Musical genres of the era of classicism. Opera and instrumental music of the classical era
The term "classical" in music is mainly used to define serious, art music, i.e. music that is not folk, popular, jazz, rock, etc. But there is also a “classical” period in the history of music, called classicism.
THE AGE OF CLASSICISM - Classicism, which replaced the Renaissance through several stages, took shape in France at the end of the 17th century, reflecting in its art a serious upswing in part absolute monarchy, partly a change in worldview from religious to secular. IN XVIII century a new round of development has begun public consciousness- The Age of Enlightenment has arrived. The pomp and pomp of Baroque, the immediate predecessor of classicism, was replaced by a style based on simplicity and naturalness. The art of classicism is based on the cult of reason - rationalism, harmony and logic. The name "classicism" in origin is associated with the word from Latin language- classicus, which means “exemplary”. The ideal model for artists of this trend was ancient aesthetics with its harmonious logic and harmony. In classicism, reason prevails over feelings, individualism is not welcomed, and in any phenomenon, general, typological features acquire paramount importance. Each work of art must be built according to strict canons. The requirement of the era of classicism is the balance of proportions, excluding everything superfluous and secondary. Classicism is characterized by a strict division into “high” and “low” genres. “High” works are works that refer to ancient and religious subjects written in solemn language (tragedy, hymn, ode). And “low” genres are those works that are presented in vernacular language and reflect folk life (fable, comedy). Mixing genres was unacceptable.
CLASSICISM IN MUSIC - VIENNA CLASSICS
Development of a new musical culture in mid-18th century century gave rise to the emergence of many private salons, musical societies and orchestras, holding open concerts and opera performances. The capital of the music world in those days was Vienna. The most brilliant composers of classicism were the great Austrians - Joseph Haydn and Wolfgang Amadeus Mozart. Haydn created fantastic choral, operatic, orchestral and instrumental music, but his greatest achievement was his symphonies, of which he wrote more than a hundred.
Mozart is the most brilliant composer of all times. Having lived a short life, he left an incredible musical heritage(for example, 41 symphonies). Operas are considered his greatest achievement, in which he showed himself both as a great musician and as a talented playwright, some of his most beautiful operas are Don Giovanni, The Marriage of Figaro, and The Magic Flute.
At the end of the eighteenth century another star rises classical music- Ludwig Van Beethoven, composer who began composing music in the classical style inherited from Mozart and Haydn, but eventually outgrew it and literally split classic style, marking the dawn new era, known as the Romantic period in music.
Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven are three great names that have gone down in history as Viennese classics. Composers of the Viennese school masterfully mastered a variety of genres of music - from everyday songs to symphonies. High style music, in which rich figurative content is embodied in a simple but perfect artistic form, - this is the main feature of the work of the Viennese classics. The musical culture of classicism, like literature, as well as fine art, glorifies the actions of man, his emotions and feelings, over which reason reigns. Creative artists in their works are characterized by logical thinking, harmony and clarity of form. Each of the Viennese classics had a bright, unique personality. Haydn and Beethoven gravitated more towards instrumental music - sonatas, concertos and symphonies. Mozart was universal in everything - he created with ease in any genre. He had a huge influence on the development of opera, creating and improving its various types - from opera buffa to musical drama. In terms of composers’ preferences for certain figurative spheres, Haydn is more typical of objective folk-genre sketches, pastoralism, gallantry; Beethoven is close to heroism and drama, as well as philosophy, and, of course, nature, and to a small extent, refined lyricism. Mozart covered, perhaps, all existing figurative spheres.
Haydn. Symphony No. 45.
GENRES OF MUSICAL CLASSICISM
The musical culture of classicism is associated with the creation of many genres of instrumental music - such as sonata, symphony, concert. In the era of classicism, the main types of chamber ensembles emerged - trios and string quartets. The system of forms developed by the Viennese school is still relevant today. The sonata genre existed at the beginning of the 17th century, but it was finally formed sonata form in the works of Haydn, Mozart, Beethoven.
Mozart. Piano Concerto No. 13.
Beethoven. Sonata No. 5 for violin and piano op.24
Classical era was a time when composers introduced a sense of elegance into music. This clear and pure music, bringing peace and relaxation, is actually much deeper and can reveal a dramatic core and touching feelings.
Text from various sources.
The era of classicism in musical art falls on 2nd half of the 18th century , which coincides with The Age of Enlightenment in the development of social and philosophical thought.
The Enlightenment worldview reflected the interests of the 3rd estate - the bourgeoisie, which was in opposition to the first two estates - the clergy and the noble aristocracy. Neither the authority of the Church nor the power of the aristocratic State should interfere with the natural development of Man or limit him in any rights and freedoms.
Accordingly, the Enlightenment was based on the ideas:
1) rationalism(protest against the religious explanation of the world, belief in human mind, i.e., a person’s ability to explain both the world and himself from the standpoint of his own mind)
2) social equality(protest against the domination of the aristocracy, belief in the possibility of a just structure of society)
(One of the results of the Enlightenment was an attempt to change the political structure of society as a result Great French Revolution (1789), whose motto was “Liberty, equality, fraternity”).
The ideas of the Enlightenment greatly shook the influence of the Church and the Aristocracy on all spheres of life, including culture and art.
Church art ceases to occupy (unlike the Baroque era) leading positions. These functions are assumed by Secular art, which can no longer be only the entertainment of aristocrats.
For the first time, Secular art in the Enlightenment era was given serious, strictly educational tasks: to embody high moral values, to contribute to the improvement of man and the world (i.e., the education of people and the achievement of a reasonable, fair structure of society).
Accordingly, changes are taking place in the art of music in all secular genres - both vocal and instrumental.
Opera in the era of classicism.
Opera has been the largest and most influential genre of secular music since the 17th century. Towards the end of the Baroque era, it entered a period of crisis, turning from opera seria (“serious” opera, which echoed ancient tragedy) into a “costume concert” - an expensive entertainment event for aristocrats, who were attracted only by the virtuoso skill of the singers (the “stars” of the then stage) and the sophistication of the production effects.
The Age of Enlightenment brought significant changes to the content and form of opera performances, which met the tastes of the modern public.
Main changes:
- emergence of the comic opera genre
- Gluck's opera reform
Comic opera appears in the middle of the 18th century in Italy (the first example is Pergolesi’s “Maid-Madam”, 1733), as well as France, Germany, England and other countries under different names. (In Italy - opera buffa, in France - opera comic, in Germany - singspiel). Wrote on stories from modern life- rural or urban. Often contained satirical motifs and elements of exposing social vices. I was captivated by the rapid development of the action. As characters(as opposed to the ancient characters of the aristocratic “serious” opera) brought to the stage ordinary people, representatives of the 3rd estate (peasants, servants, etc.). They turned out to be positive heroes, smarter, kinder, more resourceful than the masters. At the same time, the images of aristocrats and clergy were interpreted in a parody manner.
The music of comic operas was simple. The simple arias were close in style to folk songs. They alternated with spoken dialogues (in the Italian opera buffa - with recitatives).
