Formation of the "prelude and fugue" cycle in instrumental music at the end of the 16th-17th centuries. Bach's clavier

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To find out how, under what circumstances, the small cycle was formed, it is necessary to trace the formation of each of its components: the fugue itself and the prelude.

Praeludere (lat. "to play in advance, prepare for the game") arose in the improvisations of church organists, establishing the mode (mode) of the music to be performed during the service; with similar impromptu "introductions", performers tested the tuning and tone of their instruments. "The earliest surviving organ preludes are found in the Yleborg Tablature (1448), Paumann's Fundamentum organisandi (1452) and the Buxheim Organ Book (1460-70)." The prelude was not characterized by a specific form, the improvisational beginning prevailed, because, often acting as a sample instrument before any play, the prelude not only preceded it musically, but often contrasted it. characteristic features prelude is the use from beginning to end of a single type of texture, free development, figurative development of material, often imitation and elements of a polyphonic warehouse. In mature manifestations, the prelude is “an important independent type of composition, often very lengthy, the purpose of which is to anticipate the nature and mood of the service, to give a poetic musical commentary on the traditional text of the anthem. The chorale prelude was cultivated by Bach's North German predecessors - especially Scheidt, Buxtehude, Pachelbel and Böhm.

Pieces similar to preludes also had other names: preamble, intrada, richercar, fantasy, toccata.

Toccata, like the prelude, was born from the “essence of instrumental playing”, but still there are significant differences between them: “most likely, organ and clavier toccatas arose from trumpet fanfare, which opened the festivities in the late Middle Ages ... Pretorius ... points to the chord warehouse toccatas: the organist must, when playing it, give simple but ornamented chords. In this regard, it is important to note the difference between the toccata and the prelude, the nature of which was not predetermined by the festive procession, but had the origins of an everyday, lyrical-improvisational nature.

The genre of fantasy is one of the oldest in instrumental music and dates back to the 16th century. Unlike the early instrumental genres, which had a close relationship with vocal ones, fantasy has an improvisational nature of precisely an instrumental nature (because it was originally performed on plucked instruments). Its features "are expressed in the deviation of the norms of construction for their time, unusual combinations of "terms" usual for this era - structural and meaningful." In the period of interest to us - the era of strict style - the fantasy genre was marked by a magnificent flowering.

Developing, these improvisational forms (fantasies, preludes, toccatas) were divided into two directions: “In the 18th century. preludes began to be created as independent plays; at the same time ... a stable cycle of prelude-fugue developed, in which both components set off each other.

“The result of the evolution of fantasy towards the end of the 18th century ... is the transformation into a prelude to a fugue or into an independent free form.”

The emergence of the fugue, a musical form that left almost none of the composers of different eras indifferent, was prepared by the entire history of counterpoint, starting from the 15th century. The most ancient type of development - variation, - in the Renaissance, developed in the work of many composers into well-defined genre forms of both vocal and instrumental music. All of them were united by the dominant variational principle of development. " artistic practice late XVI - first half of XVII century gives excellent examples of the commonality of forms in such genres as ricercar, canzona, fantasy and, finally, fugue ... Ricecarr gradually turned into fugue, canzona partly also closed with fugue ...., fantasy led both to fugue and to the free form of fantasy itself , the fugue, originally subordinated to the principle of variation, under the influence of the old sonata, three-part form and rondo, overcame variation and became a manifestation of the independent principle of musical form.

Fuga (lat. - flight) at first denoted the canon, and when the term "fugue" was rethought, it is impossible to pinpoint exactly. Some researchers give more precise dates, for example, R. Gruber: “Giovanni Gabrieli brings the richercar closer to the fugue with the help of plastic characteristic themes and their contrapuntal development ... The famous organ piece ... 1595 is essentially the first fugue that has come down to us.” In the work “Syntagma Musicum” (1619) by the German theorist M. Pretorius, the fugue is already defined in its modern meaning: “The fugue is nothing more than the frequent repetition of the same theme in different places. It is named so from the word "run", i.e. one voice catches up with the other, singing the same theme. In Italian, she means ricercare, which means "to explore", "seek", "find". It is by this figure that musical talent should be most judged, whether he is able to evoke sounds suitable for a certain kind of melodies and combine them with each other in a good and laudable sequence.

It was in the ricercar of the 16th century. the features characteristic of the fugue were determined: the theme-cell, its inversions, increases, decreases, mobile counterpoint, stretta combinations. The theme-response relationship (leader-companion) determined not only the expositional succession, but also the continuing part. Later, the ricercar acquired a specifically instrumental character, and in the "XVII century the number of topics in it was reduced to one - this process led directly to the fugue." As you can see, the individual components of the fugue were polished over a number of centuries, absorbing (absorbing) the changes characteristic of a particular historical and cultural period.

