What do you think is different piano concert Tchaikovsky from his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all.
Perhaps you already know that a concerto is a work of many parts, as the musicians say, it is cyclic, but in fantasy there is only one part. But now we are not interested in this. You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. Enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sounding music. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines.
Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...
And in Francesca da Rimini, Tchaikovsky, by the very title, indicated exactly what his music draws: one of the episodes " Divine Comedy"Dante. This episode tells how the souls of sinners rush about among the hellish whirlwinds, in the underworld. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets beautiful Francesca among these souls carried by the whirlwind, who tells him sad story his unfortunate love. The music of the extreme sections of Tchaikovsky's fantasy draws hellish whirlwinds, the middle section of the work is Francesca's sorrowful story.
There are many musical works in which the composer in one form or another explains to the listeners their content. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a misty land".
P. I. Tchaikovsky. Symphony No. 1 in G minor, Op. 13. "Winter dreams".
Part 1. "Dreams on a winter road"
P. I. Tchaikovsky. Symphony No. 1 G-mol, Op.13. "Winter Dreams".
Part 2. "Gloomy land, foggy land"
Berlioz, in addition to the subtitle "Episode from the Life of an Artist", which he gave to his Fantastic Symphony, also set out in great detail the content of each of its five parts. This story is reminiscent of a romantic novel.
And "Francesca da Rimini", and the symphony "Winter Dreams" by Tchaikovsky, and Berlioz's Fantastic Symphony are examples of so-called program music.
You probably already understood that program music is called such instrumental music, which is based on a "program", that is, some very specific plot or image. Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work. So, for example, did Rimsky-Korsakov in his symphonic picture "Sadko" or Lyadov in "Kikimora".
It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary
Program (from the Greek “program” - “announcement”, “order”) includes musical works that have a specific title or literary preface created or chosen by the composer himself. Due to the specific content, program music is more accessible and understandable to listeners. Her expressive means are especially embossed and bright. In program works, composers make extensive use of orchestral sound recording, figurativeness, they emphasize the contrast between images-themes, sections of form, etc.
The range of images and themes of program music is rich and varied. This is also a picture of nature - the gentle colors of "Dawn on the Moscow River" in the overture to MP Mussorgsky's opera "Khovanshchina"; the gloomy Darial Gorge, the Terek and the castle of Queen Tamara in the symphonic poem Tamara by M.A. Balakirev; poetic landscapes in the works of C. Debussy "Sea", "Moonlight". Juicy, colorful pictures folk holidays recreated in the symphonic works of M. I. Glinka "Kamarinskaya" and "Jota of Aragon".
Many compositions of this type of music are associated with remarkable works of world literature. Turning to them, composers in music seek to reveal those moral issues over which poets and writers pondered. P. I. Tchaikovsky (fantasy "Francesca da Rimini"), F. Liszt ("Symphony to Dante's Divine Comedy") turned to Dante's "Divine Comedy". W. Shakespeare's tragedy "Romeo and Juliet" was inspired by G. Berlioz and Tchaikovsky's fantasy overture, the tragedy "Hamlet" - Liszt's symphony. One of the best overtures by R. Schumann was written for the dramatic poem "Manfred" by J. G. Byron. The pathos of struggle and victory, the immortality of the feat of the hero who gave his life for the freedom of his homeland, expressed by L. Beethoven in the overture to the drama by J. W. Goethe "Egmont".
To program works include works that are commonly referred to as musical portraits. These are Debussy's piano prelude The Girl with Flaxen Hair, the piece for harpsichord The Egyptian by JF Rameau, Schumann's piano miniatures Paganini and Chopin.
Sometimes the program musical composition is inspired by works visual arts. The piano suite “Pictures at an Exhibition” by Mussorgsky reflected the composer's impressions of the exhibition of paintings by the artist V. A. Hartmann.
large-scale, monumental works program music are associated with the most important historical events. Such, for example, are D. D. Shostakovich’s symphonies “1905”, “1917”, dedicated to the 1st Russian Revolution of 1905-1907. and the October Revolution.
