Word "symphony" translated from Greek as "consonance". Indeed, the sound of many instruments in an orchestra can only be called music when they are in tune, and do not make sounds each by itself.

AT Ancient Greece so called a pleasant combination of sounds, joint singing in unison. AT Ancient Rome so the ensemble, the orchestra began to be called. In the Middle Ages, a symphony was called secular music in general and some musical instruments.

The word has other meanings, but they all carry the meaning of connection, participation, harmonious combination; for example, a symphony is also called formed in Byzantine Empire the principle of the relationship between church and secular power.

But today we will talk only about the musical symphony.

Varieties of the symphony

Classical symphony is a piece of music in cyclic sonata form, intended to be performed by a symphony orchestra.

A symphony (in addition to a symphony orchestra) may include a choir and vocals. There are symphonies-suites, symphonies-rhapsodies, symphonies-fantasies, symphonies-ballads, symphonies-legends, symphonies-poems, symphonies-requiems, symphonies-ballets, symphonies-dramas and theater symphonies as a kind of opera.

AT classical symphony usually 4 parts:

the first part in fast pace(allegro ) , in sonata form;

second part in slow pace, usually in the form of variations, rondo, rondo-sonata, complex three-part, less often in the form of a sonata;

the third part - scherzo or minuet- in a three-part da capo form with a trio (that is, according to the A-trio-A scheme);

fourth part in fast pace, in sonata form, in rondo or rondo sonata form.

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

Software symphony is a symphony with a certain content, which is stated in the program or expressed in the title. If there is a title in the symphony, then this title is the minimum program, for example, G. Berlioz's Fantastic Symphony.

From the history of the symphony

The creator of the classical form of symphony and orchestration is considered Haydn.

And the prototype of the symphony is the Italian overture(an instrumental orchestral piece performed before the start of any performance: opera, ballet), which took shape at the end of the 17th century. A significant contribution to the development of the symphony was made by Mozart and Beethoven. These three composers called "Viennese classics". Viennese classics created a high type of instrumental music, in which all the richness of figurative content is embodied in a perfect art form. The process of the formation of the symphony orchestra - its permanent composition, orchestral groups - also coincided with this time.

V.A. Mozart

Mozart wrote in all the forms and genres that existed in his era, special meaning attached to the opera, but paid great attention to symphonic music. Due to the fact that throughout his life he worked in parallel on operas and symphonies, his instrumental music melodious opera aria and dramatic conflict. Mozart created over 50 symphonies. The most popular were the last three symphonies - No. 39, No. 40 and No. 41 ("Jupiter").

K. Schlosser "Beethoven at work"

Beethoven created 9 symphonies, but in terms of the development of symphonic form and orchestration, he can be called the largest symphonic composer classical period. In his Ninth Symphony, the most famous, all its parts are merged into a single whole by a through theme. In this symphony, Beethoven introduced vocal parts, after which other composers began to do this. In the form of a symphony said a new word R. Schuman.

But already in the second half of the XIX century. the strict forms of the symphony began to change. Four-part became optional: appeared one-part symphony (Myaskovsky, Boris Tchaikovsky), symphony from 11 parts(Shostakovich) and even from 24 parts(Hovaness). The classical fast-paced finale was supplanted by a slow finale (P.I. Tchaikovsky's Sixth Symphony, Mahler's Third and Ninth Symphonies).

The authors of the symphonies were F. Schubert, F. Mendelssohn, I. Brahms, A. Dvorak, A. Bruckner, G. Mahler, Jan Sibelius, A. Webern, A. Rubinstein, P. Tchaikovsky, A. Borodin, N. Rimsky- Korsakov, N. Myaskovsky, A. Skryabin, S. Prokofiev, D. Shostakovich and others.

Its composition, as we have already said, was formed in the era of the Viennese classics.

The basis of the symphony orchestra are four groups of instruments: bowed strings(violins, violas, cellos, double basses) woodwinds(flute, oboe, clarinet, bassoon, saxophone with all their varieties - old recorder, shalmy, chalumeau, etc., as well as a number of folk instruments- balaban, duduk, zhaleyka, flute, zurna), brass(horn, trumpet, cornet, flugelhorn, trombone, tuba) drums(timpani, xylophone, vibraphone, bells, drums, triangle, cymbals, tambourine, castanets, tam-tam and others).

Sometimes other instruments are included in the orchestra: harp, piano, organ(keyboard-wind musical instrument, the largest type of musical instrument), celesta(a small keyboard-percussion musical instrument that looks like a piano, sounds like bells), harpsichord.

Harpsichord

Big a symphony orchestra can include up to 110 musicians , small- no more than 50.

The conductor decides how to seat the orchestra. The location of the performers of a modern symphony orchestra is aimed at achieving a coherent sonority. In the 50-70s. 20th century spread "American Seating": the first and second violins are placed to the left of the conductor; on the right - violas and cellos; in the depths - woodwinds and brass, double basses; left - percussion.

Seating arrangements for the musicians of the symphony orchestra

Beethoven, resigned to an incurable disease, does not fight here with hostile fate but glorifies great power nature, simple pleasures rural life. This theme has already been embodied in music more than once (“The Four Seasons” by Vivaldi, Haydn). Beethoven, enthusiastically, pantheistically related to nature, revealed it in his own way. His interpretation is close to the views of Rousseau. For Beethoven, nature is not only an object to create picturesque paintings, not only a source of pure joy, but also a symbol of a free, free life, spiritual emancipation. As in the "Aurora", in the 6th symphony the role of people's beginning, since proximity to nature for Beethoven was tantamount to proximity to the people. That is why many of the themes of the symphony reveal a kinship with folk melodies.