“One of the secrets of such resilience was revealed more than a hundred years ago by Ludwig Bussler, the author of the book “Strict Style. A textbook of simple and complex counterpoint, imitations, fugues and canons in church modes ": of all the forms based on imitation, the fugue is the most perfect, not only because it can accommodate all contrapuntal forms in its further development, but also because it combines the conditions of the greatest rigor and the most unlimited freedom.

"In the Baroque era, the main cyclic forms there was a suite, a sonata da chiesa, a concerto grosso, and a form consisting of a prelude (toccatas, fantasies) and a fugue. Thus, many researchers agree that the prelude-fugue cycle developed much earlier than the 17th century. And even the “weaving of fates” of prelude and fugue in a truly polyphonic style: penetrating each other, interacting in every possible way over the centuries, these two diverse, heterogeneous forms merged into a strong tandem, a vicious circle, a “microuniverse”.

The outstanding contemporary composer Valentin Silvestrov in one of his lectures on music said something like this: "Fugue... What is this musical term, you can understand by referring to Bach. That will be quite enough."

Fugue: what is polyphony

The modern listener perceives the fugue as a secular piece of music. The man who lived in the 17th century was a deeply religious person. The fugue was performed in the church, continued the conversation with God in prayer in a language understandable to everyone of deep musical and religious symbols.

Bach's work is associated with the era of the Reformation, the main condition of which is the thought of salvation and faith. Protestantism, the ideas of Lutheranism are impregnated and Savor. Rather, both of them (spiritual and secular) embodied the human desire for knowledge of the divine essence. Fugue is not just complex music, but a kind of spiritual code of German musical culture of the late 17th - early 18th centuries. Subsequently, it became the property of the whole world.

"My name is Bach"

We will try to explain what a fugue is with an example from cinema.

In the early 2000s, the Swiss made a film called My Name is Bach. It has an amazing episode. The aging Johann Sebastian Bach comes to Potsdam to visit his son. Young King Frederick (future Frederick the Great) showing the composer a collection of musical instruments. He immediately arrogantly invites the master to write a fugue for three voices on a topic he has chosen in advance. Then he decides that the composer's homework is too easy. He complicates it by declaring that he prefers to own a six-voice fugue. The king is clearly provoking the guest. What is commonly understood in musical terminology under the concept of "fugue"? What is six voices? And why is a seemingly innocent conversation humiliating for the master?

Canon

To begin with, let's turn to the canon, a faithful assistant to musicians in the Renaissance. Douglas Hofstadter, author of the world-famous book Gödel, Escher, Bach: This Infinite Garland, for which he received the Pulitzer Prize, has a description of it.

In canon, the theme is played and repeated in multiple voices. The simplest is circular, when entering, the second voice copies the theme, then others join in turn. The next step: the topics differ in tonality, the voices sound at different tempos.

The canons use complex reversed themes. Bach in his work often resorted to them. Ascending moves turn into descending ones while maintaining the intervals. The most bizarre form of such a canon is the "backward" canon, in which the theme is played backwards. It is called "crayfish".

Canon and fugue

The fugue is similar to the canon in that the main melody and imitations are performed by voices in different keys, sometimes at a different tempo. But she is not so strict, emotionally richer. One voice leads the topic to the end. Then the next one enters, but in a different key. The first voice complements the theme, contrasting with the main one. Subsequent themes enrich the fugue with melodies. In the end, all voices are heard without respecting the rules. Thus, fugue is defined as a polyphonic musical form in which one theme is played in different voices (usually 3 of them) keys and modifications.

Of the 48 preludes and fugues of Bach's Well-Tempered Clavier, there are only two in five parts. Hofstadter believes that such a construction of improvisation is similar in complexity to a blind chess game on 60 boards at the same time. But back to the plot of the movie.

Gift to the monarch with a riddle

Bach returns home to Leipzig, sends the monarch a rich musical gift, which, among other things, includes 2 fugues for 3 and 6 voices. The canons sent as an offering were intentionally incomplete. The impolite Friedrich was given the opportunity to come up with an ending on his own, but the monarch could not do this. Only a few years later, a student of Bach will complete them. Fugues have many solutions, so it was impossible to put Friedrich in an awkward position.

Prelude and Toccata

Bach's prelude is a preface that precedes something important, significant. The chorale prelude was played on the clavier or church organ before the chorale was performed by the community of parishioners. The composer's prelude and fugue are usually conceived at the same time. Prelude - free improvisation. A fugue is an important maxim, a thought. In the preludes, the mood is prepared before the start piece of music more significant, with strong images.

