Sonata form in Beethoven's piano sonata cycles (Gershkovich). Variations in Beethoven's Piano Sonatas

(1906-1989)

Place and function of the minuet →

<Сонатная форма в фортепьянных сонатах Бетховена>

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1. In all 32 cycles first parts are sonata form, except five - 12., 13., 14., 22. and 28.- cycles. It must be added, however, that the 28. cycle is a special case requiring special consideration.

2. From recent parts clean sonata forms are the last movements 5., 14., 17., 22., 23., 26, 28. cycle (i.e. seven). (True, I still don't know what the last parts of the 29th and 31st cycles are.)

It follows from the foregoing that the cycles in which and first and last parts are sonata- this is 5., 17., 23., 26.

N.B. A special case is last movement 1. sonatas, in which, with a real sonata exposition, the development is replaced - as in a large rondo - by a triangular second secondary theme.

3. Sonata forms in the middle parts cycles are found in: 3. (second part), 5. (second part), 11. (second part), 17. (second part), 18. [second part of Scherzo(!), 29. (third part) and 30. loop [ second part (?)], i.e. also in seven cycles.

However, the sonata forms of the middle movements [which are at the cycle level him (relatively) loose parts] differ, as a rule, in “flaws”: the second part of the 5th sonata cycle no development; in the second part 11. - the side theme is the final game; in the 18. Scherzo cycle (second movement) it also differs in ratios unusual for a sonata exposition; in the third part of the 29. cycle, the significance of the secondary theme is ceded by it to the connecting one, it also turns out to be the final game; the second part of the 30. cycle is devoid of a cadence that would separate the exposition from the development.

[As for the second part of the 3. cycle, it is necessary to speak about it separately.]

It turns out that in

4	parts	1.	cycle	two	sonata	forms	(first and fourth)
4	-"-	2.	-"-	one	sonata	the form	(first)
4	-"-	3.	-"-	two	sonata	forms	(first and second)
4	-"-	4.	-"-	one	sonata	the form	(first)
3	-"-	5.	-"-	three	sonata	forms	(first, second and third)
3	-"-	6.	-"-	one	sonata	the form	(first)
4	-"-	7.	-"-	one	-"-	-"-	(first)
3	-"-	8.	-"-	one	-"-	-"-	(first)
3	-"-	9.	-"-	one	-"-	-"-	(first)
3	-"-	10.	-"-	one	-"-	-"-	(first)
4	-"-	11.	-"-	two	sonata	forms	(first and second)
4	-"-	12.	-"-	none!	sonata	forms
4	-"-	13.	-"-	none!	-"-	-"-
3	-"-	14.	-"-	three	sonata	the form	(last)
4	-"-	15.	-"-	one	-"-	-"-	[(first)]
3	-"-	16.	-"-	one	-"-	-"-	[(first)]
3	-"-	17.	-"-	all three!	sonata	forms	[(first)]
4	-"-	18.	-"-	two	-"-	-"-	(first and second)
2	-"-	19.	-"-	one	sonata	the form	[(first)]
2	-"-	20.	-"-	one	-"-	-"-	[(first)]
2	-"-	21.	-"-	one	-"-	-"-	[(first)]
2	-"-	22.	-"-	one	-"-	-"-	(second)
2	-"-	22.	-"-	one	-"-	-"-	(second)
3	-"-	23.	-"-	two	sonata	forms	(first and third)
2	-"-	24.	-"-	one	sonata	the form	[(first)]

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Beethoven's 32 piano sonatas are divided into four-part (13 sonatas), three-part (13 sonatas), and two-part (6 sonatas). But if I may say so, amount parts of the sonata does not always coincide with their number. There can be three movements in a sonata, but one of them will combine the functions of two movements, so that in the end this cycle still includes four movements, of which one exists, so to speak, underwater, - on the shelf of one of the other three parts. On the contrary, it may happen that out of the four parts of the cycle, one or two of them, “absolutely” loosely constructed, cannot claim independent existence and pretend to belong to some other part of the cycle or to the cycle as a whole. So the above division into 13 + 13 + 6 does not turn out to be real from any point of view.

Let's start with four-part cycles. The first four sonatas (1. f, F, f, f; 2. A, D, A, A; 3. C, E, C, C; 4. Es, C, Es, Es) are four-part without any doubt. In them, each of the four parts is independent, although it occupies more or less in the cycle, that is, an unequal, prominent place. The same can be said about the 7. (D, d, D, D), 11. (B, Es, B, B) and even the 12. sonata (As, As, as, As), regardless of the fact that that here for the first time in a four-movement sonata (in three-movement sonatas this happened a long time ago), the relationship between the movements in the cycle complicated: in the 12th sonata there is no sonata form! In the next 13. sonata (Es, c, As, Es), where there is also no sonata form (except for the ghostly sonata features found in the third, most loose part of this cycle), the complex relationships of the parts are programmed by the fact that these parts belong to the sonata Quasi una fantasia. 15. sonata (D, d, D, D) is again characterized by the usual balance of a four-movement sonata, in which only an analysis of its infrastructure reveals phenomena that are rather unusual in their significance. Literally the same can be said about Sonata 18 (Es, As, Es, Es). 28. sonata (A, F, a, A), although its last movement is a sonata form, is close in its essence to 13. sonata. 29. the sonata (B, B, fis, B) can certainly be ranked among the “basic” four-part Beethoven sonatas (- this is where its paradox lies). 31. sonata (As, f, as[!], As) occupies an intermediate position between “ordinary” (“normal”) sonatas and sonatas like 13. or 28. As can be seen, the vast majority of four-movement sonatas pose creative (structural) problems, the solution of which was carried out without encroaching on the foundations characteristic of the four-movement sonata. Beethoven's three-movement piano sonata is an a priori attack on the usual appearance of four-movement.

But before turning to the three-movement cycles, let's go through once more before the formation of the four-movement sonatas. What are the internal relations of the four-partness in them?

1. sonata not quite indicative of a normal four-part structure. It consists of a sonata form, a small rondo, a scherzo-like movement, and a hybrid of sonata form and a large rondo. But this is not the usual type of hybrid in which the second sub-theme is replaced by a development and which can be called a rondo sonata. The hybrid, which is the fourth part of the 1st sonata, would be more correctly called not a rondo-sonata, but a sonata-rondo. Here - sonata form, in which the development is replaced by a second secondary theme.

2. sonata- normal type of four-part sonata. Its first three parts are the same as in the 1st sonata. The fourth part of it is a large rondo. 2. the sonata is indeed a normal type, standard four-part sonata, but it is perhaps (our review will show whether this is true or not), the only normal- in this sense - Beethoven's four-movement sonata.

3. sonata the form of its parts coincides with the 2. sonata, but with the exception of the second part, which is a sonata. Thus the four movements of this sonata: sonata, sonata, scherzo, large rondo.

4. sonata completely coincides in the form of its parts with the 2nd sonata. The internal structure of its movements (especially the second and third, but also the first) is very different from what happens in the same forms in the 2nd sonata.

7. sonata, as well as 4., completely coincides in the form of its parts with 2. sonata, again with very large differences in the internal structure of the parts.

11. sonata coincides in this respect with 3. sonata. Its movements are a sonata, a sonata, a scherzo movement and a grand rondo, and it goes without saying that the internal structure is highly autonomous compared to what happens in the 3rd sonata.

12. sonata devoid of sonata form. Its first movement is a theme and variations, followed by two schertz-like movements and a grand rondo.

13. sonata also devoid of sonata form. It consists of two more or less loose schertz movements, a very loose slow movement that has some sonata features, and a large rondo.

15. sonata It consists of sonata form, two schertz movements and a grand rondo.

18. sonata. The first and last parts are sonatas, the third part is schertz-like. The second movement of "Scherzo" is essentially also a sonata form. To what extent is this piling up of sonatas in one cycle related to the fact that the first movement begins with the second step?

< I половина 70 гг. >

No. 2, was written by Beethoven in 1796 and dedicated to Joseph Haydn.
The total playing time is about 22 minutes.

The second part of the sonata Largo appassionato is mentioned in the story by A.I. Kuprin "Garnet bracelet".

The sonata has four movements:

1. Allegro vivace
2. Largo appassionato
3. Scherzo. Allegretto
4. Rondo. grazioso

(Wilhelm Kempf)

(Claudio Arrau)

In this sonata, a new, not too long stage in the development of Beethoven's creative nature makes itself felt. Moving to Vienna, social successes, the growing fame of a virtuoso pianist, numerous, but superficial, fleeting love interests.

