Non-program works examples. Great Soviet Encyclopedia - program music

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 replace one another, 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 it seemed 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 " Divine Comedy"Dante.

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 sad story his

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

The programming principle musical art

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 much conflicting opinions and disputes throughout its history as it has caused them. program music. 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 of instrumental works, the program idea always precedes composing music.” 1

A typical sign of a program work is the presence of a special explanation - a “program”, that is, a reference to a specific topic, a 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, the general principle of 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 by musical means proper. 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 the inner world of 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 author's literary word, communicated 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”, “ old lock”, - one of the plays of the cycle of MP 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 Sinbad's ship, fantasy story Kalender-prince, prince and princess, Baghdad holiday and a 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). Analysis 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 reflect one image or a complex of images of reality that do not undergo significant changes throughout its 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 works 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 programming in the Russian musical classics of the second half of the 19th century becomes qualitatively new and richer. 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 a characteristic feature of Russian music as a whole. The Russian classics created a new type of programming: based on genre musical material, saturation of images with real life content, using the genres of 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 folk epic, 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 fabric itself, the means themselves. musical expressiveness, 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 a complex program task, the composer inevitably faces the task of embodying by means of music not only the emotions of the hero (through the musical intonations of the human voice turned into a melody), but also a diverse background - whether it be a landscape or an everyday genre. 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, like saving 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 a strong beat of the measure, 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 as the basis of the work one main musical theme, called in this case 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". Vocal-choral style of presentation ( subvocal polyphony, tertsovye performances, organ points, ostinato) are associated with folk songs, fairy tales, in which artistic metaphor is widespread, that is, the identification of a birch 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 the real logic, the real development of a given plot 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: verbal designation of the title of the work, verbal designation of the main plot outline of the work, 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 general audience not well versed in musical literature, positive role detailed programs can also be played, the figurative concreteness of which is close to the listeners, helping them to better understand the musical work, to 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 work with listeners is the systematic education of a sensitive, emotional attitude to all elements of music, to the integrity of musical images.

Bibliography.

1. A.D. Alekseev. "From the history of Russian Soviet music." M., 1956.

2. M.G. Aranovsky. "What is program music." "Musical contemporary." Issue 6, 1987.

3. V. Vanslov. On the reflection of reality in music. M., Muzgiz, 1953.

4. L.A. Kiyanovskaya. "Programming Functions in the Perception of Musical Works." Abstract, L., 1985.

5. G.V. Krauklis. "Program music and some aspects of performance." Sat. "Musical performance", issue 11, M., Muzyka, 1983.

6. G.V. Krauklis. "Methodological issues of the study of program music", Sat. works of the Moscow Conservatory. M., 1981.

7. Yu.Kremlev. "On programming in music." Musical aesthetics. "Soviet Music", M, 1950, No. 8.

8. L. Kulakovsky. "Programming and problems of music perception." "Soviet Music", M., 1959, No. 5.

9. G. Laroche. "Something about program music." "The World of Art", St. Petersburg, 1900, No. 5-6.

10. A.I. Mukha. "The principle of programming in music." Abstract. L., 1965.

11. Z. Needy. "On programming in music." In the book “Zdenek Needy. Articles about art.» M.-L., 1960.

12. G.Ordzhonikidze. "On programming in music." "Musical life". 1965, No. 1.

13. N. Ryzhkin. "About historical development programming." "Soviet Music", M., 1950, No. 12.

14. N. Ryzhkin. "Programming Debate." Musical aesthetics. "Soviet music", M., 1951, No. 5.

15. M. Sabinina. "What is program music." "Musical Life", 1959, No. 7.

16. N.Simakova. "Questions of Musical Form." Issue 2, 1972.

17. O. Sokolov. "On the aesthetic principles of program music." "Soviet Music", 1965. No. 11, 1985, No. 10.19

18. O.Sokolov. "On the problem of typology of musical genres." M., 1960.

19. A. Sohor. "The Aesthetic Nature of the Genre in Music." M., 1968.

20. M. Tarakanov. "On programming in music." In the book "Questions of Musicology." Issue 1, M., 1954.

21. N.A. Khinkulova. "Programming problems in the functional aspect." Abstract. L., 1989.

22.Yu.Khokhlov. "On musical programming." "Soviet Music", 1951, No. 5.

