Symphonic music- musical works intended for performance by a symphony orchestra. Includes large monumental works and small plays. Main genres: symphony, suite, overture, symphonic poem.
The symphony orchestra, a large group of musicians, includes three groups of instruments: wind, percussion, bowed strings.
The classic (double or double) composition of a small symphony orchestra was formed in the work of J. Haydn (brass pairs, timpani and string quintet). A modern small symphony orchestra may have an irregular composition.
In a large symphony orchestra (since the beginning of the 19th century), wind and percussion groups have been expanded, harps and sometimes a piano have been introduced; the group of bowed strings has been numerically increased. The name of the composition of a symphony orchestra is determined by the number of instruments of each wind family (double, triple, etc.).
Symphony(from the Greek symphonia - consonance), - a piece of music for a symphony orchestra, written in sonata cyclic form, the highest form of instrumental music. Usually consists of 4 parts. The classical type of symphony took shape in the late 18th and early 19th centuries. (J. Haydn, W. A. Mozart, L. V. Beethoven). Lyrical symphonies (F. Schubert, F. Mendelssohn), program symphonies (G. Berlioz, F. Liszt) acquired great importance among romantic composers.
An important contribution to the development of symphonies was made by Western European composers of the 19th-20th centuries: I. Brahms, A. Bruckner, G. Mahler, S. Frank, A. Dvorak, J. Sibelius and others. Symphonies occupy a significant place in Russian music: A. P. Borodin, P. I. Tchaikovsky, A. K. Glazunov, A. N. Skryabin, S. V. Rakhmaninov, N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian and others.
Cyclic forms of instrumental music, - musical forms, consisting of several relatively independent parts, revealing in the aggregate a single artistic concept. The sonata cyclic form usually consists of four parts - fast 1st in sonata form, slow lyrical 2nd, fast 3rd (scherzo or minuet) and fast 4th (final). This form is typical for a symphony, sometimes a sonata, a chamber ensemble; an abbreviated cyclic form (without a scherzo or a minuet) is typical for a concerto, a sonata. Another type of cyclic form is formed by a suite, sometimes variations (orchestral, piano), in which the number and nature of the parts can be different. There are also vocal cycles (series of songs, romances, ensembles or choirs), united by a plot, words of one author, etc.
Suite(French suite, lit. - row, sequence), an instrumental cyclic piece of music from several contrasting parts. The suite is distinguished from the sonata and symphony by the lack of strict regulation of the number, nature and order of the parts, and by the close connection with the song and dance. Suite 17-18 centuries consisted of allemande, chimes, sarabande, gigi and other dances. In the 19th and 20th centuries orchestral non-dance suites are created (P.I. Tchaikovsky), sometimes program ones (Scheherazade by N.A. Rimsky-Korsakov). There are suites made up of music from operas, ballets, as well as music for theatrical productions.
Overture(French ouverture, from Latin apertura - opening, beginning), an orchestral introduction to an opera, ballet, drama, etc. (often in sonata form), as well as an independent orchestral piece, usually of a program nature.
Symphonic poem - genre of symphonic program music. A one-movement orchestral work, in accordance with the romantic idea of the synthesis of the arts, allowing for a variety of program sources (literature, painting, less often philosophy or history). The creator of the genre is F. Liszt.
Program music- musical works that the composer provided with a verbal program that concretizes perception. Many program works are associated with plots and images of outstanding literary works.
I. Stage Music
1. Operas
"Maddalena", opera in one act, op. 13. Plot and libretto M. Lieven. 1913 (1911) "Player", opera in 4 acts, 6 scenes, op. 24. The plot of F. Dostoevsky. Libretto by S. Prokofiev. 1927(1915-16) "Love for Three Oranges", opera in 4 acts, 10 scenes with a prologue, op. 33. Author's libretto after Carlo Gozzi. 1919 "Fire Angel ", opera in 5 acts, 7 scenes, op. 37. The plot of V. Bryusov. Libretto by S. Prokofiev. 1919-27 "Semyon Kotko", opera in 5 acts, 7 scenes based on the story by V. Kataev "I am the son of the working people", op. 81. Libretto by V. Kataev and S. Prokofiev. 1939 "Betrothal in a Monastery", lyric-comic opera in 4 acts, 9 scenes based on Sheridan's play "The Duenna", op. 86. Libretto by S. Prokofiev, verse texts by M. Mendelssohn. 1940 "War and Peace ", opera in 5 acts, 13 scenes with a choral epigraph-prologue based on the novel by L. Tolstoy, op. 91. Libretto by S. Prokofiev and M. Mendelssohn. 1941-52 "A Tale of a Real Man", opera in 4 acts, 10 scenes based on the story of the same name by B. Polevoy, op. 117. Libretto by S. Prokofiev and M. Mendelssohn-Prokofiev. 1947-48 "Distant Seas", lyric-comic opera based on the play by V. Dykhovichny "Honeymoon Journey". Libretto by S. Prokofiev and M. Mendelssohn-Prokofiev. Not finished. 19482. Ballets
