Symphony examples. Music Genres: Symphony

from the Greek symponia - consonance

A piece of music for orchestra, mostly symphonic, as a rule, in sonata-cyclic form. Usually consists of 4 parts; there are S. with more and fewer parts, up to one-part. Sometimes in S., in addition to the orchestra, a choir and solo woks are introduced. voices (hence the path to S.-cantata). There are performances for string, chamber, wind, and other orchestras, for an orchestra with a solo instrument (S. concerto), organ, choir (choir performance) and wok. ensemble (vok. C). Concert symphony - S. with concert (solo) instruments (from 2 to 9), in structure is related to the concerto. S. often approaches other genres: S. suite, S. rhapsody, S. fantasy, S. ballad, S. legend, S. poem, S. cantata, S. requiem, S.-ballet, S.-drama (type of cantata), theater. S. (genus Onera). By the nature of S. can also be likened to tragedy, drama, lyric. poem, heroic epic, to approach the cycle of genre muses. plays, a series of depictions. music paintings. In a typical In her samples, she combines the contrast of parts with the unity of design, the multiplicity of diverse images with the integrity of the muses. dramaturgy. S. occupies the same place in music as the drama or novel in literature. As the highest type of instr. music, it surpasses all its other types by the widest possibilities of embodiment means. ideas and richness of emotional states.

Initially, in Dr. Greece, the word "S." meant a harmonious combination of tones (quart, fifth, octave), as well as joint singing (ensemble, choir) in unison. Later, in Dr. Rome, it became the name of the instr. ensemble, orchestra. On Wednesday. centuries under S. understood the secular instr. music (in this sense the term was used in France as early as the 18th century), sometimes music in general; in addition, some muses were called so. tools (ex. hurdy gurdy). In the 16th century this word is used in collections of motets (1538), madrigals (1585), wok-instr. compositions ("Sacrae symphoniae" - "Sacred symphonies" by G. Gabrieli, 1597, 1615) and then instr. polyphonic plays (early 17th century). It is fixed for a polygon. (often chord-based) episodes such as wok intros or interludes. and instr. productions, in particular for introductions (overtures) to suites, cantatas and operas. Among opera S. (overtures), two types were outlined: Venetian - from two sections (slow, solemn and fast, fugue), later developed in French. overture, and the Neapolitan - from three sections (quickly - slowly - quickly), introduced in 1681 by A. Scarlatti, who, however, used other combinations of parts. Sonata cyclic. the form gradually becomes dominant in S. and receives a particularly multifaceted development in it.

Settled ok. 1730 from the opera, where the orc. the introduction was preserved in the form of an overture, the S. became independent. kind of orc. music. In the 18th century fulfill it as the basis. composition were strings. instruments, oboes and horns. S.'s development was influenced by decomp. orc types. and chamber music - a concerto, a suite, a trio sonata, a sonata, etc., as well as an opera with its ensembles, choirs and arias, the impact of which on the melody, harmony, structure and figurative structure of S. is very noticeable. How specific. the S. genre matured as it dissociated itself from other genres of music, in particular theatrical, gaining independence in content, form, developing themes, creating that method of composition, which later became known as symphonism and, in turn, had a huge impact in many areas of music. creativity.

S.'s structure has evolved. The basis of S. was a 3-part cycle of the Neapolitan type. Often, following the example of the Venetian and French. overtures in S. included a slow introduction to the 1st movement. Later, the minuet entered S. - first as the finale of a 3-part cycle, then one of the parts (usually the 3rd) of a 4-part cycle, in the final of which, as a rule, the form of a rondo or rondo sonata was used. From the time of L. Beethoven, the minuet was replaced by the scherzo (3rd, sometimes 2nd part), from the time of G. Berlioz - and the waltz. The most important sonata form for S. is used primarily in the 1st part, sometimes also in the slow and last parts. In the 18th century C. cultivated many. masters. Among them are the Italian J. B. Sammartini (85 S., c. 1730-70, of which 7 are lost), the composers of the Mannheim school, in which the Czechs occupied the leading position (F. K. Richter, J. Stamitz, etc. .), representatives of the so-called. pre-classical (or early) Viennese school (M. Monn, G. K. Wagenseil, etc.), the Belgian F. J. Gossec, who worked in Paris, was the founder of the French. S. (29 S., 1754-1809, including "Hunting", 1766; in addition, 3 S. for the spirit. Orchestra). Classic type S. was created by the Austrian. comp. J. Haydn and W. A. ​​Mozart. In the work of the "father of the symphony" Haydn (104 p., 1759-95), the formation of the symphony was completed. From the genre of entertaining everyday music, it turned into the dominant kind of serious instr. music. Approved and main. features of its structure. S. has developed as a sequence of internally contrasting, purposefully developing parts united by a common idea. Mozart contributed dram to S. tension and passionate lyricism, grandeur and grace, gave it even greater stylistic unity (c. 50 C, 1764/65-1788). His last S. - Es-dur, g-moll and C-dur ("Jupiter") - the highest achievement of symphony. suit of the 18th century. Mozart's creative experience was reflected in later works. Haydn. The role of L. Beethoven, the completion of the Vienna classical school(9 S., 1800-24). His 3rd ("Heroic", 1804), 5th (1808) and 9th (with vocal quartet and choir in the finale, 1824) S. are examples of heroic. symphony addressed to the masses, embodying the revolutionary. pathos nar. struggle. His 6th S. ("Pastoral", 1808) is an example of program symphonism (see Program music), and his 7th S. (1812), in the words of R. Wagner, is "the apotheosis of dance." Beethoven expanded the scale of secularism, dynamized its dramaturgy, and deepened the dialectic of the thematic. development, enriched the internal structure and ideological meaning of S.