23. A. Khokhlovkina. "On programming in music." "Soviet Music", M., 1948, No. 7.

24. V.A. Zuckerman. " Music genres and fundamentals of musical forms. M., 1964. 6 P.I. Tchaikovsky. Correspondence with N.F. von Meck. Letter dated December 17, 1878, volume 1, Academia edition, 1934.

MBU DO "Simferopol district children's art school"

Kolchugino branch

Report

on the topic of: "Programming and musical form in contemporary music”

Performed by: accompanist

Firsova Natalya Alexandrovna

2016

Programming and musical form in contemporary music

Programming in the works of classical composers

The essence of the program idea, which fundamentally distinguishes it from the idea of ​​a non-program instrumental work, lies in the composer's desire to embody any phenomena that lie outside the music, to give an idea of ​​them as extra-musical objective givens. Along with images of nature, historical events, literary plots this is the conceptual realm. In the composer's mind, all such objects acquire sufficient certainty and can be verbally designated. Hence the role of verbally fixed plans, all kinds of "program" notes, messages in letters about what will be "depicted" in music - up to the development of a detailed scenario.

Both the composer's idea and the ways of its implementation are mobile, changeable phenomena, difficult to predict, and even not at all amenable to strict scientific analysis.

The rest of the program design is subject to the laws musical concept at all. That, in turn, is associated with patterns artistic intent, different from scientific, technical, etc. .

The difficulties in studying the creative process of a composer are obvious. If for a writer a word that is clear in its meaning is the material of creativity, then the meaning of sounds, that is, the corresponding musical signs that appear in the composer's sketches and sketches, must be deciphered, which does not always promise success. The more important are all verbal notes and remarks, which are nevertheless sometimes found in musical preparatory materials, the more important are the composer's statements about his work (in letters, conversations, memoirs, etc.).

At one time, R. Gruber strongly emphasized the importance of such "self-statements" for studying the work of composers, especially for penetrating into the psychology of creativity. Of course, different types of musical works imply far from the same approach to the organization of preparatory materials on the part of the composer: on the same pole are stage, first of all, operatic works, which, due to their closeness to both the theater and literature, provide the researcher with rich evidence of the composer's intentions (scenario, libretto, nature of situations, requirements for performers, scenery, etc.); at the other extreme - works of pure instrumentalism, the creation of which is rarely accompanied by verbal indications of intentions. Program music occupies an intermediate position in this respect, since the extra-musical moments of the content usually require their preliminary formulation during the period of composing the music.

Moreover, the history of program symphonism knows most interesting cases when music arose on the basis of a program that was created by the composer's contemporaries, acting as if librettists of symphonic music (A. Daudet's program for Jules Massenet's Alsatian Scenes). Such a role in the program-symphonic work of P. Tchaikovsky was performed by V. Stasov ("The Tempest") and M. Balakirev ("Romeo and Juliet", "Manfred"). At the same time, we recall that the script for Manfred was originally intended for G. Berlioz and took into account the peculiarities of the latter's programmatic creativity. However, in the creative process of most composers of program music, only general contours program content, fixed as a preliminary plan (listing the main points, their sequence). In other cases, there is no plan as such, but the most important musical images are accompanied by program-concretizing remarks.

The word may not be in the text, but in the subtext. Inscribed or not inscribed in the score, it can form a parallel series, connected or not connected with the music - in any case, not affecting its intonational or rhythmic structure in any way.

It should be recognized that literary criticism has indeed accumulated and theoretically comprehended a wealth of material relating to the creative process of the artist. But literary critics were helped not only by the very essence of literature as the art of the word, but also by individual writers who willingly engage in self-observation in this area (Edgar Allan Poe's “Philosophy of Creativity” stands out here. Composers in this respect were much more stingy with explanations.

