Svetlana Lukyanenko
Consultation “Nature in music, music in nature”
Consultation "Nature in music, music in nature"
What is music? Music is an art form. Specially organized sounds serve as a means of conveying mood and feelings in music. The main elements and expressive means music are: melody, rhythm, meter, tempo, dynamics, timbre, harmony, instrumentation and others.
Music is very good remedy education artistic taste in a child, it can influence the mood; in psychiatry there is even special music therapy. With the help of music, you can even influence a person’s health: when a person hears fast music, his pulse quickens, his blood pressure rises, he begins to move and think faster.
Music is usually divided into genres and types. Musical works each genre and type are usually easy to distinguish from each other due to the specific musical properties of each
What is nature? An interesting and fascinating question. At school in junior classes We once studied such a subject - natural history. Nature is a living organism that is born, develops, creates and creates, and then dies, and what it has created over millions of years either flourishes further in other conditions or dies along with it.
Nature is the external world in which we live; this world obeys laws that have remained unchanged for millions of years. Nature is primary, it cannot be created by man and we must take it for granted.
In a narrower sense, the word nature means the essence of something - the nature of feelings, for example.
The sounds of nature served as the basis for the creation of many musical works. Nature sounds powerful in music.
The ancient people already had music. Primitive people sought to study the sounds of the surrounding world, they helped them navigate, learn about danger, and hunt. Observing objects and natural phenomena, they created the first musical instruments- drum, harp, flute.
Musicians have always learned from nature. Even the sounds of the bell, which are heard on church holidays, sound due to the fact that the bell was created in the likeness of a bell flower.
Great musicians also learned from nature: Tchaikovsky was not out of the woods when he wrote children’s songs about nature and the “Seasons” cycle. The forest suggested to him the mood and motives of a piece of music.
The list of musical works about nature is large and varied. I will give just a few works on the spring theme:
I. Haydn. Seasons, part 1
F. Schubert. Spring Dream
J. Bizet. Pastoral
G. Sviridov. Spring cantata
A. Vivaldi "Spring" from the cycle "The Seasons"
W. A. Mozart "The Coming of Spring" (song)
R. Schumann "Spring" Symphony
E. Grieg "In Spring" (piano piece)
N. A. Rimsky-Korsakov "The Snow Maiden" (spring fairy tale)
P. I. Tchaikovsky "That Was in Early Spring"
S. V. Rachmaninov "Spring Waters"
I. O. Dunaevsky "Burbling streams"
Astor Piazzolla. "Spring" (from "Seasons in Buenos Aires")
I. Strauss. Spring (Frhling)
I. Stravinsky "The Rite of Spring"
G. Sviridov "Spring and the Sorcerer"
D. Kabalevsky. Symphonic poem "Spring".
S. V. Rachmaninov. "Spring" - cantata for baritone, choir and orchestra.
And this can continue for a long time.
It should be noted that composers perceived and reflected images of nature in their works in different ways:
b) Pantheistic perception of nature - N. A. Rimsky-Korsakov, G. Mahler;
c) Romantic perception of nature as a reflection inner world person;
Let's consider the “spring” plays from the cycle “The Seasons” by P. I. Tchaikovsky.
Tchaikovsky's "Seasons" is a kind of musical diary of the composer, capturing episodes of life dear to his heart, meetings and pictures of nature. This cycle of 12 characteristic paintings for piano can be called an encyclopedia of Russian estate life of the 19th century and the St. Petersburg city landscape. In his images, Tchaikovsky captured the endless Russian expanses, rural life, pictures of St. Petersburg city landscapes, and scenes from the domestic musical life of Russian people of that time.
“THE SEASONS” by P. I. TCHAIKOVSKY
Composer Pyotr Ilyich Tchaikovsky chose the genre of piano miniatures for his twelve months. But the piano alone is capable of conveying the colors of nature no worse than the choir and orchestra. Here is the spring rejoicing of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of white nights, and the song of a boatman rocking on the river waves, and the field work of peasants, and hound hunting, and the alarmingly sad autumn fading of nature.
12 plays - 12 pictures from Tchaikovsky’s Russian life received epigraphs from poems by Russian poets during publication:
"At the fireplace." January:
"And a corner of peaceful bliss
The night was covered in darkness.
The fire goes out in the fireplace,
And the candle burned out. "
A. S. Pushkin
"Maslenitsa". February:
"Soon Maslenitsa is brisk
A wide feast will begin. "
P. A. Vyazemsky.
"Song of the Lark" March:
"The field is rippling with flowers,
Light waves are pouring in the sky.
