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Supporting notes on the musical literature of foreign countries are an addition to the existing textbooks on musical literature. The content of the manual corresponds to the program of the subject PO.02.UP.03. "Musical Literature" of additional pre-professional general educational programs in the field of musical art "Piano", "String Instruments", "Wind and Percussion Instruments", "Folk Instruments", "Choral Singing", recommended by the Ministry of Culture of the Russian Federation.

Supporting notes on musical literature are designed to develop humanitarian education and special competencies of students, in particular: "... to form musical thinking, skills of perception and analysis of musical works, to acquire knowledge about the patterns of musical form, about the specifics of the musical language, expressive means of music" 1 .

The textbook presents the work of composers in the context of cultural and historical eras, is studied in close connection with historical events and related arts. The abstract material is the main theses of research on the history of music and musical literature by V. N. Bryantseva, V. S. Galatskaya, L. V. Kirillina, V. D. Konen, T. N. Livanova, I. D. Prokhorova and others well-known musicologists, generalized and concise instructional material in the form of tables, diagrams and visual supports. Visual supports (reproductions of paintings by famous artists, portraits of composers, their relatives and friends, prominent figures of culture and art, historical figures, etc.) not only accompany and supplement verbal information, but are carriers of information in the field of fine arts, are directly related to eras and trends in music, the work of composers, reflect the history, culture and art of European countries.

The content of the reference notes consists of four sections, which, in turn, are divided into topics covering the periods of development of European music from the musical culture of Ancient Greece to the work of romantic composers of the 19th century. So the first section examines the musical culture of Ancient Greece, the Middle Ages and the Renaissance. The second section studies the Baroque era, the work of J. S. Bach and G. F. Handel. The third section is devoted to the era of classicism, where the emphasis is on the work of the Viennese classics - J. Haydn, W. A. ​​Mozart and L. Beethoven. The fourth section presents materials on the era of romanticism, the work of F. Schubert and F. Chopin, a brief overview of the work of nineteenth-century romantic composers F. Mendelssohn, F. Liszt, R. Schumann, G. Berlioz, D. Verdi, R. Wagner, J. Brahms, J. Bizet.

The manual also includes dictionaries of meanings, terms and concepts found in the text, a brief analysis and musical examples of the studied works.

Along with a strict presentation of the material in tables and diagrams, the manual includes interesting facts from the life of composers, presented in the form of a narrative and accompanied by colorful artistic illustrations, which refreshes the perception and attention of children.

Reference notes on the musical literature of foreign countries are intended for students of the Children's Art School, Children's Music School of the second and third years of study (grades 5 and 6), who are studying additional pre-professional general educational programs in the field of musical art. Teachers of musical-theoretical and special disciplines of children's music schools, children's art schools can use the textbook when studying new material, repeating and systematizing the topics covered, preparing for intermediate and final certification of students, preparing for music-theoretical olympiads, independent work of students, group and individual training, in part when implementing additional general developmental programs in areas of musical art, in cultural and educational activities.

The reference notes are accompanied by a workbook, which is designed to work in the classroom.

Below are fragments of the manual "Supporting Notes on the Musical Literature of Foreign Countries".

For the purchase of Tatyana Guryevna Savelyeva's manual "Reference Notes on the Musical Literature of Foreign Countries", please contact the author at [email protected]

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1 Exemplary program for the subject PO.02. UP.03. Musical Literature. - Moscow 2012

