PROGRAM MUSIC . What do you think is different piano concert
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 evokes sounding music. At the same time, your
fantasies will surely be different from what another imagines
a person who listens to music with you. Of course, it does not happen that you
in the sounds of music there seemed to be the noise of battle, and to someone else - an affectionate
lullaby. But stormy, formidable music can evoke associations with
rampant elements, and with a storm of feelings in the human soul, and with a formidable rumble
battles...
And in "Francesca da Rimini" Tchaikovsky by the very name indicated exactly that
it is his music that draws: one of the episodes " 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 content of which reveals a certain verbal program embedded in it by the composer, very often poetic - that's what program music is. This phenomenon gives her specific features, which distinguish it from non-programmed ones, which reflect the moods, feelings, emotional experiences of a person. The program can be a reflection of any phenomena of reality.
Specificity and synthesis
In theory, all music is programmed to one degree or another, except that it is almost impossible to accurately designate either objects or concepts that evoke certain feelings in the listener. Only speech, oral or written, possesses such abilities. Therefore, composers often provide their works with a program, thus forcing the verbal or literary premise to work in synthesis with all the musical means used by them.
The unity of literature and music is helped by the fact that both these types of art are able to show the development and growth of the image in time. Various types of creative activities have been united since antiquity, since art was born and developed in a syncretic form, associated with rituals and labor activity. In terms of means, it was very limited, therefore, it simply could not exist separately and without applied tasks.
disengagement
Gradually, the way of life of mankind improved, art became more sophisticated, and there was a tendency to separate its main genera and species. Reality was enriched, and the reflection of this was already achieved in all its diversity, although art forever remained syncretic in ritual, spiritual, vocal-instrumental, dramatic aspects. The joint actions of music and words, however, which determine the program, also never went far from music.
These may be the names that program music provides. Examples - in the collection of piano pieces by P. I. Tchaikovsky, where each piece has not only a "speaking", but also a "telling" title: " morning prayer"," Nanny's Tale "," Doll's Illness "and all other small works. This is his collection for older children" Seasons ", where Pyotr Ilyich added a bright poetic epigraph to the title. The composer took care of the specific content of the music, explaining what is program music and how to perform this work.
Music plus literature
Program music for children is especially understandable if the work has both a title and an accompanying word, which is composed by the composer himself or the writer who inspired him, as Rimsky-Korsakov did in the symphonic suite "Antar" based on the fairy tale by Senkovsky or Sviridov in the music for the story
Nevertheless, the program only complements the music, not being an exact explanation. It's just that the object of inspiration is the same for the writer and the composer, but the means are still different.
Music minus literature
If a piece is called "A Sad Song" (for example, Kalinnikov, Sviridov and many other composers have it), this determines only the nature of the performance, but not the specific content, and that is how program and non-program music differ. The specifics are "The dog got lost", "Clowns", "Grandfather's clock" (which tick-indulge, and then they will certainly beat). This is almost all program music for children, it is deeper and faster understood and better absorbed.
The musical language most often specifies the program content itself by means of its figurativeness: the sound can imitate the singing of birds ("Firebird", "Cuckoo"), forcing tension, fun festivities, fairground noises ("An Extraordinary Incident", "Maslenitsa" and others. This is the so-called sound recording, which also clarifies what program music is.
Definition
Any equipped verbal characteristic the work necessarily contains elements of software, which has many types. And what is program music, you can understand, even listening to or learning etudes. They themselves are designed to develop the technical capabilities of a musician in the role of detailed exercises and may not only not contain programs, but also music as such, but still often carry the features of programming and even are absolutely programmatic. But if there is a plot in an instrumental work, and the content is consistently revealed, this is necessarily program music. Examples can be found in both national folk and classical compositions.
"Three whales" and national features in the program
They also help to understand what program music is, certain features of applied (“Polyushko”, for example), marches in all genre diversity (“March of Chernomor” and “March wooden soldiers"), as well as dance - folk, classical, fantastic. This, with light hand D.B. Kabalevsky, in music - "three pillars" that determine genre affiliation.
The characteristic features of national music also usually serve as a programmatic piece of music, setting the general concept, tempo, rhythm of the composition ("Saber Dance" by Khachaturian, for example, "Two Jews ..." and "Gopak" by Mussorgsky).