Spiritual contradictions are obvious. Should we submit to the demands of the public, of the world, find a way to meet them as accurately as possible, or go our own, difficult, difficult, but heroic path? Of course, the third moment also comes in - the lively, mobile emotionality of young years, the ability to easily, responsively surrender to everything that beckons with its brilliance and radiance.

Researchers have more than once been inclined to note the “concessions”, the outward virtuosity of this and subsequent Beethoven piano sonatas.

Indeed, there are concessions, they are felt already from the first bars, the light humor of which is a match for Joseph Haydn. There are many virtuoso figures in the sonata, some of them (for example, jumps, small scale technique, quick enumeration of broken octaves) look both to the past and to the future (reminiscent of Scarlatti, Clementi, but also Hummel, Weber)

However, listening closely, we notice that the content of Beethoven's individuality has been preserved, moreover, it is developing, moving forward.

I. Allegro vivace

An athletic movement that has a bright disposition. The second theme of exposition contains some striking modulations for the time period. A large portion of the development section is third in F major, which contains a relationship with the key of the work, A major. A difficult, but beautiful canonical section is also to be found in the development. The reprise does not contain codes and the part ends quietly and modestly.

II. Largo appassionato

One of the few instances in which Beethoven uses the tempo marking "Largo", which was the slowest such marking for a movement. The opening imitates the style of a string quartet and features a staccato pizzicato-like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven's conception of this movement. The key is the subdominant of A major, D major.

III. Scherzo: Allegretto

A short and graceful movement that is in many respects similar to a minuet. This is the first instance in his 32 numbered sonatas in which the term "Scherzo" is used. A minor trio section adds contrast to the cheerful opening material of this movement.

IV. Rondo: Grazioso

Beautiful and lyrical rondo. The arpeggio that opens the repeated material becomes more elaborate at each entrance. Rondo structure: A1-B1-A2-C-A3-B2-A4-Coda. The C section is rather agitated and stormy in comparison to the rest of the work, and is representative of the so called "Sturm und Drang" style. A simple but elegant V7-I closes the entire work in the lower register, played piano.

Beethoven dedicated the three sonatas of Op. 2 to Franz Joseph Haydn, with whom he studied composition during his first two years in Vienna. All three borrow material from Beethoven's Piano Quartets, WoO 36, Nos. 1 and 3, possibly of 1785. The sonatas were premièred in the fall of 1795 at the home of Prince Carl Lichnowksy, with Haydn in attendance, and were published in March 1796 by Artaria in Vienna.

The sonatas of Op. 2 are very broadly conceived, each with four movements instead of three, creating a format like that of a symphony through the addition of a minuet or scherzo. The second movements are slow and ponderous, typical of this period in Beethoven's career. Scherzos appear as third movements in Nos. 2 & 3, although they are not any faster than earlier minuets by Haydn. They are, however, longer than their precursors.

Beethoven's experimentation with tonal material within Classical-era frameworks begins with his earliest published works, as the first movement of the Op. 2, No. 2 sonata clearly demonstrates. After establishing the key of A major through a fragmentary, disjointed theme, Beethoven begins the transition to the dominant. When the second theme arrives, however, it is on the dominant minor (E minor), implying the keys of G major and C major. This implication is realized at the beginning of the development section, which is on C major. In the recapitulation, one would expect the transition to lead to the tonic, but here it suggests, again, C major through its dominant. At the moment the second theme arrives, Beethoven creates a deceptive cadence by moving to A minor, thus resolving the second theme to the tonic.

Sustained chords over a pizzicato-like bass part at the opening of the second movement could have been realized only on the most recent pianos of the time. In this movement, Beethoven borrowed material from the Piano Quartet, WoO 36, No. 3.

Beethoven retains the formal third principles of the minuet for his movement, an Allegretto Scherzo. There are, however, distinctly Beethovenian features, such as the second theme of the Scherzo being only a slight modification of the first theme, as well as the extension of the second section. In a reference to the key relationships of the first movement, Beethoven sets the Trio in A minor.

In the Rondo finale Beethoven applies some sonata-form procedures to the traditional rondo format and flexes his variation muscles. The overall structure is ABACAB"AC"A. Episode B touches on the dominant to such a degree that its return is rewritten to stress the tonic, while episode C is set in A minor, a key which is abandoned in favor of A major on its return.

Different interpretations of the sonata form in the works of the Viennese classics: one-dark (with a focus on the baroque prototype) sonata form by Haydn, multi-demon - by Mozart, dramaturgically built, with a through development - by Beethoven.

1. Sonata form of the Viennese classics. Section structure. Introduction(not necessary). Main types 1) preparation of sonata Allegro by means of shading, often modal contrast (J. Haydn's symphonies);

2) anticipation of the theme of the sonata Allegro (L. Beethoven. Sonata No. 8);

3) in romantic music - an independent theme involved in the development (symphonies by P. Tchaikovsky. Unfinished symphony by F. Schubert).

Exposure. The main party is the main idea of ​​the composition, the impetus for further development. Contrasting (Sonata No. 14, part 1 K.457; L. Beethoven. Sonata No. 5, part 1) and "homogeneous main theme (L. Beethoven. Sonata No. 1). Anticipation by intra-thematic contrast in the main theme of contrast within the exposition and cycle Key - basic (deviations are possible, but not modulation) Possible unstable ending (L. Beethoven. Sonata No. 1, part 1) Form - more often period (. Sonata No. 7, part 1, K.309) or a large sentence (L. Beethoven. Sonata No. 1, part 1. In the final, a simple form is possible (. Symphony in g-moll No. 40, K.550).

Connecting party. The main function is the transition from the main topic to the side one, its preparation. In tonal-harmonic terms - a move (modulation from the main key to a side one, deviations, sequences are possible); in structural terms - three stages: addition to an equal theme, transition, predkt to the key of a side theme; in the thematic - the development of elements of the main theme, the preparation of a side, general forms of movement, sometimes an independent theme (the so-called "intermediate" -. Sonatas No. 12, K. 332; No. 14, K. 457; No. 16, K. 570, first parts ). Some stages of the connecting theme may be absent, as well as sometimes the connecting theme as a whole (in some sonatas of Haydn and Mozart, where the dominant to the main key, which hardens the main theme, is equated to the tonic of the side key - “metric modulation”; also - with a short linker , which is an addition with an ending on the dominant: see, for example, Mozart's sonatas No. 1, K.279; No. 15, K.545, first parts).

The side part is the main figurative, thematic and tonal contrast. Structurally, it is a "loose" type of construction compared to the "solid" type of the main theme ("fest" and "locker" - hard and loose, A. Schoenberg's terms). Thematic relationship between the main and secondary topics is the principle of derivative contrast. In the early samples, a side theme on the material of the main one is the baroque type of mono-darkness (J. Haydn. Symphony Es-dur “with tremolo timpani”, No. 000; . Sonata No. 16, K.570). Sometimes two (or more) themes in a side part, performing different functions (Sonata No. 18, K.533/491, chL). The tonal ratio of the secondary and main: dominant direction, in major - the key of the fifth degree, in minor - parallel key or, less often, the key of the minor dominant (L. Beethoven. Sonata for violin and piano No. 9, "Kreutzer"; Sonata No. 17 , first parts). Beethoven has eponymous variants to typical related keys (sonatas No. 8-c-es; No. 21-C-E, first parts); in later works - tertian ratios, anticipating the romantics (symphony No. 9: d-B; sonata No. 29: B-G, first movements). The form in the side part is a period, usually with a large extension. Fracture (shift) in the side part (L. Beethoven. Sonatas No. 5, part 1; No. 23, part 1).

Final party. In harmonic and structural terms - a series of additions, cadence turns. In the thematic: on the material of the main theme (. Symphony No. 40, g-moll, K.550, part II, on the material of a side theme (F. Schubert. Unfinished Symphony, part II), a new theme (. Sonata No. 14, K. 457 , part 1); also in the case of building the main and secondary on the same topic). Several (two or three) final themes are possible with increasing signs of finality.

