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 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 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 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 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 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
Origins and features of program music in creativity
romantic composers
Romanticism in music took shape under the influence of the literature of romanticism and developed in close connection with it, with literature in general. This was expressed in the appeal to synthetic genres, primarily to theatrical genres (especially opera), song, instrumental miniature, and also in music software. On the other hand, the affirmation of programmaticity, as one of the brightest features of musical Romanticism, occurs as a result of the desire of progressive romantics for the concreteness of figurative expression.
Another important prerequisite is the fact that many romantic composers acted as music writers and critics (Hoffmann, Weber, Schumann, Wagner, Berlioz, Liszt, Verstovsky, etc.). Despite the inconsistency of romantic aesthetics in general, theoretical work representatives of progressive Romanticism made a very significant contribution to the development of the most important issues of musical art (content and form in music, nationality, programming, connection with other arts, updating the means of musical expression, etc.), and this also influenced program music.
Programming in instrumental music is a characteristic feature of the era of romanticism, but by no means a discovery. Musical incarnation various images and pictures of the surrounding world, adherence to the literary program and sound representation in a variety of ways can be observed even among composers of the Baroque era (for example, Vivaldi's The Four Seasons), among French clavicinists (sketches by Couperin) and virginalists in England, in the work of the Viennese classics ("software » symphonies, overtures by Haydn and Beethoven). And yet, the programmatic nature of romantic composers is on a somewhat different level. It suffices to compare the so-called genre " musical portrait» in the works of Couperin and Schumann to understand the difference.
Most often, the programming of composers of the era of romanticism is a consistent deployment in musical images of a plot borrowed from one or another literary and poetic source or created by the imagination of the composer himself. Such a plot-narrative type of programming contributed to the concretization of the figurative content of music.
So, program music is musical works that the composer has provided with a verbal program that concretizes perception. Program compositions can be associated with plots and images embodied in other forms of art, including literature and painting.
All means of musical expression in the symphonic music of the Romantics, like in any great artist (the nature of thematism, methods of variational development, form, instrumentation, harmonic language, etc.) are always subject to the disclosure of the poetic idea and images of the program.
Program works of Schumann, Berlioz, Liszt
Robert Schumann- one of the most prominent representatives of musical romanticism in Germany.
R. Schumann has a lot of program music. If we take, for example, his piano pieces, we will find that there are 146 program pieces, and, surprisingly, the same number of non-program pieces. These are the collections "Butterflies", "Carnival", "Variations on the theme ABBEG » "Kreisleriana", "Novelettes", "Children's Scenes", "Album for Youth" and others. The program pieces that are in it in these collections are very diverse. Of the symphonic program music, mention should be made of the overtures “The Bride of Messina”, “Hermann and Dorothea”, music for dramatic poem Byron "Manfred", symphonies "Spring", "Rhine" and other works.
In his work, Schumann often relied on the images of literary romanticism (Jean Paul and E.T.A. Hoffmann), many of his works are characterized by literary and poetic programming. Schumann often turns to a cycle of lyrical, often contrasting miniatures (for piano or voice with piano), which allow revealing the complex range of psychological states of the hero, constantly balancing on the verge of reality and fiction. In Schumann's music, a romantic impulse alternates with contemplation, a whimsical scherzo with genre-humorous and even satirical-grotesque elements. A distinctive feature of Schumann's works is improvisation. Schumann concretized the polar spheres of his artistic worldview in the images of Florestan (the embodiment of a romantic impulse, aspirations for the future) and Euzebius (reflection, contemplation), constantly "present" in Schumann's musical and literary works as an hypostasis of the personality of the composer himself. At the center of the musical-critical and literary activity of Schumann - a brilliant critic - is the struggle against banality in art and life, the desire to transform life through art. Schumann created the fantastic alliance "David's Bund", which combined, along with images of real people (N. Paganini, F. Chopin, F. Liszt, K. Schumann), also fictional characters (Florestan, Euzebius; Maestro Raro as the personification of creative wisdom). The struggle between the “Davidsbündlers” and the philistines-philistines (“Philistines”) became one of the storylines program piano cycle "Carnival".
It is curious that fantasticness is combined in Carnival with a very real and even documentary basis. After all, really existing people are bred here, some - even under proper names(Chopin, Paganini). In this one can see the influence of certain portrait pieces by French harpsichordists (such as Forkeret's Couperin), that is, again, early music.
Music is psychological. It displays different contrast states and the change of these states. Schuman he was very fond of piano miniatures, as well as cycles of piano miniatures, since they can express contrast very well. Schuman refers to software. These are program plays, often associated with literary images. They all have names that are a little strange for that time - "Flash", "Why?", Variations on the theme of Abegg (this is the name of his friend's girlfriend), he used the letters of her last name as notes (A, B, E, G); "Asch" is the name of the city where she lived ex love Schuman(these letters, as keys, were included in "Carnival"). Schuman He was very fond of the carnival music, because of its diversity. For example: "Butterflies", "Hungarian Carnival", "Carnival".
"Carnival" is a suite of character pieces, one of the most striking examples of program music in Schumann's work. By introducing his enigmatic "Sphinxes", Schumann gave the key to reading the whole cycle as a process, and it turns out that the motley series of images is nothing but metamorphoses of a hidden, inaudible foundation, "variations without a theme" (Schumann himself used this expression, however, in relation not to "Carnival", but to "Arabesques"). The openness of some plays in context is enhanced by additional means. So, "Florestan", thanks to tonal instability and an abundance of sudden contrasts (if not to say differences) of moods, can be conditionally called a development without a theme. And "Reply" is very reminiscent of a lyrical summarizing postlude or codette. The content of the process carried out in "Carnival" can be characterized as a gradual increase in humanity and sincerity of expression in the conditions of the carnival-game world. Here, for the first time, the principle of the through development of the contrast ratio of two images is outlined, which later will become the main one in "Kreislerian". A pair of masks ("Pierrot" - "Harlequin"), then fictional characters ("Eusebius" - "Florestan"), then real people ("Chopin" - "Estrella") - all this forms the corresponding parallel lines of intonational development.
A number of cycles that grew up on a dance basis were completed by the “Dances of the Davidsbündlers” (in the second edition the word “dances” disappeared), where Schumann deploys before us a whole series of portraits of only two heroes (Florestan and Eusebius, who came out of the “Carnival”). in words, he tries to convey his own world in all its fullness and elusive variability. In "Davidsbündler" Schumann returns to the open form almost in its purest form and creates its most striking example. From this point of view, it is interesting to look at the end of the cycle: after the (seventeenth) piece, which could claim the role of the finale (the summing up character of the intonations, the reminiscence of the second piece), another one follows. Schumann follows here not a formal-logical constructive principle, but the desire to say in the end the most intimate, personal.
Another interesting example is "Fantastic Pieces". Perhaps this is the first of Schumann's cycles, the plays of which (precisely due to the completeness of development and completeness of form) may well exist, be performed and thought separately, outside the cycle. At the same time, the cycle as a whole gives one of the most expressive examples of open dramaturgy that does not know clearly fixed boundaries (“from” and “to”), he embodies the romantic kaleidoscopicity of “Butterflies” at a new stage.
The internal fullness of development and the new quality of the form are noticeably manifested even in such an open miniature as "Why?"
Historical role Hector Berlioz is to create a programmatic symphony of a new type. The pictorial descriptiveness characteristic of Berlioz's symphonic thinking, plot specificity, along with other factors (such as the intonational origins of music, the principles of orchestration, etc.) make the composer a characteristic phenomenon of French national culture.
All Berlioz's symphonies have a program name - "Fantastic", "Funeral-Triumphal", "Harold in Italy", "Romeo and Juliet". In addition to those named, he has works of less defined genres, but based on a symphony.
