The leading value of the song in the work of Schubert. "musical image in the work of Franz Schubert" Schubert's vocal works

The proposed work considers its task to characterize the style of Schubert's songs: the features of melody, harmony, piano part, the relationship between words and music.

Schubert was the first great Romantic composer. Much brings him closer to representatives of the Vienna classical school: simplicity, clarity, harmonic balance, which testify to the classical features of his work.

The organic combination of romantic and classical features is characteristic of all Schubert's work, including the song.

In the song work of Schubert, there is a close unity of poetic text and music.

Schubert achieved a high artistic result thanks to the disclosure spiritual world a person, in reproducing his feelings, experiences, moods.

Important feature Schubert's song is the composer's ability to express even the most complex content using the simplest possible means. This enhances the artistic impact, increases the clarity of his music.

Schubert wrote a number of his songs in the genres of serenade, lullaby, and barcarolle. Schubert made extensive use of elements of dance and march to enrich expressiveness.

Schubert's songwriting is remarkable for its amazing richness and diversity. They were written to the poems of about a hundred poets, in general there was a breadth of coverage of German and Austrian poetry in Schubert's songs.

Schubert's songs are very diverse in content. The theme of nature occupies a large place in Schubert's songs. The composer always painted nature through the hero's perception of it. In particular, the composer was attracted by the water element - and the peacefully murmuring stream ("The Beautiful Miller's Woman", a number of songs from "The Winter Road", etc.), and the wide expanses of the calm and raging sea.

Along with bright feelings, suffering and sorrow are reflected in Schubert's songs. important place in his songs is the theme of loneliness, unrequited love. The diversity of Schubert's song melody is generated by the variety of content embodied in the songs, the richness of the range of their images. The vocal part has always remained with Schubert the basis of the song.

Schubert's lyrical melody is the main variety of his melody. The vocal quality of the melodies is closely connected with the song.

Important qualities Schubert melody - its special harmony and beauty. Diatonic dominates in the melody of Schubert's songs. He used chromatisms subordinate to diatonicism. Disguised "spread chromatisms" are noteworthy, for example, in the song "AveMaria» to Scott's text.

Smooth melodic movement is often combined with movement along the sounds of triads.

The circle of chords in Schubert's melodic movement is expanding. The composer used melodically the sounds of the double dominant in the song "The Miller and the Stream" from "The Beautiful Miller's Woman" (second section).

Occupies a special position in the melodyVthe step of the mode with its dual function of the fifth of the tonic and the prima of the dominant in the song "Gretchen at the Spinning Wheel" to the text of Goethe. Schubert used this technique in songs filled with drama (“The Organ Grinder” from “The Winter Road”), which created a feeling of incompleteness, a question.

The wide range of the melody determines the use of different voice registers. Comparison of registers in one melody gives it a special "voluminousness", emotional fullness, for example, in the song "Sleep well" from "Winter Way".

The melodic movement, which can be defined as whirling, is very widely represented in Schubert's songs. Circling around unstable steps is used in brief constructions, for example, in the vocal part of The Forest King to Goethe's text.

Often, Schubert used pitch syncopations (that is, a high pitch highlights the sound on a weak or relatively weak share). Classic example presents the song "The Organ Grinder" from "Winter Way".

In the melodies of many of Schubert's songs, there is a lyrical shift of cadences, which enhances the dynamism of the music. This kind of cadenzas are found in six songs from the "Beautiful Miller's Woman" - for example, "On the Road", "Pause", "Hunter", etc.

In coloristic terms, Schubert's chromatic sequences are perceived in connection with the characteristics of gloomy mental states.

The ascending sequence is limited to two links in the song "Gretchen at the Spinning Wheel" to the text of Goethe, which emphasizes the development of Gretchen's feelings.

In Schubert's song melody, turns with repetitions are distinguished, which are used in melodies of various types. "Light" sound repetitions are characteristic of folk songwriting, for example, in the song "Trout" to the text of Schubert.

A study of Schubert's songs shows that he draws on certain tonalities in connection with texts of a certain nature.

C major is the lightest and brightest in color.

The G major Schubertian key is used for light and calm love songs, such as the song "Wild Rose" to a text by Goethe.

An important role in Schubert's song compositions belongs to detentions with sharp dissonance, primarily those of a few seconds. A famous example is musical embodiment a child's screams of horror Forest king» on Goethe's text.

The most important expressive value in Schubert is acquired by the tonal indefiniteness of intervals (primarily thirds, sixths). It is subtly used, for example, in the song "Favorite Color" from "The Beautiful Miller's Girl".

