How to depict two types of symphony. What is a symphony

Flegontova Anastasia

class 7specialization "Music Theory",MAOUDOD DSHI No. 46, Kemerovo

Zaigraeva Valentina Afanasievna

scientific director,teacher of theoretical disciplines MAOU DOD "DSHI No. 46"

Introduction

Every major city has a symphony orchestra. He is in demand in opera houses and philharmonic societies. But the symphony genre itself - one of the most venerable genres of academic music - is now being supplanted by chamber and electronic music. And it may happen that the hour will come when such a great genre as the symphony will cease to be performed at concerts altogether. At least, composing symphonies has almost ceased. Relevance research topics: unrelenting interest in the question of the future existence of the "symphony" genre, what awaits the symphony in the 21st century: rebirth or oblivion? Object of study is a symphony, as a genre and as a serious way of knowing the world and self-expression of a person. Subject of study: the evolution of the symphonic genre from its origins to the present day. Objective: to study the features of the development of the symphonic genre. Research objectives: to analyze the scientific and theoretical material on the problem; describe the symphonic laws, norms, models and trends in the development of the genre.

ChapterI. The history of the word "symphony".

Symphony (from the Greek symphonía - consonance, from sýn - together and phone - sound), a piece of music in cyclic sonata form, intended to be performed by a symphony orchestra; one of the most important genres of symphonic music. In some symphonies, the choir and soloists are also involved. The symphony is one of the most complex musical genres. “For me, to create a symphony means by all means of modern musical technique build the world,” said the Austrian composer Gustav Mahler.

Initially, in ancient Greece, "symphony" was called the euphonious sound of tones, joint singing in unison. AT Ancient Rome so called already ensemble, orchestra. In the Middle Ages, a "symphony" was considered secular music in general (in France this meaning was preserved until the 18th century), some musical instruments could be called this way (in particular, hurdy gurdy) . In Germany, until the middle of the 18th century, symphony was a general term for varieties of harpsichord - spinets and virginels, in France it was called barrel-organs, harpsichords, two-headed drums, etc. .

At the end of the Baroque era, some composers, such as Giuseppe Torelli (1658-1709), created works for string orchestra and basso continuo in three parts, with a fast-slow-fast tempo sequence. Although such compositions were usually called "concerts", they did not differ in any way from compositions called "symphonies"; for example, dance themes were used in the finales of both concertos and symphonies. The difference concerned mainly the structure of the first part of the cycle: in symphonies it was simpler - as a rule, the binary two-part form of the baroque overture, sonata and suite (AA BB). Only in the sixteenth century it has been applied to individual works, originally vocal-instrumental, by such composers as Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae 1615), Adriano Bankieri (Eclesiastiche Sinfonie, 1607), Lodovico Grossi da Viadana (Sinfonie musicali, 1610) and Heinrich Schütz (Symphoniae sacrae, 1629). Italian composers of the 17th century often denoted by the word "symphony" (sinfonia) instrumental introductions to an opera, oratorio or cantata, and the term in meaning came close to the concepts of "prelude" or "overture".

The prototype of the symphony can be considered the Italian overture, which took shape under Domenico Scarlatti at the end of the 17th century. This form was already then called a symphony and consisted of three contrasting parts: allegro, andante and allegro, which merged into one whole, the features of sonata form were outlined in the first part. It is this form that is often regarded as the direct forerunner orchestral symphony. On the other hand, the predecessor of the symphony was the orchestral sonata, which consisted of several parts in the simplest forms and mostly in the same key. The terms "overture" and "symphony" were used interchangeably for much of the 18th century.

In the XVIII century. the symphony separated from the opera and became a concert genre in its own right, usually in three movements ("fast - slow - fast"). Using the features of a baroque dance suite, opera and concerto, a number of composers, and above all J.B. Sammartini, created a model of a classical symphony - a three-movement composition for string orchestra, where fast movements usually took the form of a simple rondo or early sonata form. Gradually, other instruments were added to the strings: oboes (or flutes), horns, trumpets and timpani. For listeners of the XVIII century. the symphony was defined by classical norms: homophonic texture, diatonic harmony, melodic contrasts, a given sequence of dynamic and thematic changes. The centers where the classical symphony was cultivated were the German city of Mannheim (here Jan Stamitz and other authors expanded the symphonic cycle to four parts, introducing two dances from the baroque suite into it - a minuet and a trio) and Vienna, where Haydn, Mozart, Beethoven (and also their predecessors, among whom stand out Georg Monn and Georg Wagenseil, raised the symphony genre to a new level... Also, "symphonies" called his 15 pieces (in the same keys as the two-voice inventions, but in a three-voice presentation) Johann Sebastian Bach (1685-1750, Germany).

ChapterII. Symphonies foreign composers

1. Viennese classics

1.1. Franz Joseph Haydn

In the work of Franz Joseph Haydn (1732-1809), the symphonic cycle was finally formed. His early symphonies still do not essentially differ from chamber music and almost do not go beyond the usual entertainment genres for that era. Only in the 70s did works appear that express a deeper world of images (“Funeral Symphony”, “Farewell Symphony”, etc.). Gradually, his symphonies are saturated with deeper dramatic content. The highest achievement of Haydn's symphony is the twelve "London" symphonies.

Sonata structureallegro. Each of the symphonies (with the exception of the C minor one) begins with a brief slow introduction of a solemnly stately, thoughtfully concentrated, lyrically pensive or calmly contemplative character (usually in the tempo of Largo or Adagio). The slow introduction contrasts sharply with the ensuing Allegro (which is the first movement of the symphony) and sets it up at the same time. There is no bright figurative contrast between the themes of the main and side parts. Both those and others usually have a folk song and dance character. There is only a tonal contrast: the main key of the main parts is contrasted with the dominant key of the side parts. In Haydn's symphonies, developments that are built by motivic isolation have received significant development. A short but most active segment is separated from the theme of the main or side part and is subjected to a rather long independent development(continuous modulations in different keys, conducting with different instruments and in different registers). This gives the developments a dynamic and striving character.

Second (slow) parts have a different character: sometimes thoughtfully lyrical, sometimes songlike, in some cases march-like. They also differ in shape. Most often there are complex tripartite and variational forms.

Minuets. The third movements of the "London" symphonies are always called Menuetto. Many of Haydn's minuets have the character of country dances, with their somewhat heavy steps, sweeping melody, unexpected accents and rhythmic shifts, often creating a humorous effect. The triple meter of the traditional minuet is preserved, but it loses its aristocratic sophistication and becomes a democratic, peasant dance.

Finals. In the finale of Haydn's symphonies, genre images, also derived from folk dance music, usually attract attention. The form is most often sonata or rondo-sonata. In some finals of the "London" symphonies, the methods of variational and polyphonic (imitation) development are widely used, further emphasizing the rapid movement of music and dynamizing the entire musical fabric. [ 4, p. 76-78]

Orchestra. The composition of the orchestra was also established in the work of Haydn. It is based on four groups of instruments. The strings, the leading group of the orchestra, include violins, violas, cellos and double basses. The wooden group consists of flutes, oboes, clarinets (not used in all symphonies), bassoons. Haydn's group of brass instruments consists of horns and trumpets. Of the percussion instruments, Haydn used only timpani in the orchestra. The exception is the twelfth "London Symphony", in G major ("Military"). In addition to the timpani, Haydn introduced a triangle, cymbals, and a bass drum into it. In total, the work of Franz Joseph Haydn includes more than 100 symphonies.

1.2. Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791), together with Haydn, stood at the origins of European symphony, while Mozart's best symphonies appeared even before Haydn's London Symphonies. Without duplicating Haydn, Mozart solved the problem of the symphonic cycle in his own way. The total number of his symphonies exceeds 50, although according to the continuous numbering adopted in Russian musicology, the last symphony - "Jupiter" - is considered the 41st. The appearance of most of the Mozart symphonies refers to the early years of his work. During the Vienna period, only 6 last symphonies were created, including: "Linz" (1783), "Prague" (1786) and three symphonies of 1788.