Spring larks singing
The blue abysses are full"
A. N. Maikov
"Snowdrop". April:
"The blue one is clean
Snowdrop: flower,
And next to it is draughty
The last snowball.
Last tears
About the grief of the past
And the first dreams
About other happiness. "
A. N. Maikov
"White Nights". May:
"What a night! What a bliss everything is like!
Thank you, dear midnight land!
From the kingdom of ice, from the kingdom of blizzards and snow
How fresh and clean your May flies out!”
"Barcarolle". June:
"Let's go ashore, there are waves
They will kiss our feet
Stars with mysterious sadness
They will shine on us"
A. N. Pleshcheev
"The Mower's Song" July:
"Get itchy, shoulder. Swing your arm!
Smell it in your face, Wind from noon!"
A. V. Koltsov
"Harvest". August:
"People with families
They began to reap
Mow to the roots
Tall rye!
In frequent shocks
The sheaves are stacked.
From carts all night
The music will hide. "
A. V. Koltsov
"Hunting". September:
"It's time, it's time! The horns are blowing:
Hounds in hunting gear
Why are they already sitting on horses?
Greyhounds jump in packs. "
A. S. Pushkin
"Autumn Song". October:
Autumn, our whole poor garden is crumbling,
Yellow leaves are flying in the wind. "
A. K. Tolstoy
"At three." November:
"Don't look longingly at the road
And don’t rush after the troika
And sad anxiety in my heart
Hurry up and put it out forever. "
N. A. Nekrasov
"Christmas time." December:
Once on Epiphany evening
The girls wondered
A shoe behind the gate
They took it off their feet and threw it. "
V. A. Zhukovsky
"Song of the Lark" March.
(audio and video application)
The lark is a field bird, which in Russia is revered as a spring songbird. Her singing is traditionally associated with the arrival of spring, the awakening of all nature from hibernation, and the beginning of a new life. The picture of the spring Russian landscape is drawn with very simple but expressive means. All music is based on two themes: a melodious lyrical melody with modest chord accompaniment and a second one, related to it, but with big ups and wide breathing. In the organic interweaving of these two themes and various shades moods - dreamily sad and bright - lies the captivating charm of the entire play. Both themes have elements that resemble the trills of the lark's spring song. The first topic creates a kind of frame for the more developed second topic. The play concludes with the fading trills of a lark.
April. "Snowdrop"
(audio and video application)
“CARNIVAL OF ANIMALS” by C. SAINT-SAENS
Camille Saint-Saens Among musical works about nature, Saint-Saens's “grand zoological fantasy” for chamber ensemble stands out.
The cycle has 13 parts describing different animals, and a final part that combines all the numbers into a single piece. It’s funny that the composer also included novice pianists who diligently play scales among the animals.
No. 1, "Introduction and the Royal March of the Lion", consists of two sections. The first one immediately puts you in a comic mood; the second section contains the most trivial marching turns, rhythmic and melodic
No. 2, “Hens and Roosters,” is based on onomatopoeia, a favorite of the French harpsichordists of the late 17th century. half of the XVIII centuries. In Saint-Saëns the pianos echo (the pianist plays alone right hand) and two violins, which are later joined by a viola and a clarinet.
In No. 3, “Kulans are fast animals” appear
No. 4, “Turtles”, contrasts with the previous one
No. 5, "Elephant", uses a similar parodic device. Here the piano accompanies the solo of the double bass: the lowest instrument of the orchestra, ponderous and inactive.
"Elephant" (Audio and video application)
In No. 6, “Kangaroo,” the jumping of exotic Australian animals is conveyed by staccato chords.
No. 7, “Aquarium”, draws the silent undersea world. The iridescent passages flow smoothly.
No. 8, “Character with Long Ears”, Now instead of two pianos there are two violins, and their jumps at huge intervals at a free tempo imitate the cry of a donkey.
No. 9, “Cuckoo in the Deep Woods,” is again based on onomatopoeia, but of a completely different kind.
In No. 10, “Birdhouse,” the soloist is another wooden instrument- a flute, as if performing a virtuoso concert accompanied by strings. Her graceful chirping merges with the sonorous trills of two pianos.
No. 11, “Pianists”,
No. 12, "Fossils", another musical parody
No. 13, “Swan,” the only serious number in this comic suite, paints a bright ideal. The most characteristic features of the composer's style are concentrated in the amazingly beautiful melodious melody of the cello, supported by the smooth swaying accompaniment of two pianos.