"The Tale of the Jester (Seven Jesters Who Changed Jokes)", ballet in 6 scenes, op. 21. Story by A. Afanasiev. Libretto by S. Prokofiev. 1920 (1915) "Steel Jump", ballet in 2 scenes, op. 41. Libretto by G. Yakulov and S. Prokofiev. 1924 "Prodigal son", ballet in 3 acts, op. 46. Libretto B. Kokhno. 1928 "On the Dnieper", ballet in 2 scenes, op. 50. Libretto by S. Lifar and S. Prokofiev. 1930 "Romeo and Juliet ", ballet in 4 acts, 10 scenes, op. 64. The plot of W. Shakespeare. Libretto by S. Radlov, A. Piotrovsky, L. Lavrovsky and S. Prokofiev. 1935-36 "Cinderella", ballet in 3 acts, op. 87. Libretto by N. Volkov. 1940-44 "The Tale of the Stone Flower", ballet in 4 acts based on P. Bazhov's tales, op. 118. Libretto by L. Lavrovsky and M. Mendelssohn-Prokofieva. 1948-503. Music for theatrical performances
"Egyptian Nights", music for the performance of the Chamber Theater in Moscow after W. Shakespeare, B. Shaw and A. Pushkin, for a small symphony orchestra. 1933 "Boris Godunov", music for an unrealized performance in the theater. V. E. Meyerhold in Moscow for a large symphony orchestra, op. 70 bis. 1936 "Eugene Onegin", music for the unrealized performance of the Chamber Theater in Moscow based on the novel by A. Pushkin, staged by S. D. Krzhizhanovsky, op. 71. 1936 "Hamlet", music for the play staged by S. Radlov at the Leningrad Drama Theatre, for small symphony orchestra, op. 77. 1937-384. Film scores
"Lieutenant Kizhe", film score for small symphony orchestra. 1933 "The Queen of Spades", music for an unrealized film for a large symphony orchestra, op. 70. 1938 "Alexander Nevskiy", film score for mezzo-soprano, mixed choir and large symphony orchestra. Directed by S. M. Eisenstein. 1938 "Lermontov", film score for large symphony orchestra. Directed by A. Gendelstein. 1941 "Tonya", music for a short film (not released) for large symphony orchestra. Directed by A. Room. 1942 "Kotovsky", film score for large symphony orchestra. Directed by A. Feintsimmer. 1942 "Partisans in the steppes of Ukraine", film score for large symphony orchestra. Directed by I. Savchenko. 1942 "Ivan groznyj", film score for mezzo-soprano and large symphony orchestra, op. 116. Directed by S. M. Eisenstein. 1942-45II. Vocal and vocal-symphonic music
1. Oratorios and cantatas, choirs, suites
Two poems for women's choir and orchestra to the words of K. Balmont, op. 7. 1909 "Seven of them" to the text by K. Balmont "Calls of Antiquity", cantata for dramatic tenor, mixed choir and large symphony orchestra, op. 30. 1917-18 Cantata for the 20th anniversary of October for symphony orchestra, military orchestra, accordion orchestra, percussion orchestra and two choirs on texts by Marx, Lenin and Stalin, op. 74. 1936-37 "Songs of Our Days", suite for soloists, mixed choir and symphony orchestra, op. 76. 1937 "Alexander Nevskiy", cantata for mezzo-soprano (solo), mixed choir and orchestra, op. 78. Words by V. Lugovsky and S. Prokofiev. 1938-39 "Toast", cantata for mixed choir accompanied by a symphony orchestra, op. 85. Folk text: Russian, Ukrainian, Belarusian, Mordovian, Kumyk, Kurdish, Mari. 1939 "The Ballad of a Boy Remaining Unknown", cantata for soprano, tenor, choir and orchestra, op. 93. Words by P. Antokolsky. 1942-43 Sketches for the Anthem of the Soviet Union and the Anthem of the RSFSR, op. 98. 1943 "Flourish, mighty land", cantata for the 30th anniversary of the Great October Socialist Revolution for mixed choir and orchestra, op. 114. Text by E. Dolmatovsky. 1947 "Winter bonfire", suite for readers, boys' choir and symphony orchestra to words by S. Ya. Marshak, op. 122. 1949 "Guarding the World", oratorio for mezzo-soprano, reciters, mixed choir, boys' choir and symphony orchestra to words by S. Ya. Marshak, op. 124. 19502. For voice with piano
