What do you think is different piano concert Tchaikovsky from his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that in the concerto the piano is the soloist, but in fantasy it is not at all.
Perhaps you already know that a concerto is a work of many parts, as the musicians say, it is cyclic, but in fantasy there is only one part. But now we are not interested in this. You are listening to a piano or violin concerto, a Mozart symphony or a Beethoven sonata. Enjoying beautiful music, you can follow its development, how different musical themes replace one another, how they change, develop. Or you can reproduce in your imagination some pictures, images that sound music evokes. At the same time, your fantasies will certainly be different from what another person who listens to music with you imagines.
Of course, it does not happen that you feel the noise of battle in the sounds of music, and someone else - an affectionate lullaby. But stormy, formidable music can evoke associations with the rampant elements, and with a storm of feelings in a person’s soul, and with a formidable roar of battle...
And in Francesca da Rimini, Tchaikovsky, by the very title, indicated exactly what his music depicts: one of the episodes of Dante's Divine Comedy. This episode tells how among the hellish whirlwinds, in the underworld, the souls of sinners rush about. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets among these spirits carried by a whirlwind the beautiful Francesca, who tells him 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
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 expressive means are especially embossed and bright. In program works, composers make extensive use of orchestral sound recording, figurativeness, they emphasize the contrast between images-themes, sections of form, etc.
The range of images and themes of program music is rich and varied. This is also a picture of nature - the gentle colors of "Dawn on the Moscow River" in the overture to MP Mussorgsky's opera "Khovanshchina"; the gloomy Darial Gorge, the Terek and the castle of Queen Tamara in the symphonic poem Tamara by M.A. Balakirev; poetic landscapes in the works of C. Debussy "Sea", " Moonlight". Juicy, colorful pictures of folk holidays are recreated in the symphonic works of M. I. Glinka "Kamarinskaya" and "Aragonese Jota".
Many compositions of this type of music are associated with remarkable works of world literature. Turning to them, composers in music seek to reveal those moral issues over which poets and writers pondered. P. I. Tchaikovsky (fantasy "Francesca da Rimini"), F. Liszt ("Symphony to Dante's Divine Comedy") turned to Dante's "Divine Comedy". W. Shakespeare's tragedy "Romeo and Juliet" was inspired by G. Berlioz and Tchaikovsky's fantasy overture, the tragedy "Hamlet" - Liszt's symphony. One of 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".
To program works include works that are commonly referred to as musical portraits. These are Debussy's piano prelude The Girl with Flaxen Hair, the piece for harpsichord The Egyptian by JF Rameau, Schumann's piano miniatures Paganini and Chopin.
Sometimes the program 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 program music are associated with the most important historical events. Such, for example, are D. D. Shostakovich’s symphonies “1905”, “1917”, dedicated to the 1st Russian Revolution of 1905-1907. and the October Revolution.
Program music has long attracted many composers. Elegant pieces in the Rococo style were written for harpsichord by French composers of the 2nd half of the 17th - early XVIII in. L. K. Daken (“The Cuckoo”), F. Couperin (“The Grape Pickers”), Rameau (“The Princess”). The Italian composer A. Vivaldi united four violin concertos under the general title "The Seasons". They created subtle musical sketches of nature, pastoral scenes. The composer outlined the content of each concerto in a detailed literary program. J.S. Bach jokingly called one of the pieces for the clavier “Capriccio for the Departure of a Beloved Brother”. AT creative heritage J. Haydn has more than 100 symphonies. Among them there are also program ones: "Morning", "Noon", "Evening and Storm".
Program music occupied an important place in the work of romantic composers. Portraits, genre scenes, moods, the subtlest shades of human feelings are subtly and inspiredly revealed in Schumann's music (piano cycles "Carnival", "Children's Scenes", "Kreisleriana", "Arabesque"). Liszt's large piano cycle "Years of Wanderings" became a kind of musical diary. Impressed by his trip to Switzerland, he wrote the plays "William Tell's Chapel", "The Bells of Geneva", "On the Wallendstadt Lake". In Italy, the composer was captivated by the art of the great masters of the Renaissance. Petrarch's poetry, Raphael's painting "The Betrothal", Michelangelo's sculpture "The Thinker" became a kind of program in Liszt's music.