Landscape and scene programming
The display of one or a series of images that do not change throughout the entire composition is also program music. Examples of works can be found everywhere: "In the fields" by Gliere, "On the rocks and fjords" by Grieg and so on. This also includes pictures of holidays and battles, landscape and portrait musical images.
Even the same literary plots are embodied in music by composers in different ways: for example, Shakespeare's "Romeo and Juliet" turned into an overture by Tchaikovsky, where the programming is generalized, while by Berlioz it is consistent. Both, of course, program music. The name can most often be considered as a plot program, for example, List's "Battle of the Huns" based on the fresco of the same name by Kaulbach, or his etudes "Dwarfs' Round Dance" and "Noise of the Forest". Sometimes works of sculpture, architecture, painting help to understand what program music is, because they participate in the choice visual means for a musical picture.
Output
Software enriches music with new expressive means, helps in the search for new forms of work, differentiates genres. If the composer refers to the program in his composition, it brings his listener closer to reality, spiritualizes life, and contributes to the comprehension of deep spiritual principles. However, if programming prevails over other tasks, then the perception of music is noticeably reduced, that is, the listener needs space for his own creative perception.
Therefore, many composers tried to abandon programming (including Mahler, Tchaikovsky, Struaus and others), but, despite this, they did not completely program music none of them succeeded. The unity of music and the specifics of its content is never indissoluble and absolute. And the more generalized the content is reflected, the better for the listener. What is program music - it will become clear from the slightest strokes of the development of musical thought: having ears, so to speak, will hear, despite the fact that a single definition and even an identical understanding of this phenomenon in music among music theorists has not yet appeared.
What do you think is the difference between Tchaikovsky's piano concerto and his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all.
Perhaps you already know that a concerto is a work of many parts, as 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 the sad story of her unhappy love. The music of the extreme sections of Tchaikovsky's fantasy draws hellish whirlwinds, the middle section of the work is Francesca's sorrowful story.
There are many pieces of music in which the composer in one form or another explains their content to the listeners. So, Tchaikovsky called his first symphony "Winter Dreams". He prefaced the first part of it with the heading "Dreams on a winter road", and the second - "A gloomy land, a 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
1. Types of program music
Musical language is very good at conveying feelings and moods. But he can't draw pictures and tell stories. How so? After all, we already know a lot musical pictures, musical fairy tales. But pay attention: in order to "draw" something with the help of music or "tell" about something, composers resort to the help of ordinary, verbal language. It can be just one word in the title of the play, such as "Morning". But this word guides our imagination. We can hear in the music a mood of peace, a feeling of joy, a melody similar to the shepherd's horn, and the title will tell us that this is a picture of the morning.
Remember Slonimsky's suite "The Princess Who Couldn't Cry". There, each part has not only a name, but also a more detailed explanation in the form of an excerpt from a fairy tale.
All titles and verbal explanations for musical works are called program. And the music that has a program is called program music.
Program musical works can be very diverse. One can try to distinguish two main types of programming picture and plot.
Musical "pictures" are usually small miniatures in which one musical image develops: a "portrait", "landscape" or a special onomatopoeic picture, for example, the noise of a blizzard or bird singing.
Musical "fairy tales" and "stories" usually fit into more large form. There are usually several musical themes, which correspond to different events of the plot, and a more diverse development of these themes. But by telling interesting story, you can also "draw a picture." Therefore, in musical works written based on a plot, we can often find mixed(picture-plot) type of programming.
Sometimes, when composers write music based on a literary work, they do not “retell” the plot in music, but convey, for example, only the feelings of the main characters. Such software can be called psychological.
The picture type of programming is vividly represented in a small piano piece Bulgarian composer "Snowflakes".
Andante con moto  |
The theme is presented in the first twelve bars. Thin, elegant sound painting paints a picture of sparkling, fluttering snowflakes. The play is written in a simple three-movement form. The middle develops the same theme without creating a contrast. The chords are a little denser, the dynamics are slightly intensified, the pauses between phrases disappear, but in general the musical image does not change. The exact reprise is supplemented by a small coda. At the beginning of the coda, we seem to feel a slight gust of wind: a sudden four-note chord in the forte dynamics. This is a small and unexpected climax. And again shining snowflakes shimmer in the sun. The music stops.