Comic operas were very popular and contributed to democratization opera genre, its dissemination in wide sections of society. But they could not solve all the serious tasks posed to art by the Age of Enlightenment (to promote the improvement of people and society). This time request was answered musical drama by Gluck.
Gluck's operatic reform was carried out in the 60s. 18th century Glitch – Austrian composer, who studied in Italy the art of composing opera seria (“serious” operas based on ancient subjects). While serving at the Vienna court opera house, he becomes disillusioned with the possibilities of this genre, which has lost its seriousness in favor of external showiness (virtuosity of singing and splendor of scenery) and turned into a “costume concert.” Having worked in the genre of French comic opera and even ballet, Gluck came to the idea that serious opera with deep content should exist, but without its shortcomings. This is how the idea of opera reform arose.
The reform was carried out by Gluck (together with the librettist Calzabigi) in the opera Orpheus (1762) and in five subsequent operas. Staged in Vienna and Paris, they caused heated debate, which ended in Gluck's victory.
The composer himself formulated the idea and the principles of his reform arising from it (in the preface to the second reform opera Alceste).
Idea:
- combining music with drama, returning music to its main purpose - to enhance the expressiveness of a meaningful poetic text,
Principles:
Use of ancient subjects in their original form, without distortion to suit modern tastes
Introduction of any musical numbers (arias, choirs, ballet episodes) only if they are justified by dramaturgy
Combining individual musical numbers (recitatives, arias, choirs) into scenes with continuous dramatic development
Ridding a vocal melody from virtuosic excesses in order to enhance its emotional expressiveness in accordance with the text
Creation of overtures (orchestral introductions to an opera), the music of which, by its nature, prepares for the perception of the plot of the opera.
Gluck realized his idea of combining music and drama, so his reform operas entered the history of music under the name musical drama by Gluck.
Instrumental music of the classical era.
Made a qualitative leap in development compared to the Baroque era, largely thanks to creativity Viennese classics– Haydn, Mozart, Beethoven.
The main achievement in instrumental music of the era of classicism: from exquisite aristocratic entertainment, enjoying the beauty of sound, it turned into the embodiment of the philosophical views of composers, into an expression of their views on man and the world. That is, the content of instrumental works became similar from that time to the content of operas and oratorios, but it was expressed without the help of words. This meant that the actual musical logic of the narrative had developed, that the opportunity arose, along with musical-dramatic and stage works, to create purely instrumental dramas.
How did this become possible?
In the era of classicism the following were formed:
- classical instrumental compositions(symphony orchestra, string quartet, piano as the leading solo instrument)
- classical instrumental genres: symphony (for orchestra), concerto (for solo instrument with orchestra), sonata (for solo instrument, mainly piano), quartet (for string quartet)
- classic shapes : sonata-symphonic cycle(as a form of sonata at 3 o'clock, concerto at 3 o'clock, symphony at 4 o'clock, quartet at 4 o'clock), sonata form(as the form of the first part of a sonata, concerto, quartet, symphony).
Sonata-symphonic cycle(in full version) consists of 4 hours:
1 hour fast; 2 hours slow; 3 hours dance or game (minuet or scherzo); 4 hours quick finale. It also implements the principle contrast, and the principle development.
The structure of a symphony or sonata is not just a certain structure. The music of each part acts as a carrier of a certain meaning.
Parts 1 and 2 embody two types of realization of the human “I”: action and contemplation.
Part 1 embodies action. She is written in sonata form, which contains three required sections:
1) exposition – showing contrasting musical images (at least two),
2) development devoted to the development of contrasting themes and the achievement of a climax
3) reprise - repetition of the exposure with mandatory changes associated with smoothing the contrast, bringing contrasting images to unity.
As you can see, the sonata form is the musical embodiment of the classical dramaturgical scheme (exposition of the conflict - development and culmination of the conflict - resolution of the conflict), which influenced instrumental music theatrical dramaturgy(via Opera).
Part 2 embodies contemplation- This is the area of feelings and thoughts.
Part 3, through the movement of mass dance, no longer shows an individual person, but the world around him - the elements of life, the cycle of people and events.
Part 4 (final) is the result of everything previous, a combination of ideas about man and the world, about the personal and the general.
This is the semantic scheme of the sonata-symphonic cycle as an instrumental drama. Each composer fills it with content in accordance with the characteristics of his worldview. Thus, Mozart’s last, 41st symphony “Jupiter” embodies the picture of the world as a unity of contrasts (“I am cheerful, suddenly - a grave vision, sudden darkness or something like that” - Pushkin: “Mozart and Salieri”). And Beethoven's 5th Symphony captures human life as struggle and overcoming (“From darkness to light, through struggle to victory”).
Classicism (from the Latin classicus - exemplary) is a style in the art of the 17th - 18th centuries. The name "classicism" comes from an appeal to classical antiquity as the highest standard of aesthetic perfection. Representatives of classicism drew their aesthetic ideal from examples of ancient art. Classicism was based on the belief in the rationality of existence, in the presence of order and harmony in nature and the inner world of man. The aesthetics of classicism contains a sum of mandatory strict rules that a work of art must meet. The most important of them are the requirement for a balance of beauty and truth, logical clarity, harmony and completeness of composition, strict proportions, and a clear distinction between genres.
There are 2 stages in the development of classicism:
Classicism of the 17th century, which developed partly in the fight against Baroque art, partly in interaction with it.
Enlightenment classicism of the 18th century.
Classicism of the 17th century is in many ways the antithesis of Baroque. It receives its most complete expression in France. This was the heyday of the absolute monarchy, which provided the highest patronage to court art and demanded pomp and splendor from it. The pinnacle of French classicism in the field of theatrical art were the tragedies of Corneille and Racine, as well as the comedies of Moliere, on whose work Lully relied. His “lyrical tragedies” bear the mark of the influence of classicism (strict logic of construction, heroism, sustained character), although they also have baroque features - the pomp of his operas, the abundance of dances, processions, and choirs.
The classicism of the 18th century coincided with the Age of Enlightenment. The Enlightenment is a broad movement in philosophy, literature, and art that covered all European countries. The name “Enlightenment” is explained by the fact that the philosophers of this era (Voltaire, Diderot, Rousseau) sought to enlighten their fellow citizens, tried to solve issues of the structure of human society, human nature, and his rights. The Enlightenmentists proceeded from the idea of the omnipotence of the human mind. Faith in man, in his mind, determines the bright, optimistic attitude inherent in the views of the figures of the Enlightenment.
Opera is at the center of musical and aesthetic debates. French encyclopedists considered it a genre in which the synthesis of arts that existed in the ancient theater should be restored. This idea formed the basis of K.V.’s opera reform. Gluck.
The great achievement of educational classicism is the creation of the genre of symphony (sonata-symphonic cycle) and sonata form, which is associated with the work of composers of the Mannheim school. The Mannheim School developed in Mannheim (Germany) in the middle of the 18th century on the basis of the court chapel, in which mainly Czech musicians worked (the largest representative was the Czech Jan Stamitz). In the work of composers of the Mannheim school, the 4-movement structure of the symphony and the classical composition of the orchestra were established.