The French symphonist G. Berlioz embodies the principle of programming not in a generalized way, but consistently reveals the plot in music. "Fantastic Symphony" has a detailed literary preface, written by the composer himself. The hero of the symphony finds himself at a ball, then in a field, then he goes to an execution, then he finds himself at a fantastic coven of witches. With the help of colorful orchestral writing, Berlioz achieves almost visual pictures of theatrical action.
Russian composers often turned to program music. Fantastic, 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").
German Programmusik, French musique a program, ital. musica a programma program music
Musical works that have a certain verbal, often poetic. program and revealing the content imprinted in it. The phenomenon of music programming is associated with specific. features of music that distinguish it from other arts. In the field of displaying feelings, moods, and spiritual life of a person, music has important advantages over other arts. Indirectly, through feelings and moods, music is able to reflect many. phenomena of reality. However, it is not able to accurately designate what exactly causes this or that feeling in a person, it is not able to achieve the objective, conceptual concreteness of the display. The possibilities of such concretization are possessed by speech language and literature. Striving for substantive, conceptual concretization, composers create program music. production; prescribing op. program, they force the means of speech language, arts. lit-ry act in unity, in synthesis with the actual muses. means. The unity of music and literature is also facilitated by the fact that they are temporary arts, capable of showing the growth and development of the image. Unity of divergence the lawsuit has been going on for a long time. In ancient times, there were no independent entities at all. types of lawsuits - they acted together, in unity, the lawsuit was syncretic; at the same time it was closely associated with labor activity and with diff. kind of rituals, rituals. At that time, each of the lawsuits was so limited in terms of funds that it was out of syncretic. unity aimed at solving applied problems could not exist. The subsequent allocation of claims was determined not only by a change in the way of life, but also by the growth of the possibilities of each of them, achieved within the syncretic. unity associated with this growth of aesthetic. human feelings. At the same time, the unity of art-in never ceased, including the unity of music with the word, poetry - primarily in all kinds of woks. and wok.-dramatic. genres. In the beginning. In the 19th century, after a long period of existence of music and poetry as independent arts, the tendency towards their unity intensified even more. This was determined no longer by their weakness, but rather by their strength, by pushing their own to the limit. opportunities. Further enrichment of the reflection of reality in all its diversity, in all its aspects could be achieved only by the joint action of music and words. And programming is one of the types of unity of music and the means of speech language, as well as literature, denoting or displaying those sides of a single object of reflection, which music is not able to convey by its own means. Thus, an integral element of the program music. prod. is a verbal program created or chosen by the composer himself, whether it is a brief program heading indicating a phenomenon of reality, which the composer had in mind (the play "Morning" by E. Grieg from the music for G. Ibsen's drama "Peer Gynt") , sometimes "referring" the listener to a certain lit. prod. ("Macbeth" by R. Strauss - a symphonic poem "based on Shakespeare's drama"), or a lengthy excerpt from a literary work, a detailed program compiled by the composer according to one or another lit. prod. (symphonic suite (2nd symphony) "Antar" by Rimsky-Korsakov based on the fairy tale of the same name by O. I. Senkovsky) or out of touch with Ph.D. lit. prototype ("Fantastic Symphony" by Berlioz).
Not every title, not every explanation of music can be considered as its program. The program can only come from the author of the music. If he did not tell the program, then his very idea was non-program. If he first gave his Op. program, and then abandoned it, so he translated his Op. into the non-program category. The program is not an explanation of music, it complements it, revealing something that is missing in music, inaccessible to the embodiment of muses. means (otherwise it would be redundant). In this, it fundamentally differs from any analysis of the music of a non-program op., any description of its music, even the most poetic, incl. and from the description belonging to the author of Op. and pointing to specific phenomena, to-rye caused in his creativity. consciousness of certain muses. images. And vice versa - program op. - this is not a "translation" into the language of music of the program itself, but a reflection of the muses. means of the same object, which is designated, reflected in the program. Headings given by the author himself are not a program either, if they denote not specific phenomena of reality, but concepts of an emotional plane, which the music conveys much more accurately (for example, headings like "Sadness", etc.). It happens that the program attached to the product. by the author himself, is not in organic. unity with music, but this is already determined by the arts. the skill of the composer, sometimes also by how well he compiled or selected the verbal program. This has nothing to do with the question of the essence of the phenomenon of programming.