Program music has long attracted many composers. Elegant pieces in the Rococo style were written for harpsichord by French composers of the 2nd half of XVII - early XVIII in. L. K. Daken (“The Cuckoo”), F. Couperin (“The Grape Pickers”), Rameau (“The Princess”). The Italian composer A. Vivaldi united four violin concertos under the general title "The Seasons". They created subtle musical sketches of nature, pastoral scenes. The composer outlined the content of each concerto in a detailed literary program. J.S. Bach jokingly called one of the pieces for the clavier “Capriccio for the Departure of a Beloved Brother”. The creative heritage of J. Haydn includes more than 100 symphonies. Among them there are also program ones: "Morning", "Noon", "Evening and Storm".
Program music occupied an important place in the work of romantic composers. Portraits, genre scenes, moods, the subtlest shades of human feelings are subtly and inspiredly revealed in Schumann's music (piano cycles "Carnival", "Children's Scenes", "Kreisleriana", "Arabesque"). Liszt's large piano cycle "Years of Wanderings" became a kind of musical diary. Impressed by his trip to Switzerland, he wrote the plays "William Tell's Chapel", "The Bells of Geneva", "On the Wallendstadt Lake". In Italy, the composer was captivated by the art of the great masters of the Renaissance. Petrarch's poetry, Raphael's painting "The Betrothal", Michelangelo's sculpture "The Thinker" became a kind of program in Liszt's music.
The French symphonist G. Berlioz embodies the principle of programming not in a generalized way, but consistently reveals the plot in music. "Fantastic Symphony" has a detailed literary preface, written by the composer himself. The hero of the symphony finds himself at a ball, then in a field, then he goes to an execution, then he finds himself at a fantastic coven of witches. With the help of colorful orchestral writing, Berlioz achieves almost visual pictures of theatrical action.
Russian composers often turned to program music. fantastic, fairy tales formed the basis of symphonic paintings: "Night on Bald Mountain" by Mussorgsky, "Sadko" by Rimsky-Korsakov, "Baba Yaga", "Kikimora", "Magic Lake" by A. K. Lyadov. The creative power of the human will and mind was sung by A. N. Scriabin in the symphonic poem "Prometheus" ("The Poem of Fire").
PROGRAM MUSIC . What do you think is the difference between a piano concerto
Tchaikovsky from his own symphonic fantasy "Francesca da Rimini"?
Of course, you will say that the piano is the soloist in the concerto, but in the fantasy it
no at all. Perhaps you already know that a concerto is a work of
many-part, as the musicians say, is cyclic, but in fantasy there is only one
part. But now we are not interested in this.
Are you listening to a piano or violin concerto, a Mozart symphony or
sonata by Beethoven. Enjoying beautiful music, you can follow it
development, for how different musical themes how they
change, develop. And you can reproduce in your imagination
some pictures, images that sound music evokes. At the same time, your
fantasies will surely be different from what another imagines
a person who listens to music with you. Of course, it does not happen that you
in the sounds of music there seemed to be the noise of battle, and to someone else - an affectionate
lullaby. But stormy, formidable music can evoke associations with
rampant elements, and with a storm of feelings in the human soul, and with a formidable rumble
battles...
And in "Francesca da Rimini" Tchaikovsky by the very name indicated exactly that
it is his music that draws: one of the episodes of Dante's Divine Comedy.
This episode tells how among the hellish whirlwinds, in the underworld,
the souls of sinners rush about. Dante who descended into hell accompanied by a shadow
the ancient Roman poet Virgil, meets among these spirits carried by a whirlwind
beautiful Francesca, who tells him the sad story of her
unhappy love. The music of the extreme sections of Tchaikovsky's fantasy draws
hellish whirlwinds, the middle section of the work is the sorrowful story of Francesca.
There are many pieces of music in which the composer, in one way or another,
explains the content to listeners in a different way. So, my first symphony
Tchaikovsky called "Winter Dreams". He prefaced the first part of it with the title
"Dreams on a winter road", and the second - "A gloomy land, a misty land".
Berlioz, except for the subtitle "Episode from the Life of an Artist", which he gave
of his Fantastic Symphony, set out in great detail the content of each
of its five parts. This presentation is in character reminiscent of a romantic
And "Francesca da Rimini", and the symphony "Winter Dreams" by Tchaikovsky, and
Berlioz's fantastic symphony - examples of the so-called program
music. You probably already understood that program music is called such
instrumental music based on a "program", i.e.
some very specific story or image.