For the Austrian and German. Romantic composers of the 1st half. 19th century Typical genres are lyrical (Schubert's Unfinished Symphony, 1822) and epic (Schubert's 8th symphony) S., as well as landscape-domestic S. with a colorful nat. coloring ("Italian", 1833, and "Scottish", 1830-42, Mendelssohn-Bartholdy). Increased and psychological. the wealth of S. (4 symphonies by R. Schumann, 1841-51, in which slow movements and scherzos are most expressive). The trend that has emerged even among the classics is immediate. transition from one part to another and the establishment of thematic. the connections between the movements (for example, in Beethoven's 5th symphony) intensified among the romantics, C also appeared, in which the movements follow one after another without pauses ("Scottish" symphony by Mendelssohn-Bartholdy, 4th symphony by Schumann).

The rise of the French S. refers to 1830-40, when innovative productions arise. G. Berlioz, the creator of the romantic. software C, based on lit. plot (5-part "Fantastic" C, 1830), C. concerto ("Harold in Italy", for viola and orchestra, after J. Byron, 1834), C. oratorio ("Romeo and Juliet", drama. S. in 6 parts, with soloists and choir, according to W. Shakespeare, 1839), "Funeral and Triumphal Symphony" (funeral march, "oratorical" trombone solo and apotheosis - for spirit. orchestra or symphony orchestra, optionally - and choir, 1840). Berlioz is characterized by the grandiose scale of the production, the colossal composition of the orchestra, colorful instrumentation with fine nuances. Philosophical and ethical. the problematic was reflected in the symphonies of F. Liszt ("Faust Symphony", but J. W. Goethe, 1854, with a final choir, 1857; "S. to Dante's Divine Comedy", 1856). As an antipode to the program direction of Berlioz and Liszt, it was German. Komi. I. Brahms, who worked in Vienna. In his 4 S. (1876-85), developing the traditions of Beethoven and romantic. symphonism, combined classical. harmony and variety of emotional states. Similar in style. aspirations and at the same time individual French. S. of the same period - 3rd S. (with organ) by K. Saint-Saens (1887) and S. d-moll S. Frank (1888). In "From the New World" by A. Dvořák (the last, chronologically the 9th, 1893), not only Czech, but also Negro and Indian muses were refracted. elements. Significant ideological concepts of the Austrian. symphonists A. Bruckner and G. Mahler. monumental product. Bruckner (8 S., 1865-1894, 9th not finished, 1896) are characterized by saturation of polyphonic. fabrics (the influence of org. art, and also, possibly, musical dramas by R. Wagner), the duration and power of emotional buildup. For the symphony of Mahler (9 S., 1838-1909, 4 of them with singing, including the 8th - "Symphony of a Thousand Participants", 1907; 10th is not finished, D. Cook made an attempt to complete it according to the sketches in 1960; S.-cantata "Song of the Earth" with 2 singers-soloists, 1908) are characterized by the sharpness of conflicts, sublime pathos and tragedy, novelty will express. funds. As if in contrast to their large compositions, using a rich performer. apparatus, a chamber symphony and a symphonietta appear.

