and variations) for violin

The history of music knows several melodies that have proven extremely popular as themes, on which many composers have created many variations. These topics themselves are worthy of careful consideration as such a source. One of these melodies is the theme of Caprice No. 24 for Paganini violin.

This Caprice is considered one of the most technically complex works written for solo violin (that is, without accompaniment). It requires the violinist to master all performing means, such as playing in octaves, incredible fluency in playing scales (including minor ones, with double notes in thirds and decimals and arpeggios), jumps at all kinds of intervals, virtuoso playing in high positions, and so on. Not every concert violinist will dare to take this Caprice to public performance.

Paganini wrote his cycle of 24 caprices under the impression of the art of the Italian violinist and composer Antonio Locatelli (1695–1764), who in 1733 published the collection “The Art of New Modulation (Mysterious Caprices).” There were 24 of these caprices! Paganini composed his caprices in 1801–1807, and published them in Milan in 1818. As a sign of respect for his great predecessor, Paganini quotes one of Locatelli’s caprices in his first caprice. Caprices were the only work of Paganini published during his lifetime. He refused to publish other works, wanting to keep his method of work secret.

The theme of Caprice No. 24 attracted the attention of many composers with its bright character, strong-willed impulse, nobility of spirit, clarity and indestructible logic of its harmony. It has only twelve bars, and its two-part structure already contains an element of variation: the second half is a variant of a motif already present in the first part. In general, it is an ideal model for constructing variation cycles. And the entire caprice is a theme with eleven variations and a coda, replacing the twelfth variation traditional for such a cycle.

Paganini's contemporaries considered these caprices impossible to perform until they heard them performed by him. Even then, romantic composers - R. Schumann, F. Liszt, and later J. Brahms - tried to use the technical techniques invented by Paganini in their piano works. It turned out that the best and most impressive way to do this was to do as Paganini himself did, that is, write the variations in such a way that each of the variations demonstrated a particular technique.

There are at least two dozen variation cycles on this theme. Among their authors, in addition to those already mentioned, are S. Rachmaninov, F. Busoni, I. Friedman, K. Szymanowski, A. Casella, V. Lutoslavsky... There is a name that at first glance seems unexpected in this series - Andrew Lloyd Weber, author the famous rock opera “Jesus Christ Superstar”. On the theme of Caprice No. 24, he wrote 23 variations for cello and rock ensemble.

Based on materials from the magazine “Art” No. 10/2010

On the poster: Organ in the Frauenkirche church. Dresden, Germany. The author of the photo is unknown

). However, a single application of the principle of variation does not create a form on its basis. A variation form arises only with the systematic application of this principle, therefore at least 2 variations are necessary to create it.

The theme of the variations can be original (written by the composer himself) or borrowed.

Variations can be filled with completely different content: from very simple to deep and philosophical (Beethoven. Arietta from Sonata No. 32 for piano).

Classification

Variations are usually classified according to four parameters:

In the process of development of this form, several main types of variations with a relatively stable combination of these characteristics became stronger. These are: variations on a sustained melody, variations on basso ostinato:159, figurative variations and genre-characteristic variations. These types existed in parallel (at least since the 17th century), but in different eras some of them were more in demand. Thus, composers of the Baroque era more often turned to variations on basso ostinato: 159-160, Viennese classics - to figurative ones, romantic composers - to genre-characteristic ones. In the music of the 20th century, all these types are combined, new ones appear, when a separate chord, interval, or even a separate sound can act as a theme.

In addition, there are several specific types of variations that are less common: these are the variation cantata (see Cantata) of the Baroque era and variations with a theme at the end (appearing at the end of the 19th century).

It is important to note that many works use different types of variation. For example, the initial group of variations may be variations on a sustained melody, followed by a chain of figurative variations.

Form organization

Any variation cycle is an open form (that is, new variations can, in principle, be added endlessly): 159. Therefore, the composer is faced with the task of creating a second-order form. This can be a “wave” with a build-up and culmination, or any standard form: most often it is a three-part form or rondo. Tripartiteness arises as a result of the introduction of a contrasting variation (or group of variations) in the middle of the form. Ronda-like appearance occurs due to repeated return of contrast material.