Two poems by A. Apukhtin and K. Balmont for voice with piano, op. 9. 1910-11 "Ugly duck"(Andersen's fairy tale) for voice and piano, op. 18. 1914 Five poems for voice with piano., op. 23. Words by V. Goryansky, 3. Gippius, B. Verin, K. Balmont and N. Agnivtsev. 1915 Five poems by A. Akhmatova for voice and piano., op. 27. 1916 Five songs (without words) for voice and piano., op. 35. 1920 Five poems by K. Balmont for voice and piano., op. 36. 1921 Two songs from the film "Lieutenant Kizhe" for voice and piano., op. 60 bis. 1934 Six songs for voice with piano., op. 66. Words by M. Golodny, A. Afinogenov, T. Sikorskaya and folk. 1935 Three children's songs for voice with piano., op. 68. Words by A. Barto, N. Sakonskaya and L. Kvitko (translated by S. Mikhalkov). 1936-39 Three romances to words by A. Pushkin for voice and piano., op. 73. 1936 "Alexander Nevsky", three songs from the film(words by B. Lugovsky), op 78. 1939 Seven songs for voice with piano., op. 79. Words by A. Prokofiev, A. Blagov, M. Svetlov, M. Mendelssohn, P. Panchenko, without author's name and folk. 1939 Seven mass songs for voice with piano., op. 89. Words by V. Mayakovsky, A. Surkov and M. Mendelssohn. 1941-42 Arrangements of Russian folk songs for voice and piano., op. 104. Folk words. Two notebooks, 12 songs. 1944 Two duets, arrangements of Russian folk songs for tenor and bass with piano., op. 106. Folk text, recorded by E. V. Gippius. 1945 Soldier's marching song, op. 121. Words by V. Lugovsky. 1950III. For symphony orchestra
1. Symphonies and symphoniettas
Symphonietta A-dur op. 5, in 5 parts. 1914 (1909) Classical (First) symphony D-dur, op. 25, in 4 parts. 1916-17 Second symphony d minor, op. 40, in 2 parts. 1924 Third Symphony c minor, op. 44, in 4 parts. 1928 Symphonietta A-dur op. 48, in 5 parts (third edition). 1929 Fourth symphony C-dur, op 47, in 4 movements. 1930 Fifth symphony B-dur, op. 100. in 4 parts. 1944 Sixth symphony es-moll, op. 111. in 3 parts. 1945-47 Fourth symphony C-dur, op. 112, in 4 parts. Second edition. 1947 Seventh Symphony cis minor, op. 131, in 4 parts. 1951-522. Other works for symphony orchestra
"Dreams", symphonic picture for large orchestra, op. 6. 1910 "Autumn", symphonic sketch for small symphony orchestra, op. 8. 1934 (1915-1910) "Ala and Lolly", Scythian suite for large symphony orchestra, op. 20, in 4 parts. 1914-15 "Jester", suite from the ballet for large symphony orchestra, op. 21 bis, in 12 parts. 1922 Andante from the Fourth Sonata for piano., transcription by the author for symphony orchestra, op. 29bis. 1934 "The Love for Three Oranges", symphonic suite from the opera, op. 33 bis, in 6 parts. 1934Overture on Jewish Themes, transcription by the author for symphony orchestra, op. 34. 1934
"Steel Jump", symphonic suite from the ballet, op. 41bis. in 4 parts. 1926 Overture for flute, oboe, 2 clarinets, bassoon, 2 trumpets, trombone, celesta, 2 harps, 2 piano, cello, 2 double basses and percussion B-dur, op. 42. Two versions: for a chamber orchestra of 17 people and for a large orchestra (1928). 1926 Divertimento for orchestra, op. 43, in 4 parts. 1925-29 "The Prodigal Son", symphonic suite from the ballet, op. 46 bis, in 5 parts. 1929 Andante from quartet h-moll, arranged by the author for string orchestra, op. 50 bis. 1930 Four portraits and denouement from the opera The Gambler, symphonic suite for large orchestra, op. 49. 1931 "On the Dnieper", suite from the ballet for large orchestra, op. 51 bis, in 6 parts. 1933 Symphonic song for large orchestra, op. 57. 1933 "Lieutenant Kizhe", symphonic suite from the film score, op. 60, in 5 parts. 1934 "Egyptian Nights", a symphonic suite from the music for the play at the Moscow Chamber Theatre, op. 61, in 7 parts. 1934 Romeo and Juliet, first suite from the ballet for large symphony orchestra, op. 64 bis, in 7 parts. 1936 "Romeo and Juliet", the second suite from the ballet for large symphony orchestra, op. 64 ter, in 7 movements. 1936 "Peter and the Wolf", a symphonic fairy tale for children, for reciter and large symphony orchestra, op. 67. Words by S. Prokofiev. 1936 Russian overture for symphony orchestra, op. 72. Two options: for a quadruple composition and for a triple composition. 1936 "Summer day", children's suite for small orchestra, op. 65 bis, in 7 parts. 1941 "Semyon Kotko", suite for symphony orchestra, op. 81 bis, in 8 parts. 1941 Symphonic March B-dur for large orchestra, op. 88. 1941 "1941 year", symphonic suite for large orchestra, op. 90, in 3 parts. 1941 "Ode to the End of the War" for 8 harps, 4 pianos, an orchestra of wind and percussion instruments and double basses, op. 105. 1945 "Romeo and Juliet", the third suite from the ballet for large symphony orchestra, op. 101, in 6 parts. 1946 "Cinderella", the first suite from the ballet for large symphony orchestra, op. 107, in 8 parts. 1946 "Cinderella", the second suite from the ballet for large symphony orchestra, op. 108, in 7 parts. 1946 "Cinderella", the third suite from the ballet for large symphony orchestra, op. 109, in 8 parts. 1946 Waltzes, suite for symphony orchestra, op. 110. 1946 Holiday Poem ("Thirty Years") for symphony orchestra, op. 113. 1947 Pushkin Waltzes for Symphony Orchestra, op. 120. 1949 "Summer night", symphonic suite from the opera Betrothal in a Monastery, op. 123, in 5 parts. 1950 "The Tale of the Stone Flower", wedding suite from the ballet for symphony orchestra, op. 126, in 5 parts. 1951 "The Tale of the Stone Flower", a gypsy fantasy from a ballet for symphony orchestra, op. 127. 1951 "The Tale of the Stone Flower", Ural Rhapsody from the ballet for symphony orchestra, op. 128. 1951 Festive poem "Meeting of the Volga with the Don" for symphony orchestra, op. 130. 1951IV. Concerts with orchestra