The most prominent authors of the S. 20th century. in France - A. Roussel (4 S., 1906-34), A. Honegger (Swiss by nationality, 5 S., 1930-50, including the 3rd - "Liturgical", 1946, 5th - S. "three re", 1950), D. Millau (12 S., 1939-1961), O. Messiaen ("Turangalila", in 10 parts, 1948); in Germany - R. Strauss ("Home", 1903, "Alpine", 1915), P. Hindempt (4 S., 1934-58, including the 1st - "Artist Mathis", 1934, 3- I - "Harmony of the World", 1951), K. A. Hartman (8 S., 1940-62), etc. The contribution to the development of S. was made by the Swiss X. Huber (8 S., 1881-1920, incl. 7th - "Swiss", 1917), Norwegians K. Sinding (4 S., 1890-1936), X. Severud (9 S., 1920-1961, including anti-fascist by design 5-7- I, 1941-1945), K. Egge (5 S., 1942-69), Dane K. Nielsen (6 S., 1891-1925), Finn J. Sibelius (7 S., 1899-1924), Romanian J Enescu (3 S., 1905-19), the Dutch B. Peiper (3 S., 1917-27) and H. Badings (10 S., 1930-1961), the Swede H. Rusenberg (7 S., 1919- 69, and S. for wind and percussion instruments, 1968), Italian J. F. Malipiero (11 S., 1933-69), British R. Vaughan Williams (9 S., 1909-58), B. Britten (S.-requiem, 1940, "Spring" S. for solo singers, mixed choir, boys' choir and symphony orchestra, 1949), Americans C. Ives (5 S., 1898-1913), W. Piston ( 8 S., 1937-65) and R. Harris (12 S., 1933-69), brother E. Vila Lobos (S. 12, 1916-58) and others. A wide variety of C. types. 20th century. due to the multiplicity of creativity. directions, national schools, folklore connections. Modern S. are also different in structure, forms, and character: they gravitate towards intimacy and, on the contrary, towards monumentality; not divided into parts and consisting of many. parts; traditional warehouse and free composition; for the usual symbol. orchestra and for unusual compositions, etc. One of the trends in music of the 20th century. associated with the modification of ancient - preclassical and early classical - muses. genres and forms. Tribute was paid to him by S. S. Prokofiev in the "Classical Symphony" (1907) and by I. F. Stravinsky in the symphony in C and "Symphony in three movements" (1940-45). In a number of S. 20 century. there is a departure from the old norms under the influence of atonalism, athematism, and other new principles of composition. A. Webern built S. (1928) on a 12-tone series. The representatives of the "avant-garde" S. displaced decomp. new experimental genres and forms.

The first among the Russian composers turned to the symphony genre (with the exception of D. S. Bortnyansky, whose Concert Symphony, 1790, was written for chamber ensemble) Mich. Yu. Vielgorsky (his 2nd C. performed in 1825) and A. A. Alyabiev (his single-movement C. e-moll, 1830, and an undated 3-part C. Es-dur of the suite type, with 4 concert horns have been preserved) , later A. G. Rubinshtein (6 S., 1850-86, including the 2nd - "Ocean", 1854, the 4th - "Dramatic", 1874). M. I. Glinka, author of the unfinished S. overture at the bottom of the Russian. themes (1834, completed in 1937 by V. Ya. Shebalin), had a decisive influence on the formation of stylistic. damn Russian. S. with all his symphonies. creativity, in which compositions of other genres predominate. In S. Rus. authors pronounced nat. character, pictures of the people are captured. life, historical events reflect the motifs of poetry. Among the composers of The Mighty Handful, N. A. Rimsky-Korsakov (3rd p., 1865-74) was the first to write S.. The creator of the Russian epic A. P. Borodin (2 S., 1867-76; unfinished 3rd, 1887, partly recorded from memory by A. K. Glazunov) appeared in S. In his work, especially in "Bogatyrskaya" (2nd) S., Borodin embodied the images of a gigantic plank. strength. Among the highest conquests of world symphony - production. P. I. Tchaikovsky (6 S., 1800-93, and program S. "Manfred", after J. Byron, 1885). The 4th, 5th, and especially the 6th ("Pathetic", with a slow finale) S., lyric-dramatic in character, reach a tragic force in expressing life's conflicts; they are deeply psychological. penetratingly convey a rich range of human experiences. Epic line. С. , 2 C. wrote M. A. Balakirev (1898, 1908), 3 C - R. M. Glier (1900-11, 3rd - "Ilya Muromets"). Sincere lyrics attract you symphonies. S. Kalinnikova (2 S., 1895, 1897), deep concentration of thought - S. c-moll S. I. Taneeva (1st, actually 4th, 1898), drama. pathos - symphonies by S. V. Rachmaninov (3 S., 1895, 1907, 1936) and A. N. Scriabin, the creator of the 6-part 1st (1900), 5-part 2nd (1902) and 3-part 3rd ("The Divine Poem", 1904), which is distinguished by a special dramaturgy. integrity and power of expression.