Programming, as the leading creative principle of Berlioz, leads to a new interpretation of the symphonic cycle. First of all, the number of parts of the cycle is dictated not so much by the established traditions of classical symphony, but by this particular program idea.
The unifying beginning in Berlioz's symphonic cycle is usually one theme that runs through all parts and characterizes the main image - the character of the symphony. This theme, which permeates the entire cycle, is the leitmotif of the symphony. Such is the motive of the beloved in the Fantastic Symphony, or the motive of Harold in the symphony Harold in Italy. The great symphony adagio drawing a love scene. At the same time, Berlioz's symphonic cycle is devoid of the unity and integrity of Beethoven's symphonic cycle. Separate parts of the symphony, following one after another, represent a series of colorful and externally connected musical pictures and images, consistently revealing all the main vicissitudes of the chosen program. In the dramaturgy of the symphony, that dynamically purposeful, conflicting development of a single idea is no longer present, which is inherent in Beethoven's symphonism. Peculiarity creative method Berlioz's pictorial descriptiveness determines just such an interpretation of the symphonic cycle. But at the same time, monumentality, democracy, civic pathos connect Berlioz's symphony with the Beethoven tradition.
The Fantastic Symphony is Berlioz's first major work, in which he achieved full creative maturity. It had a program subtitle - "An episode from the life of an artist." In romantic-fantastic colors, the symphony depicts the love experiences of the artist, that is, Berlioz himself, suffering from unrequited love for Harriet Smithson.
Paganini, delighted with the Fantastic Symphony, ordered a viola concerto from Berlioz, but Berlioz approached the order from the other side - this is how the symphony with the solo viola "Harold in Italy" was written.
The participation of soloists and the choir brings the Romeo and Juliet symphony closer to opera-oratorio-cantata genres. Therefore, the symphony is called dramatic. Obviously, Berlioz here followed the path of Beethoven with his 9th symphony, where the choir enters in the finale, but here the vocal element is present throughout the entire symphony. The last movement - Father Lorenzo and the choir of reconciliation - could well have been an opera stage. Along with this, the key moments of the action of the tragedy are revealed by purely symphonic means - a street fight at the beginning of the symphony, a night of love, a scene in Juliet's crypt. The special program concept of the symphony forced Berlioz to resolutely depart from the classical symphonic tradition and create a multi-movement work, where the structure is determined by the sequence of events in the development of the plot. And yet in the middle parts of the symphony (Night of Love and Fairy Mab) one can see connections with symphonic adagios and scherzos. Romeo and Juliet by Berlioz surpasses everything that existed before in the symphonic field in size.
Being an active and staunch promoter of software in music, a close and organic connection between music and other arts (poetry, painting), Franz Liszt especially persistently and fully implemented this leading creative principle in symphonic music.
Among the entire symphonic work of Liszt, two program symphonies stand out - "After reading Dante" and "Faust", which are high examples of program music. Liszt is also the creator of a new genre, the symphonic poem, which is a synthesis of music and literature. The genre of the symphonic poem became a favorite among composers from different countries and received great development and original creative implementation in the Russian classical symphony of the second half XIX century. The prerequisites for the genre were examples of free form by F. Schubert (piano fantasy "Wanderer"), R. Schumann, F. Mendelssohn ("Hybrids"), later R. Strauss, Scriabin, Rachmaninov turned to the symphonic poem. The main idea of such a work is to convey a poetic idea through music.
Liszt's twelve symphonic poems constitute an excellent monument of program music, in which musical images and their development are connected with a poetic or moral-philosophical idea. The symphonic poem "What is heard on the mountain" based on the poem by V. Hugo embodies the romantic idea of opposing the majestic nature to human sorrows and suffering. The symphonic poem "Tasso", written on the occasion of the celebration of the centenary of the birth of Goethe, depicts the suffering of the Italian Renaissance poet Torquato Tasso during his lifetime and the triumph of his genius after death. As the main theme of the work, Liszt used the song of the Venetian gondoliers, performed to the words of the opening stanza of Tasso's main work, the poem "Jerusalem Liberated".
The symphonic poem "Preludes" was originally written independently of Lamartine, as an introduction to four male choirs to texts by Joseph Autrans. Only when reworking the "Preludes" into an independent symphonic poem, Liszt, after some searches for a program, settled on Lamartine's poem "Poetic Reflections" (" Meditations poetiques ”), which, as it seemed to him, is most suitable for the music of the poem. Precisely because the program was found by Liszt after the end of the poem, there is no complete correspondence between Liszt's Preludes and Lamartine's poem. In the poem, human life is compared to a series of preludes to death, while Liszt has a completely different concept. It not only lacks the image of death, but, on the contrary, it expresses the affirmation of life, the joy of earthly existence.
Liszt's symphonic poem "Orpheus" was originally conceived as an overture to the Weimar production of Gluck's opera "Orpheus". In this poem, Liszt embodied famous myth about the Thracian singer not in a consistent plot, but in a generalized philosophical way. For Liszt, in this case, Orpheus is a generalized symbol of art, "pouring its melodic waves, its powerful chords," as the program says.
You can also name other symphonic poems by Liszt - "Prometheus", "Festive Bells", "Mazeppa", "Lament for a Hero", "Hungary", "Hamlet" and others.
It was important for Liszt not so much to convey in music the consistent development of the plot of the chosen program, but to embody it by means of musical art a general poetic idea leading poetic images. Unlike the works of Berlioz, in symphonic works Liszt, the pre-sent program is not a presentation of the plot, but only conveys the general mood, often even limited to one title, the title of the work or its separate parts. It is characteristic that the program of Liszt's works is not only literary and poetic images, but also works of fine arts in which there is no fluttering plot-narration, as well as various landscapes and natural phenomena.
In some of Liszt's symphonic works, the principle of monothematism is applied, that is, the technique of drawing one theme or group of themes through the entire work, undergoing variational transformations up to a radical change in image. The reception of monothematism is especially consistently carried out in the symphonic poems "Tasso" and "Preludes", where variational transformations of one theme (even one intonation) express different stages of the development of an idea. Such a variational development of the theme leads to its powerful heroic assertion at the end of the work. Hence the solemn codes-apotheoses of a march-like character, characteristic of Liszt.
In the three-movement symphony "Faust", the third movement ("Mephistopheles") is an interesting transformation of all the themes of the first movement ("Faust"). Philosophical, pathetic, lyrical, heroic themes acquire in the finale a grotesque, mockingly sarcastic character, corresponding to the image of Mephistopheles, in the ideological concept of Liszt meaning the “wrong side” of Faust, a skeptical denial of everything noble and sublime, the overthrow of high ideals. By the way, this is reminiscent of Berlioz's technique in the finale of the Fantastic Symphony, where it is subjected to distortion lyrical theme love.
There is also a lot of program music in the works of other romantics - F. Mendelssohn (including program concert overtures), E. Grieg ("Poetic Pictures", "Humoresques", suites "Peer Gynt", "From the Time of Holberg") and others. In Russian music, the brightest examples of programming are the cycles of piano pieces “Pictures at an Exhibition” by M.P. Mussorgsky and “The Seasons” by P.I. Tchaikovsky.
Romanticism left a whole era in world art culture, its representatives in literature, fine arts and music discovered and developed new genres, paid close attention to destinies human personality, revealed the dialectic of good and evil, skillfully revealed human passions, etc.
The work of romantic composers was often the antithesis of the petty-bourgeois atmosphere of the 1820s and 1840s. It called to the world of high humanity, sang the beauty and power of feeling. Hot passion, proud masculinity, subtle lyricism, capricious variability of an endless stream of impressions and thoughts are the characteristic features of the music of the composers of the Romantic era, clearly manifested in instrumental program music.
