Variation form is based on. Essay on the topic "musical form-variations"

The term basso ostinato means the continuous repetition of the same melodic turn, which is the theme of the variations, in the lower voice. These variations grew out of variations of the 16th century, reached their peak in the Baroque era (XVII - the first half of the 18th century) and were revived in the 20th century. In the Baroque era, their existence was associated with the cultivation of the bass, the doctrine of the general bass, as well as polyphonic thinking.

Variations on basso ostinato were associated with the genres of passacaglia and chaconne - slow pieces with a four-eight bar theme. The theme of ostinato variations is most often short, simple, and is first presented in one voice (in the passacaglia) or in many voices (in the chaconne). In the 17th-18th centuries, it has a measured movement, mostly in a minor mode, in size ¾ (in the chaconne there is an accent-syncope on the second beat), and a psychologically deep character.

Two types of themes can be distinguished: closed, which were predominantly more developed, and open, which were often built as a descending chromatic movement from the tonic to the dominant - descending, ascending, diatonic or chromatic. This intonation structure opened wide opportunities for the composer regarding harmonic and polyphonic development. Actually, the main attention is gradually shifting to this additionally composed and more expressive material in the upper voices. The ostinato theme, being repeated many times, fades into the background in perception, leaving behind a purely constructive role. One implementation of the theme in the bass is not separated from the next, and the variations go one after another without a definite end to the previous one and the beginning of the next one. In some places the limit of the new variation does not coincide with the beginning of the theme in the bass. Sometimes, in the middle of the variations, the theme can be transferred to the soprano (Passacaglia in c-moll by J.S. Bach). Along with the main theme, other themes may appear during variation (in Bach's Chaconne in d-moll, the number of themes is at least 4). The texture of the variations is adorned with expressive musical and rhetorical figures.

The tonality and structure of the theme in the chaconne and passacaglia remain unchanged; it is only allowed to change the mode to the one of the same name.

With a larger number of variations, it is characteristic to combine several of them into separate groups on the basis of the same type of variation - an approximately similar melodic and rhythmic pattern of polyphonic voices, registers, and the like. Variations are located according to the principle of complication of texture or contrasting comparison of groups.

Of great formative importance is the distribution of "local" and general culminations, which unite the form.

Since the basso ostinato variations are based on a constant, as if importunate theme, they are well suited for expressing in music moods of deep reflection, focus on one thing, lack of freedom and inactivity, which are opposed by free development in the upper voices (contrast in simultaneity).

The form of variations on the ostinato bass was based on both harmonic and polyphonic principles of development. In the 20th century, many composers turned to variations on the ostinato bass: Reger, Taneyev, Hindemith, Shostakovich, Schnittke, while in the 19th century this rarely happened (the finale of the 4th symphony of Brahms).

Strict figurative (ornamental) variations

« Pieces with variations should always be based on ariettas known to the listeners. When performing such pieces, one should not deprive the audience of the pleasure of delicately singing along with the performer ”(I.P. Milkhmayer, 1797).

The main difference from variations on the ostinato bass is the homophonic basis of thinking.

Features:

1. The theme is written in a simple two-part, less often in a simple three-part form.

2. The main method of development is textured, consisting in ornamenting the theme, splitting durations (diminution), and using figurations.

3. The form of the theme is maintained in all variations with the assumption of a slight expansion and codes.

4. The tonality is the same, but with a typical replacement for the one of the same name in the middle of the cycle or towards the end.

5. One change of tempo is allowed, closer to the final variation.

Variation of the theme is not limited to its complication. Along with this, for contrast, the simplification of the theme is also used - harmonic or textural, including through the reduction of voices (for example, instead of homophonic four-parts, polyphonic two-parts are introduced). In some cases, there is a change in time signature, although in general, variations of the classical era, while retaining the main features of the theme, also retain its meter and tempo.

The structure of the cycle of variations

There is a certain trend in the arrangement of variations:

1. Classical variations, to a greater extent than old ones, contrast in character with each other and are arranged in such a way that each subsequent one is more complex than the previous one.

2. In large variational cycles with a significant number of variations, the arrangement of the latter in groups is characteristic, on the basis of the same type of variation in the theme. The group of variations placed side by side is presented in approximately the same texture, due to which the composition as a whole is perceived by larger sections.

3. The placement of punchlines is of great importance for combining variations.

4. In this sense, the principle of contrast also plays a significant role. This is facilitated by the use of the tonality of the same name for some variations (comparison of major and minor). In addition, the contrast of tempos is gradually becoming normal.

5. For the overall composition of the variational cycle, the structure and features of the last two variations are of great importance. The penultimate variation often returns to the initial or close to it presentation of the topic, sometimes written in a slower movement or tempo. The last variation completes the cycle, and therefore it can use a more complex texture, change the tempo or meter, expand the structure. After it, a code can be entered.

The form of classical figurative variations has stabilized in the works of Mozart: the number of variations is more often 6, maximum 12; pre-final variation in adagio tempo, the last one - in the nature of the finale of the instrumental cycle, with a change in tempo, meter, genre. Beethoven's number of variations changed from 4 to 32.

Andreeva Katya

The abstract provides a brief overview of the Variation form, variations construction schemes, types and varieties of variations, the history of the emergence and development of this musical form.

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abstract

Topic:

"Musical Form - Variations"

Performed:

student of grade 3b, school number 57 in Orenburg, Andreeva Katya

teacher-

Popova Natalia Nikolaevna

year 2013

Abstract plan:

1. The concept of "Variations".

2. Scheme for constructing Variations.

3. Variety of Variations.

4.History of the development of the form "Variations"

1.Variations (“change”) is a musical form that consists of a theme and its altered repetitions. VARIATION FORM, variations, theme with variations, variation cycle - a musical form consisting of a theme and its several (at least two) modified reproductions (variations). The theme can be original (composed by a given composer) or borrowed from folk music, folklore, as well as well-known popular examples of classical or modern music. The most typical qualities of the theme are: song character; form - period or simple two-, less often three-part; economy of harmony and texture, which are enriched in the process of variational development. The specific qualities of the Variation form are thematic unity and integrity, and, at the same time, the isolation of parts and relative staticness.