In general terms, the composer's creative process is characterized by the composer d "Andy in his book on Cesar Franck, and the author's conclusions are based not so much on self-observation as on observations of the teacher's work for about 20 years. In working on a work, d" Andy distinguishes three stages: concept , disposition and execution. The concept distinguishes between the synthetic and analytical sides. The first in the work of the symphonist suggests, according to d'Andy, the general plan of the composition and the distribution of the main lines of development, the second is connected with the development of specific musical ideas, which are the artistic realization of the most important points general plan. The author emphasizes the interdependence of both sides of the concept (concrete musical ideas can correct the plan, the latter, in turn, can dictate the choice of new musical images to replace the original ones). The stage of disposition is associated with development - on the basis of all previous essential elements complete structure piece of music, down to the details. Performance, including instrumentation (and, obviously, all performance instructions), ends with the creation of musical text of the completed musical work

The novelty of the content of the music of the 19th century and the versatility of the problems prompted the composers of the 19th century to update all means musical language and expression in general. Romantic inspiration and realistic tendencies of musical art, strengthening of ties with poetry, philosophy and fine arts, a new attitude to nature, an appeal to national and historical color, increased emotionality and brilliance, an attraction to the characteristic and overcoming old traditions by searching for new ones - all this led to enrichment in the 19th century of musical speech, genres, forms, and methods of dramaturgy.

In the era of romanticism, which replaced the Bach baroque and Mozart classicism, the constructive essence and noble spirit of the old masters disappear. Forms are discarded, and the artist's soul rejoices and trembles in sounds, eager to be heard - this music has become self-expression. For each era, direction, style, creativity of various composers, certain features of musical speech are characteristic.

Program music and the opera genre required a special expression of the psychological principle, a new type of creative thinking. The lyrics of the miniatures, the philosophical generalization of the symphony, the sound representation, the confession of the soul in the "vocal diaries" gave birth to a new imagery. Artistic outlook composers of the 19th century gave rise to the silhouettes of new structures of musical forms. Throughout the century, they were continuously updated. In the romance genre, a cross-cutting development was born, thanks to the cyclical repetition of couplets. Song-like vocal lyrics penetrated into instrumental music. The mastery of the variation of the image, motive or rhythmic-harmonic formula associated with it came to the fore. The most striking examples in foreign music will remain the "tristan chord" from R. Wagner's operas "Tristan and Isolde" and the "question motif" from Schumann's romance "Why", the motif "Glory" from Glinka's "Life for the Tsar" in national music etc. These and similar elements have become independent, symbolic or "common" in romantic music of the 19th century, and in modern times as well.

The composers successfully used the form-creative role of the program in instrumental music - it eliminated the vagueness of showing the idea and concentrated the action. The symphony began to approach the opera, because. vocal and choral scenes were introduced into it, as in "Romeo and Juliet" by G. Berlioz. The number of parts in the symphony either increased dramatically, or it turned, thanks to the program, into a one-part symphonic poem. End-to-End Development musical material assumed a change in the appearance of the theme, and often its meaning, the transformation of the genre of the theme. Often, in order to maximize the concentration of content in the musical form, a certain theme was chosen as the main melody, which undergoes some changes throughout the entire poem. This phenomenon is called monothematism. In the arsenal of means of musical and artistic expression, it marked a new stage in the history of music of the 19th century. The creation of images of different character on the basis of one theme, which internally holds together all sections of the form, contributed to the flexible development of the plot, musical idea. Thus arose the genre of the symphonic poem, the one-movement sonata and the one-movement concerto.

The most important technique of the compositional technique of the Romantics was variation. Variations as an independent part began to be included in larger compositions since J. Haydn and his contemporaries (Mozart's sonata with the "Turkish rondo" or part of the sonata of L. van Beethoven with " funeral march to the death of a hero). Variation invades the sonata and quartet, symphony and overture as a principle of development and as a genre, penetrating into all genres and forms of music, up to rhapsodies and transcriptions. Variation increased the intensity of development or introduced an element of static, weakened the dramatic tension, as R. Schumann spoke of "divine lengths" in F. Schubert's symphonies. Logical certainty and clarity in any genre with through dramaturgy was introduced by software, bringing music closer to literature and fine arts, increasing concrete visualization and psychological expressiveness.

Programming is designed to concretize the author's intention - this is how F. Liszt defined its task in 1837. He predicted a great future for her in the field of symphonic creativity in the article of the early 1850s "G. Berlioz and his" Harold Symphony ". F. Liszt was afraid that the explanation would not go too far, debunking the secrets of the content of art.