Program music, genus instrumental music; musical works that have a verbal, often poetic program and reveal the content imprinted in it. The title can serve as a program, indicating, for example, the phenomenon of reality that the composer had in mind (“Morning” by Grieg from the music for Ibsen’s drama “Peer Gynt”), or to the literary work that inspired him (“Macbeth” by R. Strauss - a symphonic poem based on Shakespeare's play). More detailed programs are usually drawn up based on literary works (Rimsky-Korsakov's symphonic suite "Antar" based on Senkovsky's fairy tale of the same name), less often - without connection with the literary prototype ("Fantastic Symphony" by Berlioz). The program reveals something inaccessible to musical embodiment and therefore not revealed by the music itself; in this it is fundamentally different from any analysis or description of music; only its author can give it to a piece of music. Musical figurativeness, sound writing, and concretization through the genre are widely used in musical composition.
The simplest form of P. m. is picture programming ( musical picture nature, folk festivals, battles, etc.). In plot-program works, development musical images to one degree or another corresponds to the contours of the plot, as a rule, borrowed from fiction. Sometimes they give only the musical characteristics of the main images, general direction plot development, initial and final ratio active forces(generalized plot programming), sometimes the entire sequence of events is displayed (sequential plot programming).
Musical music uses developmental methods that make it possible to "follow" the plot without violating proper musical patterns. Among them: variation and the associated principle monothematism, put forward by F. Liszt; principle of leitmotif characteristic (cf. keynote ), which was one of the first to be applied by G. Berlioz; the combination in a one-part form of the features of the sonata allegro and the sonata-symphony cycle, which is characteristic of the genre of symphonic poem created by F. Liszt.
Programming was a great conquest of musical art, stimulated the search for new means of expression, contributed to the enrichment of the range of images of musical works. Musical music is equal in rights with non-programmed music and develops in close interaction with it.
P. m. has been known since ancient times ( ancient greece). Among the program works of the 18th century. - harpsichord miniatures by F. Couperin and J. F. Rameau, "Capriccio for the Departure of a Beloved Brother" by J. S. Bach. A number of program works were created by L. Beethoven - the Pastoral Symphony, the Egmont overture, Coriolanus, and others. largely associated with the romantic trend in musical art (see. Romanticism ), who proclaimed the slogan of renewing music by uniting it with poetry. Among the program works of romantic composers are Berlioz's "Fantastic Symphony" and the "Harold in Italy" symphony, the symphonies "Faust", "To Dante's Divine Comedy", the symphonic poems "Tasso", "Preludes" and others by Liszt. Russian classical composers also made a major contribution to classical music. Great fame enjoy the symphonic painting "Midsummer Night on Bald Mountain" and piano cycle Mussorgsky’s “Pictures at an Exhibition”, Rimsky-Korsakov’s symphonic suite “Antar”, the symphony “Manfred”, the fantasy overture “Romeo and Juliet”, the fantasy for orchestra “Francesca da Rimini” by Tchaikovsky and others. Glazunov, A. K. Lyadov, A. I. Skryabin, S. V. Rakhmaninov and others. National traditions in the field of P. m. find their continuation and development in the work Soviet composers- N. Ya. Myaskovsky, D. D. Shostakovich and others.
Lit.: Tchaikovsky, P.I., About program music, Izbr. excerpts from letters and articles, M., 1952; Stasov V.V., Art of the 19th century, Izbr. cit. (composition), v. 3, M., 1952; List F., Selected. articles, M., 1959, p. 271-349; Khokhlov Yu., About musical programming, M., 1963; KIauwell O., Geschichte der Programmusik, Lpz., 1910; Sychra A., Die Einheit von absoluter Musik und Programmusik, "Beiträge zur Misik-wissenschaft", 1, 1959; Niecks Fr., Program music in the last four centuries, N. Y., 1969.
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Program music and opera genre tre-bo-va-whether especially-bo-go you-ra-zhe-niya psi-ho-lo-gi-che-with-to-go on -cha-la, but-in-the-go type-pa creation-che-with-to-go mouse-le-niya. Li-ri-ka mi-ni-a-tyr, fi-lo-sophic generalization of sim-pho-niz-ma, sound-to-iso-b-ra-zi-tel-nost, is - after all, the soul in the "cal-days" ro-w-yes-whether a new image-difference. Hu-do-same-st-vein-noe world-ro-vision-com-po-zi-to-ditch XIX century po-ro-di-lo si-lu-e-you new str-to-tour / mu-zy-kal-ny forms /. In the course of the whole century, they went on incessantly about-but-in-le-tion. In the genre of ro-man-sa for-ro-zh-yes-elk through-noe time-vi-tie, bla-go-da-rya qi-to-li-h-no-sti in-that -re-niya ku-ple-tov. In-st-ru-men-tal-nuyu mu-zy-ku pro-ni-ka-la pe-sen-ness in-cal-li-ri-ki. On the first plan, you-ho-di-lo ma-s-ter-st-vo va-ri-a-tion image, mo-ti-wa or rit-mo-gar-mo-no-che- with-koy for-mu-ly, connected with him. Sa-we-mi yar-ki-mi with-me-ra-mi in for-ru-be-zh-noy mu-zy-ke os-ta-nut-sya "three-hundred-nak-cord" from the opera -ry Vag-ne-ra "Three-stan and Isol-da" and "mo-tiv in-p-ro-sa" from shu-ma-nov-sko-go ro-man-sa "From-che-go ?”, motif “Glory” from Glin-ki’s “Life for the Tsar” in father-th-st-ven-noy mu-zy-ke, etc. These and the elements added to them-men-you became sa-mo-sto-I-tel-ny-mi, know-to-you-mi or "na-ri-tsa-tel-ny-mi "in the ro-man-ti-che-with-co-mu-zy-ke of the 19th century, and in co-in-re-men-no-sti.
Kom-po-zi-to-ry ud-h-but use-pol-zo-va-li for-mo-creator-che-with-what role of the program-we in in-st-ru-men-tal -noy mu-zy-ke - she is-to-lu-cha-la dis-floating-cha-tost for ideas and con-tsen-t-ri-ro-va-la action-st-vie . The symphony became closer to the opera, because it introduced into it in-kal-nye and ho-ro-vye scenes, as in "Romeo and Jules-et-te" by Ber-li-o-za. Is there a number of parts in the symphony, whether re-z-ko increased-li-chi-va-moose, or did she turn, bla-go-da-rya pro-gram-me in one-but-cha-st-sim-fo-no-th-th-s-th-e-mu. Through-noe development of mu-zy-kal-no-go ma-te-ri-a-la pre-po-la-gal from-me-not-nie about-li-ka-te-we, but cha-s-that and its sense-s-la, trans-s-for-ma-tion of the genre of te-we. Not-rarely, for the purpose of the greatest concentration of co-content in the mu-zy-kal-noy form in ka-che-st-ve the main me-lo-dia from-bi-ra-las op-re-de-lyon-naya te-ma, on the pro-t-the-s-the-s-of the whole p-e-we pre-ter-pe-va- yu-shchaya not-someone-rye from-me-not-niya. This is a yav-le-nie name-well-et-xia mo-but-te-ma-tiz-mom. In ar-se-na-le means mu-zy-kal-no-hu-do-same-st-ven-noy you-ra-zi-tel-no-sti it knows-me-no-va-lo but -th stage in the history of the music of the Х1Х Century. Co-z-da-ny times-wh-ch-nyh according to ha-ra-to-te-ru ob-ra-call on the basis of one-we-we, inside-t-ren-not scratch -p-la-u-shchi all times-de-la forms-we, s-s-s-st-in-va-lo flex-to-mu times-vi-tiyu syu-same-ta, mu-zy-kal - idea. So the genre of sim-fo-no-che-with-we-e-we arose, one-but-cha-st-naya so-na-ta and one-but-cha-st-ny concert.
