Schubert's vocal work briefly. Musical development: Songs of Franz Schubert. Crossword Questions

Schubert belongs to the first romantics (the dawn of romanticism). His music does not yet contain such condensed psychologism as that of the later romantics. This is a composer - lyricist. The basis of his music is inner experiences. Conveys love and many other feelings in music. In the last work main topic- loneliness. He covered all genres of the time. He brought in a lot of new things. The lyrical nature of his music predetermined his main genre of creativity - the song. He has over 600 songs. Songfulness influenced the instrumental genre in two ways:

Using song themes in instrumental music(the song “Wanderer” became the basis of the piano fantasy, the song “The Girl and Death” became the basis of the quartet).

Penetration of songfulness into other genres.

Schubert is the creator of a lyric-dramatic symphony (unfinished). The theme is song, the presentation is song (unfinished symphony: Part I - p.p., p.p.. Part II - p.p.), the principle of development is the form, like the verse, complete. This is especially noticeable in symphonies and sonatas. In addition to the lyrical song symphony, he also created an epic symphony (C major). He is the creator of a new genre - the vocal ballad. Creator of romantic miniatures (impromptu and musical moments). Created vocal cycles (Beethoven had an approach to this).

The creativity is enormous: 16 operas, 22 piano sonatas s, 22 quartets, other ensembles, 9 symphonies, 9 overtures, 8 impromptu, 6 musical moments; music related to everyday music playing - waltzes, lenglers, marches, more than 600 songs.

Life path.

Born in 1797 on the outskirts of Vienna - in the city of Lichtenthal. Father is a school teacher. The large family, they were all musicians, they played music. Franz's father taught him to play the violin, and his brother taught him the piano. A familiar regent for singing and theory.

1808-1813

Years of study in Konvikt. This is a boarding school that trained court singers. There, Schubert played the violin, played in the orchestra, sang in the choir, and took part in chamber ensembles. There he learned a lot of music - the symphonies of Haydn, Mozart, the 1st and 2nd symphonies of Beethoven. Favorite piece– Mozart’s 40th Symphony. In Konvikt he became interested in creativity, so he abandoned other subjects. In Konvikta he took lessons from Salieri from 1812, but their views were different. In 1816 their paths diverged. In 1813, he left Konvikt because his studies interfered with his creativity. During this period, he wrote songs, a fantasy for 4 hands, the 1st symphony, wind works, quartets, operas, and piano works.

1813-1817

He wrote the first song masterpieces (“Margarita at the Spinning Wheel”, “The Forest Tsar”, “Trout”, “Wanderer”), 4 symphonies, 5 operas, many instrumental and chamber music. After Konvikt, Schubert, at the insistence of his father, completed teaching courses and taught arithmetic and the alphabet at his father’s school.

In 1816 he left school and tried to get a position as a music teacher, but failed. The connection with my father was severed. A period of disaster began: I lived in a damp room, etc.

In 1815 he wrote 144 songs, 2 symphonies, 2 masses, 4 operas, 2 piano sonatas, string quartets and other works.

Fell in love with Teresa Grob. She sang in the choir at the Lichtenthal Church. Her father married her to a baker. Schubert had a lot of friends - poets, writers, artists, etc. His friend Spout wrote about Schubert Goethe. Goethe did not answer. He had a very bad character. He didn't like Beethoven. In 1817, Schubert met famous singer– Johann Vogl, who became a fan of Schubert. In 1819 he made a concert tour of upper Austria. In 1818, Schubert lived with his friends. For several months he served as a home teacher for Prince Esterhazy. There he wrote a Hungarian divertimento for piano 4 hands. Among his friends were: Spaun (who wrote memoirs about Schubert), the poet Mayrhofer, the poet Schober (Schubert wrote the opera “Alphonse and Estrella” based on his text).

There were often meetings of Schubert's friends - the Schubertiades. Vogl was often present at these Schubertiades. Thanks to the Schubertiades, his songs began to spread. Sometimes his individual songs were performed at concerts, but operas were never staged and symphonies were never played. Schubert was published very little. The first edition of the songs was published in 1821, funded by admirers and friends.

Early 20s.

The dawn of creativity - 22-23. At this time he wrote the cycle “The Beautiful Miller's Wife”, a cycle of piano miniatures, musical moments, and the fantasy “The Wanderer”. Schubert's everyday side continued to be difficult, but he did not lose hope. In the mid-20s, his circle broke up.

1826-1828

Last years. His hard life reflected in his music. This music has a dark, heavy character, the style changes. IN

songs appear more declamatory. Less roundness. The harmonic basis (dissonances) becomes more complex. Songs based on Heine's poems. Quartet in D minor. At this time the symphony in C major was written. During these years, Schubert once again applied for the position of court conductor. In 1828, recognition of Schubert's talent finally began. His author's concert took place. He died in November. He was buried in the same cemetery as Beethoven.

Schubert's songwriting

600 songs, collection of late songs, collection of late songs. The choice of poets is important. I started with the work of Goethe. He ended with a tragic song on Heine. Wrote for Schiller “Relshtab”.

Genre – vocal ballad: “The Forest King”, “Grave Fantasy”, “To the Father of the Murderer”, “Agaria’s Complaint”. The genre of the monologue is “Margarita at the Spinning Wheel.” Genre of the folk song “Rose” by Goethe. Song-aria – “Ave Maria”. The genre of the serenade is “Serenade” (Relshtab serenade).

In his melodies he relied on the intonation of an Austrian folk song. The music is clear and sincere.

The connection between music and text. Schubert conveys general content verse. The melodies are broad, generalized, and flexible. Some of the music notes the details of the text, then more recitativeness appears in the performance, which later becomes the basis of Schubert’s melodic style.