2. Scheme for building Variations No. 1

a1 a2 a3 a4.......

(theme) (variations)

In music, there are also variations on 2 and even 3 themes.

Variations on 2 themes are called - double .

Scheme for building Variations No. 2:

double variations:

a1 a2 a3 a4.... in b1 b2 b3 b4.....

(1 theme) (variations) (2 theme) (variations)

Variations on 3 themes are called triple.

3. Varieties of variations

In professional music, there are several varieties of variational form.

Since the 16th century, the form of variations on unchanging bass (in Italian basso ostinato) or unchanging harmony. Now they are sometimes calledold variations. These variations come from chaconnes and passacaglia - slow three-beat dances that came into fashion in Europe in the 16th century. The dances soon fell out of fashion, but the passacaglia and chaconne remained as the titles of pieces written in the form of variations on the unchanging bass or unchanging harmony. Often in this form they wrote music of a mournful, tragic nature. The slow, heavy tread of the bass, repeating the same thought all the time, creates the impression of persistence, inevitability. Such is the episode from the Mass in B minor by J.S. Bach, which tells about the sufferings of the crucified Christ (Crucifixus chorus, which means “Crucified on the Cross”). This choir consists of 12 variations. The bass here is unchanged, and the harmony varies in places, sometimes it suddenly “flares up” with new, bright, expressive colors. Intertwining lines of choral parts develop completely freely.

The main types of Variations:

Vintage or basso ostinato- based on the constant repetition of the theme in the bass;

- “Glinka” or soprano ostinato- the melody is repeated the same, and the accompaniment changes;

Strict or classic- they preserve the general contours of the theme, its form and harmony. The melody, mode, tonality, texture are changing;

free or romantic- where the theme changes beyond recognition. Variations come in a variety of sizes.

There are very small miniatures written in the form of variations, and there are large concert variations, which, in their length and richness of development, can be compared with sonatas. Such variations are large form.

Types of variations (classification according to various criteria):

1. by the degree of departure from the topic- strict (tonality, harmonious plan and form are preserved);

2. loose (a wide range of changes, including harmony, form, genre appearance, and so on; connections with the theme are sometimes conditional: each variation can reach independence, like a play with individual content);

3. by methods of variation- ornamental (or figurative), genre-specific, etc.

4. History of the development of Variations.

Variations appeared a very long time ago in folk music. Folk musicians did not know the notes, they played by ear. It was boring to play the same thing, so they added something to the familiar melodies - right there, during the performance. Such an essay "on the go" is called improvisation . While improvising, folk musicians retained the recognizable outlines of the main theme, and variations were obtained. Only they did not yet know such a name: professional musicians came up with it much later. The variation form was born in the 16th century. Variations originated from folk music. Imagine that a folk craftsman-musician played the melody of some song on a horn, pipe or violin, and each time the motive of this song was repeated, but it sounded in a new way, enriched with new echoes, intonations, the rhythm, tempo, and individual turns of the melody changed. So there were variations on song, dance themes. For example, M. Glinka wrote variations on the theme of Alyabyev's "Nightingale" or on the soulful tune "Among the Flat Valley." Variations can be imagined as a series of pictures about the history, experiences (and even adventures) of the face-image that the listener gets acquainted with in the topic. The difficulty in working on a variational cycle lies in the combination of individual variations into a single whole. Wholeness is achieved by thematic unity. Also of great importance are the caesuras between variations. Caesuras can separate the variations and combine them into a single whole.

The development and change of the elements of the Variation form continued for many years and centuries. The variations of the Bach period and the period of the 19th-20th century are completely different in many respects. Composers experimented and made significant changes to the form.

The appearance of variations with a theme at the end indicates a departure from classical rhetorical thinking in the field of musical forms, which required the establishment of a theme at the beginning, with subsequent development. One of the precedents is known in baroque music: the variation chorale cantata with the placement of a pure chorale as the last number. Variations with a theme at the end, having appeared at the end of the 19th century, then became more and more fixed in the 20th century, because of which they are considered in the chapter "Classical Instrumental Forms" only for the sake of compactness of presentation.
The most significant works in the form of variations with a theme at the end are Andy's Ishtar Symphonic Variations (1896), Shchedrin's 3rd piano concerto with the subtitle "Variations and Theme" (1973), Schnittke's Piano Concerto (1979), "Meditation on the chorale of I. FROM. Bach "And here I am before your throne" "Gubaidulina (1993). Passacaglia from Shostakovich's Violin Concerto No. 1 (1948) can be added to them - see our analysis in the section "Variations on basso ostinato".

7. Variations

In the third grade, you learned that variations are changes in a theme, but such that the "face" of this theme is always recognized. Variation means change. Vary change.

You have already come across variations in S. M. Slonimsky's suite "The Princess Who Couldn't Cry". But there it was used as a separate technique, along with many others. When do we talk about variation form, we mean the musical form in which variation of the theme the main technique for the development of musical material. A form consisting of a theme and variations can also be called variational cycle.

Variations come in a variety of sizes. There are very small miniatures written in the form of variations, and there are large concert variations, which, in their length and richness of development, can be compared with sonatas. Such variations are large form. Many of you have probably already played variations in your specialty class.

Variations as a method of development appeared a very long time ago in folk music. Folk musicians did not know the notes, they played by ear. Playing the same thing was boring, so they added something to the familiar melodies right there, during the performance. Such an essay "on the go" is called improvisation. While improvising, folk musicians retained the recognizable outlines of the main theme, and variations were obtained. Only they did not yet know such a name: professional musicians came up with it much later.

In professional music, there are several varieties of variational form.

Since the 16th century, the form of variations on constant bass(in Italian basso ostinato) or unchanging harmony. Now they are sometimes called old variations. These variations come from chaconnes and passacaglia slow three-beat dances that came into fashion in Europe in the 16th century. The dances soon fell out of fashion, but the passacaglia and chaconne remained as the titles of pieces written in the form of variations on the unchanging bass or unchanging harmony. Often in this form they wrote music of a mournful, tragic nature. The slow, heavy tread of the bass, repeating the same thought all the time, creates the impression of persistence, inevitability. This is an episode from the Mass in B minor by J.S. Bach, which tells about the sufferings of the crucified Christ (chorus "Crucifixus", which means "crucified on the cross") This choir consists of 12 variations. The bass here is unchanged, and the harmony varies in places, sometimes it suddenly “flares up” with new, bright, expressive colors. Intertwining lines of choral parts develop completely freely.