Different kinds Harmonic repainting of not just one sound, but a whole melodic turn can be found in the well-known "Evening Serenade" to the text of Relshtab.

In the vast majority of Schubert's songs, the piano part responds to the direct natural possibilities of the instrument for which it was written. Schubert's piano parts are distinguished by intonational, thematic fullness. The newest thing in the piano parts of Schubert's songs is connected with their relationship with the vocal part.

musical sketches water element Schubert's stories are always subtle and deeply meaningful. Schubert's musical images of the stream, for example, in the song "Where" from "The Beautiful Miller's Woman", the composer embodies the emotions that the stream evokes in the soul of the hero.

Schubert's new use of "through" figurative movement was associated with the shades of content of various sections of the work. Schubert discovered the possibility of such a variation of figurations already in the song "Gretchen at the Spinning Wheel".

Later, the composer completely updated the texture, retaining only the rhythmic formula. The most famous example is the song "Forest King".

In songs in which sharp contrasts collide, the construction (postlude) is built on the basis of the previous material or acts as a generalization - a summary summing up the clash of contradictory beginnings ("Sleep well" from "Winter Way").

The tendency to interpret the final constructions as a generalization of the previous development is observed in many of Schubert's song compositions. The endings of this kind of conclusion, giving different "emotional comprehension" can be noted in the song "Sleep well" from the song cycle "Winter Way".

F. Schubert carried out a reform of the song genre. He was the first great representative of the new romantic trend in music, and one of the leading features of romanticism is attention to the feelings and experiences of an individual. The specific features of Schubert as a romantic artist also played their role.

The most important support for Schubert in his song reform was the folk song art of Austria and Germany. Schubert relied on all the achievements of the German and Austrian professional music- primarily on the achievements of the representatives of the Viennese classical school. Schubert with breadth, depth and truthfulness captured in his songs the structure of thoughts and feelings, the spiritual life of the people of his era.

Bibliography.

Wolfius P.A. Classical and romantic tendencies in the work of Schubert.-M., 1974.

Konen V. - Schubert. - M., 1959.

Vasina - Grossman V. Romantic songXIXcentury. - Moscow, 1966.

Khokhlov Yu.N. Song creativity of Schubert.-Moscow, 1955.

Goldschmidt G. Franz Schubert: life path–M., 1968.

His fame was first consolidated in that area in which comparatively very little had been done before him, namely, in the field of artistic song, which occupies the same position in music as a lyric poem - in poetry. The heightened individual pathos of romanticism, which manifested itself in poetry earlier than in music, was a necessary prerequisite for the flourishing of this musical genre. An extremely multifaceted and flexible romance, with piano accompaniment, was exhausted by Schubert in a variety of ways. Achieving unity without any effort musical form and poetic content, Schubert poured out in his romances an endless variety of poetic motifs, and at the same time he grasped the musical essence of the poems he set to music so faithfully that we still perceive many of them only in the interpretation that he gave them.

The main characteristics of Franz Schubert are his songs. None of the composers before him devoted as much creative imagination and energy to this area as Schubert. The number of songs written by him reaches 600. It should be emphasized that Schubert calls his vocal works "songs". In them, he completely breaks with traditional arias, opera romances. Despite the fact that during the life of Schubert his songs were known only to a small circle of his friends (Goethe did not even consider it necessary to respond to the compositions sent to him by Schubert), these songs quickly entered everyday life and became widespread. The sources of Schubert's melody are a folk song, a mass dance, raised by him to a great artistic height.

The texts of Schubert songs cover almost all German poets from the last decades of the 18th century, up to Heine (1828). Schubert was closest to texts that conveyed the life experiences of a “simple” person (a wandering apprentice - the cycles “The Beautiful Miller’s Woman”, “Winter Journey”), but he also wrote music to Goethe’s deeply philosophical poems. Goethe, he gives his best inspiration ("Margarita at the spinning wheel", "Forest King", "Borders of Humanity"). Schubert's songs, with few exceptions, were published in random editions. So, for example, his "Traveler" was published in the "Almanac for a fun pastime."

Schubert's songs reflect all his deep mental life a romantic musician, socially disadvantaged, fruitlessly looking for a way out of life's hardships, poverty, unable to fight and defend himself. But on the other hand, his music is all permeated with health, a passionate love for nature (the sun, the stars). In piano accompaniment, Schubert strives for musical clarity and realism in sound expression.