For the first time in music, the piano part acquired such a meaning: not an accompaniment, but a carrier of a musical image. Expresses emotional condition. Musical moments arise. “Margarita at the Spinning Wheel”, “The Forest King”, “The Beautiful Miller’s Wife”.

Goethe's ballad “The Forest King” is structured as a dramatic refrain. Pursues several goals: dramatic action, expression of feelings, narration, author's voice (narration).

Vocal cycle “The Beautiful Miller's Wife”

1823. 20 songs based on poems by W. Müller. Cycle with sonata development. The main theme is love. In the cycle there is a hero (miller), episodic hero(hunter), main role (stream). Depending on the state of the hero, the stream gurgles either joyfully, lively, or violently, expressing the pain of the miller. The 1st and 20th songs sound on behalf of the stream. This unifies the cycle. The last songs reflect peace, enlightenment in death. General mood the cycle is still light. The intonation structure is close to everyday Austrian songs. Wide in intonation of chants and sounds of chords. In the vocal cycle there is a lot of songfulness, chanting and little recitativeness. The melodies are broad and generalized. Mostly the song forms are verses or simple 2 and 3 parts.

1st song - "Let's hit the road". B-dur, cheerful. This song is on behalf of the stream. He is always depicted in the piano part. Exact couplet form. The music is close to Austrian folk songs.

2nd song - "Where". The miller sings, G major. The piano has the gentle murmur of a stream. The intonations are wide, sing-song, close to Austrian melodies.

6th song - “Curiosity.” This song features quieter, more subtle lyrics. More detailed. H-dur. The form is more complex - a non-repudiated 2-part form.

Part 1 – “Neither stars nor flowers.”

The 2nd part is larger than the 1st. Simple 3-part form. Appeal to the stream - 1st section of the 2nd part. The murmur of the stream appears again. This is where major-minor comes into play. This is typical of Schubert. In the middle of the 2nd movement the melody becomes recitative. An unexpected twist in G major. In the reprise of the 2nd section, major-minor appears again.

Song form diagram

A - C

CBC

11 song - "My". There is a gradual increase in lyrical joyful feeling in it. It is close to Austrian folk songs.

12-14 songs express complete happiness. A turning point in development occurs in song No. 14 (Hunter) – c-moll. The fold is reminiscent of hunting music (6\8, parallel sixth chords). Further (in the following songs) there is an increase in sadness. This is reflected in the piano part.

15 song - “Jealousy and pride.” Reflects despair, confusion (g-moll). 3-part form. The vocal part becomes more declamatory.

16 song - "Favorite color". h-moll. This is the mournful culmination of the entire cycle. The music has rigidity (astinate rhythm), constant repetition of F#, sharp arrests. The comparison between h-moll and H-dur is typical. Words: “Into the green coolness...”. For the first time in the cycle, the text contains a memory of death. Further it will permeate the entire cycle. Verse form.

Gradually, towards the end of the cycle, a sad enlightenment occurs.

19 song - “The Miller and the Stream.” g-moll. 3-part form. It's like a conversation between a miller and a stream. The middle is in G major. The babbling stream near the piano appears again. Reprise - the miller sings again, again in G-moll, but the murmur of the stream remains. At the end, enlightenment is G-major.

20 song – “Lullaby stream." The stream calms the miller at the bottom of the stream. E-dur. This is one of Schubert’s favorite keys (“Lip’s Song” in “Winter Reise”, 2nd movement of the unfinished symphony). Verse form. The words: “Sleep, sleep” from the face of the stream.

Vocal cycle “Winter Way”

Written in 1827. 24 songs. Just like “The Beautiful Miller's Wife”, to the words of W. Müller. Despite being 4 years apart, they are strikingly different from each other. The 1st cycle is light in music, but this one is tragic, reflecting the despair that gripped Schubert.

The theme is similar to the 1st cycle (also the theme of love). The action in the 1st song is much less. The hero leaves the city where his girlfriend lives. His parents leave him and he (in winter) leaves the city. The rest of the songs are lyrical confessions. Predominance of minor key. The songs are tragic. The style is completely different. If we compare the vocal parts, the melodies of the 1st cycle are more generalized, reveal the general content of the poems, are broad, close to Austrian folk songs, and in “Winter Reise” the vocal part is more declamatory, there is no songfulness, much less close to folk songs, and becomes more individualized.

The piano part is complicated by sharp dissonances, transitions to distant keys, and enharmonic modulations.

The forms are also becoming more complex. The forms are saturated with end-to-end development. For example, if it is a verse form, then the verse varies; if it is a 3-part form, then the reprises are greatly changed and dynamized (“By the Stream”).

Major few songs, and even the minor key penetrates into them. These bright islands: “Linden Tree”, “Spring Dream” (the culmination of the cycle, No. 11) are concentrated here romantic content and harsh reality. Section 3 – laughing at yourself and your feelings.

1 song – “Sleep well” d-moll. The measured rhythm of July. “I came by someone else’s path, I will leave by someone else’s.” The song begins with a high climax. Verse-variation. These couplets vary. 2nd verse – d-moll – “I can’t hesitate any longer.” Verse 3-1 – “No more waiting here.” 4th verse – D-dur – “Why disturb peace.” Major, as a memory of a beloved. Already inside the verse the minor returns. The end is in a minor key.

3rd song – “Frozen Tears” (f-moll). Depressing, heavy mood - “Tears stream from the eyes and freeze on the cheeks.” The melody has a very noticeable increase in recitativeness - “Oh, these tears.” Tonal deviations, complicated harmonic structure. 2-part form end-to-end development. There is no reprise as such.

4th song – “Daze”, c-moll. A very broadly developed song. Dramatic, desperate character. “I am looking for her traces.” Complex 3-part form. The extreme parts consist of 2 topics. 2nd topic in g-moll. “I want to fall to the ground.” Interrupted cadences prolong development. Middle part. Enlightened As-dur. “Oh, where are the flowers of old?” Reprise – 1st and 2nd theme.