Va-zh-ney-shim with-yo-my com-po-zi-qi-on-noy tech-no-ki ro-man-ti-kov would-la va-ri-a-qi-on-ness. V-ri-a-tion on the right-wah sa-mo-sto-i-tel-noy cha-s-ti began to be included in more large com-po-zi-tions more with Y. Gayd-na and his co-in-re-men-ni-kov (mo-tsar-tov-skaya co-na-ta with “tu-retz-kim ron-do” or part of co-na-you Bet-ho-ve-na with the "tra-ur-ny march to the death of a hero"). V-ri-a-tsi-on-ness second-ga-et-sya in co-on-tu and quar-tet, sym-phony and sure-tyu-ru as the principle of development and as a genre, pro-no-kai in all genres and forms of mu-zy-ki, up to rap-so-diya and trans-s-kri-p-tsy. Vari-and-ro-va-nie usi-li-va-lo in-ten-siv-ness of development or vno-si-lo element of sta-ti-ch-no-sti, os-lab -la-lo dra-ma-ti-che-with-some tension / like Shu-man go-vo-ril about "bo-st-ven-ny lengths-but-tah" in sim-fo-ni-yah Shu-ber-ta!/. Lo-gi-che-s-kuyu op-re-de-lyon-ness and at-look-ness in any genre with a through-drama-tour-gi-she vno-si-la program -ness, bringing together mu-zy-ku with li-te-ra-tu-roy and iso-b-ra-zi-tel-ny art-kus-st-vom, increase-li-chi -vaya specific iso-b-ra-zi-tel-ness and psi-ho-lo-gi-che-with-you-ra-zi-tel-ness.
The program-ness of the call-to-con-kre-ti-zi-ro-vat av-tor-sky for-we-sat down - so op-re-de-lil it for-da-chu F. Liszt in 1837. He predicted to her a big future in the region of sim-pho-no-thing-with-whom-th-st-va in the article on-cha -la of the 1850s "Ber-li-oz and his" Harold-sim-fo-niya. ho-di-lo too-yes-le-ko, raz-ven-chi-vay secrets so-der-zha-niya is-kus-st-va.
The principle of program-no-sti is pro-yav-la-et-sya all-m-m-a-much-whether - by type, vi-dam, form-mum. Types of program-no-sti not-how-to -car-tin-naya, in-le-do-va-tel-no-syu-zhet-naya and generalized-shchen-naya . Kar-tin-naya pre-hundred-in-la-et is a complex-p-lex ob-ra-call of action-st-vi-tel-no-sti, not me-ny-yu-shchi-sya on about the whole pro-cess of perception, it is sta-ti-ch-on and pre-on-sign-on for op-re-de-lyon-ty -pov mu-zy-kal-no-go port-re-ta, for pictures of nature. Generalized programmability ha-ra-to-te-ri-zu-et basic new images and general on-pra-in-le-de-development su -the same, the outcome and the result of co-from-no-she-niya dey-st-vu-yu-shih forces of con-fli-to-ta. It only connects through the pro-gram-mu whether-te-ra-tour-noe and mu-zy-kal-noe pro-from-ve-de-niya. In-with-le-do-va-tel-naya, the program-ness is more de-ta-li-zi-ro-va-na, because close to re-say-zy-va- there is a plot step by step, about-ri-so-you-vaya co-being in my direct in-from-le-to-va-tel-no-sti. This is a more complex type in its own vir-tu-oz-no-sti and the ability to pro-com-men-ti-ro-vat events / teach-you-vaya with -ve-you Fe-ren-tsa Li-s-ta /.
Li-s-tu was replaced by a non-metz-cue "pro-gram-mist" - Shu-man. The leaf wrote about him that "do-s-tig ve-li-tea-she-go-yes, he can-so-ben call out in us his m-u-zy-koy those the sa-my impressions, someone who would give birth to the sa-my object, whose image is os-ve-m-is-sya in our pa-me- ti bla-go-da-rya to the title of the play." The series of his for-te-pi-an-nyh mi-ni-a-tyur is his kind of "mu-zy-kal-nye blo-to-but-you", ku-da Shu- man for-but-strength all that he-observed-gave in na-tu-re or what he-re-zhi-val and thought about, reading in e-ziyu and pro-zu , on-la-f-yes-pa-myat-no-ka-mi is-kus-st-va. So rise-no-to-la "Rhine-sky" symphony with vi-da-mi Cologne-so-bo-ra and for-te-pi-an-ny cycle "Kar-on- shaft" / according to ma-te-ri-a-lam of own-st-ven-nyh articles, resurrection-by-mi-na-ny and ro-ma-nu Jean Po-la "Naughty years "/, "Kreys-le-ri-a-na" - fan-ta-zii according to Hof-ma-nu ...
"Mu-zy-ke to-with-stupid-but everything is rich-gat-st-in and different-but-about-ra-zie of re-al-ny-n-nyh-n-n-nyh impressions", - ut-ver-waited Shu-man and into the world I-in-la-li-play-sy, with-a-hundred-in-la-u-sche "Lee-st-ki from al-bo-ma", "But-ve-yo-you", "Ball-ny scenes", "Eastern-th-th-kar-ti-ny", "Al-bom for youth-she-st-va" ... Shu-ma-na, ko-g-yes he for-but-strength on-bro-ski in his mu-zy-kal-ny "blo-to-note", in-l-but-va-la con- kret-naya idea, you-ra-zha-e-may in for-go-lov-ke. But sometimes he hid his za-we-sat down under the general name of the genre, under that-in-st-ven-nym in-lu-on-myo-com-epi -gra-fom, cipher-rum / "Sphinxes" in "Kar-na-va-le", yes-u-ras-cipher-ditch-ku-pe-re-ve-de-ni-em la- tin-ski-mi bu-k-wa-mi not named "Shu-man" and the city-ro-da "Ash", where lived-la voz-love-len-naya mo-lo-do-go com -po-zi-to-ra /. Bu-du-chi kill-zh-den-nym with-ver-wife-tsem pro-gram-no-sti, Shu-man in a swarm from-ka-zy-val-sya from de-to-la-ri -ro-va-niya pro-gram-we, for some reason pro-from-ve-de-nie would-lo on-pi-sa-but. He was afraid of su-zit so-der-zha-nie and the circle of as-so-qi-a-tsy. In-is-ki in the about-la-s-ti program-no-sti in mu-zy-ke after Shu-ma-n continue-long-li-li J. Bi-ze, B. Sme- ta-na and A. Dvor-zhak, E. Grieg and others.
With the development of the program principles of the qi-pov pro-isosh-whether op-re-de-lyon-nye from me-not-niya in the field of music -cal-ny forms. Ber-li-oz co-united opera-ru, ba-let and sim-pho-nyu (syn-te-ti-che-s-c-genre in-lu-chil-name "dra-ma -ti-che-s-kaya le-gen-da "and the best example of that is his" Osu-zh-de-nie Fa-u-hundred), brought in sym-fo- niyu element-men-you opera-no-go spe-to-ta-to-la and ro-di-las sin-te-ti-che-s-kaya thing "Ro-meo and Jule-et-ta". Glin-ka on-pi-sal the first opera-ru in Russia without tra-di-qi-on-ny inserted times-th-vor-ny di-a-lo-gov - "Life for tsa -rya, or Ivan Su-sa-nin" and the first na-qi-o-nal epi-che-s-opera "Ru-s-lan and Lud-mi-la", ad- me-niv in both cases is new for Russian mu-zy-kal-no-go te-a-t-ra at-e-we opera drama tour -gies, aimed at those-with-th connection ha-ra-to-te-ditch, ideas and si-tu-a-tsy. This connection was osu-sche-st-in-la-las at the level of mu-zy-kal-no-go te-ma-tiz-ma. De-sya-ti-le-ti-em later re-form-mu of opera drama-ma-tur-gy, com-po-zi-tion and ro-li or-ke-st-ra osu- sch-st-vil on Za-pas-de P. Bagner. He, like Glin-ka, brought the methods of development from sym-phony / sym-phonism / into the genre of opera / like Ber-li-oz /. But Vag-ne-ru, in de-li-chie from Ber-li-o-for, managed to solve several tasks at once. Programming at-su-scha is-to-lu-chi-tel-but "ab-so-lyut-noy" or "chi-with-that" mu-zy-ke - in-st-ru- men-tal-noy. In the French clas-ve-si-ni-sts of the XYIII century - F. Ku-pe-re-na or L.-F. Ra-mo - play-sy no-si-li program -nye-for-go-lov-ki / "Vya-zal-shchi-tsy", "Small-lazy windmills" Ku-pe-re-na or "Pe- re-cli-ch-ka of birds" Ra-mo, "Ku-kush-ka" Da-ke-na, "Du-do-ch-ki" Dan-d-riyo, etc. /.