Nefteyugansk district municipal educational budgetary institution
"Salymskaya comprehensive school№2"

musical image
in the music of Franz Schubert

Author's development of a music lesson in grade 7
teachers of the highest qualification category
Udyurova Oksana Alexandrovna
e-mail:

year 2014
Lesson topic:
Musical image in the music of Franz Schubert

The lesson was conducted according to the program of D. B. Kabalevsky, using the teaching materials “Music. Grade 7 "T. I. Naumenko, V. V. Aleeva

Type of lesson: lesson learning new material
Teaching methods used:
verbal
visual
practical
problem-search
independent work
work with textbook
design
oral control
testing
mutual control
Used teaching methods:
explanation
practical tasks
problem situation
analysis and synthesis
comparison and comparison
Forms of organization of cognitive activity:
individual
pair-group
collective
frontal
Means of education:
mp3 with a recording of a piece of music
textbook and didactic materials for the lesson
computer and multimedia projector
presentation for the lesson
Open music lesson in 7th grade

Topic of the quarter: Musical image.
Lesson topic: Musical image in the work of F. Schubert.
The purpose of the lesson: the formation of an emotionally conscious perception of the musical image on the example of the ballad "Forest King" by F. Schubert.
Tasks:
- educational - introduce the concept of "musical ballad", with the biography of F. Schubert, determine the musical image in the ballad "Forest King";
- developing - to develop communication skills, skills in independent work with information, the ability to analyze and synthesize the information received;
- educational - education of personal attitude to music, aesthetic taste.
Musical material: F. Schubert song-ballad "Forest King", inserted into the presentation.
Equipment: computer, video projector, musical instrument.
Additional material: presentation for the lesson, printed version of the table to fill in according to the options and biographies of F. Schubert with questions, T. I. Naumenko, V. V. Aleev, music textbook grade 7.
During the classes.
Organizing time. Message about the topic and purpose of the lesson.
slide 1
- Good afternoon, dear children, dear guests. Today in the lesson we will get acquainted with a very famous work of the composer Franz Schubert, we will determine the musical image that the composer Schubert conveyed in his song.
II. Repetition of the past.
- What images exist in music? (Lyric, epic, dramatic).
Slide 2 (Click on the ovals after the hand appears on them).
- What works of Franz Schubert are you already familiar with and what image prevails in them? ("Ave Maria", "Barcarolle", "Trout" - a lyrical image).
III. Learning new material.
one). - What kind of person was Schubert if he could create such lyrical works? We will be able to answer this question after an independent acquaintance with the biography of the composer. I will give each desk a printed text and questions for you to answer.
APPENDIX 1 or 3.
(Performing the task at desks. Each pair reads the biography of the composer and answers 3-4 questions that are distributed by the teacher on separate sheets of paper with a biography option).
slide 3
2). Questions to check the performance of the work.
Who is Franz Schubert?
When and where was Schubert born?
Who were Schubert's parents?
Where did Schubert receive his musical education?
At what age was Schubert accepted into the court chapel?
At what age did Schubert start composing?
What works were most famous during Schubert's lifetime?
How many songs did F. Schubert write?
What role does piano accompaniment play in Schubert's songs?
Which singer began to promote the work of Schubert?
What kind of person was Schubert?
What was the name of Schubert's musical meetings with friends?
Which composer did Schubert idolize?
Which representative musical direction was Schubert?
When did real success come to Schubert?
How many years did Schubert live?
(Teacher calling serial number, asking questions. Each student answers his own question in order; Schubert's biography is built from the answers. All answers appear on the slide.)
Slides 4-6 (Click on each question after the hand appears on it).
3). Listening to the ballad "Forest King" by F. Schubert in Russian.
- Listen to one of the most famous works Schubert and answer the following questions:
Slide 7
What feelings does the music express?
- What image did the composer convey in his music?
- Who performs this piece of music?
(Listening to a ballad. Children's answers to the questions posed.)
- What is the name of this work?
- What is a ballad?
Slide 8
- This is a solo narrative song with fantasy elements. In it, the composer created a living picture in which the subtlest shades are revealed. human feelings.
Slide 9
- How actors in a ballad?
What is the theme of each character?
- What intonation prevails in the speech of the characters?
- What did you hear in the accompaniment?
- Let's summarize our findings using the text in the textbook on page 42. Complete the table you see on the slide.
slide 10
Option
Characters
Speech
Melody
Musical accompaniment

II
FOREST KING

You will work according to the options: option 1 characterizes the speech, melody and accompaniment of the father, son and narrator, and option 2 - the Forest King.
APPENDIX 2
(A fragment of the table is distributed according to the options. Children fill it out using the textbook (p. 42). Checking the filling of the table on the slide.)
Slide 10 (Click on each square after a hand appears on it).
- Listen to the ballad again, follow the text (text on page 40 in the textbook) and answer the following questions:
- How was Schubert able to convey the tragedy, pain and cry of the human soul?
- How does the plot develop in the ballad?
What role does the piano play in the piece?
Slide 11
(Listening to a ballad in Russian with a lecture. Children's answers to questions.)
- Franz Schubert's ballad "The Forest King" is an example of a dramatic work. It is a whole scene with the participation of various actors.