5th song - "Linden". E-dur. E-moll creeps into the song. Verse-variation form. The piano part depicts the rustling of leaves. Verse 1 – “There is a linden tree at the entrance to the city.” Calm, peaceful melody. There are very important piano parts in this song. They are figurative and expressive in nature. The 2nd verse is already in e-moll. “And hasten on a long journey.” A new theme appears in the piano part, the theme of wanderings with triplets. In the 2nd half of the 2nd verse a major key appears. “The branches began to rustle.” The piano fragment depicts gusts of wind. Against this background, a dramatic recitative sounds between the 2nd and 3rd verses. “Wall, cold wind.” 3rd verse. “Now I am already wandering far away in a foreign country.” The features of the 1st and 2nd verses are combined. The piano part contains the theme of wanderings from the 2nd verse.

7th song - “By the stream.” End-to-End Example dramatic development forms. It is based on a 3-part form with strong dynamization. E-moll. The music is frozen and sad. “Oh my stormy stream.” The composer strictly follows the text, modulations occur in cis-minor on the word “now”. Middle part. “On ice I’m like a sharp stone.” E-dur (talking about the beloved). There is a rhythmic revival. Acceleration of pulsation. Sixteenth note triplets appear. “I will leave the happiness of the first meeting here on the ice.” The reprise has been greatly modified. Strongly expanded - in 2 hands. The theme goes into the piano part. And in vocal part recitative “In a frozen stream I recognize myself.” Rhythmic changes appear further. 32nd durations appear. The dramatic climax towards the end of the play. Many deviations – e-moll, G-dur, dis-moll, gis-moll – fis-moll – g-moll.

11 song - “Spring Dream”. Semantic culmination. A major. Light. It seems to have 3 spheres:

memories, dream

sudden awakening

mockery of your dreams.

1st section. Waltz. Words: “I dreamed of a cheerful meadow.”

2nd section. Sharp contrast (e-moll). Words: “The rooster crowed suddenly.” The rooster and raven are a symbol of death. This song features a rooster and song #15 features a raven. A characteristic comparison of tonalities is e-moll – d-moll – g-moll – a-moll. The harmony of the second low stage sounds sharply at the tonic organ point. Sharp intonations (there are nones).

3rd section. Words: “But who decorated all my windows with flowers?” A minor dominant appears.

Verse form. 2 verses, each consisting of these 3 contrasting sections.

14 song - “Gray hairs.” Tragic character. C minor. A wave of hidden drama. Dissonant harmonies. There are similarities with the 1st song (“Sleep well”), but in a distorted, aggravated version. Words: “I decorated my forehead with frost...”.

15 song - "Crow". C minor. Tragic enlightenment due to

for figurations in triplets. Words: “The black raven set off on a long journey after me.” 3-part form. Middle part. Words: “Raven, strange black friend.” The melody is declamatory. Reprise. After it comes a piano conclusion in a low register.

20 song - “Waypost”. The rhythm of the step appears. Words: “Why did it become difficult for me along big roads go?". Distant modulations – g-moll – b-moll – f-moll. Verse-variation form. Comparison of major and minor. 2nd verse – G major. 3rd verse – g minor. The code is important. The song conveys frozenness, numbness, the spirit of death. This manifests itself in the vocal line (constant repetition of one sound). Words: “I see a pillar - one of many...”. Distant modulations – g-moll – b-moll – cis-moll – g-moll.

24 song - “Organ grinder.” Very simple and deeply tragic. A minor. The hero meets the unfortunate organ grinder and invites him to endure grief together. The entire song is on the fifth tonic organ point. The quints represent a barrel organ. Words: “Here the organ grinder stands sadly outside the village.” Constant repetition of phrases. Verse form. 2 verses. There is a dramatic climax at the end. Dramatic recitative. It ends with the question: “Do you want us to endure grief together, do you want us to sing together under a barrel organ?” There are diminished seventh chords on the tonic organ point.

Symphonic creativity

Schubert wrote 9 symphonies. During his lifetime, not one of them was fulfilled. He is the founder of the lyric-romantic symphony (unfinished symphony) and the lyric-epic symphony (No. 9 - C major).

Unfinished Symphony

Written in 1822 h minor. Written at the time of creative dawn. Lyrical-dramatic. First time personal lyrical theme became the basis for the symphony. Songliness pervades it. It permeates the entire symphony. It manifests itself in the character and presentation of themes - melody and accompaniment (as in a song), in form - a complete form (like a verse), in development - it is variational, the proximity of the sound of the melody to the voice. The symphony has 2 movements – H minor and E major. Schubert started writing the 3rd part, but gave up. It is characteristic that before this he had already written 2 piano 2-movement sonatas - Fis-dur and e-moll. In the era of romanticism, as a result of free lyrical expression, the structure of the symphony changes (a different number of parts). Liszt tends to compress the symphonic cycle (Faust Symphony in 3 movements, Dont's Symphony in 2 movements). Liszt created a one-part symphonic poem. Berlioz has an expansion of the symphonic cycle (Symphony Fantastique - 5 parts, Symphony “Romeo and Juliet” - 7 parts). This happens under the influence of software.

Romantic features are manifested not only in song and 2 parts, but also in tonal relationships. This is not a classic ratio. Schubert takes care of the colorful tonal relationship (G.P. - h-moll, P.P. - G-dur, and in the reprise of P.P. - in D-dur). The tertian ratio of tonalities is typical for romantics. In Part II of G.P. – E-dur, P.P. – cis-moll, and in the reprise P.P. – a-moll. Here, too, there is a tertiary tonal ratio. A romantic feature is also the variation of themes - not the fragmentation of themes into motives, but the variation whole topic. The symphony ends in E major, and it itself ends in B minor (this is also typical for romantics).

