Symphony "heroic". Open lesson "heroic music of Borodin" Genre of the work heroic borodin

The merits of Borodin as a symphonist are enormous: he is the founder epic symphony in Russian music and together with Tchaikovsky - the creator of the Russian classical symphony. The composer himself noted that he was "drawn to symphonic forms." Moreover, the members mighty handful»headed by Stasov, they promoted the picture-plot, program type of symphonic music of the Berlioz type or the Glinka type; the classical 4-part sonata-symphony type was considered "revived".

Borodin paid tribute to this position in his critical articles and in symphonic picture"In Central Asia" - the only program symphonic work. But he leaned more towards the “pure” symphonic cycle, as evidenced by his three symphonies (the last one is not finished). Stasov regretted this: "Borodin did not want to take the side of the radical innovators." However, Borodin gave such a peculiar interpretation of the traditional symphony that he turned out to be an even greater innovator in this genre than other "subverters".

The creative maturity of Borodin the symphonist was marked by the 2nd symphony. The years of its writing (1869-1876) coincide with the time of work on Prince Igor. The two works are close; they are related by a circle of ideas and images: the chanting of patriotism, the power of the Russian people, its spiritual greatness, its depiction in struggle and peaceful life, as well as pictures of the East and images of nature.

"Bogatyr" symphony

The name “Bogatyrskaya” was given to the symphony by V. Stasov, who claimed: “Borodin himself told me that in the adagio he wanted to draw the figure of Bayan, in the first part - a collection of Russian heroes, in the finale - the scene of a heroic feast with the sound of a harp, with the jubilation of a great crowd of people ". Promulgated after the death of Borodin, this program, however, cannot be considered the author's.

"Bogatyrskaya" has become a classic example of epic symphonism. Each of its four parts represents a certain perspective of reality, together creating a complete picture of the world. In the first part the world is presented as a heroic, in the scherzo - the world as a game, in the slow part - the world as lyrics and drama, in the finale - the world as a general idea.

First part

The heroic principle is most fully embodied in I part written in sonata form Allegro ( h-moll ). Its fast pace refutes one of the persistent myths associated with the musical epic (about the dominance of slow motion). In the mighty unisons of the initial measures, with their descending "heavy" thirds and fourths, an image of heroic strength arises. Persistent repetitions, characteristic of the epic tale, emphasis on tonic, energetic "swing" give the music a monolithic stability. The theme gives rise to a variety of allusions - from the harsh epic tunes and the barge song "Hey, let's go" to a completely unexpected parallel with the beginning of Liszt's Es-dur concerto. From a modal point of view, it is extremely interesting: one can feel both the variability of the tonic third and the color of the Phrygian mode with a low IV stage.

Second element main theme (Animato assai ) are dance tunes of woodwind instruments. The principle of dialogic structure, characteristic of classical sonata themes, is interpreted in an epic perspective: both elements are quite extended.

The short connecting part leads to side topic( D-dur , cellos, then woodwinds), the soulful lyrical melody of which is intonationally close to Russian round dance songs. Its relationship with the main theme presents a complementary contrast. A similar contrast of heroic and lyrical images in the opera Prince Igor is personified in the main characters (Igor and Yaroslavna). Final game (again Animato assai ) is based on material from the main theme in the key D-dur.

Developmentsubordinated to the epic principle - the alternation of images-pictures. Stasov described its content as a heroic battle. musical development is underway three waves, filled with internal energy, power. Dramatic tension is supported by sequences, stretches, D organ points, an increase in the dynamic level, an energetic ostinato rhythm of the timpani, creating an idea of ​​a swift horse race.

The common intonation of the main themes serves as the basis for their gradual convergence. Already at the very beginning of development, a new thematic variant appears, which is the result of the synthesis of the main theme with a side one. This unification of thematism is a typical feature of epic symphonism in general and characteristic feature the thematic thinking of Borodin in particular.

The first culmination of the development is built on the second element of the main part, which sounds with a dashing prowess. Further, as a natural continuation, follows the introduction of a secondary theme in Des-dur , switching development to a calmer direction. After this respite, new wave growth. The general culmination of the development and, at the same time, the beginning of the reprise is the powerful holding of the main theme by the entire orchestra in a rhythmic increase byfff.