Often variations are combined into groups, creating local build-ups and local culminations. This is achieved due to a single texture or due to a rhythmic increase (diminution). In order to give the form relief and to somehow break up the continuous flow of similar variations, already in the classical era, in extended cycles, one or more variations were carried out in a different mode. In the 19th century variations this phenomenon intensified. Now individual variations can be carried out in other keys (“Symphonic Etudes” by Schumann - with the initial cis-moll, there are variations in E-dur and gis-moll, the final variation is Des-dur): 170-171.

Various endings of the variation cycle are possible. The ending can be similar to the beginning or, conversely, as contrasting as possible. In the first case, at the end of the work, the theme is carried out in a version close to the original version (Prokofiev. Piano Concerto No. 3, 2nd movement). In the second, the ending represents the maximum of progress in a given direction (for example, the smallest in the entire duration cycle). For the sake of contrast in the final variation, the meter and genre may change (a frequent occurrence in Mozart). The greatest contrast to the homophonic theme at the end of the cycle can be a fugue (in the classical and post-classical era).

Variations on a sustained melody

In variations of this type, the melody is preserved, and the variation occurs due to the accompanying voices. Because of this, they belong to indirect variations.

Variations on a consistent melody are used mainly in vocal music; the immutability of the melody brings them closer to verse forms (the difference is that in these forms it is not the accompaniment of the theme that changes, but the text). Russian composers loved them - this type of variation was especially consistent with the spirit of Russian song, and accordingly was used in operas in choruses and songs folk character. In Western European music, variations on a sustained melody as an independent work are rare (Haydn. Quartet op. 76 No. 3, 2nd movement), but in the figurative cycles of Viennese classics they can be used as initial variations.

Variation

Variation can be textural, timbre, polyphonic, harmonic and genre.

Textural-timbre variation involves changing the texture, introducing a new pattern, re-orchestration, and in the choir - transferring the melody to other voices. With polyphonic variation, the composer introduces new subvoices or fairly independent melodic lines. It is possible to formulate the theme itself in a polyphonic manner in the form of a canon, etc. Harmonic variation is expressed in the reharmonization of the melody. The scale of changes can be different, up to changing the mode (Glinka. “Persian Chorus” from “Ruslan and Lyudmila”, 3rd variation): 174 or even transferring the melody to a different key (Rimsky-Korsakov. Chorus “Height” from the opera “ Sadko"). Genre variation occurs when all of the listed types of variation lead to the formation of a new genre appearance of the topic. This type of variation in variations on a sustained melody is rare.

Variations on basso ostinato

Variations on basso ostinato are a form that is based on the constant implementation of the theme in the bass and the constant updating of the upper voices: 160.

Subject

The theme is a small (2-8 bars, usually 4) single-voice sequence, melodized to varying degrees. Usually her character is very generalized. Many themes represent a descending movement from the I to the V degrees, often chromatic. There are themes that are less generalized and more melodically designed (Bach. Passacaglia in C minor for organ).

Variation

In the process of variation, the theme can move into the upper voices (Bach. Passacaglia in C minor for organ), change figuratively and even transpose into another key (Buxtehude. Passacaglia in D minor for organ).

Due to the brevity of the theme, variations are often combined in pairs (based on the principle of similar texture of the upper voices). The boundaries of variations do not always clearly coincide in all voices. In Bach, several variations in one texture often form a single powerful development, their boundaries disappear. If this principle is carried out throughout the entire work, the whole can hardly be called variations, since it is impossible to recognize variations in the conduct of the bass in the lower voice without taking into account the upper ones. A kind of counterpoint of form arises.

Completion of the cycle may extend beyond variations. Thus, Bach's organ Passacaglia ends with a grand fugue.

Figural variations

In this type of variation, the predominant method of variation is harmonic or melodic figuration. Because of this, the scope of such variations is almost exclusively instrumental music. They are especially common in the music of the Viennese classics. For them it can be an independent piece (many variation cycles by Mozart, Beethoven) or part of a cycle (finale, slow part, less often the first). In the romantic era, independent plays predominate in the form of figurative variations, and they may have a different genre name (for example, “Lullaby” by Chopin).