Mozart's first symphonies were strongly influenced by the work of J.S. Bach. It manifested itself both in the interpretation of the cycle (3 small parts, the absence of a minuet, a small orchestral composition), and in various expressive details (melodiousness of themes, expressive contrasts of major and minor, the leading role of the violin).

Visiting the main centers of European symphony (Vienna, Milan, Paris, Mannheim) contributed to the evolution of Mozart's symphonic thinking: the content of the symphonies is enriched, emotional contrasts become brighter, thematic development becomes more active, the scale of the parts is enlarged, the orchestral texture becomes more developed. Unlike Haydn's London Symphonies, which on the whole develop one type of symphonism, Mozart's best symphonies (Nos. 39-41) cannot be typed, they are absolutely unique. Each of them embodies a fundamentally new artistic idea. Two of Mozart's last four symphonies have slow introductions, the other two do not. Symphony No. 38 ("Prague", D-dur) has three parts ("symphony without a minuet"), the rest - four.

To the most characteristic features Mozart's interpretation of the symphony genre can be attributed to:

conflict dramaturgy. At the most different levels parts of the cycle, individual themes, various thematic elements within the theme - contrast and conflict appear in Mozart's symphonies. Many of Mozart's symphonic themes initially act as a "complex character": they are built on several contrasting elements (for example, the main themes in the finale of the 40th, I part of the symphony "Jupiter"). These internal contrasts are the most important stimulus for the subsequent dramatic development, in particular in the developments:

1. preference for sonata form. As a rule, Mozart refers to it in all parts of his symphonies, except for the minuet. It is the sonata form, with its enormous possibilities for transforming initial themes, that is capable of the most profound disclosure. spiritual world person. In Mozart's sonata development, any theme of the exposition can acquire independent significance, incl. binding and final (for example, in the symphony "Jupiter" in the development of the first part, the themes of the z.p. and sv.p. are developed, and in the second part - sv.t.);

2. the huge role of polyphonic technology. To a great extent, various polyphonic devices contribute to drama, especially in later works (the most striking example is the finale of the Jupiter symphony);

3. departure from open genre in symphonic minuets and finales. To them, unlike Haydn's, it is impossible to apply the definition of "genre-everyday". On the contrary, Mozart in his minuets often "neutralizes" the dance principle, filling their music either with drama (in symphony No. 40), or with lyricism (in the symphony "Jupiter");

4. the final overcoming of the suite logic of the symphonic cycle, as an alternation of different parts. The four parts of Mozart's symphony represent an organic unity (this was especially pronounced in Symphony No. 40);

5. close relationship with vocal genres. Classical instrumental music was heavily influenced by opera. In Mozart, this influence of operatic expressiveness is felt very strongly. It manifests itself not only in the use of characteristic operatic intonations (as, for example, in the main theme of the 40th symphony, which is often compared with Cherubino’s theme “I can’t tell, I can’t explain ...”). Mozart's symphonic music is permeated with contrasting juxtapositions of the tragic and the buffoon, the sublime and the mundane, which is clearly reminiscent of his operatic compositions.

1.3. Ludwig van Beethoven

Ludwig van Beethoven (1770-1827) further enriched the symphony genre. In his symphonies, heroism, drama, and philosophical principles acquired great importance. The parts of the symphony are more closely connected thematically, and the cycle achieves greater unity. The principle of using related thematic material in all four parts, carried out in Beethoven's Fifth Symphony, led to the emergence of the so-called. cyclic symphony. Beethoven replaces the calm minuet with a livelier, often exuberant, scherzo; he raises the thematic development to a new level, exposing his themes to all sorts of changes, including contrapuntal development, isolating fragments of themes, changing the mode (major - minor), rhythmic shifts.

Speaking of Beethoven's symphonies, one should emphasize his orchestral innovation. From innovations:

1. the actual formation of the copper group. Although the trumpets are still played and recorded together with the timpani, functionally they and the horns are beginning to be treated as a single group. They are joined by trombones, which were not in the symphony orchestra of Haydn and Mozart. Trombones play in the finale of the 5th symphony (3 trombones), in the thunderstorm scene in the 6th (here there are only 2 of them), and also in some parts of the 9th (in the scherzo and in the prayer episode of the finale, as well as in the coda);

2. compaction of the "middle tier" makes it necessary to increase the vertical from above and below. From above appears the piccolo flute (in all the indicated cases, except for the prayer episode in the finale of the 9th), and from below - the contrabassoon (in the finales of the 5th and 9th symphonies). But in any case, there are always two flutes and bassoons in a Beethoven orchestra;

3. Continuing the traditions of Haydn's London Symphonies and Mozart's late symphonies, Beethoven enhances the independence and virtuosity of the parts of almost all instruments, including the trumpet (the famous offstage solo in Leonore Overtures No. 2 and No. 3) and timpani. He often has 5 string parts (double basses are separated from cellos), and sometimes more (divisi playing). All woodwinds, including the bassoon, as well as horns (in chorus, as in the scherzo trio of the 3rd symphony, or separately) can solo, performing very bright material.

2. Romanticism

The main distinguishing feature of romanticism was the growth of the form, the composition of the orchestra and the density of sound, leitmotifs appear. Romantic composers kept traditional scheme cycle, but filled it with new content. A prominent place among them is occupied by the lyrical symphony, one of the brightest examples of which was the symphony in B minor by F. Schubert. This line was continued in the symphonies of F. Mendelssohn-Bartholdy, often having a picturesque and landscape character. Thus, the symphonies acquired the features of a program, so characteristic of romantic composers. Hector Berlioz, an outstanding French composer, was the first to create a program symphony, writing a poetic program for it in the form of a short story about the artist's life. However, program ideas in romantic music were more often embodied in the forms of one-movement symphonic poems, fantasies, etc. The most prominent author of symphonies in the late 19th and early 20th centuries. was G. Mahler, sometimes attracting the vocal beginning. Significant symphonies in the West were created by representatives of new national schools: in the 2nd half of the 19th century. - A. Dvorak in the Czech Republic, in the XX century. - K. Szymanowski in Poland, E. Elgar and R. Vaughan Williams in England, J. Sibelius in Finland. Symphonies are innovative French composers A. Honegger, D. Millau and others. If in the late XIX - early XX centuries. If a large symphony dominated (often for an extended orchestra), then later the “chamber symphony”, modest in scale and intended for an ensemble of soloists, begins to play an increasingly important role.

2.1. Franz Schubert (1797-1828)

The romantic symphonism created by Schubert was determined mainly in the last two symphonies - the 8th, in h-moll, which received the name "Unfinished", and the 9th, in C-dur-noy. They are completely different, opposite to each other. The epic 9th is imbued with a sense of the all-conquering joy of being. "Unfinished" embodied the theme of deprivation, tragic hopelessness. Such sentiments, reflecting the fate of a whole generation of people, had not yet found a symphonic form of expression before Schubert. Created two years earlier than Beethoven's 9th symphony (in 1822), "Unfinished" marked the emergence of a new symphonic genre - lyric-psychological.

One of the main features of the h minor symphony concerns its cycle, which consists of only two movements. Many researchers tried to penetrate into the "mystery" of this work: did the brilliant symphony really remain unfinished? On the one hand, there is no doubt that the symphony was conceived as a 4-part cycle: its original piano sketch contained a large fragment of 3 parts - a scherzo. The lack of tonal balance between the movements (h-minor in the I-th and E-dur in the II-nd) is also a strong argument in favor of the fact that the symphony was not conceived in advance as a 2-part. On the other hand, Schubert had enough time to complete the symphony if he wanted to: following the "Unfinished" he created a large number of works, including the 4-part 9th symphony. There are other arguments for and against. Meanwhile, "Unfinished" has become one of the most repertoire symphonies, absolutely not causing the impression of understatement. Her plan in two parts was fully realized.