Programs are of different types. Sometimes the composer
retells the content of each episode of his work. So,
for example, did Rimsky-Korsakov in his symphonic picture "Sadko"
or Lyadov in Kikimore. It happens that, referring to well-known
literary works, the composer considers it sufficient only to indicate
this literary
German Programmusik, French musique a program, ital. musica a programma program music
Musical works that have a certain verbal, often poetic. program and revealing the content imprinted in it. The phenomenon of music programming is associated with specific. features of music that distinguish it from other arts. In the field of displaying feelings, moods, and spiritual life of a person, music has important advantages over other arts. Indirectly, through feelings and moods, music is able to reflect many. phenomena of reality. However, it is not able to accurately designate what exactly causes this or that feeling in a person, it is not able to achieve the objective, conceptual concreteness of the display. The possibilities of such concretization are possessed by speech language and literature. Striving for substantive, conceptual concretization, composers create program music. production; prescribing op. program, they force the means spoken language, arts. lit-ry act in unity, in synthesis with the actual muses. means. The unity of music and literature is also facilitated by the fact that they are temporary arts, capable of showing the growth and development of the image. Unity of divergence the lawsuit has been going on for a long time. In ancient times, there were no independent entities at all. types of lawsuits - they acted together, in unity, the lawsuit was syncretic; at the same time it was closely associated with labor activity and with diff. kind of rituals, rituals. At that time, each of the lawsuits was so limited in terms of funds that it was out of syncretic. unity aimed at solving applied problems could not exist. The subsequent allocation of claims was determined not only by a change in the way of life, but also by the growth of the possibilities of each of them, achieved within the syncretic. unity associated with this growth of aesthetic. human feelings. At the same time, the unity of art-in never ceased, including the unity of music with the word, poetry - primarily in all kinds of woks. and wok.-dramatic. genres. In the beginning. In the 19th century, after a long period of existence of music and poetry as independent arts, the tendency towards their unity intensified even more. This was determined no longer by their weakness, but rather by their strength, by pushing their own to the limit. opportunities. Further enrichment of the reflection of reality in all its diversity, in all its aspects could be achieved only by the joint action of music and words. And programming is one of the types of unity of music and the means of speech language, as well as literature, denoting or displaying those sides of a single object of reflection, which music is not able to convey by its own means. Thus, an integral element of the program music. prod. is a verbal program created or chosen by the composer himself, whether it is a brief program heading indicating a phenomenon of reality, which the composer had in mind (the play "Morning" by E. Grieg from the music for G. Ibsen's drama "Peer Gynt") , sometimes "referring" the listener to a certain lit. prod. ("Macbeth" by R. Strauss - a symphonic poem "based on Shakespeare's drama"), or a lengthy excerpt from a literary work, detailed program, compiled by the composer according to one or another lit. prod. (symphonic suite (2nd symphony) "Antar" by Rimsky-Korsakov based on the fairy tale of the same name by O. I. Senkovsky) or out of touch with Ph.D. lit. prototype ("Fantastic Symphony" by Berlioz).
Not every title, not every explanation of music can be considered as its program. The program can only come from the author of the music. If he did not tell the program, then his very idea was non-program. If he first gave his Op. program, and then abandoned it, so he translated his Op. into the non-program category. The program is not an explanation of music, it complements it, revealing something that is missing in music, inaccessible to the embodiment of muses. means (otherwise it would be redundant). In this, it fundamentally differs from any analysis of the music of a non-program op., any description of its music, even the most poetic, incl. and from the description belonging to the author of Op. and pointing to specific phenomena, to-rye caused in his creativity. consciousness of certain muses. images. And vice versa - program op. - this is not a "translation" into the language of music of the program itself, but a reflection of the muses. means of the same object, which is designated, reflected in the program. Headings given by the author himself are not a program either, if they denote not specific phenomena of reality, but concepts of an emotional plane, which the music conveys much more accurately (for example, headings like "Sadness", etc.). It happens that the program attached to the product. by the author himself, is not in organic. unity with music, but this is already determined by the arts. the skill of the composer, sometimes also by how well he compiled or selected the verbal program. This has nothing to do with the question of the essence of the phenomenon of programming.