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Music Library We are glad that you have found and downloaded the materials you are interested in in our music library. The library is constantly updated with new works and materials, and next time you will definitely find something new and interesting for you. The library of the project is completed on the basis of the curriculum, as well as materials recommended for teaching and expanding the horizons of students. Both students and teachers will find useful information here. the library also presents methodological literature. Our pets Composers and performers Contemporary artists Here you will also find biographies of prominent artists, composers, famous musicians, as well as their works. In the work section, we post recordings of performances that will help you in learning, you will hear how this work sounds, accents and nuances of the work. We are waiting for you at classON.ru. V.N. Bryantseva Johann Sebastian Bach 1685 - 1750 Wolfgang Amadeus Mozart 1756 - 1791 Franz Schubert 1797 - 1828 www.classON.ru Joseph Haydn 1732 - 1809 Ludwig van Beethoven 1770 - 1827 Fryderyk Chopin 1810 - 19 49 Children's art education in Russia Information about her become more and more abundant from about the 10th century BC. Visual arts are developing - and artists depict musicians who accompany religious rites, military campaigns, hunting, solemn processions, dances with singing and playing instruments. Such images have been preserved, in particular, on the walls of temples and ceramic vases found during excavations. Writing appears - and the authors of the manuscripts introduce poetic texts of songs and hymns into them, provide interesting information about the musical life. Over time, writers pay a lot of attention to philosophical discussions about music, its important social, including educational role, as well as the theoretical study of the elements of its language. Most of this information was preserved about music in some countries of the Ancient World, for example, in Ancient China, Ancient India, Ancient Egypt, especially in the so-called ancient countries - Ancient Greece and Ancient Rome, where the foundations of European culture were laid2. Introduction Music from ancient times to J.S. Bach Dear children! Last year you already had lessons in musical literature. They discussed the basic elements of the musical language, some musical forms and genres, the expressive and visual possibilities of music, and the orchestra. At the same time, the conversation was freely conducted about a variety of epochs - either about antiquity, or about modernity, or returning to centuries less or more distant from us. And now it's time to get acquainted with musical literature in chronologically sequential - historical - order1. About music in Ancient Greece How did we get information about the music of the Ancient World Convincing proof of the great cultural and historical role of antiquity is the fact that in ancient Greece in the 8th century BC public sports competitions, the Olympic Games, were born. And two centuries later, musical competitions began to be held there - the Pythian Games, which can be considered the distant ancestors of modern competitions. The Pythian games were held at the temple, built in honor of the patron of the arts, the god of the sun and light, Apollo. According to the myths, having defeated the monstrous serpent Python, he himself established these games. It is known that once they were won by Sakkad from Argos, playing on the aulos, a wind instrument close to the oboe, a program play about the struggle of Apollo, with Python. For ancient Greek music there was a characteristic connection with poetry, dance, theater. The heroic epic poems "Iliad" and "Odyssey", attributed to the legendary poet Homer, were sung in a singsong voice. Singers were usually, like the mythological Orpheus, the authors of both poetic text and music, and they themselves accompanied themselves on the lyre. Choral dance songs with pantomimic gestures were performed at the festivities. In ancient Greek tragedies and comedies, a large role belonged to the choir: he commented on the action, expressed his attitude to. While excavating, archaeologists found the simplest musical instruments (for example, wind instruments - animal bones with drilled holes) and determined that they were made about forty thousand years ago. Consequently, the art of music already existed then. After the phonograph was invented in 1877 - the first apparatus for mechanical recording and reproduction of sound, musicians-researchers began to travel to those corners of the globe where some tribes still had a primitive way of life. From representatives of such tribes, with the help of a phonograph, they recorded samples of singing and instrumental tunes. But such recordings give, of course, only an approximate idea of ​​what music was like in those ancient times. The word "chronology" (it means "the sequence of historical events in time") comes from two Greek words - "chronos" ("time") and "logos" ("doctrine"). 1 The Latin word "antiguus" means "ancient". The term “ancient” derived from it refers to the history and culture of Ancient Greece and Ancient Rome. 2 2 www.classON.ru Children's education in the field of Russian art based on the deeds of heroes. Modern musicologists have some information about music in the ancient world and yet envy historians of other arts. For a large number of magnificent monuments of ancient architecture, ancient fine arts, especially sculpture, have been preserved, many manuscripts have been found with texts of tragedies and comedies by great ancient playwrights. But musical works created in the same era and even much later remain essentially unknown to us. Why did it happen so? The fact is that it turned out to be a very difficult task to invent a sufficiently accurate and convenient system of musical notation (notation), the one that each of you mastered when you were just starting to learn music. It took many centuries to solve it. True, the ancient Greeks invented letter notation. They designated the steps of musical modes with certain letters of the alphabet. But rhythmic signs (from dashes) were not always added. Only in the middle of the 19th century AD, scientists finally unraveled the secrets of this notation. However, if they were able to decipher the ratio of sounds in height in ancient Greek musical manuscripts exactly, then the ratio in duration is only approximately. Moreover, very few such manuscripts have been found, and they contain records of only a few monophonic works (for example, hymns) and more often - their fragments. sufficient visibility. Therefore, musicians have long used auxiliary hint icons. These icons were placed above the words of the chants and denoted either individual sounds or their small groups. They did not indicate the exact ratio of sounds either in height or in duration. But with their inscription, they reminded the performers of the direction of the melody movement, who knew it by heart and passed it on from one generation to another. In the countries of Western and Central Europe, whose music will be discussed later in this textbook, such icons were called neumes. The neumes were used to record ancient Catholic liturgical hymns - the Gregorian chant. This common name is derived from the name of Pope Gregory I3. According to legend, at the end of the 6th century, he compiled the main collection of these monophonic chants. Intended to be performed during the church service only by men and boys - solo and in unison by the choir, they are written in Latin prayer texts. But in the 11th century, the Italian monk Guido d'Arezzo ("from Arezzo") invented a new way of notation. He taught singing boys in the monastery and wanted it to be easier for them to memorize spiritual chants. By that time, the neumes began to be placed on a horizontal line, above and under it. This line corresponded to one specific sound and thus established the approximate height level of the recording. And Guido came up with the idea of ​​drawing four parallel lines at once (“rulers”) at the same distance from each other and placing neumes on them and between them. This is how the ancestor arose modern musical staff - like a strictly lined canvas, which made it possible to accurately indicate the pitch ratio of sounds by tones and semitones. And at the same time, the musical notation became more visual - like a picture depicting the movement of a melody, its bends. The sounds that corresponded to the rulers, Guido designated the letters of the Latin alphabet. Their styles began to change later and eventually turned into signs, which they called keys. And the neumes, "sitting down" on the rulers and between them, eventually turned into separate notes, in which the heads first had the shape of squares. Questions and tasks 1 . When, according to scientists, were the oldest musical instruments made? What does it say? 2. What is the phonograph, when was it invented, and how did researchers start using it? 3. About the music of which countries of the Ancient World, the most information has been preserved? Determine on the map - around which sea three such countries were located. 4. When and where did the ancient musical competitions - the Pythian Games - begin to be held? 5. What arts was music closely associated with in Ancient Greece? 6. What notation did the ancient Greeks invent? In what way is it inaccurate? The title "Pope of Rome" is held by a clergyman who heads the Catholic Church as an international spiritual organization. Catholicism is one of the Christian creeds along with Orthodoxy and Protestantism. 4 The ancient Romans spoke Latin. After the fall of the Roman Empire in 476, Latin gradually ceased to be spoken. From it came the so-called Romance languages ​​- Italian, French, Spanish, Portuguese. 3 How convenient notation was created In the Middle Ages (the beginning of this historical period is considered the 6th century AD), letter notation was almost forgotten. 3 www.classON.ru Children's education in the field of Russian art Rumors about a new method of notation - just like some kind of miracle - reached Pope John XIX. He summoned Guido to himself and sang a melody unknown to him according to an invented recording. In the future, the number of parallel rulers was changed many times, it happened - even increased to eighteen. Only by the end of the 17th century did the current five-line staff "win". Many different keys were also used. Only in the 19th century did the treble and bass clefs become the most common. After the invention of Guido d'Arezzo, another difficult task was solved for a long time - how to improve the notation so that it indicates the exact ratio of sounds not only in height, but also in duration. After some time, they thought of using musical signs for this, different in shape. many conventional rules were added to this at first, making it difficult to apply in practice. And over the course of several centuries, a more convenient notation was gradually developed - exactly the one that we continue to use now. After the onset of the 17th century, it was improved only in details. And its rhythmic principle, which has been sought for so long, now appears to be the simplest of all.It consists in the fact that a whole note in duration is always equal to two halves - different in style, one half - two quarters, one quarter - two eighths, and so on. that the bar line began to separate the bars in the 16th century, and the size at the beginning of the musical notation was indicated without fail from the 17th century. However, at that time there were already not only musical manuscripts, but also printed notes. For music printing began shortly after the invention of printing - towards the end of the 15th century. In the ancient world and for a long time in the Middle Ages, music was, as a rule, monophonic. There were only a few minor exceptions. For example, a singer performed a song and dubbed it (that is, played it at the same time) while playing an instrument. At the same time, the voice and the instrument could sometimes disperse a little, deviate from each other and soon converge again. Thus, in a monophonic sound stream, “islands” of two-voice arose and disappeared. But at the turn of the first and second millennia of our era, the polyphonic warehouse began to develop consistently and later became dominant in professional musical art. This complex and long formation focused mainly in the field of Catholic church music. The case began with the invention (by whom - unknown) of the following technique. One singer (or several singers) performed the main voice - a slow smooth melody of Gregorian chant. And the second voice moved strictly in parallel - in exactly the same rhythm, only all the time at a distance of an octave, or a quart, or a quint. Now, to our ears, it sounds very poor, “empty”. But a thousand years ago, such singing, echoing under the arches of a church, a cathedral, amazed and delighted, opened up new expressive possibilities for music. After some time, church musicians began to look for more flexible and varied methods of leading a second voice. And then they began to more and more skillfully combine three, four voices, later sometimes even more voices. Questions and tasks 1 . What was inconvenient in practice letter notation? 2. What did the neumes suggest to the medieval choristers? 3. What is Gregorian chant and why is it called that? 4. Explain the essence of Guido d'Arezzo's invention. 5. What was the next task to be solved after Guido's invention? 6. Since when did the notation no longer change significantly? century church musician Perotyn. He was an outstanding representative of the singing art - the Parisian "School of Notre Dame" ("School of Our Lady"). Perotin's chants sounded in a building of remarkable beauty. This is a famous monument of medieval Gothic architecture, described by the French writer of the XIX century Victor Hugo in the famous In the novel "Notre Dame Cathedral". How polyphony began to develop in music This is how polyphony began to develop. Translated from the Greek language, this word means "polyphony". But polyphony is called only this type of polyphony in which two or more equal voices sound simultaneously, moreover, each of them has its own independent melodic line.If one voice leads the main melody, and others are subordinate to it (accompany it, accompany it), then this is homophony - another. decipher. This made it possible to get acquainted not only with information about musical culture, but also with the very music of past eras. It was no coincidence that the successes of notation coincided with the beginning of the development of polyphony - an important stage in the history of musical art. 4 www.classON.ru Children's education in the field of Russian art Mass has become a major musical genre. Ordinary Mass 5 includes six main chants to devotional Latin texts. These are “Kiriyo Eleison” (“Lord, have mercy”), “Gloria” (“Glory”), “Credo” (“I Believe”), “Sanctus” (“Holy”), “Benedictus” (“Blessed”) and “ Agnus Dei" ("Lamb of God"). Initially, Gregorian chant sounded in one voice in masses. But by about the 15th century, the mass had turned into a cycle of complex polyphonic parts 6. At the same time, imitations began to be used very skillfully. Translated from the Latin "imitatio" means "imitation". In music, one can sometimes imitate extra-musical sounds, for example, the trills of a nightingale, the cuckoo's call, the sound of sea waves. Then it is called onomatopoeia or onomatopoeia. And imitation in music is such a technique when, after a melody ending in one voice, another voice exactly (or not quite accurately) repeats it from another sound. Other voices may then enter in the same way. In homophonic music, imitations may appear briefly. And in polyphonic music, this is one of the main methods of development. It helps to make the melodic movement almost continuous: pauses and cadences simultaneously in all voices occur in polyphonic music only in the form of rare exceptions7. Combining imitation with other polyphonic devices, the composers made their masses into large choral works in which four or five voices are intertwined into a complex sound fabric. In it, the melody of the Gregorian chant is already difficult to distinguish and just as difficult to hear the prayer words. There were even masses where the melodies of popular secular songs were used as the main ones. This situation worried the highest Catholic spiritual authorities. In the middle of the 16th century, it was going to generally ban polyphonic singing during church services. But such a ban did not take place thanks to the wonderful Italian composer Palestrina, who spent almost his entire life in Rome and was close to the papal court (his full name is Giovanni Pierluigi da Palestrina, that is, “from Palestrina” - a small town near Rome). Palestrina, with his masses (and he wrote more than a hundred of them), managed the appearance of polyphony. Since the accompaniment has a chord-harmonic basis, the homophonic warehouse of musical presentation is also called homophonic-harmonic. Questions and tasks 1 . Since when did musical manuscripts become more and more accurately deciphered? 2. With what important new stage in the history of musical art did the success of notation coincide? 3. When, in what music and on the basis of what melodies did polyphony gradually form? 4. What was a parallel two-voice? Sing together several parallel fourths, fifths and octaves. 5. What is the difference between polyphony and homophony? How polyphony continued to develop While polyphony began to develop in church singing, monophony continued to dominate in secular music. For example, many recordings of monophonic songs, which were composed and performed by medieval poets-singers in the 12th-14th centuries, have been deciphered. In the south of France, in Provence, they were called troubadours, in the north of France - trouvers, in Germany - minnesingers. Many of them were famous knights and in their songs often sang the beauty and virtue of the "beautiful lady" they worshiped. The melodies of the songs of these poets-singers were often close to folk tunes, including dance ones, and the rhythm was subordinated to the rhythm of the poetic text. Later, in the XIV-XVI centuries, German poets-singers from among artisans united in workshops, calling themselves Meistersingers (“master singers”). Church polyphony and secular song monophony did not turn out to be isolated from each other. Thus, in voices that were added in spiritual chants to the Gregorian chant, the influence of secular songs (for example, songs of troubadours and trouveurs) became noticeable.At the same time, by the end of the 13th century, purely secular polyphonic works appeared in France, where the parties of all voices were based on melodies of a song character, and the texts were composed not in Latin, but in French. Over time, in Catholic church music, there are still special masses dedicated to church holidays. Recall that a cycle is a work of several separate parts (or pieces), united by a common idea. 5 6 5 www.classON.ru Children's education in the field of Russian art to prove that polyphonic compositions, while remaining very skillful, can sound transparently and liturgical texts can be clearly heard. The music of Palestrina is one of the peaks of the ancient choral polyphony of the so-called strict style. It takes us to the world of enlightened sublime contemplation - as if it radiates an even, pacifying radiance. poets, musicians, scientists and art lovers. They were carried away by the idea of ​​creating a new kind of expressive solo singing with accompaniment and combining it with theatrical action. This is how the first operas were born, the plots of which were taken from ancient mythology. The very first is “Daphne”, composed by the composer Jacopo Peri (together with Y. Korea) and the poet O. Rinuccini. It was performed in 1597 in Florence (the work as a whole has not been preserved). In ancient Greek mythology, Daphne is the daughter of the river deity Ladon and the earth goddess Gaia. Fleeing from the persecution of Apollo, she prayed for help to the gods and was turned into a laurel (in Greek "daphne" - "laurel") - the sacred tree of Apollo. Since Apollo was considered the patron god of the arts, the winners of the Pythian Games began to be crowned with a laurel wreath, the founder of which was considered Apollo. The laurel wreath and a separate branch of the laurel have become symbols of victory, glory, and reward. Two other operas composed in 1600 (one by J. Peri, the other by G. Caccini) are both called "Eurydice" because they both use the same poetic text based on the ancient Greek myth of the legendary singer Orpheus. The first Italian operas were performed in palaces and houses of noble people. The orchestra consisted of a few ancient instruments. It was led by a musician who played the cembalo (the Italian name for the harpsichord). There was no overture yet, and the beginning of the performance was heralded by trumpet fanfares. And in the vocal parts, recitative prevailed, in which the musical development was subordinate to the poetic text. Soon, however, music began to acquire an increasingly independent and important significance in operas. This is the merit of the first outstanding opera composer - Claudio Monteverdi. His first opera - "Orpheus" - was staged in 1607 in Mantua. Her hero is again the same legendary singer who appeased Hades, the god of the underworld of the dead, with his art, and he released Eurydice, the beloved wife of Orpheus, to earth. But the condition of Hades - before leaving his kingdom, never look at Eurydice - Orpheus violated and again, forever, lost her. Monteverdi's music gave this sad story an unprecedented lyrical and dramatic expression. Vocal parts, choirs, orchestral episodes became much more diverse in nature in Monteverdi's Orpheus. In this work, a melodious ariose style began to take shape - the most important distinctive quality of Italian opera music. Following the example of Florence, operas began to be composed and performed not only in Mantua, but also in such Italian cities as Rome, Venice, and Naples. Interest in the new genre began to arise in other European countries, and their Questions and Tasks 1 . Who are troubadours, trouvers, minnesingers and mastersingers? 2. Is there a connection between ancient church polyphony and secular song melodies? 3. Name the main parts of an ordinary mass. 4. Give examples of onomatopoeia in music. 5. What is called imitation in music? 6. What did Palestrina manage to achieve in his masses? The birth of opera. Oratorio and cantata Just before the beginning of the 17th century - the first century of the historical period called the New Age - an event of extreme importance took place in the art of music: opera was born in Italy. Music has been used in various theatrical performances since ancient times. In them, along with instrumental and choral numbers, individual vocal solos, such as songs, could be performed. And in the opera, singers and singers became actors and actresses. Their singing, accompanied by the orchestra, in combination with the stage action began to convey the main content of the performance. It is complemented by scenery, costumes, and often also dances - ballet. Thus, in the opera, music led the close community of different arts. This opened up great new artistic possibilities for her. Opera singers began to convey with unprecedented power the personal emotional experiences of people - both joyful and sorrowful. At the same time, the most important expressive means in the opera was the homophonic combination of a solo singing voice with orchestral accompaniment. And if until the 17th century professional music in Western Europe developed mainly in the church, and the mass was the largest genre, then the musical theater became the main center, and the largest genre was opera. At the end of the 16th century in the Italian city of Florence, circle 6 gathered www.classON.ru Children's education in the field of art in Russia, the rulers took it as a custom to invite Italian musicians to their court service. This contributed to the fact that Italian music for a long time became the most influential in Europe. In France, in the 17th century, its own national opera arose, different from the Italian one. Its founder - Jean-Baptiste L yul l and - Italian by birth. Nevertheless, he correctly felt the peculiarities of French culture and created a kind of French operatic style. In Lully's operas, recitatives and small arias of a recitative nature, on the one hand, occupied a large place, and on the other, ballet dances, solemn marches and monumental choirs. Together with mythological plots, magnificent costumes, the depiction of magical miracles with the help of theatrical machines, all this corresponded to the brilliance and splendor of court life during the reign of the French king Louis XIV. The first opera in Germany, Daphne (1627), was created by the greatest German composer of the pre-Bach era, Heinrich Schüttz. But her music has not survived. And there were no conditions for the development of the opera genre in the country: they really took shape only with the onset of the 19th century. And in the work of Schutz, the main place was occupied by expressive vocal-instrumental compositions on spiritual texts. In 1689, the first English opera, Dido and Aeneas, by the composer of remarkable talent, Henry Purcell, was performed in London. The music of this opera captivates with heartfelt lyrics, poetic fantasy and colorful everyday images. However, after the death of Purcell, for almost two centuries, there were no outstanding musical creators among English composers. At the turn of the 16th-17th centuries, simultaneously with the opera and also in Italy, o r a t o r y and cant ata were born. It is similar to opera in that soloists, choir and orchestra also participate in their performance, and in that they also sound arias, recitatives, vocal ensembles, choirs, orchestral episodes. But in the opera we learn about the development of events (plot) not only from what the soloists sing, but also from what they do and what generally happens on the stage. And in the oratorio and cantata there is no stage action. They are performed in a concert setting, without costumes and scenery. But there is also a difference between oratorio and cantata, although not always clear cut. Usually an oratorio is a work of a larger size and with a more developed religious plot. It often has an epic-dramatic character. In this regard, the narrative recitative part of the singer-narrator is often included in the oratorio. A special type of spiritual oratorios is "passion", or "passive" (translated from Latin - "suffering"). The "passion" tells of the suffering and death of Jesus Christ, crucified on the cross. 7 www.classON.ru Children's education in the field of Russian art Cantatas, depending on the content of the verbal text, are divided into spiritual and secular. In the 17th century and at the beginning of the 18th century, many small, chamber cantatas arose in Italy. They consisted of alternating two or three recitatives with two or three arias. In the future, cantatas of a predominantly solemn nature became widespread. Spiritual cantatas and "passions" of various constructions were most developed in Germany. arias, and it is fascinating to deploy a virtuoso passage movement. In the legacy of Corelli and Vivaldi, a large place belongs to the trio sonata genre. In most trio sonatas, two main parts are played by violins, and the third part is accompanied by a harpsichord or organ, with the bass voice doubled by a cello or bassoon. Following the trio sonata, a sonata for violin or another instrument accompanied by a harpsichord appeared. as well as concerto grosso - a concerto for the orchestra (first - strings). Many works of these genres are characterized by the form of an old sonata. It is usually a four-part cycle with a slow-fast-slow-fast tempo ratio. Somewhat later, already in the 18th century, Vivaldi began to compose solo concertos for violin and some other instruments with orchestra accompaniment. There was a cycle of three parts: "fast-slow-fast". Questions and tasks 1 . Where and when was opera born? Explain how an opera differs from a theatrical performance with music. 2. What is the most important means of expression in opera music? 3. What is the name of the first opera by Claudio Monteverdi, and what qualities are manifested in its music? 4. Tell us about the features of old French operas. 5. Name the first opera written in Germany and the first opera written in England. 6. What is the main difference between oratorio and cantata from opera? 7. What are "passions" ("passive")? Even in ancient Egypt, the organ began its centuries-old history. By the 17th century, it had become a very complex instrument with wide artistic possibilities. Small organs could then be found even in private homes. They were used for training sessions, they played variations on the melodies of folk songs and dances. And the great organs with gleaming rows of pipes, with carved wooden bodies, sounded, as they do now, in churches and cathedrals. Nowadays, there are also organs in many concert halls. In modern organs, there are several thousand pipes and up to seven keyboards (manuals), located one above the other - like stairs. There are so many pipes because they are divided into groups - registers. The registers are turned on and switched with special levers to get a different color (timbre) of the sound. The organs are also equipped with a pedal. This is a whole foot keyboard of many large keys. By pressing them with their feet, the organist can extract and also sustain bass sounds for a long time (such sustained sounds are also called a pedal or organ point). In terms of richness of timbres, if possible, to compare the lightest pianissimo with thunderous fortissimo, the organ has no equal among musical instruments. In the 17th century, organ art reached a particularly high flowering in Germany. As in other countries, German church organists were both composers and performers. They not only accompanied spiritual chants, but also soloed. Among them were many talented virtuosos and improvisers who attracted whole crowds of people with their playing. One of the most remarkable among them is Dietrich Buxtehude. Young Johann Sebastian Bach came on foot from another city to listen to him play. Buxtehude's varied and extensive work represents the main types of organ music of the time. On the one hand, these are preludes, fantasies, and instrumental music of the 17th century, its genres and forms. For a long time, playing the instruments most often doubled the parts of voices in vocal works or accompanied dances. Instrumental arrangements of vocal compositions were also distributed. The independent development of instrumental music intensified only in the 17th century. At the same time, the artistic techniques that had developed in vocal polyphony continued to develop in it. They were enriched with elements of a homophonic warehouse, based on song and dance. At the same time, the expressive achievements of operatic music began to influence instrumental compositions. The violin, along with brilliant virtuoso abilities, has a very melodious voice. And it was in the birthplace of opera, in Italy, that violin music began to develop especially successfully. At the end of the 17th century, the work of Arcangelo Corelli flourished and the creative activity of Antonio Vivaldi began. These outstanding Italian composers created many instrumental works with the participation and with the leading role of the violin. In them, the violin can sing as expressively as a human voice in an opera 8 www.classON.ru Children's education in the field of Russian art toccatas. In them, polyphonic episodes alternate freely with improvisational passages and chords. On the other hand, these are more strictly constructed pieces, which led to the emergence of the fugue, the most complex form of imitative polyphony. Buxtehude also made many organ adaptations of the Protestant chorale in the form of chorale preludes. Unlike Gregorian chant, this is the general name for spiritual chants not in Latin, but in German. They appeared in the 16th century, when a new type of Christian doctrine, Protestantism, separated from Catholicism. The melodic basis of the Protestant chant was German folk songs. In the 17th century, the Protestant chant began to be performed by the choir by all the parishioners with the support of the organ. For such choral arrangements, a four-voice chord warehouse with a melody in the upper voice is typical. Subsequently, such a warehouse was called choral, even if it occurs in an instrumental work. The organists also played stringed keyboard instruments and composed for them. The common name for works for these instruments is clavier music8. The first information about stringed keyboard instruments dates back to the 14th-15th centuries. By the 17th century, the harpsichord had become the most common of these. So it is called in France, in Italy it is called cembalo, in Germany - kielflugel, in England - harpsichord. The name of the smaller instruments in France is the epinet, in Italy - the spinets of England - the virginel. The harpsichord is the ancestor of the piano, which began to come into use from the middle of the 18th century. When you press the keys of the harpsichord, feathers or leather tongues, mounted on the rods, seem to pinch the strings. It turns out jerky, sonorous and at the same time a little rustling sounds. On the harpsichord, the strength of the sound does not depend on the strength of the blow on the keys. Therefore, it is impossible to make crescendos and diminuendos on it - unlike the piano, on which this is possible due to a more flexible connection of keys with hammers striking the strings. The harpsichord may have two or three keyboards and a device that allows you to change the color of the sound. The sound of another small keyboard instrument - the clavichord - is weaker than the sound of the harpsichord. But on the other hand, a more melodious playing is possible on the clavichord, because its strings are not plucked, but metal plates are pressed on them. One of the main genres of early harpsichord music is a suite of several parts completed in form, written in one key. In each of the parts, the movement of some kind of dance is usually used. The basis of the old suite is four dances of different, not always precisely clarified national origin. These are the leisurely allemande (possibly from Germany), the more agile chimes (from France), the slow sarabande (from Spain), and the fast gigue (from Ireland or England). From the end of the 17th century, following the example of the Parisian harpsichordists, suites began to be supplemented with such French dances as the minuet, gavotte, bourre, and passepied. They were inserted between the main dances, forming intermedia sections (“integ” in Latin means “between”). Ancient French harpsichord music is distinguished by elegance, grace, and an abundance of small melodic ornaments, such as mordents and trills. The French harpsichord style flourished in the work of François Couperin (1668 - 1733), nicknamed the Great. He created about two and a half hundred plays and combined them into twenty-seven suites. They gradually began to be dominated by plays with various program names. Most often, these are like miniature harpsichord portraits of women - well-aimed sound sketches of some character trait, appearance, demeanor. Such, for example, are the plays "Gloomy", "Touching", "Nimble", "Scattered", "Mischievous". His great contemporary Johann Sebastian Bach showed great interest in French harpsichord music, including the plays of Francois Couperin. Questions and tasks 1 . When did the independent development of instrumental genres intensify? 2. What is the favorite instrument of Arcangelo Corelli and Antonio Vivaldi. 3. Tell us about the structure of the organ. 4. In which country did organ art flourish especially? What is a Protestant chant? 5. Tell us about the device of the harpsichord. What dance movements are used in the main parts of the old harpsichord suite? So, the introductory section of the textbook briefly introduced some important events in the world of music since ancient times. It was a historical "excursion" to help further acquaintance with the heritage of the great Western European musicians who worked in the 18th and 19th centuries. For some time, the clavier was called music for all keyboard instruments, including the keyboard-wind instrument - the organ. 8 9 www.classON.ru Children's education in the field of art in Russia Johann's life path Rod, family, childhood. Johann Sebastian Bach was born in 1685 in Thuringia - one of the regions of Central Germany, in the small town of Eisenach, surrounded by forests. In Thuringia, the grave consequences of the Thirty Years' War (1618-1648), in which two large groups of European powers clashed, were still felt. This devastating war happened to the ancestors of Johann Sebastian, who were closely associated with the German craft and peasant environment. His great-great-grandfather, named Veit, was a baker, but he loved music so much that he never parted with the zither, an instrument similar to a mandolin, even during trips to the mill he played while the flour was being ground. And among his descendants, who settled in Thuringia and neighboring regions, there were so many musicians that everyone who practiced this profession was called “Bach” there. These were church organists, violinists, flutists, trumpeters, some of them showed talent as a composer. They were in the service of city municipalities and at the courts of the rulers of the petty principalities and duchies into which Germany was divided. Sebastian Bach 1685-1750 Amazing is the fate of the music of this great German composer, whose birth more than three hundred years have passed. During his lifetime, he received recognition mainly as an organist and connoisseur of musical instruments, and after his death he was almost forgotten for several decades. But then gradually they began to rediscover his work and admire him as a precious artistic treasure, unsurpassed in skill, inexhaustible in depth and humanity of content. "Not a stream! "The sea must be his name." So said about Bach another musical genius - Beethoven9. Bach himself managed to publish only a very small part of his works. Now there are more than a thousand of them published (many more are lost). The first complete works of Bach began to be printed in Germany a hundred years after his death, and it took up forty-six voluminous volumes. And it is impossible to even roughly calculate how much has been printed and how many separate editions of Bach's music continue to be printed in different countries. So great is the ongoing demand for it. For it occupies an extensive and honorable place not only in the world concert repertoire, but also in the educational one. Johann Sebastian Bach continues to be the teacher of literally everyone involved in music. He is a serious and strict teacher, requires the ability to concentrate in order to master the art of performing polyphonic works. But the one who is not afraid of difficulties and pays close attention to his requirements will feel behind his strictness the wise and kindness of the heart, which he teaches with his beautiful immortal creations. The house in Eisenach where JSBach was born 9 "Bach" means "stream" in German. 