Development - part dedicated to development. In the thematic sense - the use of various themes of the exposition, their transformation, fragmentation, polyphonic connection, generally polyphonic techniques. An episodic theme (Sonata No. 12, K. 332, part 1) or a more detailed episode in development (L. Beethoven. Symphony No. 3, part 1). In many samples, the sequence of sections is similar to the exposition (the so-called “developed exposition”, the prototype is the baroque sonata form, for example: L. Beethoven. Sonata No. 1, 4.1; P. Tchaikovsky. Sixth Symphony, part 1). In tonal terms - the avoidance of exposition keys (movement towards subdominant or distant keys), the predominance of tonal-harmonic instability, sequencing (in later samples - sequencing of large sections - the so-called "parallel movements"). In a close-up, there are three sections: introductory (starts from the end or beginning of the exposition), development itself (the most extensive), pre-recapitulation. In mature samples, several sections are possible with their own climaxes (“waves” in the development of symphonies and some Beethoven sonatas).

Reprise. The main part - its dynamization is possible, sometimes - the coincidence of the climax of the development and the beginning of the reprise - a feature leading to romanticism (L. Beethoven. Symphonies No. 5, 9, first parts). It is possible to rework the main theme, its openness (Sonata No. 7, K.309, part 1).

Linking party - typical changes in accordance with the change in the tonal plan in the reprise.

The side part - as well as further in the final theme - is a transposition into the main key (or, in later samples, convergence with the main key). In minor cycles - with a major side theme in the exposition, in a reprise - a change of mode from major to minor (. Symphony in g-moll, No. 40, K. 550; Sonata No. 14, K. 457) or the preservation of the major mode with its further change in the final part (L. Beethoven. Symphony No. 5, part 1). Resolution of the main conflict and approval of the main tone and main idea (subordination of the secondary theme to the main one). Typical for Beethoven code(for Mozart - less often, for example: Sonata No. 14, K. 457). Expanded codes in symphonies and some sonatas by Beethoven, possibly reflecting the main stages of development ("second development"). Code sections: unstable section and actual code.

O special forms of reprise:

a) omission of the main theme - a reflection of the principles of baroque sonata form (one-dark sonata forms by Haydn). Rarely occurring subdominant reprises are associated with the same - baroque - roots (carrying out the main theme in a subdominant key: Sonata No. 15, K.545, part 1);

b) skipping a side theme (rarely - Overture to the opera "Idomeneo");

c) mirror reprise (Sonata No. 9, K. 311, part 1).

2. Sonata form in the music of the Romantics: expansion of the genre sphere of thematics, deepening of the contrast between the themes and sections of the form, juxtaposition instead of derivative contrast, new tonal relations of the main and side parts, closed forms of themes, isolation of sections of the main and side parts, up to tempo ones. “Subjectivity”, “eventfulness” as the basis of dramaturgy, dynamization of reprise, merging development with reprise (F. Chopin, the first parts of sonatas in b-moll and h-moll; F. Schubert, sonatas for piano B-dur, part 1, “ Arpeggio, 4.1; R. Schumann. Piano Sonata fis-moll, part 1, piano quintet, part 1; P. Tchaikovsky. Grand Piano Sonata, part 1.

Piano Sonatas No. 9, 15, 16, 23, first movements. Sonata for piano fis-moll, part 1. Sonata for cello and piano, part 1. Piano quintet, finale.

Mandatory literature:

O variability of musical form functions. - M., 1970. Kyuregyant. Form in music of the 17th-20th centuries. - M., 1998.-4.1, ch.5. Beethoven's late sonatas // Questions of musical form. - M., 1966.-Issue. one.

The structure of musical works. - M., 1986.-Ch.11. Forms of musical works.- M., 1999.- Ch.9, topic 5; chapter 10, topic 2.

Topic 20. Special varieties and modifications of sonata form

1. Sonata form without development(in the old terminology - sonatina). Scope of application - opera overtures and slow parts of sonata-symphonic cyclopes. Lack of noticeable contrasts and intensive development. The lack of elaboration is sometimes compensated for by varying the presentation of the topics in the reprise. Between exposition and reprise, a link (move) is possible, sometimes of a developmental nature. The final game is short or may be absent altogether. Often a coda, sometimes with a repetition of the main theme (rondo-shaped rhythm, a tendency to a double three-part form: Sonata No. 98, K.311, R.2). Proximity to the second form of rondo (po) or the form of Adagio.

2.Sonata form with episode instead of development. Scope of application - finals of sonata-symphony cycles, sometimes slow parts. Similarity to a trio of a complex three-part form or the central episode of the rondo sonata (L. Beethoven. Sonata No. 1, finale) or an episode of a complex three-part form (L. Beethoven. Sonata No. 7, part 2). It is possible to reflect the episode in the code. The difference between an episode in development and an episode in development.

3.Sonata form with double exposition. Scope of application - mainly the first parts of classical instrumental concertos. Difference from the old - concert form of the Baroque era. The origin is the introduction to the concerto and the traditional repetition of the exposition in the sonata Allegro. The conditionality of the form by the genre of the concerto: the competition of the soloist and the orchestra, the alternation of tutti and solo. The difference between the two expositions: textured (orchestra, tutti - soloist - orchestra); tonal-harmonic (end of exposition 1 in the main key, I - in the secondary key of the dominant or parallel); thematic (sometimes regrouping of themes in exposition II, the possibility of new themes appearing - Piano Concerto No. 20, d-moll, ch.1, K.466; Concerto for clarinet and orchestra, K.622, ch.1). The organization of the entire form of the first part of the concerto is based on the principle of contrast between tutti and solo (the second tutti,

orchestral performance on the verge of exposition and development; solo cadenza before coda; tutti in the code, echoing the second tutti).

Piano Sonata No. 17, slow movement. Overture to the drama "Rosamund".

The first parts of the concertos by F. Mendelssohn, I. Brahms, E. Grieg, P. Tchaikovsky.

Mandatory literature:

Forms of musical works. - St. Petersburg, 1999. - Ch. 9, topic 4.

Additional literature:

Special expositions in 19th century sonata form. - SPb., 1999.

Topic 21. Rondo sonata

Rondo-sonata as a synthesis of form-building elements that are different in nature

principles: rondo, based on folk song and dance genres, and sonatas as a form of professional musical art. Sufficient typicality and regulation of the form, which does not allow it to be attributed to mixed forms.

The general character of the classical rondo sonata is often light, moving at a lively pace, mainly relying on the genre features of the rondo: dance and round dance, scherzo thematics, “circling” intonations, often virtuosity. Completeness of themes and sections, a single metro-rhythmic pulsation, often in a major mode.

Dual structure of form: rondo sonata as a fundamental transformation sonata form(violation of the tonal plan of the sonata exposition due to the appearance at the end of its main part in the main key). Rondo sonata as a special variety rondo(violation of the principle of thematic renewal in each episode due to the thematic identity of the first and last episodes). In general, the rondo sonata is closer to the rondo form than the sonata.

Structure of the rondo sonata: rondo with three (or more) episodes, refrain - main party according to the type of central section of the form - two main varieties of rondo sonata: sharpening of features rondo in the case of a thematically independent, structurally designed second episode (L. Beethoven. Sonata No. 2, finale); approach to sonata form in case the second episode is development ( L. Beethoven. Sopata No. 11, final).

Refrain form: often simple two- or three-part (L. Beethoven. Sonata No. 2, finale; Violin Concerto, finale).

Varied executions of the refrain are possible (Sonata No. 3, B-dur, K.281, finale). Sometimes the omission of a refrain in the reprise of the rondo sonata, leading to the appearance of a mirror reprise (. Sonata No. 14, c-moU, K.457, finale) or between episodes in the central section of the form (. Sonata No. 13 B-dur, K.333, the final). The presence of a link (connecting part) between the refrain and the first episode (side part), where there is a modulation into the key of the dominant. Usually there is no connection between the refrain and the second episode.

Modal renewal in the central episode (parallel keys of the same name: L. Beethoven. Violin Concerto, finale; sonata for piano No. 2, finale). Often - coda (L. Beethoven. Sonata No. 2, finale).

Scope of application rondo sonatas - most often in the finals of sonata-symphony cycles, less often - in other parts.

Style varieties of the form: Haydn - one-dark rondo sonata (symphony No. 99, finale); at Mozart - rondo sonata with several episodes (sonata no. 3, K.28I, finale).

Piano Sonata B-dur К.533/494, finale. BUT - Piano Sonata F-dur K.533, finale. BeethovenJI. Piano Concerto No. 5, finale. Beethoven L, Piano Sonata No. 4, finale.