Part I – h-moll. The theme of the introduction is like a romantic question. It's in lowercase.

G.P. – h-moll. A typical song with melody and accompaniment. Clarinet and oboe perform as soloists, and strings accompany. The form, like that of the verse, is complete.

P.P. – not contrasting. She is also a song, but she is also a dance. The theme goes to the cello. Dotted rhythm, syncopation. Rhythm is, as it were, a connection between the parts (because it is also in P.P. in the second part). In it there is a dramatic change in the middle, it is sharp in the fall (transition to c-moll). At this turning point, the GP theme intrudes. This is a classic feature.

Z.P. – built on the theme of P.P.. G-major. Canonical implementation of the theme in different instruments.

The exposition is repeated - like the classics.

Development. On the verge of exposition and development, the theme of the introduction arises. Here it is in e-mall. The development involves the introduction theme (but dramatized) and the syncopated rhythm from P.P.’s accompaniment. The role of polyphonic techniques is enormous here. There are 2 sections in development:

1st section. Introduction topic to e-moll. The ending has been changed. The theme comes to a climax. Enharmonic modulation from h-moll to cis-moll. Next comes the syncopated rhythm from P.P.. Tonal plan: cis-moll – d-moll – e-moll.

2nd section. This is a converted intro theme. It sounds menacing and commanding. E-moll, then h-moll. The theme is first for the brass, and then runs through the canon in all voices. A dramatic climax, built on the theme of the opening canon and on the syncopated rhythm of P.P.. Next to it is a major climax - D-dur. Before the reprise there is a roll call of woodwinds.

Reprise. G.P. – h-moll. P.P. – D-dur. In P.P. again there is a turning point in development. Z.P. – H-dur. Cross calls between different instruments. Canonical performance of P.P.. On the verge of reprise and coda, the introduction theme sounds in the same key as at the beginning - in B minor. All code is built on it. The theme sounds canonical and very mournful.

Part II. E-dur. Sonata form without development. There is landscape poetry here. In general, she is bright, but there are flashes of drama in her.

G.P.. Song. The theme is for the violins, and the bass is pizzicato (for the double basses). Colorful harmonic combinations – E-dur – e-moll – C-dur – G-dur. The theme has lullaby intonations. 3-part form. It (the form) is finished. The middle is dramatic. Reprise of G.P. abbreviated.

P.P.. The lyrics here are more personal. The theme is also a song. In it, just like in P.P. Part II, syncopated accompaniment. It connects these themes. Solo is also a romantic trait. Here the solo is first for the clarinet, then for the oboe. The tonalities are chosen very colorfully – cis-moll – fis-moll – D-dur – F-dur – d-moll – Cis-dur. 3-part form. The middle is variable. There is a reprise.

Reprise. E-dur. G.P. – 3-part. P.P. – a-moll.

Code. Here, all the topics in turn seem to dissolve. Elements of G.P. are heard.

In the field of vocal lyricism, Schubert's individuality, the main theme of his work, manifested itself earliest and most fully. Already at the age of 17, he became an outstanding innovator here, while early instrumental works are not particularly strikingly new.

Schubert's songs are the key to understanding his entire work, because... The composer boldly used what he gained while working on the song in instrumental genres. In almost all of his music, Schubert relied on images and means of expression, borrowed from vocal lyrics. If we can say about Bach that he thought in fugue categories, Beethoven thought in sonatas, then Schubert thought « songlike".

Schubert often used his songs as material for instrumental works. But using a song as material is not everything. The song is not only a material, songfulness as a principle - This is what significantly distinguishes Schubert from his predecessors. The widely flowing stream of song melodies in Schubert's symphonies and sonatas is the breath and air of a new worldview. It was through songfulness that the composer emphasized what was not the main thing in classical art- a person in the aspect of his direct personal experiences. The classical ideals of humanity are transformed into the romantic idea of ​​a living personality “as it is.”

All components of Schubert's song - melody, harmony, piano accompaniment, formation - are distinguished by a truly innovative character. The most outstanding feature of Schubert's song is its enormous melodic charm. Schubert had an exceptional melodic gift: his melodies are always easy to sing and sound great. They are distinguished by great melodiousness and continuity of flow: they unfold as if “in one breath.” Very often they clearly reveal a harmonic basis (movement along the sounds of chords is used). In this, Schubert's song melody reveals commonality with the melody of German and Austrian folk songs, as well as with the melody of Viennese composers classical school. However, if in Beethoven, for example, movement along chord sounds is associated with fanfare, with the embodiment of heroic images, then in Schubert it is of a lyrical nature and associated with intra-syllabic chant, “ruladity” (while Schubert’s chants are usually limited to two sounds per syllable ). Singing intonations are often subtly combined with declamatory and speech intonations.

Schubert's song is a multifaceted, song-instrumental genre. For each song he finds an absolutely original solution for piano accompaniment. Thus, in the song “Gretchen at the Spinning Wheel,” the accompaniment imitates the whirring of a spindle; in the song “Trout”, short arpeggiated passages resemble light bursts of waves, in “Serenade” - the sound of a guitar. However, the function of accompaniment is not limited to figurativeness. The piano always creates the necessary emotional background to the vocal melody. For example, in the ballad “The Forest King,” the piano part with an ostinato triplet rhythm performs several functions:

• characterizes the general psychological background of the action - the image of feverish anxiety;
• depicts the rhythm of “jumping”;
• ensures the integrity of the entire musical form, since it is preserved from beginning to end.

The forms of Schubert's songs are varied, from simple verse to through, which was new for that time. The cross-cutting song form allowed for the free flow of musical thought and detailed following of the text. Schubert wrote more than 100 songs in a continuous (ballad) form, including “The Wanderer”, “The Warrior’s Premonition” from the collection “Swan Song”, “The Last Hope” from “ winter journey" etc. The pinnacle of the ballad genre - "Forest King", created in early period creativity, shortly after “Gretchen at the Spinning Wheel.”