Subject

An important component of the theme is harmony (unlike the previous type). In the vast majority of cases, the theme is written in a homophonic texture. The texture is economical, which gives freedom to further change it and accumulate movement in the texture (due to reducing durations).

Since most examples belong to the composers of the Viennese school and their followers, in most cases the form of the theme is also classical. Most often - a simple two-part (usually reprisal), sometimes three-part, much less often - period. In the music of Baroque composers, a theme in the form of a bar is possible.

Variation

In figurative variations, direct variation is carried out, since the theme itself is transformed.

In this case, standard figures are used - figurations. They can be arpeggiated, scale-like, etc. The reference points of the melody are preserved, which are filled with the featured material. Melodic figuration often results from the appearance of non-chord sounds around these anchor points. Harmonic figuration - this or that movement according to sounds

"Theme with Variations" by S. Aleshin.
Staged by S. Yursky.
Artist - E. Stenberg.
Musical arrangement by A. Nevsky.
The performance includes texts from works by G. Boccaccio, G. Hauptmann, E. Rostand.
Mossovet Theater, Moscow, 1979.

Romanticism of stage action

At all times, a reliable guarantee of the success of a performance was the invitation of recognized and beloved actors, stage “stars”. And really, there is no need to complain about past and present times and condemn the viewer who strictly focuses on the names indicated on the theater poster. In the end, his love, or at least his trust in these names, is the only sure sign that the theater is alive and still has its magical power.

The performance in question is marked by names that can decorate any poster: Rostislav Plyatt, Margarita Terekhova, Sergei Yursky in the play “Theme with Variations”, staged by Sergei Yursky based on the play by S. Aleshin.

These actors are true artists who embodied the images of their time, their generation on stage and on screen; their presence in one performance means, as it were, three stylistic systems, three directions of thought, temperament, intellect, three themes, each of which could become the theme of a separate performance.

This is the director - the actor himself, whose talent and skill (we note in brackets - acting talent and acting skill) evoke the most sincere favor, which in absentia extends to his directorial experiences.

Finally, this play is a very acting play, and the name of S. Aleshin here serves as the guarantee of a tightly stitched plot and confidently written characters. However, she herself love story simple and straightforward: two men meet a woman, and she begins a correspondence with one of them. The motif of “absentee lovers,” who at first are unaware of the feeling that has arisen between them, and then fall into love networks seriously and for a long time, is perhaps one of the most famous in literature. But this story is not limited to just “epistolary” love - a successful and self-confident “third” appears, who cruelly mocks their love, posing as the first.

S. Yursky staged a romantic play, although the romanticism of “Theme with Variations” is of a special kind. This is the romanticism of a theatrical performance, where the love story of the heroes is, as it were, confirmed by references to great primary sources. Perhaps this can explain the director’s introduction of fragments from Boccaccio’s “Decameron,” Hauptmann’s “Before Sunset,” and Rostand’s “Cyrano de Bergerac.” The laws of theatrical, romanticized stylization determine the artistic structure of the performance.

The scenery is theatrical, as if divided into three dressing rooms and containing meaningful symbols of the mysterious world of the backstage: prepared props, theatrical costumes, a makeup table with a mirror blinded by electric light - all this against the backdrop of a smoky curtain, rising in bizarre folds to the upper edge of the grate.

This theme of “theatrical” is frank and festive, it contains the echoing silence of a customized performance, the intoxicating feelings of empathy for other people’s passions, the memory of the pristine, ancient simplicity of the actors who did not hide their artificial curls, false bellies and worked tricks.

“The whole world is a theater” - a template, suggested by an obliging memory, involuntarily comes to mind to explain the figurative structure of this performance. And the actors here are assigned the role of by no means obedient executors of the director’s will; they themselves are free to create and create within the playful, theatrical element recreated by S. Yursky and the artist E. Stenberg.

The very appearance of the actors will be perceived as a silent overture of the beginning of the performance.

Quietly but impressively crossing the stage will be the one who will be Dmitry Nikolaevich, Privy Councilor Clausen, Cyrano de Bergerac, the cuckolded cooper from The Decameron, and for now he will still remain the actor Rostislav Plyatt. He arrived earlier than the others, he has a lot of time before the start of the performance, and therefore he is not involved in the “backstage” commotion. He will go to his makeup table, sit down in an old-fashioned chair and will stare long and intently at his reflection in the mirror.