The hero of "Unfinished" is capable of bright outbursts of protest, but this protest does not lead to the victory of the life-affirming principle. In terms of the tension of the conflict, this symphony is not inferior to dramatic works Beethoven, but this conflict is of a different plan, it is transferred to the lyrical-psychological sphere. This is the drama of experience, not action. Its basis is not the struggle of two opposite principles, but the struggle within the personality itself. Takova the most important feature romantic symphonism, the first example of which was the Schubert symphony.

ChapterIII. Symphony in Russia

The symphonic heritage of Russian composers - P.I. Tchaikovsky, A.P. Borodina, A.G. Glazunov, Scriabin, S.V. Rachmaninov. Starting from the second half of XIX century, the strict forms of the symphony began to crumble. Four-part symphonies have become optional: there are both one-part symphonies (Myaskovsky, Kancheli, Boris Tchaikovsky), as well as eleven-part (Shostakovich) and even twenty-four-part symphonies (Khovaness). Slow finales, impossible in classical symphonism, appeared (Tchaikovsky's Sixth Symphony, Mahler's Third and Ninth Symphonies). After Beethoven's 9th symphony, composers more often began to introduce vocal parts into symphonies.

The second symphony of Alexander Porfiryevich Borodin (1833-1887) is one of the pinnacles of his work. It belongs to the world symphonic masterpieces, due to its brightness, originality, solidity of style and ingenious implementation of the images of the Russian folk epic. In total, he wrote three symphonies (the third is not finished).

Alexander Konstantinovich Glazunov (1865-1936) - one of the greatest Russian symphonists. In his style, the creative traditions of Glinka and Borodin, Balakirev and Rimsky-Korsakov, Tchaikovsky and Taneyev were peculiarly broken. He was a link between the pre-October Russian classics and the young Soviet musical art.

3.1. Pyotr Ilyich Tchaikovsky (1840-1893)

The symphony in Russia is, first of all, Tchaikovsky. The first symphony "Winter Dreams" was his first major work after graduating from the St. Petersburg Conservatory. This event, which today seems so natural, was quite extraordinary in 1866. The Russian symphony - a multi-part orchestral cycle - was at the very beginning of its journey. By this time, there were only the first symphonies by Anton Grigorievich Rubinstein and the first edition of the First Symphony by Nikolai Andreevich Rimsky-Korsakov, which did not gain fame. Tchaikovsky perceived the world in a dramatic way, and his symphony - in contrast to Borodin's epic symphonism - is of a lyrical-dramatic, sharply conflicting character.

The six symphonies of Tchaikovsky and the program symphony "Manfred" are artistic worlds unlike each other, these are buildings built according to each "individual" project. Although the "laws" of the genre, which arose and developed on Western European soil, are observed and interpreted with outstanding skill, the content and language of the symphonies are truly national. Therefore, they sound so organically in Tchaikovsky's symphonies folk songs.

3.2. Alexander Nikolaevich Scriabin (1872-1915)

Scriabin's symphonism was formed on the basis of the creative refraction of various traditions of the symphonic classics of the 19th century. This is, above all, the tradition of the dramatic symphonism of Tchaikovsky and partly of Beethoven. Along with this, the composer also implemented some features of Liszt's programmatic romantic symphonism. Some features of the orchestral style of Scriabin's symphonies connect him in part with Wagner. But all these various sources were deeply processed by him independently. All three symphonies are closely connected with each other by a common ideological concept. Its essence can be defined as the struggle of the human personality with hostile forces that stand in its way to the establishment of freedom. This struggle invariably ends with the victory of the hero and the triumph of light.

3.3. Dmitry Dmitrievich Shostakovich (1906-1975)

Shostakovich is a composer and symphonist. If for Prokofiev, with all the diversity of his creative interests, the most important thing is Musical Theatre, then for Shostakovich, on the contrary, the main genre is the symphony. It is here that the main ideas of his work find a deep and comprehensive embodiment. The world of Shostakovich's symphonies is vast. In them we see the whole life of mankind in the 20th century with all its complexities, contradictions, wars and social conflicts.

The Seventh (“Leningrad”) symphony is one of the most significant works composer. She is fourfold. Its scale is enormous: the symphony lasts more than 70 minutes, of which almost half is occupied by the first movement. “What the devil can defeat a people capable of creating music like this,” wrote one of the American newspapers in 1942. Shostakovich's Seventh Symphony can rightfully be called the "Heroic Symphony" of the 20th century.

3.4. Alfred Garrievich Schnittke (1934-1998)

Schnittke is a Soviet and Russian composer, music theorist and teacher (author of articles about Russian and Soviet composers), one of the most significant musical figures of the second half of the 20th century, Honored Art Worker of the RSFSR. Schnittke is one of the leaders of the musical avant-garde. Despite the great popularity of the music of this outstanding composer, the scores of many of his symphonies have not yet been published and are inaccessible in Russia. Schnittke raised philosophical problems in his works, the main of which is man and the environment. The first symphony contained a whole kaleidoscope of various styles, genres and directions of music. The starting point for the creation of the First Symphony was the balance between the styles of serious and light music. The Second and Fourth Symphonies largely reflect the formation of the composer's religious self-awareness. In the Second Symphony, an ancient mass is heard. The third symphony was the result of his inner need to express his attitude towards German culture, the German roots of his origin. In the Third Symphony, in the form of short fragments, the whole story passes before the listener German music. Alfred Schnittke dreamed of creating exactly nine symphonies - and thereby conveying a kind of bow to Beethoven and Schubert, who wrote the same number. Alfred Schnittke wrote the Ninth Symphony (1995-97) when he was already seriously ill. He suffered three strokes and did not move at all. The composer did not have time to finally complete the score. For the first time, its ending and orchestral version was performed by Gennady Rozhdestvensky, under whose direction the first performance took place in Moscow on June 19, 1998. A new editorial version of the symphony was carried out by Alexander Raskatov and performed in Dresden on June 16, 2007.

In the second half of the 20th century, the combination of the principles of various genres in one work - symphonic, choral, chamber, instrumental and vocal - gained the greatest popularity. For example, in Shostakovich's Fourteenth Symphony, there is a synthesis of a symphony, chamber vocal and instrumental music; in Gavrilin, choral performances combine the features of oratorio, symphony, vocal cycle, ballet, dramatic performance.

3.5. Mikhail Zhuravlev

In the 21st century, there are many talented composers who pay tribute to the symphony. One of these is Mikhail Zhuravlev. With his musical, as well as political manifesto, the composer boldly stepped into line with such figures. musical history like L. Beethoven, P. Tchaikovsky and D. Shostakovich. M. Zhuravlev's 10th Symphony can already be safely called the "Heroic Symphony of the 21st century". In addition to general ethical aspects this symphony should be noted and purely professional. The author does not seek innovation for the sake of innovation. Sometimes even emphatically academic, resolutely opposing all the decadents and avant-gardists of art. But he managed to say a truly new, his own word in symphonic genre. The composer M. Zhuravlev uses the principles of sonata form with amazing mastery, each time demonstrating its endless possibilities. The combined parts 3 and 4, in fact, represent a kind of “super-sonata”, in which the entire 4 part can be considered as having grown into a separate part of the coda. Researchers in the future have yet to deal with this extraordinary composing decision.