four). The history of the creation of the ballad "Forest King" by F. Schubert.
- The ballad is based on a poem by the German poet Johann Wolfgang Goethe.
slide 12
- The best translation of Goethe's ballad into Russian almost two centuries ago was made by Vasily Andreevich Zhukovsky, a contemporary of A. S. Pushkin, a peculiar, very subtle, deeply lyrical poet.
- F. Schubert was fascinated by the poetry of W. Goethe. She excited, captivated the imagination, mind, soul of the young composer. The ballad "Forest King" Schubert composed when he was only 18 years old.
Slide 14
- This is how one of Schubert's friends describes the birth of this song: “We found Schubert in a completely heated state, loudly reading from the book “Forest King”. He walked up and down the room several times with the book, suddenly sat down, and in the shortest possible time the ballad appeared on paper. On the same evening, "The Forest King" was performed and received with enthusiasm.
IV. Consolidation.
- At the end of our lesson, I suggest you do a test by options. On your desk are sheets of paper on which you will write down the answers to my questions.
Slide 14 (Click on the questions on the options one by one).
(Performance test items by options. Mutual check.)
1 option
Option 2

1. In what country was F. Schubert born?
BUT). France
B). Italy
AT). Austria
2. How many songs did Schubert write?
BUT). 600
B). 500
AT). 400

3. Who is the author German text ballads?
BUT). Schiller
B). Goethe
AT). Shakespeare
4. How many characters are in the song-ballad "Forest King"?
BUT). four
B). 5
AT). 6
5. The speech of which ballad character sounds affectionate, insinuating, soft, enticing?
BUT). Father
B). forest king
AT). son
6. What's in musical accompaniment ballads helps you feel the dramatic image?
BUT). dotted rhythm
B). The rhythm of the march
AT). Rhythm of a frenzied ride
7. What images influenced the construction of the entire musical development?
BUT). Love and hatred
B). Life and death
AT). War and Peace
1. How many years did F. Schubert live?
BUT). 27
B). 31
AT). 37
2. At what age did Schubert write
"Forest King"?
BUT). 28
B). 23
AT). eighteen
3. Who did best translation ballads?
BUT). Pushkin
B). Lermontov
AT). Zhukovsky
4. What is the image in the song-ballad "Forest King"?
BUT). Lyrical
B). Dramatic
AT). Epic
5. How does the speech of the author, father and son sound?
BUT). Excitedly
B). enticing
AT). insinuatingly

6. What character characterizes
smooth, rounded, melodious melody?
BUT). son
B). Father
AT). forest king

7. What is the character of the ballad as a whole?
BUT). Quiet and calm
B). Excited and anxious
AT). Cheerful and mischievous

1 option
Option 2

1. In
2. A
3. B
4. A
5 B
6. In
7. B
1. B
2. V.
3. V.
4. B
5. A
6. In
7. B

slide 15
Answers for mutual verification: 7 - "5" 6 - "4" 5 - "3" 4 - "2"

V. Summary of the lesson.
- What work of Franz Schubert did we meet today at the lesson?
- What is the image in the song-ballad "Forest King"?
slide 16
- What in music helped us to feel the dramatic image created by the composer?
(Assessing the work of students. Grading for work in the lesson.)

VI. Homework.
- Draw a picture corresponding to the character of the ballad "Forest King" by F. Schubert.
- Thank you for your creative work. Goodbye.

The ideological content of Schubert's art. Vocal lyrics: its origins and connections with national poetry. Leading value songs in the work of Schubert

The vast creative heritage of Schubert covers about one thousand five hundred works in various areas music. Among the things he wrote before the 1920s, both in terms of images and artistic techniques, much gravitates towards the Viennese classicist school. However, already in the early years, Schubert gained creative independence, first in vocal lyrics, and then in other genres, and created a new, romantic style.

Romantic by ideological orientation, according to his favorite images and color, Schubert's work truthfully conveys the state of mind of a person. His music is notable for its broadly generalized, socially significant character. B. V. Asafiev notes in Schubert "a rare ability to be a lyricist, but not to withdraw into his own personal world, but to feel and convey the joys and sorrows of life, as most people feel and would like to convey."