In variations of this type, the theme itself does not vary, but the "environment" changes all the time and colors it differently. There is another type of variation in which only the "environment" of the theme changes these are variations on soprano ostinato which first appeared in the first half of the 19th century in Glinka's music. Therefore they are also called Glinka variations.

As you know, the soprano is not only a high female voice, but also the upper voice in the choir and in general in any musical polyphony. So, soprano ostinato is the unchanging upper voice.

After Glinka, this form was used by many Russian composers. An example of such variations can be found in Tchaikovsky's "Children's Album". The play called "Russian Song" is really an adaptation of the Russian folk song "You are my head, little head." The theme is repeated four times, each time with different cadences, now in major, now in parallel minor. Modal variability is a characteristic feature of Russian folk songs. Often Russian folk songs are sung by an ensemble or, as the people say, by an "artel". At the same time, everyone leads his own voice, and constantly changing intricate undertones are formed. Sometimes several voices converge in unison, and then "split" into a chord. All these features of folk singing were reproduced by Tchaikovsky in his little arrangement. The play ends with a small coda in which the most characteristic motifs are repeated several times.

Soon

And in Western Europe, in parallel with variations on the basso ostinato, another type of variation gradually took shape. These variations were based on a partial change in the melody, decorating it with all sorts of rhythmic patterns figurations. These variations, which finally took shape in the 18th century, are known as classical, or strict. In strict variations, the form and harmony do not change, the tonality changes very rarely. The melody and texture change, in one or two variations the mode may change while maintaining the same tonic (for example, an A minor variation may appear in an A-major variation cycle). The number of variations in a cycle ranges from five or six to thirty or more (L. van Beethoven has cycles of 32 and 33 variations).

Often, for the theme of such variations, composers took either a folk song, or even the music of another composer. For example, Beethoven's famous 33 variations are written on a waltz theme. Composers often wrote separate parts of sonatas and symphonies in the form of variations. In this case, the theme was usually composed by the author himself.

A striking example of classical figurative variations is the first movement of Mozart's Eleventh Sonata. It consists of a theme written in a simple two-part form with an inclusion and six variations. Theme is written in character Sicilians graceful old dance. But at the same time, its melody is very melodious. In different variations, Mozart emphasizes either song or dance features of the theme. Pay attention to the cadence of the first period, in which rather powerful chords replace the transparent three-voice. This slightly hinted contrast Mozart will develop and intensify in further variations.

Example 37
First theme period

Andante grazioso

Listen more closely to the openwork figurations of the first variation, and you will hear the motives of the theme blurred in them, although it is almost impossible to see this theme in the notes.

Example 38
First variation (first period)

Pay attention to the new unexpected figurine with a trill in the penultimate bar of the first period. She will not be encountered in the second half of this variation and may seem random here. Mozart often comes across such seemingly unexpected details. But he doesn't do anything for nothing. This is a "hint" that is played at the beginning of the next, second variation.

Example 39
Second variation (first sentence)

Do you hear? In this motif, the outlines of the theme appeared more clearly. But "singing" disappeared, "pure" dancing came to the fore.

And the third variation unexpectedly minor. And everything consists of a rapid run of sixteenth notes, almost like in an etude. And only in cadences there are small respite. The minor scale gives the music a thrill. This is no longer a dance or a song, this variation tells about experiences, sharp and a little disturbing.

Example 40
Third variation (first sentence)

The stormy feelings of the third variation are replaced by the captivating image of a beautiful dream. In the first period fourth variation Mozart found such a texture that it seems to us that the music is filled with air.

Example 41
Fourth variation (first period)

And in the middle section of this variation, as a response to a beautiful vision, a beautiful melodious melody is born:

Example 42
Fourth variation (middle section)

This sprout of gentle singing blossoms in the fifth variation, which is similar to a virtuoso opera aria. Its beginning is also reminiscent of the beginning of the second variation (remember the one in which the "singing disappeared"?). But here, for all their similarities, singing just appeared. If in the first half of the variational cycle the theme, as it were, fell apart into different images, now, towards the end, Mozart collects them together.

This is the only variation that is written in a slow tempo (Adagio). Such a tempo makes it possible to listen better to each sound, it further emphasizes the melodiousness of the music.

Example 43
Fifth variation (first sentence)

The sixth variation is the final (last) variation of the entire cycle. Its final character is emphasized and pace the variation is at a fast pace (Allegro), and size instead of a smooth swaying in size, a rapid movement in size appears. The variation is slightly expanded in form: a small code.

In the sixth variation, the dance character dominates, but this is no longer an elegant Sicilian, but an incendiary two-part dance. However, this is not a specific dance, but a collective image of a fun dance movement.

Example 44
Sixth variation (first period)

The change in tempo and time signature is not typical for strict variations of the 18th century and may sometimes appear in the last variation (the tempo may change in the penultimate, as in Mozart). But composers continued to develop the variational form, and in the 19th century free variations that are subject to change all means of musical expression any variations. In free variations, the theme can change so much that it can be difficult to recognize.

Now let's define all the variations.

Classic and free variations can also be double(that is, variations on two themes) and, very rarely, triple(on three topics).

from lat. variatio - change, variety

A musical form in which a theme (sometimes two or more themes) is presented repeatedly with changes in texture, mode, tonality, harmony, the ratio of contrapuntal voices, timbre (instrumentation), etc. In each V., not only one component (for example, ., texture, harmony, etc.), but also a number of components in the aggregate. Following one after another, V. form a variational cycle, but in a broader form they can be interspersed with c.-l. other thematic. material, then the so-called. dispersed variational cycle. In both cases, the unity of the cycle is determined by the commonality of thematics arising from a single art. design, and a complete line of muses. development, dictating the use in each V. of certain methods of variation and providing a logical. the connection of the whole. V. can be as an independent product. (Tema con variazioni - theme with V.), and part of any other major instr. or wok. forms (operas, oratorios, cantatas).

