Great classical composers: a list of the best. Russian classical composers. Cyclic forms Examples of composer's musical cycles

03.11.2019

Cycle "prelude-fugue"

The two-part cycle “prelude-fugue” has been known since Baroque times. It involves the functionalization of the prelude as an improvisational introduction to a fugue.

Prelude-fugue cycles can be combined into larger cycles based on some formal or thematic principle. Most famous example- “The Well-Tempered Clavier” by J. S. Bach, built on the principle of a certain alternation of mode-tone correspondences. An example from the music of the 20th century is “24 Preludes and Fugues” by D. D. Shostakovich.

Suite cycle

In the 20th century, the genre of the suite was significantly rethought, new techniques were applied to it (for example, the dodecaphonic orchestral suites of A. Schoenberg and A. Berg), new material was covered (for example, in P. Hindemith’s suite “1922” fashionable dances of the corresponding time: shimmy, boston, ragtime).

Some works of non-academic music (mainly progressive rock) also gravitate towards the suite form. Examples include "Lizard" from the album of the same name by the rock band King Crimson and "Atom Heart Mother" from the album of the same name by Pink Floyd. However, “rock suites” are also often called compositions that gravitate more towards free and mixed forms (in traditional musical theoretical terminology).

Sonata-symphonic cycle

The sonata-symphonic cycle includes the most abstract genres of academic music, such as symphony, sonata, quartet, concerto. It is characterized by:

abstraction from the applied nature of music (even if applied material is used as the material for any part);
the possibility of figurative and semantic contrasts between individual parts (up to their direct opposition);
complex tonal development;
established functions and forms of individual parts (characteristic of certain genres of sonata-symphonic music).

The classical sonata was formed during the 18th century, reached the pinnacle of development in the Viennese classics and remains, with some reservations, a living genre. The symphony as a genre was formed in the middle of the 18th century, it also reached its peak of development in the Viennese classics and remains a living genre of academic music. (The symphonic form should not be confused with symphonism, which may also be characteristic of works not related to this form). The quartet took the form of a sonata cycle in the work of J. Haydn and further developed in the work of the Viennese classics. In the second half of the 20th century, leitmotif and monothematic principles became characteristic of many works of this genre. The concerto, as a type of sonata-symphonic cyclic work, which is characterized by the opposition of the sound of the full ensemble and individual groups or soloists, took shape in its now known form by the end of the 18th century.)))))))

Free and mixed forms

A musical work may consist of parts united according to a principle different from those of the listed genres, and yet still have a cyclical character to one degree or another. These are many genres of applied sacred music (mass, spiritual concert, all-night vigil), cantatas, vocal and vocal-choral cycles (plot and lyrical).

Large cycles

Sources

G. V. Zhdanova. “Symphony” // Musical encyclopedic dictionary. M.: " Soviet encyclopedia", 1990, pp. 499.
Yu. I. Neklyudov. “Suite” // Musical encyclopedic dictionary. M.: “Soviet Encyclopedia”, 1990, pp. 529-530.
V. P. Fraenov. “Cyclic forms” // Musical encyclopedic dictionary. M.: “Soviet Encyclopedia”, 1990, p. 615.
V. P. Chinaev. “Sonata” // Musical encyclopedic dictionary. M.: “Soviet Encyclopedia”, 1990, pp. 513-514.

Cyclic forms are those that consist of several, usually independent in thematic and formative parts, separated by unregulated pauses that interrupt the flow of musical time (double bar line with a “thick” right line). All cyclic forms embody more diverse and multifaceted content, united by an artistic concept.

Some cyclic forms in the most general form embody a worldview concept, the mass, for example, is theocentric, and later the sonata-symphonic cycle is anthropocentric.

The basic principle of organizing cyclic forms is CONTRAST, THE EXPRESSION OF WHICH IS HISTORICALLY VARIABLE AND AFFECTS DIFFERENT MEANS OF MUSICAL EXPRESSION.

Cyclic forms became widespread in the Baroque era (late 16th - first half of the 18th centuries). They are very diverse: two-part cycles with fugue, concerti grossi, concertos for solo instrument and orchestra, suites, partitas, solo and ensemble sonatas.

The roots of many cyclic forms lie in two types of operatic overtures of the 17th century, the so-called French (Lully) and Italian (A. Stradella, A. Scarlatti), using standardized tempo contrasts. In the French overture, the most significant was the ratio of the first slow section (of a solemn-pathetic nature) and the fast polyphonic second (usually fugue), sometimes ending with a short Adagio (sometimes based on the material of the first section). This type of tempo relationship, when repeated, becomes quite typical for ensemble sonatas and Concerti grossi, usually consisting of 4 movements. In the concerti grossi of Corelli, Vivaldi, and Handel, the function of the introduction is quite clearly expressed in the first movements. It develops not only due to the slow tempo and relatively short length, but also due to the sometimes occurring harmonic openness.

The 6 Brandenburg Concertos of J.S. stand apart. Bach (1721), in which all the first movements are not only written at a fast pace, but are the most developed, extended, determining the further development of the cycles. This function of the first parts (with differences in internal formation) anticipates the function of part 1 in the later sonata-symphonic cycle.

The influence of this type of tempo relationships is somewhat less noticeable in the suites and partitas close to them. In the ratio of the “obligatory” dances there is a repeating and intensifying tempo-rhythmic contrast: a moderately slow two-beat allemande is replaced by a moderately fast three-beat chime, a very slow three-beat sarabande is replaced by a very fast gigue (usually in six, twelve-beat measures, combining two and three beats). These cycles, however, are quite free in the number of parts. Often there are introductory movements (prelude, prelude and fugue, fantasy, sinphony), and between the sarabande and the gigue there were so-called “inserted”, more modern dance(gavotte, minuet, bourre, rigaudon, lure, musette) and arias. Often there were two inserted dances (especially typical for minuets and gavottes), at the end of the second there was an instruction to repeat the first. Bach kept all the “obligatory” dances in his suites, other composers treated them more freely, including only one or two of them.