"Forest King"

Goethe's poetic ballad “The Forest King” is a dramatic scene with a dialogue text. Musical composition relies on the refrain form. The refrain is the child’s cries of despair, and the episodes are the Forest King’s appeal to him. The text from the author forms the introduction and conclusion of the ballad. The excited few-second intonations of the child contrast with the melodious phrases of the Forest King.

The child’s exclamations are carried out three times with an increase in the tessitura of the voice and a tonal increase (g-moll, a-moll, h-moll), as a result - an increase in drama. The phrases of the Forest King sound in major (I episode - in B-dur, 2nd - with a predominance of C-dur). The third passage of the episode and refrain is set out by Sh. in one music. stanza. This also achieves the effect of dramatization (contrasts come closer together). The last cry of the child sounds with extreme tension.

In creating the unity of the end-to-end form, along with a constant tempo, a clear tonal organization with a tonal center of g-minor, the role of the piano part with an ostinato triplet rhythm is especially great. This is a rhythmic form of perpetuum mobile, since the triplet movement first stops only before the final recitative 3 bars from the end.

The ballad “The Forest King” was included in Schubert’s first song collection of 16 songs based on Goethe’s words, which the composer’s friends sent to the poet. I came here too "Gretchen at the Spinning Wheel", marked authentic creative maturity (1814).

"Gretchen at the Spinning Wheel"

In Goethe's Faust, Gretchen's song is a small episode that does not pretend to be a complete depiction of this character. Schubert puts into it a voluminous, comprehensive description. The main image of the work is a deep but hidden sadness, memories and dreams of unrealistic happiness. The persistence and obsession of the main idea causes a repetition of the initial period. It takes on the meaning of a refrain that captures the touching naivety and simplicity of Gretchen’s appearance. Gretchen's sadness is far from despair, so there is a touch of enlightenment in the music (deviation from the main D minor to C major). The sections of the song (there are 3 of them) alternating with the refrain are of a developmental nature: they are marked by the active development of the melody, the variation of its melodic-rhythmic turns, the change of tonal colors, mainly major, and convey an impulse of feeling.

The climax is built on the affirmation of the memory image (“...shaking hands, his kiss”).

As in the ballad “The Forest King,” the role of the accompaniment, which forms the end-to-end background of the song, is very important here. It organically merges the characteristics of internal excitation and the image of a spinning wheel. The theme of the vocal part follows directly from the piano introduction.

In search of subjects for his songs, Schubert turned to the poems of many poets (about 100), very different in terms of talent - from such geniuses as Goethe, Schiller, Heine, to amateur poets from his immediate circle (Franz Schober, Mayrhofer). The most persistent was his attachment to Goethe, to whose texts Schubert wrote about 70 songs. WITH youth The composer also admired Schiller's poetry (more than 50). Later, Schubert “discovered” the romantic poets - Relshtab (“Serenade”), Schlegel, Wilhelm Müller and Heine.

Piano fantasy “Wanderer”, piano quintet in A-dur (sometimes called “Trout”, since the IV part here presents variations on the theme of the song of the same name), quartet in d-minor (in the II part of which the melody of the song “Death and the Maiden” is used).

One of the ronda-shaped forms, which develops due to the repeated inclusion of a refrain in the end-to-end form. It is used in music with complex figurative content, depicting events in verbal text.

F. Schubert is considered the creator of the vocal ballad. At the turn of the XXVIII – XIX centuries. this old genre was, as it were, rediscovered in the works of romantic writers and composers.

Ballad is the name given to a vocal or instrumental piece of a romantic nature. In a musical ballad narrative character combined with the picturesque depiction of fiction about the wonderful, the “terrible”, the dramatic expression of feelings of love and hatred, suffering and joy, dreamy sadness and aspirational impulse. In a vocal ballad, the narrative is often based on a comparison of contrasting images with the continuous development of music, closely related to the plot of the poetic text.

In German poetry, the revival and new life the ballad is indebted to Goethe, Schiller, Heine. Ballads are famous in music German composer late XVIII century I. R. Zumstega (1760 -1802). Even in convict, Schubert was fond of his ballads. Schubert himself did not have many ballad songs, and “The Forest King” remains his most perfect creation in this new genre of romantic music.

F. Schubert was fascinated by Goethe's poetry. She excited and captivated the imagination, mind, and soul of the young composer. Over 70 songs were written to the words of the great German poet. Schubert composed the ballad “The Forest King” when he was only 18 years old. This is how one of his friends describes the birth of this song: “We found Schubert in a completely heated state, loudly reading from a book of The Forest King.” He walked back and forth around the room with the book several times, suddenly sat down, and in a very short time the ballad appeared on paper... That same evening, “The King of the Forest” was performed and received with delight.”

Each of the ballad's heroes has his own musical characteristic. Tension, horror, and supplication are heard in the words of the child; insinuation is heard in the speeches of the forest king. The father calms his son.

Musical language is understandable without translation. And, undoubtedly, after listening to the ballad “Forest King” - one of the most famous works Schubert to the poems of J. W. Goethe - in German, from the sound of the music itself you can feel that this is a leisurely narration by the author or an excited conversation of several characters.

The ballad is performed, as a rule, in the original language - German, so its meaning and content need to be translated.

Forest king

Who gallops, who rushes under the cold darkness?
The rider is late, his young son is with him.
The little one came close to his father, shuddering;
The old man hugs him and warms him.

“Child, why are you clinging to me so timidly?”
“Darling, the king of the forest sparkled in my eyes:
He wears a dark crown and a thick beard.”
“Oh no, the fog is white over the water.”