10 www.classON.ru Children's education in the field of Russian art Johann Sebastian's father was a violinist, city and court musician in Eisenach. He began to teach music to his youngest son and sent him to a church school. Possessing a beautiful high voice, the boy sang in the school choir. When he was ten years old, his parents died. The elder brother, a church organist in the neighboring town of Ohrdruf, took care of the orphan. He assigned his younger brother to the local lyceum and gave him organ lessons himself. Later, Johann Sebastian also became a harpsichordist, a violinist, and a violist. And from childhood he mastered the musical composition on his own, rewriting the compositions of various authors. He had to rewrite one music notebook that was of particular interest to him on moonlit nights, secretly from his older brother. But when the long hard work was completed, he discovered this, became angry with Johann Sebastian for his unauthorized act and mercilessly took away the manuscript from him. The beginning of an independent life. Lüneburg. At the age of fifteen, Johann Sebastian took a decisive step - he moved to the distant northern German city of Lüneburg, where he entered the school at the monastery church as a scholarship holder. In the school library, he was able to get acquainted with a large number of manuscripts of compositions by German musicians. In Lüneburg and Hamburg, where he went by country roads, one could listen to the playing of talented organists. It is possible that Johann Sebastian visited the opera house in Hamburg - at that time the only one in Germany that gave performances not in Italian, but in German. He successfully graduated from school three years later and began to look for a job closer to his native land. Weimar. Having briefly served as a violinist and organist in three cities, Bach in 1708, already married, settled in Weimar (Thuringia) for nine years. There he was an organist at the duke's court, and then vice-capella master (assistant to the head of the chapel - a group of singers and instrumentalists). As a teenager, in Ohrdruf, Bach began to compose music, in particular, to arrange Protestant chorales for the organ, his favorite instrument. And in Weimar, a number of his remarkable mature organ works appeared, such as Toccata and Fugue in D minor, Passacaglia10 in C minor, choral preludes. By that time, Bach had become an unsurpassed performer and improviser on the organ and harpsichord. This was convincingly confirmed by the following case. Once Bach went to Dresden, the capital of Saxony, where they decided to arrange a competition between him and Louis Marchand, the famous French organist and harpsichordist. But he, having previously heard how Bach improvises on the harpsichord with amazing creative ingenuity, hastened to secretly leave Dresden. The competition did not take place. At the Weimar court there was an opportunity to get acquainted with the works of Italian and French composers. Bach treated their achievements with great interest and artistic initiative. For example, he made a number of free arrangements for harpsichord and organ of Antonio Vivaldi's violin concertos. This is how the first clavier concertos in the history of musical art were born. For three years in Weimar, Bach was supposed to compose a new spiritual cantata every fourth Sunday. In total, more than thirty works arose in this way. However, when the elderly court bandmaster, whose duties were actually performed by Bach, died, the vacant position was given not to him, but to the incompetent son of the deceased. Outraged by such injustice, Bach submitted his resignation. For "disrespectful demand" he was placed under house arrest. But he showed a courageous, proud tenacity, insisting on his own. And a month later, the duke had to reluctantly give the "unmerciful order" to release the recalcitrant musician into the wild. Köthen. At the end of 1717, Bach and his family moved to Köthen. The place of the court bandmaster was offered to him by Prince Leopold Anhalt of Köthen, the ruler of a small state in the neighborhood of Thuringia. He was a good musician - he sang, played the harpsichord and viola da gamba 11. The prince provided his new bandmaster with good financial support and treated him with great respect. Bach's duties, which took up relatively little of his time, included directing a chapel of eighteen vocalists and instrumentalists, accompanying the prince, and playing the harpsichord himself. In Köthen, many Bach works for various instruments arose. Clavier music is very diverse among them. On the one hand, these are pieces for beginners - the Passacaglia is a slow three-way dance of Spanish origin. On its basis, instrumental pieces arose in the form of variations with a melody repeatedly repeated in the bass. 10 11 Viola da gamba is an ancient instrument that looks like a cello. 11 www.classON.ru Children's education in the field of Russian art small preludes, two-part and three-part inventions. They were written by Bach to study with his eldest son, Wilhelm Friedemann. On the other hand, this is the first of two volumes of a monumental work - "The Well-Tempered Clavier", which in total includes 48 preludes and fugues, and a large composition of the concert plan - "Chromatic Fantasy and Fugue". The creation of two collections of clavier suites, known as "French" and "English", also belongs to the Köthen period. Prince Leopold took Bach with him on trips to neighboring states. When Johann Sebastian returned in 1720 from such a trip, he suffered a heavy grief - his wife Maria Barbara had just died, leaving four children (three more died early). A year and a half later, Bach married again. His second wife, Anna Magdalena, had a good voice and was very musical. Studying with her, Bach compiled two clavier "Note Books" from his own pieces and partly from pieces by other authors. Anna Magdalena was a kind and caring companion in the life of Johann Sebastian. She bore him thirteen children, of whom six survived to adulthood. Leipzig. In 1723, Bach moved to Leipzig, a major commercial and cultural center of Saxony, neighboring Thuringia. He maintained good relations with Prince Leopold. But in Köthen, the possibilities of musical activity were limited - there was neither a large organ nor a choir. In addition, Bach had older sons who he wanted to give a good education. In Leipzig, Bach took the position of cantor - head of the boys' choir and teacher of singing schools; at the Church of St. Thomas (Thomaskirche). He had to accept a number of restrictive conditions, for example "not to leave the city without the permission of the burgomaster." Cantor Bach had many other duties. He had to divide into parts a small school choir and a very small orchestra (or rather, an ensemble) so that the music sounded during services in two churches, as well as at weddings, at funerals, and at various festivities. And not all chorus boys had good musical data. The school house was dirty, neglected, the pupils were poorly fed and beggarly dressed. Bach, who at the same time was considered the Leipzig "music director", drew the attention of the church authorities and city administration (magistrate) to all this. But in return he received little material assistance, but a lot of petty office nitpicking and reprimands. With students, he was engaged not only in singing, but also in playing instruments, in addition, he hired a Latin teacher for them at his own expense. Church and school of St. Thomas (left) in Leipzig. (From an old engraving). Despite difficult life circumstances, Bach was enthusiastically engaged in creativity. In the first three years of his service, he composed and practiced a new spiritual cantata with the choir almost every week. In total, about two hundred works of Bach in this genre have been preserved. And several dozen of his secular cantatas are also known. They were, as a rule, welcoming and congratulatory, addressed to various noble persons. But among them there is such an exception as the comic "Coffee Cantata" written in Leipzig, similar to a scene from a comic opera. It tells how a young, lively Lizhen is addicted to a new fashion for coffee, against the will and warnings of her father, the old grumbler Schlendrian. In Leipzig, Bach created his most outstanding monumental vocal-instrumental works - The Passion According to John, Passion According to Matthew12 and the Mass in B minor, close to them in content, as well as a large number of various instrumental compositions, including the second volume " Well-Tempered Clavier”, a collection of John and Matthew (as well as Mark and Luke) are followers of the teachings of Jesus Christ, who compiled the Gospels - stories about his earthly life, suffering (“passions”) and death. "Gospel" in Greek means "good news". 12 12 www.classON.ru Children's education in the field of Russian art "The Art of the Fugue". He traveled to Dresden, Hamburg, Berlin and other German cities, played the organ there, tested new instruments. For more than ten years, Bach headed the "Music College" in Leipzig - a society consisting of university students and music lovers - instrumentalists and singers. Under the direction of Bach, they gave public concerts from works of a secular nature. Communicating with musicians, he was a stranger to any arrogance and spoke of his rare skill as follows: "I had to work hard, whoever is as hard will achieve the same." A lot of worries, but also a lot of joys brought Bach his big family. In her circle, he could arrange entire home concerts. Four of his sons became famous composers. These are Wilhelm Friedemann and Carl Philipp Emanuel (children of Maria Barbara), Johann Christoph Friedrich and Johann Christian (children of Anna Magdalena). Over the years, Bach's health deteriorated. His eyesight deteriorated sharply. In early 1750, he underwent two unsuccessful eye surgeries, went blind, and died on July 28. Johann Sebastian Bach lived a hard and hardworking life, illuminated by brilliant creative inspiration. He did not leave a significant fortune, and Anna Magdalena died ten years later in a charity home for the poor. And the youngest daughter of Bach, Regina Susanna, who lived until the 19th century, was saved from poverty by private donations, in which Beethoven took a great part. Creativity Bach's music is connected with the culture of his native country. works by both German and foreign composers.In his work, he brilliantly generalized and enriched the achievements of European musical art.Most of the cantatas, "John Passion", "Matthew Passion", Mass in B minor and many other works on spiritual texts were written by Bach not just according to the duty or habitual custom of a church musician, but warmed by a sincere religious feeling. They are full of compassion for human sorrows, imbued with an understanding of human joys. Over time, they went far beyond the temples and do not cease to deeply impress listeners of different nationalities and religions. Spiritual and secular compositions of Bach they are related to each other in their true humanity, together they form a whole world of musical images. Bach's unsurpassed polyphonic skill is enriched with homophonic-harmonic means. His vocal themes are organically permeated with instrumental developmental techniques, and instrumental themes are often so emotionally saturated, as if something important is being sung and pronounced without words. Toccata and Fugue in D Minor for Organ13 This highly popular work begins with an alarming but courageous cry of will. It is heard three times, falling from one octave to another, and leads to a thunderous chordal rumble in the lower register. Thus, at the beginning of the toccata, a darkly shaded, grandiose sound space is outlined. 1 Adagio Questions and tasks 1 . What is unusual about the fate of Bach's music? 2. Tell us about Bach's homeland, his ancestors and his childhood years. 3. When and where did Bach's independent life begin? 4. How did Bach's activity in Weimar proceed and how did it end? 5. Tell us about Bach's life in Köthen and about his works of these years. 6. What instruments did Bach play and what was his favorite instrument? 7. Why did Bach decide to move to Leipzig, and what difficulties did he face there? 8. Tell us about the activities of Bach as a composer and Bach as a performer in Leipzig. Name the works he created there. Toccata (in Italian "toccata" - "touch", "hit" from the verb "toccare" "touch", "touch") is a virtuoso piece for keyboard instruments. 13 13 www.classON.ru Children's education in the field of Russian art Further on, powerful “swirling” virtuoso passages and wide chordal “bursts” are heard. They are several times separated by pauses and stops on extended chords. This opposition of rapid and slow movement is reminiscent of cautious respite between fights with violent elements. And after a free, improvisationally constructed toccata, a fugue sounds. It focuses on the imitative development of one theme, in which the strong-willed principle curbs elemental forces, as it were: 2 Allegro moderato Expanding widely, the fugue develops into a coda - the final, final section. Here again the improvisational element of the toccata breaks out. But she is finally pacified by tense imperative remarks. And the last bars of the whole work are perceived as a harsh and majestic victory of the inexorable human will. A special group of Bach's organ works are chorale preludes. Among them, a number of relatively small pieces of a lyrical nature are distinguished by deep expressiveness. In them, the sound of the chorale melody is enriched with freely developed accompanying voices. This is how, for example, one of Bach's masterpieces, the chorale prelude in F minor, is presented. Clavier music Inventions Bach compiled several collections of simple pieces from among those he composed while teaching his eldest son Wilhelm Friedemann. In one of these collections, he placed fifteen two-voice polyphonic pieces in fifteen keys and called them "inventions". Translated from Latin, the word "invention" means "invention", "invention". Bach's two-part inventions, available for performance by novice musicians, are truly remarkable in terms of polyphonic ingenuity and, at the same time, artistic expressiveness. Thus, the first two-part invention in C major is born from a short, smooth and unhurried theme of a calm, reasonable character. It is sung by the upper voice and immediately imitates _ repeats in another octave - the lower one: 14 www.classON.ru Children's education in the field of Russian art bouncing balls. During the repetition (imitation) of the upper one, the voice continues the melodic movement. This is how the opposition to the theme that sounds in the bass is formed. Further, this opposition - with the same melodic pattern - sometimes sounds when the theme reappears in one or another voice (bars 2-3, 7-8, 8-9). In such cases, the opposition is called retained (as opposed to non-retained ones, which are composed anew each time the theme is introduced). As in other polyphonic works, there are sections in this invention where the theme does not sound in its full form, but only its individual turns are used. Such sections are placed between the presentations of the topic and are called interludes. The general wholeness of the invention in C is given by the development based on one theme, which is typical for polyphonic music. In the middle of the piece, a departure from the main key is made, and towards the end it returns. Listening to this invention, one can imagine that two students diligently repeat the lesson, trying to tell each other better, with greater expression. In this piece, similar in structure to the C major invention, a special technique plays a large role. Following the initial introduction of the theme In the upper voice, the lower voice imitates not only it, but also its continuation (counterposition). Thus, for some time, a continuous canonical and imitation, or lycanon, arises. Simultaneously with the two-voice inventions, Bach composed fifteen three-voice polyphonic pieces in the same keys. He named them! "symphonies" (translated from Greek - "consonances"). For in the old days, polyphonic instrumental works were often called so. But later it became customary to call these pieces three-part inventions. They use more complex techniques of polyphonic development. The most striking example is the three-part invention in F minor (ninth). It begins with the simultaneous introduction of two contrasting themes. The basis of one of them, sounding in a bass voice, is a measured tense descent along chromatic semitones. Such moves are frequent in tragic arias from old operas. It is like a gloomy voice of evil fate, fate. The second theme in the middle, alto voice is permeated with mournful motifs-sighs: In the future, the third theme is closely intertwined with these two themes with even more penetratingly pleading exclamations. Until the very end of the play, the voice of evil fate remains inexorable. But the voices of human sorrow do not cease. They have an inextinguishable spark of human hope. And for a moment it seems to flash in the final F major chord. Bach's Symphony in B Minor Harpsichord at the Bach House in Eisenach 15 www.classON.ru Children's Education in the Russian Art Sphere (Three-Part Invention No. 15) is also noted for its lyrical penetration. In the preface to the manuscript of his inventions and "symphonies", Bach indicated that they should help develop a "singing manner of playing." On the harpsichord, this was difficult to achieve. Therefore, Bach preferred at home, including in classes with students, to use another stringed keyboard instrument - the clavichord. Its weak sound is unsuitable for concert performance. But, as already mentioned, unlike the harpsichord, the clavichord strings are not plucked, but are gently clamped with metal plates. This contributes to the melodiousness of the sound and allows you to make dynamic shades. Thus, Bach, as it were, foresaw the possibilities of melodious and coherent voice leading on the piano - an instrument that in his time was still imperfect in design. And this wish of the great musician should be remembered by all modern pianists. Courante is a triple dance of French origin. But for the French harpsichord chimes, some rhythmic sophistication and mannerisms were typical. The Courante in Bach's suite in C minor is akin to the Italian variety of this dance genre - more lively and mobile. This is facilitated by the flexible combination of two voices that seem to provoke each other: "French suite" in C minor Three collections of Bach's clavier suites have different names. He himself called the six suites included in the third collection “partitas” (the name of the suite “partita” is found not only in him14). And the other two collections - six pieces each - began to be called "French Suites" and "English Suites" after Bach's death, for reasons not exactly clarified. The second of the "French Suites" was written in the key of C minor. According to the tradition established in ancient suites, it contains four main parts - Allemande, Courante, Sarabande and Gigue, as well as two more intermedia parts - Aria and Minuet, inserted between Sarabande and Gigue. Allemande is a dance that was formed in the XVI-XVII centuries in several European countries - England, the Netherlands, Germany, France and Italy. So, for example, the old German allemande was a bit of a ponderous group dance. But, having entered the clavier suites, by the 18th century the allemande had almost lost its dance features. From her "ancestors" she retained only a leisurely sedate gait with a size of four or two quarters. It eventually became a loosely constructed prelude. It looks like a thoughtful lyrical prelude and Allemande from Bach's suite in C minor. Here, most often, three voices lead their lines. But sometimes a fourth voice is connected to them. At the same time, the most melodic voice is the upper one: Sarabande is a three-part Spanish dance. Once it was fast, temperamental, and later it became slow, solemn, often close to a funeral procession. The sarabande from the Bach suite has been aged from beginning to end in a three-part warehouse. The movement of the middle and lower voices is always strict, concentrated (quarters and eighths predominate). And the movement of the upper voice is much more free and mobile, very expressive. Sixteenth notes prevail here, moves at wide intervals (fifth, sixth, seventh) are often found. Thus, two contrasting layers of musical presentation are formed, a lyrically intense sound is created15: “Divided into parts” - the word “partita” is translated from Italian (from the verb “partire” - “to divide”). In the sarabande, the leading upper voice does not so much contrast with the rest, but is complemented by them. 14 15 16 www.classON.ru Children's education in the field of Russian art Prelude and Fugue in C minor from the first volume of The Well-Tempered Clavier Prelude and Fugue in C Major, Prelude and Fugue in C Minor, Prelude and Fugue in C Sharp Major, Prelude and Fugue C-sharp minor - and so on through all twelve semitones included in the octave. The result is a total of 24 two-part "prelude and fugue" cycles in all major and minor keys. This is how both volumes (in total - 48 preludes and fugues) of Bach's Well-Tempered Clavier are built. This grandiose work is recognized as one of the greatest in world musical art. The preludes and fugues from these two volumes are included in the training and concert repertoire of all professional pianists. In the time of Bach, in the tuning of keyboard instruments, uniform temperament was gradually finally established - dividing the octave into twelve equal semitones. Previously, the customization system was more complex. With her, in keys with more than three or four characters, some intervals and chords sounded out of tune. Therefore, composers avoided using such keys. Bach was the first to brilliantly prove in The Well-Tempered Clavier that with equal temperament, all 24 keys can be used with equal success. This opened up new horizons for composers, increasing, for example, the ability to make modulations (transitions) from one key to another. In the Well-Tempered Clavier, Bach established the type of two-movement cycle "prelude and fugue". The prelude is built freely. In it, a significant role may belong to the homophonic-harmonic warehouse and improvisation. This creates a contrast to the fugue as a strictly polyphonic work. At the same time, the parts of the "prelude and fugue" cycle are united not only by a common tonality. Between them, in each case, subtle internal connections are manifested in their own way. These common typical features can be traced in the Prelude and Fugue in C minor from the first volume of The Well-Tempered Clavier. The prelude consists of two main sections. The more spacious first is completely filled with a quick uniform movement of sixteenths in both hands. It is saturated from the inside with expressive melodic and harmonic elements. It seems as if, constrained by the shores, a restless stream is seething: Gigue is a swift, perky dance, originating from Ireland and England16. In the old days, English sailors loved to dance the jig. In suites, the gigue is usually the final, final movement. In his C minor Giguet, Bach often uses the technique of canonical imitation between the two voices (as in the Invention in F major). The presentation of this play is permeated through with a “bouncing” dotted rhythm: Compared to the contrast between Allemande and Courante, the contrast between Sarabande and Gigue is sharper. But it is softened by two additional parts inserted between them. The part called "Aria" does not sound more like a solo vocal number in an opera, but like a calm, ingenuous song. The next Minuet is a French dance that combines mobility with grace. So in this suite, with a single general tonality, all parts are differently compared in figurative terms. The dimensions of the jig are predominantly three-way. In the XVIII century it is mainly 3/8, 6/8, 9/8, 12/8. 16 17 www.classON.ru Children's education in the field of Russian art in a medium voice, a clear, embossed, well-remembered theme with an elastic dance rhythm: 11 Moderato Energetic perseverance is combined in the theme with grace, sly mischief peeps through strong-willed composure. This provides opportunities for further diverse and dynamic development. At the beginning of development, the theme sounds light - the only time it is performed in a major key (E-flat major). In the reprise, of the three main passages of the theme in the main key (C minor), the second, in the bass, acquires such a powerful scope that it makes one recall the raging natural forces in the prelude. And one more thing, the final implementation of the fugue theme ends with an enlightened house major chord. In such a similarity between the endings of the prelude and fugue, an internal emotional relationship of the contrasting parts of the cycle is revealed. Having accumulated powerful energy, this flow at the end of the first section, as it were, overflows over the edge and at the beginning of the next section it becomes even more impetuous, threatening to sweep away everything in its path. This climax of the prelude is marked by a change in tempo to the fastest one (Pgesto) and the use of a polyphonic device - a two-voice canon. But the raging elements are suddenly stopped by imperious strokes of chords and meaningful phrases of recitative. Here comes the second change of pace - to the slowest one (Adagio). And after the third change of tempo to a moderately fast A11eggo in the final bars of the prelude, the tonic organ point in the bass gradually slows down the movement of the sixteenths in the right hand. It becomes softly spreading and freezes on a C major chord. There is peace, tranquility. After such a free, improvisational completion of the prelude, attention switches to a different, contrasting plan. A three-voice fugue begins. This word in Latin and Italian means "running", "flight", "fast current". In music, a fugue is a complex polyphonic work, where the voices seem to echo, catching up with each other. Most fugues are based on a single theme. Less common are fugues with two, even more rarely with three or four themes. And according to the number of voices, fugues are two-, three-, four- and five-part. Single-dark fugues begin with a presentation of the theme in the main key in any one voice. The theme is then imitated alternately by the other voices. This is how the first section of the fugue, the exposition, is formed. In the second section - development - the theme appears only in other keys. And in the third, last section - the reprise9 - it is again carried out in the main key, but it is no longer presented in one voice. The exposition here is definitely not repeated. In fugues, retained counterpositions and interludes are widely used. Bach's C-minor fugue, in question, begins, appearing in Fugue - the highest form of polyphonic music - has reached its full maturity and brightest flowering in Bach's work. The famous Russian composer and pianist of the 19th century, Anton Grigoryevich Rubinstein, in his book “Music and Its Representatives”, wrote, admiring the “Well-Tempered Clavier”, that one can find there “fugues of religious, heroic, melancholic, majestic, mournful, humorous, pastoral, dramatic character; in one thing they are all alike - in beauty ... ”Johann Sebastian Bach’s age was the great German composer Georg Friedrich Handel (1685-1759) - a wonderful master of polyphony, a virtuoso organist. His fate was different. He spent most of his life outside of Germany, moving from one country to another (he lived in England for several decades). 18 www.classON.ru Children's education in the field of Russian art Handel is the author of many operas, oratorios, various instrumental works. Formation of classical style in music Questions and tasks 1 . What do the spiritual and secular works of Bach have in common? 2. Tell us about the figurative nature of the Toccata and Fugue in D minor for organ. 3. Sing the themes of Bach's inventions that you know. What is the opposition when it is called withheld? 4. What is an interlude in a polyphonic work? Which imitation is called canonical or canon? 5. Name and describe the main parts of the "French Suite" in C minor. 6. How is Bach's Well-Tempered Clavier constructed? 7. What is the main difference between a prelude and a fugue? Show this with the example of the Prelude and Fugue in C minor from the first volume of The Well-Tempered Clavier. Are there similarities between them as well? The musical theater of the 18th century, especially its middle and second half, is a time of great change in all areas of European musical art. With the onset of this century, two genres gradually emerged in Italian opera - opera seria (serious) and opera buffa (comic). Mythological and historical plots still prevailed in seria operas, in which the so-called "high" heroes appeared - mythological deities, kings of ancient states, legendary commanders. And in buffa operas, the plots have become predominantly modern everyday ones. The heroes here were ordinary people who acted energetically and realistically. Giovanni Battista Pergolesi's The Servant Lady by Giovanni Battista Pergolesi, which appeared before the public in 1733 in Naples, was the first striking example of an opera buffa. The heroine, the enterprising maid Serpina, deftly marries her grouchy master Uberto and becomes a mistress herself. Like many early Italian buffa operas, The Servant-Mistress was originally performed as a stage interlude during intermissions between the acts of Pergolesi's opera seria The Proud Prisoner (recall that the word "interlude" is Latin in origin and means "interaction"). Soon, The Servant-Madam gained great fame in many countries as an independent work. Comic opera was born in France in the second half of the 18th century. It arose from the cheerful, witty comedy performances with music given in theaters at the Parisian fairs. And to turn into a comic opera, where vocal numbers became the main characteristic of the characters, the example of the Italian buffa opera helped the French fair comedies. For this performance in Paris, the opera troupe of the Italian "buffons" was of great importance, when the capital of France was literally enchanted by Pergolesi's "Servant Madam". Unlike Italian opera buffa, in French comic operas, ariose numbers alternate not with recitatives, but with conversational dialogues. The sing-spire is also built - a German and Austrian variety of comic opera, which appeared in the second. Main works Vocal and instrumental works "The Passion according to John", "Passion according to Matthew" Mass in B minor Sacred cantatas (about 200 survived) and secular cantatas (survived over 20) Orchestral works 4 suites (“overtures”) 6 “Brandenburg Concertos” Concertos for solo instruments with chamber orchestra 7 concertos for harpsichord 3 concertos for two, 2 for three harpsichords 2 concertos for violin Concerto for two violins Works for bowed instruments 3 sonatas and 3 partitas for solo violin 6 sonatas for violin and harpsichord 6 suites (“sonatas”) for cello solo Organ works 70 choral preludes Preludes and fugues Toccata and fugue in D minor Passacaglia in C minor Keyboard works Collection “Little Preludes and Fugues” 15 of two-part inventions and 15 three-part inventions (“symphonies”) 48 preludes and fugues of the Well-Tempered Clavier 6 “French” and 6 “English” suites 6 suites (partitas) “Italian Concerto” for harpsichord solo “Chromatic fantasy and fugue” “Art fugues” 19 www.classON.ru Children's education in the field of Russian art in the middle of the 18th century17. The musical language of all varieties of comic opera is characterized by a close connection with folk song and dance melodies. In the second half of the 18th century, serious opera genres were radically reformed by the great German composer Christoph Willibald Gluck (1714-1787). He wrote his first reformist opera, Orpheus and Eurydice (1762), based on the story of the legendary ancient Greek singer, which has been repeatedly used in operas since the earliest ones (this was discussed in the Introduction). Gluck followed a difficult path to his reform in the opera. He happened to visit many European countries - Germany, Austria, Denmark, as well as in the Czech Republic populated by Slavs, along with Italy - in England. Before settling firmly in Vienna, Gluck staged 17 of his opera series on the stages of theaters in Milan, Venice, Naples, London, Copenhagen, Prague and other cities. Operas of this genre were performed in the court theaters of many European countries. The exception was France. There, in the middle of the 18th century, they continued to compose and stage serious operas only in the traditional French style. But Gluck carefully studied the opera scores of the famous French composers Jean-Baptiste Lully and Jean-Philippe Rameau. In addition, Gluck wrote and successfully staged in Vienna eight works in the new genre of French comic opera. He was undoubtedly well acquainted with Italian buffa operas, with German and Austrian singspiel. All this knowledge enabled Gluck to resolutely renew the already outdated principles of composition for serious operas. In his reformist operas, staged first in Vienna and then in Paris, Gluck began to convey the emotional experiences of the characters with much greater truthfulness and dramatic intensity, effectiveness. He refused to pile up virtuoso passages in arias, and increased the expressiveness of recitatives. His operas became more purposeful in terms of musical and stage development, and more harmonious in composition. Thus, in the musical language and in the construction of new comic and reformed serious operas, important distinguishing features of the new, classical style were identified - the active effectiveness of development, simplicity and clarity of expressive means, compositional harmony, and the general noble and sublime character of music. This style gradually took shape in European music during the 18th century, matured by 1770-1780 and dominated until the middle of the second decade of the 19th century. It should be noted that the definition of "classic" may have another, broader meaning. "Classic" (or "classic") is also called musical and other works of art that have been recognized as exemplary, perfect, unsurpassed - regardless of the time of their creation. In this sense, the masses of the 16th-century Italian composer Palestrina, Prokofiev's operas, and Shostakovich's symphonies, Russian composers of the 20th century, can be called classical, or classics. Instrumental Music On the same broad international basis as Gluck's operatic reform, in the 18th century there was an intensive development of instrumental music. It was carried out by joint efforts of composers from many European countries. Based on song and dance, developing the classical clarity and dynamism of the musical language, they gradually formed new genres of cyclic instrumental works - such as the classical symphony, classical sonata, classical string quartet. Sonata form is of great importance in them. Therefore, instrumental cycles are called sonata or sonata-symphony. sonata form. You already know that the highest form of polyphonic music is the fugue. And the sonata form is the highest form of homophonic harmonic music, where only sometimes polyphonic techniques can be used. In their construction, these two forms are similar to each other. Like the fugue, there are three main sections in sonata form: exposition, development, and recapitulation. But there are also significant differences between them. The main difference between the sonata form and the fugue immediately appears in exposition 18. The vast majority of fugues are entirely built on one theme, which is carried out alternately in each exposition. This German word comes from “singen” (“sing”) and “Spiel” (“play”) . 18 The word is of Latin origin, meaning "presentation", "show". 