Muses himself possesses certain means of concretization. language. Among them are the Muses. figurativeness (see Sound painting) - a reflection of various kinds of sounds of reality, associative representations generated by music. sounds - their height, duration, timbre. An important means of concretization is also the attraction of the features of "applied" genres - dance, march in all its varieties, etc. National-characteristic features of muses can also serve as concretizations. language, music style. All these means of concretization make it possible to express the general concept of Op. (ex. celebration light forces over dark ones, etc.). And yet they do not provide that substantive, conceptual concretization, which is provided by the verbal program. Moreover, the more widely used in music. prod. music proper. means of concretization, the more necessary for the full perception of music are the words, the program.
One of the types of programming is picture programming. It includes works that display one image or a complex of images of reality that does not undergo beings. changes throughout its duration. These are pictures of nature (landscapes), pictures of bunks. festivities, dances, battles, etc., music. images objects of inanimate nature, as well as portrait muses. sketches.
The second main type of music programming - plot programming. Source of plots for software products. of this kind serves primarily as art. lit. In the plot-program music. prod. music development. images in general or in particular corresponds to the development of the plot. Distinguish between generalized-plot programming and sequential-plot programming. The author of a work relating to the generalized plot type of programming and connected through the program with one or another lit. production, does not aim to show the events depicted in it in all their sequence and complexity, but gives muses. characteristic of the main images of lit. prod. and the general direction of the development of the plot, the initial and final ratio active forces. On the contrary, the author of a work belonging to the serial-plot type of programming seeks to display intermediate stages in the development of events, sometimes the entire sequence of events. Appeal to this type of programming is dictated by plots, in which the middle stages of development, which do not proceed in a straight line, but are associated with the introduction of new characters, with a change in the setting of the action, with events that are not a direct consequence of the previous situation, become important. Appeal to sequential-plot programming also depends on creativity. composer settings. Different composers often translate the same plots in different ways. For example, the tragedy "Romeo and Juliet" by W. Shakespeare inspired P. I. Tchaikovsky to create a work. generalized plot type of programming (overture-fantasy "Romeo and Juliet"), G. Berlioz - to create a product. sequential-plot type of programming (dramatic symphony "Romeo and Juliet", in which the author even goes beyond pure symphonism and attracts a vocal beginning).
In the field of music language cannot be distinguished. signs of P. m. This is also true in relation to the form of software products. In works representing the pictorial type of programming, there are no prerequisites for the emergence of specific. structures. Tasks, to-rye set by the authors of software products. of a generalized plot type, are successfully performed by forms developed in non-program music, primarily the sonata allegro form. The authors of the program op. sequential plot type have to create muses. form, more or less "parallel" to the plot. But they build it by combining the elements of different. forms of non-program music, attracting some of the methods of development already widely represented in it. Among them is the variational method. It allows you to show changes that do not affect the essence of the phenomenon, concerning many others. important features, but associated with the preservation of a number of qualities, which makes it possible to recognize the image, in whatever new form it appears. The principle of monothematism is closely related to the variational method. Using this principle in terms of figurative transformation, which was so widely used by F. Liszt in his symphonic poems and other works, the composer acquires greater freedom to follow the plot without the danger of violating the music. wholeness op. Another type of monothematism associated with the leitmotif characterization of characters (see Leitmotif) finds application in Ch. arr. in serial-plot productions. Having originated in the opera, the leitmotif characteristic was also transferred to the area of instr. music, where G. Berlioz was one of the first and most widely resorted to it. Its essence lies in the fact that one theme throughout the Op. acts as a characteristic of the same hero. She appears each time in a new context, denoting the new environment surrounding the hero. This theme can change itself, but changes in it do not change its "objective" meaning and reflect only changes in the state of the same hero, a change in ideas about him. The reception of the leitmotif characteristic is most appropriate in conditions of cyclicity, suiteness and turns out to be a powerful means of combining the contrasting parts of the cycle, revealing a single plot. It facilitates the embodiment in music of successive plot ideas and the unification of the features of sonata allegro and sonata-symphony in a single-movement form. cycle, characteristic of the symphonic genre created by F. Liszt. poems. Diff. the steps of an action are conveyed with the help of relatively independent ones. episodes, the contrast between which corresponds to the contrast of parts of the sonata-symphony. cycle, then these episodes are "brought to unity" in a compressed reprise, and in accordance with the program, one or another of them is singled out. From the point of view of the cycle, the reprise usually corresponds to the final, from the point of view of the sonata allegro, the 1st and 2nd episodes correspond to the exposition, the 3rd ("scherzo" in the cycle) - to the development. Liszt has the use of such synthetic. forms are often combined with the use of the principle of monothematism. All these techniques allowed composers to create music. forms that correspond to the individual features of the plot and at the same time organic and holistic. However, new synthetic the forms cannot be regarded as belonging to the program music alone. They arose not only in connection with the implementation of program ideas - the general trends of the era also affected their appearance. Exactly the same structures were constantly used in non-program music.