Mandatory literature:

Form in the music of the XV1I-XX centuries. - M., 1998. KholopovaV. Forms of musical works. - St. Petersburg, 1999. - Ch. Z, 7.

Additional literature:

Topic 22. Sonata-symphony cycle

Origin, connection with baroque cycles and difference from them. Stabilization in the second half of the 18th century of the sonata and symphony cycle; a certain number (3-4) and functions of the parts (active motor first part, contemplative-lyrical - second, genre-dance third and synthesizing all the main trends in the cycle finale). The number of parts - depending on the genre; 4 - in symphonies, quartets, quintets (and other chamber ensembles, except for trios), 3 - in concertos in sonatas. The contrast of the parts is figurative and thematic (“jump with filling”) and the final unity. Preference for certain forms: in the first part - sonata form (sometimes variations); the second part - any kind of sonata form, a complex three-part with an episode, Adagio-form, variations, rondo; the third movement is a complex three-movement with a trio; fourth movement - sonata form, rondo, rondo sonata, variations. The possibility of the existence of a sonata cycle without sonata form (Sonata No. 11; L. Beethoven. Sonata No. 12). The tonal ratio of parts (traditionally - all parts, except for the slow one, in the main key: connection with the baroque sonata cycle). Thematic connections and through development in the sonata-symphony cycle - in mature and late samples (. Symphony in g-moll No. 40, K.550; L. Beethoven. Symphony No. 5 and 9). Deviation from the traditional structure of the sonata-symphony cycle: in the order of parts, the exchange of places of the slow movement and the scherzo (L. Beethoven. Symphony No. 9; A. Borodin. Symphony No. I), their character, number (Beethoven's late quartets), tonal plans ( Haydn, late Beethoven) - an anticipation of romanticism.

Mandatory literature:

Form in music of the 17th-20th centuries. - M., 19, ch.7. Additional literature:

Topic 23.Free Forms of the Romantic Era

New genres in connection with programming, "literary", "eventfulness" (ballads, poems, etc.). Increased contrast, growth of the scale of forms. The principle of monothematism, the dynamic nature of development. Synthesis of cyclicity and one-partness. Deployment, completeness of exposition sections; compression, dynamization of the final sections (acceleration of development towards the end, compression of reprises. The principle "from dismemberment to fusion"). Synthetic reprises.

The leading role of sonata, its synthesis with variation, rondality, cyclicity.

Sonata and cyclicity (the merging of the cycle into a one-part continuous-cyclic composition - F. Schubert. Fantasy "Wanderer"; F. Liszt. Sonata in h-moll). Symphonic poems by R. Strauss, concertos by Liszt, Rimsky-Korsakov, Glazunov.

Sonata and variation - F. Liszt. "Spanish Rhapsody", M. Balakirev. "Islamey".

A combination of different principles in one form (sonata, variation, concentricity (F. Liszt. Tarantella "Venice and Naples"). Suite as the basis of a continuous cycle (N. Rimsky-Korsakov. Fantasy for violin and orchestra on the themes of the opera "The Golden Cockerel") Rondified forms (W. Zuckerman; F. Chopin. Ballad in f-moll).

The genre genesis of the form and its impact on the specific result of "mixing" (F. Liszt. Mephisto Waltz, a complex three-part form with a trio, transformed into a sonata form without development).

Mixed forms as a reflection of the increased role of the procedural-dynamic factor in the music of the Romantics. Compositional deviation (F. Chopin. Scherzo No. 2). Compositional modulation (F. Chopin. Scherzo No. 3), ellipsis (F. Chopin. Scherzo No. 4. Individualized forms on a given basis (F. Chopin. Polonaise fantasy As-dur).

Spanish Rhapsody; Hungarian Rhapsody No. 6. Concerto for violin and orchestra. Barcarolle.

Mandatory literature:

Forms in music of the 16th-20th centuries. - M., 1998, ch.7,

Forms of musical works.-M, 1999. - Ch.10.

ChapterIVForms in musicXXcentury

Topic 24. General characteristics of forms in musicXXin. Chromatic tonality and form. Center technique

1. General characteristics of forms in the music of the XX century. New content - new musical material - new (updated) forms. Spiritual and aesthetic bases for updating the musical language and, as a result, musical forms. The coexistence of different trends in the formation of forms and their gradual change: the predominant orientation towards typical tonal forms in the first half of the 20th century (Myaskovsky, Prokofiev, Shostakovich, Khachaturian, Khmindemit, Ravel, Honegger, etc.) and the famous strengthening of the individualization of forms (according to which the design is composed for of each work anew, as before, for example, thematism was composed) in the second half of the 20th century.

Music warehouse; new varieties: pointillism (which is based on an indefinitely large number of "voice-points" without continuation) and sonor monody (in which a formally large number of voices form a single layer inseparable by hearing); serial polyphony (the specificity of which is associated with the autonomy of pitch and rhythmic parameters, which implies the possibility of only pitch and only rhythmic imitations, canons, the coexistence of two levels of counterpunctuation - actually serial and motif-thematic) and polyphony of layers (when the object of polyphonic combinations becomes a "line" , thickened by many voices); aleatory hysterophony (arising from a mobile combination of several voices-options); the concept of a combination of several voices-options); the concept of a diagonal warehouse (as a result of a new ratio of vertical and horizontal, their gradual mutual flow).

Pitch; plurality of systems: chromatic tonality (with its inherent fundamental possibility of twelve steps, unlimited expansion of the chord, often with increased dissonance); center technique (as the next logical stage in the evolution of tonality, at which the functional relations of tonal harmony are “modeled” exclusively by dissonant components, and the whole system is built individually, according to the structure of its “central element” (Yu. Kholopov); neomodality (with its traditional reliance on stability scale, but with an infinite increase in the number of scales used); seriality and its main, dodecaphonic variety (as a result of the gradual degeneration of late tonality and new modality); sonorics (in which the coloristic tendencies of harmony of the 20th century reach the limit, resulting in the dissolution of pitch into a single colorful sonority) Unregulated musical material as a consequence of the multiplicity of pitch systems Creation of individual functional relationships based on unregulated material Functional method of analysis.

Metrorhythm. Coexistence and interaction of different types of rhythm; accented and unaccented rhythms, regular and irregular (according to V. Kholopova) in any combination. Strengthening the role of metro-rhythm in shaping. The trend towards an autonomous role of the metrorhythm in the form up to the creation of special, primarily rhythmic forms in their basis.

Thematism. Rethinking of thematism (as the focus of the individual principle) following the expansion of the sphere of the individual to almost all parameters of music (including rhythm, texture, timbre); the emergence as a result (in addition to the traditional melodic) thematic, timbre, rhythmic.

The concept of composition technique as a complex phenomenon, where the central place belongs to the method of sound organization, but which is indirectly connected with other aspects of music (metrhythm, warehouse, texture, etc.). Influence of the technique of composition on the appearance of the form. The general division of forms into: a) preserving the old structural types, but modified by means of a new compositional technique, and b) not preserving, that is, individually created anew in each work.

2. Chromatic tonality and form. The predominant connection of this technique with traditional types of forms. Properties of chromatic tonality (de-pesonance, twelve steps, separation of the chord function from its traditional structure) as a basis for rethinking the ways of creating a functional form relief. ; construction of moves in a rondo, taking into account individual systems of tonal affinity, determined by the specific properties of a given tonal system; means of creating developmental instability in conditions of prevailing dissonance). Harmonic features of the standard form, performed by means of a new tonality, by different authors. Demonstration on the example of Prokofiev's music (showing the principle of the functioning of small forms in pieces from "Fleeting": No. 1,5, 10, rondo - on the example of a piece from the ballet "Romeo and Juliet" - "Juliet the Girl", sonata form - on the example of the first parts of piano sonatas No. 5, 6, 7), Shostakovich and other authors.