In partitas, where all the “obligatory” dances are often retained, the genre range of inserted numbers is much wider, for example, rondo, capriccio, burlesque.

In principle, in a suite (row) the dances are equal, there is no functional diversity. However, certain features are beginning to emerge. Thus, the saraband becomes the lyrical center of the suite. It is very different from the restrained, harsh, ponderous and solemn everyday prototype with its sublime tenderness, sophistication, textured grace, and sound in the mid-high register. Often, it is the sarabands that have ornamental doubles, which enhances its function as a lyrical center. In the jig (the most “common” in origin - the dance of English sailors), the fastest in tempo, thanks to its energy, mass character, and active polyphony, the function of the finale is formed.

The tempo relationships of the ITALIAN OVERTURE, which included three sections (extreme - fast, polyphonic, middle - slow, melodious), transform into three-part concerto cycles for a solo instrument (less often, for two or three soloists) with an orchestra. Despite changes in form, the three-part concert cycle remained stable in its general outline from the 17th century to the Romantic era. The active, competitive nature of the first movements is undoubtedly very close to the classical sonata allegro.

A special place is occupied by two-part cycles with fugue, where the fundamental contrast is in different types musical thinking: more free, improvisational, sometimes more homophonic in the first movements (prelude, toccata, fantasies) and more strictly logically organized in the fugues. Tempo relationships are very diverse and defy typification.

The formation of the sonata-symphonic cycle was significantly influenced by the first parts of concerts for solo instrument and orchestra (future sonata Allegri symphonies), lyrical sarabands of suites (prototypes of symphonic Andanti), active, energetic gigs (prototype of finales). To a certain extent, the symphonies also reveal the influence of the Concerti grossi with their slow initial movements. Many symphonies of the Viennese classics begin with slow introductions of varying lengths (especially Haydn). The influence of the suites is also evident in the presence of a minuet before the finale. But the substantive concept and functional definition of the parts in the sonata-symphonic cycle are different. The content of the suite, which was defined as DIVERSITY OF UNITY, in the sonata-symphonic cycle can be formulated as UNITY OF DIVERSITY. The parts of the sonata-symphonic cycle are much more rigidly functionally coordinated. The genre and semantic roles of the parts reflect the main facets of human existence: action (Homo agens), contemplation, reflection ( Homo sapiens), rest, play (Homo ludens), man in society (Homo communis).

The symphonic cycle has a closed tempo profile based on the principle of JUMP WITH FILLING. The semantic opposition between the Allegri of the first movements and the Andanti is emphasized not only by the sharp tempo relationship, but also, as a rule, by the tonal contrast.

Symphonic and chamber cycles before Beethoven were markedly different from each other. Due to its performing means (orchestra), the symphony always assumed a kind of “publicity” akin to a theatrical performance. Chamber works are distinguished by greater variety and freedom, which brings them closer to narrative literary genres (conditionally, of course), to greater personal “intimacy” and lyricism. Quartets are closest to a symphony; other ensembles (trios, quintets of different compositions) are not so numerous and, often, closer to a freer suite, as well as divertissements, serenades and other genres of orchestral music.

Piano and ensemble sonatas usually have 2-3 movements. In the first movements, the sonata form is most common (always in symphonies), but other forms are also found (complex three-part, variations, rondo in Haydn and Mozart, variations in Beethoven, for example).

The main sections of the first movements of the symphonies are always in Allegro tempo. In chamber sonatas, the Allegro tempo designation is also quite common, but more leisurely tempo designations are also found. In solo and chamber sonatas, it is not uncommon to combine functional-genre roles within one movement (lyrical and dance, dance and finale, for example). In terms of content, these cycles are more diverse; they become, as it were, a “laboratory” for the further development of cycles. For example, the scherzo genre appears for the first time in Haydn’s piano sonatas. Later, the scherzo will become a full-fledged part of the sonata-symphonic cycle, almost replacing the minuet. The scherzo embodies the broader semantic element of play (from everyday playfulness to the play of cosmic forces, as in Beethoven’s Ninth Symphony, for example). If Haydn and Mozart did not have four-movement sonatas, then Beethoven’s early piano sonatas use tempo and genre relationships typical for symphonies.

In the further historical development of the sonata-symphonic cycle (starting with Beethoven), a “branching” occurs (with common “roots”) into a “traditional” branch, which updates the content from the inside and is more radical, “innovative”. In the “traditional” one, lyrical, epic images are strengthened, genre detail is often introduced (romance, waltz, elegy, etc.), but the traditional number of parts and semantic roles are preserved. Due to the new content (lyrical, epic), the first parts lose their rapid pace, maintaining the intensity of the procedural unfolding and the significance of the part that determines the entire cycle. Therefore, the scherzo becomes the second part, shifting the general contrast deeper into the cycle, between the slow part (the most personal) and the fast mass finale, which gives the development of the cycle greater aspiration (the relationship between the minuet and the finale, often also dance, is more one-dimensional, reducing the attention of the listeners).

In classical symphonies, the first movements are the most typical in terms of form (sonata form and its varieties; the greater variety of forms of the first movements of chamber sonatas was mentioned above). In the minuets and scherzos the complex three-part form decisively predominates (of course, not without exceptions). The slowest movements (simple and complex forms, variations, rondo, sonata in all varieties) and finales (sonata with variations, variations, rondo, rondo sonata, sometimes complex three-movement) are distinguished by the greatest variety of formation.

In French music of the 19th century, a type of three-movement symphony developed, where the second movements combine the functions of slow (outer sections) and dance-scherzo (middle). Such are the symphonies of David, Lalo, Franck, Bizet.