20 www.classON.ru Children's education in the field of art in Russia voice. And in the exposition of the sonata form, as a rule, two main themes appear, more or less different in character. First, the theme of the main part sounds, later the theme of the side part appears. But in no case should you understand the definition of "side" as "secondary". For in fact the theme of the side part plays no less important role in sonata form than the theme of the main part. The word "secondary" is used here because, unlike the first, it necessarily sounds in the exposition not in the main key, but in another, that is, as if in a secondary one. In classical music, if the main part in the exposition is major, then the side part is stated in the key of the dominant (for example, if the key of the main part is C major, then the key of the side part is G major). If the main part in the exposition is minor, then the side part is stated in parallel major (for example, if the key of the main part is C minor, then the key of the side part is E-flat major). Either a small bundle or a connecting batch is placed between the main and side parties. An independent, melodically embossed theme may also appear here, but more often the intonations of the theme of the main part are used. The connecting part acts as a transition to the side part, it modulates into the key of the side part. Thus, tonal stability is violated. Rumor begins to expect the onset of some new "musical event". It turns out to be the appearance of the theme of a side party. Sometimes the exposition may be preceded by an introduction. And after a side part, either a small conclusion sounds, or a whole final part, often with an independent theme. This is how the exposition ends, fixing the tone of the side part. At the direction of the composer, the entire exposition may be repeated. Development - the second section of the sonata form. In it, topics familiar from the exposition appear in new versions, alternate in different ways, and are compared. Such interaction often involves not whole themes, but motifs and phrases isolated from them. That is, the topics in development are, as it were, divided into separate elements, revealing the energy contained in them. In this case, there is a frequent change of keys (the main key is rarely affected here and not for long). Appearing in different keys, the themes and their elements seem to be illuminated in a new way, shown from new points of view. After development in development reaches a significant tension at the climax, its course changes direction. At the end of this section, a return to the main key is being prepared, there is a turn to the reprise. The reprise is the third section of the sonata form. It begins with the return of the main part in the main key. The connecting part does not lead to a new key. On the contrary, it fixes the main key, in which both the secondary and final parts are now repeated. So the reprise, with its tonal stability, balances the unstable nature of the development and gives the whole a classical harmony. The reprise can sometimes be supplemented by a final construction - a coda (derived from the Latin word meaning "tail"). So, when a fugue sounds, our attention is focused on listening, thinking and feeling into one musical idea, embodied by one theme. When a work is heard in sonata form, our hearing follows the comparison and interaction of two main (and complementary) themes - as if following the development of various musical events, musical action. This is the main difference between the artistic possibilities of these two musical forms. Classical sonata (sonata-symphonic) cycle. Approximately in the last third of the 18th century, the classical sonata cycle finally took shape in music. Previously, instrumental works were dominated by the form of the suite, where slow and fast parts alternated, and the form of the old sonata close to it. Now, in the classical sonata cycle, the number of parts (usually three or four) has been precisely determined, but their content has become more complicated. The first movement is usually written in sonata form, which was discussed in the previous paragraph. She walks at a fast or moderately fast pace. Most often it is A11eggo. Therefore, such a movement is usually called a sonata allegro. The music in it often has an energetic, effective character, often tense, dramatic. The second movement always contrasts with the first in tempo and general character. Often it is slow, the most lyrical and melodious. But it can also be different, for example, similar to a slow narrative or dance-graceful. In a three-part cycle, the last, third part, the final is again fast, usually more rapid, but less internally intense in development compared to the first. The finales of classical sonata cycles (especially symphonies) often paint pictures of crowded festive fun, and their themes are close to folk songs and dances. In this case, the rondo form is often used (from the French "ronde" - "circle"). As you know, the first section here (refrain) is repeated several times, alternating with new sections (episodes). 21 www.classON.ru Children's education in the field of art in Russia his first opera? 3. By what time did the classical style mature and until what time did the classical style dominate in music? Explain the difference between the two definitions of "classic". 4. What is the similarity in general construction between fugue and sonata form? And what is the main difference between them? 5. Name the main and additional sections of the sonata form. Draw her diagram. 6. How do the main and side parts of the sonata form correlate with each other in its exposition and in its reprise? 7. What is typical for development in sonata form? 8. Describe the parts of the classical sonata cycle. 9. Name the main types of classical sonata cycles depending on the composition of the performers. All this distinguishes many finals of the four-part cycles. But in them, between the extreme parts (first and fourth), two middle parts are placed. One - slow - in a symphony is usually the second, and in the quartet - the third. The third movement of the classical symphonies of the 18th century is the Minuet, which takes the second place in the quartet. So, we mentioned the words "sonata", "quartet", "symphony". The difference between these cycles depends on the composition of the performers. A special place belongs to the symphony - a work for the orchestra, designed to sound in a large room in front of numerous listeners. In this sense, the concerto is close to the symphony - a three-movement composition for a solo instrument with orchestra accompaniment. The most common chamber instrumental cycles are sonata (for one or two instruments), trio (for three instruments), quartet (for four instruments), quintet (for five instruments)19. The sonata form and the sonata-symphonic cycle, like the entire classical style in music, were formed in the 18th century, which is called the “age of Enlightenment” (or “the Age of Enlightenment”), as well as the “age of Reason”. In this century, especially in its second half, representatives of the so-called "third estate" were nominated in many European countries. These were people who had neither titles of nobility nor spiritual titles. They owed their success to their own work and initiative. They proclaimed the ideal of the "natural man", who was endowed with creative energy, bright mind and deep feelings by nature itself. This optimistic democratic ideal was reflected in its own way by music and other forms of art and literature. For example, the victory of the human mind and tireless hands at the beginning of the Enlightenment was glorified by the famous novel by the English writer Daniel Defoe, published in 1719, The Life and Amazing Adventures of Robinson Crusoe. Joseph Haydn 1732-1809 The classical style in music reached its maturity and flourishing in the works of Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. The life and work of each of them spent a long time in Vienna, the capital of Austria. Therefore, Haydn, Mozart and Beethoven are called the Viennese classics. Austria was a multinational empire. In it, along with the Austrians, whose native language is German, lived Hungarians and various Slavic peoples, including Czechs, Serbs, Croats. Their songs and Questions and assignments 1 . Name the national varieties of comic operas of the 18th century. What is the difference between the construction of the Italian buffa opera and the construction of the French comic opera? 2. With what countries and cities was the activity of the great operatic reformer Christoph Willibald Gluck connected? On what plot he wrote The names of other chamber-ensemble instrumental cycles - sextet (6), septet (7), octet (8), nonet (9), decimet (10). The definition of "chamber music" comes from the Italian word "camera" - "room". For until the 19th century, compositions for several instruments were often performed at home, that is, they were understood as “room music”. 19 22 www.classON.ru Children's education in the field of Russian art dance melodies could be heard both in villages and in cities. In Vienna, folk music sounded everywhere - in the center and on the outskirts, at street intersections, in public gardens and parks, in restaurants and pubs, in rich and poor private houses. Vienna was also a major center of professional musical culture, centered around the imperial court, chapels of the nobility 1 and aristocratic salons, cathedrals and churches. The Italian opera seria has long been cultivated in the Austrian capital; here, as already mentioned, Gluck began his operatic reform. Music abundantly accompanied court festivities. But the Viennese willingly attended the merry farce performances with music, from which the singshpils were born, and they were very fond of dancing. Of the three great Viennese musical classics, Haydn is the oldest. He was 24 when Mozart was born and 38 when Beethoven was born. Haydn lived a long life. He survived Mozart, who died early, by almost two decades and was still alive when Beethoven had already created most of his mature works. For the private princely theater, he wrote more than two dozen operas in the genres of seria, buffa, as well as several "puppet" operas for performances played by puppets. But the area of ​​his main creative interests and achievements is symphonic and chamber2 instrumental music. In total it is more than 800 compositions3. Among them, more than 100 symphonies, more than 80 string quartets and more than 60 clavier sonatas are especially significant. In their mature samples with the greatest completeness, brightness and originality, the optimistic worldview of the great Austrian composer was revealed. Only sometimes this bright attitude is set off by a gloomier mood. They are always overcome by Haydn's inexhaustible love of life, keen observation, cheerful humor, simple, healthy and at the same time poetic perception of the surrounding reality. Life path Early childhood. Rorau and Hainburg. Franz Joseph Haydn was born in 1732 in the village of Rorau, located in eastern Austria, near the Hungarian border and not far from Vienna. Haydn's father was a skilled coachmaker, his mother served as a cook on the estate of the count, the owner of Rorau. His eldest son Josef, who was affectionately called Zepperl in the family, parents early began to accustom him to industriousness, accuracy, cleanliness. Haydn's father did not know music at all, but he liked to sing, accompanying himself on the harp, especially when in his. guests gathered in a small house. Zepperl sang along in a clear silvery voice, revealing a remarkable ear for music. And when the boy was only five years old, he was sent to the neighboring town of Hainburg to a distant relative who led the church school and choir. In Hainburg, Sepperl learned to read, write, count, sing in a choir, and also began to master the skills of playing the clavichord and violin. But it was not easy for him to live in a strange family. Many years later, he recalled that he then received "more beaters than food." As soon as Zepperl got to Hainburg, he was ordered to learn to beat the timpani in order to participate in the same church procession with music. The boy took a sieve, pulled a piece of cloth over it, and began to exercise diligently. He successfully completed his task. Only when organizing a procession did they have to hang an instrument on the back of a very short person. And he was humpbacked, which caused laughter from the audience. In the chapel of St. Stephen's Cathedral in Vienna. Having visited Hainburg, the Viennese cathedral bandmaster and court composer Georg Reuter drew attention to the outstanding musical abilities Haydn was a sincere believer. He is the author of a number of masses and other vocal and instrumental works based on spiritual texts. 23 www.classON.ru Children's education in the field of Russian art Zepperl. So in 1740, the eight-year-old Haydn found himself in the capital of Austria, where he was accepted as a chorister in the chapel of the cathedral (main) Cathedral of St. Stephen. doing it myself. Difficult start of independent life. When, by the age of eighteen, the young man's voice began to break down - it temporarily became hoarse and lost flexibility, he was rudely and ruthlessly thrown out of the chapel. Finding himself without shelter and funds, he could die from hunger and cold if he had not been sheltered for some time by a familiar singer who lived with his wife and child in a tiny room under the roof. Haydn began to take on any musical work that turned up: he copied notes, gave penny lessons in singing, playing the clavier, participated as a violinist in Street instrumental ensembles that performed serenades at night in honor of one of the townspeople. Finally, he was able to rent a small room on the sixth and last floor of a house in the center of Vienna. The room was pierced by the wind, there was no stove in it, in winter the water often froze. Haydn lived in such a plight for ten years. But he did not lose heart and enthusiastically engaged in his favorite art. “When I sat at my old, worm-eaten clavier,” he recalled in his old age, “I did not envy the happiness of any king.” Haydn was helped to overcome everyday difficulties by his lively, cheerful character. Once, for example, at night he placed his fellow musicians in secluded corners on one of the streets of Vienna, and at his signal, everyone played what he liked. The result was a "cat concert", which caused a stir among the surrounding residents. Two of the musicians ended up in the police, but the instigator of the scandalous "serenade" was not extradited. Acquainted with a popular comic actor, Haydn composed in collaboration with him the singspiel "The Lame Demon" and earned a small amount of money , served him as a footman. Gradually, Haydn began to gain fame in Vienna both as a teacher and as a composer. He met famous people; musicians and music lovers. In the house of a prominent official, he began to participate in the performance of chamber ensembles and created his first string quartets for concerts in his country estate. And Haydn wrote his first symphony in 1759, when he received a small orchestra at his disposal, becoming the head of Count Morzin's chapel. The count kept only unmarried musicians. Haydn, who married the daughter of a Viennese hairdresser, was forced to keep it a secret. But this continued only until 1760, when in Vienna, a large beautiful city with magnificent buildings and architectural ensembles, a wave of new vivid impressions washed over the boy. Multinational folk music sounded around. In the cathedral and at the imperial court, where the choir also performed, solemn vocal and instrumental works were performed. But the conditions of existence again turned out to be difficult. In the classroom, rehearsals and performances, the choir boys were very tired. They were fed poorly, they were constantly half-starved. They were severely punished for their pranks. Little Haydn continued to diligently study the art of singing, playing the clavier and violin, and he really wanted to compose music. However, Reuter paid no attention to this. Too busy with his own affairs, for all nine years of Haydn's stay in the chapel, he gave him only two lessons in composition. But Josef pursued his goal stubbornly, diligently. A few years later he wrote another singspiel called "The New Lame Imp". 20 24 www.classON.ru Children's education in the field of Russian art, the count's material affairs were shaken and he dissolved his chapel. Haydn's marriage was unsuccessful. His chosen one was distinguished by a heavy, grumpy character. She was not at all interested in her husband's composing affairs - to the point that she made papillottes and linings for pate from the manuscripts of his compositions. A few years later, Haydn began to live separately from his wife. They didn't have children. In the chapel of the princes Esterhazy. In 1761 a wealthy Hungarian; Prince Pal Antal Esterhazy invited Haydn to Eisenstadt as vice-kapellmeister. From that moment, Haydn's service with the Esterhazy family began, which lasted for three whole decades. Five years later, he became bandmaster - after the elderly musician who held this position died. the heir of Pala Antal, who died in 1762, was distinguished by his commitment to luxury and expensive entertainment, his brother Myklosh 1, nicknamed the Magnificent. A few years later, he moved his residence from Eisenstadt to a new country palace of 126 rooms, surrounded it with a huge park, built an opera house with 400 seats and a puppet theater nearby, and significantly increased the number of musicians in the chapel. Work in it gave Haydn good financial support, and in addition - the opportunity to compose a lot and immediately test himself in practice, directing the orchestral performance of his new works. In Esterhaz (as the new princely residence was called), crowded receptions were often held, often with the participation of high-ranking foreign guests. Thanks to this, Haydn's work gradually became known outside of Austria. But there was in all this, as they say, the other side of the coin. When he entered the service, Haydn signed a contract, according to which he became a kind of musical servant. He had to appear daily, before and after dinner, in the front of the Palace in a powdered wig and white stockings, to listen to the orders of the prince. The contract obligated Haydn to urgently write "any music that his lordship desires, not to show new compositions to anyone, and even more so not to allow anyone to write them off, but to keep them solely for his lordship and without his knowledge and gracious permission not to compose anything for anyone" . In addition, Haydn was required to observe order in the chapel and the behavior of musicians, give lessons to singers, and be responsible for the safety of instruments and notes. He did not live in a palace, but in a neighboring village, in a small house. From Eisenstadt, the princely court used to move to Vienna in winter. And from Esterhazy, Haydn could get into the capital only occasionally with the prince or by special permission. Over the many years spent in Eisenstadt and Esterhase, Haydn went from a novice musician to a great composer, whose work reached high artistic perfection and was recognized not only in Austria, but also far beyond its borders. So, six "Paris Symphonies" (No. 82-87) were written by him by order from the capital of France, where they sounded with success in 1786. Haydn's meetings with Wolfgang Amadeus Mozart in Vienna date back to the 1780s. Friendly rapprochement had a beneficial effect on the work of both great musicians. Over time, Haydn became increasingly aware of his dependent position. In his letters to friends from Esterhazy in Vienna, written in the first half of 1790, there are such phrases: “Now - I am sitting in my wilderness - abandoned - like a poor orphan - almost without the company of people - sad ... The last Princes of Esterhazy owned vast estates, had many servants and led a royal life in their palaces. Special 25 www.classON.ru Children's education in the field of Russian art I didn't know for days whether I was a bandmaster or a bandleader... It's sad to be a slave all the time...» A new turn in fate. Trips to England. Miklós Esterházy died in the autumn of 1790. He was an enlightened music lover, played stringed instruments and could not but appreciate in his own way such a "musical servant" as Haydn. The prince bequeathed him a large lifetime pension. Miklos' heir Antal, indifferent to music, dismissed the chapel. But wishing that the famous composer continued to be his court bandmaster, he even increased the cash payments to Haydn, who, thus, became free from official duties and could completely dispose of himself. Haydn moved to Vienna with the intention of composing music, and at first turned down offers to visit other countries. But then he agreed to an offer to make a long trip to England and at the beginning of 1791 arrived in London. Thus, approaching his sixtieth birthday, Haydn saw the sea for the first time with his own eyes and for the first time found himself in another state. Unlike Austria, which was still feudal-aristocratic in its ways, England had long been a bourgeois country, and the social, including musical, life in London was very different from Vienna. In London, a huge city with many industrial and commercial enterprises, concerts prevailed not for selected persons invited to the palaces and salons of the nobility, but organized in public halls, where everyone came for a fee. The name of Haydn in England was already surrounded by a halo of glory. Both famous musicians and high-ranking persons treated him not only as an equal, but also with special respect. His new works, in the performance of which he acted as a conductor, met enthusiastically and were generously paid. Haydn conducted a large orchestra of 40-50 people, that is, twice the size of the Esterhazy chapel. Oxford University awarded him an honorary Doctor of Music degree. Haydn returned to Vienna a year and a half later. On the way he visited the German city of Bonn. There he first met the young Ludwig van Beethoven, who soon moved to Vienna with the intention of studying with Haydn. But Beethoven did not take lessons from him for long. Two musical geniuses, too different in age and temperament, did not find real mutual understanding then. However, Beethoven dedicated his three piano sonatas (No. 1-3) to Haydn during publication. Haydn's second trip to England began in 1794 and lasted even a little over a year and a half. The success was again triumphant. From the many works created; during these trips and in connection with them, the twelve so-called "London Symphonies" were especially significant. The last years of life and creativity. The next prince of Esterházy, Miklós II, was more interested in music than his predecessor. Therefore, Haydn began to sometimes run from Vienna to Eisenstadt and wrote several masses on the order of the prince. The main works of the composer of recent years - two monumental oratorios "The Creation of the World" and "The Seasons" - were performed in Vienna with great success (one in 1799, the other in 1801). Depiction of ancient chaos, from which the world then arises, the creation of the Earth, the birth of life on Earth and the creation of man - such is the content of the first of these oratorios. The four parts of the second oratorio (“Spring”, “Summer”, “Autumn”, “Winter”) are composed of well-aimed musical sketches of rural nature and peasant life. 26 www.classON.ru Children's education in the field of Russian art After 1803, Haydn did not compose anything else. He quietly lived out his life, surrounded by glory and honor. Haydn died in the spring of 1809, at the height of the Napoleonic Wars, when the French entered Vienna. cellos and double basses. The group of woodwind instruments consists of flutes, oboes, clarinets and bassoons 21. Haydn's group of brass instruments is formed by horns and trumpets, and he used only timpani from percussion instruments and only in the last, twelfth London Symphony did he add a triangle, cymbals and a drum. Questions and tasks 1 . What three great composers are called the Viennese musical classics? What explains such a definition? 2. Tell us about the musical life of Vienna in the 18th century. 3. Name the main musical genres in Haydn's work. 4. Where and how did Haydn's childhood and youth pass? 5. How did Haydn start his independent journey? 6..How did Haydn's life and work proceed during his service in the chapel of the princes Esterhazy? 7. Tell us about Haydn's trips to England and about his last years of life. Symphonic creativity When Haydn wrote his first symphony in 1759, many works in this genre already existed and continued to be created. They arose in Italy, Germany, Austria and other European countries. In the middle of the 18th century, for example, symphonies that were composed and performed in the German city of Mannheim, which had the best orchestra for that time, gained general fame. Among the composers of the so-called "Mannheim school" there were many Czechs. One of the ancestors of the symphony is the three-part Italian opera overture (with the ratio of the parts according to the tempo: “quick-slow-quick”.). In the early (“pre-classical”) symphonies, the path to the future classical symphony was still paving, the hallmarks of which were the significance of figurative content and the perfection of form. Taking this path, Haydn arrived at his mature symphonies in the 1780s. And at the same time, the mature symphonies of the still very young Mozart appeared, amazingly quickly advancing to the heights of artistic mastery. Haydn created his London Symphonies, which crowned his achievements in this genre, after the untimely death of Mozart, which deeply shocked him. In Haydn's mature symphonies, the following typical composition of the four-movement cycle was established: sonata allegro, slow movement, minuet and finale (usually in the form of a rondo or sonata allegro). At the same time, the classical composition of the orchestra from four groups of instruments was determined in its main features. Leading group - string. It includes violins, violas, Haydn did not always use clarinets. Even in his London Symphonies, they appear only in five (out of twelve). 21 27 www.classON.ru Children's education in the field of Russian art This symphony is known as "Military". There are also names for some of Haydn's other symphonies. In most cases, they are not given by the composer himself and mark only one detail, often pictorial, for example, imitation of clucking in the slow part of the symphony "Chicken" or "ticking" - in the slow part of the symphony "Hours". A special story is associated with the symphony in F-sharp minor, which was given the name "Farewell". It has an additional fifth part (more precisely, an Adagio of the coda type). During its performance, one by one, the orchestra members put out the candles at their consoles, take their instruments and leave. Only two violinists remain, who quietly and sadly play the last bars and also leave. There is the following explanation for this. As if once in the summer, Prince Miklos I delayed the musicians of his chapel in Esterhaz longer than usual. And they wanted to get a vacation as soon as possible in order to see their families who lived in Eisenstadt. And the unusual second finale of the Farewell Symphony served as a hint of these circumstances. In addition to symphonies, Haydn has many other works for orchestra, including over a hundred individual minuets. And suddenly everything is joyfully transformed: the exposition of the sonata allegro begins. Instead of a slow tempo - fast (Allegro con spirito - "Quickly, with enthusiasm"), instead of heavy bass unisons - the first motive of the mobile, contagiously cheerful, dance theme of the main part is born from the same sounds of G and A-flat in a high register. All the motifs of this theme, stated in the main key, begin with a repetition of the first sound - as if with a fervent trampling: Symphony in E-flat major This is the eleventh of Haydn's twelve "London Symphonies". Its main key is E-flat major. It is known as the “timpani tremolo symphony” 22. The symphony is in four movements. The first part begins with a slow introduction. The tremolo (“fraction”) of the timpani tuned to the tonic sounds softly. It is like a distant roll of thunder. Then the very theme of the introduction unfolds in smooth wide "ledges". First, it is played in octave unison by cellos, double basses and bassoons. It seems as if some mysterious shadows are quietly floating, sometimes stopping. Here they hesitate and freeze: in the last measures of the introduction, unisons alternate several times on neighboring sounds G and A-flat, forcing the ear to expect - what will happen next? The theme is repeated twice by the piano string instruments, complemented by a wild roar of dancing fun, sounding forte in the whole orchestra. This rumble quickly sweeps by, and a hint of mystery appears again in the connecting part. Tonal stability is broken. There is a modulation in B-flat major (dominant of E-flat major) - the key of the side part. There is no new theme in the connecting part, but the original motive of the theme of the Timpani is heard - hemispheres with skin stretched over them, which are struck with two sticks. Each hemisphere can only produce a sound of one pitch. Classical symphonies usually use two hemispheres tuned to tonic and dominant. 22 28 www.classON.ru Children's education in the field of Russian art of the main part and a distant reminder of the theme of the introduction: The exposition ends with the affirmation of the key of the side part (B-flat major). The exposition is repeated, and development follows. It is saturated with polyphonic imitation and tonal-harmonic development of motifs isolated from the theme of the main part. The theme of the side game appears towards the end of development. It is performed entirely in the key of D-flat major, far from the main one, that is, it appears, as it were, in a new, unusual light. And one day (after a general pause with a fermata) the intonations of the mysterious theme of the introduction also appear in the bass. The development sounds predominantly piano and pianissimo, and only occasionally - forte and fortissimo with separate sforzando accents. This enhances the impression of mystery. Motifs from the theme of the main party in their development sometimes resemble a fantastic dance. One can imagine that this is a dance of some mysterious lights, sometimes flashing brightly. In the reprise in the key of E-flat major, not only the main part, but also the side part is repeated, and the binder is skipped. Some mystery appears in the code. It begins, like the introduction, with an Adagio tempo, a quiet timpani tremolo and slow unison moves. But soon, at the very end of the first part, the fast tempo, loud sonority and cheerful dance “stomping” return. The second part of the symphony - Andante - is a variation on two themes - song in C minor and song-marching in C major. The construction of these so-called double variations is as follows: the first and second themes are outlined, then follow: the first variation of the first theme, the first variation of the second theme, the second variation of the first theme, the second variation of the second theme and code, based on the material of the second theme. To this day, researchers argue about the nationality of the first topic. Croatian musicians believe that this is a Croatian folk song in terms of its characteristics, while Hungarian musicians believe that this is a Hungarian song. Serbs, Bulgarians, Poles also find their national features in it. This dispute cannot be resolved with certainty, because the recordings of such a theme of a side part are again a cheerful dance. But in comparison with the main party, she is not so energetic, but more graceful, feminine. The melody sounds on violins with an oboe. A typical waltz accompaniment brings this theme closer to the lander - an Austrian and South German dance, one of the waltz's ancestors: 29 www.classON.ru Children's education in the field of Russian art of the old melody and its words was not found. Apparently, the features of several Slavic and Hungarian tunes have merged in it; such, in particular, is a peculiar move for an augmented second (E-flat - fadiez): the variations of the second theme resume the heroic marching tread, embellished with virtuoso passages - flute graces. And in a large code, unexpected turns in the development of "musical events" take place. First, the marching theme turns into a gentle, transparent sound. Then a motif isolated from it with a dotted rhythm develops intensely. This leads to the sudden appearance of the tonality of E-flat major, after which the final passage of the march theme sounds brightly and solemnly in C major. The third part of the symphony - the Minuet - originally combines the dignified gait of a high-society dance with capricious wide leaps and syncopations in the melody: A chant and a second, marching major theme. Contrasting with the first, it at the same time has some affinity with it - a fourth beat, an ascending and then descending direction of the melody and an elevated fourth step (fadiez): This whimsical theme is set off by a smooth, calm movement in the Trio - the middle section of the Minuet, located between the first section and its exact repetition23: The exposition of the first theme by piano and pianissimo string instruments is like a leisurely narration, like the beginning of a story about some unusual events. The first of these may be presented with a suddenly loud presentation of the second, marching theme, in which wind instruments are added to the string group. The narrative tone is retained in the first variation of the first theme. But mournful and wary echoes join her sound. In the first variation of the second theme, the solo violin colors the melody with whimsical patterned passages. In the second variation of the first theme, the narration suddenly takes on a stormy, agitated character (all instruments are used, including timpani). In the second, the Minuet (or rather, its extreme subtly bizarre sections in terms of their character) contrasts with the folk and everyday themes, on the one hand, the first and second parts of the symphony, and on the other hand, its last, fourth part - the finale. Here, as it should be in a classical sonata allegro, in the exposition the main part is presented in the main key of E-flat major, the side part is in the dominant key of B-flat major, and in the reprise both of them sound in E-flat major. However, in the side part, for a long time, the middle section of orchestral works was usually performed by three instruments. This is where the name "trio" comes from. 23 30 www.classON.ru Children's education in the field of art in Russia is a completely new topic. It is built on the material of the theme of the main party. derived from the French word "ronde", which means "circle" or "round dance". Questions and tasks 1 . When did Haydn and Mozart come to compose their mature symphonies? 2. What parts does a Haydn symphony usually consist of? Name the groups of instruments in Haydn's orchestra. 3. What titles of Haydn's symphonies do you know? 4. Why is Haydn's symphony in E-flat major called "with tremolo or Taurus"? What section does it start with? 5. Describe the main themes of sonata form in the first movement of this symphony. 6. In what form and on what topics was the second part of the symphony written? 7. Describe the main topics and sections of the third part. 8. What is the peculiarity of the correlation between the themes of the main and side parts in the finale? What is the connection between the character of the music in the first movement of the symphony and in its finale? Thus, it turns out that the entire finale is based on one theme. The composer, as if in an intricate game, either completely resumes the theme, or skillfully combines its variants and individual elements. And she's intriguing in her own right. After all, a harmonic basis first appears in it - the so-called "golden move" of two horns - a typical signal of hunting horns. And only then a dance melody, close to Croatian folk songs, is superimposed on this basis. It begins with “stomping” on one sound, and in the future this motive is repeated many times, imitated, moving from one voice to another. This is reminiscent of the opening motif of the main theme of the first movement and how it is developed there. In addition, the composer indicated the same tempo in the final - Allegro con spirito. Thus, in the finale, the element of a cheerful folk dance finally reigns. But here it has a special character - it looks like an intricate round dance, a group dance in which dance is combined with song and game action. This is also confirmed by the fact that in the exposition the main part is repeated in the main key two additional times - after a small transitional episode and after a side part. That is, it seems to resume, making a movement in a circle. And this introduces features of the rondo form into the sonata form. The very word "rondo", as already mentioned, clavier creativity When Haydn created his clavier works, the piano gradually replaced the harpsichord and clavichord from musical practice. Haydn wrote his early compositions for these ancient keyboard instruments, and on later editions he began to indicate "for harpsichord or piano" and, finally, sometimes only "for piano". Among his clavier works, the most significant place belongs to solo sonatas. Previously, it was believed that Haydn had only 52 of them. But then, thanks to the search of researchers, this number increased to 62. The most famous of them are sonatas in D major and E minor24. Sonata in D Major The theme of the main part, which begins the first part of this sonata, is a dance splashing with joy and cheerfulness with boyishly mischievous octave jumps, grace notes, mordents and repetitions of sounds. Such music can also be imagined as being played in an operebuffa: In earlier editions, these sonatas are printed as "No. 37" and "No. 34", and in later editions as "No. 50" and "No. 53". 24 31 www.classON.ru Children's education in the field of Russian art But then mischievous jumps from the main part penetrate into the development of the theme of the side part, and then - fussy passage Movement from the connecting part. It becomes more tense, sweeping, and suddenly quickly calms down - as if by some instantaneous decision. After that, the exposition ends with a nonchalantly dancing final party. There is again a lot of lively fuss in development. Here the octave jumps from the theme of the main part, moving to the left hand, become even more mischievous, and the passage movement reaches even greater tension and wide scope than in the development of the theme of the secondary part in the exposition. In the reprise, the sound of the side and final parts in the main key (D major) firmly establishes the dominance of a joyful mood. The strongest contrast is introduced into the sonata by the brief second movement, which is slow and restrained in character. It is written in the key of the same name in D minor. The heavy tread of the sarabande is heard in the music - an old dance, often taking on the character of a funeral procession. And in the expressive melodic exclamations with triplets and dotted rhythmic figures there is a similarity with the mournful melodies of the Hungarian gypsies: Cheerful, fussy passages of the sixteenths fill the linking party. And the theme of the side part (in the key of A major) is also danceable, only more restrained, elegant: 32 www.classON.ru Children's education in the field of Russian art Sonata in E Minor . He diligently prepared for it, but could not then carry it out because of his official duties in the Esterhazy Chapel. It is possible that the dreams of a distant "overseas" journey and the experiences associated with them were reflected in the E minor sonata that arose at that time. This is the only one of the few minor sonatas by Haydn where in the first movement a pronounced lyrical character is combined with a very fast tempo. The theme of the main part of this movement, with which the sonata begins, is also peculiar: But in Haydn's optimistic art, the gloomy images of death are always overcome by bright images of life. And the D minor second part of this sonata, ending not on the tonic, but on the dominant chord, directly passes the impetuous D major finale 25. The finale is built in the form of a rondo, where the main theme - the refrain (in the main key of D major) - is repeated three times, and between its repetitions there are changing sections - episodes: the first episode is in D minor, and the second - in G major. Here, only in the first, in D minor episode, mournful memories slip through - an echo of the middle part. The second episode, in G major, is already carelessly cheerful and leads to a comic "roll call" of the right and left hands on the same note. And the flying and dancing main theme of the finale (refrain rondo) is one of Haydn's most cheerful: The opening phrases of the theme are made up here of a combination of two elements. In the bass, in the left hand, the piano moves on a minor tonic triad - like calls to rush somewhere far away. And right there in the right hand follow quivering, as if doubting, wavering motives-answers. The general movement of the theme is soft, undulating, swaying. In addition, the size of the first movement - 6/8 - is typical of the barcarolle genre - "songs on the water"26. In the linking part, there is a modulation into G major parallel to E minor - the key of the side and final parts. The connecting and final parts, filled with moving passages of the sixteenths, frame the side part - light, dreamy. This is indicated by the Italian words "attacca subito il Finale", meaning "to begin the finale immediately." Initially, the songs of the Venetian gondoliers were called barcarolles. The very name of the genre comes from the Italian word "barca" - "boat". 