The 6th symphony belongs to the lyric-genre type of symphonism (like the 2nd, 4th, 8th symphonies and most of the sonatas). Her dramaturgy is very different from the dramaturgy of the heroic symphonies (3, 5, 9):

• instead of conflict clashes, the struggle of opposite principles - a long stay in one emotional state, which is diversified by the strengthening of the coloristic principle;
• contrasts and edges between sections are smoothed out, smooth transitions from one thought to another are characteristic (this is especially pronounced in part II, where the secondary theme continues the main one, entering against the same background);
• the melodic beginning and variation dominate as the main method of thematic development, including in sonata developments ( a prime example- II h);
• topics are homogeneous in structure;
• in orchestration - an abundance of solo wind instruments, the use of new performance techniques that later became characteristic of romantics (divizi and mutes in the cello part, imitating the murmur of a stream);
• in tonal plans - the dominance of colorful terts tonal comparisons;
• widespread use of ornamentation; an abundance of organ items;
• wide implementation of folk music genres - landler (in the extreme sections of the scherzo), songs (in the finale).

The sixth symphony is programmatic, and, being the only one of the nine, it has not only a common title, but also headings for each movement. These parts are not 4, as is firmly established in the classical symphonic cycle, but 5, which is connected precisely with the program: a dramatic picture of a thunderstorm is placed between the ingenuous village dance and the peaceful finale. These three parts (3,4,5) are played without interruption.

Part 1 - "Joyful feelings upon arrival in the village" (F-dur)

The title emphasizes that the music is not a "description" rural landscape, but reveals the feelings it evokes. All sonata allegro is permeated with elements of folk music. From the very beginning, the background of fifths of violas and cellos reproduces the buzz of a village bagpipe. Against this background, the violins play an uncomplicated, repeatedly repeated melody based on pastoral intonations. It - main topic sonata form. The side and final do not contrast with it, they also express the mood of joyful tranquility, they sound in C - dur. All themes are developed, but not due to motive development, as was the case, for example, in the "Heroic" symphony, but due to the abundance of thematic repetitions, emphasized by clear cadences. The same thing is observed in development: a characteristic singing taken as an object for development main party repeats many times without any changes, however, it is colored by the play of registers, instrumental timbres, colorful terts juxtaposition of tonalities (B - D, C - E).

2 part - "Scene by the stream" (B-dur)

It is imbued with the same serene feelings, however, there is more dreaminess here, and besides - an abundance of pictorial and onomatopoeic moments. Throughout the entire movement, the “murmuring” background of two solo cellos with mutes and a horn pedal are preserved (only at the very end does the “stream” stop, giving way to the roll call of birds: the trills of a nightingale performed by a flute, the cry of a quail by the oboe and the cuckoo by the clarinet). This movement, like the I-I, is also written in sonata form, which is interpreted in a similar way: reliance on song themes, lack of contrasts, timbre variation.

Part 3 - "A Merry Gathering of Villagers" (F-dur)

The 3rd part is a juicy genre sketch. Her music is the most cheerful and carefree. It combines crafty innocence peasant dances(Haydnian tradition) and the sharp humor of Beethoven's scherzos. There is also a lot of figurative concreteness here.

Section I of the 3x-private form is built on the repeated comparison of two themes - abrupt, with persistent stubborn repetitions, and lyrically melodious, but not without humor: the bassoons accompaniment sounds out of time, like inexperienced village musicians. Another theme sounds in the transparent timbre of the oboe, accompanied by violins. She is graceful and graceful, but at the same time, the syncopated rhythm and the bassoon bass that suddenly enters also add a comic touch to it.

In a busier trio a rough chant with sharp accents is persistently repeated in a very loud sound, as if the village musicians were playing with might and main, and, sparing no effort, they accompany the heavy peasant dance.

In the reprise, the full presentation of all the topics is replaced by a brief reminder of the first two.

Proximity to folk music manifests itself in the 3rd part of the symphony and in the use of variable modes, and in the variability of three - and two-part sizes, characteristic of Austrian peasant dances.

Part 4 - “Thunderstorm. Storm (d-moll)

<Бесхитростный деревенский праздник внезапно прерывает гроза - так начинается 4 часть симфонии. Она составляет резкий контраст всему предшествовавшему и является единственным драматическим эпизодом всей симфонии. Рисуя величественную картину разбушевавшейся стихии, композитор прибегает к изобразительным приемам, расширяет состав оркестра, включая, как и финале 5-й симфонии, флейту - пикколо и тромбоны.

Musical thunderstorms "rage" in many compositions of the 18th - 19th centuries of various genres (Vivaldi, Haydn, Rossini, Verdi, Liszt, etc.). Beethoven's interpretation of the image of a storm is close to Haydn's: a thunderstorm is perceived not as a devastating disaster, but as a grace necessary for all living things.

Part 5 - “Shepherd's tunes. Joyful and grateful feelings after the storm" (F-dur)

The free form of the 4th part has as its prototype a real life process - a thunderstorm, which gradually intensifies from the first timid drops, reaches a climax, and then subsides. The last faint rumble of thunder dissolves into the sounds of the shepherd's flute, which begins the last, 5th part. All the music of the finale is permeated with the folk-song element. The slowly flowing melody of the clarinet, which is answered by the horn, sounds like a genuine folk melody. It is like a hymn that glorifies the beauty of nature.

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Content

• 4. Musical analysis-schemeIparts of Symphony No. 7
• 6. Features of interpretation
• Bibliography

1. The place of the symphony genre in the work of L.V. Beethoven

Contribution of L.V. Beethoven in world culture is determined, first of all, by his symphonic works. He was the greatest symphonist, and it was in symphonic music that his worldview and basic artistic principles were most fully embodied. The path of L. Beethoven as a symphonist covered almost a quarter of a century (1800 - 1824), but his influence extended to the entire 19th and even to a large extent the 20th century. In the 19th century, every symphonic composer had to decide for himself whether he would continue one of the lines of Beethoven's symphonism or try to create something fundamentally different. One way or another, but without L. Beethoven, symphonic music of the 19th century would have been completely different. Beethoven's symphonies arose on the ground prepared by the whole course of the development of instrumental music of the 18th century, in particular by his immediate predecessors - I. Haydn and V.A. Mozart. The sonata-symphonic cycle that finally took shape in their work, its reasonable slender constructions turned out to be a solid foundation for the massive architecture of L.V. Beethoven.