Actor Sergei Yursky, who has three roles in the play - the young lawyer Igor Mikhailovich, the seducer and the judge from Boccaccio's novella, will appear no later and no earlier than the allotted time. Energetic, businesslike, smart, he gives orders to the prop men, says something mockingly to the costume designer, looks at himself in the mirror, loosens the knot of his tie...

She'll be late. Red hair scattered over her shoulders, a red scarf wrapped around her neck, confident, quick movements - this is (using cinematic terms) the first close-up of Margarita Terekhova. And soon we will feel that the atmosphere of lively excitement, some kind of nervous upsurge in itself provokes acting. Still alone with themselves, not yet in makeup, the actors are already acting, playing themselves before going on stage. And although later they will have to change more than one mask, play several roles, the most unexpected, the most diverse (but connected by a single plot), nevertheless, one of the most important principles of S. Yursky’s performance will be the actor’s self-commentary. Sometimes ironic, sometimes sad, but always present, like a kind of tuning fork, against which the purity of the sound of the main theme of the performance is checked.

And it’s not difficult to name the topic - it’s love, that silent force that connects, separates and connects people again; she is inexorable, she is constant, she does not let go, she silently teaches how to live, feel and comprehend the world. All other variations of the theme only confirm this banally simple explanation. The leitmotif of the performance, now retreating, now approaching, now displacing each other, is accompanied by three personal acting themes.

M. Terekhova is an actress of relaxed, open naturalness. On stage, she shows this gift carefully, sparingly, relying more on the charm of her own personality than on the search for theatrical imagery. All Terekhova’s heroines are somewhat similar to each other. Closed, focused, listening to themselves, they do not know how to adapt or give up their ideals and dreams. What to do?! They come into the world firmly believing in goodness, in justice, in love, and nothing will make them doubt this faith. They are maximalists, and therefore, as a rule, are lonely.

Terekhova’s heroines are animated not only by her beautiful face - impenetrable, calm, with eyes relentlessly and directly fixed on the eyes of an invisible interlocutor, with a gaze intent and mysterious, with a smile that seems frozen with an expression of ironic and slightly arrogant detachment - but also by that supreme measure human compassion, pride, kindness, that very feminine alogism and that very feminine “irrationality”, which together constitute the stable unity of her acting theme.

S. Yursky's performance is not just a story of one love, it is a performance about love in general, which is why the “timeless” beauty of M. Terekhova and her human individuality are so important here.

Already the very beginning of the play - a chance acquaintance on a bench in front of the Pushkin monument in Simferopol, a minute conversation, non-binding and, it seemed, promising nothing, and then the correspondence that began so suddenly, so improbably - this very slightly literary correlation of truth and fiction, the inevitable question: “what are you doing this evening, madam,” and Pushkin’s poems suggest that we are dealing with a central plot for all Terekhova’s heroines. And the actress will consistently lead her Lyubov Sergeevna along the path of complicated and painful relationships she has known.

For the first time on stage, Terekhova uses the archetype of the “strange woman” she created in cinema, in whose “strangeness” some tend to see tedious complexity, others as an attractive force, a kind of magnetism. Her appearance: hair combed smoothly back, a formal suit, a sports bag over her shoulder; gait is a business step, confident striving towards the goal; manner of speaking - laconic, abrupt, with mocking intonations - all together formed the image of an independent and integral personality. But, despite the emphasized independence of appearance, words, and actions, Lyubov Sergeevna is lonely. And loneliness is very intimate, secret, driven into the depths of the soul. And her correspondence with Dmitry Nikolaevich, a random person, an outsider, will be dictated by the need for something stable, in which it makes sense to believe, as in reality, even if this reality is just a few written sheets of paper. Love itself, despite the given theme, will remain outside the scope of Terekhova’s existence in the role for a long time.

This was largely due to the peculiarity compositional construction a performance in which most of the action takes place not in direct playful communication, but in the statics of literary readings, since it is in this genre that the letters-monologues of the main characters are written.