Conclusion

Symphonies were originally called those works that did not fit into the framework of traditional compositions - in terms of the number of parts, tempo ratio, a combination of different warehouses - polyphonic (which was considered dominant in the 17th century) and homophonic (with voice accompaniment) that appeared. In the 17th century, a symphony (which meant “consonance, harmony, search for new sounds”) was called all kinds of unusual musical compositions, and in the 18th century the so-called divertissement symphonies, which were created to sound the space at balls, became widespread. different kind social events. The symphony became a genre designation only in the 18th century. In terms of performance, the symphony is rightly considered a very complex genre. It requires a huge composition, the presence of many rare musical instruments, the skill of the orchestra and vocalists (if it is a symphony with text), excellent acoustics. Like any genre of music, the symphony has its own laws. So, the norm of a classical symphony is a four-part cycle, with a sonata (the most complex) form at the edges, with slow and dance parts in the middle of the composition. This structure is not accidental. The symphony reflects the processes of man's relationship with the world: active - in the first part, social - in the fourth part, contemplation and play - in the central sections of the cycle. At the turning points of its development, symphonic music changed stable rules. And those phenomena in the field of art that caused shock at first, then became familiar. For example, a symphony with vocals and poetry has become not just an accident, but one of the trends in the development of the genre.

Contemporary composers today prefer symphonic forms chamber genres requiring less large composition performers. In this kind of concerts even phonograms with noise recording or some kind of electronic-acoustic effects are used. The musical language that is being cultivated in modern music today is very experimental, exploratory. It is believed that writing music for the orchestra today means putting it on the table. Many believe that the time of the symphony as a genre in which young composers work is certainly over. But is this really so, this question will be answered by time.

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The symphony took shape in con. 18 - beg. 19th centuries (J. Haydn, W. A. ​​Mozart, L. Beethoven). Lyric symphonies (F. Schubert, F. Mendelssohn), program symphonies (G. Berlioz, F. Liszt) acquired great importance among romantic composers. An important contribution to the development of symphonies was made by Western European composers of the 19th and 20th centuries. (I. Brahms, A. Bruckner, G. Mahler, S. Frank, A. Dvorak, J. Sibelius and others). A significant place of the symphony in Russia (A. P. Borodin, P. I. Tchaikovsky, A. K. Glazunov, A. N. Skryabin, S. V. Rakhmaninov, N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian and others) to music.

Big Encyclopedic Dictionary. 2000 .

See what "SYMPHONY" is in other dictionaries:

See consent ... Dictionary of Russian synonyms and expressions similar in meaning. under. ed. N. Abramova, M.: Russian dictionaries, 1999. symphony, harmony, agreement; consonance, dictionary index, symphonietta Dictionary of Russian synonyms ... Synonym dictionary

- (Greek consonance). A great piece of music written for orchestra. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. SYMPHONY Greek. symphonia, from syn, together, and phone, sound, harmony, harmony of sounds. ... ... Dictionary of foreign words of the Russian language

Symphony No. 17: Symphony No. 17 (Weinberg). Symphony No. 17 (Mozart), in G major, KV129. Symphony No. 17 (Myaskovsky). Symphony No. 17 (Karamanov), "America". Symphony No. 17 (Slonimsky). Symphony No. 17 (Hovaness), Symphony for Metal Orchestra, Op. 203 ... ... Wikipedia

SYMPHONY, symphonies, for women. (Greek symphonia harmony of sounds, consonance). 1. A large piece of music for orchestra, usually consisting of 4 parts, of which the first and often the last are written in sonata form (music). The symphony can be... ... Dictionary Ushakov

symphony- and, well. symphony f. , it. sinfonia lat. symphonia gr. symphonia consonance. Krysin 1998. 1. A large piece of music for orchestra, consisting of 3 4 parts, differing from each other in the nature of the music and tempo. Pathetic symphony ... ... Historical Dictionary of Gallicisms of the Russian Language

Women, Greek, music harmony, consonance of sounds, polyphonic consonance. | A special kind of polyphonic musical composition. Hayden Symphony. | A symphony to the Old, to the New Testament, a set, an indication of the places where the same word is commemorated. Explanatory ... ... Dahl's Explanatory Dictionary

- (Latin symphonia, from Greek symphonia consonance, agreement), a work for symphony orchestra; one of the main genres of instrumental music. The symphony of the classical type developed among the composers of the Viennese classical school J. ... ... Modern Encyclopedia

Symphony- (Latin symphonia, from Greek symphonia - consonance, agreement), a work for a symphony orchestra; one of the main genres of instrumental music. The symphony of the classical type developed among the composers of the Viennese classical school - J. ... ... Illustrated Encyclopedic Dictionary

SYMPHONY, and, for women. 1. A large (usually four movements) piece of music for orchestra. 2. trans. A harmonic compound, a combination of which (book). C. flowers. C. colors. C. sounds. | adj. symphonic, oh, oh (to 1 meaning). S. orchestra ... ... Explanatory dictionary of Ozhegov

- (Greek consonance) the name of an orchestral composition in several parts. C. the most extensive form in the field of concert orchestral music. Due to the similarity, in its construction, with the sonata. S. can be called a great sonata for orchestra. How in… … Encyclopedia of Brockhaus and Efron

Books

• Symphony. 1 , A. Borodin. Symphony. 1, Score, For orchestra Edition type: Score Instruments: orchestra Reproduced in the original author's spelling of the 1862 edition.…

Among the numerous musical genres and forms, one of the most honorable places belongs to the symphony. Originating as an entertainment genre, from the beginning of the 19th century to the present day, it most sensitively and fully, like no other form of musical art, reflects its time. The symphonies of Beethoven and Berlioz, Schubert and Brahms, Mahler and Tchaikovsky, Prokofiev and Shostakovich are large-scale reflections on the era and personality, on the history of mankind and the ways of the world.

The symphonic cycle, as we know it from many classical and contemporary examples, took shape approximately two hundred and fifty years ago. However, during this historically short period, the symphony genre has come a long way. The length and significance of this path was determined precisely by the fact that the symphony absorbed all the problems of its time, was able to reflect the complex, contradictory, full of colossal upheavals of the era, to embody the feelings, suffering, struggles of people. It is enough to imagine the life of society in the middle of the 18th century - and remember Haydn's symphonies; great upheavals late XVIII- the beginning of the 19th century - and Beethoven's symphonies that reflected them; reaction in society, disappointment - and romantic symphonies; finally, all the horrors that mankind had to endure in the 20th century - and compare the symphonies of Beethoven with the symphonies of Shostakovich in order to clearly see this huge, sometimes tragic path. Now few people remember what the beginning was like, what were the origins of this most complex of purely musical genres not related to other arts.

Let's take a quick look at the musical Europe of the middle of the 18th century.

In Italy, the classical country of art, trendsetter of all European countries, the opera reigns supreme. The so-called opera seria (“serious”) dominates. There are no bright individual images in it, there is no genuine dramatic action. The opera series is an alternation of various mental states embodied in conditional characters. Its most important part is the aria in which these states are transmitted. There are arias of anger and revenge, arias-complaints (lamento), mournful slow arias and joyful bravura ones. These arias were so generalized that they could be transferred from one opera to another without any damage to the performance. In fact, composers often did this, especially when they had to write several operas a season.

Melody became the element of the opera seria. The celebrated art of Italian bel canto is here at its highest level. In arias, composers have reached the true heights of the embodiment of a particular state. Love and hate, joy and despair, anger and sorrow were conveyed by the music so vividly and convincingly that it was not necessary to hear the text to understand what the singer was singing about. This, in essence, finally paved the way for textless music, designed to embody human feelings and passion.

From the interludes - insert scenes performed between the acts of the opera seria and the content not related to it - its cheerful sister arose, the comic buff opera. Democratic in content (its actors were not mythological heroes, kings and knights, but ordinary people from the people), she deliberately opposed herself to court art. Opera-buff was distinguished by naturalness, liveliness of action, immediacy of the musical language, often directly related to folklore. It contained vocal tongue twisters, comic parodic coloratura, lively and light dance melodies. The finals of the acts unfolded like ensembles, in which the actors sang sometimes all at once. Sometimes such finals were called "tangle" or "confusion", the action rolled into them so quickly and the intrigue turned out to be confusing.