25 26 33 www.classON.ru Children's education in the field of art Russia as if soaring up: nature, with the sound of signals, as if calling for the return journey, the heart seemed to start up in joyful anxiety! And here, after the chord transition, the main theme of the third movement (the finale) appears. This is the refrain of the rondo form in which the Finale is written. It looks like an inspired accompanying song that helps to rush “at full sail” to their native lands: So, the scheme of the rondo form, in the finale, is as follows: refrain (E minor), first episode (E major), refrain (E minor), second episode ( E major), refrain (E minor). Both episodes are connected with the refrain and with each other by melodic affinity. When the linking, secondary and final parts sound, the imagination draws tempting images - how freely a fair wind blows, how joyfully the fast movement is carried forward. Further, in the development, built on the material of the main, connecting and final parts, deviations in minor keys prevail. In the main, that is, not major, but minor tonality, the secondary and final parts that have become more spacious sound in the reprise. Nevertheless, sadness and spiritual doubts are finally defeated by striving into the unknown distance. Such is the meaning of the last bars of the first movement, where the invocative beginning of the theme of the main party is remarkably repeated. The second part of the sonata, slow, in G major, is a kind of instrumental aria, imbued with a light contemplative mood. Her light coloratura is full of echoes of birds chirping, murmuring streams: Questions and tasks 1. Name the main genre of Haydn's clavier music. How many of his sonatas are known? 2. Describe the main sections of the first movement of the sonata in D major. Is there a connection in this part between the main and side parts? 3. What contrast does the second movement of the sonata in D major bring to the music? What is its relationship with the finale? 4. Tell us about the features of the structure and nature of the theme of the main part of the first part of the sonata in E minor. Mature and characterize the rest of the topics and sections of this part. 5. What is the character of the second movement of the sonata in E minor? 6. Tell us about the form of the finale of the sonata in E minor and the nature of its main theme. Major works Over 100 symphonies (104) Series of concertos for various instruments and orchestra Over 80 quartets (for two violins, viola and cello) (83) 62 clavier sonatas Creation and Seasons oratorios 24 operas Arrangements of Scottish and Irish songs However, no matter how sweet a peaceful rest is somewhere far away, in the bosom of 34 www.classON.ru Children's education in the field of Russian art written in many genres - his symphonies, instrumental concertos, various chamber ensembles, piano sonatas, Requiem for choir, soloists and orchestra. Mozart's unusually early and rapidly developed phenomenal talent created around his name; halo of the legendary "musical miracle". Bright characteristic; he was given as an inspired artist by A. S. Pushkin in the play (“little tragedy”) “Mozart and Salieri”. Based on it, the opera of the same name by N. A. Rimsky Korsakov 27 was written. Mozart was the favorite composer of P. I. Tchaikovsky 28. Wolfgang Amadeus Mozart 1756-1791 Life path Family. Early childhood. The birthplace of Wolfgang Amadeus Mozart, who was born in January 1756, is the Austrian city of Salzburg. It is picturesquely spread out on the hilly banks of the fast Salzach river, which has laid its course in the eastern foothills of the Alps. Salzburg was the capital of a small principality, the ruler of which had the spiritual dignity of an archbishop. The father of Wolfgang Amadeus, Leopold Mozart, served in his chapel. He was a serious and highly educated musician - a prolific composer, violinist, organist and teacher. The "School of Violin Playing" published by him was distributed in several countries, including Russia. Of the seven children of Leopold and his wife Anna Maria, only two survived - the youngest son Wolfgang Amadeus and daughter Maria Anna (Nannerl), who was older! brother for four and a half years. When his father began to teach Nannerl, who had excellent abilities, to play the harpsichord, he soon began to study with the three-year-old Wolfgang, noticing his finest ear and amazing musical memory, for four years the boy had already tried to compose music, and his first surviving harpsichord pieces were recorded by his father, when the author was only five years old. There is a story about how four-year-old Wolfgang tried to compose a clavier concerto. Together with the pen, he dipped his fingers in the inkwell and put blots on the music paper. Not when my father peered into this childish recording, through the blots did he discover in it an undoubted musical meaningfulness. One of the greatest musical geniuses, Austrian composer Wolfgang Amadeus Mozart lived to be only 35 years old. Of these, he composed music for thirty years and, leaving a legacy of more than 600 works, made an invaluable contribution to the golden fund of world art. The most faithful, highest assessment of Mozart's creative gift during his lifetime was given by his elder contemporary Joseph Haydn. “... Your son,” he once said to the father of Wolfgang Amadeus, “is the greatest composer whom I know personally and by name; he has taste, and besides that, the greatest knowledge in composition. The music of Haydn and Mozart, called the Viennese classics, has in common an optimistic active-effective perception of the world, a combination of simplicity and naturalness in expressing feelings with their poetic loftiness and depth. At the same time, there is a significant difference between their artistic interests. Haydn is closer to folk-everyday and lyrical-epic images, and to Mozart - actually lyrical and lyrical-dramatic ones. Mozart's art is especially captivating with its sensitivity to the emotional experiences of a person, as well as accuracy and liveliness in the embodiment of various human characters. This made him a remarkable opera composer. His operas, and above all The Marriage of Figaro, Don Giovanni and The Magic Flute, have enjoyed unchanging success for the third century, being staged on the stages of all musical theaters. One of the most honorable places in the world concert repertoire is occupied by the works of Mozart. The version that Salieri poisoned Mozart out of envy is only a legend. Tchaikovsky orchestrated four piano pieces by Mozart and composed the Mozartiana suite from them. 27 28 35 www.classON.ru Children's education in the field of Russian art will perform a violin concerto... play on the keyboard covered with a handkerchief as well as if it were before his eyes, then from a distance he will name all the sounds that one by one or in chords they will be taken on the clavier or any other instrument or published by objects - a bell, a glass, a clock. In the end, he will improvise not only on the harpsichord, but also on the organ for as long as the audience wants, and in any, even the most difficult, keys that they call him ... ”First concert trips. Leopold Mozart decided to start making concert trips to major music centers with his gifted children. The first trip - to the German city of Munich - took place at the beginning of 1762, when Wolfgang was barely six years old. Six months later, the Mozart family went to Vienna. There, Wolfgang and Nannerl performed at the imperial court, had a resounding success, and were showered with gifts. In the summer of 1763 the Mozarts undertook a great journey to Paris and London. But first they visited a number of German cities, and on the way back - again in Paris, as well as in Amsterdam, The Hague, Geneva and several other cities. The performances of little Mozarts, especially Wolfgang, aroused surprise and admiration everywhere, even in the most magnificent royal courts. According to the custom of those times, Wolfgang appeared before a noble audience in an embroidered black suit and a powdered wig, but at the same time he behaved with a purely childish spontaneity, he could, for example, jump on his knees to the empress. Concerts that lasted for 4-5 hours in a row were very tiring for little musicians, and for the public turned into a kind of entertainment. Here is what was said in one of the announcements: “... A girl in the twelfth year and a boy in the seventh year will play a harpsichord concerto. .. In addition, a boy 36 www.classON.ru Children's education in the field of Russian art The concert tour continued for more than three years and brought Wolfgang many different experiences. He heard a large number of instrumental and vocal works, met some outstanding musicians (in London - with the youngest son of Johann Sebastian Bach, Johann Christian). In between performances, Wolfgang enthusiastically studied composition. In Paris, four of his sonatas for violin and harpsichord came out of print, indicating that these were the works of a seven-year-old boy. In London, he wrote his first symphonies. Return to Salzburg and stay in Vienna. First opera. At the end of 1766 the whole family returned to Salzburg. Wolfgang began to systematically engage in composing technique under the guidance of his father. The Mozarts spent the whole of 1768 in Vienna. Under a contract with the theater, twelve-year-old Wolfgang wrote, following Italian models, the buffa opera The Imaginary Simple Girl in three months. Rehearsals began, but the performance began to be postponed and then completely canceled (probably due to the intrigues of envious people). It took place only next year in Salzburg. In Vienna, Wolfgang also composed many other pieces of music, including five symphonies, and successfully conducted his solemn Mass at the consecration of a new church. Trips to Italy. From the end of 1769 to the beginning of 1773, Wolfgang Amadeus made three long trips around Italy with his father. In this "land of music", young Mozart performed with great success in more than a dozen cities, including Rome, Naples, Milan, Florence. He conducted his symphonies, played the harpsichord, violin and organ, improvised sonatas and fugues on given themes, arias on given texts, excellently played difficult works from sight and repeated them in other keys. Twice he visited Bologna, where for some time he took lessons from the famous teacher - theorist and composer Padre Martini. Brilliantly having passed the difficult test (having written a polyphonic composition using complex polyphonic techniques), the fourteen-year-old Mozart was elected a member of the Bologna Philharmonic Academy as a special exception. And according to the charter, only musicians who had reached twenty years of age and with experience of preliminary stay in this authoritative institution were allowed into it. In Rome, visiting the Sistine Chapel in the Vatican (papal residence) 29, Mozart once heard a large polyphonic spiritual composition for two choirs by the 17th-century Italian composer Gregorio Allegri. This work was considered the property of the Pope and was not allowed to be copied or distributed. But Mozart wrote down the entire complex choral score from memory, and the papal chorister confirmed the accuracy of the recording. Italy - a great country not only of music, but also of fine arts and architecture - gave Mozart an abundance of artistic impressions. He was especially fascinated by visiting opera houses. The young man so mastered the Italian operatic style that he wrote three operas in a short time, which were then staged with great success in Milan. These are two opera-series - "Mithridates, King of Pontus" and "Lucius Sulla" - and a pastoral opera on the mythological plot "Ascanio in Alba"30. Trips to Vienna, Munich, Mannheim, Paris. Despite brilliant creative and concert success, Wolfgang Amadeus failed to get service at the court of any of the rulers of the Italian states. I had to return to Salzburg. Here, instead of the deceased archbishop, a new, more despotic and rude ruler reigned. It became more difficult for the Mozarts, who were in his service, to receive leave for new trips. And the opera house, for which Mozart aspired to compose, was not available in Salzburg, and other opportunities for musical activity were limited. The trip to Vienna for the two musicians was only possible thanks to the fact that the Salzburg Archbishop himself wished to visit the capital of Austria. Reluctantly, he also gave permission to the Mozarts to travel to; Munich, where the young composer's new opera buffa was staged. And for the next trip, only Wolfgang Amadeus managed to get permission with great difficulty. His father was forced to stay in Salzburg, and his mother went to accompany his son. The first long stop took place in the German city of Mannheim. Here Wolfgang Amadeus and Anna Maria were cordially received in his house by one of the leaders of the then-famous symphony orchestra, a representative of the pre-classical Mannheim composer school. In Mannheim, Mozart composed by Italian artists, including Michelangelo. 30 The Kingdom of Pontus is an ancient state on the Black Sea, mainly the current Turkish coast (“Pont Euxinus”, that is, “hospitable sea”, the ancient Greek name for the Black Sea). Lucius Sulla is an ancient Greek military and political figure. Pastoral (from the Italian word "pastore" - "shepherd") is a work with a plot that idealizes life in the bosom of nature. Sistine Chapel - home church of the popes in the Vatican; it was built in the 15th century under Pope Sixtus IV. The walls and ceiling of the chapel are painted with great 29 37 www.classON.ru Children's education in the field of Russian art a number of works, mostly instrumental, marked by the already mature musical style. But there was no permanent job vacancy for Wolfgang Amadeus here either. In the spring of 1778, Mozart and his mother arrived in Paris. However, hopes to get real recognition there and to occupy a prominent position did not come true. In the capital of France, the miracle child, this seemingly living toy, has already been forgotten, and they failed to recognize the flourishing talent of the young musician. Mozart was not lucky either with the organization of concerts, or with receiving an order for an opera. He lived on miserable earnings from lessons, for the theater he could only write music for a small ballet "Trinkets". New remarkable works came out from under his pen, but then they did not attract serious attention to themselves. And in the summer of Wolfgang Amadeus suffered a heavy grief: his mother fell ill and died. Early next year, Mozart returned to Salzburg. Opera Idomeneo. Break with the archbishop and move to Vienna. The most important events of the coming years for Mozart were the creation and staging of the opera Idomeneo, King of Crete in Munich, its great success. Here the best qualities of the Italian opera seria were combined with the principles of Gluck's operatic reform. This paved the way for the emergence of Mozart's vividly original operatic masterpieces. ... It was 1781. Mozart is 25 years old. He is the author of three and a half hundred works, full of new creative ideas. And for the Salzburg archbishop, he is only a musical servant, whom the arrogant and despotic master oppresses and humiliates more and more, forces him to sit at the table in the people's room "above cooks, but below lackeys", does not allow him to go anywhere without permission, nor to perform anywhere . All this became unbearable for Mozart, and he submitted his resignation. The archbishop twice refused him with curses and insults, and his entourage rudely kicked the musician out the door. But he, having experienced a spiritual shock, remained firm in his decision. Mozart was the first great composer to proudly break from the financially secure but dependent position of court musician. Vienna: the last decade. Mozart settled in Vienna. Only occasionally did he briefly leave the Austrian capital, for example, in connection with the first production of his opera Don Giovanni in Prague or during two concert tours in Germany. In 1782 he married Constance Weber, who was distinguished by her cheerful disposition and musicality. One after another, children were born (but of the six, four died as babies). Mozart's earnings from concert performances as a performer of his clavier music, from the publication of compositions and productions of operas were irregular. In addition, Mozart, being a kind, trusting and impractical person, did not know how to prudently manage money matters. The appointment at the end of 1787 to the meagerly paid position of court chamber musician, who was instructed to compose only dance music, did not save him from the often experienced need for money. For all that, in ten Viennese years, Mozart created more than two and a half hundred new works. Among them shone his brightest artistic achievements in many genres. In the year of Mozart's marriage, his singspiel The Abduction from the Seraglio, sparkling, was staged in Vienna with great success; humor31. And the opera-buffa "The Marriage of Figaro", original by; genre "jolly drama" "Don Juan" and the fairy tale "Magic Flute", which arose in the last Viennese years, belong to the highest peaks reached by the musical theater in all! his story. Three of his best symphonies, which turned out to be the last, including the one in G minor (No. 40), Mozart wrote in the summer of 1788. In the same decade, many other instrumental works of the composer appeared - the four-part orchestral "Little Night Serenade", a number of piano concertos, sonatas, and various chamber ensembles. Mozart dedicated six of his string quartets to Haydn, with whom he developed warm friendships. With great interest, Mozart studied the works of Bach and Handel during these years. Mozart's most recent work is the Requiem, a mass for the dead for choir, soloists and orchestra. In July 1791, it was ordered to the composer by a man who did not wish to give his name. It seemed mysterious, could give rise to gloomy forebodings. Only a few years later it turned out that the order came from a Viennese count who wanted to buy someone else's work and pass it off as his own. Seriously ill, Mozart was unable to fully complete the Requiem. It was completed according to drafts by one of the composer's students. There is a story that on the eve of the death of the great musician, which followed on the night of December 5, 1791, friends sang with him parts of the still unfinished work. In accordance with the mournful design in the Requiem, the inspired lyrical and dramatic expressiveness of Mozart's music acquired a special sublimity and seriousness. Due to lack of funds, Mozart was buried in a common grave for 31 32 Seraglio - the female half in the homes of wealthy eastern nobles. The Latin word "requiem" means "peace". 38 www.classON.ru Children's education in the field of art in Russia is poor, and the exact place of his burial remains unknown. for Susanna, the countess dressed in her dress. Ashamed by his wife, Almaviva is forced to no longer prevent Figaro and Susanna from celebrating their wedding, which ends a "crazy day" merrily and happily, full of all sorts of unexpected events. The opera begins with an overture that has gained great popularity and is often performed in symphony concerts 34. Unlike many other overtures, this overture does not use themes that sound in the opera itself. Here the general mood of the subsequent action is vividly conveyed, its fascinating swiftness and seething cheerfulness. The overture is written in sonata form, but without development, which is replaced by a brief connection between exposition and reprise. At the same time, five themes are clearly distinguished, quickly replacing each other. The first and second of them make up the main batch, the third and fourth - the side batch, the fifth - the final batch. All of them are energetic, but at the same time each has its own special character. The first theme of the main part, played by string instruments and bassoons in unison, moves swiftly, with mischievous agility: Questions and assignments 1. What does the music of Mozart have in common with the music of Haydn? And what is the difference between the artistic interests of these two Viennese classics? 2. Tell us about the family and early childhood of Wolfgang Amadeus Mozart. 3. In what countries and cities did Mozart perform as a little boy? How were these performances? 4. At what age did Mozart write his first opera buffa? What was it called and where was it placed? 5. Tell us about young Mozart's trips to Italy. 6. What cities did Mozart visit later? Was his trip to Paris successful? 7. Tell us about Mozart's break with the Salzburg Archbishop. 8. Describe the last decade of Mozart's life and work. Name the main works created by him during this period. Opera "The Marriage of Figaro" The premiere of Mozart's opera "The Marriage of Figaro" took place in Vienna in 1786. The composer himself conducted the harpsichord for the first two performances. The success was huge, many but the measure was repeated for encores. The libretto (verbal text) of this opera in four acts was written in Italian by Lorenzo da Ponte based on the comedy of the French writer Beaumarchais Crazy Day, or The Marriage of Figaro. In 1875, P. I. Tchaikovsky translated this libretto into Russian, and in his translation the opera is performed in our country. Mozart called The Marriage of Figaro an opera buffa. But it is not just an entertaining comedy with funny situations. The main characters are depicted by music as various living human characters. And the main idea of ​​Beaumarchais's play was close to Mozart. For it consists in the fact that the servant of Count Almaviva Figaro and his bride, the servant Susanna, turn out to be smarter and more decent than their titled master, whose intrigues they deftly reveal. The count himself has taken a liking to Susanna, and he is trying to delay her marriage. But Figaro and Susanna inventively overcome all the obstacles that arise, attracting to their side the count's wife and the young page Cherubino. in the service of a noble person. The connecting theme of the main party, the party filled differs mainly. Recall that the word "overture" is derived from the French verb "ouvrir", which means "to open", "to begin". 33 34 39 www.classON.ru daring Children's education in the field of Russian art with scale passages, the first theme of the side part appears, the melody of which is performed by the violins. The theme has a rhythmically whimsical, slightly capricious, but persistent character: vocal numbers. So, the first solo number in the part of Figaro (she was entrusted to the baritone) - a small aria (cavatina) - sounds immediately after Susanna informed her fiancé that the count began to pursue her courtship. In this regard, Figaro mockingly sings a melody in the movement of a minuet - a gallant high society dance (the extreme sections of the three-part reprise form of the cavatina): The second theme of the side part resembles decisive exclamations: And the theme of the final part is the most balanced, as if settling everything: In the reprise, the side and final parts are repeated already in the main key of D major. They are joined by a coda, further emphasizing the cheerful and lively character of the overture. In this Mozart opera, a large place is occupied by vocal ensembles, mainly duets (for two characters) and tercetes (for three characters). They are separated by recitatives accompanied by a harpsichord. And the second, third and last, fourth, acts end with finals - large ensembles with the participation of six to eleven characters. The solos are included in the dynamic development of the action in different ways. In the middle section of the cavatina, the restrained movement is replaced by a swift one, an elegant three-beat melody is replaced by an assertive two-beat one. Here Figaro already resolutely expresses his intention to prevent the insidious "plans of his master at all costs: It is addressed to the young page Cherubino. He accidentally heard how the count tried to declare his love to Suzanne, and such an unwanted witness was ordered to go to military service. In his aria, Figaro cheerfully and wittily taunts the situation, painting a young man pampered by court life, pictures of the harsh military life. In music, this is reflected by a skillful combination of provocative danceability with "militant" fanfare moves. This is the refrain that sounds three times in the form of a rondo: The other is a small aria of a song-like nature “Hot blood excites the heart.” This is a more restrained confession of tender feelings, timidly addressed to the Countess herself: Susanna (soprano) is described in many ensembles as energetic, dexterous and resourceful, not inferior in this to Figaro. At the same time, her image is subtly poeticized in the bright dreamy aria from the fourth act. In it, Susanna mentally addresses Figaro with a gentle appeal: As for Cherubino himself (his part is performed by a low female voice - mezzo-soprano), he is described in two arias as an ardent young man, still unable to understand his own feelings, ready to fall in love with everyone step. One of them is both joyful and quivering aria “Tell, I can’t explain”. It combines melodiousness with rhythm, as if intermittently pulsing with excitement: 41 www.classON.ru Children's education in the field of Russian art Questions and tasks 1 . When and where did Mozart's Le nozze di Figaro premiere? 2. What comedy is its libretto based on? 3. What is the main idea of ​​this work? 4. How is the overture to the opera built? 5. Tell us about the features of the two solo numbers in the part of Figaro. 6. What voice is entrusted with the part of Cherubino? Sing the melodies of his arias. 7. How is Susanna characterized in ensembles and how - in the aria from the fourth act? The fourth variation (with throwing the left hand over the right), on the contrary, is more boldly sweeping. The fifth variation, where the initial unhurried tempo of Andante grazioso is replaced by a very slow one - Adagio, is a melodious instrumental aria, colored with coloratura. And then the change of pace to fast (Allegro) corresponds to the cheerful dance character of the last, sixth variation. The second movement of the sonata is the Minuet. As usual, it is built in a three-movement reprise form with exact repetition in the reprise of the music of the first movement. Between them is the middle part (Trio) 35. In all parts of the Minuet, masculinely resolute and imperious sweeping intonations are compared with feminine tender and smooth intonations, similar to expressive lyrical exclamations-addresses. Sonata in A Major for Clavier Mozart's well-known sonata in A major, commonly called the Turkish March Sonata, is an unusually constructed cycle. The first movement here is not a sonata allegro, but six variations on a light and calm, ingenuously graceful theme. It looks like a song that could be sung in a good, peaceful mood in the Viennese musical life. In its gently swaying rhythm, there is a resemblance to the movement of Siciliana - an old Italian dance or dance song: The composer called the third part of the sonata (final) "A11a Turca" - "In the Turkish way." Later, the name "Turkish March" was assigned to this finale. There is nothing in common with the intonational structure of Turkish folk and professional music, which is unusual for European ears. But in the 18th century, in European, mainly theatrical music, a fashion arose for marches, conventionally called "Turkish". They use the timbre color of the "Janissary" orchestra, which was dominated by wind and percussion instruments - big and snare drums, cymbals, triangle. The soldiers of the infantry units of the Turkish army were called Janissaries. The music of their marches was perceived by Europeans as wild, noisy, "barbaric". There are no sharp contrasts between the variations, but they all have a different character. In the first variation, graceful whimsical melodic movement prevails, in the second - graceful playfulness is combined with a humorous tinge (the “mischievous” grace notes in the left-hand part are noteworthy). The third variation - the only one written not in A major, but in A minor - is filled with slightly sad melodic figurations, moving evenly, as if with gentle shyness: At the end of the Trio there is the designation "Minuetto da capo". Italian - “from the head”, “from the beginning”. 35 "Da capo" translated from 42 www.classON.ru Children's education in the field of Russian art The finale is written in an unusual form. It can be defined as a three-part chorus (in A major). Repeated repetition of the chorus gives the structure of the finale the features of a rondo. The first movement - with easily "circling" motifs (A minor) - and the middle movement - with a melodious passage movement (F-sharp minor) - naturally combine graceful danceability with a clear marching tread: For a long time it was believed that Mozart composed the sonata in A major in the summer of 1778 years in Paris. But then they discovered information that this happened a few years later, in Vienna. Such information is all the more plausible because there, in 1782, the premiere of Mozart's singspiel "The Abduction from the Seraglio" took place. In it, the action takes place in Turkey, and in the music of the overture, and in two march-like choirs, imitation of "Janissary" music is noticeable. Besides, is it noisy? Mozart added the forging "Janissary" coda in A major to the finale of the senates only in 1784, when the work was published. It is also noteworthy that in the sonata, as in "The Abduction from the Seraglio", a large role belongs to the genres of song and march. In all this, the connection of instrumental music with theatrical music, which is very characteristic of Mozart, was manifested. Questions and tasks 1 . What is unusual about the cycle in Mozart's sonata in A major? Tell us about the nature of the theme and six variations on it in the first part of this work. 2. What dance genre is used in the second part of the sonata? 3. Explain why the finale of the sonata in A major is called the Turkish March. What is the peculiarity of its construction? Sing on its main themes. 4. With what musical and theatrical work of Mozart does the music of his "Turkish March" echo? Symphony in G Minor Composed in Vienna in 1788, the Symphony in G minor! (No. 40) is one of the most inspired works of the great composer. The first movement of the symphony is a sonata allegro at a very fast tempo. It begins with the theme of the main part, which immediately captivates as a confidential, sincere lyrical confession. It is sung by violins to the softly swaying accompaniment of other stringed instruments. The same excited rhythm is recognizable in its melody as at the beginning of Cherubino's first aria from the opera The Marriage of Figaro (see example 37). But now it is more “adult”, serious and courageous lyrics: The chorus (in A major) sounds three times, it is like a kind of “Janissary noise refrain”, an imitation of drum roll is heard in the left hand part: In this regard, the “Turkish March” sometimes called "Rondo in the Turkish style" ("Rondo alla Turca"). 36 43 www.classON.ru Children's education in the field of art in Russia A small development). But there are no contrasts in it, everything obeys the general bright mood, which is determined from the very beginning in the main part, sounding at the stringed instruments: The masculinity of the character is enhanced in the connecting part, into which the main part develops. There is a modulation into B-flat major parallel to G minor - the key of the side part. Its theme is lighter, more graceful and feminine compared to the main theme. It is colored by chromatic intonations, as well as the alternation of timbres of stringed and woodwind instruments: In the seventh bar, a lightly “fluttering” figure of two thirty-second notes appears here. In the future, it then penetrates into the melodic lines of all the themes, then it seems to wrap around them, appearing in different registers with different instruments. It is like echoes of the voices of peaceful nature. Only at times a little disturbed, they are heard now close, then in the distance. According to the established tradition, the third movement of the symphony is the Minuet. But in it only the middle part - the Trio - is clearly traditional. With its smooth movement, melodiousness of voices and tonality in G major, the Trio sets off the G-minor main, extreme sections of this Minuet, which is generally unusual in terms of lyrical and dramatic intensity. It seems that after the quiet contemplation of nature, embodied in Andante, now I had to return to the world of spiritual anxieties and unrest that dominated the first part of the symphony. This corresponds to the return of the main key of the symphony - G minor: A new burst of energy occurs in the final part. Here the leading role belongs to the repeated and persistent development of the first - three-sound - motif of the theme of the main part. With the beginning of a rather expansive development, clouds seem to be gathering anxiously. From the light B-flat major there is a sharp turn into the gloomy distant key of F-sharp minor. In the development, the theme of the main party develops dramatically. It goes through a whole range of keys, is divided into separate phrases and motifs, and they are often imitated in different voices of the orchestra. The first motive of this theme pulsates very tensely. But finally his pulsation weakens, restrains his trembling, and a reprise comes. However, the impact of the high dramatic intensity achieved in the development is reflected in this section of the first part. Here the length of the connecting part increases significantly, it leads to the presentation of the side and final parts no longer in major, but in the main key of G minor, which makes their sound more dramatic. The second movement of the symphony is Andante in E flat major. It contrasts with the lyrical-dramatic first part with its soft and gentle tranquility. The Andante form is also sonata (with G minor being the main key and the fourth part of the symphony - the finale, going at a very fast pace. The finale is written in sonata form. The leading theme in this part of the symphony is the theme of the main part. Together with the theme of the main part of the first part, it refers to the brightest Mozart instrumental themes. But if the theme in the first movement sounds like a tender and reverent lyrical confession, then the theme of the finale is a passionate lyrical-dramatic appeal, full of courage and we will decide 44 www.classON.ru Children's education in the arts of Russia 2. Tell us about the main themes of the first part of the symphony and their development. 3. What character does the music have in the second and third parts of the symphony? 4. What is the leading theme in the finale of the symphony? How does its character differ from the character of the theme of the main part of the first movement? 5. How is the theme of the main part of the finale constructed? What is development in development based on? Main Works This fiery appeal is created by the rapid upsurge of the melody along the sounds of chords, and energetic melodic figures circling around one sound seem to respond to its impulse. As in the first movement of the symphony, the graceful theme of the side part of the finale is especially bright in the exposition when it is performed in B flat major: 19 operas Requiem About 50 symphonies 27 concertos for clavier and orchestra 5 concertos for violin and orchestra Concertos with orchestra accompaniment for flutes, clarinet, bassoon, horns, flutes with harp String quartets (more than 20) and quintets Sonatas for clavier, for violin and clavier Variations, fantasies, rondos, minuets for clavier The final part is based on the second element of the theme of the main part. In the development of the finale, the first, invocative element of the theme of the main party develops especially intensively. High dramatic tension is achieved by the concentration of harmonic and polyphonic methods of development - conducting in many keys and imitative roll calls. In the reprise, the performance of the side part in the main key of G minor is slightly overshadowed by sadness. And the second element of the theme of the main part (affirmative, energetic figures), as in the exposition, sounds at the heart of the final part in the reprise. As a result, the finale in this ingenious Mazart creation forms a bright lyrical and dramatic pinnacle of the entire sonata-symphonic cycle, unprecedented in its purposefulness through figurative development. Ludwig van Beethoven 1770-1827 The great German composer Ludwig van Beethoven is the youngest of the three brilliant musicians who are called the Viennese classics. Beethoven happened to live and create already at the turn of the 17th and 19th centuries, in an era of grandiose social changes and upheavals. His youth coincided with the times, Questions and assignments 1 . When and where did Mozart create the Symphony in G minor No. 40? 45 www.classON.ru Children's art education in Russia