The heroes of M. Terekhova and R. Plyatt concentratedly introduce each other into the world own feelings, reflections, and the tense spiritual relationship of people reaching out to each other will determine the calm seriousness of the action, the discreet mise-en-scène, and the strict laconicism of the actor’s style. The authenticity of their stage existence is enshrined in leisurely gestures, emphatically everyday intonations, and some static poses, only occasionally broken by slow passages. Limited to small prosceniums, the actors strive for concreteness of thought not through detailed psychologization, but through slightly detached commentary. Each to himself and from himself, penetrating into his own and someone else’s soul, unobtrusively empathizing with someone else’s pain and bashfully revealing his own - these two gradually comprehended a feeling unfamiliar to themselves, not explainable either by self-interest or love, but rather by some kind of joyful instinct human contact.

The duet of M. Terekhova and R. Plyatt is built on a tantalizing combination of sober analysis and lyrical hope, mocking sadness and timid tenderness. "Your Lyuba." And even “kisses”. In this timid postscript, as if meaning only a familiar figure of speech, a super-ordinary feeling will betray itself, which in everyday life none of them somehow counted on, putting up with the unspentness of their lives. They will not talk to each other about love, but she will write: “Your Lyuba,” and he will answer with old-fashioned politeness: “Glad to be of service,” and this will be enough to feel their need for each other.

And how important is the feeling of partnership in a duet - this is a keen sense of one’s voice in combination with someone else’s, this is the contact of one’s own theme with the partner’s theme. The talent of partnership lies in creative individuality R. Plyatt. He has the gallant courtesy of true gentlemen - the now rare ability to “serve” his partner, or, more correctly, his partner, an ability that is already manifested in the way Plyatt brings his lady to the final challenges: barely touching her fingers, he carefully brought to the shining footlights, bowed sedately to her, and then walked half a step into the depths of the stage, into the shadows, generously giving her all the light of the flaring theater chandelier, the explosion of applause, the fixed gazes - this excitedly jubilant whirlpool that was intended for both of them. Plyatt gives it by right of a knight, a man, a partner. And his friendly and slightly mocking glance from this voluntary shadow will confirm all the precise thoughtfulness of the final mise-en-scene, not planned by the director of the play, but acted out by the actor.

In the improvisational ease of his gift, in the ability to remain himself, while achieving complete plastic and emotional completeness of the image, in the calm confidence of a person accustomed to being what is called the “soul of society”: at times - ironic and sarcastic, at times - enthusiastic and sentimental, but always irresistibly charming, finally, in the magical effect of his very name - Rostislav Yanovich Plyatt - we find a joyful confirmation of the constancy of life.

There is Plyatt, there is his ability to charm and delight that has not diminished over the years, there is his acting, agile, elegant speech, there is professional composure, smartness and absolute knowledge of what is expected of him and what he should do at a given moment in a given role.

The lightness and irony characteristic of R. Plyatt's style also manifested itself in the role of Dmitry Nikolaevich. The actor's artistic intuition saved his character from melodrama. Everything that might seem banal or far-fetched in any other performance, in Plyatt’s work acquired a shade of ironic detachment.

In the tone of a kind and ironic narrator from a radio composition based on “Letters to a Stranger” by A. Maurois, he will give Lyuba a recipe on how to be loved. Making fun of his own insight a little, he directs her family happiness, almost as Patrick Campbell once directed his Bernard Shaw in “Dear Liar” - L. Orlova - the role of Eliza Doolittle. Plyatt's hero is confident in himself. However, he insists on his benevolence a little more than is typical only for benevolent people.

With a tinge of mocking sadness, he will say: “Man needs not only justice, but also mercy,” and a random phrase will take on a hidden and meaningful meaning. With sudden drama, a courageous and bitter confession will burst out of him: “I am alone.”

Something similar in the manner of maintaining a distance between himself and the character, in the ability to fence off for himself a sovereign space of additional evaluation of the image is also inherent in S. Yursky, who plays the role of Igor Mikhailovich, colleague, and then happy rival of Dmitry Nikolaevich.

Both of them were then on the bench in front of Pushkin. And Igor started meeting Lyubov Sergeevna with irresistible ease. And by all accounts, this acquaintance should have belonged to him. But something didn’t work out, it didn’t work out. And “madam” was busy that evening...