The principle of programming manifests itself in many ways - by types, types, forms. There are several types of programming - pictorial, sequential-plot and generalized. The picture is a complex of images of reality that does not change throughout the entire process of perception, it is static and is intended for certain types of musical portrait, for pictures of nature. Generalized programming characterizes the main images and the general direction of the development of the plot, the outcome and result of the relationship active forces conflict. It only connects literary and musical works through the program. Sequential programming is more detailed, because it closely retells the plot step by step, describing events in direct sequence. This is a more complex type in terms of its virtuosity and ability to comment on events / taking into account the advice of Franz Liszt /.

F. Liszt was replaced by a German "programmer" - R. Schumann. F. Liszt wrote about him that he "achieved the greatest miracle, he is able to evoke in us with his music the very impressions that would give rise to the very subject, whose image is refreshed in our memory thanks to the title of the play." A series of his piano miniatures are a kind of "musical notebooks" where Schumann entered everything that he observed in nature or what he experienced and thought about, reading poetry and prose, enjoying the monuments of art. This is how the "Rhine" symphony with views of the Cologne Cathedral and the piano cycle "Carnival" appeared based on the materials of his own articles, memoirs and Jean Paul's novel "The Mischievous Years", "Kreislerian" - Hoffmann's fantasy...

“Music has access to all the richness and variety of real life experiences,” R. Schumann argued, and the pieces that made up “Album Leaves”, “Novelettes”, “Ballroom Scenes”, “ Oriental paintings”, “Album for Youth” by R. Schumann, when he entered the sketches into his musical “notebook”, he was worried about the specific idea expressed in the title. But sometimes he hid his intention under common name genre, under a mysterious semi-hint-epigraph, the cipher "Sphinxes" in "Carnival", giving a transcript by translating in Latin letters the notes of the name "Schumann" and the city "Ash", where the beloved of the young composer lived. Being a staunch supporter of programming, R. Schumann sometimes refused to declare the program according to which the work was written. He was afraid to narrow down the content and range of associations. Searches in the field of programming in music, following R. Schumann, were continued by J. Bizet, B. Smetana and A. Dvorak, E. Grieg and others.

With the development of program principles, certain changes occurred in the field of musical forms. G. Berlioz combined opera, ballet and symphony (the synthetic genre was called "dramatic legend" and best to that example - his "Condemnation of Faust"), brought elements of an opera performance into the symphony and the synthetic piece "Romeo and Juliet" was born. M. Glinka wrote the first opera in Russia without traditional insertion of conversational dialogues "Life for the Tsar, or Ivan Susanin" and the first national epic opera "Ruslan and Lyudmila", using in both cases the techniques of opera dramaturgy, new for the Russian musical theater, aimed at close connection characters, ideas and situations. This connection was carried out at the level of musical thematics. A decade later, the reform of operatic dramaturgy, composition and the role of the orchestra was carried out in the West by P. Bagner. He, like M. Glinka, brought development methods from the symphony - symphonism into the genre of opera - like Berlioz. But R. Wagner, unlike G. Berlioz, managed to solve several problems at once. Programming is inherent exclusively in "absolute" or "pure" music - instrumental. Among the French harpsichordists of the 18th century - F. Couperin or L. - F. Rameau - the pieces were program headings "Knitters", "Little windmills» F. Couperin "Bird Call" by L. Rameau, "Cuckoo" by Louis Daken, "Pipes" by J. Dandrieu, etc.

In 1700 Johann Kunau published six clavier sonatas under the general heading " musical image several bible stories". Antonio Vivaldi brought programming to orchestral music by composing four string concertos "The Seasons". I.-S. Bach wrote "Capriccio on the Departure of a Beloved Brother" for clavier. Joseph Haydn also left a lot of symphonies under the brief headings "Morning", "Noon", "Evening", "Hours", "Farewell", and his contemporary W.A. Mozart, in contrast, avoided giving names to instrumental works. The work of L. van Beethoven was a milestone in the development of software. He almost did not decipher the content of his works under rare headings, and only thanks to diaries, biographers and musicologists do we know that Symphony No. 3 was previously dedicated to Consul Bonaparte, and then, after the coronation, it was called “Heroic”, Piano Sonata No. 24 is called “Appasionata”, N 8 - "Pathetic", N 21 "Aurora", N 26 - "Farewell, separation and return", etc. The content of the symphony N 6 "Pastoral" is more specifically defined - each part of it has its own title: "Awakening of joyful feelings upon arrival in the village", "Scene by the stream", "Merry gathering of villagers", "Storm", "Singing shepherds. Joyful, grateful feelings after a thunderstorm. So L. van Beethoven prepared the program symphony of the 19th century. He composed an overture for the opera Fidelio, giving it the name main character opera Leonora. Soon two more versions of the overture appeared - "Leonora No. 2" and "Leonora No. 3". They were also intended for concert performance. So the overture became independent genre that in the work of romantics will become commonplace. D. Rossini composed this type of overture to the opera "William Tell" - he did not give her a name, but the plot in it looks extremely clear. Such is the "Wanderer" F. Schubert - piano fantasy.