Muses himself possesses certain means of concretization. language. Among them are the Muses. figurativeness (see Sound painting) - a reflection of various kinds of sounds of reality, associative representations generated by music. sounds - their height, duration, timbre. An important means of concretization is also the attraction of the features of "applied" genres - dance, march in all its varieties, etc. National-characteristic features of muses can also serve as concretizations. language, music style. All these means of concretization make it possible to express the general concept of Op. (ex. celebration light forces over dark ones, etc.). And yet they do not provide that substantive, conceptual concretization, which is provided by the verbal program. Moreover, the more widely used in music. prod. music proper. means of concretization, the more necessary for the full perception of music are the words, the program.
One of the types of programming is picture programming. It includes works that display one image or a complex of images of reality that does not undergo beings. changes throughout its duration. These are pictures of nature (landscapes), pictures of bunks. festivities, dances, battles, etc., music. images objects of inanimate nature, as well as portrait muses. sketches.
The second main type of music programming - plot programming. Source of plots for software products. of this kind serves primarily as art. lit. In the plot-program music. prod. music development. images in general or in particular corresponds to the development of the plot. Distinguish between generalized-plot programming and sequential-plot programming. The author of a work relating to the generalized plot type of programming and connected through the program with one or another lit. production, does not aim to show the events depicted in it in all their sequence and complexity, but gives muses. characteristic of the main images of lit. prod. and the general direction of the development of the plot, the initial and final correlation of the acting forces. On the contrary, the author of a work belonging to the serial-plot type of programming seeks to display intermediate stages in the development of events, sometimes the entire sequence of events. Appeal to this type of programming is dictated by plots, in which the middle stages of development, which do not proceed in a straight line, but are associated with the introduction of new characters, with a change in the setting of the action, with events that are not a direct consequence of the previous situation, become important. Appeal to sequential-plot programming also depends on creativity. composer settings. Different composers often translate the same plots in different ways. For example, the tragedy "Romeo and Juliet" by W. Shakespeare inspired P. I. Tchaikovsky to create a work. generalized plot type of programming (overture-fantasy "Romeo and Juliet"), G. Berlioz - to create a product. sequential-plot type of programming (dramatic symphony "Romeo and Juliet", in which the author even goes beyond pure symphonism and attracts a vocal beginning).
In the field of music language cannot be distinguished. signs of P. m. This is also true in relation to the form of software products. In works representing the pictorial type of programming, there are no prerequisites for the emergence of specific. structures. Tasks, to-rye set by the authors of software products. of a generalized plot type, are successfully performed by forms developed in non-program music, primarily the sonata allegro form. The authors of the program op. sequential plot type have to create muses. form, more or less "parallel" to the plot. But they build it by combining the elements of different. forms of non-program music, attracting some of the methods of development already widely represented in it. Among them is the variational method. It allows you to show changes that do not affect the essence of the phenomenon, concerning many others. important features, but associated with the preservation of a number of qualities, which makes it possible to recognize the image, in whatever new form it appears. The principle of monothematism is closely related to the variational method. Using this principle in terms of figurative transformation, so widely used by F. List in his symphonic poems and other works, the composer gains greater freedom to follow the plot without the danger of violating the music. wholeness op. Another type of monothematism associated with the leitmotif characterization of characters (see Leitmotif) finds application in Ch. arr. in serial-plot productions. Having originated in the opera, the leitmotif characteristic was also transferred to the area of instr. music, where G. Berlioz was one of the first and most widely resorted to it. Its essence lies in the fact that one theme throughout the Op. acts as a characteristic of the same hero. She appears each time in a new context, denoting the new environment surrounding the hero. This theme can change itself, but changes in it do not change its "objective" meaning and reflect only changes in the state of the same hero, a change in ideas about him. The reception of the leitmotif characteristic is most appropriate in conditions of cyclicity, suiteness and turns out to be a powerful means of combining the contrasting parts of the cycle, revealing a single plot. It facilitates the embodiment in music of successive plot ideas and the unification of the features of sonata allegro and sonata-symphony in a single-movement form. cycle, characteristic of the symphonic genre created by F. Liszt. poems. Diff. the steps of an action are conveyed with the help of relatively independent ones. episodes, the contrast between which corresponds to the contrast of parts of the sonata-symphony. cycle, then these episodes are "brought to unity" in a compressed reprise, and in accordance with the program, one or another of them is singled out. From the point of view of the cycle, the reprise usually corresponds to the final, from the point of view of the sonata allegro, the 1st and 2nd episodes correspond to the exposition, the 3rd ("scherzo" in the cycle) - to the development. Liszt has the use of such synthetic. forms are often combined with the use of the principle of monothematism. All these techniques allowed composers to create music. forms that meet individual traits plot and at the same time organic and holistic. However, new synthetic the forms cannot be regarded as belonging to the program music alone. They arose not only in connection with the implementation of program ideas - the general trends of the era also affected their appearance. Exactly the same structures were constantly used in non-program music.