Igor S. Yursky is a casually elegant cynic and “practitioner” whose constant form of solutions to all life situations- compromise combined with an indisputable sense of one’s own infallibility; no complexes, no problems, a full-fledged man of the 70s. The psychological portrait of this hero is contained in one single phrase: “... you need to look at life more simply... Without all these reflections.” Yursky's hero is independent of ideals to the same extent as the exquisitely old-fashioned Dmitry Nikolaevich Plyatta depends on them. However, there is something in common between them - in the personalities of the actors themselves S. Yursky and R. Plyatt. The relationships of their heroes will be built on this paradoxical commonality.

Yursky has an impeccable sense of what is called the internal movement of the role. In the stories of his heroes, full of bitter experience, absurd surprises, desperate deeds, some kind of clearing was sure to open, an exit to the real heights called the human spirit.

Without a shadow of compassion or pity, the actor deprived his heroes of illusions, pushed them into the snares of circumstances, left them alone with an unexpected, sometimes hostile world, in each of them he looked for the ability to overcome fate, to rise, to break necessity.

For their defeat, Yursky took revenge on them with murderous irony, merciless sarcasm, and a careless selection of details. For victory, he rewarded them with the charm of his personality and moral strength. At the same time, living other people's lives with full dedication, he sometimes allowed himself a mocking detachment, as if leaving some kind of authorial smile or a barely noticeable nod to the audience, modeled after the elegant a parte replicas of ancient actors.

And if we talk about the commonality of the heroes of R. Plyatt and S. Yursky, then it manifests itself, first of all, in the manner of play. Seemingly fulfilling the demands of the plot with all seriousness, they - the further, the more - created for themselves a micro-dramatism of characters, giving them those own human properties that turned out to be stronger than any plot inventions.

And as if having foreseen the danger of averaging the actor’s individuality through the use of established guises and developed types, abandoning the well-known path of concessions to those big and small discoveries that have long been assigned to the actors, Yursky the director invites R. Plyatt and M. Terekhova to act out three excerpts from Boccaccio, Hauptmann and Rostand. For each there are three roles, or rather, three sketches on themes that are exactly in contact with the plot conflicts of the play and represent a kind of triptych that turns everyday situations into almost symbolic ones.

Three authors, yes what! This is where there is scope for acting imagination, improvisational passion, expanding the range of roles and types. And the very first winning and bravura scene from “The Decameron” revived the performance - it revived it not in the sense of the instantaneity of the audience’s reaction, but in the sense of the pristine character of the actor’s incarnations.

Margarita Terekhova - the red-haired Madonna Beatrice, beautiful, even too beautiful, in the flowing folds of her blue dress, became the center of this scene, the protagonist of the main theme of "The Decameron" - all-conquering love.

Here they flared up and burned with fatal passion and no less fatal jealousy, here they lamented and joked, cooed and “shouted, swore and cursed, wringed their hands and beat themselves in the chest with their fists, laughed, cried, were horrified, quarreled, made peace - in short, everyone played . Three semi-masquerade characters, playfully, performed many intricate figures, went through all the provisions of the commedia dell'arte and, having finished, seemed to form an elegant dance-madrigal at the feet of the audience. They embodied the reality of theatrical acting, shaking off the dust of legends and bestowing joy, accessible only theater And the highest moments of S. Yursky's performance were those when this theater was born - whether spontaneously or consciously, but it was born - and lived its own unprogrammed life, not subordinated to other people's themes and variations.

Next, the actors try themselves in a discipline that seems very close and familiar to them - Hauptmann's psychological theater. But unexpectedly, it is here that the conventions of both directing and acting appear most clearly.

In the excerpt from “Before Sunset,” in the emphatically old-fashioned turns of the theater of moods and experiences with the obligatory verisimilitude of the fake flowers that Inken Peter watered and the feelings that visited Councilor Clausen, the characters of Terekhova and Plyatt looked alien and unnatural. Moreover, it seemed to me that they were simply pretending. They pretend to be in love, pretend to be suffering, pretend to need each other. For even the most heartfelt words, the most sincere confessions, the most reverent embraces - all these were explosions of someone else's passion, of a different intensity, of a different origin, of a different order. And a strange thing, the obvious incompatibility of the love of Inken and Clausen with the probable outcome of the epistolary “romance” of Lyubov Sergeevna and Dmitry Nikolaevich, either predicted by the director, or “given away” by the subconscious resistance of the actors, benefited the further development of the play: the need to introduce the events of the third face turned out to be in the play and was dramaturgically and psychologically completely justified. This eternal “third” was the lucky Igor Mikhailovich.