In the “innovative” branch (once again it is necessary to recall the commonality of the “roots”) the changes are outwardly more noticeable. They often occur under the influence of programming (Beethoven’s Sixth Symphony, “Fantastic”, “Harold in Italy”, Berlioz’s “Mourning and Triumphal” Symphony), unusual performing compositions and ideas (Beethoven’s Ninth Symphony, Mahler’s Second, Third, Fourth Symphonies). There may be “doubling” of parts, in a row or symmetrically (some Mahler symphonies, Tchaikovsky’s Third Symphony, Scriabin’s Second Symphony, some Shostakovich symphonies), a synthesis of different genres (cantata symphony, concert symphony).

By the middle of the 19th century, the sonata-symphonic cycle acquired the significance of the most conceptual genre, causing reverence for itself, which leads to a certain quantitative decrease in sonata-symphonic cycles. But there is another reason associated with romantic aesthetics, which sought to capture the uniqueness of every moment. However, the versatility of being can only be embodied by a cyclic form. This function is successfully fulfilled by the new suite, characterized by extraordinary flexibility and freedom (but not anarchy), capturing contrasts in all the diversity of their manifestations. Quite often, suites are created based on music of other genres (for dramatic performances, opera and ballet, and later based on music for films). The new suites are varied in their performing compositions (orchestral, solo, ensemble), and can be programmatic or non-programmatic. The new suite became widespread in the music of the 19th and 20th centuries. The word “suite” may not be used in the title (“Butterflies”, “Carnival”, Kreisleriana, Fantastic Pieces, Vienna Carnival, Album for Youth and other works by Schumann, Tchaikovsky’s Seasons, Pictures from an Exhibition by Mussorgsky). Many works of miniatures (preludes, mazurkas, nocturnes, etudes) are essentially similar to the new suite.

The new suite gravitates towards two poles - a cycle of miniatures, and a symphony (both Grieg suites from the music to Ibsen's drama Peer Gynt, Scheherazade and Antar by Rimsky-Korsakov, for example).

Close in organization to the new suite are the vocal cycles, both “plot” (“The Beautiful Miller’s Wife” by Schubert, “The Love and Life of a Woman” by Schumann) and generalized ones (“Winter Reise” by Schubert, “The Love of a Poet” by Schumann), as well as choral cycles and some cantatas.

Often in baroque music, as well as in classical and later music, it is not always possible to determine the number of parts, since the attacca stage direction, which occurs quite often, does not interrupt the flow of perceptual musical time. Also, it often happens that music, independent in thematic and, to a large extent, in form, is divided by two subtle bar lines (Sinphony from Bach’s Partita in C minor, Mozart’s Sonata for violin and piano in A minor /K-402/, Fantasia in C minor /K -457/, Beethoven's Sonatas for cello and piano op. 69, op. 102 No. 1 and many other works by different authors), which leads to the formation of individual (free) forms. They can be called contrast-composite (V.V. Protopopov’s term) or continuous-cyclic.

The performance of individual parts from cyclic works is allowed, but the cycles as a whole are united by an ARTISTIC CONCEPT, THE IMPLEMENTATION OF WHICH IS CARRIED OUT BY MUSICAL MEANS.

Unity can be manifested in a general way: through tempo, figurative roll calls of parts, similar harmonic principles, tonal plan, structure, metro-rhythmic organization, intonation connections in all parts and, especially, in the extreme ones. This type of unity is COMMON MUSICAL. IT DEVELOPED IN THE CYCLIC FORMS OF BAROQUE and is a necessary condition for the artistic usefulness of cyclic forms of any era.

But the unity of the cycle can be achieved more clearly and specifically: with the help of end-to-end musical themes, reminiscences or, much less often, harbingers. This type of unity arose in the process of development and complexity of forms of instrumental music, first appearing in Beethoven (in the Fifth, Ninth Symphonies, some sonatas and quartets). On the one hand, the THEMATIC principle of unity (discussed in detail by M.K. Mikhailov in the article “On the thematic unification of the sonata-symphonic cycle” // Questions of theory and aesthetics of music: issue 2. - M.: S.K., 1963) arises as “ condensation,” concentration of intonation connections; on the other hand, one can detect the influence of program music and, partly, the leitmotif of operatic dramaturgy.

The thematic principle of unity to some extent violates such a feature of cyclic forms as the independence of thematicity of parts, without affecting the independence of form-building (the transfer of themes, as a rule, occurs in unregulated sections of forms - in introductions and codas, mainly). In further historical development, the thematic principle of unity grew into a DEDUCTIVE one, in which the formation of individual parts more directly depends on the general figurative, content and compositional concept of the cycle. The thematic nature of the preceding parts actively influences the formation of subsequent ones, participating in their main sections (in developments, for example), or causes modulation in the form, transformation of the stereotype.

Basic literature:

1. Berkov V.S. Sonata form and structure of the sonata-symphonic cycle. M.: Soviet composer, 1961.

2. Bobrovsky V.P. Functional foundations of musical form. M.: Muzyka, 1978.

3. Mazel L.A. The structure of musical works. M.: Muzyka, 1979.

4. Mazel L.A., Tsukkerman V.A. Analysis of musical works. M.: Muzyka, 1967.

5. Sokolov O.V. Morphological system of music and its artistic genres. Nizhny Novgorod, 1994.

6. Sposobin I.V. Musical form. M.: GMI, 1956.

7. Kholopova V.N. Forms of musical works. St. Petersburg: Lan, 1999.

Further reading:

1. Asafiev B.V. Musical form as a process. L.: Music, 1971.

2. Aranovsky M.G. Symphonic quests. L.: Soviet composer, 1979.

3. Kats B.A. On the delimitation of the variation cycle // Soviet music. – 1974. №2.

4. Kohoutek Ts. Composition technique in the music of the twentieth century. M., 1976.

5. Medushevsky V.V. On the laws and means of the artistic influence of music. M.: Muzyka, 1976.

6. Medushevsky V.V. About musical universals. Composition and dramaturgy / S.S. Skrebkov: Articles and memoirs. M.: Soviet Composer, 1979.

7. Mikhailov M.K. On the thematic unification of the sonata-symphonic cycle // Questions of the theory and aesthetics of music. Vol. 2. M.: Soviet Composer, 1963.