The Mannheim School became the predecessor of the Vienna School classical school- a musical direction denoting the work of Haydn, Mozart, Beethoven. In the work of the Viennese classics, the sonata-symphonic cycle, which became classical, as well as the genres of chamber ensemble and concert, were finally formed.
Among the instrumental genres, various types of everyday entertainment music were especially popular - serenades, divertissements, sounded outdoors in the evening. Divertimento (French entertainment) - instrumental multi-movement works for a chamber ensemble or orchestra, combining the features of a sonata and suite and close to a serenade and nocturne.
K. V. Gluck - the great reformer of the opera house
Christoph Willibald Gluck (1714 - 1787) – German by birth (born in Erasbach (Bavaria, Germany)), nevertheless, is one of the outstanding representatives of the Viennese classical school.
Gluck's reform activities took place in Vienna and Paris and were carried out in line with the aesthetics of classicism. In total, Gluck wrote about 40 operas - Italian and French, buffa and seria, traditional and innovative. It was thanks to the latter that he secured a prominent place in the history of music.
The principles of Gluck's reform are set out in his preface to the score of the opera Alceste. They boil down to the following:
Music must express the poetic text of the opera; it cannot exist on its own, outside of dramatic action. Thus, Gluck significantly increases the role of the literary and dramatic basis of the opera, subordinating the music to the drama.
Opera should have a moral impact on a person, hence the appeal to ancient subjects with their high pathos and nobility (“Orpheus and Eurydice”, “Paris and Helen”, “Iphigenia in Aulis”). G. Berlioz called Gluck “Aeschylus of music.”
Opera must comply with “the three great principles of beauty in all forms of art” - “simplicity, truth and naturalness.” It is necessary to rid the opera of excessive virtuosity and vocal ornamentation (inherent in Italian opera), and intricate plots.
There should not be a sharp contrast between the aria and the recitative. Gluck replaces the secco recitative with an accompanied one, as a result of which it approaches an aria (in the traditional opera seria, recitatives served only as a link between concert numbers).
Gluck also interprets the arias in a new way: he introduces features of improvisational freedom, and connects the development of musical material with a change in the psychological state of the hero. Arias, recitatives and choruses are combined into large dramatic scenes.
The overture should anticipate the content of the opera and introduce listeners into its atmosphere.
The ballet should not be an insert number that is not connected with the action of the opera. Its introduction should be conditioned by the course of the dramatic action.
Most of these principles were embodied in the opera “Orpheus and Eurydice” (premiere in 1762). This opera marks the beginning of a new stage not only in Gluck's work, but also in the history of the entire European opera. Orpheus was followed by another of his innovative operas, Alceste (1767).
In Paris, Gluck wrote other reform operas: Iphigenia in Aulis (1774), Armida (1777), Iphigenia in Tauris (1779). The production of each of them turned into a grandiose event in the life of Paris, causing heated controversy between the “Gluckists” and the “Piccinists” - supporters of the traditional Italian opera, which was personified by the Neapolitan composer Nicolo Piccini (1728 - 1800). Gluck's victory in this controversy was marked by the triumph of his opera Iphigenia in Tauris.
Thus, Gluck turned opera into an art of high educational ideals, imbued it with deep moral content, and revealed genuine human feelings on stage. Gluck's operatic reform had a fruitful influence on both his contemporaries and subsequent generations of composers (especially the Viennese classics).
№ 5 MUSICAL GENRES OF THE CLASSICAL ERA
The most important of the solo works of the classical period were sonatas, they were created for any solo instrument, but primarily for playing the piano. Like symphonies, sonatas became a way to unite many various types instrumental music into one type.
Content musical compositions associated with the world of human feelings, which are not subject to the strict control of the mind. However, the composers of this era created a very harmonious and logical system of rules for constructing a work. In the era of classicism, such genres as opera, symphony, and sonata were formed and achieved perfection. In theory, church genres were still considered the most valuable and respected, but in practice the highest genres of theater and chamber music became much larger and more significant: musical drama and symphony.
Musical theater genres had their own hierarchy depending on the “affects” embodied in it. Therefore, “serious opera” remained more prestigious than comic opera. Comic genres also turn into high comedy with complex characters, refined feelings and highly developed musical forms.
Opera extended its influence to church and instrumental music. The genre hierarchy was as follows:
The symphony came first, as the highest level. In the early classical period, a distinction was made between “theater” symphonies (i.e. overtures, which could also be called “partitas”) and “chamber” symphonies. Chamber symphonies were string, orchestral and concert. Strings were distinguished by the sophistication of their writing, because they were designed for the refined ears of connoisseurs. Orchestral symphonies also featured wind instruments. Orchestral music was mainly of an entertaining nature. Divertimentos, serenades, and partitas were significantly lower than a symphony. Here the composer could afford noise and sound effects, and extravagant jokes.
At the next “step” are concerts that combine both an orchestral-collective and a solo-personal element.
Sonatas in the 18th century were a broad genre group: all ensemble and solo combinations (from keyboard sonatas to trios, quartets, quintets, etc.) The main “rules” for distinguishing sonatas as a form from symphonies were: Unregulated number of parts (from two to four, and in ensembles more); Performing each part with one instrument;
As a result of this, the individualization of content and the possibility of expressing independent subtle feelings or very subjective moods.
String ensemble sonatas (quartets and trios) experienced unprecedented prosperity and rapid evolution. This work should be purely “homemade”, for a narrow circle of people. There are two trends emerging here:
Music for amateurs, not too technically complex;
Music for connoisseurs. The composer could use any techniques, including experimental ones.
There were also ensembles with the participation of the clavier. The piano part could be performed by both an amateur and a professional pianist. Even lower were the sonatas for two instruments and their following genre varieties:
A type of sonata for a solo instrument, especially the violin, with the clavier playing the role of continuo.
Sonatas for clavier with accompaniment of violin, flute, cello. The accompanying voice may have been written in Ad libitum.
Sonatas and duets for two equal instruments without the participation of the clavier were of a more intimate nature.
At the very bottom were piano miniatures (for the classics - rondos, minuets, bagatelles), variations on popular themes, songs, arrangements of folk songs for voice with instrumental ensemble (Haydn, Beethoven); dance cycles - minuets, country dances, ecosesuses - for piano, ensemble and orchestra. They were also entertaining.
GEOGRAPHICAL DEVELOPMENT CENTERS.
KEY REPRESENTATIVES
The founder of classicism in musical theater was J.B. Lully (creator of lyrical tragedy), features of classicism and baroque are combined in the genre of opera seria; apex stage of development musical classicism became the art of the Viennese classical school.
The real revolution was the operatic reform of Christophe Gluck. His creative program was based on three great principles - simplicity, truth, naturalness. In musical drama he sought meaning, not sweetness. From the opera, Gluck removes everything superfluous: decorations, magnificent effects, gives poetry greater expressive power, and the music is completely subordinate to the disclosure inner world heroes. The opera Orpheus and Eurydice was the first work in which Gluck implemented new ideas and laid the foundation for operatic reform. Strictness, proportionality of form, noble simplicity without pretentiousness, a sense of artistic proportion in Gluck's works are reminiscent of the harmony of forms of ancient sculpture. Arias, recitatives, and choruses form a large operatic composition.