V.'s form has nar. origin. Its origins go back to those samples of folk song and instr. music, where the melody changed with couplet repetitions. Particularly conducive to the formation of V. chorus. song, in which, with the identity or similarity of the main. melody, there are constant changes in the other voices of the choral texture. Such forms of variation are characteristic of developed polygols. cultures - Russian, cargo, and many others. etc. In the area of ​​nar. instr. music variation manifested itself in paired bunks. dances, which later became the basis of dances. suites. Although the variation in Nar. music often arises improvisationally, this does not interfere with the formation of variations. cycles.

In prof. Western European music culture variant. the technique began to take shape among composers who wrote in contrapuntal. strict style. Cantus firmus was accompanied by polyphonic. voices that borrowed his intonations, but presented them in a varied form - in a decrease, increase, circulation, with a changed rhythmic. drawing, etc. A preparatory role also belongs to variational forms in lute and clavier music. Theme with V. in modern. The understanding of this form arose, apparently, in the 16th century, when the passacaglia and chaconnes appeared, representing V. on an unchanged bass (see Basso ostinato). J. Frescobaldi, G. Purcell, A. Vivaldi, J. S. Bach, G. F. Handel, F. Couperin and other composers of the 17th-18th centuries. widely used this form. At the same time, musical themes were developed on song themes borrowed from popular music (V. on the theme of the song "The Driver's Pipe" by W. Byrd) or composed by the author V. (J. S. Bach, Aria from the 30th century). This genus V. became widespread in the 2nd floor. 18th and 19th centuries in the work of J. Haydn, W. A. ​​Mozart, L. Beethoven, F. Schubert and later composers. They created various independent products. in the form of V., often on borrowed themes, and V. was introduced into the sonata-symphony. cycles as one of the parts (in such cases, the theme was usually composed by the composer himself). Especially characteristic is the use of V. in the finals to complete the cyclic. forms (Haydn's symphony No. 31, Mozart's quartet in d-moll, K.-V. 421, Beethoven's symphonies No. 3 and No. 9, Brahms' No. 4). In concert practice 18 and 1st floor. 19th centuries V. constantly served as a form of improvisation: W. A. ​​Mozart, L. Beethoven, N. Paganini, F. Liszt and many others. others brilliantly improvised V. on a chosen theme.

The beginnings of variation. cycles in Russian prof. music is to be found in polygoal. arrangements of melodies of the Znamenny and other chants, in which harmonization varied with couplet repetitions of the chant (late 17th - early 18th centuries). These forms left their mark on the production. partes style and choir. concert 2nd floor. 18th century (M. S. Berezovsky). In con. 18 - beg. 19th centuries a lot of V. was created on the topics of Russian. songs - for piano, for violin (I. E. Khandoshkin), etc.

In the late works of L. Beethoven and in subsequent times, new paths were identified in the development of variations. cycles. In Western Europe. V. music began to be interpreted more freely than before, their dependence on the theme decreased, genre forms appeared in V., variats. the cycle is likened to a suite. In Russian classic music, initially in wok., and later in instrumental, M. I. Glinka and his followers established a special kind of variation. cycle, in which the melody of the theme remained unchanged, while other components varied. Samples of such variation were found in the West by J. Haydn and others.

Depending on the ratio of the structure of the topic and V., two basics are distinguished. variant type. cycles: the first, in which the topic and V. have the same structure, and the second, where the structure of the topic and V. is different. The first type should include V. on Basso ostinato, classic. V. (sometimes called strict) on song themes and V. with an unchanging melody. In strict V., in addition to structure, meter and harmonic are usually preserved. theme plan, so it is easily recognizable even with the most intense variation. In vari. In cycles of the second type (the so-called free V.), the connection of V. with the theme noticeably weakens as they unfold. Each of the V. often has its own meter and harmony. plan and reveals the features of c.-l. new genre, which affects the nature of the thematic and muses. development; the commonality with the theme is preserved thanks to the intonation. unity.

There are also deviations from these fundamentals. signs of variation. forms. Thus, in V. of the first type, the structure sometimes changes in comparison with the theme, although in terms of texture they do not go beyond the limits of this type; in vari. In cycles of the second type, structure, meter, and harmony are sometimes preserved in the first V. of the cycle and change only in subsequent ones. Based on connection diff. types and varieties of variations. cycles, the form of some products is formed. new time (final piano sonata No 2 by Shostakovich).

Composition Variations. cycles of the first type is determined by the unity of figurative content: V. reveal the arts. the possibilities of the theme and its expressive elements, as a result, it develops, versatile, but united by the nature of the muses. image. The development of V. in a cycle in some cases gives a gradual acceleration of the rhythmic. movements (Handel's Passacaglia in g-moll, Andante from Beethoven's piano sonata op. 57), in others - updating the polygonal. fabrics (Bach's aria with 30 variations, slow movement from Haydn's quartet op. 76 No 3) or the systematic development of the intonations of the theme, first freely moved, and then assembled together (1st part of Beethoven's sonata op. 26). The latter is connected with a long tradition of finishing variats. cycle by holding the theme (da capo). Beethoven often used this technique, bringing the texture of one of the last variations (32 V. c-moll) closer to the theme or restoring the theme in the conclusion. parts of the cycle (V. on the theme of the march from the "Ruins of Athens"). The last (final) V. is usually wider in form and faster in tempo than the theme, and performs the role of a coda, which is especially necessary in independent. works written in the form of V. For contrast, Mozart introduced one V. before the finale in the tempo and character of Adagio, which contributed to a more prominent selection of the fast final V. The introduction of a mode-contrasting V. or group V. in the center of the cycle forms a tripartite structure. The emerging succession: minor - major - minor (32 V. Beethoven, finale of Brahms' symphony No. 4) or major - minor - major (sonata A-dur Mozart, K.-V. 331) enriches the content of variations. cycle and brings harmony to its form. In some variations. cycles, modal contrast is introduced 2-3 times (Beethoven's variations on a theme from the ballet "The Forest Girl"). In Mozart's cycles, the structure of V. is enriched with textural contrasts, introduced where the theme did not have them (V. in the piano sonata A-dur, K.-V. 331, in the serenade for orchestra B-dur, K.-V. 361 ). A kind of "second plan" of the form is taking shape, which is very important for the varied coloring and breadth of the general variational development. In some productions. Mozart unites V. with the continuity of harmonics. transitions (attaca), without deviating from the structure of the topic. As a result, a fluid contrast-composite form is formed within the cycle, including the B.-Adagio and finale most often located at the end of the cycle ("Je suis Lindor", "Salve tu, Domine", K.-V. 354, 398, etc.) . The introduction of Adagio and fast endings reflects the connection with the sonata cycles, their influence on the cycles of V.