8. Nazaykinsky E.V. The logic of musical composition. M.: Muzyka, 1982.

9. Protopopov V.V. Variational processes in musical form. M.: Muzyka, 1967.

10. Rhythm. Space and time in literature and art: Sat. articles - L.: Nauka, 1974.

11. Sokolov O.V. About two basic principles of formation in music. // About music. Problems of analysis. – M.: Soviet Composer, 1974.

12. Feinberg E.L. Art and knowledge // Questions of philosophy. 1967. No. 7.

13. Kholopova V.N. Issues of rhythm in the works of composers of the twentieth century. M.: Muzyka, 1980.

14. Kholopova V.N. Russian national rhythm. M.: Soviet Composer, 1982.

15. Hristov D. Theoretical foundations of melody. M.: Muzyka, 1980.

16. Tsukkerman V.A. Analysis of musical works. General principles of shaping. Simple forms. M.: Muzyka, 1980.

17. Tsukkerman V.A. Analysis of musical works. Complex shapes. M.: Muzyka, 1983.

18. Tsukkerman V.A. Analysis of musical works. Variation form. M.: Muzyka, 1974.

19. Tsukkerman V.A. Analysis of musical works. Rondo in its historical development. Parts 1, 2. M.: Muzyka, 1988.

Section 2 Genres of choral music

Topics 11 -12 CYCLES IN VOCAL AND CHORAL MUSIC

Composers often combine vocal, choral and instrumental works into cycles. Let us recall Camille Saint-Saëns’ instrumental cycle “Carnival of the Animals.” The music of this work is full of humor, it contains the voices of animals.

The most favorite play of many fans of the work of K, Saint-Saëns is “The Swan”. IN main topic This work, performed by a cello, depicts the graceful movement of a swan on the water.

A vocal cycle is a cycle of romances or songs united by one idea.

Remember which plays from C. Saint-Saëns’ cycle “Carnival of the Animals” you listened to in previous classes. What unites the works of this cycle?

Russian composer Modest Petrovich Mussorgsky created the unsurpassed vocal cycle “Children's”, consisting of seven musical miniatures for performance by one or two vocalists accompanied by piano. The composer himself wrote the poems for each of these small scenes.

A miniature is a small piece of music, most often an instrumental piece.

In the first play, entitled “With the Nanny,” a child persuades his nanny to tell different stories. The peculiarity of this work is that the composer conveys the boy’s emotional appeal through recitative. In this case, the stressed syllables in the words akh coincide with the melodic leap. Thanks to these musical means, the impression of a child’s living speech is created.

The second work of the cycle - “In the Corner” begins with a “high” emotional note of a nanny who is angry with her pet Mikhasik. Continuous eighth notes are a kind of accompaniment to the vigukuvan: “Oh, you prankster! I unwound the ball and lost the rods! Wow! Got all the hinges down! The stocking is all splattered with ink!” 3 angles to hear the boy's heart-warming response, embodied in minor intonations with a falling ending. The baby explains to the nanny that it was the kitten who caused the harm, not him.

Cover of printed sheet music for the “Children’s” series. Mussorgsky

Mikhas's speech gradually develops - the dynamics change, the pace accelerates, the uncertain intonations of excuses develop into the cries of an offended child. In the last four bars, the tempo of the music slows down somewhat - the boy “threatens” the nanny that he will not love her in the future, since she insulted him.

The cycle included the plays “Bug”, “With a Doll”, “Bedtime”, “Sailor the Cat”, “On a Stick”. Others, which the composer played for his friends, have not been preserved in musical form.

In each part, children show their character traits in different ways. life situations. To achieve this, the author harmoniously combines words and music. Thanks to this interaction, each of the musical and poetic plays creates the impression of a holistic and complete work, which has the right to life outside the cycle.

Modest Mussorgsky, “With a Nanny”, “In the Corner” from the vocal cycle “Children’s”.

What was your favorite vocal scene? What musical means does the composer reveal the world of a child? Pay attention to the expressiveness of the vocal melody and its connection with the text. What is the role of instrumental accompaniment in the creation of musical and poetic images?

PORTRAIT OF A COMPOSER

Modest Petrovich Mussorgsky:

“If the sound expression of human thought and feeling in simple speech is faithfully reflected in my music, and such reproduction is musically artistic, then everything is in order!”

Modest Petrovich Mussorgsky (1839-1881) - Russian innovative composer, author opera masterpieces“Boris Godunov” and “Khovanshchina”, whose music has deep national roots. He is also the author of orchestral and chamber instrumental works, romances, the creation of which he relied on folk art. The artist’s works are distinguished by depth, drama and truthfulness of images.

Born in the village. Karevo, Pskov province. He studied and worked in St. Petersburg, served in the military. The composer did not receive a professional musical education and began creating music as an amateur (amateur).

However, he subsequently decided to devote his life to art, leaving the service.

He began his active creative work in the ranks of the famous national-patriotic circle of Russian composers “The Mighty Handful”. Material need, however, forced him to work again as an official in various institutions, which distracted him from creativity.

In 1879, together with the opera singer Daria Leonova, he made a concert tour in the cities of Ukraine. Ukrainian motives are reflected in his unfinished opera “Sorochinskaya Fair” based on work of the same name Nikolai Gogol.

Monument to N. Mussorgsky near music school in Krivoy Rog (Ukraine)

1. What works are combined into musical cycles? What is the basis of the vocal cycle?

2. Give examples of musical ones in the work: instrumental, vocal, written in the form of a cycle.

Musical project. Enter the school library section “Music for Children.” Select pictures about children that can serve as epigraph illustrations for each cycle from your music library. Assignment at will. Create a cycle of several famous songs on a specific topic, give it a name. Think about the construction of the vocal cycle, the development of music according to the chosen plot of the work and the content of the surrounding songs.

IN musical cycles belong to collections of songs or plays, created according to a specific theme or concluded with the authors of fragments of their own operas, ballets, symphonies.