3. center technology, representing a natural stage in the evolution of tonality; as a consequence - the dominant orientation of forms associated with the technique of the center to classical-romantic (that is, generated by tonality) types. The principle of technology (the central element of an unconventional structure, projecting its properties onto secondary elements; the formation of a system of relations between elements according to the properties of the central element), which implies deliberately individual ways of recreating the traditional functions of standard forms. "Skryabinsky mode" (in the music of the composer's late period) as one of the embodiments of the center technique ("dominant-like" chord with a tritone as the center of the system; its recreation at a different height, accurate or modified, as derived elements; contrasting elements of another structures). A change in pitch as a parallel to a change in key. A system of kinship resulting from the structure of the central element (according to which chords are closest at a distance of a tritone, as having a maximum of sound coincidences, and least - at a distance of a fourth). Some limitation of the dynamic possibilities of the "Scriabin mode" (which sometimes is no longer enough to create the level of tension inherent in the development of sonata form). Showing the effect of this type of center technique on the example of A. Scriabin's late works (for example: a simple three-part form in the prelude op. .61).

Mandatory literature:

Form in music of the 17th-20th centuries. - M., 1998. - nie. Chapter 15.

Theoretical foundations of polyphony of the XX century. - M., 1994. Musical composition of the 20th century: the dialectics of creativity. - M., 1992.

XX century. Foreign music. Essays. The documents. - M., 1995. - Issue 1-2.

25. Neo-modality and form. Seriality and form. Seriality and form

1.Neomodality and form. A variety of modes of the new modality, among which, in addition to traditional diatonic ones, are various chromatic ones: in particular, “Shostakovich modes”, symmetrical “Messiap modes”, etc. Interaction of modality and tonality. Coexistence and mutual influence of the functionality of the tonal type (primarily vertical-harmonic) and modal (primarily linear-melodic) type. The implementation of a new modality (historically associated with monody and polyphony) in different types of musical warehouse (including those that have lost touch with the melodic line), in conditions of different rhythms (including accented, which was not originally characteristic of modality). The possibility of different types of thematics in a new modality (in addition to the traditional melodic), in particular, textural. The admissibility of applying the new modality to forms of the classical-romantic type and having a different, historically more traditional for modality orientation (for example, lowercase forms of znamenny chant, Gregorian sequence, motet of the 16th century).

Methods for constructing a standard form by modal means; gradual deployment of the scale as a method of development; a change in the pitch position of the scale or a change of mode, partially compensating for the lack of tonal-functional development. Weakened modal functionality and its reflection in the softened functions of parts of the musical form. Low dynamic level of the modal form. Demonstration on the example of the works of C. Debussy (for example, an example of a modal simple three-part form - "The Shepherd's Play" from the III picture of the ballet "A Box with Toys"), B. Bartok (an example of a modal rondo - "Reflections" from the piano cycle "Microcosmos"), O. Messiaen (an example of modal sonata form is the piano prelude “Reflection in the Wind”) and other composers.

2. Seriality and form. The principle of serial organization: the derivation of the entire musical fabric from the sequence of non-repeating sounds of a series. The genesis of technology; 12-sound ranges and fields as preforms of dodecaphony. The acquisition of serial technology as a means of communication in a large whole (instead of the lost connecting role of tonality). The series as a boundary phenomenon between the spheres of the modal (analogous to a stable scale) and thematic (the source of motives). The series is the intonational extract of the composition, to a certain extent "programming" the structure of the form. The principle of working with the series: 4 main forms - initial, or prima (abbreviated as P or O), inversion (I), rakhod (R), rakhod inversion (RI) and their transpositions; fourth, fifth, tritone mutations, permutation, rotation, counter-rotation, interpolation, selection. The presentation of the series is single-track and multi-track (parallel holding of two or more series in different voices). Polyseries (construction of a form based on two or more different series, is rare). Basic rules of serial writing.

Warehouse and texture in serial composition. With their considerable diversity, a natural disposition to polyphony (of a special kind). Serial harmony, directly dependent on the interval content of the series, but also on the methods of "deployment" of the serial fabric (linear-melodic or chord-harmonic based on one series or by combining different serial series). Thematism. A fundamental attraction to traditional melodic thematism, but at the same time the possibility of applying serial technology to a different kind of thematism - textured, even sonoristic. The special thematic saturation of the serial fabric, which almost cancels the opposition of the theme and the general forms of movement.

Recreating the functions of parts of a traditional musical form by serial means. Differentiation used in the form of serial series into main and secondary (similar to the main and secondary functions in tonal harmony). Transposition of a series as an analog of a change of key. The principle of serial relationship; dependence of the kinship system (based on common sound elements) on the structure of the series. "Layered" serial form; a combination in it (according to S. Kurbatskaya) of three plans, three systems of repetition: homophonic, polyphonic and actually serial. Demonstration of the principles of serial form on the example of the music of A. Webern (Concerto for Orchestra op. 24: the second part is a simple three-part form, the third part is a small rondo, the first part is sonata form), L. Schnittke (Sonata No. 1 for violin and piano no), R. Shchedrin (“Horizontal and vertical” from the “Polyphonic Notebook” for piano), etc.

3. Seriality and form. The principle of seriality: the extension of serial organization to different parameters of music. Series of dynamics, rhythm, timbre, articulation. A series of different parameters, interconnected by a common principle and independent of each other. Radicalism of technology; its low compatibility with traditional types of forms; individual serial forms. Demonstration on the example of the music of A. Pärt (Second Symphony), A. Schnittke ("Pianissimo") and others.

"Russian" from the ballet "Petrushka". Variations for violin and piano. Children's piece for piano. Stravinsky I'm Elegy J.F.K. for voice and instrumental ensemble.

Mandatory literature:

Form in music of the 17th-20th centuries. - M., 1998. - Ch. Z, ch. b-7. The technique of musical language. - M., 1994. Serial music: issues of history, theory, aesthetics. -M., 1996. Neomodality and musical form // Musical art of the XX century: Creative process. artistic phenomena. Theoretical concepts. - M., 1992.

Series and form:

Schoenberg is dead // Music. World. Being. - M., 1995. Dodecaphony and tonality// Philip Gershkovich about music. - M., 1991.

Exercises in counterpoint based on the twelve-tone technique // Musical art of the XX century: Creative process. artistic phenomena. Theoretical concepts. - M., 1992. Who invented the twelve-tone technique? // Problems of the history of Austro-German music. Sat. Proceedings of the GMPI them. Gnesins. - M., 1983.-Issue 70. Music Webern. - M, 1999.

Tonality and form:

Pierre Boulez as a theorist // Crisis of bourgeois culture and music.-M., 1983.-Bbin.4-

Pierre Boulez: theoretical concepts of tonal seriality and limited aleatorics // Modern foreign musical-theoretical systems. Sat. Proceedings of the GMPI them. Gnesins. - M., 1989.-Bbin.105.

To the analysis of the Third Piano Sonata by Pierre Boulez // Musical Art of the XX century. - M, 1995. - Issue 2. Rhythmic progressions and series // Problems of musical rhythm. - M., 1978.

Towards a unified field of sound: Nr.2 Karlheinz Stockhausen// Musical art of the XX century. - M., 1995. - Issue 2.

Topic 26. Sonorics and form. Aleatoric and form1. Sonorics and form. Sonor principle: pitch-undifferentiated colorful sonorities as source musical material. Two types of sonor material: a) based on sounds of a certain height and traditional timbres (classical instruments or human voices); b) on the basis of sounds of indeterminate height, noise extracted in any way (including those involving classical instruments) and non-traditional timbres. Sonor monody and sonorous polyphony (polyphony of layers), also aleatory heterophony, as the predominant types of warehouse. Micropolyphony as a means of creating internally mobile, but generally homogeneous sound masses. Features of the rhythm with its tendency to chronometry; the displacement of the traditional metro-rhythmic measurement by the “rhythm of the close-up”. Types of sonors (according to A. Maklygin): dot, placer, spot, line, stripe, or thickened line, stream.

Reverse in comparison with the classical logic of sonorous construction, which is based on the movement not from small to large (from motive to theme and beyond), but, on the contrary, from the idea of ​​a volumetric and extended sound object in time to its more or less detailed drawing. Modification of the original sonority as a means of developing parts. Articulation of the form by changing the paint. Smoothness and gradualness in the accumulation of a new quality. The “anti-classical” essence of the form: focus on the sensory perception of the given moment, the predominant static form and the associated contemplativeness of its perception. Demonstration on the example of music by Y. Slonimsky (“Coloristic fantasy” for piano, rondo-shaped form), K. Pepderetsky (“Tren in memory of the victims of Hiroshima”, external contours of the sonata form), D. Ligeti (“Lontano” for orchestra, multi-part component form), etc.