S. occupies an important place in owls. music. In the work of owls. composers received a particularly rich and vivid development of the high traditions of the classical. symphony. S. is addressed by owls. composers of all generations, starting with the older masters - N. Ya. Myaskovsky, creator of 27 S. (1908-50, including the 19th - for the wind orchestra, 1939), and S. S. Prokofiev, author of 7 S. (1917- 1952), and ending with talented young composers. Leading figure in the field of owls. S. - D. D. Shostakovich. In his 15 S. (1925-71) the depths of human consciousness and the stability of morals are revealed. forces (5th - 1937, 8th - 1943, 15th - 1971), exciting themes of modernity (7th - the so-called Leningradskaya, 1941) and history (11th - "1905", 1957; 12th - "1917", 1961), high humanistic. ideals are contrasted with gloomy images of violence and evil (5-part 13th, to lyrics by E. A. Yevtushenko, for bass, choir and orchestra, 1962). Developing the tradition and modern types of structure of S., the composer, along with a freely interpreted sonata cycle (for a number of his S., the sequence is characteristic: slowly - quickly - slowly - quickly), uses other structures (for example, in the 11th - "1905"), attracts human voice (soloists, choir). In the 11-part 14th S. (1969), where the theme of life and death is revealed against a wide social background, two singing voices are soloed, supported by strings. and blow. tools.

Representatives of numerous people work productively in the region of S. nat. owl branches. music. Among them are prominent masters of owls. music, such as A. I. Khachaturian - the largest arm. symphonist, author of colorful and temperamental S. (1st - 1935, 2nd - "S. with a bell", 1943, 3rd - S.-poem, with an organ and 15 additional pipes, 1947); in Azerbaijan - K. Karaev (his 3rd S., 1965 is distinguished), in Latvia - Y. Ivanov (15 S., 1933-72), etc. See Soviet music.

Literature: Glebov Igor (Asafiev B.V.), Construction of a modern symphony, "Contemporary Music", 1925, No 8; Asafiev B.V., Symphony, in the book: Essays on Soviet musical creativity, vol. 1, M.-L., 1947; 55 Soviet symphonies, L., 1961; Popova T., Symphony, M.-L., 1951; Yarustovsky B., Symphonies about war and peace, M., 1966; Soviet symphony for 50 years, (comp.), otv. ed. G. G. Tigranov. L., 1967; Konen V., Theater and Symphony ..., M., 1968, 1975; Tigranov G., On the national and international in the Soviet symphony, in the book: Music in a socialist society, vol. 1, L., 1969; Rytsarev S., Symphony in France before Berlioz, M., 1977. Brenet M., Histoire de la symphonie a orchestre depuis ses origines jusqu "a Beethoven, P., 1882; Weingartner F., Die Symphonie nach Beethoven, V. 1898 . Lpz., 1926; his own, Ratschläge fur Auffuhrungen klassischer Symphonien, Bd 1-3, Lpz., 1906-23, "Bd 1, 1958 (Russian translation - Weingartner P., Performance of classical symphonies. Advice to conductors, vol. . 1, M., 1965); Goldschmidt H., Zur Geschichte der Arien- und Symphonie-Formen, "Monatshefte für Musikgeschichte", 1901, Jahrg. 33, No 4-5, Heuss A., Die venetianischen Opern-Sinfonien, "SIMG", 1902/03, Bd 4; Torrefranca F., Le origini della synfonia, "RMI", 1913, v. 20, p. 291-346, 1914, v. 21, p. 97-121, 278-312, 1915, v 22, p. 431-446 Bekker P., Die Sinfonie von Beethoven bis Mahler, V., (1918) (Russian translation - Becker P., Symphony from Beethoven to Mahler, ed. and introductory articles by I. Glebov, L., 1926 ); Nef K., Geschichte der Sinfonie und Suite, Lpz., 1921, 1945, Sondheimer R., Die formale Entwicklung der vorklassischen Sinfonie, "AfMw", 1922, Jahrg. 4, H. 1, same, Die Theorie der Sinfonie und die Beurteilung einzelner Sinfoniekomponisten bei den Musikschriftstellern des 18 Jahrhunderts, Lpz., 1925, Tutenberg Fr., Die opera buffa-Sinfonie und ihre Beziehungen zur klassischen Sinfonie, "AfMw", 1927, Jahrg. 8, no 4; his, Die Durchführungsfrage in der vorneuklassischen Sinfonie, "ZfMw", 1926/27, Jahrg 9, S. 90-94; Mahling Fr., Die deutsche vorklassische Sinfonie, B., (1940), Walin S., Beiträge zur Geschichte der schwedischen Sinfonik, Stockh., (1941), Carse A., XVIII century symphonies, L., 1951; Borrel E., La symphonie, P., (1954), Brook B. S., La symphonie française dans la seconde moitié du XVIII sícle, v. 1-3, P., 1962; Kloiber R., Handbuch der klassischen und romantischen Symphonie, Wiesbaden, 1964.