Instrumental music also developed in Italy, and above all the genre most closely associated with opera - the overture. As an orchestral introduction to an opera performance, it borrowed bright, expressive musical themes from the opera, similar to the melodies of arias.

The Italian overture of that time consisted of three sections - fast (Allegro), slow (Adagio or Andante) and fast again, most often the Minuet. They called it sinfonia - translated from Greek - consonance. Over time, overtures began to be performed not only in the theater before the opening of the curtain, but also separately, as independent orchestral compositions.

At the end of the 17th and beginning of the 18th centuries, a brilliant galaxy of virtuoso violinists appeared in Italy, who were at the same time gifted composers. Vivaldi, Yomelli, Locatelli, Tartini, Corelli and others, who perfectly mastered the violin - a musical instrument that can be compared with the human voice in its expressiveness - created an extensive violin repertoire, mainly from pieces that were called sonatas (from the Italian sonare - sound). In them, as in the clavier sonatas of Domenico Scarlatti, Benedetto Marcello and other composers, some common structural features developed, which then passed into the symphony.

Formed differently music life France. Music associated with word and action has long been loved there. Ballet art was highly developed; a special type of opera was cultivated - a lyrical tragedy, akin to the tragedies of Corneille and Racine, which had an imprint of the specific life of the royal court, its etiquette, its festivities.

The composers of France also gravitated towards the plot, program, verbal definition of music when creating instrumental pieces. “Flying Cap”, “Reapers”, “Tambourine” - this is how the harpsichord pieces were called, which were either genre sketches or musical portraits- “Graceful”, “Gentle”, “Hardworking”, “Flirty”.

Larger works, consisting of several parts, traced their origins to dance. Strict German allemande, mobile, as if sliding french chimes, the majestic Spanish sarabande and the swift jig - the fiery dance of English sailors - have long been known in Europe. They were the basis of the instrumental suite genre (from the French suite - sequence). Often other dances were included in the suite: minuet, gavotte, polonaise. Before the allemande, an introductory prelude could sound; in the middle of the suite, the measured dance movement was sometimes interrupted by a free aria. But the backbone of the suite - four diverse dances of different peoples - was certainly present in the same sequence, outlining four different moods, leading the listener from the calm movement of the beginning to the exciting impetuous finale.

Suites were written by many composers, and not only in France. The great Johann Sebastian Bach paid them a significant tribute, with whose name, as well as with the German musical culture that time in general, associated many musical genres.

In countries German language, that is, numerous German kingdoms, principalities and episcopates (Prussian, Bavarian, Saxon, etc.), as well as in various areas of the multinational Austrian Empire, which then included the "people of musicians" - the Czech Republic enslaved by the Habsburgs - instrumental music has long been cultivated . In any small town, town or even village there were violinists and cellists, in the evenings solo and ensemble pieces played with enthusiasm by amateurs sounded. Music-making centers usually became churches and schools attached to them. The teacher was, as a rule, also a church organist, who performed musical fantasies on holidays to the best of his ability. In large German Protestant centers, such as Hamburg or Leipzig, new forms of music were also taking shape: organ concerts in cathedrals. In these concerts, preludes, fantasies, variations, choral arrangements and, most importantly, fugues sounded.

Fugue is the most complex view polyphonic music, which reached its peak in the work of I.S. Bach and Handel. Its name comes from the Latin fuga - running. It is a polyphonic piece based on a single theme that moves (runs!) from voice to voice. In this case, each melodic line is called a voice. Depending on the number of such lines, the fugue can be three-, four-, five-part, etc. will expand (each of the notes that make it up will become twice as long), then it will shrink - this is called the theme in increase and the theme in decrease. It may happen that within a theme, descending melodic moves become ascending and vice versa (a theme in circulation). Melodic movement moves from one key to another. And in the final section of the fugue - the Reprise - the theme again sounds unchanged, as at the beginning, returning to the main tone of the play.

Recall once again: we are talking about the middle of the XVIII century. In the bowels of aristocratic France, an explosion is brewing that will very soon sweep away the absolute monarchy. A new time will come. In the meantime, revolutionary moods are only implicitly being prepared, French thinkers oppose the existing order. They demand the equality of all people before the law, proclaim the ideas of freedom and brotherhood.

Art, reflecting the shifts in social life, is sensitive to changes in the political atmosphere in Europe. An example of this is the immortal comedies of Beaumarchais. This also applies to music. It is now, in a difficult period fraught with events of colossal historical significance, in the depths of old, long-established musical genres and forms, a new, truly revolutionary genre, the symphony, is being born. It becomes qualitatively, fundamentally different, because it embodies a new type of thinking.

One must think that it is no coincidence that, having prerequisites in different regions of Europe, the genre of the symphony was finally formed in the countries of the German language. in Italy national art was the opera. In England, the spirit and meaning of the historical processes taking place there were most fully reflected by the oratorios of Georg Handel, a German by birth, who became a national English composer. In France, other arts came to the fore, in particular, literature and theatre, more concrete, directly and intelligibly expressing new ideas that excited the world. The works of Voltaire, Rousseau's "New Eloise", Montesquieu's "Persian Letters" in a veiled but quite intelligible form presented readers with caustic criticism of the existing order, offered their own versions of the structure of society.

When, after several decades, it came to music, the song entered the ranks of the revolutionary troops. The most striking example of this is the Song of the Army of the Rhine, created overnight by officer Rouger de Lisle, which became world famous under the name of the Marseillaise. Following the song, the music of mass festivities and mourning ceremonies appeared. And, finally, the so-called "opera of salvation", which had as its content the persecution of a hero or heroine by a tyrant and their salvation in the finale of the opera.

The symphony, on the other hand, required completely different conditions both for its formation and for full perception. The "center of gravity" of philosophical thought, which most fully reflected the deep essence of the social shifts of that era, turned out to be in Germany, far from social storms.

There they created their new philosophical systems, first Kant, and later Hegel. Like philosophical systems, the symphony - the most philosophical, dialectically procedural genre of musical creativity - was finally formed where only distant echoes of the coming thunderstorms reached. Where, moreover, stable traditions of instrumental music have developed.

Mannheim, the capital of the Bavarian electorate of the Palatinate, became one of the main centers for the emergence of a new genre. Here, at the brilliant court of Elector Karl Theodor, in the 40-50s of the 18th century, an excellent, perhaps the best orchestra in Europe at that time, was kept.

By that time, the symphony orchestra was just taking shape. And in the court chapels and in the cathedrals, orchestral groups with a stable composition did not exist. Everything depended on the means at the disposal of the ruler or magistrate, on the tastes of those who could command. The orchestra at first played only an applied role, accompanying either court performances or festivities and solemn ceremonies. And it was considered, first of all, as an opera or church ensemble. Initially, the orchestra included viols, lutes, harps, flutes, oboes, horns, and drums. Gradually, the composition expanded, the number of string instruments. Over time, violins supplanted the ancient viol and soon occupied a leading position in the orchestra. Woodwind instruments - flutes, oboes, bassoons - united into a separate group, and copper ones appeared - pipes, trombones. The harpsichord, which creates the harmonic basis of the sound, was an obligatory instrument in the orchestra. He was usually followed by the leader of the orchestra, who, while playing, at the same time gave instructions for the entry.

At the end of the 17th century, instrumental ensembles that existed at the courts of nobles became widespread. Each of the numerous petty princes of fragmented Germany wanted to have his own chapel. The rapid development of orchestras began, new methods of orchestral playing arose.