In 17OO, Jo-gann Ku-nau issued six clavier so-nats under the general title "Mu-zy-kal-noe iso-b-ra-zhe-nie several biblical stories. An-to-nio Vi-val-di, co-chi-niv four-you-re string concerts -ta "Time-to-go-yes." I.-S. Bach na-pi-sal "Ka-prich-cho on the departure of the voz-lyub-no-go bra-ta" for cla-vi-ra. Joseph Haydn also os-ta-vil not-ma-lo sim-fo-ny under short-ki-mi for-go-lov-ka-mi / "Morning", "Half-day", "Evening", "Hours", "Farewell" /, and his co-in-re-men-nick Mo-zart, in de-li-chie from him, from-be -gal yes-vat in-st-ru-men-tal-nym about-from-ve-de-ni-pits on-titles. A milestone in the development of the program-no-sti was the creation of L. van Bet-ho-ve-na. He almost did not ras-cipher-ro-you-shaft co-holding his pro-of-ve-de-ni under the editorship of for-go-lov-ka-mi and only bla-go-da-rya day-no-kam, bio-graph-fam and mu-zy-ko-ve-dam, we know that sim-fo-niya N 3 was pre-zh-de-la by -sacred to con-su-lu Bonaparte, and then, with-le-ko-ro-na-tion, called-on "Ge-ro-and-che-with-coy", for -te-pi-an-naya co-na-ta N 24 na-zy-va-et-sya "Ap-pa-si-o-na-ta", N 8- - "Pa-te-ti-che -s-kai", N 21 - "Av-ro-ra", N 26 - "Farewell, break-up and return", etc. More con-kret-but op-re-de-le-but co-der-zha-nie sym-phony N 6 "Pa-s-to-ral-noy" - ka-zh-daya part of it has its own for-go-lo-wok: "Pro-bu-zh-de-nie ra-to-st-ing feelings upon arrival in de-roar-nu", "Scene at ru -whose", "Ve-se-loe gathering in-se-lyan", "Bu-rya", "Singing pa-s-tu-hov. Ra-do-st-nye, b- go-dar-st-ven-nye chuv-st-va in-with-le-thunder-zy". So Bet-ho-ven is under-go-ta-in-li-val pro-gram sym-phonism of the 19th century. To the opera "Fi-de-lio" he co-chi-nil sure-tu-ru, giving her the name of the main hero-ro-and-ni opera / "Le-o-no-ra" / . Soon-re-I-vi-moose two more va-ri-an-ta sure-tu-ry - "Le-o-no-ra N 2" and "Le-o-no-ra N 3". They would be pre-na-zna-che-us and for a concert-no-go use-on-l-non-niya. So sure-tu-ra became-but-vi-las-sa-mo-one-I-tel-nym genre, that in creative-che-st-ve ro-man-ti-kov became-no usual-h -ny yav-le-ni-eat. Ros-si-ni co-chi-nil in-add-no-go type-pa sure-tu-ru to the opera "Wilhelm Tell" - he did not give her a name, but the plot in it you see through-you-tea-but rel-ef-but. So is "Ski-ta-lets" Shu-ber-ta - for-te-pi-an-naya fan-ta-zia.
In the creative-che-st-ve Sho-pe-for the role of the program-for-we-words, it would have been to-with-that-that-h-but ve-li-ka, but no matter how- la slo-f-on the program from-del-nyh in-st-ru-men-tal-nyh plays, Sho-pen os-ta-v-lyal her in secret, not giving titles, no verse epi-graphs. He og-ra-no-chi-val-sya only about-z-on-che-ni-em genre / ball-la-da, in-lo-nez, etude / and pre-in-chi-tal hidden type of program-no-sti. Ho-tya one-but-time-men-but he pointed out that “well-ch-but-chosen-name-strength-whether-va-et voz-dey-st- vie mu-zy-ki ”and the listener then-g-yes without bo-yaz-no-gru-m-e-s-sya in the sea as-so-qi-a-tsy, do not use ka-zhaya ha-ra-k-te-ra things. In your articles and letters, Sho-pen not-one-but-times-but you-stepped against over-dimensional de-ta-li-za-tion - "mu-zy -ka should not be a re-vo-dchi-tsei or a servant. In his unfinished work, Sho-pen na-pi-sal about you-ra-same-ni we-whether in the middle of sounds, not sform-mi -ro-vav-she-e-xia op-re-de-lyon-but and windows-cha-tel-but the word is a sound ... a thought, you-ra-wife sound-ka-mi. .. Emotion you-ra-same-on the sound, in that word - it’s no-ma-whether Cho-pin and Flo-ber / judging by the scene-not mu-che- no-che-st-va Ma-to and the orgy of the crowd in "Sa-lam-bo" /.
Sho-pen approached the li-te-ra-tour-ball-la-du to the in-st-ru-men-tal-noy m-zy-ke, being under a strong wind -chat-le-ni-em po-e-ti-che-s-ko-go ta-lan-ta his co-ot-che-st-ven-ni-ka Ada-ma Mits-ke-vi -cha. Ro-man-ti-che-with-cue type of ball-la-dy with brightly you-ra-wife-pa-t-ri-o-ti-che-with-kim on-cha-scrap was Sho -pe-well-emi-g-ran-tu is especially-ben-but close and co-sound-chen. From-ve-st-but that Sho-pen co-z-da-val their ball-la-dy for for-te-pi-a-but in the wake of the meeting with Mitz-ke-vi-chem and familiarity with his e-zi-her. But almost-not-possible-m-well-but even-to and one-but-know-h-but id-ti-fi-qi-ro-vat some of the 4 ball-lad com -po-zi-to-ra with this or that ball-la-doy Mitz-ke-vi-cha. Su-shche-st-vu-et a number of versions in terms of co-from-no-she-niya su-zhe-tov Bal-la-dy No. 1 in G-Mi-nor opus 23 with "Con- ra-dom Val-len-ro-dom", Ball-la-dy N 2 F major opus 38 with "Svi-te-zyan-koy", Ball-la-dy N 3 A-ba-mol ma- zhor opus 47 with either "Svi-te-zyan-koy" Mits-ke-vi-cha, or with "Lo-re-le-she" Hey-ne. All this gi-po-te-ti-ch-ness is already talking about how free-to-the-music of sho-pe-new ball-lads from con- kret-nyh programs-but-whether-te-ra-tour-nyh as-so-qi-a-tsy. From the time-of-a-ra Sho-pe-na with Mitz-ke-vi-than from-ve-st-but that the first two ball-la-dys then-h-but voz-no-to- whether under vpe-chat-le-ni-em about-from-ve-de-ny Mits-ke-vi-cha. Isn’t it-she-but in-te-re-sa and that’s about-to-I-tel-st-in that you-yes-y-y-y-y-pi-a-nist, pi-sa-tel and more more talented graphic ob-ri Bur-ds-ley on his ri-sun-ke "Three ball-la-da Sho-pe-na" iso-b-ra -zil de-vush-ku, ska-chu-shchu-shchu-shchey on ko-not on the forest and co-did this ri-su-nok musical string-ch-koy, from lo-alive mo -tiv second-swarm te-we ball-la-dy. And this is an ob-time from "Svi-te-zyan-ki"!