B. S. Steinpress

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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

Drums: big drum, snare drum, Tamtam, 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

This is a major 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 sides 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.
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 the game, fun, pictures 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. The bright expressive music of the main motive of the symphony makes 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 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.
The dry, jerky melody of the main theme, the 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 one 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 to you a whole world of 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 add everything to me famous names symphonists. But continue to introduce you to the "new" forgotten names I will. I will not overload the post with audio and video clips ... You can find them without worries yourself ... 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.

As in the sonata, classical symphony there are four parts:
- 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, in 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 the direct forerunner 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" (because of 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 remain constant. musical material.

Joseph Haydn - 108 symphonies

Wolfgang Amadeus Mozart - 41 (56) symphonies

Ludwig van Beethoven - 9 symphonies

Franz Schubert - 9 symphonies

Robert Schumann - 4 symphonies

(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. Sonata and symphony, as well as 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, during the Middle Ages, and 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" pieces of music began to appear in the titles of some works of the 16th and 17th century, with such composers as Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae 1615), Adriano Banchieri (Eclesiastiche Sinfonie, 1607 ), Lodovico Grossi da Viadana (Sinfonie musicali, 1610) and Heinrich Schütz (Symphoniae sacrae, 1629).

The prototype of the symphony can be considered that 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. The works of Giuseppe Torelli were created in this form, and perhaps the most famous ripieno concerto is Johann Sebastian Bach's Brandenburg Concerto No. 3.

The founder of the classical model of the symphony is considered. 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. 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) to eleven (14th symphony by D. Shostakovich) parts or more. Many composers experimented with the size of symphonies, so Gustav Mahler created his 8th symphony called "Symphony of a Thousand Participants" (because of 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.

List of notable symphony writers
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
- 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

Among the numerous musical genres and forms, one of the most honorable places belongs to the symphony. Having arisen as an entertainment genre, from the beginning of the 19th century to the present day, it is most sensitive and complete, like no other kind. 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 modern designs, formed 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 a society in mid-eighteenth 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 Beethoven's symphonies with Shostakovich's symphonies in order to clearly see this vast, 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 lyrics to understand what the singer was singing about. By this, in essence, the ground was finally prepared for textless music, designed to embody human feelings and passions.

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 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 XVII - early XVIII 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 - musical instrument, which in its expressiveness can be compared with the human voice, created an extensive violin repertoire, mainly from pieces called sonatas (from the Italian sonare - to 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. high development received ballet art; cultivated a special kind of opera - 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 gravitated towards the plot, the program, the verbal definition of music when creating instrumental plays. “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 nations - 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. An explosion is brewing in the depths of aristocratic France, which will soon sweep away 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 shifts public 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 and new type 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, opera was the national art. In England, the spirit and meaning of what happened there historical processes most fully reflected 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 theater, 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, the violins replaced the old viol and soon took the leading position in the orchestra. Woodwind instruments - flutes, oboes, bassoons - united into a separate group, and copper ones appeared - pipes, trombones. The harpsichord was an obligatory instrument in the orchestra, creating the harmonic basis of the sound. 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, which 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 included 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 orchestra's artists were also the greatest 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 - previously unattainable evenness of violin strokes, the finest gradations dynamic shades previously not 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 forte were recognized as musical colors that have 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 possessed general patterns, which 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, like an unfolding spring, melody. 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 the moment of general movement appears new topic- 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 its 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 of 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, because in french music programming dominated, 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 part, because within the main part, 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. Her theme or two or three different topics contrasting 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, and 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 name of this section comes from the 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 of the 19th century and beyond, 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 XIX century, the scherzo is increasingly changing 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 tragic outcome(Sixth Symphony by Tchaikovsky), reconciliation with cruel reality or escape from it into the world of dreams, 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.