But Beethoven's symphonies could become what they are only as a result of the interaction of many phenomena and their deep generalization. Opera played a large role in the development of the symphony. Opera dramaturgy had a significant impact on the process of dramatization of the symphony - this was clearly already in the work of W. Mozart. L.V. Beethoven's symphony grows into a truly dramatic instrumental genre. Following the path laid by I. Haydn and W. Mozart, L. Beethoven created majestic tragedies and dramas in symphonic instrumental forms. As an artist of a different historical era, he intrudes into those areas of spiritual interests that his predecessors cautiously bypassed and could only indirectly affect them.

symphony beethoven genre composer

The line between the symphonic art of L. Beethoven and the symphony of the 18th century was drawn primarily by the themes, ideological content, and the nature of musical images. Beethoven's symphony, addressed to huge human masses, needed monumental forms "in proportion to the number, breath, vision of the assembled thousands" ("Musical Literature of Foreign Countries", issue 3, Music. Moscow, 1989, p. 9). Indeed, L. Beethoven broadly and freely pushes the boundaries of his symphonies.

The high consciousness of the responsibility of the artist, the audacity of ideas and creative concepts can explain the fact that L.V. Beethoven did not dare to write symphonies until the age of thirty. The same reasons, apparently, caused the slowness, thoroughness of finishing, the tension with which he wrote each topic. Any symphonic work by L. Beethoven is the fruit of a long, sometimes many years of work.

L.V. Beethoven's 9 symphonies (10 remained in sketches). Compared to 104 by Haydn or 41 by Mozart, this is not much, but each of them is an event. The conditions under which they were composed and performed were fundamentally different from what was under J. Haydn and W. Mozart. For L. Beethoven, the symphony is, firstly, a purely public genre, performed mainly in large halls by a fairly solid orchestra by the standards of that time; and secondly, the genre is ideologically very significant. Therefore, Beethoven's symphonies, as a rule, are much larger than even Mozart's (except for the 1st and 8th) and are fundamentally individual in concept. Each symphony gives the only thingsolution both figurative and dramatic.

True, in the sequence of Beethoven's symphonies, certain patterns are found that have long been noticed by musicians. So, odd symphonies are more explosive, heroic or dramatic (except for the 1st), and even symphonies are more "peaceful", genre-domestic (most of all - 4th, 6th and 8th). This can be explained by the fact that L.V. Beethoven often conceived symphonies in pairs and even wrote them simultaneously or immediately after each other (5 and 6 even "swapped" numbers at the premiere; 7 and 8 followed in a row).

The premiere of the First Symphony, which took place in Vienna on April 2, 1800, became an event not only in the life of the composer, but also in the musical life of the capital of Austria. The composition of the orchestra was striking: according to the reviewer of the Leipzig newspaper, "wind instruments are used too abundantly, so it turned out to be more like brass music than the sound of a full symphony orchestra" ("Musical Literature of Foreign Countries" issue 3, Music, Moscow, 1989). L.V. Beethoven introduced two clarinets into the score, which was not yet widespread at the time. (W. A. ​​Mozart rarely used them; I. Haydn first made clarinets equal members of the orchestra only in the last London symphonies).

Innovative features are also found in the Second Symphony (D major), although it, like the First, continues the traditions of I. Haydn and W. Mozart. It clearly expresses a craving for heroism, monumentality, for the first time the dance part disappears: the minuet is replaced by a scherzo.

Having passed through the labyrinth of spiritual searches, L. Beethoven found his own heroic-epic theme in the Third Symphony. For the first time in art, with such a depth of generalization, the passionate drama of the era, its upheavals and catastrophes, was refracted. The man himself is also shown, winning the right to freedom, love, joy. Beginning with the Third Symphony, the heroic theme inspires Beethoven to create the most outstanding symphonic works - the Egmont overture, Leonore No. 3. Already at the end of his life, this theme is revived with unattainable artistic perfection and scope in the Ninth Symphony. But each time the turn of this central theme for L. Beethoven is different.

The poetry of spring and youth, the joy of life, its eternal movement - this is the complex of poetic images of the Fourth Symphony in B-dur. The Sixth (Pastoral) Symphony is devoted to the theme of nature.

If the Third Symphony in spirit approaches the epic of ancient art, then the Fifth Symphony, with its laconicism and dynamic dramaturgy, is perceived as a rapidly developing drama. At the same time raises L.V. Beethoven in symphonic music and other layers.

In "incomprehensibly excellent", according to M.I. Glinka, Seventh Symphony A-dur, life phenomena appear in generalized dance images. The dynamics of life, its miraculous beauty is hidden behind the bright sparkle of changing rhythmic figures, behind the unexpected turns of dance movements. Even the deepest sadness of the famous Allegretto is not able to extinguish the sparkling of the dance, to moderate the fiery temperament of the parts surrounding the Allegretto.

Next to the mighty frescoes of the Seventh is the subtle and elegant chamber painting of the Eighth Symphony in F-dur. The ninth symphony sums up the searches of L.V. Beethoven in the symphonic genre and, above all, in the embodiment of the heroic idea, images of struggle and victory, - searches begun twenty years earlier in Heroic Symphony. In the Ninth, he finds the most monumental, epic and at the same time innovative solution, expanding the philosophical possibilities of music and opening up new paths for symphonists of the 19th century. The introduction of the word (the finale of the Ninth Symphony with the final chorus to the words of Schiller's ode "For Joy", in D minor) facilitates the perception of the composer's most complex idea for the widest circles of listeners. Without the apotheosis created in it, without the glorification of truly nationwide joy and power, which is heard in the indomitable rhythms of the Seventh, L.V. Beethoven probably would not have been able to come up with the momentous "Hug, millions!"

2. The history of the creation of Symphony No. 7 and its place in the composer's work

The history of the creation of the Seventh Symphony is not known for certain, but some sources have been preserved in the form of letters from L. Beethoven himself, as well as letters from his friends and students.