2. Aleatoric and form. Aleatory principle: mobile coordination of parts and elements of the structure. Appeal to aleatorics as a reaction to the over-organization of the music of the serial period. The admission of elements of chance into the composition (an article by P. Boulez declaring a new aesthetics is called "Alea" - a dice). The possibility of applying aleatorics to musical material organized by means of various modal, serial, sonoristic techniques. Gradations of freedom (according to E. Denisov): a) the form is stable - the tissue is mobile, b) the form is mobile - the tissue is stable, c) the form is mobile, the tissue is mobile. A complete rethinking of the concept of form (in comparison with the classical one) in the last two cases, the rejection of its original predestination. "Technique of groups" (K. Stockhausen) as a method of implementing the second possibility (the fabric is stable - the form is mobile). Demonstration on the example of the piano piece "A piacere" by K. Serotsky. Stockhausen's "intuitive" music (with its collective improvisation under the influence of the author's verbal suggestion) as a reflection of the third, highest level of aleatory freedom (the form is mobile - the fabric is mobile). A fundamental change in the traditional relationship "composer - performer", the most modern concept of "work" and, moreover, the social role and meaning of music.

Mandatory literature:

Kyuregyant. Form in music of the 17th-20th centuries. - M, 1998. Ch. Z, ch.18. Textured forms of sonorous music // Laudamus. - M, 1992. Stable and mobile elements of the musical form and their interaction// Theoretical problems of musical forms and genres. - M., 1971.

Additional literature:

Sonorica and form:

Kudryashov Yu Catechism of the theory of the sonor mode // Problems of musicology. Aspects of theoretical musicology. LGITMiK them. . - M „ 1989. Issue 2.

Kurbatskaya S, Pierre Boulez. Edison Denisov. Analytical essays. - M., 1998.

D. Ligeti. Personality and creativity. /Comp. Y. Kreinina. - M., 1993. Sonora-coloristic tendency in the harmony of Russian and Soviet composers // Problems of stylistic renewal in Russian classical and Soviet music. - M., 1983.

Instrumental compositions by K. Penderetsky in the early 60s // Problems of music of the XX century. - Gorky, 1977.

Aleatoric and form:

Vlutoslavsky's aleatorics and features of its use in the Second Symphony // Problems of Music of the 20th Century. - Gorky, 1977. "Plus-Minus" by K. Stockhausen: symbol and sound // Musical culture in the Federal Republic of Germany. Symposium.-L., 199O.-Kassl, 1994.

Topic 27. Form in electronic music. specific music. Polystylistics and form

1. form in electronic music. The specificity of the material in electronic music. Various ways of obtaining and existence of electronic sound; variety of its features. The fundamental possibility of reproducing old material and form by electronic means. Great prospects for the search for new sounds and ways of their design: expanding the boundaries of the material and searching for the appropriate form; and vice versa, the creation of a material that meets the needs of the new form. Possibility of correlation of micro and macro levels. Combination of electronic and natural sounds. Demonstration on the example of the music of E. Denisov (“Birdsong”), S. Gubaidulina (“Vivente non vivente”) and others.

2. specific music(recorded on film "natural" sounds, including those converted with the help of electrical equipment: "Symphony for one person" by P. Schaeffer and P. Henri) as a phenomenon associated with electronics by the form of its existence (tape recording), but opposite to it, abstracted from everything natural with its "raw vitality". The organization of specific music by elementary means (such as ostinato, reprise, refrain, etc.) borrowed from traditional shaping.

3. Polystylistics and form. Polystylistics is a combination of diverse stylistic layers in music. Aesthetic acceptability of stylistic mixtures as a reflection of the specifics of modern artistic life (with its appeal to the art of different times and peoples). Similar trends in literature, architecture, painting. Collage as akin to polystylistics, but a narrower concept. The genesis of the phenomenon. Elements of polystylistics in the first half of the 20th century (in particular, in Ives, Stravinsky). Principles of quotation, pseudoquotations, allusions. The main methods of dealing with alien material: a) its gradual preparation throughout the course of development (E. Denisov. "DSCH" for chamber ensemble); b) an introduction based on the principle of contrast as a means of creating a climax (A. Pärt, Second Symphony, finale); c) the regular repeated appearance of collage inserts that create an independent, purposeful line of development (A. Schnittke, Second Sonata for Violin and Piano); d) the simultaneous coexistence of borrowed and authorial material with the shading and commentary role of the latter (C. Berio. Symphony for orchestra and 8 singing voices, scherzo).

Mandatory literature:

"Birdsong" by E. Denisov: composition - graphics - performance // Light. Good. Eternity. In memory of Edison Denisov. - M., 1999. Polystylistic tendencies in contemporary music// Alfred Schnittke. - M, 1990 Additional literature:

Form in electronic music:

Electroacoustic and experimental music // Musical culture in the Federal Republic of Germany. Symposium. - L., 1990. - Kassel, 1994.

Polystylistics and form:

On the perception of elements of the style of the past in a modern work// Traditions of musical art and musical practice of modernity.-L., 1981.

. About two types of allusions in the musical language of composers of the "new simplicity"// Musical culture in the Federal Republic of Germany. Symposium.-L., 1990. - Kassel, 1994. Modern music in the aspect of "new eclecticism" // Music of the XX century. Moscow forum. - M., 1999.

Quotation Functions in Musical Text // Soviet Music. 1975 No. 8.

Alfred Schnittke. - M., 1990. Notes on the Poetics of Contemporary Music // Contemporary Art of Musical Composition. Sat. Proceedings of the GMPI them. Gnesins. - M., l985.Bbin.79.

Topic 28. Repetitive technique. Individual (non-standard) forms

1. repetitive technique. Minimalism as a General Aesthetic Prerequisite for Repetitive Technique. Components of the repetitive technique: short melodic-rhythmic constructions, clearly metrized, with a modally interpreted tonality at the base; multiple repetition of these constructions with their fundamental functional equality; static musical form of the whole. Properties of a static form: the identity of the elements and the whole, the lack of development, the conventionality of the beginning and end. Demonstration on the example of the music of Riley ("In C"), Pärt ("Modus"), Martynov and others.

2. Individual (non-standard) forms. The genesis of individual forms, their individual examples in the late Romantic era. Individualization of shaping as the completion of the process of consistent individualization of all parameters of music. The need for systematic The impossibility of unambiguous systematics. The principle of constructing a system of forms based on various features. Principles of existing systematics of forms (K. Stockhausen, Yu. Kholopov, V. Kholopova, V. Tsenova and others). Samples of new forms on the example of Stockhausen's music and according to his own systematics (according to three parameters, namely, the nature of the material: 1,2,3, the degree of determination: I, II, III, the nature of development: A, B, C). Compositions differ in material: 1) “pointillistic”, their material is separate tones, between which equality is established (“Cross Play” for an instrumental ensemble); 2) "group", their material - characteristic groups of tones, between which (groups), despite the differentiation of scale and appearance, equality is also preserved ("Groups" for three orchestras); 3) "statistical", their material - organized according to the laws of large numbers of many elements, among which, including individual tones, and groups ("Measures of time" for 5 wind instruments). According to the degree of determinism, compositions are distinguished: 1) deterministic (Clavier pieces 1-IV); 2) variable (Clavier pieces V-X); 3) multi-valued (Clavier piece XI, "Cycles" for percussion instruments). According to the nature of development, compositions differ: developing, or dramatic (traditional forms of the previous era, which Stockhausen does not have similar); B) suites (a composite principle at the level of the whole, Stockhausen himself refers to Ligeti's Lontano); C) moment-forms, (the most radical rethinking of the entire concept of form, which is understood as open and non-directional - decentered or polycentered - the succession of an indefinite number of self-sufficient and self-contained moments - moments that merge with eternity: “Moments” for soprano, four choral groups and thirteen instruments).

The fundamental plurality of approaches to form in modern music; their irreducibility to the Stockhausen system.

Mandatory literature:

Repetitive technique and minimalism // Academy of Music. 1992. No. 4.

Atypical Forms in Soviet Music of the 50s-70s // Problems of Musical Science. - M., 1989. Issue 7.

Music of the 20th century in the university course in the analysis of musical works // Modern music in the theoretical courses of the university. Sat. Proceedings of the GMPI them. Gnesins. - M., 1980. Issue 51. Typology of musical forms of the second half of the XX century // Problems of musical form in the theoretical courses of the university. Sat. Proceedings of the GMPI them. Gnesins, RGC im. . - M, 1994. Issue 132. On the modern systematics of musical forms // I. audamus. - M., 1992.