AT reprise the original essence of the main images is strengthened and deepened: main topic becomes even more powerful (by adding new instruments, adding chords), a side theme ( Es-dur ) - even softer and more tender. An energetic final theme is framed by episodes reminiscent of development - with rapid forward movement and dynamic pressure. They stimulate further growth heroic image: its new implementation in code sounds even grander than the previous one (four times the rhythmic increase!).

The second part

The second part (Scherzo) is dominated by images of rapid movement, heroic games. In figurative terms, the music of the scherzo is very close to the Polovtsian world of the opera Prince Igor. It reflected both elemental strength and oriental plasticity, bliss, passion, which were often opposed to Russian heroism.

The three-movement form usual for scherzos in the "Bogatyr" symphony is distinguished by its large scale: as in the scherzo of Beethoven's 9th symphony, the extreme sections are written here in sonata form (without development).

main themeis distinguished by energy, accentuated sharpness of the instrumental style, staccato type of orchestral movement (even pulse in horns and pizzicato strings). She is set off by the second, involved in the rapid movement, side theme- a beautiful melody with oriental features, which makes you remember Konchak's themes or Polovtsian dances(syncopes, chromatisms).

Even more East in music trio, with its typically Borodino oriental style: organ point, spicy harmony. At the same time, the intonational similarity of the trio theme with the secondary theme of the first movement is obvious.

This is how connections are made between various parts symphony, contributing to its unity.

The third part

Music of the third slow part ( Andante, Des-dur ) is closest to the "program" of Stasov, who compared it with the poetic song of the harpist. The spirit of Russian antiquity is felt in it. Asafiev named Andante "steppe lyrical expanse". This movement is also written in sonata form, where the main themes complement each other, representing two figurative spheres - lyrics (main theme) and drama (side).

main topic(horn, then clarinet) - this is the "word of the storyteller." Her narrative character transmitted by musical means associated with epic origins: smoothness, iridescence of trichord chants, structural and rhythmic non-periodicity, variability of modal and harmonic functions ( Des-dur-b-moll ). Topic harmonized mostly
diatonic chords of side steps using plagal turns. Researchers indicate a specific prototype - the epic "About Dobrynya" ("That's not White birch"). The harp chords reproduce the plucking of the strings on the harp.

AT side topic ( poco anime ) epic slowness is replaced by excitement, as if the singer had moved from a calm narration to a story about dramatic and formidable events. The picture of these events emerges in the final part of the exhibition and in the development, where there is a great dramatic tension. Separate disparate motifs from the themes of the exposition acquire a formidable character, reminiscent of the main heroic theme of Part I.

AT reprise the song-tale is sung by the whole orchestra - wide and full-sounding (turnovers from the side part and from the development serve as undertones). In the same key Des-dur ) and against the same background of accompaniment a secondary one passes - the contrast is removed, giving way to synthesis.

Fourth part

The finale of the symphony (also in sonata form) follows the slow movement without a break. Here arises a picture of merry, feasting Russia. In rapid motion unite and folk dance, and singing, and the rattling of the harp, and the sound of balalaikas. In the tradition of Glinka's "Kamarinskaya", the variation of the main themes gradually comes to their convergence.

The fourth part begins with a small vortex entry, in which one can hear the turns of dance tunes on D organ point. Tart quarto-second harmonies, empty fifths, the whistle of woodwinds introduce into the atmosphere of Russian folk instrumentalism, buffoonery.

main topic- this is a brisk dashing dance. Flexible free rhythm, frequent accents, like stamping, slapping, give the movement some heaviness. The trichord turns in the melody, the chords of the side steps, the flexible asymmetrical rhythm, in particular the five-beater (unusual for dancing), bring this theme closer to the themes of other parts of the symphony (side part of part I, main part Andante ) .

side themeretains a lively dance movement, but becomes smoother and more melodious, approaching a round dance song. This light, spring-like joyful melody winds like a chain of girls in a round dance.

In development and reprise, the variation of themes, begun in the exposition, continues. Orchestration and harmonization are changing, the role of colorful tonal comparisons is especially great. There are new echoes, new thematic variants (later receiving independent development), and finally, entirely new themes. This is the grand dance theme that appears at the climax of the development ( C-dur listen)) is the embodiment of a synthesis of both sonata allegro themes. This is a dance in which a mass of people takes part, united by one mood. At the end of the reprise, the movement accelerates, everything rushes in a whirlwind of dance.