Summer of 1811 and 1812 L.V. Beethoven, on the advice of doctors, spent in Teplice, a Czech resort famous for its healing hot springs. His deafness intensified, he resigned himself to his terrible illness and did not hide it from those around him, although he did not lose hope of improving his hearing. The composer felt very lonely; attempts to find a faithful, loving wife - all ended in complete disappointment. However, for many years he was possessed by a deep passionate feeling, captured in a mysterious letter dated July 6-7 (as established, 1812), which was found in a secret box the day after the composer's death. To whom was it intended? Why was it not with the addressee, but with L. Beethoven? This "immortal lover" researchers called many women. And the lovely Countess Juliette Guicciardi, to whom the Moonlight Sonata is dedicated, and the Countesses Teresa and Josephine Brunswick, and the singer Amalia Sebald, the writer Rachel Levin. But the riddle, apparently, will never be solved...

In Teplice, the composer met the greatest of his contemporaries - I. Goethe, on the texts of which he wrote many songs, and in 1810 Ode - music for the tragedy "Egmont". But she did not bring L.V. Nothing but disappointment to Beethoven. In Teplice, under the pretext of treatment on the waters, numerous rulers of Germany gathered for a secret congress in order to unite their forces in the fight against Napoleon, who had subjugated the German principalities. Among them was the Duke of Weimar, accompanied by his minister, the Privy Councillor. Goethe. L.V. Beethoven wrote: "J. Goethe likes the court air more than a poet should." A story has been preserved (its authenticity has not been proven) by the romantic writer Bettina von Arnim and a painting by the artist Remling, depicting the walk of L. Beethoven and J. Goethe: the poet, stepping aside and taking off his hat, bowed respectfully before the princes, and L. Beethoven, laying his hands behind his back and boldly tossing his head, resolutely walks through their crowd.

Work on the Seventh Symphony was probably begun in 1811, and completed, as the inscription in the manuscript says, on May 5 of the following year. It is dedicated to Count M. Fries, a Viennese philanthropist, in whose house Beethoven often performed as a pianist. The premiere took place on December 8, 1813 under the direction of the author in a charity concert in favor of disabled soldiers in the hall of the University of Vienna. The best musicians participated in the performance, but the central work of the concert was by no means this “completely new Beethoven symphony”, as the program announced. They became the final number - "Victory of Wellington, or the Battle of Vittoria", a noisy battle picture. It was this essay that was a tremendous success and brought an incredible amount of net collection - 4 thousand guilders. And the Seventh Symphony went unnoticed. One critic called it the "accompanying play" to The Battle of Vittoria.

It is surprising that this relatively small symphony, now so beloved by the public, seeming transparent, clear and easy, could cause misunderstanding among the musicians. And then the outstanding piano teacher Friedrich Wieck, father of Clara Schumann, believed that only a drunkard could write such music; the founding director of the Prague Conservatory Dionysus Weber announced that its author was quite ripe for a lunatic asylum. The French echoed him: Castile-Blaz called the finale "musical folly", and Fetis - "the product of a sublime and sick mind." But for M.I. Glinka, she was "incomprehensibly beautiful", and the best researcher of L. Beethoven's work R. Rolland wrote about her: "Symphony in A major - the very candor, liberty, power. This is an insane waste of powerful, inhuman forces - waste without any intention, but for the sake of fun - the joy of a flooded river that burst its banks and floods everything. The composer himself appreciated it very highly: "Among my best works, I can proudly point to the A-major symphony." (Quotes from R. Rolland's book "The Life of Beethoven", p. 24).

So, 1812. L.V. Beethoven struggles with ever-increasing deafness and vicissitudes of fate. Behind the tragic days of the Heiligenstadt testament, the heroic struggle of the Fifth Symphony. They say that during one of the performances of the Fifth, the French grenadiers who were in the hall at the end of the symphony stood up and saluted - it was so imbued with the spirit of the music of the Great French Revolution. But don't the same intonations, the same rhythms sound in the Seventh? It contains an amazing synthesis of the two leading figurative spheres of L.V. Beethoven - victorious-heroic and dance-genre, embodied in Pastoral with such fullness. In the Fifth there was struggle and victory; here - a statement of strength, the power of the victorious. And the thought involuntarily arises that the Seventh is a huge and necessary stage on the way to the final of the Ninth.

3. Determination of the form of the work as a whole, analysis of parts of the symphony

The Seventh Symphony in A major belongs to the most cheerful and powerful creations of the brilliant musician. Only the second movement (Allegretto) introduces a hint of sadness and thereby further emphasizes the overall jubilant tone of the entire work. Each of the four parts is permeated with a single rhythmic current that captivates the listener with the energy of movement. In the first part, an iron, forged rhythm dominates - in the second part - the rhythm of a measured procession -, the third part is based on the continuity of rhythmic movement at a fast pace, in the final two energetic rhythmic figures predominate - I. Such rhythmic uniformity of each part gave rise to Richard Wagner (in his work "A work of art of the future") to call this symphony "the apotheosis of dance". True, the content of the Symphony is not reduced to danceability, but it was from dance that it grew into a symphonic concept of tremendous elemental power. The outstanding German conductor and pianist Hans Bülow called it "the work of a titan storming the sky". And this result is achieved by comparatively modest and stingy orchestral means: the symphony was written for the classical double composition of the orchestra; there are only two horns in the score, there are no trombones (used by L.V. Beethoven in the Fifth and Sixth symphonies).

4. Musical analysis-scheme of the I part of the Symphony No. 7

The first movement of the Seventh Symphony is preceded by a slow introduction on a large scale (Poco sostenuto), which exceeds the size of the introduction to the first movement of the Second Symphony and even acquires the character of an independent movement. This introduction contains two themes: light and majestic, which stands out from the very beginning in the oboe part from the jerky forte of the whole orchestra and is widely developed in the string group; march-like theme, sounding in the group of woodwinds. Gradually, on one sound “mi”, a dotted rhythm crystallizes, which prepares the dominant rhythm of the first part (Vivace). This is how the transition from the introduction to the sonata allegro is carried out. In the first four measures of Vivace (before the appearance of the theme), the woodwinds continue to sound the same rhythm.