There are program music. cit., in which as a program involved products. painting, sculpture, even architecture. Such are, for example, symphonic Liszt's poems "The Battle of the Huns" after the fresco by V. Kaulbach and "From the Cradle to the Grave" after the drawing by M. Zichy, his own play "William Tell's Chapel"; "Betrothal" (to the painting by Raphael), "The Thinker" (based on the statue of Michelangelo) from fp. cycles "Years of Wanderings", etc. However, the possibilities of subject, conceptual concretization of these claims are not exhaustive. It is no coincidence that paintings and sculptures are supplied with a concretizing name, which can be considered as a kind of their program. Therefore, in music works written on the basis of various works depict, art, in essence, combine not only music and painting, music and sculpture, but music, painting and word, music, sculpture and word. And the functions of the program in them are performed by Ch. arr. not manufactured depict, claims, but a verbal program. This is determined primarily by the diversity of music as a temporary art-va and painting and sculpture as a static, "spatial" art. As for architectural images, they are generally unable to concretize music in the subject-conceptual plane; music authors. works associated with architectural monuments, as a rule, were inspired not so much by them themselves as by history, by the events that took place in them or near them, the legends that developed about them (the play "Vyshegrad" from the symphonic cycle of B. Smetana " My Motherland", the above-mentioned fp. play "The Chapel of William Tell" by Liszt, which the author not accidentally prefaced with the epigraph "One for all, all for one").
Programming was a great conquest of the muses. lawsuit. She led to the enrichment of the range of images of reality, reflected in the muses. prod., the search for new expresses. means, new forms, contributed to the enrichment and differentiation of forms and genres. The composer's appeal to P. m. is usually determined by his connection with life, with modernity, attention to topical issues, in other cases, it itself contributes to the composer's rapprochement with reality, to a deeper comprehension of it. However, in some ways P. m. is inferior to non-program music. The program narrows the perception of music, diverts attention from the general idea expressed in it. The embodiment of plot ideas is usually associated with music. characteristics that are more or less conventional. Hence the ambivalent attitude of many great composers towards programming, which both attracted them and repelled them (sayings by P. I. Tchaikovsky, G. Mahler, R. Strauss, etc.). P. m. is not a certain: the highest genus music, just as it is not, and music is non-programmed. These are equal, equally legitimate varieties. The difference between them does not preclude their connection; both genera are also associated with the wok. music. So, the opera and the oratorio were the cradle of program symphonism. The opera overture was the prototype of the program symphony. poems; in operatic art there are also prerequisites for leitmotivism and monothematism, which are so widely used in P. m. In turn, non-program instr. the music is influenced by the wok. music and P. m. Found in P. m. new will express. possibilities become the property of non-program music as well. General trends epochs affect the development of both classical music and non-program music.
The unity of music and program in the program Op. is not absolute, indissoluble. It happens that the program is not brought to the listener when performing op., that lit. product, to which the author of the music refers the listener, turns out to be unfamiliar to him. The more generalized form the composer chooses to embody his idea, the less damage to perception will be caused by such a "separation" of the music of the work from its program. Such a "separation" is always undesirable when it comes to the execution of modern. works. However, it may turn out to be natural when it comes to the performance of production. more early era, since program ideas may lose their relevance and significance over time. In these cases, the music prod. to a greater or lesser extent lose the features of programmability, turn into non-programmable ones. Thus, the line between P. m. and non-program music, in general, is completely clear, in the historical. aspect is conditional.