The art of Schubert reflects the worldview the best people his generation. For all its subtlety, Schubert's lyrics are devoid of sophistication. There is no nervousness, mental breakdown or hypersensitive reflection in it. Drama, excitement, emotional depth are combined with a wonderful peace of mind, and the variety of shades of feelings - with amazing simplicity.

Song was the most important and favorite area of ​​Schubert's creativity. The composer turned to the genre, which was most closely associated with the life, life and inner world of the "little man". The song was the flesh of the flesh of folk musical and poetic creativity. In his vocal miniatures, Schubert found a new lyric-romantic style that responded to the living artistic needs of many people of his time. “What Beethoven did in the field of symphony, enriching in his “nine” the ideas-feelings of human “tops” and the heroic aesthetics of his time, Schubert accomplished in the field of song-romance as the lyrics of “simple natural thoughts and deep humanity” (Asafiev) . Schubert raised the everyday Austro-German song to the level of great art, giving this genre an extraordinary artistic significance. It was Schubert who made the song-romance equal in rights among other important genres of musical art.

In the art of Haydn, Mozart and Beethoven, song and instrumental miniature played unconditionally. minor role. Neither the characteristic individuality of the authors, nor the peculiarities of their artistic style, manifested themselves in any way in this area. Their art, generalized-typified, depicting images of the objective world, with strong theatrical and dramatic tendencies, gravitated toward the monumental, toward strict, delimited forms, toward the internal logic of development on a large scale. Symphony, opera and oratorio were the leading genres of classicist composers, ideal "carriers" of their ideas. Viennese classics had a side value, in comparison with monumental symphonic and vocal-dramatic works. One Beethoven, for whom the sonata performed the role creative laboratory and significantly outpaced the development of other, larger instrumental forms, gave piano literature the leading position that it occupied in the 19th century. But also for Beethoven piano music It is first and foremost a sonata. Bagatelles, rondos, dances, small variations and other miniatures characterize very little what is called "Beethoven's style."

"Schubert" in music makes a radical reshuffling of forces in relation to the classicist genres. Leading in the work of the Viennese romantic are the song and the piano miniature, in particular the dance. They prevail not only quantitatively. In them, the individuality of the author manifested itself first and in the most complete form. new topic his creativity, his original innovative methods of expression.

Moreover, both song and piano dance penetrate Schubert into the realm of large instrumental works (symphony, chamber music in sonata form), which he formed later, under the direct influence of the style of miniatures. In the operatic or choral sphere, the composer never managed to completely overcome some intonational impersonality and stylistic diversity. Just as it is impossible to get even an approximate idea of ​​Beethoven's creative appearance from the German Dances, so it is impossible to guess from Schubert's operas and cantatas about the scale and historical significance their author, who brilliantly showed himself in a song miniature.

Schubert's vocal work is successively connected with Austrian and German song, which has become widespread in a democratic environment since XVII century. But Schubert introduced new features into this traditional art form, which radically transformed the song culture of the past.

These new features, which primarily include both the romantic warehouse of lyrics and the more subtle elaboration of images, are inextricably linked with the achievements German literature second half of the 18th - early 19th centuries. On her the best examples the artistic taste of Schubert and his peers was formed. During the composer's youth, the poetic traditions of Klopstock and Hölti were still alive. His older contemporaries were Schiller and Goethe. Their creativity, young years admired the musician, had a huge impact on him. He composed more than seventy songs to texts by Goethe and more than fifty songs to texts by Schiller. But during the life of Schubert, the romantic literary school. He completed his path as a song composer with works on poems by Schlegel, Relshtab, and Heine. Finally, his attention was drawn to the translations of the works of Shakespeare, Petrarch, Walter Scott, which were widely distributed in Germany and Austria.

The world is intimate and lyrical, images of nature and everyday life, folk tales - these are the usual contents of the poetic texts chosen by Schubert. He was not at all attracted by the "rational", didactic, religious, pastoral themes that were so characteristic of the songwriting of the previous generation. He rejected poems that bore traces of the "gallant gallicisms" fashionable in German and Austrian poetry in the middle of the 18th century. The deliberate Peisan simplicity also did not resonate with him. Characteristically, of the poets of the past, he had a special sympathy for Klopstock and Hölti. The first proclaimed the sensitive principle in German poetry, the second created poems and ballads, similar in style to folk art.

The composer, who achieved the highest realization of the spirit of folk art in his song work, was not interested in folklore collections. He remained indifferent not only to the assembly folk songs Herder ("Voices of the peoples in song") *,

* Only a year before his death, Schubert used one text from Herder's collection - the ballad "Edward".

but also to the famous collection The Magic Horn of the Boy, which aroused the admiration of Goethe himself. Schubert was fascinated by poems distinguished by their simplicity, imbued with deep feeling and, at the same time, necessarily marked by the author's individuality.