In contrast to Sho-pe-na, pre-chi-tav-she-th hidden software, Men-del-sleep, in any case, in sim- fo-no-che-with-com genre-re, cha-go-tel obviously to kar-tin-no-mu tee-pu, what they say about his assurances "Dream in years -nyuy night", "Fin-ga-lo-va ne-shche-ra, or Ge-b-ri-dy", "Sea calm and happy sailing" and two sim-fo-nii - Italian-yan-sky and Scottish-sky. He also appeared with-z-da-te-lem the first ro-man-ti-che-with-co-concert-pro-gram ver-ty-ry in is-to-ri mu -zy-ki / 1825 /.
With the name of Ber-li-o-for communication in 1830 /"Fan-ta-sti-che-s-kaya"/. His pro-from-ve-de-niya under-ny-french-mu-zy-ku to the level of re-re-to-howl-te-ra-tu-ry of his time me-no, moreover, name-but-no-wei-shey, co-in-re-men-noy-te-ra-tu-ry. By-ron, Mus-se, Sha-to-b-ri-an, Gyu-go, George Sand and for-no-in-open ro-man-ti-ka-mi Shek-spire ... But at Ber-li-o-for not-rarely for-to-you mu-zy-kal-noy form-we bra-whether the upper hand over whether-te-ra-tour-us-mi element-men-ta mi. We-pro-gram-we from-whether-cha-were op-re-de-lyon-no-stu, and cha-s-and-s-s-no de-ta-li-for-qi-her , as in "Fan-ta-sti-che-with-coy." He cha-go-tel to na-tu-ra-li-sti-che-with-to-mu-no-ma-niya program-no-sti, not og-ra-no-chi-va- being for-go-loving-ka-mi whole and cha-s-tey, but also pre-glorifying ka-zh-doy cha-s-ti under-rob-her-shui an-no- ta-tion, from-lo-alive, in such a way, with-holding own-st-ven-no-ru-h-but you-du-man-no-go syu- same. But mu-zy-ka almost no-ko-g-yes-do not follow-to-va-la slave-ski for sub-rob-but-sta-mi you-du-man-no-go-so-same- that. The second-paradise-new-line of his creation-che-st-va is te-a-t-ra-li-za-tion with all its pri-yo-ma-mi.
The plot of "Fan-ta-sti-che-with-coy" is many-th-slo-women - to him with-with-cha-st-we de-mo-no-th-with-scenes us from Go-tev-sko-go "F-u-hundred", the image of Octave from "Confessions of the son of the century" by A. de Musset, Hugo's poem "The Witches' Sabbath" and the shchi opi-u-ma "De Queen-si, ob-ra-zy sha-to-b-ri-a-nov-sky and george-san-dov-sky ro-man-nov and in the first turn - auto-bio-gra-fi-ch-nye hell...
Under-for-go-lo-wok "Fan-ta-sti-che-with-coy" gla-force: "Epi-zod from the life of art-ti-hundred." Mu-zy-ka es-te-ti-che-s-ki voz-you-si-la su-ma-sb-rod-st-va "ek-zal-ti-ro-van-no-go-mu- zy-kan-ta", in a grue-ziv-she-go-sya in an opi-smart dream-vi-de-nie and in-ve-st-in-va-tion in-with-le-do -va-tel-but raz-vi-va-et-sya from that-m-le-niya get-p-le-niya through dreams and passions of wal-sa and pa-s-to- ra-whether to the fan-ta-sti-che-with-to-mu, mra-ch-no-og-lu-shi-tel-no-mu march and to the wild devilish swine- one hundred-plea-ske. Mu-zy-kal-nym ster-zh-it of this drama-ma-tour-gi-che-with-koy tse-pi yav-la-et-sya so-called. "on-elm-chi-vaya idea", raz-vi-va-yu-scha-i-sya and trans-s-for-mi-ru-yu-scha-i-sya in all 6 hours -tyah.
Plot-ny in-ve-st-vo-va-tel-no-dra-ma-ti-che-s-cue sym-phonism pre-hundred-in-la-yut in creative-che-st -ve Ber-li-o-for three other sym-phonies - “Ro-meo and Jul-et-ta” / sim-fo-niya-dra-ma /, “Harold in Italy "and from-cha-s-ti - Tra-ur-no-three-mind-fal-naya symphony. All the time-vi-tie sub-chi-not-but plot-noy fa-boo-le.
The knowledge of the program-no-sti from Sho-pe-on and Ber-li-o-for-re-went to Li-s-tu. He pre-po-chi-tal a different type of sym-fo-niz-ma - pro-b-lem-no-psi-ho-lo-gi-che-s-cue, pre-la-ga-yu- schie ma-k-si-mal-ny generalization of ideas. Com-po-zi-tor wrote-sal that go-ra-s-to-w-her-to-ka-za, like a hero du-ma-et, isn’t it like you his action. In a way, in many of its sym-pho-no-th-with-the-e-mah on the first plan you-dvi-ga-et-sya fi-lo-sof-skaya ab -str-rak-tion, con-centr-t-rat of ideas and emotions / as in “Fa-st-sim-fo-nii” /. The main task for-yes-whose Li-s-ta in terms of program-no-sti was-lo about-but-in-le-tion of mu-zy-ki through its inside-t-ren -nuyu connection with e-zi-her. Because of the de-to-la-ri-ro-va-nia of the fi-lo-sophic ideas, Liszt introduced-dil ob-I-in-len-pro-gram-mu wishing to-be-reap pro-out-of-free interpretation of ideas. Liszt believed that po-e-ziya and mu-zy-ka pro-isosh-whether from the same root and again they are not-about-ho-di-mo to connect the thread. Special programs for po-e-moms List on-zy-val “du-hov-ny-mi es-ki-za-mi” / sti-ho-your-re-nie Gyu-go - to the po-e-me "What is heard on the mountain", from the tra-ge-dia Gyo-te - to "Torquato Tas-so", verse-ho-your-re-nie La- mar-ti-na - to “Pre-lu-dam”, fragments-men-you from the scenes of Ger-de-ra - to “Pro-me-tey”, and verse-ho-your-re-nie Shil-le -ra “For-clo-not-ni-is-kus-st-you” - to the poem “Holiday-no-ch-sounds”. hundred-in-len av-tor-sky for-we-sat down in the e-me "Ide-a-ly", where every time-case is co-pro-in-f-yes-et qi -ta-ta from Shil-le-ra.Sometimes the pro-gram-ma co-sta-in-la-las not with-mi-mi-zi-to-rum, but his friends-i-mi and bli-z-ki-mi / Ka-ro-li-on von Wit-gen-stein - to "Lament for the heroes" /, but not-something-ry programs-we are in -generally in-i-in-la-li-with-le co-chi-non-niya mu-zy-ki: so the text of La-mar-ti-na for-me-nil at Lee-s- that first-at-the-initial verse-ho-your-re-ing From-ra-na "Che-you-re verses in" Pre-people.
The principle of programming in the art of music
Methodological development for classes with high school students in the process of studying subjects of the aesthetic cycle
Hardly any kind of musical art has caused as many contradictory judgments and disputes throughout its history as their program music has caused. First of all, it is necessary to emphasize the controversial attitude towards it on the part of the creators themselves: they constantly experienced the attractive power of software, and at the same time, as if they did not trust it. As you know, the program coexists with a piece of music not really, as in other synthetic genres - the word and music, but conditionally, in the consciousness of the composer first, and then the listener. Thus, the problem of programming is one of the most difficult musical and aesthetic problems. The controversy around it began a long time ago and has not subsided so far.