First concerto for piano. with orchestra Des-dur, op. 10, single piece. 1911-12 Second concerto for piano. with orchestra g-moll, op. 16, in 4 parts. 1923 (1913) First concerto for violin and orchestra D-dur, op. 19, in 3 parts. 1916-17 Third concerto for piano. with orchestra C-dur, op. 26, in 3 parts. 1917-21 Fourth concerto for piano. with orchestra for the left hand B-dur, op. 53, in 4 parts. 1931 Fifth concerto for piano with orchestra G-dur, op. 55, in 5 parts. 1932 Concerto for cello and orchestra e minor, op. 58, in 3 parts. 1933-38 Second concerto for violin and orchestra g-moll. op. 63, in 3 parts. 1935 Symphony-concert for cello and orchestra e-moll. op. 125, in 3 parts. 1950-52 Concertino for cello and orchestra g-moll, op. 132. in 3 parts. Finished after the death of S. Prokofiev by M. Rostropovich. 1952 Concerto for 2 pianos and string orchestra, op. 133, in 3 parts. Not finished. 1952V. For brass band
Four marches, op. 69. 1935-37 March B-dur op. 99. 1943-44VI. For instrumental ensembles
Humorous scherzo for 4 bassoons, op. 12bis. 1912 Overture on Jewish Themes for clarinet, 2 violins, viola, cello and piano. c minor, op. 34. 1919 Quintet for oboe, clarinet, violin, viola and double bass g-moll, op. 39, in 6 parts. 1924 Quartet for 2 violins, viola and cello in h-moll, op. 50, in 3 parts. 1930 Sonata for 2 violins C-dur, op. 56, in 4 parts. 1932 First sonata for violin and piano. f-moll, op. 80, in 4 parts. 1938-46 Second quartet (on Kabardian themes) for 2 violins, viola and cello in F-dur, op. 92, in 3 parts. 1941 Sonata for flute and piano. D-dur, op. 94, in 4 parts. 1943 Second sonata for violin and piano.(transcription of the sonata for flute and piano) D-dur, op. 94bis. 1943-44 Sonata for cello and piano. C-dur, op. 119, in 3 parts. 1949VII. for piano
1. Sonatas, sonatinas
First sonata for piano. f-moll, op. 1, in one piece. 1909 (1907) Second sonata for piano. d minor, op. 14, in 4 parts. 1912 Third sonata for piano. a minor, op. 28, in one part (from old notebooks). 1917 (1907) Fourth sonata for piano. c minor, op. 29, in 3 parts (from old notebooks). 1917 (1908) Fifth sonata for piano. C-dur, op. 38, in 3 parts. 1923 Two sonatinas for fp. e minor, op. 54, in 3 parts, and G major in 3 parts. 1931-32 Sixth sonata for piano. A-dur, op. 82, in 4 parts. 1939-40 Seventh sonata for piano. B-dur, op. 83, in 3 parts. 1939-42 Eighth sonata for piano. B-dur, op. 84, in 3 parts. 1939-44 Ninth sonata for piano. C-dur, op. 103, in 4 parts. 1947 Fifth sonata for piano. C-dur, op. 135, in 3 parts: (new edition). 1952-53 Tenth sonata for piano. e minor, op. 137. Exposition sketch (44 bars). 19532. Other works for piano
Four etudes for piano., op. 2. 1909 Four pieces for piano., op. 3. 1911 (1907-08) Four Pieces For piano., op. 4. 1910-12 (1908) Toccata for piano d minor, op. 11. 1912 Ten pieces for piano., op. 12. 1913 Sarcasms, five pieces for piano, op. 17. 1912-14 transience, twenty pieces for piano, op. 22. 1915-17 Tales of an old grandmother, four pieces for piano, op. 31. 1918 Four pieces for piano., op. 32. 1918 Waltzes by Schubert, selected and combined into a suite, transcription for 2 f-p. in 4 hands. 1918 Organ prelude and fugue in d-moll by D. Buxtehude, transcription for piano. 1918 "The Love for Three Oranges", 2 excerpts from the opera, concert transcription for piano. author, op. 33 ter. Year of creation unknown "Things in themselves", two pieces for piano, op. 45. 1928 Six pieces for piano., op. 52. 1930-31 Three pieces for piano., op. 59. 1934 Thoughts, three pieces for piano., op. 62. 1933-34 children's music, twelve easy pieces for piano, op. 65. 1935 "Romeo and Juliet", ten pieces for piano., op. 75. 1937 Divertimento, arranged by the author for piano., op. 43bis. 1938 Gavotte No. 4 from the music for the play "Hamlet" for piano., op. 77bis. 1938 Three pieces from the ballet "Cinderella" for piano., op. 95. 1942 Three pieces for piano., op. 96. 1941-42 Ten pieces from the ballet "Cinderella" for piano., op. 97. 1943 Six pieces from the ballet "Cinderella" for piano., op. 102. 1944VIII. for violin
Five melodies for violin and piano., op. 35 bis. 1925 Sonata for solo violin D-dur, op. 115, in 3 parts. 1947IX. For cello
Ballade for cello and piano. c minor, op. 15. 1912 Adagio from the ballet "Cinderella" for cello and piano., op. 97bis. 1944Notes
Categories:
- Lists of musical compositions - , Soviet composer, pianist and conductor, People's Artist of the RSFSR (1947). Born in the family of an agronomist. He began to study music at the age of 5 under ... ...