The tonality of V. in the classical. music of the 18th and 19th centuries. most often the same one was kept as in the theme, and the modal contrast was introduced on the basis of the common tonic, but already F. Schubert in major variations. cycles began to use the tonality of the VI low step for V., immediately following the minor, and thereby went beyond the limits of one tonic (Andante from the Trout quintet). In later authors, tonal diversity in variations. the cycles are enhanced (Brahms, V. and fugue op. 24 on the theme of Handel) or, conversely, weakened; in the latter case, the wealth of harmonics acts as compensation. and timbre variation ("Bolero" by Ravel).

Wok. V. with the same melody in Russian. composers also unite lit. text that presents a single narrative. In the development of such V., images sometimes arise. moments corresponding to the content of the text (Persian choir from the opera "Ruslan and Lyudmila", Varlaam's song from the opera "Boris Godunov"). Open-ended variations are also possible in the opera. cycles, if such a form is dictated by the playwright. situation (the scene in the hut "So, I have lived" from the opera "Ivan Susanin", the chorus "Oh, the trouble is coming, people" from the opera "The Legend of the Invisible City of Kitezh").

To vari. forms of the 1st type are also adjacent to the V.-double, which follows the theme and is limited to one of its varied presentations (rarely two). Variants. they do not form a cycle, because they do not have completeness; the take could go to take II, etc. In instr. music of the 18th century V.-double usually included in the suite, varying one or several. dances (partita h-moll Bach for violin solo), wok. in music, they arise when the couplet is repeated (Triquet's couplets from the opera "Eugene Onegin"). A V.-double can be considered two adjacent constructions, united by a common thematic structure. material (orc. introduction from the II picture of the prologue in the opera "Boris Godunov", No1 from Prokofiev's "Fleeting").

Composition Variations. cycles of the 2nd type ("free V.") are more difficult. Their origins date back to the 17th century, when the monothematic suite was formed; in some cases, dances were V. (I. Ya. Froberger, "Auf die Mayerin"). Bach in partitas - V. on choral themes - used a free presentation, fastening the stanzas of the choral melody with interludes, sometimes very wide, and thereby deviating from the original structure of the chorale ("Sei gegrüsset, Jesu gütig", "Allein Gott in der Höhe sei Ehr", BWV 768, 771 etc.). In V. of the 2nd type, dating back to the 19th and 20th centuries, modal-tonal, genre, tempo, and metrical patterns are significantly enhanced. contrasts: almost every V. represents something new in this respect. The relative unity of the cycle is supported by the use of intonations of the title theme. From these, V. develops its own themes, which have a certain independence and ability to develop. Hence - the use in V. of a reprise two-, three-part and wider form, even if the title theme did not have it (V. op. 72 Glazunov for fp.). In rallying the form, slow V. plays an important role in the character of Adagio, Andante, nocturne, which is usually in the 2nd floor. cycle, and the final, pulling together a variety of intonations. material of the whole cycle. Often the final V. has a pompously final character (Schumann's symphonic etudes, the last part of the 3rd suite for orchestra and V. on Tchaikovsky's rococo theme); if V. is placed at the end of the sonata-symphony. cycle, it is possible to combine them horizontally or vertically with thematic. material of the previous movement (trio "In memory of the great artist" by Tchaikovsky, quartet No 3 by Taneyev). Some variations. the cycles in the finals have a fugue (symphonic V. op. 78 by Dvořák) or include a fugue in one of the pre-final V. (33 V. op. 120 by Beethoven, 2nd part of the Tchaikovsky trio).

Sometimes V. are written on two topics, rarely on three. In the two-dark cycle, one V. for each theme periodically alternates (Andante with Haydn's V. in f-moll for piano, Adagio from Beethoven's Symphony No 9) or several V. (slow part of Beethoven's trio op. 70 No 2). The last form is convenient for free variation. compositions on two themes, where V. are connected by connecting parts (Andante from Beethoven's Symphony No. 5). In the finale of Beethoven's Symphony No. 9, written in vari. form, ch. the place belongs to the first theme ("the theme of joy"), which receives a wide variation. development, including tonal variation and fugato; the second theme appears in the middle part of the finale in several options; in the general fugue reprise, the themes are counterpointed. The composition of the entire finale is thus very free.

At the Russian V.'s classics on two topics are connected with tradits. V.’s form to an unchanging melody: each of the themes can be varied, but the composition as a whole turns out to be quite free due to tonal transitions, linking constructions and counterpointing of the themes (“Kamarinskaya” by Glinka, “In Central Asia” by Borodin, a wedding ceremony from the opera “The Snow Maiden” ). Even more free is the composition in rare samples of V. on three themes: the ease of shifts and interweaving of thematics is its indispensable condition (the scene in the reserved forest from the opera The Snow Maiden).