One of the most beloved themes, which has always inspired composers to create “magical” music, is the holiday of Christmas. Thus, the piano cycle of miniatures to the melody of carols, common in the everyday life of Ukrainians, belongs to the work of Vasily Barvinsky.

Foreign artists did not stand aside either, many of whom presented listeners with joyful moments of Christmas music. For example, the British composer Benjamin Britten created a choral cycle of carols that can be heard during the Christmas holidays in concert halls different countries.

I am in the world of music: I perceive, I understand

Benjamin Britten, “Wreath of Carols” or “Wreath of Christmas Carols” for choir, treble soloists and harp (No. 2, 5, 10).

Describe the general mood of the work and individual choral miniatures. What timbre colors does the sound of a harp bring?

PORTRAIT OF A COMPOSER

Benjamin Britten:

“Don’t give up the first time you listen to a new piece and don’t understand it... Remember that music is not entertainment, although light music serves that purpose.”

Benjamin Britten (1913-1976) - British pianist, conductor, one of the greatest composers of the 20th century, whose work represents almost all musical genres.

Born in Suffolk, in the family of a doctor. As a child, he discovered musical abilities and began studying music under the guidance of his mother, an amateur pianist and active participant in the local choir. The first small plays inspired by impressions family life, appeared early - at the age of 8. At the age of 12, Benjamin wrote a “Simple Symphony” for string orchestra, and at 16 he entered the Royal music college(conservatory). During his studies, he wrote many choral, symphonic and chamber works, including several children's songs. Since then, the author has constantly turned to music for children.

The young composer got his first job at a film company documentaries, where there was a small instrumental ensemble. Thanks to his work in cinema, Britten learned to write music quickly, even when there was no inspiration, and for various, often not at all poetic, subjects (for example, about the unloading of a ship).

In 1939, when World War II began, Britten left for America. As a response to the tragic events that took place in Europe, the cantata “Ballad of Heroes” arose - dedicated to the fight against fascism in Spain. Three years later, the composer returned to his homeland and settled in the seaside town of Aldbour. There, several operas saw the world, in particular “Peter Grimes”.

The artist also wrote many musical works for children and youth. Young spectators themselves take part in the “let’s create an opera” performance.

OH U POLI PLOW ORE

Oh, there's a plow in the field.

Generous evening, good evening,

Good health to good people!

(Repeat after each line.)

There Vasilko walks with a plow.

His mother brings him food.

Ori, son, thuyu nivka.

Yes, and we’ll sow some wheat.

1. Name the vocal-choral cycles known to you and their authors.

2. Remember and explain when during the Christmas and New Year holidays carols are sung, and when šedrivkas are sung.

Musical project. Find out what carols and schedrivkas are common in your area. Write down the titles and lyrics of your favorite songs. If possible, record melodies. Together with your parents or adults, create a “Wreath of Carols and Gifts for My Family” or “Christmas Wreath of Songs from My Land.”

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Lesson type: A lesson in the study and primary consolidation of new knowledge and methods of activity (organizing the activities of students in the perception, comprehension and primary memorization of new knowledge and methods of activity).

Didactic goal: create conditions for understanding and comprehending a block of new information about cyclic forms of music, applying them in a new educational situation, checking the level of assimilation of the system of knowledge and skills,

Content goals:

Educational:

introducing students to examples of cyclic forms of music using the example of an instrumental concert;
introduce students to the features of the form of an instrumental concert based on the features of A. Schnittke’s musical style;
develop new skills, abilities, and knowledge about the musical dramaturgy of a concert;
consolidate knowledge about the concepts: polystylistics, stylization.
introduce students to compositional techniques that allow them to combine past and present in a musical work.

Developmental:

be able to establish all possible connections between a work and phenomena of art and life (meta-subject connections: cyclic forms in music, collage in modern fine art);
based on all these connections, develop own attitude To this work through creative productive embodiment;
the ability to identify connections between works of the present and the past, features of ancient music in modern work;
be able to identify connections between works musical culture, fine arts and cinema;
develop children’s ability to distinguish by ear the sound of a solo instrument and an orchestra, their relationships;
continue the formation of listening experience in the process of getting acquainted with works of instrumental music;

Educational:

to cultivate love and respect for the musical heritage of Russian composers and the traditions of Italian and German classical music;
encourage students to thoughtfully, carefully treat the traditions of the past, national or historical flavor;
develop communication skills, practice the principle of learning through cooperation (creative activity in pairs);
to form the ability for self-realization and self-determination through creative and productive activities;
creating conditions for involving every student in active cognitive process taking into account the psychological and personal qualities of students;
increasing motivation to learn through involvement in a single creative process(working on a creative task).

Methods: partially search, reproductive, meta-subject approach.

Information and methodological support: PC, multimedia projector, interactive whiteboard, teaching materials edited by E. D. Kritskaya.

Software used: Power Point, Internet Explorer, Media Player Classic.

Technical means: recordings “The night has passed” on the lyrics. R. Rozhdestvensky, music. A. Rybnikova, “Concerto grosso” by A. Schnittke (5th movement, rondo), “Chaconne” by I. Bach, excerpt from Richard Viktorov’s film “Youths in the Universe”, presentation about the cyclic form and concert, video presentation for Rybnikov’s song, slides with reproductions of P. Filonov “Head”, I. Levitan “Lake Rus”, Alfred Sisley “Lonely Path”, Niccolo Poussin “Landscape with Two Nymphs”.

Competencies used: value-semantic, general cultural, educational and cognitive, personal improvement, search.

Types and forms of control: correcting students' oral answers, observing the creative process while working in pairs.

Lesson problem: identify the contradictions of modern music through connections between phenomena of life and phenomena in art, as well as establish connections between different historical eras.

Predicted result:

be able to perceive by ear and understand the structure of cyclic forms of music;
the ability to understand the reasons for the appeal of modern composers to the forms of classical music of the past through modern concert embodiment.