I Prokofiev Alexander Andreevich, Russian Soviet poet, Hero of Socialist Labor (1970). Member of the CPSU since 1919. The first collections ... ... Great Soviet Encyclopedia
What are the names of the musical instruments below?
What instruments play solo in these pieces of music?
1. K. Saint-Saens. "Swan" from the suite "Carnival of the Animals"
2. I. Bach. "Joke" from Orchestral Suite in B minor
3. N. Rimsky-Korsakov. "Flight of the Bumblebee" from the opera "The Tale of Tsar Saltan"
4. A. Lyadov. "Comic" from "Eight Russian Songs for Orchestra"
5. P. Tchaikovsky. "Waltz of the Flowers" (main theme) from the ballet "The Nutcracker"
6. N. Rimsky-Korsakov. Theme of Scheherazade from the symphonic suite "Scheherazade"
7. K. Saint-Saens. "Elephant" from the suite "Carnival of the Animals"
8. P. Tchaikovsky. "Dance of the Dragee Fairy" from the ballet "The Nutcracker"
9. S. Prokofiev. Grandfather's theme from the symphonic fairy tale "Peter and the Wolf"
Instruments: horns, cello, clarinet, double bass, violin, bassoon, flute, piccolo, celesta.
Crossword
Horizontally. 3. The speed of performance of a piece of music. 4. Copper wind instrument with a retractable tube-swing. 5. Low male voice. 6. The ratio of sounds in length, the alternation of durations. 8. Coloring of sound inherent in a voice or instrument. 10. Copper wind instrument, the name of which translates as "forest horn". 12. High male voice.
Vertically. 1. The sequence of chords, their combination with each other.
2. High bowed string instrument. 5. Average male voice. 7. The lowest of the group of bowed string instruments. 9. Noise percussion instrument. 11. Woodwind instrument.
Genre(fr. genre) is a general concept that surrounds the most essential properties and connections of the phenomena of the world of art, a set of formal and meaningful features of a work. All existing works reflect certain conditions, while participating in the creation of the definition of the concept of genre.
Arioso- a small aria with a melodious declamatory or song character.
Aria- a completed episode in an opera, operetta, oratorio or cantata, performed by a soloist accompanied by an orchestra.
Ballad- solo vocal compositions using the texts of poetic works and preserving their main features; instrumental compositions.
Ballet- a type of stage art, the content of which is revealed in dance and musical images.
Blues- a jazz song of sad, lyrical content.
Bylina- Russian folk epic song-tale.
Vaudeville- a cheerful theatrical play with musical numbers. 1) a type of sitcom with couplet songs, romances, dances; 2) the final couplet song in the vaudeville play.
Hymn- solemn song
Jazz- a kind of improvisational, dance music.
Disco- a musical style with a simplified melody and a hard rhythm.
Invention- a small piece of music, in which any original find in the field of melodic development, shaping is essential.
Sideshow- a piece of music played between parts of a piece.
Intermezzo- a small free-form play, as well as an independent episode in an opera or other piece of music.
Cantata- a large vocal and instrumental work of a solemn nature, usually for soloists, choir and orchestra.
Cantilena- melodious, smooth melody.
chamber music - (literally "room music"). chamber works are either pieces for solo instruments: songs without words, variations, sonatas, suites, preludes, impromptu, musical moments, nocturnes, or various instrumental ensembles: trio, quartet, quintet, etc., where three, four, respectively, participate five instruments and all parts are equally important, require careful finishing from the performers and the composer.
capriccio- a virtuoso instrumental piece of an improvisational warehouse with an unexpected change of images, moods.
Concert- a work for one or (rarely) several solo instruments and an orchestra, as well as a public performance of musical works.
Madrigal- a small musical and poetic work of love and lyrical content in the 14th-16th centuries.
March- a piece of music with a measured tempo, a clear rhythm, usually accompanying a collective procession.
Musical- a piece of music that combines elements of opera, operetta; ballet, pop music.