The Mannheim Orchestra consisted of 30 string instruments, 2 flutes, 2 oboes, clarinet, 2 bassoons, 2 trumpets, 4 horns, timpani. This is the backbone of the modern orchestra, the composition for which many composers of the subsequent era created their works. The orchestra was led by the outstanding Czech musician, composer and virtuoso violinist Jan Vaclav Stamitz. Among the artists of the orchestra there were also the largest musicians of their time, not only virtuoso instrumentalists, but also talented composers Franz Xaver Richter, Anton Filz and others. They determined the excellent level of performing mastery of the orchestra, which became famous for its amazing qualities - the previously unattainable evenness of violin strokes, the finest gradations of dynamic shades that were not previously used at all.

According to a contemporary critic of Bossler, “the exact observance of the piano, forte, rinforzando, the gradual growth and intensification of sound and then again the decrease in its strength down to a barely audible sound - all this could only be heard in Mannheim.” Echoed by an English music lover who made a trip to Europe in the middle of the 18th century, Bernie: “This extraordinary orchestra has enough space and facets to show all its capabilities and produce a great effect. It was here that Stamitz, inspired by the works of Yomelli, for the first time went beyond the usual operatic overtures ... all the effects that such a mass of sounds can produce were tried. It was here that the crescendo and diminuendo were born, and the piano, which was previously used mainly as an echo and was usually its synonym, and the forte were recognized musical colors having their own shades ... "

It was in this orchestra that four-part symphonies sounded for the first time - works that were built according to one type and had common patterns that absorbed many features of pre-existing musical genres and forms and melted them into a qualitatively different one; new unity.

The first chords are resolute, full-sounding, as if calling for attention. Then wide, sweeping moves. Again chords, replaced by arpeggiated movement, and then - a lively, elastic melody, like an unfolding spring. It seems that it can unfold endlessly, but leaves faster than the rumor wants it: like a guest introduced to the owners of the house during a big reception, moves away from them, giving way to others following. After a moment of general movement, a new theme appears - softer, feminine, lyrical. But it does not sound long, dissolving in passages. After some time, we again have the first theme, slightly changed, in a new key. The musical stream flows rapidly, returning to the original, main key of the symphony; the second theme organically merges into this flow, now approaching the first in character and mood. The first part of the symphony ends with full-sounding joyful chords.

The second part, andante, unfolds slowly, melodiously, revealing the expressiveness of stringed instruments. This is a kind of aria for orchestra, in which lyricism and elegiac meditation dominate.

The third movement is an elegant gallant minuet. It creates a feeling of relaxation, relaxation. And then, like a fiery whirlwind, the incendiary final bursts. Such, in general terms, is the symphony of that time. Its origins are traced very clearly. The first part is most reminiscent of an opera overture. But if the overture is only the threshold of the performance, then here the action itself unfolds in sounds. Typically operatic musical images of the overture - heroic fanfares, touching lamentos, stormy merriment of buffoons - are not associated with specific stage situations and do not carry characteristic individual features (recall that even the famous overture to Rossini's "The Barber of Seville" has nothing to do with the content of the opera and in general, it was originally written for another opera!), broke away from the opera performance and began an independent life. They are easily recognizable in the early symphony - the resolute courageous intonations of heroic arias in the first themes, called the main ones, the gentle sighs of the lyrical arias in the second - the so-called secondary - themes.

Opera principles also affect the texture of the symphony. If earlier in instrumental music polyphony dominated, that is, polyphony, in which several independent melodies, intertwined, sounded simultaneously, then polyphony of a different type began to develop here: one main melody (most often violin), expressive, significant, accompanied by an accompaniment that sets it off emphasizes her individuality. This type of polyphony, called homophonic, completely dominates the early symphony. Later, techniques borrowed from the fugue appear in the symphony. However, in the middle of the 18th century it could rather be contrasted with the fugue. There was, as a rule, one theme (there are double, triple and more fugues, but in them the themes are not opposed, but are compared). She repeated herself many times, but nothing contradicted her. It was, in essence, an axiom, a thesis that was repeatedly asserted without requiring proof. The opposite is in the symphony: disputes and contradictions are heard in the appearance and further changes of various musical themes and images. Perhaps this is the most striking sign of the times. Truth is no longer a given. It needs to be sought, proved, substantiated by comparing different opinions, clarifying different points of view. This is what the encyclopedists do in France. German philosophy is built on this, in particular, Hegel's dialectical method. And the very spirit of the era of search is reflected in the music.

So, the symphony took a lot from the opera overture. In particular, the principle of alternating contrasting sections was outlined in the overture, which in the symphony turned into independent parts. In its first part - different sides, different feelings of a person, life in its movement, development, changes, contrasts and conflicts. In the second part - reflection, concentration, sometimes - lyrics. In the third - relaxation, entertainment. And, finally, the finale - pictures of fun, jubilation, and at the same time - the result musical development, the completion of the symphonic cycle.

Such a symphony will turn out to early XIX century, such, in the most general terms, it will be, for example, in Brahms or Bruckner. And at the time of her birth, she apparently borrowed the many parts from the suite.

Allemande, courante, sarabande and gigue are four obligatory dances, four different moods, which are easily traced in the early symphonies. The danceability in them is expressed very clearly, especially in the finals, which often resemble a jig by the nature of the melody, tempo, even time signature. True, sometimes the finale of a symphony is closer to the sparkling finale of an opera-buffa, but even then its kinship with a dance, for example, a tarantella, is undeniable. As for the third part, it is called the minuet. Only in Beethoven's work will the dance - gallant courtier or rude common folk - be replaced by a scherzo.

The newborn symphony thus absorbed the features of many musical genres, moreover, genres born in different countries. And the formation of the symphony took place not only in Mannheim. There was the Vienna School, represented, in particular, by Wagenseil. In Italy, Giovanni Battista Sammartini wrote orchestral works, which he called symphonies and intended for concert performance, not associated with an opera performance. In France, a young composer, a Belgian by birth, François-Joseph Gossec, turned to the new genre. His symphonies did not meet with a response and recognition, since French music was dominated by programming, but his work played a role in the development of French symphony, in the renewal and expansion of the symphony orchestra. The Czech composer Frantisek Micha, who at one time served in Vienna, experimented a lot and successfully in search of a symphonic form. His famous countryman Josef Myslevichka had interesting experiments. However, all these composers were loners, and a whole school was formed in Mannheim, which, moreover, had at its disposal a first-class "instrument" - the famous orchestra. Thanks to the happy occasion that the Elector of the Palatinate was a great lover of music and had enough funds to afford the huge expenses for it, great musicians from different countries gathered in the capital of the Palatinate - Austrians and Czechs, Italians and Prussians - each of whom contributed his own contribution to the creation of a new genre. In the works of Jan Stamitz, Franz Richter, Carlo Toeschi, Anton Filz and other masters, the symphony arose in those of its main features, which then passed into creativity. Viennese classics- Haydn, Mozart, Beethoven.

So, during the first half century of the existence of the new genre, a clear structural and dramatic model has developed, capable of accommodating a diverse and very significant content. The basis of this model was the form, which was called the sonata, or sonata allegro, since it was most often written in this tempo, and was later typical of both the symphony and the instrumental sonatas and concertos. Its peculiarity is the juxtaposition of various, often contrasting musical themes. The three main sections of the sonata form - exposition, development and reprise - are reminiscent of the beginning, development of the action and the denouement of a classical drama. After a brief introduction or directly at the beginning of the exposition, the “characters” of the play pass before the listeners.