FROM THE COMPILERS
This book is a textbook on the musical literature of that historical period, which begins in the last decades of the 19th century. Such a textbook appears for the first time: the fifth issue ends, as you know, with the work of K-Debussy and M. Ravel.
The book includes a description of various national music schools, which determined its overall structure. The first section gives a description of the general processes that were implemented in their own way in the musical art of different countries and in the work of composers of different personalities. Each subsequent section consists of an overview of the musical culture of a given country, as well as a monographic section devoted to the work of the most significant composers of this school. Only the section devoted to the work of I. Stravinsky differs in its structure: it does not contain an introductory review. And this is understandable: after all, having spent most of his life outside Russia due to special circumstances, Stravinsky remained a Russian master and did not belong to any of the foreign schools. The decisive influence of his creative principles on almost all the leading musicians of our century does not allow us to remove Stravinsky from the general picture of the development of the musical art of the 20th century. The inclusion of this monographic chapter in the textbook on foreign musical literature is also due to the peculiarities of the curriculum at the school: by the time they studied foreign music of the 20th century, students were not at all familiar with either the personality or the music of I. Stravinsky. They will turn to this page of musical art only at the end of the fourth course, where only the first, Russian period of the composer's work is considered.

The attention of the compilers and authors of the textbook is focused both on showing the general musical and historical processes of the period under review, and on analyzing the most outstanding works that have become classics of our century. In view of the exceptional complexity of the events of the musical art of the 20th century, their heterogeneity, mutual intersections, and their rapid change, review chapters have occupied a much larger place in this book than in previous editions. Nevertheless, in accordance with the methodological principles of the subject, the compilers sought to keep the focus on analyzes of musical works, which in this case are designed to reveal the diversity of creative methods, ways of thinking, different stylistic decisions and the plurality of composer techniques of the masters of our century.