Nocturne- in the XVIII - early XIX century. a multi-part instrumental piece, mostly for wind instruments, usually performed outdoors in the evening or at night, from the 19th century. a small lyrical instrumental piece.
Oh yeah- a solemn piece of music dedicated to some significant event or person.
Opera- a musical and dramatic work based on the synthesis of words, stage action and music.
Operetta- a musical stage comedy work, including vocal and dance scenes, orchestral accompaniment and conversational episodes.
Oratorio- a work for soloists, choir and orchestra, intended for concert performance.
house is a style and movement in electronic music. house is a descendant of the dance styles of the early post-disco era (electro, high energy, soul, funk, etc.) the main difference between house music is a repeated rhythm beat, usually in 4/4 time, and sampling - work with sound inserts, which are repeated from time to time in music, partially coinciding with its rhythm. one of the most important contemporary sub-styles of house is progressive house.
choir - a work for a large singing group. choral compositions are divided into two large groups - with or without instrumental (or orchestral) accompaniment (a cappella).
Song- a piece of poetry meant to be sung. its musical form is usually couplet or strophic.
potpourri- a play composed of excerpts from several popular melodies.
Play- a finished musical work of small size.
Rhapsody- a musical (instrumental) work on the themes of folk songs and epic tales, as if reproducing the performance of a rhapsod.
Requiem- mourning choral work (funeral mass).
Romance- a lyrical work for voice with musical accompaniment.
R&B (Rhythm-N-Blues, English Rhythm & Blues)- This is a musical style of song and dance genre. originally, a generalized name for mass music based on the blues and jazz trends of the 1930s and 1940s. currently, the abbreviated abbreviation of rhythm and blues (English r&b) is used to refer to modern rhythm and blues.
Rondo- a piece of music in which the main part is repeated several times.
Serenade- a lyrical song to the accompaniment of a lute, mandolin or guitar, performed in honor of the beloved.
Symphony- a piece of music for the orchestra, written in sonata cyclic form, the highest form of instrumental music.
Symphonic Music- unlike the chamber one, it is performed in large rooms and is intended for a symphony orchestra. symphonic works are characterized by depth and versatility of content, often grandiosity of scale and, at the same time, accessibility of the musical language.
Consonance- a combination in the simultaneous sounding of several sounds of different heights.
Sonata- a musical work of three or four parts of different tempo and character.
Sonatina- little sonata
Suite- a work for one or two instruments from several heterogeneous pieces connected by a common idea.
Symphonic Poem- a genre of symphonic music expressing the romantic idea of the synthesis of arts. a symphonic poem is a one-part orchestral work that allows for various program sources (literature and painting, less often philosophy or history; pictures of nature).
Toccata- a virtuoso piece of music for a keyboard instrument in fast movement and a clear tempo.
Tone- a sound of a certain pitch.
tush- a short musical greeting.
Overture is an orchestral piece designed to serve as an introduction to opera, ballet, drama. in their imagery and form, many classical overtures are close to the first movements of symphonies.
Fantasy is a free-form piece of music.
Elegy- a piece of music of a sad nature.
Etude- a piece of music based on virtuoso passages.
The word "orchestra" is now familiar to every schoolchild. This is the name of a large group of musicians who jointly perform a piece of music. Meanwhile, in ancient Greece, the term “orchestra” (from which the modern word “orchestra” was subsequently formed) denoted the area in front of the stage where the choir was located, an indispensable participant in the ancient Greek tragedy. Later, a group of musicians began to be located on the same site, and it was called the "orchestra".
Centuries have passed. And now the word "orchestra" itself has no definite meaning. Nowadays, there are different orchestras: wind, folk, bayan orchestras, chamber orchestras, pop-jazz, etc. But none of them can withstand the competition with the "sound miracle"; so often and, of course, quite rightly called a symphony orchestra.
The possibilities of a symphony orchestra are truly endless. At his disposal are all shades of sonority from barely audible vibrations and rustles to powerful thunderous peals. And the point is not even in the very breadth of dynamic shades (they are accessible to any orchestra in general), but in that captivating expressiveness that always accompanies the sound of genuine symphonic masterpieces. This is where timbre combinations come to the rescue, as well as powerful wavy rises and falls, and expressive solo cues, and fused "organ" layers of sounds.
Listen to some examples of symphonic music. Remember the fabulous picture of the famous Russian composer A. Lyadov, amazing in its penetrating silence, “Magic Lake”. The subject of the image here is nature in its untouched, static state. This is also emphasized by the composer in his statement about the “Magic Lake”: “How picturesque, pure, with stars and mystery in the depths! And most importantly - without people, without their requests and complaints - one dead nature - cold, evil, but fantastic, like in a fairy tale. However, Lyadov's score cannot be called dead or cold. On the contrary, it is warmed by a warm lyrical feeling - quivering, but restrained.