“Child, look around, baby, towards me;
There is a lot of fun in my side:
Turquoise flowers, pearly streams;
My palaces are made of gold.”

“Dear, the king of the forest speaks to me:
It promises gold, pearls and joy.”
“Oh no, my baby, you misheard:
Then the wind, waking up, shook the sheets.”

“Come to me, my baby! In my oak grove
You will recognize my beautiful daughters;
When it's month they will play and fly,
Playing, flying, putting you to sleep.”

“Darling, the forest king called his daughters:
I see they are nodding to me from the dark branches.”
“Oh no, everything is calm in the depths of the night:
The gray willows stand to the side.”

“Child, I was captivated by your beauty:
Willy-nilly or willy-nilly, you will be mine.”
“Darling, the forest king wants to catch up with us;
Here it is: I’m stuffy, it’s hard for me to breathe.”

This ballad, thanks to the realism of its images, is one of Schubert's most impressive works.

Nefteyugansk district municipal educational budgetary institution
"Salym secondary school No. 2"

Musical image
in the music of Franz Schubert

Author's development of a music lesson in 7th grade
teachers of the highest qualification category
Oksana Alexandrovna Udyurova
e-mail:

year 2014
Lesson topic:
Musical image in the music of Franz Schubert

The lesson was conducted according to the program of D. B. Kabalevsky, using the educational complex “Music. 7th grade" T. I. Naumenko, V. V. Aleeva

Lesson type: lesson on learning new material
Teaching methods used:
verbal
visual
practical
problem-search
independent work
working with the textbook
design
oral control
testing
mutual control
Teaching techniques used:
explanation
practical tasks
problematic situation
analysis and synthesis
compare and contrast
Forms of organization of cognitive activity:
individual
pair-group
collective
frontal
Means of education:
MP3 with a recording of a piece of music
textbook and teaching materials for the lesson
computer and multimedia projector
presentation for the lesson
Open music lesson in 7th grade

Theme of the quarter: Musical image.
Lesson topic: Musical image in the work of F. Schubert.
The purpose of the lesson: the formation of an emotionally conscious perception of a musical image using the example of the ballad “The King of the Forest” by F. Schubert.
Tasks:
- educational – introduce the concept of “musical ballad”, the biography of F. Schubert, define musical image in the ballad “The Forest King”;
- developing – to develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;
- educational - education personal attitude to music, aesthetic taste.
Musical material: F. Schubert ballad song “The Forest King”, inserted into the presentation.
Equipment: computer, video projector, musical instrument.
Additional material: presentation for the lesson, a printed version of the table for filling in according to the options and biography of F. Schubert with questions, T. I. Naumenko, V. V. Aleev, textbook on music, grade 7.
During the classes.
Organizing time. State the topic and purpose of the lesson.
Slide 1
- Good afternoon, dear guys, dear guests. Today in the lesson we will get acquainted with a very famous work by the composer Franz Schubert, we will define the musical image that the composer Schubert conveyed in his song.
II. Repetition of what has been covered.
- What images exist in music? (Lyrical, epic, dramatic).
Slide 2 (Click on the ovals after a hand appears on them).
- Which works of Franz Schubert are you already familiar with and what image predominates in them? (“Ave Maria”, “Barcarolle”, “Trout” - lyrical image).
III. Learning new material.
1). - What kind of person was Schubert if he could create such lyrical works? We will be able to answer this question after we independently familiarize ourselves with the composer’s biography. I will provide each desk with a printed text and questions for you to answer.
APPENDIX 1 or 3.
(Complete the task at their desks. Each pair reads the composer’s biography and answers 3-4 questions, which are distributed by the teacher on separate pieces of paper with a version of the biography).
Slide 3
2). Questions to check the performance of the work.
Who is Franz Schubert?
When and where was Schubert born?
Who were Schubert's parents?
Where did Schubert receive his musical education?
At what age was Schubert accepted into the court chapel?
At what age did Schubert start composing?
What works were most famous during Schubert's lifetime?
How many songs did F. Schubert write?
What role does piano accompaniment play in Schubert's songs?
Which singer began to promote Schubert's work?
What kind of person was Schubert?
What were the names of Schubert's musical meetings with friends?
Which composer did Schubert idolize?
What musical movement was Schubert a representative of?
When did Schubert achieve real success?
How old did Schubert live?
(The teacher, calling out the serial number, asks questions. Each student answers his question in order, and from the answers a biography of Schubert is built. All answers appear on the slide.)
Slides 4-6 (Click on each question after a hand appears on it).
3). Listening to the ballad “The Forest Tsar” by F. Schubert in Russian.
- Listen to one of the most famous works Schubert and answer the following questions:
Slide 7
- What feelings does music express?
- What image did the composer convey in his music?
- Who performs this piece of music?
(Listening to a ballad. Children’s answers to the questions posed.)
- What is the name of this work?
- What is a ballad?
Slide 8
- This is a solo narrative song with elements of fantasy. In it, the composer created a living picture in which the subtlest shades of human feelings are revealed.
Slide 9
- How many characters are there in the ballad?
- What is the theme of each character?
- What intonation prevails in the characters’ speech?
- What did you hear in the accompaniment?
- Let's summarize our conclusions using the text in the textbook on page 42. Fill out the table that you see on the slide.
Slide 10
Option
Characters
Speech
Melody
Musical accompaniment

II
FOREST KING

You will work according to the options: option 1 characterizes the speech, melody and accompaniment of the father, son and narrator, and option 2 characterizes the Forest King.
APPENDIX 2.
(A fragment of the table is distributed according to the options. Children fill it out using the textbook (p. 42). Check the completion of the table on the slide.)
Slide 10 (Click on each square after a hand appears on it).
- Listen to the ballad again, follow the text (text on page 40 in the textbook) and answer the following questions:
- How was Schubert able to convey the tragedy, pain and cry of the human soul?
- How does the plot develop in a ballad?
-What role does the piano play in the piece?
Slide 11
(Listening to a ballad in Russian with a lecture. Children’s answers to questions.)
- Franz Schubert's ballad “The Forest King” is an example of a dramatic work. It represents a whole scene with the participation of various characters.