V. of both types in the sonata-symphony. prod. are used most often as a form of a slow movement (except for the above-mentioned works, see the Kreutzer Sonata and Allegretto from Beethoven's Symphony No. 7, the quartet "Girl and Death" by Schubert, Glazunov's Symphony No. 6, piano concertos - Scriabin and No. 3 by Prokofiev, Shostakovich's passacaglia from Symphony No 8 and from the Violin Concerto No 1), sometimes they are used as the 1st movement or finale (examples were mentioned above). In the Mozart variations, which are part of the sonata cycle, either B.-Adagio is absent (sonata for violin and pianoforte Es-dur, quartet d-moll, K.-V. 481, 421), or such a cycle itself does not have a slow parts (sonata for piano A-dur, sonata for violin and piano A-dur, K.-V. 331, 305, etc.). V. of the 1st type are often included as an integral element in a larger form, but then they cannot acquire completeness, and variats. the cycle remains open for transition to another thematic. section. Data in a single sequence, V. are able to contrast with other thematic. sections of a large form, concentrating the development of one muses. image. Variation range. forms depend on the arts. production ideas. So, in the middle of the 1st part of Shostakovich's Symphony No. 7, V. present a grandiose picture of an enemy invasion, the same theme and four V. in the middle of the 1st part of Myaskovsky's Symphony No. 25 draw a calm image of an epic character. From a variety of polyphonic forms, the V. cycle takes shape in the middle of the finale of Prokofiev's Concerto No 3. The image of a playful character arises in V. from the middle of the scherzo trio op. 22 Taneeva. The middle of Debussy's nocturne "Celebrations" is built on the timbre variation of the theme, which conveys the movement of a colorful carnival procession. In all such cases, the V. are drawn into a cycle, thematically contrasting with the surrounding sections of the form.

The V form is sometimes chosen for the main or side part in sonata allegro (Glinka's Jota of Aragon, Balakirev's Overture on the Themes of Three Russian Songs) or for the extreme parts of a complex three-part form (2nd part of Rimsky-Korsakov's Scheherazade). Then V. exposure. sections are picked up in the reprise and a dispersed variation is formed. cycle, the complication of texture in Krom is systematically distributed over both its parts. Frank's "Prelude, Fugue and Variation" for organ is an example of a single variation in Reprise-B.

Distributed variant. the cycle develops as the second plan of the form, if the c.-l. the theme varies with repetition. In this regard, the rondo has especially great opportunities: the returning main. its theme has long been an object of variation (the finale of Beethoven's sonata op. 24 for violin and piano: there are two V. on the main theme in the reprise). In a complex three-part form, the same possibilities for the formation of a dispersed variation. cycles are opened by varying the initial theme - the period (Dvorak - the middle of the 3rd part of the quartet, op. 96). The return of the theme is able to emphasize its importance in the developed thematic. the structure of the product, while variation, changing the texture and character of the sound, but preserving the essence of the theme, allows you to deepen its expression. meaning. So, in the trio of Tchaikovsky, the tragic. ch. the theme, returning in the 1st and 2nd parts, with the help of variation is brought to a culmination - the ultimate expression of the bitterness of loss. In Largo from Shostakovich's Symphony No. 5, the sad theme (Ob., Fl.) later, when performed at the climax (Vc), acquires an acutely dramatic character, and in the coda it sounds peaceful. The variational cycle absorbs here the main threads of the Largo concept.

Dispersed variations. cycles often have more than one theme. In the contrast of such cycles, the versatility of the arts is revealed. content. The significance of such forms in the lyric is especially great. prod. Tchaikovsky, to-rye are filled with numerous V., preserving ch. melody-theme and changing its accompaniment. Lyric. Andante Tchaikovsky differ significantly from his works, written in the form of a theme with V. Variation in them does not lead to c.-l. changes in the genre and nature of the music, however, through the variation of the lyric. the image rises to the height of the symphony. generalizations (slow movements of symphonies No. 4 and No. 5, pianoforte concerto No. 1, quartet No. 2, sonatas op. 37-bis, middle in the symphonic fantasy "Francesca da Rimini", theme of love in "The Tempest", Joanna's aria from the opera "Maid of Orleans", etc.). The formation of a dispersed variation. cycle, on the one hand, is a consequence of the variations. processes in music. form, on the other hand, relies on the clarity of the thematic. structures of products, its strict definiteness. But the variant method development of thematism is so wide and varied that it does not always lead to the formation of variations. cycles in the literal sense of the word and can be used in a very free form.

From Ser. 19th century V. become the basis of the form of many major symphonic and concert works, deploying a broad artistic concept, sometimes with a program content. Such are Liszt's Dance of Death, Brahms' Variations on a Theme of Haydn, Franck's Symphonic Variations, R. Strauss's Don Quixote, Rakhmaninov's Rhapsody on a Theme of Paganini, Variations on a Russian Folk Song my field "" Shebalin, "Variations and Fugue on a Theme of Purcell" by Britten and a number of other works. In relation to them and others like them, one should talk about the synthesis of variation and development, about contrast-thematic systems. order, etc., which follows from the unique and complex art. the intention of each product.

Variation as a principle or method thematically. development is a very broad concept and includes any modified repetition that differs in any significant way from the first presentation of the topic. The theme in this case becomes a relatively independent music. a construction that provides material for variation. In this sense, it can be the first sentence of a period, a lengthy link in a sequence, an operatic leitmotif, Nar. song, etc. The essence of variation lies in the preservation of thematic. fundamentals and at the same time in the enrichment, updating of the varied construction.

There are two types of variation: a) a modified repetition of thematic. material and b) introducing new elements into it, arising from the main ones. Schematically, the first type is denoted as a + a1, the second as ab + ac. For example, below are fragments from the works of W. A. ​​Mozart, L. Beethoven and P. I. Tchaikovsky.

In the example from Mozart's sonata, the similarity is melodic-rhythmic. drawing two constructions allows us to represent the second of them as a variation of the first; in contrast, in Beethoven's Largo, the sentences are connected only through the initial melodic. intonation, but its continuation in them is different; Tchaikovsky's Andantino uses the same method as Beethoven's Largo, but with an increase in the length of the second sentence. In all cases, the character of the theme is preserved, at the same time it is enriched from within through the development of its original intonations. The size and number of developed thematic constructions fluctuate depending on general art. the intention of the whole production.