Over time, Bach, creating polyphonic cycles, elevated the prelude, put it on a par with the fugue. AT later composers Less and less people turn to the prelude, although Chopin, Debussy, Scriabin, Shostakovich, Shchedrin, Slonimsky have them.

If the fugue is translated from Italian means "running", then toccata - a touch or a blow. Bach's toccata and fugue in D minor are known to all. It usually refers to the organ work BWV 565, although the composer wrote a great many works of this nature.

Leonard Bernstein: on the difficulty of understanding Bach

Interesting are the arguments of the American composer and conductor Leonard Burstein, popularizer classical music. He thinks he's crushing musical syllable Bach awes composers, awes performers, and desponds all the rest of the uninitiated in musical mysteries.

As his own views (Burstein's views) on Bach's work changed, the understanding comes that the composer's music hides the greatest beauty hidden from a cursory reading. “And you have probably never heard this music…” Burstein ends his reflections with a provocative phrase. At first glance, the strange idea is simple and understandable. You can often hear skeptical arguments, as if all these concepts are so hackneyed: fugue, minor, and the master's music itself sounds almost from every iron.

Fugue ... What it is, it is not clear to everyone. And today the composer's music, like three centuries ago, is difficult to listen to, efforts and knowledge are required. And it certainly is a lot of work. Hearing and hearing, Burstein believes, are different concepts.

baroque music

The 17th century is considered rational. He went down in history, along with other achievements of human thought, baroque music. She, as in a mirror, reflects the joys and contradictions of the age. The prelude and the fugue are two unified interrelated works. Prelude - improvisation and flight, fantasy, takeoff.

The fugue is life itself, measured, orderly, solemn and somewhat ponderous. The first part is like youth, light, running away, cheerful. The second is serious, polyphonic, subject to the laws of a mature and complex world. Fugue is a game of "who will catch up with whom." The theme arises in one voice, then in another, they alternate, disappear, they are replaced by losses. Then they (voices) try to catch up with each other, literally stepping on their heels.

Bach's creative heritage is huge and priceless. He left 1100 works to posterity. Experts say that this is only a third of everything written.

29. Bach's clavier work. HTC, Italian concert, English and French suites

The first and second volumes of The Well-Tempered Clavier were compiled in 1722 and 1744 and each included works from different years. Nevertheless, in the second volume, apparently later preludes and fugues are collected, the general appearance of the volume is somewhat more complex, and a number of fugues are larger in scale. By creating these two huge cycles, Bach gave invaluable artistic support to the idea of equal temperament, new in his time. Separate attempts to compose multi-tonal cycles existed a little earlier (among them were seventeen clavier suites by Pachelbel), but it was Bach's creative work that received historical significance. With the introduction of equal temperament, it became possible to use all the keys of major and minor, the implementation of any modulation plans, the use of anharmonism. If the fugues from H.T.K. mark a high stage of modal thinking, then their collection as a whole affirms the full maturity of the entire major-minor modal system.

In addition to H.T.K. Bach has a number of separate preludes-fugues, preludes-fughettes, fantasies-fugues, toccata, fugues and fughettes for the clavier. Among them there are pieces that are modest in scale, probably for educational purposes, and detailed, majestic (prelude and fugue a-moll No. 894, reworked into a triple concerto for flute, violin, clavier and orchestra No. 1044), and passages in organ style (fugue a minor No. 944, revised for organ). If the compositional principles of the clavier prelude-fugue are consistently disclosed in HTC, then the freer form of the toccata (or fantasy), although it comes into contact with some preludes, remains outside these frameworks. Bach's seven clavier toccatas are brilliant works with significant signs of improvisation, coming most of all from organ traditions. The composition of the whole reveals a certain similarity with the "small cycle" and at the same time is not without commonality with larger instrumental cycles. The toccata sections (there are three or four of them) are different in tempo and type of presentation, the fugue part is usually the most significant, everywhere the lyrical Adagio is singled out in one way or another, but all this is not as complete as in the sonata cycle: one section directly passes into another. The fantasy usually precedes the fugue and does not claim to be as self-defining as the toccata.

Bach's only program work for the clavier as a whole is not very significant for him and refers to a very early time (1704): "Capriccio sopra la lontananza del suo fratello diletissimo" ("Capriccio on the Departure of a Beloved Brother"). Nevertheless, in terms of intonation and imagery, here, too, one can notice some typical Bach features. The first part is a small arioso "Persuasion of friends not to go on the road", graceful and naive. The second, imitation, is "The image of various incidents that can happen in a foreign land." The third, Adagissimo (as if in vocal music, only melody and basso continuo) - "General complaints of friends." This is Bach's lamento on an ostinato bass, with solid sighs in the melody. The short chord fourth movement is a solemn farewell. Fifth - "The Postman's Merry Aria" (the postal carriage drives off). And finally, the sixth, and last, is the three-voice "Fugue in imitation of the postman's horn."