In the work of F. Chopin, the role of program ideas was quite large, but no matter how complex the program of individual instrumental pieces, F. Chopin kept it a secret, giving neither names nor poetic epigraphs. He limited himself only to the designation of the genre - a ballad, a polonaise, an etude, and preferred a hidden form of programming. Although at the same time he pointed out that “a well-chosen name enhances the impact of music” and the listener then without fear plunges into a sea of ​​associations, without distorting the nature of the thing. In his articles and letters, F. Chopin repeatedly spoke out against excessive detail - "music should not be a translator or a servant." In his unfinished work, F. Chopin wrote about the expression of thought through sounds, a word that has not been definitely and finally formed is a sound ... a thought expressed by sounds ... Emotion is expressed by sound, then by a word - F. Chopin and G. Flaubert understood this, judging by the scene of the martyrdom of Mato and the orgy of the crowd in "Salambo".

F. Chopin brought the literary ballad closer to instrumental music, being strongly impressed by the poetic talent of his compatriot Adam Mickiewicz. romantic type ballads with a pronounced patriotic beginning was especially close and in tune with F. Chopin the emigrant. It is known that F. Chopin created his ballads for piano following the meeting with A. Mickiewicz and acquaintance with his poetry. But it is almost impossible to clearly and unambiguously identify any of the composer's 4 ballads with one or another balladA. Mitskevich. There are a number of versions about the relationship between the plots of Ballade No. 1 in G minor opus 23 with “Konrad Wallenrod”, Ballade No. 2 in F major opus 38 with “Svitezyanka”, Ballade No. 3 in A-flat major opus 47 with either “Svitezyanka” by A. Mickiewicz , or with the "Lorelei" G. Heine. All this hypotheticality already speaks of how free the music of Chopin's ballads is from specific program-literary associations. From a conversation between F. Chopin and A. Mickiewicz, it is known that the first two ballads were definitely inspired by the works of A. Mitskevich. Not without interest is the fact that outstanding pianist, the writer and even more talented graphic artist Aubrey Beardsley in his drawing “The Third Ballad of Chopin” depicted a girl riding a horse through the forest and accompanied this drawing with a musical line, outlining the motive of the second theme of the ballad. And this is an image from the Svitezyanka.

Unlike F. Chopin, who preferred hidden programming, F. Mendelssohn, at least in symphonic genre, clearly gravitated towards the picture type, as evidenced by his overtures "A Midsummer Night's Dream", "Fingal's Cave, or the Hebrides", "Sea Calm and Happy Sailing" and two symphonies - Italian and Scottish. He was also the creator of the first romantic concert program overture in the history of music (1825).

The appearance of the first romantic program symphony in 1830 "Fantastic" is connected with the name of G. Berlioz. His works raised french music to the level of advanced literature of its time, and it is the latest, modern literature. D. Byron, Alfred Musset, F. Chateaubriand, V. Hugo, George Sand and W. Shakespeare, rediscovered by the romantics... But with H. Berlioz, the laws of musical form often took precedence over literary elements. His programs were distinguished by certainty, and often verbal detail, as in "Fantastic". He gravitated toward a naturalistic understanding of programming, not limiting himself to the headings of the whole and parts, but also prefaced each part with a detailed annotation, thus setting out the content of his own invented plot. But the music almost never slavishly followed the details of the fictitious plot. The second main feature of his work is theatricalization with all its techniques.

The plot of "Fantastic" is complex - demonic scenes from Goethe's "Faust", the image of Octave from "Confessions of the son of the century" by A. de Musset, the poem by V. Hugo "The Sabbath of Witches" and the plot of "Dreams of an Opium Smoker" by De Quincey, images of Chateaubriand and Georges Sand novels and, first of all, autobiographical features...