It also underlies all three themes of the exposition: the main, connecting and side parts. Vivace's main party is brightly folk. (At one time, Beethoven was reproached for the "folkish" nature of this music, allegedly unsuitable for a high genre.)

Beethoven develops here the type of the main part, inherent in the London symphonies of I. Haydn, with their dance rhythm. The folk-genre flavor is exacerbated by instrumentation: the timbre of the flute and oboe in the first introduction of the theme introduces pastoral features.

But this main part is distinguished from Haydn's by the heroic reincarnation when it is repeated by the whole orchestra with the participation of trumpets and horns against the background of booming beats of the timpani. The idyll of a "free" man in a free land acquires Beethoven's revolutionary colors.

Embodying the activity, joyful upsurge inherent in the images of the Seventh Symphony, the leitrim of the sonata allegro unites the main, connecting and secondary parts, permeates the entire exposition, development and reprise.

The side part, which develops the folk-dance features of the main theme, is brightly highlighted in tonal terms. It modulates from cis-moll to as-moll and finally, at the climax, along with the triumphant rise of the melody, it comes to the dominant key of E-dur. These harmonic shifts within the side part constitute bright contrasts in the exposition, reveal the diversity of its colors and dynamics.

At the end of the exposition, the main motif of Vivace takes on a fanfare structure. This line is continued by development. Melodic intonations are simplified, scale-like and tri-sound moves predominate - the punctuated rhythm becomes the main expressive means. In the final part, where the theme reappears, unexpected tonal shifts, the harmony of a diminished seventh chord sharpen the movement, give the development a more intense character. In development, a sharp shift is made to a new key in C major, and after two measures of a general pause, movement resumes in the same dotted rhythm. The tension builds as the dynamics increase, the instruments are added, and the theme is imitated.

The grandiose coda is remarkable: at the end of the reprise, two measures of a general pause follow (as at the end of the exposition); the sequential carrying out of the main motive of the main part in different registers and timbres forms a series of tertian harmonic juxtapositions (As-dur - C-dur; F-dur - A-dur), ending with the course of horns and giving rise to picturesque landscape associations (echo, forest roll call of horns ). Cellos and double basses pianissimo have a chromatic ostinato figure. The sonority gradually intensifies, the dynamics grows, reaches fortissimo, and the first movement ends with a solemnly jubilant statement of the main theme.

Note the absence of a slow movement in this symphony. The second part is Allegretto instead of the usual Andante or Adagio. It is framed by the same A minor quarter-sixth chord. This part is based on a theme reminiscent of a sad funeral procession. This theme develops in variations with a gradual increase in dynamics. The strings begin without violins. In the first variation, it is adopted by the second violins, and in the next variation, by the first violins. At the same time, in the first variation in the parts of violas and cellos, a new theme sounds in the form of a contrapuntal voice. This second theme is so melodically expressive that it eventually comes to the fore, rivaling the first theme in meaning.

New material is introduced into the contrasting middle part of the Allegretto: against the background of the soft triplet accompaniment of the first violins, the woodwinds play a light, tender melody - like a ray of hope amid a sad mood. The main theme returns, but in a new variational guise. Here, as it were, interrupted variations continue. One of the variations is the polyphonic holding of the main theme (fugato). The light serenade is repeated again, and the second part ends with the main theme, in the presentation of which strings and woodwinds alternate. Thus, this most popular Allegretto is a combination of variations with a double three-part form (with a middle repeated twice).

The third movement of the Presto symphony is a typical Beethoven scherzo. In a whirling motion with a uniform rhythmic pulsation, the scherzo sweeps swiftly. Sharp dynamic contrasts, staccato, trills, a sudden tonal shift from F major to A major give it a special poignancy and impart a character of great vitality. The middle part of the scherzo (Assai meno presto) introduces a contrast: in the solemn music, which reaches great power and is accompanied by trumpet fanfares, the melody of a Lower Austrian peasant song is used. This middle is repeated twice, forming (as in the second part of the symphony) a double three-part form.

The finale of the symphony (Allegro con brio), written in sonata form, is a spontaneous folk festival. All music of the finale is based on dance rhythms. The theme of the main part is close to Slavic dance melodies (as you know, L.V. Beethoven repeatedly turned to Russian folk songs in his work). The dotted rhythm of the side part gives it elasticity. The active, impetuous movement of exposition, elaboration and reprise, the ever-increasing surge of energy leave the impression of an irresistibly rushing forward mass dance, merrily and jubilantly completing the Symphony.

5. Features of the form in connection with the content

In his instrumental music, L.V. Beethoven uses the historically established principle of organizing a cyclic work based on the contrasting alternation of parts of the cycle, and the sonata structure of the first part. The first, as a rule, sonata parts of Beethoven's chamber and symphonic cyclic compositions are of particular importance.

The sonata form attracted L.V. Beethoven by many, only her inherent qualities. The exposure of musical images different in character and content provided unlimited opportunities, opposing them, pushing them together in a sharp struggle and, following the internal dynamics, revealing the process of interaction, interpenetration and transition, ultimately, to a new quality. The deeper the contrast of images, the more dramatic the conflict, the more complex the process of development itself. Development at L.V. Beethoven becomes the main driving force that transforms the sonata form inherited from the 18th century. So the sonata form becomes the basis of the overwhelming number of chamber and orchestral works by L.V. Beethoven.

6. Features of interpretation

It is a difficult task for the performer (conductor) to interpret the Symphony 7. Basically, there is one main difference between the interpretations of the performance of this symphony. This is the choice of tempo and the transition from one part to another. Each performer - conductor adheres to his personal feelings and, of course, musical knowledge about the era of the creator-composer and the idea of ​​\u200b\u200bcreating a work. Naturally, each conductor has his own way of reading the score and seeing it as a musical image. This paper will present a comparison of the performances and interpretations of the Symphony 7 by such conductors as V. Fedoseev, F. Weingarner and D. Yurovsky.