4). The history of the creation of the ballad “The Forest King” by F. Schubert.
- The ballad is written based on a poem by the German poet Johann Wolfgang Goethe.
Slide 12
- The best translation of Goethe’s ballad into Russian was made almost two centuries ago by Vasily Andreevich Zhukovsky, a contemporary of A. S. Pushkin, a unique, very subtle, deeply lyrical poet.
- F. Schubert was enchanted by the poetry of V. Goethe. She excited and captivated the imagination, mind, and soul of the young composer. Schubert composed the ballad “The Forest King” when he was only 18 years old.
Slide 14
- This is how one of Schubert’s friends describes the birth of this song: “We found Schubert in a completely heated state, loudly reading from the book “The King of the Forest.” He walked with the book several times back and forth across the room, suddenly sat down, and in a very short time the ballad appeared on the paper. That same evening, “The Forest King” was performed and received with delight.”
IV. Consolidation.
- At the end of our lesson, I suggest you take a test on the options. You have pieces of paper on your desk on which you will write down the answers to my questions.
Slide 14 (Click on the questions one by one).
(Completing test tasks according to options. Mutual testing.)
1 option
Option 2

1. In what country was F. Schubert born?
A). France
B). Italy
IN). Austria
2. How many songs did Schubert write?
A). 600
B). 500
IN). 400

3. Who is the author German text ballads?
A). Schiller
B). Goethe
IN). Shakespeare
4. How many characters are there in the ballad song “The Forest King”?
A). 4
B). 5
IN). 6
5. The speech of which character in the ballad sounds affectionate, insinuating, soft, enticing?
A). Father
B). Forest king
IN). son
6. What's in musical accompaniment Do ballads help you feel dramatic?
A). Dotted rhythm
B). March rhythm
IN). The rhythm of a mad ride
7. What images influenced the construction of everything musical development?
A). Love and hate
B). Life and death
IN). War and Peace
1. How many years did F. Schubert live?
A). 27
B). 31
IN). 37
2. At what age did Schubert write
"Forest King"?
A). 28
B). 23
IN). 18
3. Who did it best translation ballads?
A). Pushkin
B). Lermontov
IN). Zhukovsky
4. What is the image in the ballad song “The Forest King”?
A). Lyrical
B). Dramatic
IN). Epic
5. How does the speech of the author, father and son sound?
A). Excitedly
B). Fascinating
IN). Insinuatingly

6. What character does it characterize?
smooth, rounded, melodious melody?
A). son
B). Father
IN). Forest king

7. What is the overall character of the ballad?
A). Quiet and calm
B). Worried and anxious
IN). Cheerful and mischievous

1 option
Option 2

1. B
2. A
3. B
4. A
5 B
6. B
7. B
1. B
2. V.
3. V.
4. B
5. A
6. B
7. B

Slide 15
Answers for mutual verification: 7 – “5” 6 – “4” 5 – “3” 4 – “2”

V. Lesson summary.
- Which work of Franz Schubert did we meet in class today?
- What is the image in the ballad song “The Forest King”?
Slide 16
- What in the music helped us feel the dramatic image created by the composer?
(Assessing student work. Giving grades for work in class.)

VI. Homework.
- Draw a picture that matches the character of the ballad “The Forest King” by F. Schubert.
- Thank you for your creative work. Goodbye.

Franz Schubert. Songs and dances

The Austrian composer Franz Schubert, a contemporary of Mozart and Beethoven, Schubert lived very little - only 31 years. But his legacy is enormous. During his short and, moreover, difficult life, Schubert managed to create more than a thousand works and in them he gifted humanity with real scatterings of musical treasures.

These are, first of all, his songs for voice and piano, of which he wrote more than six hundred, raising the genre to unprecedented artistic heights. There are many masterpieces among his other works - symphonies, piano sonatas and plays, chamber instrumental ensembles.

However, his most popular compositions remain songs and piano pieces. None of the young musicians passed by the waltzes or his other dances for piano.

It is a pity that the composer lived such a short life. But the way he lived it makes us talk about a real creative feat.

Young Franz Schubert still in school years began composing music, and he did it so professionally that it alarmed his father. Schubert's father knew well how difficult the path of musicians was, even internationally recognized ones, such as Mozart and Beethoven. The father wanted to protect his son from a similar fate, and his efforts resulted in a serious quarrel with his son, as a result of which young Schubert was forced to leave home.

Throughout his life, the composer did not have his own corner. He lived with one of his friends, then with another. For the most part he lived in the capital of Austria - the city of Vienna. And the Viennese came to know and love his music. Mainly his songs. The secret of their expressiveness was their closeness to folk ones - Austrian, Hungarian, Slavic.

Songs occupied the main place in Schubert's work. It is interesting to note that in his works Schubert brings out a new hero - a simple modest person, who talks through music about his little life events, episodes of happiness or suffering. In a word, Schubert's songs tell about what every person usually faces in life.

Often the only friend of Schubert's hero is nature. He entrusts his thoughts, hopes and sorrows to nature. Therefore, the songs contain images of a stream, a forest, flowers, birds, and the expanse of the night. These artistic images surround the hero of the songs, sharing his wanderings, joys and sorrows.

One of the songs is called “On the Road.” This song opens a whole musical cycle by Schubert called “The Beautiful Miller's Wife”. A young miller sets out on a journey in search of happiness. This is a story about the first meeting on the journey of a wanderer - a joyful meeting, in tune with his mood.