First of all, it is necessary to formulate and define the essence and meaning of the concept of program music. A program is usually called an instrumental work, which is preceded by an explanation of the content of the music; this is a work that has a certain verbal, often poetic program and reveals the content imprinted in it. Thus, the content of program music is undeniable, regardless of whether the work embodies generalized ideas or a detailed literary program. “Personally, I equate programmatic and meaningful content,” writes D.D. Shostakovich. “And the content of music is not only a detailed plot, but also its generalized idea or the sum of ideas ... For me personally, like for many other authors instrumental works, program design always precedes composing music. 1
A typical sign of a program work is the presence of a special explanation - "programs", that is, links to a specific topic, literary plot, a circle of images that the author wanted to embody in music. Speaking of programmability, one should emphasize a special quality: concreteness, certainty of the content of musical images, their visual connection and correlation with real life prototypes. Thus, general principle programming is the principle of concretization of content. Epigraphs, subtitles, separate indications among the musical text, drawings are capable of focusing the content of a program work to a certain extent. A vivid example is A. Vivaldi's concerto for violin and orchestra "The Seasons", in which each of the movements is preceded by a poetic passage, designed to inform the listener of the artist's concrete-figurative intention.
The program does not aim to exhaustively, to the end explain in words the figurative-emotional content of music, because it is expressed in its own right. musical means. The program is designed to inform the listener of the author's concrete-figurative intention, that is, to explain what specific events, paintings, scenes, ideas, images of literature or other types of art the composer sought to embody in music. There are two main approaches to defining the essence of program music, which were most convincingly formulated by O. Sokolov. 2
1. From the point of view of the type of connection between music and reflected reality. After all, musical art is closely connected with the content of life, with the phenomena of the surrounding world and reality. In addition, music reflects inner world a person and affects him; it embodies the thought, the mood that the composer put into it, and then conveys them to the listener.
2. From the point of view of the presence of the program, that is, the copyright literary word, reported to the listener before the actual musical text.
Types of literary program may be different. Sometimes even a short title of an instrumental piece generally indicates its content and directs the listener's attention in a certain direction. Let us recall at least the overture of M.I. Glinka “Night in Madrid”, “The Old Castle”, one of the plays of the cycle of M.P. Mussorgsky “Pictures at an Exhibition”, “Butterflies” by R. Schumann. Many program works are preceded by a detailed explanatory text, which sets out the main artistic idea, tells about the characters, gives an idea of the development of the plot, various dramatic situations. Such a program is possessed, for example, by well-known symphonic works - "Fantastic Symphony" by G. Berlioz, "Francesca de Rimini" by P. I. Tchaikovsky, "The Sorcerer's Apprentice" by P. F. Duke. Sometimes composers set out in some detail the content of their program works. So, N.A. Rimsky-Korsakov, in his autobiographical Chronicle, writes: “The program that guided me when composing Scheherazade was separate, unrelated episodes and pictures from the Thousand and One Nights, scattered around all four parts of the suite: the sea and the ship of Sinbad, the fantastic story of Prince Kalender, the prince and the princess, the Baghdad holiday and the ship crashing against a rock with a bronze horseman. 3 . Among the program works there are also those whose idea is embodied with true picture clarity and evoke visual associations. This is facilitated by the ability of music to reproduce the sound diversity of the surrounding reality with the greatest accuracy (n: peals of thunder, the sound of waves, the singing of birds). The analysis of a musical composition often comes down to proving the identity between musical expressive means and sound phenomena. real life(n: sound-visual function of music). Sound-image moments play a huge role in program music, since they are able to decipher, emphasize one or another detail of life or nature, give music an almost objective tangibility (n: imitation of shepherd tunes, sounds of nature, “voices” of animals). The program of a piece of music does not have to be drawn from a literary source; these can be works of painting, and a vivid example of this can be, for example, “Pictures at an Exhibition” by M.P. Mussorgsky (the composer’s musical response to the exhibition of V.A. (on the picture of I.E. Repin “The Cossacks write a letter to the Turkish Sultan), sculpture, and even architecture. But they need a verbal program that gives the listener an incentive for a more complete and deep perception of this particular piece of music. The composer can also choose as a program facts and events snatched directly from the reality of life, but in this case he himself will be the compiler of the literary program of his composition. It should be emphasized that literary sources will always remain the main ones for realistic musical creativity.
Now we should mark characteristics program music:
- greater specificity in the perception of a program composition compared to the perception of "pure", that is, non-programmed, instrumental music;
- program music stimulates the comparative-analytical activity of the listener, leading to the emergence of general artistic associations;
- program music helps to figuratively comprehend the unexpected, original expression, non-traditional techniques used by the composer;
- program music creates an evaluative situation, which is characterized by a critical attitude of the listener to the possibility of translating this program into a musical composition;
- program music preliminarily directs perception in a certain direction of images;
- program music enhances the cognitive possibilities of musical art, as it operates with concepts-symbols;
Depending on the measure and method of concretization, it is possible to distinguish, using the terminology of O. Sokolov, various types or types of software: 4
1. Genre-characteristic or just genre which uses sound-imagery and onomatopoeic moments.
2. Picture-shapedI, using pictorial and pictorial images (n: pictures of nature, landscapes, pictures of folk festivals, dances, battles, and others). These are, as a rule, works that display one image or a complex of images of reality that do not undergo significant changes throughout his perception.
3. Generalized emotional or generalized plot, which uses abstract philosophical concepts, characteristics of various emotional states.
4. Story or serial-plotusing literary and poetic sources. This type involves the development of the image, corresponding to the development of the plot of a work of art.
The origins of programming, its episodic manifestations at the level of individual techniques and means (onomatopoeia, plot) can be traced already in the instrumental art of the 17th - 18th centuries (J.F. Rameau, F. Couperin). The Baroque era was one of the brightest eras in the development of program music. During this period, the role of the program was largely determined by the theory of affects and figures. “The dominant view of music as imitation by means of sounds located on a certain scale - imitation with the help of a voice or a musical instrument of natural noises or manifestations of passions,” writes V.P. Shestakov in his book “From Ethos to Affect”. 5 Consequently, the program was assigned the function of naming affects or natural phenomena, which gave rise to and strengthened the homophonic-harmonic system. This is a description of emotional states, yet naive depiction; genre scenes, portrait sketches - the main types of programming.
The flourishing of programming in the era of romanticism is closely connected with the intensively increased attraction to the originality of musical expression. In addition, programming created an additional opportunity to express the inner "I" of the artist and the listener to penetrate into the unique world of figurative ideas of the author of the work, since it is during this historical period that the human individuality appears as an inexhaustibly deep universe, more significant than the outside world. In mature romantic art (the works of F. Liszt, G. Berlioz), the main features of the program genre were: figurativeness, plot, the presence of a program pre-prepared for the work.
The content of software in Russian becomes qualitatively new and richer. musical classics second half of the nineteenth century. In addition to the emphasized descriptiveness and clearly expressed plot, an indispensable condition for creativity was the awareness of the idea-content and the possibility of verbal expression of this idea in the program. Realistic programming becomes the main principle of creativity. The formulation of the program becomes a matter not only for composers, but also for musicologists, which allowed V.V. Stasov to speak of programmability as feature Russian music in general. Russian classics created a new type of programming: based on genre musical material, the saturation of images with real life content, the use of genres program symphony, symphonic poem, piano miniature. Outstanding representatives Russian program music were: M.I. Glinka "Night in Madrid", "Kamarinskaya", "Prince Kholmsky", M.P. Mussorgsky "Pictures at an Exhibition". Composers introduced into their symphonic work the images of A. Dante and W. Shakespeare, A. S. Pushkin and M. Yu. Lermontov, paintings folk life, poetic descriptions of nature, images of folk epos, tales and legends (N: "Romeo and Juliet" and "Francesca de Rimini" by P.I. Tchaikovsky, "Sadko" and "The Battle of Kerzhents" by N.A. Rimsky-Korsakov, Tamara" by M.A. Balakirev, "Night on Bald Mountain" by M.P. Mussorgsky, "Baba Yaga", "Kikimora" and "Magic Lake" by A.K. Lyadov).