In view of the fact that the book provides a broad panorama of musical art, and the analysis is in many cases very complicated (which is largely predetermined by the material itself), the compilers consider it possible to address this textbook to students not only of performing, but also of theoretical departments of music schools. The content of the book allows a selective approach to it in the educational process; the depth and detail of the study of chapters is determined by the teachers themselves, depending on the level of preparedness of students, the material equipment of the educational process with notes and music recordings, and the number of hours allocated by the curriculum for this part of the course.
A large group of authors worked on this book. Hence the inevitability of different ways of presenting material; at the same time, in the very approach to it, the compilers tried to preserve uniform methodological principles.

CONTENT
From the compilers
Ways of development of foreign musical art of the XX century.
Musical culture of Austria
Gustav Mahler
Vocal creativity. "Songs of a Traveling Apprentice"
Symphonic creativity. First Symphony
ARNOLD SCHENBERG
Life and creative path
"Survivor from Warsaw"
ALBAN BERG
Life and creative path
Musical drama Wozzeck
Concerto for violin and orchestra
ANTON WEBERN.
Life and creative path
Musical culture of Germany
RICHARD STRAUSS
Life and creative path
Symphonic creativity. Symphonic poems "Don Juan" and "Til Ulenspiegel"
PAUL HINDEMITH
Life and creative path
Symphonic creativity. Symphony "Artist Mathis".
CARL ORF
Life and creative path
The main genres of the work of Karl Orff and their features.
Opera "Clever Girl"
"Carmina Burana"
IGOR STRAVINSKY
Life and creative path
"Symphony of Psalms"
Opera "Oedipus Rex"
Musical culture of France.
ARTHUR ONEGGER
Life and creative path
Theatrical and oratory creativity. Oratorio "Joan of Arc at the stake"
Symphonic creativity. Third Symphony ("Liturgical")
DARIUS MIJO
Life and creative path
Vocal-instrumental, creativity. "Castle of Fire"
Francis Poulenc
Life and creative path
Opera "The Human Voice"
Musical culture of Spain
MANUEL DE FALLA
Life and creative path
Ballet "Love is a sorceress"
Opera "Short Life"