P. I. Tchaikovsky. 4th symphony, movement II.

Variation is one of the oldest principles of development, it dominates in Nar. music and ancient forms prof. lawsuit. Variation is characteristic of Western Europe. romantic composers. schools and for Russian. classics 19 - early. 20 centuries, it permeates their "free forms" and penetrates into the forms inherited from the Viennese classics. Manifestations of variation in such cases may be different. For example, M. I. Glinka or R. Schumann build a development of sonata form from large sequential units (overture from the opera "Ruslan and Lyudmila", the first part of the quartet op. 47 by Schumann). F. Chopin conducts ch. the theme of the E-dur scherzo is in development, changing its modal and tonal presentation, but maintaining the structure, F. Schubert in the first part of the sonata B-dur (1828) forms a new theme in the development, conducts it sequentially (A-dur - H-dur) , and then builds a four-bar sentence from it, which also moves to different keys while maintaining melodic. drawing. Similar examples in music. lit-re are inexhaustible. Variation, thus, has become an integral method in the thematic. development where other form-building principles predominate, for example. sonata. In production, gravitating towards Nar. forms, it is able to capture key positions. Symphony the painting "Sadko", "Night on Bald Mountain" by Mussorgsky, "Eight Russian Folk Songs" by Lyadov, early ballets by Stravinsky can serve as confirmation of this. The importance of variation in the music of C. Debussy, M. Ravel, S. S. Prokofiev is exceptionally great. D. D. Shostakovich implements variation in a special way; for him, it is associated with the introduction of new, continuing elements into a familiar topic (type "b"). In general, wherever it is necessary to develop, continue, update a theme, using its own intonations, composers turn to variation.

Variant forms adjoin variational forms, forming a compositional and semantic unity based on variants of the theme. Variant development implies a certain independence of melodic. and tonal movement in the presence of a texture common with the theme (in the forms of variation order, on the contrary, the texture undergoes changes in the first place). The theme, together with the variants, constitutes an integral form aimed at revealing the dominant musical image. Sarabande from the 1st French suite by J.S. Bach, Pauline's romance "Dear Friends" from the opera "Queen of Spades", the song of the Varangian guest from the opera "Sadko" can serve as examples of variant forms.

Variation, revealing the expressive possibilities of the theme and leading to the creation of realistic. arts. image, is fundamentally different from the variation of the series in modern dodecaphone and serial music. In this case, variation turns into a formal similarity to true variation.

Literature: Berkov V., Glinka's variational development of harmony, in his book: Glinka's Harmony, M.-L., 1948, ch. VI; Sosnovtsev B., Variant form, in collection: Saratov State University. Conservatory, Scientific and Methodological Notes, Saratov, 1957; Protopopov Vl., Variations in Russian classical opera, M., 1957; his, Variation method of development of thematism in the music of Chopin, in Sat: F. Chopin, M., 1960; Skrebkova O. L., On some methods of harmonic variation in the work of Rimsky-Korsakov, in: Questions of Musicology, vol. 3, M., 1960; Adigezalova L., The variational principle of the development of song themes in Russian Soviet symphonic music, in: Questions of Contemporary Music, L., 1963; Müller T., On the cyclicity of form in Russian folk songs recorded by E. E. Lineva, in: Proceedings of the Department of Music Theory of Moscow. state. conservatory them. P. I. Tchaikovsky, vol. 1, Moscow, 1960; Budrin B., Variation cycles in the work of Shostakovich, in: Questions of musical form, vol. 1, M., 1967; Protopopov Vl., Variational processes in musical form, M., 1967; his own, On variation in Shebalin's music, in collection: V. Ya. Shebalin, M., 1970

Vl. V. Protopopov

To date, there are many definitions of the concept of variational form. Various authors offer their own options:

Variation form, or variations, theme with variations, variation cycle, _ a musical form consisting of a theme and its several (at least two) modified reproductions (variations). This is one of the oldest musical forms (known since the 13th century).

Variation is a form based on modified repetitions of a theme (also two or more themes).

A variational form or a variational cycle is a form consisting of an initial presentation of a theme and a number of its modified repetitions (called variations).

The variational form, in addition, bears the names “variations”, “variation cycle”, “theme with variations”, “aria with variations”, partita (another meaning of the partita is a suite of dances), etc. The variations themselves had many historical names: Variatio, Veranderungen (“changes”), double, versus (“verse”), glosa, floretti (literally “flowers”), lesargements (“decorations”), evolutio, parte (“part”), etc. Variations were also composed by the greatest composers, and concert virtuoso performers, their musical content ranges from unpretentious variation of the simplest theme (such as variations in D-dur for Beethoven's mandolin) to the heights of intellectual complexity in music (arietta from Beethoven's 32 sonatas).

It is necessary to distinguish between variational form and variation as a principle. The latter has an unlimited range of applications (a motive, a phrase, a sentence in a period, etc., can vary, up to a varied reprise in sonata form). However, a single application of the principle of variation does not create a form based on it. A variational form arises only with the systematic application of this principle, so at least two variations are necessary to create it.

The variation theme can be original (written by the composer himself) or borrowed. Variations can be filled with completely different content: from very simple to deep and philosophical. In terms of genres, the themes of variations were chorales, traditional basses, passacaglia and chaconnes, sarabande, minuet, gavotte, siciliana, aria in two meanings of this word (singing melody, as if for wind instruments, from the French “air” _ “air”, and aria from the opera), folk songs from different countries, themes for variations by other authors, and many others. etc. .

Variations are usually classified according to four parameters:

according to whether the process of variation affects the theme or only the accompanying voices distinguish: direct variations, indirect variations;

according to the degree of change: strict (the tonality, harmonic plan and form of the theme are preserved in variations), free (a wide range of changes, including harmony, form, genre appearance, etc.; connections with the theme are sometimes conditional: each variation can reach independence as a play with individual content);

according to which method of variation prevails: polyphonic, harmonic, textural, timbre, figurative, genre-specific;

by the number of themes in variations: single-dark, double (two-dark), triple (three-dark).

V.N. Kholopova in her book “Forms of Musical Works” presented the following classification option:

Variations on basso ostinato (or sustained bass, "polyphonic variations").

Figurative variations (ornamental, "classic").

Variations on a sustained melody (or on soprano ostinato, the so-called "Glinka variations").

Variations are characteristic and free.

Variant form.

In addition, double and multi-theme variations are distinguished, in which all the above types of variation occur, and variations with a theme at the end. This does not lose sight of the fact that there may be mixed kinds of variations.