No. 14, the Expanded Finale, uses all the instruments, right down to the hitherto silent piccolo flute, and some themes of the previous numbers, which gives the motley alternation of diverse images a certain integrity. The frame is opening theme The introduction that opens the Finale. Another lively cancan sounds like a refrain, and between its repetitions, already familiar characters return: kulans rush by, hens cackle, kangaroos jump, a donkey screams.
"Swan" (audio and video application)
For a hundred years, The Swan has remained Saint-Saëns' most popular play. Arrangements have been made for almost everyone existing tools, vocal arrangements of “Swan - Over Water”, “Lake of Dreams” and even “Mother Cabrini, Saint of the 20th Century”. The most famous ballet number is “The Dying Swan,” composed to this music by the famous Russian choreographer Mikhail Fokin for Anna Pavlova, one of the best ballerinas of the early 20th century.
And in conclusion, I would like to note that all writers, composers, artists, as convinced connoisseurs of true beauty, prove that human influence on nature should not be destructive for it, because every meeting with nature is a meeting with beauty, a touch of mystery .
Loving nature means not only enjoying it, but also treating it with care.
Man is one with nature. He won't be able to exist without her. the main task person - to preserve and increase its wealth. And on this moment nature really needs care.
Personifying nature, music can make a person think about its fate.
Alphonse Mucha "The Seasons"
It's hot in summer, cold in winter. They are planted in the spring and harvested in the fall. And so on from year to year. For us, this is familiar to the point of obviousness, and not only is it important, but perhaps it is generally the most important thing that we can cling to in this world. This is called cyclicity. If snow suddenly falls in the summer or flowers bloom in the middle of winter, then not only a person will go crazy, but even animals that have no mind. All of nature, including you and me, is experiencing discomfort. And vice versa - when everything goes according to plan, according to the cycle, we feel calm and confident.
The same is true in music. Listening to a violin concerto by an 18th century Italian composer, we know that it will have three movements - fast, slow and fast again. And if we come to a classical symphony, then we are almost sure that in the first (fast) movement there will be a slow introduction, and then dramatic collisions, in the second (slow) movement - a meditative understanding of what happened in the first movement, in the third movement we will finally relax and Let's dance a minuet, and in the finale there will be a cheerful, life-affirming rondo, returning us to the whirlwind of life. And if the author of a symphony suddenly replaces the minuet with a scherzo, and even puts it in second place, before the slow movement, then we immediately understand: he wants to tell us something very important, since he decided to take such liberties with the cycle!
But even if we do not take such subtleties of form-building, accessible to enlightened amateurs, the fact remains: the theme of cyclicity, in particular, using the example of the seasons, has occupied composers at all times. The most famous works dedicated to the four seasons are the cycle of four concertos for violin and orchestra “The Four Seasons” by Antonio Vivaldi (Antonio Lucio Vivaldi) from 1723…
and Joseph Haydn's 1801 oratorio The Seasons.
It is quite natural that composers associated annual cycle with the human life cycle - from birth to death. Therefore, the “Seasons” of both Vivaldi and Haydn begin in spring and end in winter.
The only known "Seasons" that run pedantically from January to December are "The Seasons" (1876) by Pyotr Ilyich Tchaikovsky, which do not carry any "vitally important" concept, but are written simply as musical inserts in a monthly magazine, as a result which turned out not to be a cycle at all, but a kind of musical desk calendar. Which in no way detracts from the charm of the music itself of Tchaikovsky’s cozy piano pieces.
A witty solution to the theme of the seasons was found by violinist Gidon Kremer, who combined in one disc “The Seasons” by Antonio Vivaldi and “The Seasons in Buenos Aires” by Astor Piazzolla (naturally, specially arranged for his orchestra Kremerata Baltica). They begin with Vivaldi's "Spring", followed by Piazzolla's "Spring in Buenos Aires", then summer and so on, and on the fading last chord last composition- ‘Winter in Buenos Aires’ - the opening theme of Vivaldi’s “Spring” is played pianissimo again by the harpsichord, thus completing the entire double cycle.
Listening to “The Seasons,” no matter which author, of course, it would be good to imagine the associative series associated with cyclicality in our lives, in nature and in music - then a lot becomes clearer. The ironic remarks of Vivaldi’s “red monk”, written in his hand in the score, but often ignored by “serious” performers; moralizing texts in the arias and recitatives of Haydn’s oratorio; sometimes not entirely appropriate epigraphs to Tchaikovsky’s 12 months (remaining, by the way, on the conscience of the publisher of the Nouvellist magazine N.M. Bernard) - all this gives us fertile ground for the perception of music, even if we sometimes cannot fully appreciate the beauty of forms and elegance purely musical solutions.