The heyday of musical classicism began in the second half of the 18th century. The central platform for the development of this direction was Vienna, the capital of musical culture of that time. The highest expression of classicism was the work of Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, who worked in Vienna and formed a direction in musical culture - the Viennese classical school. The works of the Viennese classics express a dynamic understanding of life processes, which found its most complete embodiment in the sonata form and determined the symphony of many of their works. Symphonyism, in a broad sense, is associated with the flourishing of the leading instrumental genres of the era - symphony, sonata, concerto and chamber ensemble, and the final formation of the 4-part sonata-symphonic cycle. Haydn is called the founder of classical instrumental music, the founder of the modern symphony orchestra and the father of the symphony. In the classical symphony an ideal form has been found that can contain very deep content. In Haydn's work, the type of classical three-movement sonata is also established. The composer's works are characterized by beauty, order, subtle and noble simplicity. Haydn's art had a tremendous influence on the formation of Mozart's symphonic and chamber style. Based on his achievements in the field of sonata-symphonic music, Mozart contributed a lot of new and original things. His operas are of great artistic value. For two centuries now, The Marriage of Figaro and Don Giovanni have enjoyed success, striking with their charmingly elegant melody, simplicity, and luxurious harmony. Mozart's operatic work opened up broad prospects for the development of various types of opera - lyrical and socially accusatory comedy, musical drama, philosophical fairy tale opera and others.
Beethoven became famous as the greatest symphonist. His art is permeated with the pathos of struggle. It transformed advanced ideas the era of Enlightenment, which established the rights and dignity of the human person. The world of Beethoven's images is diverse. His hero is not only brave and passionate, he is endowed with a finely developed intellect. He is a fighter and a thinker. In Beethoven's music, life in all its diversity - violent passions and detached daydreaming, dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life. By ending the era of classicism, Beethoven simultaneously opened the way for the coming century, marking the dawn of a new era known as the Romantic period in music.
№ 5 Realism???
Medieval music. During the Middle Ages, a musical culture emerged in Europe, combining professional art, amateur music-making and folklore. Since the church dominates all areas of spiritual life, the basis of professional musical art constitutes the activities of musicians in churches and monasteries. Secular professional art is initially represented only by singers creating and performing epic tales at court, in the houses of the nobility, among warriors, etc. (bards, skalds, etc.). Over time, amateur and semi-professional forms of music-making of chivalry developed: in France - the art of troubadours and trouvères (Adam de la Halle, XIII century), in Germany - minnesingers (Wolfram von Eschenbach, Walter von der Vogelweide, XII-XIII centuries), as well as urban artisans. In feudal castles and cities, all kinds of songs, genres and forms of songs are cultivated (epic, “dawn”, rondo, le, virele, ballads, canzones, laudas, etc.).
Strict tradition and canonicity reign in everything. The consolidation, preservation and dissemination of traditions and standards (but also their gradual renewal) was facilitated by the transition from neutrals, which only approximately indicated the nature of the melodic movement, to linear notation(Guido d'Arezzo, 11th century), which made it possible to accurately record the pitch of tones, and then their duration.
Gradually, although slowly, the content of music, its genres, forms, and means of expression are enriched. IN Western Europe from the VI-VII centuries. A strictly regulated system of one-voice (monodic) church music (Gregorian chant) was emerging, combining recitation (psalmody) and singing (hymns). At the turn of the 1st and 2nd millennia, polyphony began to emerge. New vocal (choral) and vocal-instrumental (choir and organ) genres are being formed: organum, motet, conduction, then mass. In France, in the 12th century, the first composer (creative) school was formed at Notre Dame Cathedral (Leonin, Perotin). At the turn of the Renaissance (ars nova style in France and Italy, XIV century) in professional music, monophony is replaced by polyphony, music begins to gradually free itself from purely practical functions (service of church rites), the importance of secular genres, including songs, increases in it (Guillaume de Masho).
Music of the Renaissance. The Renaissance is an era in the history of European culture, characterized by major economic and socio-political transformations, the flourishing of secular humanistic thought, great scientific and geographical discoveries, and the revival of ancient cultural heritage. In Italy - 14-16 centuries, in other countries of Western and Central Europe - mid. 15-16 centuries There are different points of view on historical boundaries musical renaissance. The most established idea is the 1st floor. 15th century as about the actual beginning of the Renaissance in music and the 2nd half. 16th century as its final stage (the work of Palestrina, O. Lasso, composers of the Venetian school, late Italian madrigalists, the first opera composers). In connection with the transition from medieval theocentric culture to anthropocentric one, essential changes occurred in the art of music. As in other forms of art, the tendency to reflect the diversity of the world, which was combined with the desire for perfect coordination, harmony, and proportionality of all elements of the whole, has increased unusually. The beginning of music printing, new conditions for the existence of music (the emergence of a democratic public, the flourishing of amateur music-making) led to a rethinking of it social status. The role of secular genres increased (frottola, villanelle, villancico, chanson, Lied, madrigal, madrigal comedy, at the end of the 16th century - opera, ballet), instrumental music became independent (choral arrangements, ricercars, canzones, improvisational pieces - preludes, toccatas, fantasies) , there has been renewed interest in dance art(the emergence of numerous dance genres, dance music collections, special manuals and the first professional dance masters). The intonation content of traditional church genres - mass and motet - has also changed.
Baroque music. Baroque (Italian barocco, lit. - fancy, pretentious, strange; there are different versions origin of this term: 1) from the Portuguese. perola barocca - pearl irregular shape; 2) from lat. baroco - designation of one of the types of syllogism in scholastic logic; 3) on behalf of Italian. artist F. Barocci, F. Barocci, (15287-1612) - art style in European art and literature of the late 16th-1st half. 18th centuries At the end of the 16th century. optimistic the humanism of the Renaissance is replaced by a tragic worldview associated with the reflection in the minds of people of the aggravated contradictions of economic, political and public life, which led in the 17th century. to the beginning of the bourgeois revolutions. With the emergence of the Baroque style, music for the first time fully demonstrated its capabilities for in-depth and multifaceted embodiment of the world of human emotional experiences. Musical and theatrical genres (primarily opera) moved to a leading position, which was determined by the characteristic Baroque desire for dramatic expression and synthesis of various types of art, which also manifested itself in the field of religious music (sacred oratorio, cantata, passive). At the same time, a tendency was revealed towards the separation of music from words - towards the intensive development of numerous instrumental genres, largely associated with Baroque aesthetics. The Baroque style manifested itself most clearly in Italy. In the beginning. 18th century In Germany, whose historical fate was particularly affected by the tragic contradictions of the era, two great composers emerged - J. S. Bach and G. F. Handel, whose work was closely connected with the Baroque style. However, while summarizing and deepening the achievements of the past and foreshadowing the future of European music, it does not fit into the framework of any one style.