Increased knowledge, creativity:

the ability to embody one’s perception of a musical work through plastic forms (sculpting, creating a single holistic image– collage);
the ability to take part in joint performance, elements of improvisation and creativity;
acquaintance with works of music, fine art, cinema outside the given program.

Rationale.

This lesson is part of the section of the second half of the year “Features of dramaturgy of chamber and symphonic music”. Here, thanks to acquaintance with works of art of different styles and eras, teenagers have the opportunity to enter into dialogue with their peers and with people of the distant past (as if to visit different times). Thus, students have the opportunity to establish a connection between the world around them and the appearance of works that reflect what is happening in this world (the meta-subject nature of art objects). This is also a version of a health-saving lesson, as a result of searching for solutions to issues through creativity, independent embodiment in images of what was heard (listening to serious classical music - creating parts of a collage).

Organizational point: students enter the classroom to the music of A. Rybnikov, video presentation No. 1 for the song is on the screen (auditory immersion), album sheets are pre-fixed on the desks, boxes of plasticine are laid out. Slide No. 1.

Lesson structure and content

Part of the lesson, time	Contents of the activity	Notes
1. Introductory part.	Checking students' readiness for the lesson. Slide number 2.	The video footage stops. We indicate the topic of the lesson, goals and objectives.
2. Update stage knowledge. Preparatory part.	Teacher:“How do you think, how do you imagine the whole the world around us the authors of the song you heard when entering the office?” (we remind children that the authors of the music are A. Rybnikov, and the words were written by R. Rozhdestvensky). “When, at what time was this song created? Why did you decide this? Express the main idea laid down by the authors.” Students determine that this song may have been created in the 20th century, in peacetime, since the authors proceed from the idea of the world as a harmonious and harmonious whole (this is clear from the words “I’ll take this big world”, when a person dreamed of flying into space, of exploring stellar space.	The teacher's story is accompanied by a slide show.
	Teacher comments: “The making of the film in 1975, the time when man first went into space. Slide No. 3. Hence the character of the song - melodious - lyrical mood, Russian character traits - romance, dreaminess, ability to overcome difficulties, written in the form of a waltz (romantic orientation). The first person to take a step into space was the Soviet cosmonaut Alexei Leonov. Slide number 4. He not only felt how small our planet is, but also realized the responsibility of each person for the fate of the world. Let’s look at our planet again, but only through the eyes of artists from different eras.”	“The night has passed” (video sequence from the film). Video sequence No. 2 from<Приложения №1>
	What picture would you choose for this song? Why? Slides No. 5,6,7. Students: “This choice was made because man and the world are in harmony, integral unity.” Teacher: “That’s right, but both the 19th century and the 20th century in other ways were contradictory and not so friendly. The 20th century was especially full of catastrophic social upheavals Slide No. 8, and at the same time it is a century of reorganization of human consciousness in connection with numerous discoveries in the field of science and technology Slides No. 9,10,11. All these events led to a change in the worldview, which manifested itself, first of all, in the loss of the former harmonious view of the world. Alfred Schnittke Slide No. 12. (1934 - 1998) lived in this contradictory world, and when he wanted to convey the idea of the relationship between the world and man (man is strong-willed, purposeful, the world is evil, hostile, he still turns to the form Concerto grosso (XVII – XVIII century). We know the instrumental concerts of Antonio Vivaldi. No. 6<Приложения №1> Why contemporary composer addresses so ancient genre?” Students: “The composer wants to depict the confession of a man of modern times, who has absorbed the experience of centuries; man is part of the world and human culture, they cannot be separated from each other, they are united, although they contradict each other.”	We show slides with reproductions of P. Filonov “Head”, I. Levitan “Lake Rus”, Alfred Sisley “Lonely Path”, Niccolo Poussin “Landscape with Two Nymphs”. Students choose either “Lake Rus” or “Lonely Path” by Sisley, as they are similar in character, mood, and performance technique.
	Teacher:“You're right. But it turns out that music also has forms in which individual parts make up a larger work. They are part of the composer’s single plan and cannot be separated from one another. Let's remember such works together. These are: sonata, symphony, suite, concerto.” And it's no coincidence musical language Schnittke's concert echoes the melody of “Chaconne” by J. Bach. It contains the voice of a violin, like the voice of a person, with all his quests, doubts, and aspirations. He either asks, then calls, then reasons...Slide No. 14. Let's listen to an excerpt from a work by the great German composer. #4 of<Приложения №1>	Slide number 13.
	Teacher:“Let's remember how the Concerto grosso genre is built.” Students recall: “This is a musical instrumental genre based on the alternation and opposition of the sound of the entire cast of performers and a group of soloists (Italian concerto, literally - agreement, from Latin concerto - compete). This is a cyclical form of music. CYCLIC FORMS, musical forms consisting of several relatively independent parts, which together reveal a single artistic concept.” Teacher: “That's right. Such forms also exist in fine arts. Artists also tried to express the confrontation between the world and man, but only in color. In the modern world, many people are interested in creating collages. Do you know what this is?” Students answer by assuming that a collage is a picture created from different parts united by a common idea. Teacher: “Let’s clarify and get to know this concept in more detail.” Slide number 16.	After listening, students are again offered pictures Slide No. 15, and they choose a reproduction in the form of a collage, explaining their choice with the contradictions of the new century, contradictions in music: the opposition of the sound of a solo violin (like the voice of one person) and the whole orchestra (the sound of the whole world). An excerpt from Rondo 5 is playing - part I. #5 of<Приложения №1>
3. Listening to music. Completing a creative task.	Teacher:“Let's try to unite the world of music and the world of fine art. Since a person enters into constant interaction with the world around him, now, while listening to Schnittke’s music, you are invited to create a collage. You will divide the sheet into two parts, and, using modeling, one of you will embody on the first part of the sheet human condition, and the other - on the second part of the sheet - will convey the attitude of the surrounding world towards a person. Slide No. 17, 18. Schnittke’s music will tell you how the confrontation between the world and man will end. Do not forget that all your works, as parts of a single world, will be combined into a common collage. And remember that each color embodies a person’s mood, thoughts, emotions” Slide No. 19. Excerpt #5 from<Приложения №1>	After the teacher's introductory speech, the children get to work. We remind you of the table for classifying colors and their correspondence to a person’s mood.<Приложение 2>.
4. Analyze a piece of music.	Teacher asks to finish creative work, sign it on small sheets of paper lying on the desk. The guys express the idea of their work in writing and answer questions. Slide number 20. We note the peculiarity of Schnittke’s music – the combination of past and present (polystylistics). The ancient form of Concerto grosso helps the composer convey the relationship between the rapidly changing modern world and man (contradiction and, at the same time, unity). All this was typical and For Baroque era, during which the concert form arises. In a concert, the relationship between the soloist and the orchestra is subordinated to a higher order, a single idea. We repeat what cyclic forms are in music, we draw analogies in the visual arts (collage), in cinema (the principle of film editing, frequent changes of frames in a video).
5. Final stage. Bottom line.	Students compare the artistic images of their work with the music of Schnittke and Bach. Conclusion: in our time, new opportunities arise to embody the themes of war and peace, life and death, love and hate. Attraction in a piece of music various styles(modern and ancient) expands our understanding of the unity of the world and human culture.
6. Evaluation of student work.	Oral answers and creative work, including the ability to work in pairs, are assessed.
7. Homework assignment.	Repeat the concepts of “cyclic forms”, “Concerto grosso”. "collage". “Baroque”, “polystylistics”. Write down your definition of the concept “instrumental concert”. Find definitions on art websites. Compare your definition and the scientific definition, remember it. Slide number 21. If desired, students can complete a creative task, embodying the relationship between man and the world in a drawing.<Приложениe №4>	The guys clean up the workplace and leave to the song “The Night Has Passed” (video sequence from the film). Video sequence #2 from<Приложения №1>
Reflection.	Individual works of students are combined into a single collage during extracurricular hours, and an exhibition work is created with comments and annotations from students. We consolidate knowledge about cyclic forms in music, fine arts, and cinema.<Приложение №3>