Additional literature:

Repetitive techniques and form:

"Alternative-90": the verge of minimalism. Music. Express information. - M., 1991. Issue 2. Static tonality// Laudamus. - M., 1992.

Individual (non-standard) forms:

To the systematization of forms in music of the XX century // Music of the XX century. Moscow forum. - M., 1999.

To the question of the individualization of forms // Style trends in Soviet music of the 1970s.-L., 1979. Musical ideas and musical reality of Karlheinz Stockhausen // Theory and practice of modern bourgeois culture: problems of criticism. Sat. Proceedings of the GMPI them. Gnesins. - M., 1987. Issue 94. Musical-theoretical system of K. Stockhausen. - M., 1990.

Sample exam questions

1. The essence of music as an art form

2. Music genre

3. Musical style

4. Expressive means of music. Melody

6. Warehouse and invoice

7. Tsmatizm. Thematic development. Functions of parts of a musical form

8. Baroque instrumental forms

9. Form of the classical period

10. Simple shapes

11. Complex shapes

12. Variations. Types of variations.

13. Classic rondo shape

14. Classical sonata form. Exposition structure

15. Development in classical sonata form

16. Various types of reprises in classical sonata form. coda

17. Special varieties of sonata form

18. Rondo sonata form

19. Sonata-symphony cycle

20.Free forms of romantics

21. General characteristics of the forms of the XX century. Chromatic tonality. Center technique (series, sonorics, aleatorics and forms of the 20th century).

1. Chromatic fantasy and fugue

2.B ah I.S. Concerto for clavier in D minor, 1 movement

3. Beethoven L. Piano Concerto No. 4, 1st movement and finale

4. Sonata No. 9, 2nd movement

5. Variations for Piano in F Major

6.P Rokofiev C. Five pieces from the ballet "Cinderella" for violin and piano. Waltz, mazurka

7. Quartet No. 3, slow movement

8. Concerto for violin, passacaglia

Examples of exam tickets:

Option I

1.Rondo form and baroque concert form

2. Thematism. Thematic development. Functions of parts of a musical form

3. Beethoven, sonata No. 25, finale

Option II

1. Classical sonata form. Exposition structure

2. Music genre

3. Prokofiev, violin concerto No. 2, slow movement

LITERATURE

Mandatory literature:

Analysis of musical works. Rondo in the music of the XX century. - M, 1996.

Form in music of the 17th-20th centuries. - M., 1998.

Musical style and genre. History and modernity. - M., 1990.

On the regularities and means of the artistic influence of music. - M., 1976.

intonation form of music. - M, 1993. Technique of my musical language. - M, 1994.

Repetitive technique and minimalism // Academy of Music. 1992 No. 4.

Skrebkov- Texture in music. - M. 1985. musical form. - M.-Ya, 1980.

Forms of musical works. - SPb., 1999.

Analysis of musical works. variation form. - M, 1974.

Polystylistic tendencies in contemporary music// Alfred Schnittke. - M., 1990.

Additional literature:

DyachkovaL. Harmony in the music of the XX century. - M., 1994. Formation of the sonata form in the pre-classical era // Questions of musical form. - M., 1972. Issue 2. Polyphonic thinking of Stravinsky. – M., 1980. Rhetoric and Western European music of the 17th-first half of the 19th century: principles, techniques. - M., 1983.

Period, meter, form // Musical Academy, 1996. No. 1.

Fundamentals of musical analysis. - M., 2000. Narrative dramaturgy of the Beethoven symphony (fifth and ninth symphonies) // Beethoven. - M., 1972. Issue 2.

Musical composition of the 20th century: the dialectic of creativity. - M.1992.

Chigareva E - Alfred Schnittke. - M., 1990

Polystylistic tendencies in contemporary music//, Chigareva Schnittke. - M., 1990.

1794 Ludwig van Beethoven lives in Vienna, is successful in the world, the love interests of a young man do not differ in duration or depth - but they happen very often. But the main thing for a musician is the fame of a virtuoso performer, which is growing more and more ... However, the young musician is far from carefree enjoyment of success: in order to maintain and increase it, one must indulge the tastes of the public - often frivolous, greedy for external brilliance of virtuosity - sacrificing their own creative aspirations. Which way will the composer go?

Beethoven's genius allowed him to combine in his creations of this period the manifestations of his own creative individuality with the showiness that made such a favorable impression on the Viennese public. In the four-movement Sonata No. 2 in A major, which he created in 1796, there are also many virtuosic devices - such as passages or wide leaps, there is also a touch of humor that makes one recall Haydn's works, but there are also such features that are already at this time, the appearance of the future author of the "Appassionata" and the sonata "" is clearly outlined.

Thus, Beethoven's typical emphasis on pivot points appears already in the main part of the first movement (Allegro vivace) in a series of cadences. However, the "mischievous" appearance of the main part echoes the sonatas. But in the ratio of the main and secondary themes, one can no longer see Haydnian contrast at all - a languid and even impulsive side part anticipates romantic melodies. Syncopations, chromaticisms, tremolo in sixteenth notes accompanying the melody, as well as harmony give it special passion - here a small reduced seventh chord appears. At the time when the sonata was being created, it all seemed new. The melodic development of the side part ends at the climax with loud "shouts" announcing the beginning of the final part. It returns the atmosphere of carefree fun that reigned in the main party.

The heroic principle is primarily associated with the creative appearance of Beethoven, and it is also present in the A-major sonata. In development, one of the elements of the main part is transformed, approaching the fanfare intonation. The tremolo in sixteenth notes, which accompanied the side part in the exposition, gives it special tension - so the convergence of the elements that contrasted in the exposition gives rise to a fundamentally new image. A strong-willed sound is also acquired by another element of the main part, which in the exposition did not at all give the impression of an active one - but now its activity is enhanced by sequential development. Beethoven refracts the traditional classicist technique in a very original way - the dominant organ point before the reprise: here this section of the sonata form is preceded by a lull on the dominant harmony. This caesura of form becomes an expression of a passionate desire to return to the original images. The reprise does not introduce anything fundamentally new into them, but the lull at the end of the movement creates the impression of incompleteness, which is also very typical of Beethoven's sonata cycles, which become especially solid due to this.

The characteristic features of Beethoven's style are even more clearly presented in the second part - Largo appassionato. Almost "violin" themes in their cantilena are set forth most often in the middle register - the richest, most conducive to "singing" on a keyboard instrument, only in the last performance it goes into a higher register (here the composer seems to entrust it to woodwinds with their "light » timbre). The theme acquires a special emotionality due to the rich texture. In this slow part, a contemplative mood dominates.

A striking contrast to the slow second movement is the third one, where the traditional minuet is replaced by a scherzo – and this is where the composer's innovation is manifested. The scherzo of the second sonata (Scherzo. Allegretto) still corresponds to the original meaning of this word - “joke”: there really is a fair amount of humor here. But there is also a cantilena beginning in the scherzo - it is concentrated in a trio.

In the finale (Rondo. Grazioso) the composer uses the rondo form. Elegance and virtuosic brilliance, so beloved by contemporaries, dominate here. However, the beaten rhythm, accents, and even individual fanfare intonations penetrating into the finale, here again demonstrate a typically Beethovenian “musical language”: a young composer, creating something that the public will surely like, nevertheless remains himself and opens up new paths in development. sonata genre. Despite the influence and felt here, Beethoven already declares himself as a composer of a very original character.

An interesting twist of fate awaited Sonata No. 2 in Russia: in 1910, Alexander Ivanovich Kuprin wrote the story "Garnet Bracelet", in which the second part of the sonata plays a very important role, becoming a kind of posthumous message from the hero to his beloved.

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The sonata was written by the composer in the early period of the composer's work. The work is dedicated to Joseph Haydn. The sonata consists of 4 parts, each of which sequentially reveals the dramaturgy of the development of the image.

Throughout each of the four parts of the sonata, its life-affirming concept is consistently revealed and affirmed. Positivity, optimism and love of life - these are the features that most fully characterize the figurative side of the work of the older "Viennese classic" - Joseph Haydn. And behind the main tonality of the sonata - A-dur, the meaning of "light", graceful tonality was semantically fixed.