The composers are separated by two and a half centuries, but creatively they are united by bright innovation and frantic passion.
"The Seasons" by Antonio Vivaldi is one of the most popular works of all times. For many, the very name "Vivaldi" is synonymous with "The Seasons" and vice versa. The four concerts perfectly capture the mood and feeling of each month of the year.
Vivaldi masterfully conveys in music the wind, calm, rain, unbearable heat, the discomfort of winter cold, and the fading of nature.
Unlike Vivaldi, Piazzolla’s cycle begins not with “Spring”, but with “Autumn”, because in the southern hemisphere, where Argentina is located, the opposite is true: when it is spring in Italy, it is autumn in Buenos Aires...
Astor Piazzolla did not make a transcription of Vivaldi’s work that he loved, but created its analogue. His "Seasons in Buenos Aires" are four tangos: "Autumn", "Winter", "Spring", "Summer". This music has long been elevated to the category of hits that people come to for the sake of the name itself. The composer boldly combines Latin American and jazz motifs with classical music.
"For a long time, man has been a part of the world around him. Nature itself endowed him with the concept of “Seasons.” This poetic eternal theme has always inspired creators to create brilliant works.
The great Italian A. Vivaldi has an amazing story, or rather “musical landscapes” that come to life in music, understandable and dear to the blessed listener.
From the 18th century A. Vivaldi, we find ourselves in the 20th century with the help of the famous Argentine composer Astor Piazzolla. You won't get bored with the weather in Buenos Aires. The seasons here are mirror symmetrical. Piercing energetic music, where, say, autumn is our eternal time of renewal, like the entire cycle, introduces us to the world of dreams, daydreams, musical improvisations, and the Latin American temperament.
The seasons are so different, like human life, pass before us, leaving wonderful music in our souls that will sound today and always." | O. Oistrakh
I'll start with a famous joke
A six-year-old boy is sent to school. At the interview he is asked how many seasons he knows?
The child thinks for a minute and confidently says:
The teacher tactfully hints to him:
What if you think about it?
The guy thinks for a moment and says:
Honestly, I don't remember anymore...
The teacher asks the mother and the boy to go out into the corridor for a minute. There the mother indignantly asks the child:
What six? Why are you disgracing me?!
Mother! - her son answers her, almost crying, - I really don’t remember anyone except Tchaikovsky, Vivaldi, Haydn, Piazzola, Gavrilin and Glazunov!
Indeed, these are names greatest composers, who left entire collections of works from the “Seasons” cycle. All these cycles are very different: baroque-refined by Antonio Vivaldi, touching by Pyotr Tchaikovsky, passionate by Astor Piazzolla, grandiose by Haydn and melodiously tender by Valery Gavrilin. All works together form a musical unity, like nature itself, going through all the seasonal changes in a year-round cycle. I’ll tell you about those cycles that I love myself.
Antonio Vivaldi
Perhaps the most famous cycle is “The Seasons” by Antonio Vivaldi. It was this creation that gave him immortal fame and further inspired many composers and improvisers. His cycle consists of 4 concerts, each of which is dedicated to one season and consists of three parts, corresponding specific month. Each concert is preceded by a sonnet, the authorship of which is attributed to Vivaldi himself.
I really like the winter sonnet:
You're shaking, freezing, in the cold snow,
And a wave of north wind rolled in.
The cold makes your teeth chatter as you run,
You beat your feet, unable to warm up.
How sweet it is in comfort, warmth and silence
Take shelter from bad weather in winter.
Fireplace fire, half asleep mirages.
And frozen souls are full of peace.
In the winter expanse the people rejoice.
He fell, slipped, and rolled again.
And it’s joyful to hear how the ice is cut
Under a sharp skate that is bound with iron.
And in the sky Sirocco and Boreas met,
The battle between them is going on in earnest.
Although the cold and blizzard have not yet given up,
Winter gives us its pleasures.