There are program music. cit., in which as a program involved products. painting, sculpture, even architecture. Such are, for example, symphonic Liszt's poems "The Battle of the Huns" after the fresco by V. Kaulbach and "From the Cradle to the Grave" after the drawing by M. Zichy, his own play "William Tell's Chapel"; "Betrothal" (to the painting by Raphael), "The Thinker" (based on the statue of Michelangelo) from fp. cycles "Years of Wanderings", etc. However, the possibilities of subject, conceptual concretization of these claims are not exhaustive. It is no coincidence that paintings and sculptures are supplied with a concretizing name, which can be considered as a kind of their program. Therefore, in music works written on the basis of various works depict, art, in essence, combine not only music and painting, music and sculpture, but music, painting and word, music, sculpture and word. And the functions of the program in them are performed by Ch. arr. not manufactured depict, claims, but a verbal program. This is determined primarily by the diversity of music as a temporary art-va and painting and sculpture as a static, "spatial" art. As for architectural images, they are generally unable to concretize music in the subject-conceptual plane; music authors. works associated with architectural monuments, as a rule, were inspired not so much by them themselves as by history, by the events that took place in them or near them, the legends that developed about them (the play "Vyshegrad" from the symphonic cycle of B. Smetana " My Motherland", the above-mentioned fp. play "The Chapel of William Tell" by Liszt, which the author not accidentally prefaced with the epigraph "One for all, all for one").
Programming was a great conquest of the muses. lawsuit. She led to the enrichment of the range of images of reality, reflected in the muses. prod., the search for new expresses. means, new forms, contributed to the enrichment and differentiation of forms and genres. The composer's appeal to P. m. is usually determined by his connection with life, with modernity, attention to topical issues, in other cases, it itself contributes to the composer's rapprochement with reality, to a deeper comprehension of it. However, in some ways P. m. is inferior to non-program music. The program narrows the perception of music, diverts attention from the general idea expressed in it. The embodiment of plot ideas is usually associated with music. characteristics that are more or less conventional. Hence the ambivalent attitude of many great composers towards programming, which both attracted them and repelled them (sayings by P. I. Tchaikovsky, G. Mahler, R. Strauss, etc.). P. m. is not a certain: the highest genus music, just as it is not, and music is non-programmed. These are equal, equally legitimate varieties. The difference between them does not preclude their connection; both genera are also associated with the wok. music. So, the opera and the oratorio were the cradle of program symphonism. opera overture was the prototype of the software symbol. poems; in operatic art there are also prerequisites for leitmotivism and monothematism, which are so widely used in P. m. In turn, non-program instr. the music is influenced by the wok. music and P. m. Found in P. m. new will express. possibilities become the property of non-program music as well. General trends epochs affect the development of both classical music and non-program music.