The well-known Soviet musicologist B. Asafiev wrote that in this "poetic contemplative musical picture ... Lyadov's work takes possession of the sphere of the lyrical symphonic landscape." The colorful palette of "Magic Lake" consists of veiled, muffled sounds, of rustles, rustles, barely noticeable splashes and fluctuations. Fine openwork strokes prevail here. Dynamic buildup is kept to a minimum. All orchestral voices carry an independent visual load. There is no melodic development in the true sense of the word; separate short phrases-motifs glow like flickering highlights... Lyadov, who was able to sensitively "hear silence", paints with amazing skill a picture of an enchanted lake - a smoky, but inspired picture, full of fabulous aroma and pure, chaste beauty. Such a landscape could only be “drawn” with the help of a symphony orchestra, because no instrument and no other “orchestral organism” is able to depict such a clear picture and find such subtle timbre colors and shades for it.
And here is an example of the opposite type - the finale of the famous "Poem of Ecstasy" by A. Scriabin. The composer shows in this work the diversity of human states and actions in a steady and logically thought-out development; the music consistently conveys inertia, the awakening of the will, the encounter with threatening forces, the struggle with them. Climax follows climax. By the end of the poem, the tension grows, preparing a new, even more grandiose upsurge. The epilogue of the "Poem of Ecstasy" turns into a dazzling picture of colossal scope. Against a sparkling background shimmering with all colors (an organ is also connected to a huge orchestra), eight horns and a trumpet happily proclaim the main musical theme, the sonority of which reaches superhuman strength by the end. No other ensemble can achieve such power and majesty of sound. Only a symphony orchestra is capable of so richly and at the same time colorfully expressing rapture, ecstasy, a frantic upsurge of feelings.
Lyadov's "Magic Lake" and the epilogue of "The Poem of Ecstasy" are, so to speak, the extreme sound and dynamic poles in the richest sound palette of a symphony orchestra.
Now let's look at another kind of example. The second part of the Eleventh Symphony by D. Shostakovich has a subtitle - "January 9th". In it, the composer tells about the terrible events of "Bloody Sunday". And at that moment, when the cries and groans of the crowd, the volleys of rifles, the iron rhythm of the soldier’s step merge into a sound picture of amazing strength and power, the deafening squall suddenly breaks off ... And in the ensuing silence, in the “whistling” whisper of stringed instruments the quiet and mournful singing of the choir is clearly heard. According to the apt definition of the musicologist G. Orlov, one gets the impression that “as if the air of the Palace Square groaned with grief at the sight of the accomplished atrocity”. Possessing exceptional timbre flair and brilliant skill in instrumental writing, D. Shostakovich was able to create the illusion of choral sound using purely orchestral means. There were even cases when, at the first performances of the Eleventh Symphony, the audience kept rising from their seats, thinking that there was a choir on the stage behind the orchestra...
The symphony orchestra is also capable of transmitting a wide variety of naturalistic effects. Thus, the outstanding German composer Richard Strauss in his symphonic poem "Don Quixote", illustrating a well-known episode from Cervantes' novel, surprisingly "visually" depicted the bleating of a flock of sheep in the orchestra. In the suite of the French composer Carnival of the Animals by the French composer C. Saint-Saens, the cries of donkeys, the clumsy gait of an elephant, and the restless call of hens with roosters are wittily conveyed. The Frenchman Paul Dukas in the symphonic scherzo "The Sorcerer's Apprentice" (it was written based on the ballad of the same name by W. Goethe) brilliantly painted a picture of the wild water element (in the absence of the old magician, the student decides to turn the broom into a servant: he makes him carry water, which gradually floods the whole house ). Needless to say, how many onomatopoeic effects are scattered in opera and ballet music; here they are also conveyed by means of a symphony orchestra, but prompted by the immediate stage situation, and not by a literary program, as in symphonic works. Suffice it to recall such operas as The Tale of Tsar Saltan and The Snow Maiden by N. Rimsky-Korsakov, I. Stravinsky's ballet Petrushka, and others. Excerpts or suites from these works are often performed in symphony concerts.
And how many magnificent, almost visual pictures of the sea element can be found in symphonic music! N. Rimsky-Korsakov's suite "Scheherazade", "The Sea" by C. Debussy, the overture "Sea Silence and Happy Swimming" by F. Mendelssohn, symphonic fantasies "The Tempest" by P. Tchaikovsky and "The Sea" by A. Glazunov - the list of such works is very large . Many works have been written for the symphony orchestra, depicting pictures of nature or containing well-aimed landscape sketches. Let us name at least the Sixth ("Pastoral") symphony of L. Beethoven with a picture of a sudden thunderstorm that is striking in its power of image, A. Borodin's symphonic picture "In Central Asia", A. Glazunov's symphonic fantasy "Forest", "a scene in the fields" from the Fantastic symphonies by G. Berlioz. However, in all these works, the image of nature is always associated with the emotional world of the composer himself, as well as with the idea that determines the nature of the composition as a whole. In general, descriptive, naturalistic, onomatopoeic moments occupy a very small share in symphonic canvases. Moreover, program music proper, that is, music that consistently conveys some literary plot, also does not occupy a leading place among symphonic genres. The main thing that a symphony orchestra can be proud of is a rich palette of various means of expression, these are colossal, still not exhausted possibilities of various combinations and combinations of instruments, these are the richest timbre resources of all groups that make up the orchestra.