P. m. developed essentially throughout the history of prof. music lawsuit. The earliest of the reports found by researchers about software muses. op. refers to 586 BC. - this year, at the Pythian games in Delphi (Ancient Greece), the avletist Sakao performed a play by Timosthenes, depicting the battle of Apollo with the dragon. Many program works was created in later times. Among them are clavier sonatas " bible stories"by the Leipzig composer J. Kunau, harpsichord miniatures by F. Couperin and J. F. Rameau, clavier "Capriccio for the Departure of a Beloved Brother" by J. S. Bach. Programming is also presented in creativity Viennese classics. Among their op.: triad program symphonies J. Haydn, characterizing decomp. times of the day (No 6, "Morning"; No 7, "Noon"; No 8, "Evening"), his own " farewell symphony"; "Pastoral symphony"(No 6) of Beethoven, all parts of which are equipped with program subtitles and on the score there is a note that is important for understanding the type of programming in the author of the op. - "More expression of feelings than an image", his own play "The Battle of Vittoria ", originally intended for the mechanical musical instrument of the panharmonicon, but then performed in the orchestral version, and especially his overture to the ballet "The Creations of Prometheus", to the tragedy "Coriolanus" by Collin, the overture "Leonora" No. 1-3, the overture to the tragedy "Egmont" by Goethe.Written as introductions to drama or music-drama works, they soon gained independence.Later program works were also often created as introductions to classical literary works, over time However, they lost their original functions. The true flowering of the P. m. came in the era of musical romanticism. Compared with the representatives of the classicist and even Enlightenment aesthetics, romantic artists had a deeper understanding of the specifics of various arts. They saw that each of them reflected t life in its own way, using means peculiar only to it and reflecting the same object, a phenomenon from a certain side accessible to it, which, therefore, each of them is somewhat limited and gives an incomplete picture of reality. This is what led the romantic artists to the idea of synthesis of art in order to more complete, multilateral display of the world. Muses. romantics proclaimed the slogan of the renewal of music through its connection with poetry, which was translated into many. music prod. Program Op. occupy important place in the works of F. Mendelssohn-Bartholdy (overture from music to Shakespeare's "A Midsummer Night's Dream", overtures "Hebrides", or "Fingal's Cave", "Sea Silence and Happy Swimming", "Beautiful Melusina", "Ruy Blas", etc. .), R. Schumann (overtures to Byron's Manfred, to scenes from Goethe's Faust, many piano pieces and cycles of plays, etc.). P. m. acquires especially great importance in G. Berlioz (Fantastic Symphony, symphony Harold in Italy, dramatic symphony Romeo and Juliet, Funeral and Triumphal Symphony, overtures Waverly, Secret Judges) , "King Lear", "Rob Roy", etc.) and F. Liszt (symphony "Faust" and symphony to the "Divine Comedy" by Dante, 13 symphonic poems, many piano pieces and cycles of plays). In subsequent times, an important contribution to the development of P. m. poems "Waterman", "Golden Spinning Wheel", "Forest Dove", etc., overtures - Hussite, "Othello", etc.) and R. Strauss (symphonic poems "Don Juan", "Death and Enlightenment", "Macbeth ", "Til Ulenspiegel", "Thus Spoke Zarathustra", fantastic variations on the knightly theme "Don Quixote", "Home Symphony", etc.). Program Op. also created by C. Debussy (orc. prelude "Afternoon of a Faun", symphonic cycles "Nocturnes", "Sea", etc.), M. Reger (4 symphonic poems according to Böcklin), A. Honegger (symphonic poem " Song of Nigamon", symphony of the movement "Pacific 231", "Rugby", etc.), P. Hindemith (symphonies "Artist Mathis", "Harmony of the World", etc.).
Programming has received rich development in Russian. music. For Russian nat. music schools appeal to software dictated aesthetic. the attitudes of its leading representatives, their desire for democracy, the general intelligibility of their works, as well as the "objective" nature of their work. From writings, osn. on song themes and, therefore, containing elements of the synthesis of music and words, since the listener, when perceiving them, correlates texts of correspondences with music. songs ("Kamarinskaya" by Glinka), Russian. composers soon came to the actual musical composition. A number of outstanding program op. created members" mighty handful"- M. A. Balakirev (symphonic poem "Tamara"), M. P. Mussorgsky ("Pictures at an Exhibition" for piano), N. A. Rimsky-Korsakov (symphonic painting "Sadko", symphony "Antar "). A considerable number of program works belong to P. I. Tchaikovsky (1st symphony "Winter Dreams", symphony "Manfred", fantasy overture "Romeo and Juliet", symphonic poem "Francesca da Rimini", etc.) Vivid program works were also written by A. K. Glazunov (symphonic poem "Stenka Razin"), A. K. Lyadov (symphonic paintings "Baba Yaga", "Magic Lake" and "Kikimora"), Vas. Kalinnikov (symphonic painting "Cedar and Palm Tree"), S. V. Rachmaninov (symphonic fantasy "Cliff", symphonic poem "Isle of the Dead"), A. N. Scriabin (symphonic "Poem of Ecstasy", "Poem fire" ("Prometheus"), pl. fp. plays).