Nevertheless, in the process of historical development, the prevailing types of variations with more or less stable combinations of the named signs were fixed. The main types of variations have become stronger: variations on a sustained melody, variations on basso ostinato, figurative variations and genre-characteristic variations.

These types existed in parallel (at least since the 17th century), but in different eras some of them were more in demand. Thus, composers of the Baroque era more often turned to variations on basso ostinato, Viennese classics _ to figurative ones, romantic composers _ to genre-specific ones. In the music of the 20th century, all these types are combined, new ones appear, when a single chord, interval, and even a single sound can act as a theme.

In addition, there are several specific types of variations that are less common: these are the variational cantata of the Baroque era and the variations with a theme at the end (which appeared at the end of the 19th century). The couplet-variation and couplet-variant forms have a certain relationship with the variational form. The choral arrangement of the 18th century is also close to the variations.

It is important to note that many works use different types of variation. For example, the initial group of variations can be variations on a sustained melody, then a chain of figurative variations.

Any variational cycle is an open form (that is, new variations can, in principle, be added indefinitely). Therefore, the composer is faced with the task of creating a second-order form. It can be a "wave" with a rise and climax, or any typical form: most often it is a three-part form or rondo. Three-partness arises as a result of the introduction of a contrasting variation (or group of variations) in the middle of the form. Rondoformation occurs due to the repeated return of the contrast material.

Often variations are combined into groups, creating local buildups and local climaxes. This is achieved due to a single texture or due to a rhythmic increase (diminution). For the sake of giving relief to the form and in order to somehow break up the continuous stream of similar variations, already in the classical era, in extended cycles, one or more variations were carried out in a different mode. In the variations of the 19th century, this phenomenon intensified. Now, individual variations can be performed in other keys (for example, R. Schumann's Symphonic Etudes _ with the original cis-moll, there are variations in E-dur and gis-moll, the final variation is _ Des-dur).

Various endings of the variational cycle are possible. The end can be similar to the beginning or, conversely, the most contrasting. In the first case, at the end of the work, a theme is carried out in a close to the original version (for example, S. Prokofiev. Piano Concerto No. 3, 2nd part). In the second _, the ending represents the maximum progress in a given direction (for example, the smallest in the entire cycle of duration). For the sake of the contrast of the final variation, the meter and genre can change (a frequent occurrence in Mozart). As the greatest contrast to the homophonic theme at the end of the cycle, a fugue can sound (in the classical and post-classical era).

The variational method of development finds wide and highly artistic application among Russian classics and is associated with variation, as one of the characteristic features of Russian folk art. In the compositional structure, a theme with variations is a way of developing, enriching and revealing the original image ever deeper.

In its meaning and expressive possibilities, the form of variations is designed to show the main theme in a versatile and diverse way. This topic is usually simple and at the same time contains opportunities for enrichment and disclosure of its full content. Also, the transformation of the main theme from variation to variation should go along the line of gradual growth, leading to the final result.

In the 19th century, along with many examples of the variational form, which clearly reflect the continuity of the main methods of variation, a new type of this form appears, the so-called free variations.

Variations that deviate from the theme in terms of form (structure), usually _ and tonality, are called free. The name "free" is applied mainly to the variations of the 19th, then the 20th centuries, when structural changes become the principle of organization of variational forms. Separate free variations are found in the Viennese classics in a series of strict variations.

In the future, the direction outlined in these variations received significant development. Its main features:

• 1) The theme or its elements are changed in such a way that each variation is given an individual, very independent character. This approach to the treatment of the theme can be defined as more subjective than that which was manifested by the classics. Programmatic meaning begins to be given to variations.
• 2) Due to the independence of the nature of the variations, the whole cycle turns into something similar to a suite. Sometimes there are links between variations.
• 3) The possibility of changing keys within a cycle, outlined by Beethoven, turned out to be very appropriate for emphasizing the independence of variations through a difference in tonal color.
• 4) Variations of the cycle, in a number of respects, are built quite independently of the structure of the theme:
  • a) tonal relationships within the variation change;
  • b) new harmonies are introduced, often completely changing the color of the theme;
  • c) the theme is given a different form;
  • d) variations are so far removed from the melodic-rhythmic pattern of the theme that they are pieces that are only built on its individual motifs, developed in a completely different way.

All these features, of course, are manifested in different ways in various works of the 19th-20th centuries.

Free variations _ is a type of variation bound by variation method. Such variations are characteristic of the postclassical era. The appearance of the theme then was extremely changeable, and if you look from the middle of the work to its beginning, you might not recognize the main theme. Such variations represent a whole series of contrasting in genre and meaning variations close to the main theme. Here the difference prevails over the similarity.

Although the variation formula remains A, Al, A2, A3, etc., the main theme no longer bears the original image. The tonality and form of the theme can vary, it can reach the methods of polyphonic presentation. The composer can even isolate some fragment of the theme and vary only it.

The principles of variation can be: rhythmic, harmonic, dynamic, timbre, texture, stroke, melodic, etc. Based on this, many variations can stand apart and resemble more a suite than variations. The number of variations in this form is not limited (as, for example, in classical variations, where 3-4 variations _ this is like an exposition, two middle ones _ development, the last 3-4 _ this is a powerful statement of the main theme, i.e. thematic frame) .

Variations of folk melodies are usually free variations. An example of free variations, of which some retain a significant proximity to the theme, and some, on the contrary, move away from it, can be the work “Prophetic Dream”, the processing of which was written by Vyacheslav Anatolyevich Semyonov.

Thus, the centuries-old musical practice of peoples of different nationalities served as the source of the variational form. Here we find examples of both harmonic and polyphonic styles, enumerate historical types of variation and types of variation. The variational principle of development originates in folk musical creativity, primarily song. Variation forms have received a very wide and varied application in music. They occur both as a form of a separate work, and as part of a cycle (suites, sonatas, symphonies), and as a form of a section of some complex form (for example, the middle part of a complex three-part form). In vocal music - as a form of songs, arias, choirs. The form of variations is very common in instrumental genres - solo and orchestral (a variety - orchestral variations).