The introduction in the first movement of Symphony 7 is marked Poco sostenuto, not Adagio, and not even Andante. It is especially important not to play it too slowly. F. Weingartner adheres to such a rule in his execution, and as V. Fedoseev noted. D. Yurovsky adheres to a different point of view, performing the introduction at a calm, but rather mobile pace.

Page 16, bars 1-16. (L. Beethoven, Seventh Symphony, score, Muzgiz, 1961.) According to F. Weingartner, this episode sounds empty and meaningless when performed indifferently. In any case, one who sees nothing in it but the frequent repetition of the same sound will not know what to do with it, and may not notice the most essential. The fact is that the last two measures before Vivace, together with the lead-in, are already preparing the rhythm typical for the given part, while in the first two measures of this episode, echoes of the vibrating background of the introduction are still audible. The next two bars, which represent the moment of greatest calmness, contain at the same time the greatest tension. If you keep the first two measures at an unshakable pace, then in the next two measures you can increase the voltage with a very moderate deceleration. From the end of measure 4 of the quoted segment, where the new also announces itself with a change in timbre (now the wind instruments begin, and the strings continue), it is necessary to gradually speed up the tempo, which is followed in the performance by all three conductors, whose names are indicated earlier in the term paper.

With the introduction of a six-beat time signature, according to F. Weingartner, one should first equate it with the previous one and continue accelerating until the Vivace tempo is reached in the fifth measure, when the main part enters. The tempo of Vivace indicated by the metronome must never be too fast; otherwise the part loses its inherent clarity and grandeur. It should be taken into account that the sequence itself is a very lively metric formula.

Page 18 measure 5. Artists do not recommend holding the fermata for too long; after it, it is necessary to directly rush forward, making the fortissimo sound with unrelenting force.

Page 26. It is customary not to repeat the exposition, although L. Beethoven staged a reprise in the score.

P. 29, bars 3 and 4. Both wooden instruments and horns should be doubled here - this is how F. Weingartner interprets. The second horn plays throughout this episode, that is, starting already with a double line, the lower B-flat. Most conductors, in particular V. Fedoseev and D. Yurovsky, also recommend doubling if possible.

P.35, bar 4, to p.33, last bar. Weingartner proposes to embody a powerful build-up in a particularly convincing way: against the background of a continuing crescendo of wind instruments, it is suggested that the strings play in such a way that each phrase begins with a slight weakening of the sonority, and the culmination of the subsequent crescendo falls on sustained notes. Of course, these additional crescendos on long notes must be distributed in such a way that they sound the weakest the first time and the strongest the third.

P. 36, bar 4. After the grand build-up in the previous climax, another piu forte is added here, leading to the fortissimo of the recurring main theme. Therefore, it seems urgently necessary to somewhat reduce the sonority, which V. Fedoseev resorts to in his performance. The best moment for this seems to be the second half of bar 4 from the end, p.35. After playing with the greatest force the short phrases of wood and strings from measure 4, p. 35, he introduces poco meno mosso.

After fermat, according to F. Weingartner, a pause is just as unacceptable as on p. 9, measure 18.D. Yurovsky maintains the second fermata a little shorter than the first.

P. 39, bar 9, to p. 40, bar 8. In the interpretation of this episode, the performers (conductors) allow themselves some freedom: first of all, they supply the first of the quoted bars with poco diminuendo and prescribe pianissimo in all instruments when D minor appears. Also designate the entire episode from the second fermata, i.e. bar 8, from the introduction of the timpani on p. 40, bar 9, to p. 41, bar 4, tranquillo and use it to gradually return to the main tempo where fortissimo is indicated.

P.48, measure 10 and following. Here, in one of the most sublime moments that are found in all nine symphonies, the tempo should not be accelerated, otherwise the impression of an ordinary stretta would be created. On the contrary, the main tempo must be maintained until the end of the movement. The impact of this episode is incomparably enhanced if the double basses (or at least some of them that have a C string) are played from here to bar 8, p. 50, an octave lower, after which they return to the original again. (So ​​did F. Weingartner and V. Fedoseev.) If it is possible to double the woodwinds, then this should be done on the piano in the last measure, p.50. They must participate in the crescendo, take it to the fortissimo and accompany the strings to the end.

Page 53. The prescribed tempo suggests that this movement cannot be understood in the sense of the usual Adagio or Andante. The metronomic designation, which provides for movement almost in the nature of a fast march, does not fit with the appearance of this part. Conductors take approx.

P. 55, measure 9, to p. 57, measure 2. Richard Wagner, performing this symphony in Mannheim, reinforced the theme of woodwinds and horns with trumpets in order to better emphasize it. Weingartner considered this to be erroneous. "The pipes, with their concentratedly strict," ossified "movements from the dominant to the tonic, solemnly supported by the timpani, are so characteristic that they should never be sacrificed" (F. Weingartner "Advice to Conductors". Music, Moscow, 1965 , p.163). But even if R. Wagner, as F. Weingartner suggests, had 4 trumpeters, the miraculous effect of L. Beethoven's pipes is still damaged if two tasks are simultaneously assigned to the same instruments. Homogeneous sound colors cancel each other out. In fact, there is no danger that the melody will sound insufficiently bold if you double the horns and assign the performers of the second part, where the unison with the first is listed, to play the lower octave. If woodwinds can be doubled, the result is even better. In bars 1 and 2, p.56, the first flute takes the upper octave. The second trumpet takes the lower "d" throughout the quoted passage. The second French horn should already in bar 8, p.55, also take the lower "F".

P.66, bars 7-10. Even if it is not possible to double the wooden ones, it is good to have the second flute play in unison with the first, as this voice can easily be too weak. In the last measure of the episode quoted up to measure 8 of page 67, all woodwinds may be doubled. However, F. Weingartner does not recommend duplicating horns.

P.69, bar 7-10. The unusually solemn nature of the sound of these 4 measures of pianissimo justifies a very slight slowdown in tempo, after which the main tempo returns to the fortissimo. This interpretation is shared by V. Fedoseev and D. Yurovsky.