Programming is also widely represented in the work of owls. composers, incl. S. S. Prokofiev ("Scythian Suite" for orchestra, symphonic sketch "Autumn", symphonic painting "Dreams", piano pieces), N. Ya. Myaskovsky (symphonic poems "Silence" and "Alastor", symphonies No 10, 12, 16, etc.), D. D. Shostakovich (symphonies No 2, 3 ("May Day"), 11 ("1905"), 12 ("1917"), etc.). Program Op. are also created by representatives of younger generations of owls. composers.
Programming is characteristic not only of professional, but also of Nar. music claim. Among the peoples, muses. cultures to-rykh include developed instr. music-making, it is associated not only with the performance and variation of song melodies, but also with the creation of compositions independent of song art, b.ch. software. So, program op. make up a significant part of Kazakh. (Kui) and Kirg. (kyu) instr. plays. Each of these pieces, performed by a soloist-instrumentalist (Kazakhs - kuishi) on one of the bunks. instruments (dombra, kobyz or sybyzga among the Kazakhs, komuz, etc. among the Kyrgyz), has a program name; pl. of these plays have become traditional, like songs being passed on in different languages. variants from generation to generation.
An important contribution to the coverage of the phenomenon of programming was made by the composers themselves who worked in this area - F. Liszt, G. Berlioz and others. musicology not only did not advance in understanding the phenomenon of P. m., but rather moved away from it. It is significant, for example, that the authors of articles on P. m., placed in the largest Western European. music encyclopedias and should generalize the experience of studying the problem, give very vague definitions to the phenomenon of programmability (see Groves Dictionary of music and musicians, v. 6, L.-N. Y., 1954; Riemann Musiklexikon, Sachteil, Mainz, 1967), sometimes even refuse c.-l. definitions (Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Bd 10, Kassel u. a., 1962).
In Russia, the study of the problem of programming began in the period of activity of the Rus. classical music schools, representatives of which left important statements on this issue. Attention to the problem of programming was especially intensified in Sov. time. In the 1950s on the pages of the magazine. " Soviet music" and gas. "Soviet Art" held a special discussion on the issue of musical programming. This discussion also revealed differences in the understanding of the phenomenon of P. m. , about programmability "declared" and "unannounced", about programmability "for oneself" (the composer) and for listeners, about programmability "conscious" and "unconscious", about programmability in non-program music, etc. The essence of all these statements boils down to the recognition of the possibility A musical composition without a program attached to the composition by the composer himself Such a point of view inevitably leads to the identification of programmability with content, to the declaration of all music as programmatic, to the justification of "guessing" unannounced programs, i.e., an arbitrary interpretation of the composer's intentions, against The composers themselves have always come out sharply. differences in the types of software engineering. However, a unified understanding of the phenomenon of programming has not yet been established.
Literature: Tchaikovsky P. I., Letters to H. R. von Meck of February 17 / March 1, 1878 and December 5/17, 1878, in the book: Tchaikovsky P. I., Correspondence with N. F. von Meck, vol. 1, M.-L., 1934, the same, Poln. coll. soch., vol. VII, M., 1961 p. 124-128, 513-514; his, O program music, M.-L., 1952; Cui Ts. A., Russian romance. Essay on its development, St. Petersburg, 1896, p. five; Laroche, Something about program music, "The World of Art", 1900, v. 3, p. 87-98; his own, Translator's Preface to Hanslik's book "On Musically Beautiful", Sobr. music critical articles, vol. 1, M., 1913, p. 334-61; his, One of Hanslick's opponents, ibid., p. 362-85; Stasov V.V., Art in the 19th century, in the book: 19th century, St. Petersburg, 1901, the same, in his book: Izbr. soch., vol. 3, M., 1952; Yastrebtsev V.V., My memories of N.A. Rimsky-Korsakov, vol. 1, P., 1917, L., 1959, p. 95; Shostakovich D., On genuine and imaginary programming, "SM", 1951, No 5; Bobrovsky V.P., Sonata form in Russian classical program music, M., 1953 (abstract of diss.); Sabinina M., What is program music?, "MZH", 1959, No 7; Aranovsky M., What is program music?, M., 1962; Tyulin Yu. N., About programmability in the works of Chopin, L., 1963, M., 1968; Khokhlov Yu., O music software, M., 1963; Auerbach L., Considering the problems of programming, "SM", 1965, No 11. See also lit. under the articles Musical Aesthetics, Music, Sound Painting, Monothematism, Symphonic Poem.