Next, let us dwell on the main position of a program work: in a program musical composition, the main carrier of the content that is inextricably linked with the program is, first of all, the musical cloth, the means of musical expression themselves, and the verbal program acts as an auxiliary component.
The first stage is a clear ideological and artistic concept (selection of the type of program composition), development of the plot and plan of the composition. Further, a diverse realistic intonational development of all the main images is needed. With complex program task the composer inevitably faces the task of embodying by means of music not only the emotions of the hero (through musical intonations turned into a melody human voice), but also a diverse background - whether it be a landscape or a genre of everyday life. At the same time, in case of a miss, the software always "avenges itself", causing disappointment to the audience. Programming requires from the composer a very subtle and sensitive intonation ear, and, further, a deep creative ability to process real intonations into musical intonations - melodic, harmonic, rhythmic, timbre. And the difference between rhythmic, modal, register, dynamic, tempo intonations and designations is one of the main elements of programming, clarifying and deepening the content, concretizing the awareness and understanding of a musical composition.
In expressive meaning, the role of pitch is more clearly emphasized when changing musical registers.
Key is a generalized reflection of the stability of any shades of moods, experiences, figurative moments. A connection is established between the "keys" in life, for example, heroic, joyful, tragic, and keys in the art of music.
Rich prerequisites for specifying the image are contained in harmony, i.e. chord structure vertically. Here one can draw analogies with certain qualities of real phenomena: consistency, harmony, completeness, softness, consonance or inconsistency, instability, acute tension, dissonance. Through harmony, the aesthetic attitude of the composer to the displayed reality is revealed.
Rhythm, as a means of musical expressiveness, generalizes the qualities of movements: their regularity or inconsistency, lightness or heaviness, slowness or swiftness. Traditional rhythmic formulas, inherent in certain forms and genres, contribute to the genre specification of the content of the composition. The juxtaposition of contrasting images is sometimes emphasized by the techniques of polyrhythm and polymetry. Approximation of musical rhythms to the typical rhythms of poetic and colloquial speech makes it possible to emphasize the national and historical-temporal features of the images.
Pace musical compositions characterizes the intensity of the process in time, the level of intensity of this process, n: rapid, stormy, moderate, slow. In program musical works, the tempo contributes to the concretization of the reflected processes and actions (the flight of a bumblebee, the movement of a train).
Timbre reflects the characteristic of the sound of real objective phenomena. This opens up great opportunities for direct onomatopoeia or sound representation, evoking certain life associations (wind noise, rain, thunderstorm, storm, etc.).
Dynamics in music reflects the level of sound power real prototypes. Techniques for concretizing content with the help of various means of dynamics are widely used in program music. For example, dynamic ostinato, as the preservation of one emotional state, strengthening and weakening of sonority, as a manifestation of real emotional processes: excitement, impulsiveness or peace, relaxation.
plays an important role in musicgenre nature of images.Thanks to the genre features (n: the march has a predominance of active rhythms, energetic, inviting intonations, clear square structures corresponding to the movement of the step), the listener perceives the “objective” content of the music more easily. Genre features, thus, play the role of a kind of stimulus to the imagination, involving it in associations that connect music with the surrounding reality and determine the programmatic nature of a musical composition. Consequently, the implementation of the program idea becomes possible on the basis of referring to a particular genre as a whole, and even (due to the individualization of individual elements of musical speech) by referring to some characteristic detail of the musical genre. So, for example, second descending intonations most often serve to embody a sigh, a groan, and melodic moves up a fourth, with the approval of the tonic on downbeat tact - are perceived as an active heroic intonation. The triplet movement at a fast tempo often gives flight, and the choral warehouse of music, combined with a slow tempo, reflects a thoughtful and contemplative mood. Often the composer takes one main musical theme as the basis of the work, which in this case is called the leitmotif (translated into German - “leading motive”). At the same time, he uses the technique of genre transformation of this leitmotif, which speaks of the diverse events of human life, the struggle and dreams, the love and suffering of the hero. Such a technique is a fairly effective means for transmitting the program of a work.
An important role in concretizing the content program is played by the refraction of folklore specifics, reflectiongenre folklore prototypes. The program functions of folk-genre elements are among the most capacious and multi-valued. Thematic section of program music, uniting pictures of nature, landscape sketches, includes both song and dance genres, and imitation of folk instrumentalism. Important program functions are to animate nature, their role in anthropomorphism is significant visual means as a manifestation of the constant presence of a person, an expression of his feelings, perception, attitude to nature. Genre concretization is often combined with visual program functions. Particularly widely used in this case are coloristic techniques and spatial effects, such as: fifth organ points - as an element of spatial associations and a sign of folk instrumental music; tremolo, gliding, arpeggio - elements of colorful sound and folk coloring; modal-harmonic features, the use of frets folk music and pentatonic. Imitation of shepherd's tunes (pipe, horn) introduces an element of pastorality and lyrics into the landscape depiction. The sound of these instruments is perceived along with the singing of birds as part of the "sounding nature". The vocal-choral style of presentation (polyphonic polyphony, terts, organ points, ostinato) are associated with folk songs, fairy tales, in which an artistic metaphor is widespread, that is, the identification of a birch tree and a slender girl, an eagle and a brave Cossack.
The next step in creating a software product is the no less important question of the problem of choice. forms, that is, the search for such constructions of musical logic that are able to most correctly, truthfully express real logic, real development this story in the totality of its phenomena and aspects.
Of fundamental importance is the problem of objective and subjective (P.I. Tchaikovsky's term) programmability, declared and unannounced (M. Tarakanov's term), direct and indirect (V. Vanslov's term) programmability. For the first time, P.I. Tchaikovsky spoke about this in a letter to N.F. von Meck: “I find that the inspiration of a composer can be twofold: subjective and objective. In the first case, he expresses in his music his feelings of joy, suffering, in a word, like a lyric poet, he pours out, so to speak, his own soul. In this case, the program is not only not needed, but it is impossible. But, it's another matter when a musician, while reading poetic work or struck by a picture of nature, he wants to express in musical form the plot that ignited inspiration in him. This is where the program is needed. 6
V. Vanslov defines these areas of program music as follows: 7 direct programming is a plot, visual picturesqueness of music. These works have a declared program (the main types of the declared program are: the verbal designation of the title of the work, the verbal designation of the main storyline works, a clear and precise formulation of the main idea of the work) and, plus, more points of contact with other types of art, primarily with literature and painting; mediated programming - not directly related to other arts or not defined by a verbally expressed plot. Therefore, these works receive a program only in the form of a short title, naming their main theme or idea, or sometimes in the form of a short dedication.
As for the role of software in the perception of music by listeners, then general formulas does not exist here. For a wide audience that is not sufficiently versed in musical literature, detailed programs can also play a positive role, the figurative concreteness of which is close to the listeners, helps them better understand the musical work, and respond more vividly and emotionally to the composer's intention. For others, the most appropriate is general definition the theme of the work, directing their imagination in a certain direction, but at the same time not constraining it with a detailed program. Finally, for many listeners, a vivid emotional perception may not be accompanied by any visual associations, specific images, or even ignore ready-made images offered by the composer or his interpreters. It seems that the most important moment in working with listeners is the systematic education of a sensitive, emotional attitude to all elements of music, to the integrity of musical images.
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