The favorite theme of Schubert's songs is a "lyrical confession" typical of romantics, with all the variety of its emotional shades. Like most poets close to him in spirit, Schubert was especially attracted love lyrics, in which it is possible to reveal the inner world of the hero with the greatest completeness. Here is the innocent simplicity of the first love anguish (Goethe's Margarita at the Spinning Wheel), and the dreams of a happy lover (Relshtab's Serenade), and light humor (Goethe's Swiss Song), and drama (songs to Heine's texts).

The motive of loneliness, widely sung by romantic poets, was very close to Schubert and was reflected in his vocal lyrics (Müller's Winter Road, Relshtab's In a Foreign Land, and others).

I came here as a stranger.
Alien left the edge -

this is how Schubert begins his "Winter Journey" - a work that embodies the tragedy of spiritual loneliness.

Who wants to be alone
Will be left alone;
Everyone wants to live, they want to love,
Why are they unhappy? -

he says in the "Song of the Harper" (text by Goethe).

Folk-genre images, scenes, paintings (“The Field Rose” by Goethe, “The Complaint of a Girl” by Schiller, “Morning Serenade” by Shakespeare), chanting of art (“To the Music”, “To the Lute”, “To My Clavier”), philosophical themes (“The Borders of Humanity”, “To the Coachman Kronos”) - all these various topics are revealed by Schubert in an invariably lyrical refraction.

The perception of the objective world and nature is inseparable from the mood of romantic poets. The brook becomes an ambassador of love (“Ambassador of Love” by Relshtab), dew on flowers is identified with tears of love (“Praise to Tears” by Schlegel), the silence of night nature - with a dream of rest (“The Night Song of the Wanderer” by Goethe), a trout sparkling in the sun, caught on the angler's bait, becomes a symbol of the fragility of happiness ("Trout" by Schubert).

In search of the most vivid and truthful transmission of the images of modern poetry, new expressive means of Schubert's songs have developed. They determined the features of Schubert's musical style as a whole.

If you can say about Beethoven that he thought "sonata", then Schubert thought "song". The sonata for Beethoven was not a scheme, but an expression of a living thought. He sought his symphonic style in piano sonatas. Characteristic features his sonatas also permeated non-sonata genres (for example: variations or rondo). Schubert, in almost all his music, relied on the totality of images and expressive means that underlie his vocal lyrics. None of the dominant classicist genres with their inherent to a large extent rationalistic and objective character did not correspond to the lyrical emotional image of Schubert's music to the extent that a song or a piano miniature corresponded to it.

In his mature period, Schubert created outstanding works in major generalizing genres. But we should not forget that it was in miniature that Schubert's new lyrical style was developed and that the miniature accompanied him throughout his career (simultaneously with the G-dur "quartet, the Ninth Symphony and the string quintet, Schubert wrote his "Impromptu" and "Musical Moments" for piano and song miniatures included in "Winter Way" and "Swan Song").

Finally, it is highly significant that symphonies and major chamber works Schubert only then achieved artistic originality and innovative value when the composer generalized in them the images and artistic techniques previously found by him in the song.

After the sonata, which dominated the art of classicism, Schubert's songwriting introduced new images into European music, its own special intonation warehouse, new artistic and constructive techniques. Schubert repeatedly used his songs as themes for instrumental works. It is precisely the dominance of Schubert's artistic techniques of lyrical song miniature *

* The miniature is specially emphasized, since the solo song of the cantata type did not meet the aesthetic quest of romantic composers.

made that revolution music of the 19th century, as a result of which the simultaneously created works of Beethoven and Schubert are perceived as belonging to two different eras.

Schubert's earliest creative experiences are still closely associated with the dramatized operatic style. The first songs of the young composer - "Agari's Complaint" (text by Schücking), "Funeral Fantasy" (text by Schiller), "Paricide" (text by Pfeffel) - gave every reason to assume that he had developed into an opera composer. And the elevated theatrical manner, and the ariose-declamatory warehouse of the melody, and the "orchestral" nature of the accompaniment, and the large scale brought these early writings with opera and cantata scenes. However, the original style of the Schubert song took shape only when the composer freed himself from the influences of the dramatic opera aria. With the song "Young Man by the Stream" (1812) to a text by Schiller, Schubert firmly embarked on the path that led him to the immortal "Marguerite at the Spinning Wheel." Within the framework of the same style, all his subsequent songs were created - from "Forest King" and "Field Rose" to the tragic works of the last years of his life.