Classical composers are known all over the world. Each name of a musical genius is a unique individuality in the history of culture.

What is classical music

Classical music is enchanting melodies created by talented authors who are rightly called classical composers. Their works are unique and will always be in demand by performers and listeners. Classical, on the one hand, is usually called strict, deeply meaningful music that is not related to the genres: rock, jazz, folk, pop, chanson, etc. On the other hand, in the historical development of music there is a period of the late XIII - early XX centuries, called classicism.

Classical themes are distinguished by sublime intonation, sophistication, variety of shades and harmony. They have a positive effect on the emotional worldview of adults and children.

Stages of development of classical music. Their brief description and main representatives

In the history of the development of classical music, the following stages can be distinguished:

Renaissance or Renaissance - early 14th - last quarter of the 16th century. In Spain and England, the Renaissance period lasted until the beginning of the 17th century.
Baroque - replaced the Renaissance and lasted until the beginning of the 18th century. The center of the style was Spain.
Classicism - a period of development European culture from the beginning of the 18th to the beginning of the 19th century.
Romanticism is a direction opposite to classicism. Lasted until the mid-19th century.
Classics of the 20th century - modern era.

Brief description and main representatives of cultural periods

1. Renaissance - a long period of development of all areas of culture. - Thomas Tallis, Giovanni da Palestina, T. L. de Victoria composed and left immortal creations for posterity.

2. Baroque - in this era new musical forms appear: polyphony, opera. It was during this period that Bach, Handel, and Vivaldi created their famous works. Bach's fugues are built in accordance with the requirements of classicism: mandatory adherence to the canons.

3. Classicism. Viennese classic composers who created their immortal creations in the era of classicism: Haydn, Mozart, Beethoven. The sonata form appears and the composition of the orchestra increases. and Haydn differ from the ponderous works of Bach in the simple construction and elegance of the melodies. It was still a classic, a striving for perfection. Beethoven's works are the edge of contact between the romantic and classic styles. In the music of L. van Beethoven there is more sensuality and ardor than rational canon. The following stood out important genres, as a symphony, sonata, suite, opera. Beethoven gave rise to the Romantic period.

4. Romanticism. Musical works are characterized by color and drama. Various song genres are being formed, for example, ballads. Piano works by Liszt and Chopin received recognition. The traditions of romanticism were inherited by Tchaikovsky, Wagner, and Schubert.

5. Classics of the 20th century - characterized by the authors’ desire for innovation in melodies; the terms aleatorics, atonalism arose. Works by Stravinsky, Rachmaninov, Glass are classified in the classical format.

Russian classical composers

Tchaikovsky P.I. - Russian composer, music critic, public figure, teacher, conductor. His compositions are the most performed. They are sincere, easily perceived, reflect the poetic originality of the Russian soul, scenic paintings Russian nature. The composer created 6 ballets, 10 operas, more than a hundred romances, 6 symphonies. The world-famous ballet “Swan Lake”, the opera “Eugene Onegin”, “Children’s Album”.

Rachmaninov S.V. - works outstanding composer emotional and cheerful, and some are dramatic in content. Their genres are varied: from small plays to concerts and operas. The author's generally recognized works: operas " Stingy Knight", "Aleko" based on Pushkin's poem "Gypsies", "Francesca da Rimini" based on a plot borrowed from " Divine Comedy» Dante, poem “The Bells”; suite “Symphonic Dances”; piano concerts; vocalise for voice with piano accompaniment.

Borodin A.P. was a composer, teacher, chemist, and doctor. The most significant creation is the opera “Prince Igor” by historical work“The Tale of Igor’s Campaign,” which the author wrote for almost 18 years. During his lifetime, Borodin did not have time to finish it; after his death, the opera was completed by A. Glazunov and N. Rimsky-Korsakov. Great composer is the founder of classical quartets and symphonies in Russia. The “Bogatyr” Symphony is considered the crown of world and Russian national-heroic symphony. The instrumental chamber quartets, the First and Second Quartets, were recognized as outstanding. One of the first to introduce heroic figures from ancient Russian literature into romances.