The unity of music and program in the program Op. is not absolute, indissoluble. It happens that the program is not brought to the listener when performing op., that lit. product, to which the author of the music refers the listener, turns out to be unfamiliar to him. The more generalized form the composer chooses to embody his idea, the less damage to perception will be caused by such a "separation" of the music of the work from its program. Such a "separation" is always undesirable when it comes to the execution of modern. works. However, it may turn out to be natural when it comes to the performance of production. an earlier era, since program ideas may lose their relevance and significance over time. In these cases, the music prod. to a greater or lesser extent lose the features of programmability, turn into non-programmable ones. Thus, the line between P. m. and non-program music, in general, is completely clear, in the historical. aspect is conditional.
P. m. developed essentially throughout the history of prof. music lawsuit. The earliest of the reports found by researchers about software muses. op. refers to 586 BC. - this year, at the Pythian games in Delphi (Ancient Greece), the avletist Sakao performed a play by Timosthenes, depicting the battle of Apollo with the dragon. Many program works was created in later times. Among them are the clavier sonatas "Bible Stories" by the Leipzig composer J. Kunau, harpsichord miniatures by F. Couperin and JF Rameau, the clavier "Capriccio for the Departure of a Beloved Brother" by J. S. Bach. Programming is also presented in creativity Viennese classics. Among their works: a triad of program symphonies by J. Haydn, characterizing decomp. times of the day (No 6, "Morning"; No 7, "Noon"; No 8, "Evening"), his own " farewell symphony"; "Pastoral symphony"(No 6) of Beethoven, all parts of which are equipped with program subtitles and on the score there is a note that is important for understanding the type of programming in the author of the op. - "More expression of feelings than an image", his own play "The Battle of Vittoria ", originally intended for the mechanical musical instrument of the panharmonicon, but then performed in the orchestral version, and especially his overture to the ballet "The Creations of Prometheus", to the tragedy "Coriolanus" by Collin, the overture "Leonora" No. 1-3, the overture to the tragedy "Egmont" by Goethe.Written as introductions to drama or music-drama works, they soon gained independence.Later program works were also often created as introductions to classical literary works, over time However, they lost their original functions. The true flowering of the P. m. came in the era of musical romanticism. Compared with the representatives of the classicist and even Enlightenment aesthetics, romantic artists had a deeper understanding of the specifics of various arts. They saw that each of them reflected t life in its own way, using means peculiar only to it and reflecting the same object, a phenomenon from a certain side accessible to it, which, therefore, each of them is somewhat limited and gives an incomplete picture of reality. This is what led the romantic artists to the idea of synthesis of art in order to more complete, multilateral display of the world. Muses. romantics proclaimed the slogan of the renewal of music through its connection with poetry, which was translated into many. music prod. Program Op. occupy an important place in the work of F. Mendelssohn-Bartholdy (overture from music to "Dream in midsummer night"Shakespeare, overture" Hebrides ", or" Fingal's Cave "," Quiet Sea and Happy Swimming "," Beautiful Melusina "," Ruy Blas ", etc.), R. Schumann (overtures to" Manfred "Byron, to scenes from "Faust" by Goethe, many piano pieces and cycles of plays, etc.) P. m. is especially important in G. Berlioz ("Fantastic Symphony", symphony "Harold in Italy", dramatic symphony "Romeo and Juliet "," Funeral-Triumphal Symphony", overtures "Waverley", "Secret Judges", "King Lear", "Rob Roy", etc.) and F. Liszt (symphony "Faust" and symphony to "Divine Comedy" Dante, 13 symphonic poems, many piano pieces and cycles of plays). "My Motherland" from 6 poems), A. Dvorak (symphonic poems "Waterman", "Golden Spinning Wheel", "Forest Dove", etc., overtures - Hussite, "Othello", etc.) and R. Strauss (symphonic . poems "Don Juan", "Death and Enlightenment", "Macbeth", "Til Ulenspiegel", "Thus Spoke Zarathustra", fantastic variations on the knightly theme "Don Quixote", "Home Symphony", etc.). Program Op. also created by C. Debussy (orc. prelude "Afternoon of a Faun", symphonic cycles "Nocturnes", "Sea", etc.), M. Reger (4 symphonic poems according to Böcklin), A. Honegger (symphonic poem " Song of Nigamon", symphony of the movement "Pacific 231", "Rugby", etc.), P. Hindemith (symphonies "Artist Mathis", "Harmony of the World", etc.).