Miniature in scale, extremely simple in form, close to folk art in style of expression, the Schubert song is an art in all external signs. home music making. Despite the fact that Schubert's songs are now heard everywhere on the stage, they can be fully appreciated only in chamber performance and in a small circle of listeners. The composer least of all intended them for concert performance. But to this art of urban democratic circles, Schubert gave a high ideological significance, unknown to the song of the eighteenth century. He raised household romance to the level of the best poetry of its time.

The novelty and significance of each musical image, the richness, depth and subtlety of moods, amazing poetry - all this endlessly elevates Schubert's songs above the songwriting of their predecessors.

Schubert was the first to embody new literary images in the song genre, having found appropriate musical means of expression for this. Schubert's process of translating poetry into music was inextricably linked with the renewal of intonational structure. musical speech. This is how the romance genre was born, embodying the highest and most characteristic in the vocal lyrics of the "romantic age".

The deep dependence of Schubert's romances on poetic works does not mean at all that Schubert set himself the task of accurately embodying the poetic intention. Schubert's song always turned out to be an independent work in which the individuality of the composer subordinated to itself the individuality of the author of the text. In accordance with his understanding, his mood, Schubert emphasized various aspects of the poetic image in music, often enhancing the artistic merits of the text. So, for example, Mayrhofer claimed that Schubert's songs to his texts revealed for the author himself the emotional depth of his poems. It is also undoubted that the poetic merit of Muller's poems is enhanced by their fusion with Schubert's music. Often minor poets (like Mayrhofer or Schober) satisfied Schubert more than brilliant ones like Schiller, in whose poetry abstract thoughts prevailed over richness of mood. “Death and the Maiden” by Claudius, “The Organ Grinder” by Müller, “To Music” by Schober in the interpretation of Schubert are not inferior to “The Forest King” by Goethe, “Double” by Heine, “Serenade” by Shakespeare. But anyway the best songs written by him in verses distinguished by indisputable artistic merit *.

* Schubert wrote songs to the verses of the following poets: Goethe (more than 70), Schiller (more than 50), Mayrhofer (more than 45), Müller (45), Shakespeare (6), Heine (6), Relshtab, Walter Scott, Ossian, Klopstock , Schlegel, Mattison, Kozegarten, Kerner, Claudius, Schober, Salis, Pfeffel, Schücking, Collin, Rückert, Uhland, Jacobi, Kreiger, Seidl, Pirker, Hölti, Platen and others.

And it was always the poetic text with its emotionality and concrete images that inspired the composer to create a musical work consonant with him.

Using new artistic techniques, Schubert achieved an unprecedented degree of fusion of the literary and musical image. Thus, his new original style was formed. Each innovative device in Schubert - a new circle of intonations, a bold harmonic language, a developed color sense, a "free" interpretation of form - was first found by him in the song. The musical images of the Schubert romance made a revolution in the entire system of expressive means that dominated at the turn of the 18th and 19th centuries.

In the field of vocal lyrics, Schubert's individuality, the main theme of his work, manifested itself earlier and most fully. Already at the age of 17, he became an outstanding innovator here, while the early instrumental works are not distinguished by a particularly bright novelty.

Schubert's songs are the key to understanding all of his work, because. obtained in the work on the song, the composer boldly used in instrumental genres. In almost all of his music, Schubert relied on images and means of expression borrowed from vocal lyrics. If one can say about Bach that he thought in fugue categories, Beethoven thought in sonatas, then Schubert thought « songly".

Schubert often used his songs as material for instrumental works. But using a song as a material is far from everything. The song is not only as a material, song as a principle - this is what essentially distinguishes Schubert from his predecessors. The widely flowing stream of song melodies in Schubert's symphonies and sonatas is the breath and air of a new attitude. It was through song that the composer emphasized what was not the main thing in classical art - a person in the aspect of his immediate personal experiences. The classical ideals of humanity are transformed into the romantic idea of ​​a living person "as it is."

All components of the Schubert song - melody, harmony, piano accompaniment, shaping - are truly innovative. The most outstanding feature of the Schubert song is its immense melodic charm. Schubert had an exceptional melodic gift: his melodies are always easy to sing and sound great. They are distinguished by great melodiousness and continuity of flow: they unfold as if "in one breath." Very often they clearly reveal the harmonic basis (the movement along the sounds of chords is used). In this, Schubert's song melody reveals a commonality with German and Austrian melody. folk song, as well as with the melody of the composers of the Viennese classical school. However, if in Beethoven, for example, movement along chord sounds is associated with fanfare, with the embodiment heroic images, then in Schubert it has a lyrical character and is associated with intra-syllable chant, “rularity” (at the same time, Schubert’s chants are usually limited to two sounds per syllable). Chant intonations are often subtly combined with declamatory, speech.