Thanks to connections with other parts of the symphony (in particular, with the first) the ending makes sense generalizations.

The affinity of the themes of the symphony unites its four parts into one grandiose canvas. Epic symphonism, which received its first and culminating incarnation here, will become one of the main traditions of Russian music.

Distinctive features of Borodin's epic symphony

• lack of conflict between the themes of the sonata form;
• instead of confrontation - their contrasting comparison;
• reliance on common, collective, settled intonations, connection with Russian song folklore as traditional feature thematism;
• the predominance of exposure over development, the methods of intonational variation, sub-vocal polyphony - over motive development;
• gradual strengthening of the original essence of the main images, the assertion of the idea of ​​integrity and constancy, in which concluded the main pathos of the epic;
• moving the scherzo to second place in the symphonic cycle, which is explained by the lack of drama in the first sonata Allegro (in this regard, there is no need for reflection, respite);
• the ultimate goal of development is the synthesis of a contrast material.

It is known that some materials that were originally intended for the opera were then used in the symphony. In particular, the initial theme was originally conceived as the theme of the Polovtsian choir in Igor.

found in oriental music, Shostakovich has a monogram. Interestingly, the modal details of the main theme - II low, IV low (dis ) - outline important milestones in the further tonal development of the movement: the beginning of development - C-dur, the side in the reprise - Es-dur.

Glazunov's Fifth Symphony, Myaskovsky's Fifth Symphony, and Prokofiev's Fifth Symphony were created on the model of the "Bogatyr" symphony.

The composition of the orchestra: 2 flutes, 2 piccolo flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, triangle, harp, strings.

History of creation

Borodin's Second Symphony is one of the pinnacles of his work. It belongs to the world symphonic masterpieces due to its brightness, originality, monolithic style and ingenious implementation of the images of the Russian folk epic. The composer conceived it at the beginning of 1869, but he worked on it with very long interruptions, caused both by his main professional duties and by the embodiment of other musical ideas. The first part was written in 1870. Then he showed it to his comrades - Balakirev, Cui, Rimsky-Korsakov and Mussorgsky, who made up the so-called Balakirev circle or the Mighty Handful (the definition of their senior mentor and ideological leader, art critic V. Stasov). Among friends, what was shown caused Alexander Porfiryevich Borodin genuine enthusiasm. Hot and fast for loud definitions, Stasov immediately called her "Lioness". Mussorgsky proposed for her the name Slavic heroic. However, Stasov, who was no longer thinking about an emotional definition, but about the name with which the music would live, suggested: Bogatyrskaya. The author did not object to such an interpretation of his intention, and the symphony remained with him forever.

It was still a long way from the end. There are many distractions - teaching at the Medico-Surgical Academy, where Borodin holds the position of professor, teaching at the Women's Medical Courses, numerous public duties, including editing the popular scientific journal Knowledge. The latter lasted only one season, since the government, dissatisfied with the atheistic orientation of the magazine, “recommended” Borodin to leave the editorial office. Finally, the composer was distracted by the creation of other works. In the same years, fragments of the opera "Prince Igor" appear, in which "heroic" notes are also very strong. The symphony was fully completed only in 1876. Its premiere took place on February 2, 1877 in one of the concerts of the Russian Musical Society in St. Petersburg under the direction of E. F. Napravnik.

The symphony, despite the absence of an announced program, has clearly programmatic features. Stasov wrote about this: “Borodin himself told me more than once that in the adagio he wanted to draw the figure of Boyan, in the first part - a meeting of Russian heroes, in the finale - a scene of a heroic feast with the sound of a harp, with the jubilation of a great crowd of people. Actually, this interpretation gave Stasov a reason to name Bogatyrskaya.

Music

The first part is based on a comparison of two images. The first is a powerful unison theme performed by the strings, as if trampling, heavy and thickset. It is complemented, somewhat softening the severity, by a more lively motif, intoned by woodwinds. The secondary theme is a wide song melody performed by the cellos, which seems to depict the expanse of the Russian steppe. The development is based on the alternation of heroic, tense episodes, evoking associations with battles, epic feats, with lyrical, more personal moments in which a secondary theme acquires a jubilant character as a result of development. After a condensed reprise, the first theme is asserted with gigantic force in the coda of the movement.