The plot will develop smoothly and without special effort. Igor, with Dmitry Nikolaevich’s permission, will read Lyuba’s letters. This will be followed by his accidental or arranged trip to Simferopol. And again Pushkin, the bench - and the finale of the familiar excursion motif about the great poet’s stay in Crimea. Only this time there were no poems, but rather a somewhat vaudeville-like recognition by Lyubov Sergeevna of her “correspondent”. “Oh, Dmitry Nikolaevich, how wonderful it is that you have arrived,” Lyubov Sergeevna will exclaim when she sees Igor. And he will not dissuade her....

The love story depicted by the playwright required the authenticity of human experiences. This largely predetermined the nature of M. Terekhova’s play. And immediately the actress overturned the logic of the proposed circumstances. Already at the very beginning, at the height of her happiness, so sincere and genuine, a premonition of trouble will seep through. She will instinctively sense the substitution (it’s not for nothing that she will so insistently remember their letters), but she will not be able to admit it even to herself. In Igor’s room, where he invited her with boorish simplicity, she sits motionless, leaning back in her chair, submissive, as if watching him from afar. She knows what will happen next, she even knows that she will still be alone. Let be! What defenseless fearlessness is felt in her even voice, and in the way she allowed herself to be hugged, and in this tired movement (full of sad pity, either for herself or for him), with which she pressed his head to her chest. And then she smiled. She smiled, as if she remembered one of “his” letters and thought that everything would still be fine.

The actress achieves virtuoso precision in the scenes of Lyubov Sergeevna’s letters intended for Igor. In the rapid, almost unconscious text, which contains only the meaning of expectation, she will find her own logic and trace the movement of feeling.

At first, she recklessly and fearlessly admits: “My beloved!... For the first time, happiness fell on my poor head...” Then she tries to sensibly and clearly determine what, in fact, is tormenting her. He doesn’t write to her?.. What nonsense! She herself is ready to justify him, but the more arguments she finds in his favor, the more she plunges into deep hopelessness and hopelessness. And again he is illuminated with hope - maybe he will come. All these instantaneous, lightning-fast transitions are intertwined by the actress into a light, agile, plastically expressive drawing, captivating with the generosity of her talent.

Sergei Yursky, who subjected his hero to a thorough analysis and subsequent merciless exposure, cannot be denied his honed skill. The fact that his Igor considers writing letters to be an old-fashioned and absurd activity, and prefers the telephone to all types of communication, is not so important for the actor.

For Yursky, something else is important; Igor's excessive normality is nothing more than his spiritual degeneration. The hero Yursky is frightened and attracted by this guide from Simferopol, he is attracted to her illogical, in his opinion, experiences, to her such an unsettled, unstable life. Moreover, in his attraction lies some kind of perplexed dissatisfaction - someone has been given more than he, so normal, so lucky, someone feels this world more keenly and more pristinely than he, who is so well, so comfortable in this world . He wants, oh, how Igor wants, to laugh at the pitiful weakness of these epistolary loves, at this sentimental old man, at this woman - such a hated embodiment of refinements and “fragility” for him, who actually needs the same thing as everyone else.

It all started with his improvisationally light, elusive lie, as if it had arisen not through his fault, but hung like a net intended for Lyubov Sergeevna. Jursky's hero in the meeting and dating scenes is outwardly relaxed and self-confident. Perhaps he only speaks more than usual, and therefore gives the impression of some fussy strain. Yes, there are also the eyes - there is a puzzlement in them, a tense attempt to understand, to grasp something. Is she really so obediently, so trustingly following him that she is fascinated by Dmitry Nikolaevich’s letters, or perhaps she already likes him, Igor?