The musical accompaniment of the song “On the Way” depicts the play of water in a gentle and welcoming stream. A water mill with spinning wheels and running water creates an image of cheerful movement. A simple, ingenuous melody very well conveys the joyful mood of the miller.

Schubert's song "Trout" is one of his most popular works. The song talks about how the poet watches the play of a cheerful silver fish in a mountain stream. But the fisherman, fishing to catch it, muddied the water in the stream, and the poor trout fell for his fishing rod. The poet sympathizes with the poor fish, describing the fisherman’s gloating: “He took it with a smile, I gave free rein to tears.” The melody of the song sounds against the background of fast upward sliding phrases, reminiscent of splashes of water.

Eternal material insecurity and continuous failures in life had a serious impact on Schubert's health. However, none of his friends noted that Schubert fell into a gloomy mood. Small in stature, stocky, stocky and short-sighted, Schubert turned meetings with friends into real musical celebrations, which were even nicknamed “Schubertiades.” On such evenings, the composer did not leave the piano, composing his wonderful waltzes in front of the public.

But at the same time, the composer was a great hard worker. He worked hard, systematically, day after day. He himself said so: “I compose every morning. When I finish one play, I start another.” There were days when he composed up to ten songs a day!

Schubert could also write several different melodies for the same words. Thus, he once composed seven different melodies for one version of the text. Musical thoughts visited him even during sleep. Then he woke up and tried to write them down as soon as possible. That's why he even slept with glasses on! And his friends tried to help him buy music paper.

A real pearl of vocal lyrics is “Serenade” by F. Schubert. Songs called serenades were usually performed by young men in love under the windows of their lovers. They were sung in the evening or at night. Serenade performers accompanied themselves on guitar or mandolin. Schubert's Serenade is full of bright, dreamy moods. Its melody flows smoothly and unhurriedly, and it is written in a soft waltz rhythm. The piano accompaniment of the serenade reminds us of the sound of a guitar.

“Ave, Maria” is one of the brightest and most lyrical vocal works F. Schubert. The unearthly beauty of this music made the prayer to the Virgin Mary Schubert's most popular religious composition. "Ave Maria" - initial words Catholic prayer addressed to the Holy Virgin Mary, whom we call the Mother of God.

Schubert took the text for this song from the poem “The Virgin of the Lake” English writer Walter Scott - author of Ivanhoe and many other fascinating novels. In the poem, which takes place in the 16th century, these are the words of a song sung by a young girl, Ellen. Together with her father, a brave warrior slandered before the king of Scotland and expelled by him, and a faithful old bard, she hides in the remote wilds - the land of wild rocks, dark forests and crystal lakes. (In medieval Scotland, traveling poet-singers were called bards.) In her song, accompanied by the bard on the harp, Ellen turns to the Virgin Mary, asking for protection from her cruel persecutors.

Schubert's song captivates with the beauty of its smooth melody, combining lyrical expressiveness, femininity and sublimity of mood.

Musical moment is a small instrumental piece, in which different human experiences can be expressed: mild sadness and sadness-sorrow, excitement and anxiety. For the first time in music, this name - a musical moment - appeared in Franz Schubert.

“Musical Moment” in F minor is extremely popular. It represents one of the few examples of lyrically poeticized Czech folk dance- polkas. Ten years after the appearance of this charming little play by Schubert, the polka began to become widely known in many European countries, including Russia, as a merry ballroom dance with a characteristic perky jump. Perhaps someone young can dance to Schubert's music - both graceful and shy, only timidly revealing their affectionate, sometimes slightly sly playfulness.

The play sounds sometimes with gentle sadness, sometimes playfully, sometimes brightly, decisively, playfully, sometimes very fragile and light. This music has many decorations (small, light sounds) that give it sophistication and sophistication, making it very beautiful. You admire this piece as if it were a precious thing, delicately and skillfully made; you want to examine every pattern and curl in it, watch how it sparkles and shimmers.

The city of Vienna, where the composer lived, has always been famous for waltzes. Schubert himself composed such dance pieces. Usually their melodies appeared at his “Schubertiad” evenings, at balls or country walks. There he improvised, accompanying dances or simply delighting friends with his performance. It's a pity that not all of them are ours musical pieces he managed to write it down. But one of the waltzes - B minor - is probably known to young musicians. This waltz is simple, it has a special light, soft sound. But in the middle, the waltz changes its tonality from minor to major, becoming more cheerful and decisive. Probably, while composing this waltz, Schubert was remembering something joyful from his life, or perhaps dreaming about his future.

Schubert's music itself was like a stream that rang repeatedly in his songs. Like a bright stream, it was passed from singer to singer, and simple people who lived on the outskirts of Vienna fell in love with her. We hope that you will also fall in love with the music of Franz Schubert.

Questions and tasks:

1. How many songs did Schubert write?
2. Who is the "hero" of Schubert's songs?
3. Has the unity of music and poetry become closer in Schubert's songs?
4. What role did the piano part play in Schubert's songs?
5. What is the content of the serenade genre? What is the character of the vocal melody and what is the character of the piano part in Schubert’s “Serenade”?
6. From which literary work Are the lyrics from Schubert's song "Ave Maria" taken? What is the content of this song and what is its character?
7. What genres of piano music did Schubert turn to?
8. What genres in this area was he the first to introduce?
9. What features are characteristic of Schubert's works for piano?
10. What is remarkable about the character of the Waltz in B minor?
11. What dance genre did Schubert poetize in “The Musical Moment” in F minor?

Presentation

Included:
1. Presentation - 18 slides, ppsx;
2. Sounds of music:
" Ave Maria!" (2 versions), mp3;
"On the Road" from the series "The Beautiful Miller's Wife", mp3;
Waltz in B minor, mp3;
Musical moment No. 3 in F minor, mp3;
Serenade (2 versions), mp3;
"Trout", mp3;
3. Accompanying article, docx.