Schubert's song is a multifaceted, song-instrumental genre. For each song, he finds an absolutely original solution for piano accompaniment. So, in the song "Gretchen at the Spinning Wheel" the accompaniment imitates the buzzing of the spindle; in the song "Trout" short arpeggiated passages resemble light bursts of waves, in "Serenade" - the sound of a guitar. However, the function of the accompaniment is not limited to visualization. The piano always creates the right emotional background for a vocal melody. So, for example, in the ballad "The Forest King" the piano part with an ostinato triplet rhythm performs several functions:

• characterizes the general psychological background of the action - the image of feverish anxiety;
• depicts the rhythm of "leaps";
• ensures the integrity of the entire musical form, since it is preserved from beginning to end.

The forms of Schubert's songs are varied, from simple couplet to through, which was new for that time. The through song form allowed for the free flow of musical thought, detailed following of the text. Schubert wrote more than 100 songs in a through (ballad) form, including "Wanderer", "Premonition of a Warrior" from the collection "Swan Song", "Last Hope" from "Winter Journey", etc. The pinnacle of the ballad genre - "Forest King" created in early period creativity, shortly after Gretchen at the Spinning Wheel.

"Forest King"

Goethe's poetic ballad "The Forest King" is a dramatic scene with a dialogic text. musical composition relies on the refrain form. The refrain is the exclamations of desperation of the child, and the episodes are the appeals of the Forest King to him. The text from the author forms the introduction and conclusion of the ballad. The excited short-second intonations of the child contrast with the melodious phrases of the Forest King.

The child's exclamations are carried out three times with an increase in the tessitura of the voice and a tonal increase (g-moll, a-moll, h-moll), as a result, an increase in drama. The phrases of the Forest King sound in major (I episode - in B-dur, 2nd - with a predominance of C-dur). The third performance of the episode and the refrain is set out by Sh. in one music. stanza. This also achieves the effect of dramatization (contrasts converge). Last time the exclamation of the child sounds with the utmost tension.

In creating the unity of the cross-cutting form, along with a constant tempo, a clear tonal organization with the g-moll tonal center, the role of the piano part with the ostinato triplet rhythm is especially great. This is the rhythmic form of perpetuum mobile, since the triplet movement stops for the first time only before the final recitative 3 tones from the end.

The ballad "The Forest King" was included in Schubert's first song collection of 16 songs to the words of Goethe, which the composer's friends sent to the poet. Also entered here "Gretchen at the Spinning Wheel", marked by genuine creative maturity (1814).

"Gretchen at the Spinning Wheel"

In Goethe's Faust, Gretchen's song is a small episode that does not claim to be a complete depiction of this character. Schubert, on the other hand, invests in it a voluminous, exhaustive characterization. The main image of the work is a deep, but hidden sadness, memories and a dream of unrealizable happiness. The persistence, the obsession of the main thought causes a repetition of the initial period. It acquires the meaning of a refrain, capturing the touching naivete, innocence of Gretchen's appearance. Gretchen's sadness is far from despair, so there is a hint of enlightenment in the music (deviation from the main d-moll to C-dur). The sections of the song alternating with the refrain (there are 3 of them) are of a developmental nature: they are marked by the active development of the melody, the variation of its melodic and rhythmic turns, the change of tonal colors, mainly major ones, and convey an impulse of feeling.

The climax is built on the affirmation of the image of the memory (“...shaking hands, his kiss”).

As in the ballad "The Forest King", the role of the accompaniment is very important here, forming the through background of the song. It organically merges both the characteristic of internal excitation and the image of a spinning wheel. The theme of the vocal part follows directly from the piano introduction.

In search of plots for his songs, Schubert turned to the poems of many poets (about 100), very different in scale of talent - from such geniuses as Goethe, Schiller, Heine, to amateur poets from his inner circle (Franz Schober, Mayrhofer). The most persistent was attachment to Goethe, on the texts of which Schubert wrote about 70 songs. From a young age, the composer was also fascinated by Schiller's poetry (more than 50). Later, Schubert "discovered" for himself the romantic poets - Relshtab ("Serenade"), Schlegel, Wilhelm Müller and Heine.

Piano fantasy "Wanderer", piano quintet A-dur (sometimes called "Trout", since the IV part here presents variations on the theme of the song of the same name), quartet d-moll (in the II part of which the melody of the song "Death and the Maiden" is used).

One of the rondo-shaped forms, which develops due to the repeated inclusion of a refrain in a through form. It is used in music with complex figurative content, with the depiction of events in a verbal text.