With precise strokes, Yursky outlines the beginning of the process of the hero’s rejection of the usual stereotype of words and actions. His own lies already seem vulgar and helpless to him, his tricks are pitiful, and his attempt to step over the last line of morality is untenable. The actor plays the story of a progressive illness, the symptoms of which become increasingly obvious to his character. Igor intuitively understands that by deceiving Lyuba, humiliating Dmitry Nikolaevich, he betrayed that human, true thing that was in his life.

“After all, there was love, there was, there was love...” - he will repeat stubbornly and persistently, as if just because it was there will make him feel better. But no, there was only longing for love, the need for it and his spiritual inferiority. And nothing can be changed and nothing can be cured. The diagnosis made by S. Yursky for his hero is objective to the point of cruelty.

And again, the state of psychological tension is relieved by emotional release. This time Rostand, "Cyrano de Bergerac", the final explanation of Cyrano

and Roxanne. The chandeliers will dimly light up for the last time, barely illuminating the gloomy space of the stage with the scattered flicker of candles. He sits on the bench, bending over and thinking, the kind, sad Cyrano, who has experienced everything and forgiven everything. He has only one hope, one dream. And this dream has a name - Roxana.

Am I really never destined to
To see all of you, your airy, flexible figure,
Sly eyes, with a dreamy smile...
Oh my God! I want to scream!...
And I shout: goodbye - leaving forever...

Harmony is impossible, the dream is impossible and unthinkable. For the last time, Cyrano, with the power of his talent of love, overtook the image of “pure beauty”, overtook him in order to say goodbye to him forever.

The sublime stage speech of Rostand's heroes is given to M. Terekhova and R. Plyatt without visible difficulty. The actors here achieved the romantic reality of feelings and experiences, barely outlined and in a certain sense conventional, but with all the ghostly painting of plasticity and mise-en-scène, with all their lyrical pathos focusing on the true drama of Dmitry Nikolaevich and Lyubov Sergeevna.

The stormy scene of Lyuba's arrival, somewhat roughly written, will not turn into a scandalous showdown for the actors. The all-understanding hero of R. Plyatt will be prescribed impeccable self-control. But Terekhova’s heroine does not hide her condition. On her face we will see a clearly expressed struggle between two contradictory emotions: on the one hand, an attempt to maintain self-esteem, on the other, pain, confusion and hopelessness.

The only way out for her is to speak out to the end, to express everything, to win back her own feeling, appropriated by others and trampled upon by others. She does this, sometimes in powerless, ordinary expressions, sometimes almost breaking into hysterics. For the despair of her heroine, Terekhova found the game's design sharp and at the same time stingy. All her actions are simple, but what a painful feeling of cracks, breaks in her deadened, tense voice, and in unexpected pauses, and in movements, limited, uncertain, difficult, as if she found herself in a small room for her.

This is Terekhova’s heroine: broken and gullible, arrogant and helpless, blinded by love and reckless in despair. Thanks to acting the main theme of the play has acquired greater semantic content, multidimensionality of real life and human relations. Without justifying their heroes, without being afraid to show them as weak, selfish, the actors at the same time make the viewer feel the measure of responsibility that Lyubov Sergeevna, Igor and Dmitry Nikolaevich bear for their own destinies, and that secret hostile force called fate, which they must overcome was not given - this is the essence of the finale.

“It’s not him, it’s me who lost you,” Lyuba will say, as if slowly lowering a curtain. Her last letter To Dmitry Nikolaevich - a farewell message from another life that remained outside the established, established existence of Life, which turned out to be inaccessible to the heroes of S. Yursky's play. The extremes of fiction and the real came together - love turned into grief, romance - into everyday prose, comedy turned out to be drama, and what was perceived almost as a tragedy, after some time is comprehended with an absent-minded half-smile...

The actors had to go through a difficult journey of subtle transitions from one state to another. Let us add that this path was difficult for them because they sometimes had to overcome dramatic material, the nature of the direction, and the task audience perception, and sometimes themselves. Perhaps the circle of associations associated with the independent acting themes of R. Plyatt, M. Terekhova, S. Yursky turned out to be untouched, perhaps the themes themselves did not acquire a new sound, but they reasserted themselves, declared confidently, weightily and with dignity , without hiding behind the established reputations of stars.

S. Nikolaevich, 1980

" Theater " Performance "Theme and Variations"