A symphony orchestra differs sharply from other instrumental groups in that its composition is always strictly defined. Take, for example, numerous pop-jazz ensembles that now exist in abundance in almost all corners of the globe. They are not at all similar to each other: the number of instruments (from 3-4 to two dozen or more) and the number of participants can also be different. But most importantly, these orchestras are not similar in their sound. Some are dominated by strings, others by saxophones and brass instruments; in some ensembles, the leading role is played by the piano (supported by drums and double bass); variety orchestras of various countries include national instruments, etc. Thus, in almost every variety orchestra or jazz, they do not adhere to a strictly defined instrumental composition, but freely use combinations of various instruments. Therefore, the same work sounds differently in different pop-jazz groups: each of them offers its own specific processing. And this is understandable: after all, jazz is an art, basically improvisational.
Brass bands are also different. Some consist exclusively of brass instruments (with the obligatory inclusion of percussion). And most of them can not do without woodwinds - flutes, oboes, clarinets, bassoons. Orchestras of folk instruments also differ among themselves: the Russian folk orchestra is not similar to the Kyrgyz one, and the Italian one is not like the folk orchestras of the Scandinavian countries. And only a symphony orchestra - the largest musical organism - has a long-established, strictly defined composition. Therefore, a symphonic work written in one country can be performed by any symphony group in another country. Therefore, the language of symphonic music is truly an international language. They have been in use for over two centuries. And he doesn't age. Moreover, nowhere are there as many interesting "internal" changes as there are in a modern symphony orchestra. On the one hand, often replenished with new timbre colors, the orchestra becomes richer every year, on the other hand, its main frame, which was formed back in the 18th century, is becoming more and more distinct. And sometimes the composers of our time, turning to such an “old-fashioned” composition, once again prove how great its expressive possibilities are ...
Perhaps, so much wonderful music has not been created for any of the musical groups! In the brilliant galaxy of symphonic composers, the names of Haydn and Mozart, Beethoven and Schubert, Mendelssohn and Schumann, Berlioz and Brahms, Liszt and Wagner, Grieg and Dvorak, Glinka and Borodin, Rimsky-Korsakov and Tchaikovsky, Rachmaninov and Scriabin, Glazunov and Taneyev, shine, Mahler and Bruckner, Debussy and Ravel, Sibelius and R. Strauss, Stravinsky and Bartok, Prokofiev and Shostakovich. In addition, the symphony orchestra, as you know, is an indispensable participant in opera and ballet performances. And therefore, to hundreds of symphonic works, one should add those fragments from operas and ballets in which it is the orchestra (and not soloists, choir or just stage action) that plays the primary role. But that's not all. We watch hundreds of films and most of them are "voiced" by a symphony orchestra.
Radio, television, CDs, and through them, symphonic music have firmly entered our lives. In many cinemas, small symphony orchestras play before screenings. Such orchestras are also created in amateur performances. In other words, from the vast, almost boundless ocean of music that surrounds us, a good half is somehow connected with symphonic sound. Symphonies and oratorios, operas and ballets, instrumental concertos and suites, music for theater and cinema - all these (and many other) genres simply cannot do without a symphony orchestra.
However, it would be wrong to assume that any piece of music can be performed in an orchestra. After all, it would seem that knowing the principles and laws of instrumentation, every competent musician can orchestrate a piano or some other work, that is, dress it in a bright symphonic outfit. However, in practice this is relatively rare. It is no coincidence that N. Rimsky-Korsakov said that instrumentation is "one of the sides of the soul of the composition itself." Therefore, already considering the idea, the composer is counting on a certain instrumental composition. Therefore, both light, unpretentious pieces and grandiose, large-scale canvases can be written for a symphony orchestra.
True, there are cases when a work gets a second life in a new, symphonic version. This happened with M. Mussorgsky's brilliant piano cycle “Pictures at an Exhibition”: it was masterfully orchestrated by M. Ravel. (There were other, less successful attempts to orchestrate Pictures at an Exhibition.) The scores of M. Mussorgsky's operas Boris Godunov and Khovanshchina came to life anew under the hand of D. Shostakovich, who carried out their new orchestral version. Sometimes two versions of the same work peacefully coexist in the composer's creative heritage - solo-instrumental and symphonic. There are few such examples, but they are quite interesting. Ravel's "Pavane" exists both in the piano and in the orchestral version, and both live an equal concert life. Prokofiev orchestrated the slow part of his Fourth Piano Sonata, making it an independent, purely symphonic work. The Leningrad composer S. Slonimsky wrote the vocal cycle "Songs of the Freemen" based on folk texts; this work also has two versions of equal artistic significance: one is accompanied by a piano, the other is accompanied by an orchestral accompaniment. However, most often the composer, when starting to work, has a good idea not only of the idea of the composition, but also of its timbre embodiment. And such genres as symphony, instrumental concerto, symphonic poem, suite, rhapsody, etc., are always closely connected with the sound of a symphony orchestra, one might even say, are inseparable from it.