What do you think is the difference between Tchaikovsky's piano concerto and his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all. Perhaps you already know that a concerto is a work of many parts, as musicians say, it is cyclic, and in fantasy there is only one part. But now we are not interested in this. You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. While enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sound music evokes. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines. Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...
And in Francesca da Rimini, Tchaikovsky, by the very title, indicated exactly what his music depicts: one of the episodes of Dante's Divine Comedy. This episode tells how among the hellish whirlwinds, in the underworld, the souls of sinners rush about. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets among these spirits carried by a whirlwind the beautiful Francesca, who tells him the sad story of her unhappy love. The music of the extreme sections of Tchaikovsky's fantasy draws hellish whirlwinds, the middle section of the work is Francesca's sorrowful story.
There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a foggy land".
Berlioz, in addition to the subtitle "An Episode from the Life of an Artist", which he gave to his Fantastic Symphony, also set out in great detail the content of each of its five parts. This story is reminiscent of a romantic novel.
Both Francesca da Rimini, Tchaikovsky's Winter Dreams symphony, and Berlioz's Fantastic Symphony are examples of so-called program music. You probably already understood that program music is such instrumental music, which is based on a “program”, that is, some very specific plot or image.
Programs are of different types. Sometimes the composer retells in detail the content of each episode of his work. So, for example, did Rimsky-Korsakov in his symphonic picture "Sadko" or Lyadov in "Kikimor". It happens that, referring to well-known literary works, the composer considers it sufficient only to indicate this literary source: it means that all listeners know him well. This is done in Liszt's Faust Symphony, Tchaikovsky's Romeo and Juliet, and many other works.
There is also a different type of programming in music, the so-called pictorial, when plot outline is absent, and the music draws one image, a picture or a landscape. Such are Debussy's symphonic sketches of The Sea. There are three of them: "From dawn to noon at sea", "The play of the waves", "The conversation of the wind with the sea". And “Pictures at an Exhibition” by Mussorgsky are called so because in them the composer conveyed his impression of some of the paintings by the artist Hartmann. If you haven't heard this music yet, try to get to know it by all means. Among the pictures that inspired the composer are "Dwarf", "Old Castle", "Ballet of Unhatched Chicks", "Hut on Chicken Legs", "Bogatyr Gates in Ancient Kyiv" and other characteristic and talented sketches.
L. V. Mikheeva
I don’t know if you have noticed that when you listen to music, its sounds resonate inside us not only with feelings and thoughts, but also with visual pictures. And although everyone does this in their own way, similar ideas often arise.
The fact is that music has the ability to express certain moods of people and depict many actions, phenomena of the world around us: the singing of birds, the movement of waves, the ticking of clocks, echoes, the sound of wheels, raindrops, etc., etc. Therefore, more in antiquity, and in modern times - from the beginning of the 18th century - works appeared that were titled by those images and plots that the composer represented when composing music. Such essays are called programs. Composers, performers, and listeners love program music; there are a great many such works.
Just don't think that program music is more meaningful and accessible than non-program music. A composer cannot compose with only notes in mind. His thoughts, feelings, imagination are quite specific images. Another thing is that instrumental music, without lyrics, is always mysterious in some way. No one, not even the composer himself, can express its content in detail in words. And thank God. Otherwise it would cease to be music. "Music begins where words end," said Robert Schumann. Therefore, even when listening to program music, do not try at all costs to present exactly what is in the title. Trust more own feelings and associations. It may seem paradoxical, but in many cases, and even in most cases, the composer first writes the music, and only then comes up with a program name for it.
M. G. Rytsareva