The first musical theme, which sounds in the main key of the work, is called the main one. More often - the main theme, but more correctly - the main party, since within main party, that is, a certain segment of the musical form, united by one key and figurative community, over time, not one, but several different themes-melodies began to appear. After the main batch, in the early samples by direct comparison, and in the later ones through a small connecting batch, a side batch begins. Its theme or two or three different themes contrast with the main one. Most often, the side part is more lyrical, soft, feminine. It sounds in a different, than the main, secondary (hence the name of the party) key. There is a sense of instability, and sometimes conflict. The exposition ends with the final part, which is either absent in the early symphonies, or plays a purely auxiliary role of a kind of point, a curtain after the first act of the play, and subsequently, starting with Mozart, acquires the significance of an independent third image, along with the main and secondary.

The middle section of sonata form is development. As the name shows, in it the musical themes that listeners got acquainted with in the exposition (that is, exhibited earlier) are developed, subjected to changes, development. At the same time, they are shown from new, sometimes unexpected sides, modified, separate motives are singled out from them - the most active, which later collide. Development is a dramatic effective section. At the end of it comes the climax, which leads to a reprise - the third section of the form, a kind of denouement of the drama.

The title of this section comes from French word reprendre - to renew. It is a renewal, a repetition of the exposition, but modified: both parties now sound in the main key of the symphony, as if brought into harmony by the events of development. Sometimes there are other changes in the reprise. For example, it can be truncated (without any of the themes that sounded in the exposition), mirrored (first the side part sounds, and only then the main part). The first part of the symphony usually ends with a coda - a conclusion that affirms the main key and the main image of the sonata allegro. In the early symphonies, the coda is small and is, in essence, a somewhat developed final part. Later, for example, with Beethoven, it acquires significant proportions and becomes a kind of second development in which affirmation is achieved once again in the struggle.

This form turned out to be truly universal. Since the days of the symphony and to the present, it successfully embodies the deepest content, conveys an inexhaustible wealth of images, ideas, problems.

The second movement of the symphony is slow. Usually this is the lyrical center of the cycle. Its form is different. Most often it is three-part, that is, it has similar extreme sections and a middle section contrasting with them, but it can also be written in the form of variations or any other, up to a sonata, which differs structurally from the first allegro only in a slower pace and less effective development.

The third part - in the early symphonies, the minuet, and from Beethoven to the present - the scherzo - as a rule, a complex three-part form. The content of this part has been modified and complicated over the decades from everyday or court dance to monumental powerful scherzos. 19th century and further, to formidable images of evil, violence in the symphonic cycles of Shostakovich, Honegger and other symphonists of the 20th century. Starting from the second half of the 19th century, the scherzo increasingly changed places with the slow part, which, in accordance with the new concept of the symphony, becomes a kind of spiritual reaction not only to the events of the first part, but also to the figurative world of the scherzo (in particular, in Mahler's symphonies).

The finale, which is the result of the cycle, in the early symphonies is more often written in the form of a rondo sonata. The alternation of cheerful episodes sparkling with merriment with the constant dance refrain - such a structure naturally followed from the nature of the images of the finale, from its semantics. Over time, with the deepening of the problems of the symphony, the regularities of the structure of its finale began to change. Finales began to appear in sonata form, in the form of variations, in free form, and finally - with features of oratorio (with the inclusion of a choir). His images have also changed: not only life-affirmation, but sometimes a tragic outcome (Tchaikovsky's Sixth Symphony), reconciliation with cruel reality or escape from it into a dream world, illusions have become the content of the finale of the symphonic cycle in the last hundred years.

But back to the beginning of the glorious path of this genre. Appearing in the middle of the 18th century, it reached classical perfection in the work of the great Haydn.

Longrid " Symphonic music" on the Tilda service

http://project134743. tilda. ws/ page621898.html

Symphonic music

Musical works intended to be performed by a symphony orchestra.

Wind brass: Trumpet, Tuba, Trombone, Voltorna.

Woodwinds: Oboe, Clarinet, Flute, Bassoon.

Strings: Violin, Viola, Cello, Double bass

Percussion: Bass Drum, Snare Drum, Tam Tam, Timpani, Celesta, Tambourine, Cymbals, Castanets, Maracas, Gong, Triangle, Glockenspiel, Xylophone

Other instruments of the symphony orchestra: Organ, Celesta, Harpsichord, Harp, Guitar, Piano (Piano, Piano).

Timbre characteristics of instruments

Violin: Gentle, light, bright, melodious, clear, warm

Viola: Matte, soft

Cello: Rich, thick

Double bass: Deaf, harsh, gloomy, thick

Flute: whistling, cold

Oboe: Nasal, nasal

Clarinet: Matte, nasal

Bassoon: Squeezed, thick

Trumpet: Shiny, bright, light, metallic

Horn: Rounded, soft

Trombone: Metallic, sharp, powerful.

Tuba: Harsh, thick, heavy

Main genres symphonic music:

Symphony, suite, overture, symphonic poem

Symphony

- (from Greek. symphonia - consonance, agreement)
the leading genre of orchestral music, a complex richly developed multi-part work.

Features of the symphony

It's a big one musical genre.
— Playing time: from 30 minutes to an hour.

The main character and performer is a symphony orchestra

Symphony structure (classical form)

Consists of 4 parts that embody different aspects of human life

1 part

The fastest and most dramatic, sometimes preceded by a slow introduction. Written in sonata form, at a fast pace (allegro).

part 2

Peaceful, thoughtful, devoted to peaceful pictures of nature, lyrical experiences; mournful or tragic in mood.
It sounds in slow motion, written in the form of a rondo, less often in the form of a sonata or variational form.

part 3

Here is a game, fun, pictures of folk life. It is a scherzo or minuet in three-part form.

part 4

Quick final. As a result of all parts, it is distinguished by a victorious, solemn, festive character. It is written in sonata form or in the form of a rondo, a rondo-sonata.

But there are symphonies with fewer (or more) parts. There are also one-movement symphonies.

Symphony in the work of foreign composers

• • Franz Joseph Haydn (1732 - 1809)

108 symphonies

Symphony No. 103 "Timpani Tremolo"

Its name " with tremolo timpani"The symphony received thanks to the first measure, in which the timpani plays a tremolo (Italian tremolo - trembling), reminiscent of distant thunder,
on the tonic sound E-flat. This is how the slow unison introduction (Adagio) to the first movement begins, which has a deeply concentrated character.

• • Wolfgang Amadeus Mozart (1756-1791)

56 symphonies

Symphony No. 40

One of Mozart's most famous last symphonies. The symphony gained great popularity due to its unusually sincere music, understandable to the widest range of listeners.
The first part of the symphony does not have an introduction, but begins immediately with a presentation of the theme of the main part of the allegro. This topic is of an agitated nature; however, it is distinguished by melodiousness and sincerity.

• • Ludwig van Beethoven (1770—1827)

9 symphonies

Symphony No. 5

The symphony amazes with the laconic presentation, the conciseness of the forms, the striving for development, it seems to be born in a single creative impulse.
“This is how fate knocks at our door,” said Beethoven.
about the opening bars of this piece. Bright expressive music the main motive of the symphony make it possible to interpret it as a picture of a person's struggle with the blows of fate. The four parts of the symphony are presented as stages in this struggle.

• • Franz Schubert(1797—1828)

9 symphonies

Symphony No. 8 "Unfinished"

One of the most poetic pages in the treasury of world symphony, a bold new word in this most complex of musical genres, which opened the way for romanticism. This is the first lyric-psychological drama in the symphonic genre.
It does not have 4 parts, like the symphonies of classical composers, but only two. However, the two parts of this symphony leave the impression of amazing integrity, exhaustion.

Symphony in the work of Russian composers

• • Sergei Sergeevich Prokofiev (1891— 1953)

7 symphonies

Symphony No. 1 "Classical"

Called "classic", because. it retains the rigor and logic of the classical form of the 18th century, and at the same time it is distinguished by a modern musical language.
The music is full of sharp and "prickly" themes, rapid passages. Use of the features of dance genres (polonaise, minuet, gavotte, gallop). It is no coincidence that choreographic compositions were created to the music of the symphony.