I part of the cycle - according to the tradition of the classics, written in the form of Sonata Allegro. The ratio of images of G.P. and P.P. typical for the work of L.V. Beethoven. G.P. is active and upbeat. P.P. sets off G.P. with grace and playfulness. The sound of both themes in the main key in the reprise section of the 1st movement brings the two images closer in sound.

Part II - Largo appassionato (D-dur) - introduces a contrast, reveals new emotional facets of the work. The main theme is impetuous, passionate, it undergoes continuous development and comes to its climax at the end of the movement.

This work consists of 4 parts, which testifies to the convergence of the sonata and symphony genres in the composer's work.

III part - Scherzo. As mentioned above, L.V. Beethoven made changes to the composition of the sonata-symphony cycle of his works. One of the innovations was that instead of the Minuet in the 3rd part of the cycle, the composer uses the Scherzo, thereby expanding the range of images of both the 3rd part itself and the work as a whole. Such is the structure of the 3rd movement of this sonata.

The scherzo has a playful, playful character. It is based on 2 images that shade each other.

The III part of the sonata is written in a complex three-part reprise form with a trio in the middle part.

The I part of the complex form is a simple three-part two-dark reprise form.

Part II (trio) - a simple three-part one-dark reprise form.

Part III - exact reprise (da capo).

Part I (bars 1-45) - written in a simple three-part two-dark reprise form. Its function is to expose and develop the main theme ("a"). The theme "a" has a scherzo, playful character.

1 part of a simple three-part form (bars 1-8) - a square period of a varied-repeated structure, consisting of 2 sentences.

Middle cadenza (4 measure) - half, incomplete: II2#3 - II43#3-II65#3 - D53.

Final cadenza (bars 7-8) - incomplete, perfect: D7 - T53.

In general, the period exhibits the main theme - "a".

The main key of the 1st movement is A-dur (as is the main key of the entire sonata). The tonal-harmonic plan of the 1st part of a simple form is simple and static (this is dictated by the expositional type of presentation), based on harmonic revolutions (plagal, authentic, full) of classical harmony using chords of a tertian structure.

In the 1st sentence, the main key is asserted due to a full harmonic revolution with the inclusion of altered chords of the S-group:

1 measure 2 measure 3 measure 4 measure

T53 T53 II2#3 II43#3 II65#3 D53

• The 2nd sentence also establishes the main tone, using bright authentic phrases:
• 5 beat 6 beat 7 beat 8 beat

• 1 part of a simple form is characterized by a rarefied texture. The main expressive grain of the theme "a" is the timbre-spatial ratio of 2 elements of the theme (the active element with sixteenth durations in the upper register and dense chords in the lower register).
• Part 2 of a simple three-part form (bars 9-32) - has a double function: the development of the theme "a", the exposure of the theme "b" shading the theme "a". That. Part 2 has the structure of a free construction, in which 2 stages of development can be distinguished:
• Stage 1 (bars 9-19) - develops the theme "a". Development occurs by varying the main theme and its motivated development. Varying, the theme "a" is carried out in different keys, which leads to the flexibility of the tonal-harmonic plan.
• 9 beat 10 beat 11 beat 12 beat 13 beat 14 beat 15 beat 16 beat

D53 D7 D53 (VI) D VI53 III53= s53 D65 D7

17 beat 18 beat 19 beat

D7 - t53 t6 - s53 t64 - D7.

Based on the above bar-by-bar harmonic analysis, we can conclude that on the verge of 1-2 stages of development of the 2nd part of a simple form, modulation occurs in the tonality of the 7th step (gis-moll). The transition to a new key is carried out by equating the chord III53=s53.

The change of tone marks the appearance of the next round of development. Stage 2 begins (bars 20-25) - a new theme “b” appears in it, which by its nature sets off the theme “a”: against the background of moving Albertian basses, a cantilena melody sounds.

Lado - harmonic development does not go beyond the new tonality (gis-moll). Its approval takes place through full and authentic revolutions:

20 beat 21 beat 22 beat 23 beat 24 beat 25 beat

t53 D43 t6 VII64 t53 II6 t64 D53 t53 D43

• Part 2 ends with an open authentic cadence (t53 - D43).
• Bars 26-32 are the preface, the preparation of the reprise of the I part of a complex form. The role of the predicate is also to return the key of A-dur, in which the reprise will sound. The intensity of the sounding of the pre-excitation is due to the frequent change of the harmonic pulse, a chain of deviations, which gradually return the harmonic development to the main key.
• 26 beat 27 beat 28 beat 30 beat 31 beat 32 beat

t6 D7 VI53=D53 D7 s 53 D43

The reprise of the I part of a complex three-part form comes after a general pause.

The reprise (bars 33-45) is extended (with a four-bar addition). The presence of such an addition after the cadenza is one of the features of L.V. Beethoven. In general, the reprise is accurate with the statement (in addition) of the main thematic elements of the image "a".

Part I of the complex three-part form ends with an incomplete, final, perfect cadenza:

42 beat 43 beat 44 beat 45 beat

The second part of a complex three-part form is a TRIO.

The characteristic features of the trio include:

• - thematic design
• - clear structure (simple three-part form)
• - the presence of the main tone.

The trio is written in the same key (a-moll), which is introduced without a gradual transition, by comparison.

Structurally, the II part of the complex three-part form is a simple three-part one-dark reprise form.

Part 1 of the trio (bars 1-8) is a square, open period of a varied-repeated structure.

Middle cadenza (4 measure) - half, incomplete cadence (D43 - D2).

Final cadenza (bars 7-8) -

complete, final, perfect (e-moll):

7 measure 8 measure

s53-t64-D7t53

The function of part 1 of the trio, therefore, is to expose (1st sentence) and develop (2nd sentence) the theme "c" (the main theme of the Trio).

The theme "s" is of a song, cantilena character. It is homogeneous in structure: the melodic line is set out in even durations against the background of Albertian basses. The undertone in the middle voice creates bright harmonic combinations. The mobility of the bass voices provides a frequent change of harmony (for each beat of the measure), forming passing harmonic revolutions:

1 measure 2 measure 3 measure 4 measure

t53 - D64 - t6 VII64g - t6 - D64 t53 - D64 - t6 VII64g - t6 - D64

5 beat 6 beat 7 beat 8 beat

t53=s53 - t6 - D43 t53 - II 53 - t6 s53 - t64 - D7 t53

Based on bar-by-bar harmonic analysis, we can conclude about the features of the harmonic development of the 1st part of the trio.

The harmonic development of the 1st sentence does not go beyond the framework of the main key and is aimed at its affirmation, which occurs through authentic phrases. The developing nature of the 2nd sentence of the 1st part of the trio led to a greater mobility of harmonic development. The impetus for it is the modulation in measure 5 into the key of the minor dominant (e-moll), in which the final cadenza will be performed.

• The 2nd part of the trio (bars 9-16) has the structure of a square period of a single structure. It sounds in the key of a parallel major to the main key of the trio (C-dur), which is introduced without preparation, by comparison. The function of part 2 of the trio is the development of the theme "with".
• Movement 2 ends with an open incomplete cadenza in the main key of the trio (a-moll).

The harmonic development of the 2nd part of the trio can be divided into 2 stages. Stage 1 (bars 9-11) - approval of the new key:

9 measure 10 measure 11 measure

T53 - D64 - T6 D2-T6 - D43 T53 - D64 - T6

• Stage 2 (bars 12-16) - a gradual return to the key of a-moll:
• 12 measure 13 measure

VII43 II6 VII65 II53 = S53 - t6 VII6

From bars 14 to 16, the downward movement of the basses in octaves leads to the final open cadence.

3rd part of the trio (bars 17-24) - is a varied reprise. The variation concerns, first of all, the 2nd sentence of the reprise. The melodic line is duplicated in an octave. The tension in the sound of the reprise is also given by the fact that almost the entire 3rd part is sustained on the dominant organ point, which creates a tense expectation of resolution.

The trio ends with a final, perfect cadenza (bars 23-24): t53 - II6 - D7 - t53.

After the trio, there is a note from the composer: "Scherzo D.C." This means that the third part of the complex three-part reprise form exactly repeats the first part, thereby asserting the primacy of the main image of the Scherzo - the theme "a" and creating symmetry for the work.

Part IV of the sonata A-dur op. 2 No. 2 completes the figurative development of the entire work, summing it up. It is written in the form of a rondo, where the main theme of the refrain has a playful, graceful character, set off by a number of active, dynamic episodes.