Example plot programming you met in Razorenov's play "Two Roosters" (see).
And in the already mentioned fairy-tale suite of Slonimsky, the programming is of a mixed type. On the one hand, there is a detailed written plot. On the other hand, almost all plays are musical pictures: crybaby princess portrait, witch portrait and so on. The musical plot develops not in separate pieces, but in the juxtaposition of these pieces. And it is no accident that the composer chose the form of a multi-part suite for this work.
MBU DO "Simferopol District Children's Art School"
Kolchugino branch
Report
on the topic: "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.
As for the rest, the program design is subject to the laws of musical design in general. 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 organizing music. preparatory materials from the side of the composer: at one extreme are the 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 symphonic music(program A. Daudet for the "Alsatian scenes" by Jules Massenet). 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 creative process the composer 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 differs 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 (specific musical ideas can correct the plan, the latter, in turn, can dictate the choice of new musical images instead of the original ones). The stage of disposition is associated with development - on the basis of all previous essential elements complete building piece of music, down to the details. Execution, including instrumentation (and, obviously, all performance instructions), ends with the creation music text completed piece of music
The novelty of the content of the music of the 19th century and the versatility of the problems prompted composers of the XIX century to the renewal of all means musical language and expression in general. Romantic inspiration and realistic tendencies musical art, strengthening ties with poetry, philosophy and the visual arts, a new attitude to nature, an appeal to national and historical color, increased emotionality and colorfulness, an attraction to the characteristic and overcoming old traditions by searching for new ones - all this led to the enrichment of musical speech in the 19th century, genres, forms, techniques 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. by the most vivid examples in foreign music there 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 the romantic music of the 19th century, and even today.
Composers successfully used the formative role of the program in instrumental music- she 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-movement 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 new stage in the history of music of the nineteenth 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 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 by L. van Beethoven with the "funeral march to the death of the 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 pictoriality 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. musical portrait, for pictures of nature. Generalized programmability characterizes the main images and general direction development of the plot, the outcome and the result of the correlation of the active forces of the conflict. It only connects through the program the literary and piece of music. Sequential programming is more detailed, because it closely retells the plot step by step, describing events in direct sequence. It's over complex type by his 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 translation with Latin letters 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 the traditional plug-in conversational dialogues "Life for the Tsar, or Ivan Susanin" and the first national epic opera "Ruslan and Lyudmila", using in both cases new for the Russian musical theater methods of operatic dramaturgy aimed at the close connection of 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 many symphonies under the brief headings Morning, Noon, Evening, Hours, Farewell, and his contemporary W. A. Mozart, unlike him, avoided giving instrumental works titles. 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 formerly dedicated to Consul Bonaparte, and then, after the coronation, was called "Heroic", piano sonata N 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 under strong impression 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 “Dream in midsummer night”, “Fingal’s Cave, or the Hebrides”, “Sea Quiet and Happy Swimming” 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 name of G. Berlioz is associated with the appearance of the first romantic program symphony in 1830 "Fantastic". His works raised french music to the level of the advanced literature of its time, moreover, the latest, modern literature. D. Byron, Alfred Musset, F. Chateaubriand, V. Hugo, George Sand and W. Shakespeare rediscovered by romantics... But H. Berlioz often has laws musical form take 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.
Plot 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 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. Because of the declaration philosophical ideas F. List introduced the announced program in order to avoid arbitrary interpretation of the idea. F. Liszt believed that poetry and music originated from the same root and they again need to be combined. Special programs to poems, F. Liszt called "spiritual sketches" a poem by V. Hugo - to the poem "What is heard on the mountain", from the tragedy by I. Goethe - to "Torquato Tasso", a poem by A. Lamartine - to "Preludes", fragments from scenes .Herder - to "Prometheus", and F. Schiller's poem "Adoration of the Arts" - to the poem "Festive Sounds". More specifically, the author's intention is presented in the poem "Ideals", where each section is accompanied by a quote from F. Schiller. Sometimes the program was not compiled by the composer himself, and 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". music is special cultural phenomenon. It is a kind of synthesis of forms of spiritual culture and various kinds arts - music on the one hand, literature, architecture, painting on the other.