Rococo(French rococo, from rocaille - ornamental motif, lit. - fragments of stones, shells for finishing buildings) - style in European art of the 1st half. 18th century, developed primarily in France. Rococo was most clearly reflected in the fine arts (F. Boucher, A. Watteau) and the decorative design of palace interiors (mannerly pretentiousness and whimsical lines in furnishings, sophistication, abundance of ornamental designs in wall paintings, etc.). Rococo in music manifested itself in the work of French harpsichordists (L. K. Daquin, Francois Couperin, Jean-Philippe Rameau, etc.). They are characterized by intimacy and miniature forms, the dominance of fragile, graceful, flirtatious and playful images, an abundance of exquisite melismatics, etc.
Classicism(from Latin classicus - exemplary) - style in literature and art 17 - early. 19th centuries Formed under the influence of the ideas of philosophical rationalism, as well as the aesthetics of the Renaissance with its focus on ancient art as unsurpassed artistic specimen. The leading thesis of the aesthetics of Classicism is the conviction that the essence of being is deeply reasonable and harmonious, in the affirmation of a single, universal order that governs the world. Connected with this are the classicists’ demands for art as one of the creations of the powerful human intellect, which is based on the principles of logic, validity, internal harmony, strict regulation of genres, typification and generalization of expressive means. The founder of Classicism in musical theater was J. B. Lully, the creator of the operatic genre of lyrical tragedy. Lully's operas are characterized by ancient and mythological plots, high heroism, elation of style, in the construction of operas - logical clarity, compliance with strict rules, normativity, orientation towards dramatically flexible recitative and orchestral development. However, only K.V. Gluck, who carried out the opera reform, managed to create works distinguished by noble simplicity and sublimity.
The pinnacle, qualitatively new stage in the development of the music of Classicism is the art of the Viennese classical school (the work of I. Haydn, W. A. Mozart and L. Beethoven). Viennese Classicism absorbed the most progressive ideas of his time, largely echoing the Weimar classicism of J. W. Goethe and F. Schiller in literature. The work of the Viennese classics is associated with the brilliant flowering of the leading instrumental genres - the symphony, sonata, string quartet, the formation of the sonata-symphonic cycle and the symphony orchestra. They created symphonism - a method of effectively revealing life's contradictions, consonant with the dialectical ideas of German classical philosophy. At the turn of the 18th-19th centuries. Classicism took on new forms in the writings of composers of the French Revolution. These ideals found their culminating expression in the works of Beethoven, whose later works, however, were already marked by the features of romanticism. Combining with elements of other artistic movements, the features of Classicism were refracted in Russian musical culture (M. S. Berezovsky, D. S. Bortnyansky, V. A. Pashkevich, E. I. Fomin, I. E. Khandoshkin).
Romanticism(French romantisme) - an ideological, aesthetic and artistic direction that developed in European art at the turn of the 18th and 19th centuries. The emergence of Romanticism, which was formed in the struggle against the Enlightenment-classicist ideology, was due to the deep disappointment of artists in the political results of the Great French Revolution. The sharp confrontation characteristic of the romantic method figurative antitheses(real - ideal, clownish - sublime, comic - tragic, etc.) indirectly expressed a sharp rejection of bourgeois reality, a protest against the practicality and rationalism that prevailed in it. The contrast between the world of beautiful, unattainable ideals and everyday life permeated with the spirit of philistinism gave rise in the work of the romantics, on the one hand, to dramatic conflict, the dominance of tragic motives of loneliness, wandering, etc., on the other, the idealization and poeticization of the distant past, folk life, nature. Compared to classicism in Romanticism. What was emphasized was not the unifying, typical, generalized principle, but the brightly individual, original one. This explains the interest in the exceptional hero, towering above his environment and rejected by society. In the era of Romanticism, music took a leading place in the art system, because it most closely corresponded to the aspirations of the romantics in reflecting the emotional life of a person. The initial stage of the music of Romanticism is represented by the works of F. Schubert, N. Paganini, G. Rossini, etc., the subsequent stage (1830-50s) - by the works of F. Chopin, R. Schumann, F. Mendelssohn, G. Berlioz , V. Bellini, F. Liszt, R. Wagner, G. Verdi. The late stage of Romanticism extends to the end. 19th century (I. Brahms, later creativity F. Liszt and R. Wagner, early op. G. Mahler, R. Strauss, etc.). In some national schools of composition, the heyday of Romanticism occurred in the last third of the 19th century. and beginning 20th century (E. Grieg, J. Sibelius, I. Albeniz, etc.). Russian music, based mainly on the aesthetics of realism, was in close contact with Romanticism in a number of phenomena - the work of P. I. Tchaikovsky, S. V. Rachmaninov.
The most important point in the aesthetics of Romantic music was the idea of a synthesis of arts, which found its most vivid expression in the operatic work of Wagner and in program music(Liszt, Schumann, Berlioz), which was distinguished by a wide variety of program sources (literature, painting, sculpture, etc.). The sphere of fantasy is interpreted in a variety of ways by romantics - from elegant scherzo, folk fabulousness ("Dream in summer night"Mendelssohn, "Free Shooter" by Weber) to the grotesque ("Fantastastic Symphony" by Berlioz, "Faust Symphony" by Liszt), fanciful visions generated by the sophisticated imagination of the artist ("Fantastic Pieces" by Schumann). Interest in folk art, especially its nationally distinctive forms, significantly stimulated the emergence of new composition schools in line with Romanticism - Polish, Czech, Hungarian, later Norwegian, Spanish, Finnish, etc. Everyday, folk-genre episodes, local and national color permeate all the musical art of the Romanticism era. In a new way, with unprecedented concreteness, picturesqueness and spirituality, the romantics recreate images of nature . The development of genre and lyric-epic symphonism is closely connected with this figurative sphere (one of the first works is Schubert’s “great” symphony in C major). New themes and images required the romantics to develop new means musical language and the principles of form-building, individualization of melody and the introduction of speech intonations, expansion of the timbre and harmonic palette of music (natural modes, colorful comparisons of major and minor, etc.). Attention to figurative character, portraiture, and psychological detail led to the flourishing of the genre of vocal and piano miniatures among the romantics (song and romance, musical moment, impromptu, song without words, nocturne, etc.). The endless variability and contrast of life impressions is embodied in the vocal and piano cycles of Schubert, Schumann, Liszt, Brahms, etc. Psychological and lyrical-dramatic interpretation is inherent in the era of Romanticism and large genres - symphony, sonata, quartet, opera. The desire for free self-expression, gradual transformation of images, and end-to-end dramatic development gave rise to free and mixed forms characteristic of romantic works in such genres as ballad, fantasy, rhapsody, symphonic poem and others. The music of Romanticism, being the leading direction in the art of the 19th century, at its later stage gave birth to new directions and trends in musical art - verism, impressionism, expressionism. Musical art of the 20th century. In many ways it develops under the sign of the denial of the ideas of Romanticism, but its traditions live within the framework of neo-romanticism.