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Title: Musical literature of foreign countries

About the book "Musical Literature of Foreign Countries" by I. A. Prokhorov

The textbook entitled "Musical Literature of Foreign Countries", compiled by I. Prokhorova, is intended for independent study. This explains the brevity and accessibility of the presentation of the material.

The book "Musical Literature of Foreign Countries" will introduce students to short biographies and the best works of famous composers. Children will be able to learn about the life and work of such geniuses as I.S. Bach, J. Haydn, W.A. Mozart, L. Beethoven, F. Schubert and F. Chopin. I. Prokhorova did not describe in too much detail the stories of talented composers, in the textbook you will find the main dates of life, origin, titles and titles, field of activity, conditions that influenced the choice of profession. The book will tell about the main stages of the life and work of musicians, their social and political views.

The publication "Musical Literature of Foreign Countries" is intended for students of music schools, however, everyone who is not indifferent to classical works will find something interesting in this book for themselves. I. Prokhorova enriched the text with explanations of some musical and non-musical concepts, which makes it less academic. The part describing the life of musicians is presented in the context of the historical and cultural life of European countries of that period. This gives students the opportunity for a deeper and broader understanding of the conditions in which the legendary composers lived and worked.

Since the book "Musical Literature of Foreign Countries" is intended for home reading, all the symphonic works contained in it are offered in four-hand arrangement. It is worth noting that the story about the work of Bach, which, according to the program, is studied at the very end of the year, is placed at the beginning. The author took this step for the sake of observing the chronology of the presentation.

The compiler of this book is sure that the regular use of the textbook will awaken in students a taste for self-acquaintance with popular and scientific musical literature. In addition, children will be able to develop and strengthen the skills of sight reading music, as well as get used to performing in four hands.
Self-learning of famous works will allow them to be performed during lessons, in the presence of other children, which will make collective classes more active and significantly improve the perception of classical music.

On our site about books lifeinbooks.net you can download for free without registration or read online the book "Musical Literature of Foreign Countries" by I. A. Prokhorov in epub, fb2, txt, rtf, pdf formats for iPad, iPhone, Android and Kindle. The book will give you a lot of pleasant moments and a real pleasure to read. You can buy the full version from our partner. Also, here you will find the latest news from the literary world, learn the biography of your favorite authors. For novice writers, there is a separate section with useful tips and tricks, interesting articles, thanks to which you can try your hand at writing.