Programming has received rich development in Russian. music. For Russian nat. music schools appeal to software dictated aesthetic. the attitudes of its leading representatives, their desire for democracy, the general intelligibility of their works, as well as the "objective" nature of their work. From writings, osn. on song themes and, therefore, containing elements of the synthesis of music and words, since the listener, when perceiving them, correlates texts of correspondences with music. songs ("Kamarinskaya" by Glinka), Russian. composers soon came to the actual musical composition. A number of outstanding program op. created by members of the "Mighty Handful" - M. A. Balakirev (symphonic poem "Tamara"), M. P. Mussorgsky ("Pictures at an Exhibition" for piano), N. A. Rimsky-Korsakov (symphonic painting "Sadko ", symphony "Antar"). A large number of software products belongs to P. I. Tchaikovsky (1st symphony "Winter Dreams", symphony "Manfred", fantasy overture "Romeo and Juliet", symphonic poem "Francesca da Rimini", etc.). Vibrant software products A. K. Glazunov (symphonic poem "Stenka Razin"), A. K. Lyadov (symphonic paintings "Baba Yaga", "Magic Lake" and "Kikimora"), and Vas. S. Kalinnikov (symphonic painting "Cedar and Palm Tree"), S. V. Rachmaninov (symphonic fantasy "Cliff", symphonic poem "Isle of the Dead"), A. N. Scriabin (symphonic "Poem of Ecstasy", " The Poem of Fire" ("Prometheus"), pl. fp. plays).
Programming is also widely represented in the work of owls. composers, incl. S. S. Prokofiev ("Scythian Suite" for orchestra, symphonic sketch "Autumn", symphonic painting "Dreams", piano pieces), N. Ya. Myaskovsky (symphonic poems "Silence" and "Alastor", symphonies No 10, 12, 16, etc.), D. D. Shostakovich (symphonies No 2, 3 ("May Day"), 11 ("1905"), 12 ("1917"), etc.). Program Op. are also created by representatives of younger generations of owls. composers.
Programming is characteristic not only of professional, but also of Nar. music claim. Among the peoples, muses. cultures to-rykh include developed instr. music-making, it is associated not only with the performance and variation of song melodies, but also with the creation of compositions independent of song art, b.ch. software. So, program op. make up a significant part of Kazakh. (Kui) and Kirg. (kyu) instr. plays. Each of these pieces, performed by a soloist-instrumentalist (Kazakhs - kuishi) on one of the bunks. instruments (dombra, kobyz or sybyzga among the Kazakhs, komuz, etc. among the Kyrgyz), has a program name; pl. of these plays have become traditional, like songs being passed on in different languages. variants from generation to generation.
An important contribution to the coverage of the phenomenon of programming was made by the composers themselves who worked in this area - F. Liszt, G. Berlioz and others. musicology not only did not advance in understanding the phenomenon of P. m., but rather moved away from it. It is significant, for example, that the authors of articles on P. m., placed in the largest Western European. music encyclopedias and should generalize the experience of studying the problem, give very vague definitions to the phenomenon of programmability (see Groves Dictionary of music and musicians, v. 6, L.-N. Y., 1954; Riemann Musiklexikon, Sachteil, Mainz, 1967), sometimes even refuse c.-l. definitions (Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik, Bd 10, Kassel u. a., 1962).
In Russia, the study of the problem of programming began in the period of activity of the Rus. classical music schools, representatives of which left important statements on this issue. Attention to the problem of programming was especially intensified in Sov. time. In the 1950s on the pages of the magazine. " Soviet music" and gas. "Soviet Art" held a special discussion on the issue of musical programming. This discussion also revealed differences in the understanding of the phenomenon of P. m. , about programmability "declared" and "unannounced", about programmability "for oneself" (the composer) and for listeners, about programmability "conscious" and "unconscious", about programmability in non-program music, etc. The essence of all these statements boils down to the recognition of the possibility A musical composition without a program attached to the composition by the composer himself Such a point of view inevitably leads to the identification of programmability with content, to the declaration of all music as programmatic, to the justification of "guessing" unannounced programs, i.e., an arbitrary interpretation of the composer's intentions, against The composers themselves have always come out sharply. differences in the types of software engineering. However, a unified understanding of the phenomenon of programming has not yet been established.