Realism(from Late Latin realis - real, real) - creative method in art, implying a truthful and multifaceted reflection of reality using specific means inherent a certain type art. Fullest disclosure specific features Realism in the past is seen in the art of the 19th century. Some theorists do not consider it possible to talk about Realism in music, since for musical art the reflection of life in the forms of life itself is not specific. However, from the moment when the term “Realism” entered aesthetics and criticism (1860s), it was also used in relation to music (for the first time by V.V. Stasov). The broadest and most fundamental concept of Realism in music was given by B.V. Asafiev, who came to the conclusion about the historical law of “absorbing” into intonation the meaning of those specific social situations in which music is created, exists and is perceived. This meaning, being assigned to certain sound relationships, becomes their emotional and psychological content. Thus, an “intonation fund of the era” is formed, which reflects the mental state and psychological attitudes characteristic of a given time and culture. In European professional music, realistic features appeared in various artistic directions. Since the 17th century. the tendency of realistic typification in the heritage of C. Monteverdi and G. Schütz found implementation in the speech intonations of their works. In the 1st half. 18th century the gigantic power of generalization in the music of J. S. Bach embodied the realistic tendency associated with the support of intonational thinking on folk and choral melodies, closely associated with ethical and ideological-emotional ones. attitudes of a person of that era. In the 18th century in line with Enlightenment ideology, the theory of Realism was created (J. J. Rousseau, D. Diderot, A. E. M. Grétry). A practical parallel to these theoretical views was comic opera. A strong realistic tendency is present in the work of composers of the Viennese classical school, who gave examples of high generalizations of the psychological structure of man, humanistic values and ideals. Among the greatest romantic composers, elements of romantic aesthetics proper were closely intertwined with realistic ones. Turning to the inner world of man, the romantics achieved a truthful typification of emotional life in its dynamism, conflict, and integrity. This is how the basic principle of the music of Realism was formed: comprehension of reality through the emotional and psychological state of a person, and internal psychological life - through the drama of external history, with which the human personality is inextricably linked. The rebellious passion of P. I. Tchaikovsky’s music, the strength and sharpness of the expression in it of intense dramas of conflicts are recognized both as a generalization of the internal structure of human emotionality and as a typification social conflicts, and, finally, as an expression of contradictory relationships between the individual and the outside world. The founder of the realistic school in Russian music is M. I. Glinka, whose traditions were developed in the works of the largest Russian composers of the 19th - early. 20th centuries “The founder of realism in music,” according to V. V. Stasov’s definition, was A. S. Dargomyzhsky. Stasov also noted the outstanding contribution to musical realism of M. P. Mussorgsky. In classical Russian music, Realism received a bright, unique expression in the epic operas of A. P. Borodin and N. A. Rimsky-Korsakov, in the lyrical and dramatic works of P. I. Tchaikovsky, in the music of M. A. Balakirev, S. I. Taneyev, A.K. Glazunov, S.V. Rachmaninov, A.N. Scriabin and other Russian composers enriched the realistic direction with a new range of images associated both with the everyday life of the people, and with history, movements of the masses, as with the harmonious self-awareness of the individual, and with its internal conflict, with collisions between personality and social conditions that impede its development and self-affirmation. The critical element in the music of Realism of the Russian school sometimes appeared in the form of a realistic grotesque ("The Golden Cockerel" by Rimsky-Korsakov, "Rayok" by Mussorgsky, and later - "The Nose" by Shostakovich). In the works of Western European composers, the 2nd half. 19th century realistic tendencies can also be traced (R. Wagner, J. Bizet, G. Verdi, I. Brahms, A. Bruckner, etc.). In con. 19 - beginning 20th centuries musical realism was influenced by naturalism and the aesthetics of modernism. While maintaining its main, defining features, Realism in music of the 20th century. takes on new, more complex forms. The range of typical intonations is expanding, absorbing, on the one hand, deep intonation layers of folk cultures (3. Kodály, B. Bartok, K. Szymanowski, I. F. Stravinsky, S. S. Prokofiev, D. D. Shostakovich, G. V. Sviridov, A. I. Khachaturyan, K. Karaev, R. K. Shchedrin, etc.), on the other hand - the influence of the sound environment of our time, including motor skills associated with the world of technology, mass processions, images of city life, etc. The attitude towards Realism in the music of such composers as A. Schoenberg, A. Berg, A. Webern, who deeply reflected the contradictory consciousness of modern man in conditions of acute conflict of historical reality, is complex. The expanded range of standardized intonations and genre-dramatic models predetermined the diversity of realistic music of the 20th century.
Impressionism in music (French impressionnisme, from impression - impression) - an artistic movement that developed in Western Europe in the last quarter. 19 - beginning 20th centuries, primarily in the work of Claude Debussy. Has common roots with Impressionism in French. painting. Musical Impressionism is brought closer to Impressionism in painting by its colorfulness, the desire to embody fleeting impressions, to inspired landscapes ("Prelude to " Afternoon rest faun", "Nocturnes", "The Sea" for orchestra, "Island of Joy" for piano by Debussy, "The Play of Water", "Reflections" by Ravel, etc.), to the creation of colorful genre sketches and musical portraits ("Interrupted Serenade", "Minstrels", "The Girl with Flaxen Hair" by Debussy). The application of the term “Impressionism” to music, however, is largely arbitrary, and direct analogies between pictorial and musical Impressionism are hardly possible. The surrounding world is revealed in musical Impressionism through the prism of subtle psychological reflexes, subtle sensations born of its contemplation. These features bring Impressionism closer to other artistic movement- literary symbolism, with the works of P. Verlaine, S. Mallarmé, P. Louis, M. Maeterlinck, whose works were translated into the music of C. Debussy and his followers. Despite the novelty of the musical language, Impressionism often recreates some techniques characteristic of the art of previous times, in particular the music of French harpsichordists of the 18th century. In the sphere of colorful picturesqueness, fantasy and exoticism (interest in Spain and the countries of the East), the impressionists continued the traditions of romanticism, while abandoning acute dramatic collisions and social themes. The music of Debussy and M. Ravel was strongly influenced by the work of M. P. Mussorgsky (not its ideological aspect, but a number of features of the musical language). The Impressionists created works of art that were refined and clear in expressive means, emotionally restrained and strict in style. At the same time, the interpretation of musical genres has changed significantly. In the field of symphonic and piano music, program miniatures and suite cycles were created, in which a colorful and picturesque element dominated. The harmonic and timbre have been enriched musical thinking. Impressionist harmony is characterized by an increase in color, including under the influence of French musical folklore and new for the European of the 19th century. systems of musical thinking (the influence of Russian music, Gregorian chant and Renaissance polyphony, music of Eastern countries, black minstrel theater in the USA). This was manifested, in particular, in the use of natural and anhemitonic modes, elements of modal harmony, and chord parallelisms. The impressionist instrumentation is characterized by differentiated orchestral sound, detailed texture, and the use of pure timbres. In addition to France, where Debussy’s followers were M. Ravel, P. Dukas, F. Schmitt and others, at the turn of the 19th-20th centuries. elements of Impressionism were developed in other schools of composition, uniquely intertwined with their national characteristics(M. de Falla in Spain, O. Respighi, partly A. Casella and F. Malipiero in Italy, F. Dilius and S. Scott in Great Britain, K. Szymanowski in Poland, early work of I. F. Stravinsky, N. N Cherepnin and others in Russia).