Since all of Vivaldi’s works were created in the paradigm of baroque thinking, they imply obligatory secondary meanings, allusions and symbols. First of all, the seasons are the four ages of a person from birth to death. In the second, there is a hint of the time of day and the four regions of Italy (spring - morning - Venice, summer - noon - Naples, autumn - evening - Rome, winter - midnight - Bologna). And also Vivaldi’s “Seasons” became his prophecy own life- the first part was his training, the second - recognition as a virtuoso, the third - bitter disappointment in his own illusions, and the final - the last sigh of farewell to the mortal and so unstable world.
Joseph Haydn, the son of a carriage maker, who did not really study music, but became a very talented composer, was awarded many honorary titles and was elected a member of music academies. IN last years Haydn got carried away with his life choral music. This interest arose after visiting a grand festival in honor of George Frideric Handel, organized at Westminster Cathedral.
Haydn then created several masses, as well as the oratorios “The Seasons” and “The Creation of the World.” The dramaturgy of the oratorio “The Seasons” is based on a leisurely change of contrasting scenes. The four seasons correspond to 4 parts of the oratorio - “Spring”, “Summer”, “Autumn”, “Winter”, each of which has its own flavor. All parts consist of a number of numbers, their total number is 47.
The final part of "The Seasons" marks the final stage life cycle, this is a period of withering and finding peace. Severe sadness gives way positive sentiments. The entire “Winter” forms a continuous stream of contradictory feelings - joy is replaced by pain, love - by a feeling of loss of love.
The central part of "Winter" is Simon's aria. This is a hymn that affirms the originality of any life, asserting that life is valuable, and a person is immortal, since after his departure the good deeds that he performed remain on earth and in the hearts of loved ones. The finale of "Winter" becomes choral singing- positive and filled with the joy of the upcoming new life. The title of the episode is telling - “And the Dawn Rises.” This is how the oratorio loops, affirming the eternal cycle of world events.
Peter Ilyich Tchaikovsky
Collection of piano pieces by P.I. Tchaikovsky's "Seasons" consists of 12 small musical sketches that correspond to the 12 months of the year. By means musical sounds the composer paints a picture of nature or state of mind person at a certain time of the year. The slightest movements of the soul and changes in nature are amazingly accurately conveyed, so accurately that words are not required, only a poetic epigraph is enough, which helps to tune in to the picture.
For most composers, “Winter” is the final movement and marks the end. Only Pyotr Ilyich Tchaikovsky’s “The Seasons” begins with winter.
Slightly sad, but very bright, winter theme plays “At the Fireplace. January” fills the heart with peace. Even if it’s windy and cold outside, it’s always cozy by the small fireplace. Quiet thoughtfulness is replaced by the brave prowess of the next play, “Maslenitsa. February". You can hear the ringing of bells, the strumming of an accordion, and daring folk dancing. And so on through the natural cycle.
Astor Piazzolla
“Seasons in Buenos Aires” is another well-known series on the theme of seasonality. It was created by Astor Piazzola between 1965 and 1970. The parts of the cycle have never been strictly related to each other and are not always executed together. Astor Piazzolla is the founder of the style called nuevo tango, presenting tango in a modern key, incorporating elements of jazz and classical music. Piazzolla He left a huge creative legacy - about 1000 works. And he played almost everything himself with his musicians.
“Seasons in Buenos Aires” is four tangos: “Autumn”, “Winter”, “Spring”, “Summer”.
Piazzola’s “Seasons” begins not with “Spring” or “Winter”, but with “Autumn” (perhaps because in the Southern Hemisphere, where Argentina is located, the opposite is true: when it is spring in Europe, it is autumn in Buenos Aires) .
However, Astor Piazzolla boldly combines Latin American and jazz motifs with classical tradition, and the periodically appearing theme of Vivaldi’s “Thunderstorm” testifies not to a simple imitation of the great predecessor, but to continuity translated into modern musical language.
No matter what time of year it is, listen to any selection from the “Seasons” series to choose the composer who is closest to you.
Pictures of the changing seasons, the rustling of leaves, bird voices, the splashing of waves, the murmur of a stream, thunderclaps - all this can be conveyed in music. Many famous people were able to do this brilliantly: their musical works about nature became classics of the musical landscape.
Natural phenomena, musical sketches of flora and fauna appear in instrumental and piano works, vocal and choral works, and sometimes even in the form of program loops.
“The Seasons” by A. Vivaldi
Antonio Vivaldi
Vivaldi's four three-movement violin concertos dedicated to the seasons are without a doubt the most famous nature music works of the Baroque era. The poetic sonnets for the concerts are believed to have been written by the composer himself and express the musical meaning of each part.