Great musicians

Mussorgsky M.P., about whom one can say, is a great realist composer, a brave innovator who touches on acute social problems, a magnificent pianist and an excellent vocalist. The most significant musical works are the operas "Boris Godunov" by dramatic work A.S. Pushkin and “Khovanshchina” - folk music drama, main acting character these operas are a rebellious people from different social strata; creative cycle “Pictures at an Exhibition”, inspired by the works of Hartmann.

Glinka M.I. - famous Russian composer, founder of the classical movement in Russian musical culture. He completed the procedure for creating a school of Russian composers, based on the value of folk and professional music. The master’s works are imbued with love for the Fatherland and reflect the ideological orientation of the people of that historical era. World Famous folk drama“Ivan Susanin” and the opera-fairy tale “Ruslan and Lyudmila” became new trends in Russian opera. The symphonic works “Kamarinskaya” and “Spanish Overture” by Glinka are the foundations of Russian symphonism.

Rimsky-Korsakov N.A. is a talented Russian composer, naval officer, teacher, publicist. Two currents can be traced in his work: historical (“ The Tsar's Bride", "Pskovite") and fairy tales ("Sadko", "Snow Maiden", suite "Scheherazade"). A distinctive feature of the composer's works: originality based on classical values, homophony in the harmonic structure of early works. His compositions have the author's style: original orchestral solutions with unusually constructed vocal scores, which are the main ones.

Russian classical composers tried to reflect in their works the cognitive thinking and folklore characteristic of the nation.

European culture

Famous classical composers Mozart, Haydn, Beethoven lived in the capital of musical culture of that time - Vienna. Geniuses are united by masterful performance, excellent compositional solutions, and the use of different musical styles: from folk tunes to polyphonic developments of musical themes. Great classics are characterized by comprehensive creative mental activity, competence, and clarity in the construction of musical forms. In their works, intellect and emotions, tragic and comic components, ease and prudence are organically linked together.

Beethoven and Haydn gravitated towards instrumental compositions, Mozart masterfully succeeded in both operatic and orchestral compositions. Beethoven was an unsurpassed creator heroic works, Haydn appreciated and successfully used humor and folk genre types in his work, Mozart was a universal composer.

Mozart is the creator of the sonata instrumental form. Beethoven improved it and brought it to unsurpassed heights. The period became a period of quartet heyday. Haydn, followed by Beethoven and Mozart, made a significant contribution to the development of this genre.

Italian masters

Giuseppe Verdi - an outstanding musician of the 19th century, developed traditional Italian opera. He had impeccable skill. The culmination of his composing activities were the operatic works “Il Trovatore”, “La Traviata”, “Othello”, “Aida”.

Niccolo Paganini - born in Nice, one of the most musically gifted personalities of the 18th and 19th centuries. He was a master of the violin. He composed caprices, sonatas, quartets for violin, guitar, viola and cello. He wrote concertos for violin and orchestra.

Gioachino Rossini - worked in the 19th century. Author of sacred and chamber music, composed 39 operas. Outstanding works are “The Barber of Seville”, “Othello”, “Cinderella”, “The Thieving Magpie”, “Semiramis”.

Antonio Vivaldi is one of the greatest representatives of violin art of the 18th century. Gained fame thanks to his most famous work- 4 violin concerts "The Seasons". Lived an amazingly fruitful life creative life, composed 90 operas.

Famous Italian classical composers left an eternal musical legacy. Their cantatas, sonatas, serenades, symphonies, operas will bring pleasure to more than one generation.

Peculiarities of a child’s perception of music

Listening to good music has a positive effect on the psycho-emotional development of a child, according to child psychologists. Good music introduces art and shapes aesthetic taste, teachers think so.

Many famous creations were created by classical composers for children, taking into account their psychology, perception and specifics of age, i.e. for listening, while others composed various plays for little performers that were easily perceived by ear and technically accessible to them.

“Children's Album” by P.I. Tchaikovsky. for little pianists. This album is a dedication to my nephew who loved music and was a very gifted child. The collection contains more than 20 plays, some of them based on folklore material: Neapolitan motifs, Russian dance, Tyrolean and French melodies. Collection “Children's Songs” by P.I. Tchaikovsky. designed for auditory perception by children. Songs of an optimistic mood about spring, birds, a blooming garden (“My Garden”), about compassion for Christ and God (“Christ had a garden as a child”).

Children's classics

Many classical composers worked for children, the list of whose works is very diverse.

Prokofiev S.S. "Peter and the Wolf" - symphonic tale for children. Thanks to this fairy tale, children get acquainted with musical instruments symphony orchestra. The text of the fairy tale was written by Prokofiev himself.

Schumann R. “Children's Scenes” are short musical stories with a simple plot, written for adult performers, memories of childhood.

Debussy's piano cycle "Children's Corner".

Ravel M. “Mother Goose” based on the fairy tales of C. Perrault.

Bartok B. “First steps at the piano.”

Cycles for children Gavrilova S. “For the little ones”; "Heroes of Fairy Tales"; "Guys about animals."

Shostakovich D. “Album of piano pieces for children.”

Bakh I.S. "The music book of Anna Magdalena Bach." While teaching his children music, he created special pieces and exercises for them to develop technical skills.

Haydn J. is the progenitor of the classical symphony. He created a special symphony called “Children’s”. The instruments used: a clay nightingale, a rattle, a cuckoo - give it an unusual sound, childish and playful.

Saint-Saëns K. came up with a fantasy for orchestra and 2 pianos called “Carnival of Animals”, in which he masterfully conveyed the cackling of chickens, the roar of a lion, the complacency of an elephant and its manner of movement, and the touchingly graceful swan through musical means.

When composing compositions for children and youth, great classical composers took care of the interesting storylines of the work, the accessibility of the proposed material, taking into account the age of the performer or listener.