Expressionism(from Latin expressio, gender expressionis - expression) - a direction in European art and literature of the 1st quarter. 20th century Expressionism reflected the tragic worldview of the European intelligentsia on the eve of the 1st World War of 1914-18, during the war and post-war years. Expressionism has become a form of rebellion against absurdity modern world, from which the artist did not see a positive way out. Hence the sharply critical attitude of the Expressionists towards the ideals of classical and romantic art, which, in the face of real social evil, were perceived as benign illusions. The focus of Expressionist art is on painful, irrational states of the soul, generated by fear and despair. The merciless demonstration of the negative sides of reality, the humanistic idea of compassion for the “humiliated and insulted” brought a sharply accusatory current into the art of Expressionism (Berg’s “Wozzeck”). Expressionism is most clearly represented in the art and literature of Austria and Germany (artists O. Kokoschka, M. Beckmann, J. Gros, etc.; writers I. Becher, L. Frank, playwrights E. Toller, G. Kaiser, etc.). In music, the features of Expressionism were noted in some late romantic works (the last symphonies of G. Mahler, the operas "Salome" and "Electra" by R. Strauss); The music of Expressionism found full and complete expression in the works of Arnold Schoenberg (Pierrot Lunaire, operas Waiting, Lucky Hand, plays op. 11, 16, 19), Alban Berg (all works) and their followers. Expressionist musical compositions are usually characterized by a rejection of major and minor, fragmented melody, extreme dissonance of harmony, vocal part- half-singing, half-talking (Sprechstimme). The extreme tension of the emotional system is revealed in extremely sharp contrasts of moods - from condensed gloomy, delusional to infantile-enlightened.
Neoclassicism(from Greek - new and classicism) - a direction in music of the 20-30s. 20th century, which is characterized by an appeal to the principles of musical thinking and genres typical of Baroque (less often - early classicism And late Renaissance). To one degree or another, Neoclassicism was reflected in the music of composers of the 20th century, but it received its most complete expression in the works of I. F. Stravinsky and P. Hindemith. Its representatives turned primarily to the revival of national musical traditions: in Germany - to the instrumental heritage of J. S. Bach: in Italy - to the traditions of instrumental concerts by A. Vivaldi, ancient Italian opera, etc.; in France - to ancient French sonatas, the opera of J. B. Lully, the allegorical court ballet, the tradition of theatrical performances of the era of the Great French Revolution (in the latter case, points of contact were found with the oratorios of G. F. Handel), etc. The free nature inherent in Neoclassicism the use of ancient styles and genres became one of the essential features of the music of the 2nd floor. 20th century, in particular Soviet music 60-80s
Neo-Romanticism(from Greek - new and romanticism) - a concept that usually means late romanticism, mainly the works of F. Liszt and R. Wagner. J. Brahms, A. Bruckner, H. Wolf, G. Mahler, R. Strauss are sometimes conventionally classified as neo-romantics . The term "Neo-romanticism" is also applied to the work of composers who continued some traditions of romantic music in the early years. 20th century. In the 2nd half. 20th century many composers consciously turn to the style of romanticism. Early 70-80s associated with a protest against the excesses of the “second avant-garde”, with the demand for open expressiveness and a return to the “new simplicity”.
Neofollorism(from Greek - new and folklore) - a term sometimes applied to European music of the 1st third of the 20th century, in which the renewal of writing means is organically connected with reliance on folklore. The most prominent and consistent representatives of neofolklorism are B. Bartok and I.F. Stravinsky. The music of neo-folklorism is characterized by the concentration of certain features of folklore, for example, metrical irregularity, coming from ancient Russian song ("The Tale" by Stravinsky), "thickening" of the modal intonation features of the folklore of those peoples whose musical thinking differs from the traditional pan-European one ("15 Hungarian Dances" , "2 Romanian Dances", Arabic folklore in the 3rd movement of the piano suite op. 14 by Bartók). Activity and energetic rhythms are typical ("Allegro barbaro" by Bartok, 1911; "The Rite of Spring" by Stravinsky, 1913). In musical works of this direction, in addition to reproducing the external beauty of folk life (Millo's "Provençal Suite"), they receive a generalized embodiment national character("7 Spanish Songs" by de Falla), language, thinking ("Le Noces" by Stravinsky, "Jenufa" by Janacek) and ethics ("Hungarian Psalm" by Kodály). The enrichment of the language in connection with the appeal to ancient layers of folklore is a phenomenon typical of Russian music. In Soviet music of the 60-80s. Vivid examples of creative refraction of folklore sources were created by G. V. Sviridov, V. A. Gavrilin, and composers of the Union republics. Their works are not usually designated by the term “Neofolklorism”, but music criticism The name "new folklore wave" became widespread.
Introduction
Characteristics of classicism as a movement in art
Features of classicism in music
Conclusion
Bibliography
Introduction
classicism art music
The relevance of the work lies in considering the relationship between the dominant movement in art and trends in music of the era of classicism.
The purpose of the work is to study classicism and its manifestations in music.
Achieving the goal involves solving a number of tasks:
) characterize classicism as a movement in art;
) study the features of classicism in music.
Based on ideas about regularity and rationality of the world order, the masters of classicism strove for clear and strict forms, harmonious patterns, the embodiment of high moral ideals. They considered works of ancient art to be the highest, unsurpassed examples of artistic creativity, so they developed ancient subjects and images.