The second movement is a fast-paced scherzo, the first theme of which bursts rapidly from the depths of the bass against the background of the octave repeated by the French horns, and then rushes down, as if “without taking a breath”. The second theme sounds somewhat softer, although it retains a masculine character. In its peculiar syncopated rhythm, one can hear the sounds of a frenzied gallop of steppe horses across the endless expanses. The trio captivates with melodic charm, and as often with Borodin, the melody is covered with oriental bliss. But the average episode is not great - and the rapid run resumes, gradually fading away, as if carried away into the unknown.

The third movement, designed according to Borodin himself to convey the image of Boyan, the legendary ancient Russian singer, is narrative in nature and unfolds in a smooth, calm movement. The harp chords imitate the plucking of goose strings. After several measures of the introduction, intoned by the clarinet, the horn sings a poetic melody belonging to best pages composer's music. However, the calm narrative does not last long: new motives introduce a vague sense of threat, thicken, darken the colors. The initial clarity is gradually restored. The part ends with a wonderful lyrical episode in which the main melody sounds in all its fullness of charm.

The repetition of the introductory measures leads directly to the finale, which begins without a pause. His music captivates with its scope, brilliance, cheerfulness and at the same time - greatness. Basic musical image- the main theme of the sonata form is a sweeping, violently cheerful theme in a sharp syncopated rhythm, which has a prototype in the folk choral song "I'll go to the Tsar City". It is complemented by a brief "riotous" motif of the oboe. The secondary theme is more lyrical and calm. It has the character of praise and sounds first at the clarinet solo, and then at the flute and oboe against the background, as it were, of “playing of the sonorous harp”. These three themes undergo a varied and masterful development, the beginning of which is marked by a harsh and powerful sounding sequence in slow motion. Then the movement becomes more and more lively, the symphony ends with music full of valiant prowess and irrepressible fun.

Alexander Porfiryevich Borodin(1833 - 1887) - Russian composer and chemist.

The illegitimate son of Prince Luka Stepanovich Gedianov, at birth, was recorded as the son of the prince's serf servant, Porfiry Borodin.

At the age of 9 he wrote his first work - the polka "Helen". He studied flute, piano and cello. Composer's art comprehended independently. At the age of ten, he became interested in chemistry, which later turned into his life's work. Graduated from the Medical-Surgical Academy. While studying medicine, Alexander Borodin began studying chemistry under the guidance of Nikolai Nikolaevich Zinin.

All this time, Borodin did not leave music, wrote romances, piano pieces, chamber-instrumental ensembles. Borodin's musical hobbies displeased his supervisor, who believed that this interfered with a serious scientific work. For this reason, Borodin was forced to hide his composing experiences for some time.

Throughout his life, music and chemistry either alternately or simultaneously laid claim to him. That is why the creative legacy of the composer Borodin is small in scope. His most famous compositions are the opera "Prince Igor" based on "The Tale of Igor's Campaign" and the 2nd "Bogatyr" symphony.

In the 1860s he became a member of the "Mighty Handful", which included Mili Balakirev, Caesar Cui, Nikolai Rimsky-Korsakov, Modest Mussorgsky. Alexander Borodin worked on "Prince Igor" for 18 years, but the opera was never finished. After the composer's death, the opera was completed and orchestrated based on Borodin's materials by composers Nikolai Rimsky-Korsakov and Alexander Glazunov.

The characteristic features of Borodin's work are nationality, national character, monumentality, epic power, emotional Russian full-bloodedness and optimism, colorfulness of the harmonic language.

Borodin died suddenly at the age of 53, during a conversation, in his apartment.

He became one of the most famous and popular Russian composers in Europe in the late 19th and early 20th centuries. "Prince Igor" and "Bogatyrskaya" symphony to this day are the repertory works of the world's leading theaters and orchestras.

Among the works of Borodin are three symphonies, musical picture"In Central Asia", chamber-instrumental ensembles, romances.