P.72, bars 15-18, and p.73, bars 11-14. It is extremely important that flutes and clarinets play these 4 bars of pianissimo. In other words, with a noticeable dynamic deviation from the previous cycles. But usually this scherzo is driven in such a way, the poor wind players do not have enough breath, and they are glad if they can at least somehow expel their part, which, however, often does not work out. Pianissimo is simply ignored, like many other things. Despite the prescribed Presto, the tempo should not be taken faster than necessary for a clear and correct performance. Metronomic notation requires, perhaps, too fast pace. It is more correct to count

Assai meno presto is marked. The correct tempo, according to F. Weingartner, should be approximately twice as slow as in the main part, and indicated metronomically approximately. It goes without saying that it should be conducted for one, and not for three, as is sometimes the case. A slight, slightly noticeable decrease in tempo after the double dash corresponds to the nature of this music.

In the third part of the symphony, all performers adhere to all signs of repetition, with the exception of the second (already repeated) trio, pp. 92-94.

Page 103. The finale allowed F. Weingartner to make a curious observation: performing it more slowly than all the major conductors known to him, he reaped praise and blame everywhere for his especially fast pace. This is explained by the fact that a calmer tempo enabled the performers to show greater intensity in the development of sonority, which, of course, was associated with greater distinctness. As a result, the impression of strength produced by this part in the interpretation of F. Weingartner was replaced by the impression of speed. In fact, this part is labeled Allegro con brio, not Vivace or Presto, which is ignored in most cases. Therefore, the pace should never be too fast. F. Weingartner replaces a good metronomic designation in itself, since, in his opinion, it would be more correct to conduct in two, and not in one.

The performance of the finale with the appropriate expression is, according to many conductors, one of the greatest tasks, of course, not technically, but spiritually. "Whoever conducts this part without sacrificing his 'I' will fail." (Quote from F. Weingartner's book "Advice to Conductors", p. 172.) Even the short repetitions on p. 103 and 104 should be played twice in the repetition of the exposition of the finale, and not once, as in minuets and scherzos. (In the performances of V. Fedoseev and D. Yurovsky, these repetitions are observed.)

P. 132, measure 8. After the fortissimo designation appeared from measure 9, p. 127, there are no dynamic prescriptions up to the cited measure, except for separate sforzando and single forte. There is also sempre piu forte, followed by ff again on p. 133, penultimate bar. It is quite obvious that this sempre piu forte only acquires its proper meaning if it is preceded by a weakening of the sound. Wagner was indignant at the sudden piano that his Dresden colleague Reisiger wrote here in party. The unexpected piano looks, of course, like a naive attempt to get out of the difficulty. It is the mentioned single forte in trumpets and timpani that speak against the fact that L.V. Beethoven provided for the reduction of sonority. When F. Weingartner performed this section in a uniform fortissimo, he could not get rid of the impression of emptiness; he also failed to fulfill the prescribed piu forte. Therefore, he decided, following only his musical instinct, to innovate. Starting from the third bar from the end on p. 130, after everything that had preceded had been played with the greatest energy, he introduced a gradual diminuendo, which, in bar 3, p. 132, turned into a piano lasting five bars.

The duplication of the horns, and if possible also the woodwinds in this movement, is absolutely necessary. From p. 127, bar 13, the doubling is maintained continuously until the end, regardless of diminuendo, piano and crescendo. The interpretations of V. Fedoseev and D. Yurovsky are similar in this regard.

The secret of the artistic performance of musical works, and therefore the secret of the art of conducting, lies in the understanding of style. The performing artist, in this case, the conductor, must be imbued with the originality of each composer and each work and subordinate his performance to the smallest detail to reveal this originality. "A brilliant conductor must combine as many individualities as many great creations will fall to his lot to conduct." (Quote by F. Weingartner from the book "Advice to Conductors", p.5.)

Bibliography

1. Ludwig van Beethoven. "Seventh Symphony. Score". Muzgiz. Music, 1961.

2. L. Markhasev. "Beloved and Others". Children's literature. Leningrad, 1978.

3. "Musical literature of foreign countries" issue 3, edition 8, edited by E. Tsareva. Music. Moscow, 1989.

4. F. Weingartner "Beethoven. Advice to conductors". Music. Moscow, 1965.

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Teacher: What song did we listen to?

What is a symphony?

What name?

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5

minutes

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Today we will get acquainted with another symphony No. 5.

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Ludwig van Beethoven. Symphony No. 6 in F Major, Op. 68, "Pastoral"

Symphony No. 6 in F major, Op. 68, Pastoral

Orchestra composition: 2 flutes, piccolo flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, strings.

History of creation

The birth of the Pastoral Symphony falls on the central period of Beethoven's work. Almost simultaneously, three symphonies, completely different in character, came out from under his pen: in 1805 he began writing the heroic symphony in C minor, now known as No. and in 1807 he set about composing the Pastoral. Completed simultaneously with the C minor in 1808, it differs sharply from it. Beethoven, resigned to an incurable disease - deafness - here does not struggle with a hostile fate, but glorifies the great power of nature, the simple joys of life.

Like the C minor, the Pastoral Symphony is dedicated to Beethoven's patron, the Viennese philanthropist, Prince F. I. Lobkovitz and the Russian envoy in Vienna, Count A. K. Razumovsky. Both of them were first performed in a large "academy" (that is, a concert in which the works of only one author were performed by himself as a virtuoso instrumentalist or an orchestra under his direction) on December 22, 1808 at the Vienna Theater.

The first number of the program was "Symphony entitled" Reminiscence of rural life ", in F major, No. 5". It wasn't until some time later that she became the Sixth. The concert, held in a cold hall, where the audience sat in fur coats, was not a success. The orchestra was prefabricated, of a low level. Beethoven quarreled with the musicians at the rehearsal, conductor I. Seyfried worked with them, and the author only directed the premiere.