1. Characteristics of classicism as a movement in art
Classicism ―― Classicism is based on the ideas of rationalism, which were formed simultaneously with those in the philosophy of Descartes. A work of art, from the point of view of classicism, “must be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself.” Of interest to classicism is only the eternal, the unchangeable - in each phenomenon it strives to recognize only essential, typological features, discarding random individual characteristics. The aesthetics of classicism attaches great importance to the social and educational function of art. Classicism takes many rules and canons from ancient art (Aristotle, Horace). Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined characteristics, the mixing of which is not allowed. Classicism appeared in France. In the formation and development of this style, two stages can be distinguished. The first stage dates back to the 17th century. For the classics of this period, unsurpassed examples of artistic creativity were works of ancient art, where the ideal was order, rationality, and harmony. In their works they sought beauty and truth, clarity, harmony, completeness of construction. Second phase ―XVIII century. It entered the history of European culture as the Age of Enlightenment or the Age of Reason. Man attached great importance to knowledge and believed in the ability to explain the world. The main character is a person who is ready for heroic deeds, subordinating his interests ―general, emotional impulses - the voice of reason. He is distinguished by moral steadfastness, courage, truthfulness, and devotion to duty. The rational aesthetics of classicism was reflected in all types of art. In painting, the logical development of the plot, a clear balanced composition, a clear transfer of volume, the subordinate role of color with the help of chiaroscuro, and the use of local colors acquired the main importance (N. Poussin, C. Lorrain, J. David). IN poetic art There was a division into “high” (tragedy, ode, epic) and “low” (comedy, fable, satire) genres. Prominent Representatives French literature P. Corneille, F. Racine, J.B. Moliere had a great influence on the formation of classicism in other countries. An important point of this period was the creation of various academies: sciences, painting, sculpture, architecture, inscriptions, music and dance. Artistic style classicism (from Latin classicus ― « exemplary") arose in XVII centuries in France. Based on ideas about the regularity and rationality of the world order, the masters of this style “strove for clear and strict forms, harmonious patterns, and the embodiment of high moral ideals.” They considered works of ancient art to be the highest, unsurpassed examples of artistic creativity, so they developed ancient subjects and images. Classicism largely opposed the Baroque with its passion, variability, and inconsistency, asserting its principles in different types art, including music. In the opera of the 18th century. classicism is represented by the works of Christoph Willibald Gluck, who created new interpretation this type of musical and dramatic art. The pinnacle in the development of musical classicism was the work of Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven, who worked mainly in Vienna and formed a direction in the musical culture of the second half of the 18th century ― beginning of the 19th century ―Viennese classical scale. Classicism in music is in many ways unlike classicism in literature, theater or painting. In music it is impossible to rely on ancient traditions ―they are almost unknown. In addition, the content of musical compositions is often associated with the world of human feelings, which are not subject to the strict control of the mind. However, the composers of the Viennese school created a very harmonious and logical system of rules for constructing a work. Thanks to such a system, the most complex feelings were clothed in a clear and perfect form. Suffering and joy became for the composer a subject of reflection, rather than experience. And if in other types of art the laws of classicism already at the beginning of the 19th century. seemed outdated to many, then in music the system of genres, forms and rules of harmony developed by the Viennese school retains its significance to this day. 2. Features of classicism in music
Classicism in music differed from classicism in related arts. The content of musical compositions is connected with the world of human feelings, which are not subject to the strict control of the mind. However, composers of this era created a very “harmonious and logical system of rules for constructing a work.” In the era of classicism, such genres as opera, symphony, and sonata were formed and achieved perfection. ―simplicity, truth, naturalness. IN musical drama he was looking for meaning, not sweetness. From the opera, Gluck removes everything superfluous: decorations, magnificent effects, gives poetry greater expressive power, and the music is completely subordinate to the disclosure of the inner world of the heroes. The opera Orpheus and Eurydice was the first work in which Gluck implemented new ideas and laid the foundation for operatic reform. Strictness, proportionality of form, noble simplicity without pretentiousness, a sense of artistic proportion in Gluck's works are reminiscent of the harmony of forms of ancient sculpture. Arias, recitatives, and choruses form a large operatic composition. The heyday of musical classicism began in the second half of the 18th century in Vienna. Austria at that time was a powerful empire. The multinationality of the country also affected its artistic culture. The highest expression of classicism was the work of Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, who worked in Vienna and formed a direction in musical culture ―Viennese classical school. Haydn has been called "the founder of classical instrumental music, the founder of the modern symphony orchestra and the father of the symphony." He established the laws of the classical symphony: he gave it a harmonious, complete look, determined the order of their arrangement, which has been preserved in its main features to this day. The classical symphony has a four-digit cycle. The first part goes at a fast pace and most often sounds energetic and excited. Second part ―slow. Her music conveys the lyrical mood of a person. The third part ― minuet ―one of the favorite dances of Haydn's era. Fourth part ―the final. This is the result of the entire cycle, a conclusion from everything that was shown, thought out, felt in the previous parts. The music of the finale is usually directed upward; it is life-affirming, solemn, and victorious. In the classical symphony an ideal form has been found that can contain very deep content. In Haydn's work, the type of classical three-movement sonata is also established. The composer's works are characterized by beauty, order, subtle and noble simplicity. His music is very bright, light, mostly in major key, full of cheerfulness, wonderful earthly joy and inexhaustible humor. Haydn's art had a tremendous influence on the formation of Mozart's symphonic and chamber style. Based on his achievements in the field of sonata-symphonic music, Mozart introduced many new, interesting, and original things. The entire history of art does not know a more striking personality than him. Mozart had a phenomenal memory and hearing, had brilliant skills as an improviser, played the violin and organ beautifully, and no one could challenge his primacy as a harpsichordist. He was the most popular, the most recognized, the most beloved musician in Vienna. Huge artistic value are his operas. For two centuries now, The Marriage of Figaro and Don Giovanni have enjoyed success, striking with their charmingly elegant melody, simplicity, and luxurious harmony. And “The Magic Flute” went down in the history of music as Mozart’s “swan song”, as a work that most fully and vividly reveals his worldview, his cherished thoughts, as an epilogue to his whole life, as a kind of grandiose artistic testament. “Mozart’s art is perfect in skill and absolutely natural. He gave wisdom, joy, light and goodness." Beethoven became famous as the greatest symphonist. His art is permeated with the pathos of struggle. It implemented the advanced ideas of the Enlightenment, which established the rights and dignity of the human person. He owns nine symphonies, a number of symphonic overtures (Egmont, Coriolanus), and thirty-two piano sonatas made up the era in piano music. The world of Beethoven's images is diverse. His hero is not only brave and passionate, he is endowed with a finely developed intellect. He is a fighter and a thinker. In Beethoven's music, life in all its diversity ―stormy passions and detached daydreaming, dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life. Completing the era of classicism, Beethoven simultaneously opened the way for the coming century. Classicism ―style of a historically specific era. But his ideal of harmony and proportionality remains to this day a model for subsequent generations. Conclusion
Classicism ― artistic direction in art and literature XVII ― beginning of the 19th century In many ways he opposed the Baroque with its passion, variability, and inconsistency, asserting his principles. Classicism is based on the ideas of rationalism, which were formed simultaneously with those in the philosophy of Descartes. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself. Based on ideas about the regularity and rationality of the world order, the masters of this style strove for clear and strict forms, harmonious patterns, and the embodiment of high moral ideals. They considered works of ancient art to be the highest, unsurpassed examples of artistic creativity, so they developed ancient subjects and images. Classicism in music differed from classicism in related arts. The content of musical compositions is connected with the world of human feelings, which are not subject to the strict control of the mind. However, the composers of this era created a very harmonious and logical system of rules for constructing a work. In the era of classicism, such genres as opera, symphony, and sonata were formed and achieved perfection. The real revolution was the operatic reform of Christophe Gluck. His creative program was three great principles ― simplicity, truth, naturalness. In musical drama he sought meaning, not sweetness. From the opera, Gluck removes everything superfluous: decorations, magnificent effects, gives poetry greater expressive power, and the music is completely subordinate to the disclosure of the inner world of the heroes. 1. Aliev, Yu.B. Handbook for a school teacher-musician / Yu.B. Aliev. - M.: VLADOS, 2000. - 336 p. Zhabinsky, K.A. Encyclopedic musical dictionary/ K.A. Zhabinsky. - M.: Phoenix, 2009. - 474 p. Ilyina, T.V. History of art. Western European art/ T.V. Ilyina. - M.: Higher School, 2000. - 368 p. Minakova, A.S. Minakov, S.A. History of world music: Genres. Styles. Directions / A.S. Minakova, S.A. Minakov. - M.: Eksmo, 2010. - 544 p. Petkova, S.M. Handbook of world culture and art / S.M. Petkova. - Rostov-on-Don: Phoenix, 2007 - 507 p. Reskin, J. Lectures on art / J. Reskin. - M.: B.S.G.-Press, 2006. - 319 p. Kholopova, V.N. Music theory: Melodics, rhythm, texture, thematics / V.N. Kholopova. - M.: Lan, 2002. - 368 p.