Vivaldi conveys with his music the rumble of thunder, the sound of rain, the rustling of leaves, the trills of birds, the barking of dogs, the howling of the wind, and even the silence of an autumn night. Many of the composer's remarks in the score directly indicate one or another natural phenomenon that should be depicted.
Vivaldi “The Seasons” – “Winter”
"The Seasons" by J. Haydn
Joseph Haydn
The monumental oratorio “The Seasons” was a unique result creative activity composer and became a true masterpiece of classicism in music.
Four seasons are sequentially presented to the listener in 44 films. The heroes of the oratorio are rural residents (peasants, hunters). They know how to work and have fun, they have no time to indulge in despondency. People here are part of nature, they are involved in its annual cycle.
Haydn, like his predecessor, makes extensive use of the capabilities of different instruments to convey the sounds of nature, such as a summer thunderstorm, the chirping of grasshoppers and a chorus of frogs.
Haydn associates musical works about nature with the lives of people - they are almost always present in his “paintings”. So, for example, in the finale of the 103rd symphony we seem to be in the forest and hear the signals of hunters, to depict which the composer resorts to known remedy– . Listen:
Haydn Symphony No. 103 – final
************************************************************************
“Seasons” by P. I. Tchaikovsky
The composer chose the genre of piano miniatures for his twelve months. But the piano alone is capable of conveying the colors of nature no worse than the choir and orchestra.
Here is the spring rejoicing of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of white nights, and the song of a boatman rocking on the river waves, and the field work of peasants, and hound hunting, and the alarmingly sad autumn fading of nature.
Tchaikovsky “Seasons” – March – “Song of the Lark”
************************************************************************
“Carnival of Animals” by C. Saint-Saens
Among musical works about nature, Saint-Saëns’ “grand zoological fantasy” for chamber ensemble stands out. The frivolity of the idea determined the fate of the work: “Carnival,” the score of which Saint-Saëns even forbade publication during his lifetime, was performed in its entirety only among the composer’s friends.
The instrumental composition is original: in addition to strings and several wind instruments, it includes two pianos, a celesta and such a rare instrument in our time as a glass harmonica.
The cycle has 13 parts describing different animals, and a final part that combines all the numbers into a single piece. It’s funny that the composer also included novice pianists who diligently play scales among the animals.
The comic nature of “Carnival” is emphasized by numerous musical allusions and quotes. For example, “Turtles” perform Offenbach’s cancan, only slowed down several times, and the double bass in “Elephant” develops the theme of Berlioz’s “Ballet of the Sylphs”.
Saint-Saëns “Carnival of the Animals” – Swan
************************************************************************
Sea elements by N. A. Rimsky-Korsakov
The Russian composer knew about the sea firsthand. As a midshipman, and then as a midshipman on the Almaz clipper, he made a long journey to the North American coast. His favorite sea images appear in many of his creations.
This is, for example, the theme of the “blue ocean-sea” in the opera “Sadko”. In just a few sounds the author conveys the hidden power of the ocean, and this motif permeates the entire opera.
The sea reigns both in the symphonic musical film “Sadko” and in the first part of the suite “Scheherazade” - “The Sea and Sinbad’s Ship”, in which calm gives way to storm.
Rimsky-Korsakov “Sadko” – introduction “Ocean-sea blue”
************************************************************************
“The east was covered with a ruddy dawn...”
Another favorite theme of nature music is sunrise. Here two of the most famous morning themes immediately come to mind, having something in common with each other. Each in its own way accurately conveys the awakening of nature. This is the romantic “Morning” by E. Grieg and the solemn “Dawn on the Moscow River” by M. P. Mussorgsky.
Grieg's imitation of a shepherd's horn is picked up string instruments, and then by the whole orchestra: the sun rises over the harsh fjords, and the murmur of a stream and the singing of birds are clearly heard in the music.
Mussorgsky's Dawn also begins with a shepherd's melody, the ringing of bells seems to be woven into the growing orchestral sound, and the sun rises higher and higher above the river, covering the water with golden ripples.
Mussorgsky – “Khovanshchina” – introduction “Dawn on the Moscow River”
************************************************************************
It is almost impossible to list everything in which the theme of nature is developed - this list will be too long. Here you can include concertos by Vivaldi (“Nightingale”, “Cuckoo”, “Night”), “Bird Trio” from Beethoven’s sixth symphony, “Flight of the Bumblebee” by Rimsky-Korsakov, “Les Goldfishes” by Debussy, “Spring and Autumn” and “ winter road» Sviridova and many others musical paintings nature.