The pastoral symphony occupies a special place in his work. It is programmatic, and, the only one out of nine, has not only a common name, but also headings for each part. These parts are not four, as long ago established in the symphonic cycle, but five, which is connected precisely with the program: a dramatic picture of a thunderstorm is placed between the simple-hearted village dance and the peaceful finale.

Beethoven loved to spend his summers in quiet villages around Vienna, wandering through forests and meadows from dawn to dusk, in rain and sun, and in this communion with nature, the ideas of his compositions arose. "No person can love rural life as much as I do, because oak forests, trees, rocky mountains respond to the thoughts and experiences of a person." Pastoral, which, according to the composer himself, depicts feelings born from contact with the world of nature and rural life, has become one of Beethoven's most romantic compositions. No wonder many romantics saw her as a source of their inspiration. Berlioz's Fantastic Symphony, Schumann's Rhine Symphony, Mendelssohn's Scottish and Italian Symphonies, the symphonic poem "Preludes" and many of Liszt's piano pieces testify to this.

The first part is called by the composer     "Awakening joyful feelings during your stay in the countryside."    The uncomplicated, repeatedly repeated main theme that sounds on the violins is close to folk round dance melodies, and the accompaniment of the violas and cellos resembles the hum of a village bagpipe. A few side themes contrast little with the main one. The development is also idyllic, devoid of sharp contrasts. A long stay in one emotional state is diversified by colorful juxtapositions of tonalities, a change in orchestral timbres, rises and falls in sonority, which anticipates the principles of development among the romantics.

The second part -     "Scene by the Stream"     - is imbued with the same serene feelings. A melodious violin melody slowly unfolds against a murmuring background of other strings that persists throughout the movement. Only at the very end does the stream stop, and the call of birds becomes audible: the trills of a nightingale (flute), the cry of a quail (oboe), the cuckoo's call (clarinet). Listening to this music, it is impossible to imagine that it was written by a deaf composer who has not heard birdsong for a long time!

The third part -     "Cheerful pastime of the peasants"     - is the most cheerful and carefree. It combines the crafty innocence of peasant dances, introduced into the symphony by Beethoven's teacher Haydn, and the sharp humor of Beethoven's typical scherzos. The opening section is built on the repeated comparison of two themes - abrupt, with persistent stubborn repetitions, and lyrical melodious, but not without humor: the bassoons accompaniment sounds out of time, like inexperienced village musicians. The next theme, flexible and graceful, in the transparent timbre of an oboe accompanied by violins, is also not devoid of a comic shade, which is given to it by the syncopated rhythm and the suddenly entering bassoon basses. In the faster trio, a rough chant with sharp accents is persistently repeated in a very loud sound - as if the village musicians played with might and main, sparing no effort. In repeating the opening section, Beethoven breaks the classical tradition: instead of running through all the themes, there is only a brief reminder of the first two.

The fourth part -     “Thunderstorm. Storm»     - starts immediately, without interruption. It is in sharp contrast to everything that preceded it and is the only dramatic episode of the symphony. Drawing a majestic picture of the raging elements, the composer resorts to visual techniques, expanding the composition of the orchestra, including, as in the finale of the Fifth, the piccolo flute and trombones, which were not previously used in symphonic music. The contrast is particularly sharply emphasized by the fact that this movement is not separated by a pause from the neighboring ones: starting suddenly, it also passes without a pause into the finale, where the moods of the first movements return.

Finale -     “Shepherd's tunes. Joyful and grateful feelings after the storm.     The calm melody of the clarinet, which is answered by the horn, resembles the roll call of shepherd's horns against the background of bagpipes - they are imitated by the sustained sounds of violas and cellos. The roll calls of the instruments gradually fade away - the horn with a mute plays the last melody against the background of light passages of the strings. This is how this one-of-a-kind Beethoven symphony ends in an unusual way.
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A. Koenigsberg

Beethoven Symphony No 6 in F Major Op 68 "The Pastoral" Mvt. 1 Allegro ma non troppo. Performed by the Peter Seymour Orchestra PSO led by the legendary John Ockwell at the Sydney Youth Orchestra SYO concert, December 4, 2010.

01 Allegro ma non troppo, Beethoven, Symphony 6/1, F major, Op 68, "Pastoral", Thielemann, Vienna Philharmonic Orchestra

Pastoral (derived from French pastorale, pastoral, rural) is a genre that poetizes peaceful and simple rural life.
Pastoral is a genre in literature, painting, music and theater that poeticizes the peaceful and simple rural life. Pastoral can be called:

Pastoral music, which can include both large and small works, dedicated to the depiction of nature or rural life. The musical pastoral is characterized by the sizes 6/8, 12/8, the smooth, calm movement of the melody, often doubled into a third. There are examples of pastorals in the works of A. Vivaldi, D. Scarlatti, F. Couperin, J. S. Bach and other composers. Also known as Beethoven's Pastoral Symphony.

A pastoral can also be called a symphonic episode in a musical stage work that draws pictures of nature (for example, a pastoral in the music of J. Bizet to the Arlesian by A. Daudet).

A small opera, pantomime, ballet based on idealized scenes from rural life. The first pastorals that arose in the 14th-15th centuries. are the forerunners of classical opera (for example, the French "performance with songs" The Tale of Robin and Marion). In the musical theater, the pastoral survived until the 18th and 19th centuries. (Mozart's opera The Shepherd King, 1775; ballet Delibes Silvius, 1876; etc.). Pastoral operas were written by K. V. Gluck, W. A. ​​Mozart, J. B. Lully, J. F. Rameau.
Bucolic (from the Greek "shepherd") poetry of antiquity, dedicated to depicting the life of shepherds. Synonyms - eclogue and idyll.

A type of European literature that copies the bucolic worldview.
A genre of court theater that originated in Italy in the 16th century. and spread throughout Western Europe. The pastoral was a small play, often introduced into the program of court festivities. It depicted the rural life of gallant shepherds and shepherdesses, endowed with the manners, feelings and vocabulary of the aristocracy.

Kiyar Pierre-Antoine - Pastoral.