• • Dmitry Dmitrievich Shostakovich(1906—1975)

15 symphonies

Symphony No. 7 "Leningradskaya"

In 1941, with Symphony No. 7, the composer responded to the terrible events of the Second World War, dedicated to the blockade of Leningrad (Leningrad Symphony)
“The Seventh Symphony is a poem about our struggle, about our coming victory,” wrote Shostakovich. The symphony has received worldwide recognition as a symbol of the fight against fascism.
Dry staccato melody main theme, incessant drum roll create a feeling of alertness, anxious expectation.

• • Vasily Sergeevich Kalinnikov (1866-1900)

2 symphonies

Symphony No. 1

Kalinnikov began writing his first symphony in March 1894 and finished exactly a year later, in March 1895.
The symphony most clearly embodied the features of the composer's talent - spiritual openness, immediacy, richness of lyrical feelings. In his symphony, the composer sings of the beauty and grandeur of nature, Russian life, personifying the image of Russia, the Russian soul, through Russian music.

• • Peter Ilyich Tchaikovsky (1840—1893)

7 symphonies

Symphony No. 5

The introduction of the symphony is a funeral march. "Complete admiration for fate ... before an inscrutable destiny," writes Tchaikovsky in his drafts.
Thus, by a complex way of overcoming and internal struggle, the composer comes to victory over himself, over his doubts, spiritual discord and confusion of feelings.
The bearer of the main idea is a compressed, rhythmically elastic theme with an invariable attraction to the original sound, which runs through all parts of the cycle.

"The purpose of music is to touch hearts"
(Johann Sebastian Bach).

"Music should strike fire from people's hearts"
(Ludwig van Beethoven).

"Music, even in the most terrible dramatic situations, must always captivate the ear, always remain music"
(Wolfgang Amadeus Mozart).

"Musical material, that is, melody, harmony and rhythm, is certainly inexhaustible.
Music is a treasury into which every nationality contributes its own, for the common good.
(Peter Ilyich Tchaikovsky).

Love and study the great art of music. It will open you the whole world high feelings, passions, thoughts. It will make you spiritually richer. Thanks to music, you will find new powers unknown to you before. You will see life in new colors and colors"
(Dmitry Dmitrievich Shostakovich).

Tannhauser: I am opening a new section on musical forms and genres. And the first page, by right, opens with "SYMPHONY" ... I will add portraits of great composers and other pictures to the text. I did not begin to add all the names of symphonists known to me. But continue to acquaint you I will be with "new" forgotten names. I will not overload the post with audio and video clips ... You can find them yourself without worries ... And in my Diary, including. See you in this section.

Symphony(from the Greek "consonance") - a work for the orchestra, consisting of several parts. The symphony is the most musical form among concert orchestral music.

classic building

Due to the relative similarity of the structure with the sonata, the symphony can be called a grand sonata for orchestra. The sonata and symphony, as well as the concerto, trio, quartet, etc., belong to the "sonata-symphony cycle" - a cyclic musical form of a work in which it is customary to present at least one of the parts (usually the first) in sonata form. The sonata-symphonic cycle is the largest cyclical form among purely instrumental forms.

Like the sonata, the classical symphony has four movements:
- the first part, at a fast pace, is written in sonata form;
- the second part, in slow motion, is written in the form of a rondo, less often in the form of a sonata or variational form;
- third movement, scherzo or minuet in three-part form;
- the fourth part, at a fast pace, in sonata form or in the form of rondo, rondo-sonata.
If the first movement is written at a moderate tempo, then, on the contrary, it can be followed by a fast second movement and a slow third movement (for example, Beethoven's 9th symphony).

Given that the symphony is designed for the great powers of the orchestra, each part in it is written in a wider and more detailed way than, for example, in an ordinary piano sonata, since the richness of the expressive means of a symphony orchestra provides for a detailed presentation of musical thought.

History of the symphony

The term symphony was used in ancient Greece, the Middle Ages and the Renaissance mainly to describe various instruments, especially those capable of producing more than one sound at a time. So in Germany, until the middle of the 18th century, a symphony was a general term for varieties of harpsichord - spinets and virginels, in France it was called barrel-organs, harpsichords, two-headed drums, etc.

The word symphony for "sounding together" musical works began to appear in the titles of some Baroque works of the 16th and 17th century, with such composers as Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae 1615), Adriano Bankieri (Eclesiastiche Sinfonie, 1607), Lodovico Grossi da Viadana (Sinfonie musicali, 1610) and Heinrich Schütz (Symphoniae sacrae, 1629).

The prototype of the symphony can be considered the Italian Overture, which developed under Domenico Scarlatti at the end of the 17th century. This form was already then called a symphony and consisted of three contrasting parts: allegro, andante and allegro, which merged into one. It is this form that is often regarded as a direct forerunner of the orchestral symphony. The terms "overture" and "symphony" were used interchangeably for much of the 18th century.

Other important progenitors of the symphony were the orchestral suite, which consisted of several parts in the simplest forms and mostly in the same key, and the ripieno concerto (ripieno concerto) - a form reminiscent of a concerto for strings and continuo, but without solo instruments. Works by Giuseppe Torelli and Antonio Vivaldi were created in this form, perhaps the most famous ripieno concerto is Johann Sebastian Bach's "Brandenburg Concerto No. 3".

Joseph Haydn is considered to be the founder of the classical symphony model. In a classical symphony, only the first and last parts have the same key, and the middle ones are written in keys related to the main one, which determines the key of the entire symphony. Outstanding representatives of the classical symphony are Wolfgang Amadeus Mozart and Ludwig van Beethoven. Beethoven dramatically expanded the symphony. His Symphony No. 3 ("Heroic"), having a scale and emotional range that surpasses all earlier works, his Symphony No. 5 is perhaps the most famous symphony ever written. His Symphony No. 9 becomes one of the first "choral symphonies" with the inclusion of parts for soloists and choir in the last movement.

The romantic symphony became a combination of classical form with romantic expression. The programming trend is also developing. Leitmotifs appear. The main distinguishing feature of romanticism was the growth of the form, the composition of the orchestra and the density of sound. The most prominent authors of symphonies of this era include Franz Schubert, Robert Schumann, Felix Mendelssohn, Hector Berlioz, Johannes Brahms, P. I. Tchaikovsky, A. Bruckner and Gustav Mahler.

Starting from the second half of the 19th century and especially in the 20th century, there was a further transformation of the symphony. The four-movement structure has become optional: symphonies can contain from one (7th Symphony by Jan Sibelius) to eleven (14th symphony by D. Shostakovich) movements or more. Many composers experimented with the size of symphonies, so Gustav Mahler created his 8th symphony called "Symphony of a Thousand Participants" (due to the strength of the orchestra and choirs needed to perform it). The use of sonata form becomes optional.
After L. Beethoven's 9th symphony, composers more often began to introduce vocal parts into symphonies. However, the scale and content of the musical material remains constant.

Joseph Haydn - 108 symphonies

Wolfgang Amadeus Mozart - 41 (56) symphonies

Ludwig van Beethoven - 9 symphonies

Franz Schubert - 9 symphonies

Robert Schumann - 4 symphonies

Felix Mendelssohn - 5 symphonies

Hector Berlioz - several program symphonies

Antonin Dvorak - 9 symphonies

Johannes Brahms - 4 symphonies

Pyotr Tchaikovsky - 6 symphonies (also "Manfred" symphony)

Anton Bruckner - 10 symphonies

Gustav Mahler - 10 symphonies

Jan Sibelius - 7 symphonies

Sergei Rachmaninov - 3 symphonies

Igor Stravinsky - 5 symphonies

Sergei Prokofiev - 7 symphonies

Dmitri Shostakovich - 15 symphonies (also several chamber symphonies)

Alfred Schnittke - 9 symphonies