Symphony No. 2 in B minor "Bogatyrskaya"- rightfully considered one of the the best works in Russian symphonic music. FROM light hand criticism of Stasov's symphony began to be called "Bogatyrskaya". And, perhaps, this is the rare case in musical art when the title perfectly matches the content of the essay. The symphony was written by the composer in those years (1869 - 1876) when he was working on the opera "Prince Igor". Some materials originally intended for the opera were used in the symphony. As a result, the symphony turned out to be very close to "Prince Igor" both in spirit and in melody.

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January 16th, 2013 02:40 am

Domestic musicologists distinguish two types of Russian symphonism:
conflict (lyrical-dramatic),
epic.
The representative of the first type is Tchaikovsky, for example; the second - Borodin.
Wholeness in epic symphony different kind than in conflict.
The cycle of the epic symphony does not fall apart, because each movement represents one facet of life (lyricism, drama, comedy).
Together, these parts create a complete picture of the world.
Borodin is the author of an epic symphony, recognized as a standard.
Standard one: cycle.
The first part embodies the heroic.
The ratio of tempo (Allegro) and dense orchestration is interesting.
A purely Borodino effect of symphonic dynamic monumentalism is created.
Dynamic monumentalism is a voluminous, inactive sound mass, which is devoted to a rapid pace that does not correspond to its capabilities.
Borodin was the first in Russian music to break the law of mass and speed.
The second part is the scherzo.
For Borodin, this is a tradition.
The second part embodies the idea - the world as a game.
Flickering masks.
This part in most disclose feature personalities of Borodin - humor.
The third part contains two figurative spheres - lyrics and drama.
The finale repeats the idea of ​​the first part in a generalized form.
The idea of ​​merging the hero and the masses.
Second standard: interpretation of sonata form.
The sonata form of the epic symphony differs from the sonata form of the conflict symphony.
First, the theme.
The theme of the epic symphony is built on common intonations; has a connection with Russian folklore.
Such thematicism is not necessary in further development; it basically has a complete structure.
All the themes of the symphony have no development, Borodin only repeats them at a different height.
The topic of GP is a unique phenomenon.
It contains national duality:
heavy thirds and fourths with a heavy "fall" to the main tone - purely Russian,
its intonational initial outline is something oriental.
Its modal solution is unique:
Russian variability III stage,
Phrygian minor with IV lowered (found in oriental music).
Its reference tones outline the main tonal zones of the piece:
start of development - c-mill,
PP in reprise - Es (Dis)-dur.
GP and PP have common intonations.
The second "bell" part of the GP is similar to initial intonation PP.
This is the basis for the subsequent convergence of topics.
The development of the epic symphony also differs from the r. conf. symp.
It is dominated by the idea of ​​wholeness (immutability).
The fragmentation of the theme is not aimed at destroying the theme, but at bringing it closer to other themes based on common intonations.
The hybrid GP and PP appears almost immediately - 5 beats from c.6.
It develops on its own.
On its basis, a polytonal canon is created (v. 7).
After that, GP and PP sound one after another as a natural continuation of each other.
The tonal plan of the HP in development is very interesting: c (Phrygian, with an oscillating third) - g - f - d.
Big stroke principle:
as a carrier of modal functionality, Borodin puts forward not a chord, tone or tonality, but integral modal complexes.
Another manifestation of this principle: the development in development is directed towards more and more powerful themes.
Scherzo.
His tempo is at the limit of performing possibilities - whole = 108 (!).
The tonality of F-dur is acquired gradually.
At the beginning, a dominant non-chord sounds without a fifth to h-moll.
Thanks to the enharmonic substitution (bass is taken away from fis to c), the tonality F-dur is formed.
According to Beethoven's principle, HP gradually emerges.
The trio has an oriental character.
The third part.
Andante, Des-dur.
sonata form.
HP - lyrical-epic sphere.
Block SP and PP (e-C-As) - dramatic.
General programming - Borodin wanted to draw the figure of Bayan:
first, gusel busting (harp), then a song about “deeds long ago past days"(horn solo).
The development follows from the RFP, which creates an extraordinary flexibility of form.
The final.
H-dur.
The topic of the GP is close to folk song"I will go under Tsargorod."
(It was used by Balakirev in "100 Years").
HP and PP constitute the epic opposition of the masculine principle to the feminine principle.