Literature: Tchaikovsky P. I., Letters to H. R. von Meck of February 17 / March 1, 1878 and December 5/17, 1878, in the book: Tchaikovsky P. I., Correspondence with N. F. von Meck, vol. 1, M.-L., 1934, the same, Poln. coll. soch., vol. VII, M., 1961 p. 124-128, 513-514; his, O program music, M.-L., 1952; Cui Ts. A., Russian romance. Essay on its development, St. Petersburg, 1896, p. 5; Laroche, Something about program music, "The World of Art", 1900, v. 3, p. 87-98; his own, Translator's Preface to Hanslik's book "On Musically Beautiful", Sobr. music critical articles, vol. 1, M., 1913, p. 334-61; his, One of Hanslick's opponents, ibid., p. 362-85; Stasov V.V., Art in the 19th century, in the book: 19th century, St. Petersburg, 1901, the same, in his book: Izbr. soch., vol. 3, M., 1952; Yastrebtsev V.V., My memories of N.A. Rimsky-Korsakov, vol. 1, P., 1917, L., 1959, p. 95; Shostakovich D., On genuine and imaginary programming, "SM", 1951, No 5; Bobrovsky V.P., Sonata form in Russian classical program music, M., 1953 (abstract of diss.); Sabinina M., What is program music?, "MZH", 1959, No 7; Aranovsky M., What is program music?, M., 1962; Tyulin Yu. N., About programmability in the works of Chopin, L., 1963, M., 1968; Khokhlov Yu., O music software, M., 1963; Auerbach L., Considering the problems of programming, "SM", 1965, No 11. See also lit. under the articles Musical Aesthetics, Music, Sound Painting, Monothematism, Symphonic Poem.
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.
The rest of the program design is subject to the laws musical concept generally. 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 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 the general contours of the program content appear more often, fixed as a preliminary plan (enumeration of 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 has a synthetic and analytical side.The first in the work of the symphonist assumes, 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 of the general plan.The author emphasizes the interdependence of both sides of the concept (specific musical ideas can correct the plan, the latter, in turn, may 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. 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 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 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-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, the 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 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 correlation of the active forces of the 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 the best example of this is his “The Condemnation of Faust”), introduced 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 XYIII century - F. Couperin or L. - F. Rameau - the pieces were program headings "Knitters", "Little Windmills" by F. Couperin, "Bird Call" by L. Rameau, "Cuckoo" by Louis Daquin, "Pipes" J. Dandrieu, etc.
In 1700, Johann Kunau published six clavier sonatas under the general title " 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, in contrast, avoided giving titles 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 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. For the opera "Fidelio" he composed an overture, giving her the name of the main character of the 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 the outstanding pianist, writer and even more talented graphic artist Aubrey Beardsley in his drawing “The Third Chopin Ballad” 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 the symphonic genre, clearly gravitated towards the pictorial 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 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 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 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 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. 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 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.
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”) includes musical works that have a specific title or literary preface created or chosen by the composer himself. Due to the specific content, program music is more accessible and understandable to listeners. Her 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 of folk holidays are recreated in the symphonic works of M. I. Glinka "Kamarinskaya" and "Aragonese Jota".
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 G. Berlioz and Tchaikovsky's fantasy overture, the tragedy "Hamlet" - Liszt's symphony. One of the best overtures by R. Schumann was written for the dramatic poem "Manfred" by J. G. Byron. The pathos of struggle and victory, the immortality of the feat of the hero who gave his life for the freedom of his homeland, expressed by L. Beethoven in the overture to the drama by J. W. Goethe "Egmont".
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 of fine art. 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 the 17th - early 18th centuries. 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”. The creative heritage of J. Haydn includes 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, subtle shades human feelings subtly and inspiredly revealed in the music of Schumann (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 takes great place in creativity Soviet composers. Among the symphonies of N. Ya. Myaskovsky there are "Kolkhoznaya", "Aviation". S. S. Prokofiev wrote the 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".