The subtitle of "Fantastic" read: "An episode from the life of an artist." The music aesthetically exalted the extravagances of the “exalted musician” who plunged into an opium dream, and the narrative consistently develops from the languor of the introduction through the dreams and passions of the waltz and pastoral to a fantastic, gloomy deafening march and to a wild diabolical pandemonium. The musical core of this dramatic chain is the so-called. "an obsession" that develops and transforms in all 6 parts.

Narrative-dramatic symphonism is represented in the work of G. Berlioz by three other symphonies - "Romeo and Juliet" symphony-drama, "Harold in Italy" and partly - Funeral-triumphal symphony. All development is subject to the plot plot.

The banner of programming from F. Chopin and G. Berlioz passed to F. Liszt. He preferred a different type of symphonism - a problematic-psychological one, suggesting the maximum generalization of ideas. The composer wrote that it is much more important to show how the hero thinks than what his actions are. Therefore, in many of his symphonic poems, philosophical abstraction, a concentrate of ideas and emotions, as in the Faust Symphony, comes to the fore. The main task F. Liszt in terms of programming was the renewal of music through its internal connection with poetry. Due to the declaration of philosophical ideas, F. List introduced the declared program, wishing to avoid an arbitrary interpretation of the idea. F. Liszt believed that poetry and music originated from the same root and they again need to be combined. F. Liszt called special programs for poems "spiritual sketches" V. Hugo's poem - to the poem "What is heard on the mountain", from the tragedy by I. Goethe - to "Torquato Tasso", A. Lamartine's poem - to "Preludes", fragments from scenes by I. Herder - to "Prometheus", and F. Schiller's poem "Adoration of the Arts" - to the poem "Festive Sounds". The author's intention is more specifically presented in the poem "Ideals", where each section is accompanied by a quote from F. Schiller. Sometimes the program was compiled not by the composer himself, but by his friends and relatives Caroline von Wittgenstein - to "Lament for the Heroes", but some programs generally appeared after composing the music: so the text of A. Lamartine replaced F. Liszt's original poem by Autrans "The Four Elements in the Preludes" .Program music is a special cultural phenomenon in which a kind of synthesis of forms of spiritual culture and various kinds arts - music on the one hand, literature, architecture, painting on the other.

program music

N. A. Rimsky-Korsakov's "Scheherazade", before us there are images of the cruel Sultan Shakhriyar, the skillful storyteller Sheherazade, the majestic picture of the sea and the ship of Sinbad the Sailor sailing into the distance. Arabian tales "A Thousand and One Nights" became the program of this wonderful work. Rimsky-Korsakov summarized it in a literary preface. But already the name of the suite directs the listeners' attention to the perception of a certain content.

G. Berlioz.

Program (from the Greek "program" - "announcement", "order") include musical works, which have a specific header 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 means of expression 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 problems that 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 the symphony of the same name by G. Berlioz and Tchaikovsky's fantasy overture, the tragedy "Hamlet" - Liszt's symphony. One of R. Schumann's best overtures was written for dramatic poem J. G. Byron "Manfred". The pathos of struggle and victory, the immortality of the feat of the hero who gave his life for the freedom of his homeland, was expressed by L. Beethoven in the overture to J. W. Goethe's drama "Egmont".

Program works include compositions that are commonly called 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 of 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 of 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. Graceful pieces in the Rococo style were written for harpsichord French composers 2nd half of XVII- early 18th century L. K. Daken (“The Cuckoo”), F. Couperin (“The Grape Pickers”), Rameau (“The Princess”). 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”. IN creative heritage J. Haydn has more than 100 symphonies. Among them there are also program ones: "Morning", "Noon", "Evening and Storm".

An important place was occupied by program music 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, fabulous stories 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 occupies a large place in the work of Soviet composers. Among the symphonies of N. Ya. Myaskovsky there are "Kolkhoznaya", "Aviation". S. S. Prokofiev wrote symphonic work"Scythian Suite", piano pieces "Fleeting", "Sarcasms"; R. K. Shchedrin - concerts for the orchestra "Naughty ditties", "Rings"; M. K. Koishibaev - a poem for orchestra of Kazakh folk instruments"Soviet Kazakhstan"; Z. M. Shakhidi - symphonic poem "Buzruk".