Strictly speaking, Bach's educational pieces are not distinguished by a sharp line from his other clavier works. After all, the French Suites (partly recorded in the first "Note Book for Anna Magdalena Bach") and even the "Well-Tempered Clavier" were used by Bach for pedagogical purposes. 20 small preludes, 15 two-part and 15 three-part inventions (three-part Bach called "symphonies"), composed especially for training sessions, bear a vivid imprint of the composer's personality and - within their modest limits - represent his individual style. They have long been familiar to all musicians, since they are the first to introduce them into the study of the great Bach heritage. The nature of polyphony, the figurative possibilities of any light prelude, the independent movement of voices in inventions without subordination to the structure of the fugue - all this naturally, even in childhood, begins for us not "lightweight", but genuine Bach. Seven of the two dozen small preludes the composer placed in the "Clavier Book" of the eldest son Wilhelm Friedemann; In the same place, Bach wrote down with his own hand "An explanation of various signs showing how to play some decorations with taste", which give the key to his ornamentation.

A number of Bach's works for the clavier were published during his lifetime, in contrast to other works that remained almost entirely in manuscript. In 1731 he published the first part of the Klavierübung, including six partitas. The second part of the Clavier Exercises (1735) contained the Italian Concerto and another partita. The fourth (1742) included the Goldberg Variations. When selecting pieces for publication, Bach preferred those that could be more easily distributed and at the same time were not very large in volume: he was unable to publish even the first volume of The Well-Tempered Clavier, which was distributed only in handwritten copies. For clavier instruments (harpsichord, pedal harpsichord, two harpsichords), Bach's scientific and compositional work The Art of the Fugue (1749 - 1750) is intended. Here, at the end of his days, he wished to collect and summarize much that he had accumulated in polyphonic skill, and based on one clear, simple theme, he created thirteen fugues and four canons (adding to them an arrangement of the last two fugues for two harpsichords). In addition to the many polyphonic combinations (while varying the theme itself) in eleven fugues, the twelfth and thirteenth fugues solve an ingenious task: in each of them, the second half mirrors the first. The specially methodical goal set by Bach did not imply a particular figurative breadth or any immediacy of expression in this cycle. But the art of polyphony, shown by him in all its complexity, testifies to the greatest clarity of mind, which the composer retained to the end of his days.

Bach's clavier music gives a whole scale of movement from simple to complex - in terms of form, type of presentation, requirements for the performer: from small preludes, two- and three-voice inventions to French and English suites, from suites and scores to concerts, to cycles " Wohltemperiertes Klavier", to fantasies with fugues, to the idea of "Kunst der Fuge". The difference in scales and degrees of complexity is connected, of course, with the different figurative content of the plays, but they are always figurative in Bach, even when conceived for educational, applied purposes. In essence, everything here is meaningful, and everything, in the final analysis, to this day constitutes a school of mastery for a musician.

First place among clavier compositions Bach needs to stage preludes (fantasies)-fugues - his highest expression polyphonic writing in music for the clavier. This unity of two pieces, a kind of "small cycle", has long been prepared in the practice of free prelude on the organ (or clavier) as an introduction (prelude, preamble) to the next fugue. Elements of such a juxtaposition are also found in large improvisational-polyphonic forms - organ toccatas and fantasies (for example, in Buxtehude), where passage- or improvisational-prelude fragments coexist with imitative episodes. In the work of Bach, as you know, a classical fugue has developed. It usually followed the prelude (or fantasy) now recorded by the composer as a developed and completed piece of a certain character.

Fugue and prelude are compared as two different polyphonic forms, two different understandings of what about such an image. What unites this prelude with this fugue? Researchers are trying to find certain thematic connections between the two parts of the "small cycle", but these private observations do not yet allow us to draw a general conclusion and establish the pattern of such a combination. It is also impossible to draw analogies between the unity of the prelude-fugue and the great cycles of that time (suite, sonata, concerto). In the latter, there is a clear tendency to establish the function of each movement along with the gradual definition of its figurative nature (for example, the middle slow part as the lyrical center of the cycle, etc.). "Small cycle" is understood in principle differently. The fugue can embody images of any type - lyrical, heroic, majestic, mournful, joyful, calmly concentrated, idyllic, etc. Its function in the "small cycle" is not associated with figurative typification. The prelude in the figurative sense also has no clear restrictions. This figurative breadth in both cases implies a multitude of individual solutions for combining the prelude-fugue. The principle of compensatory, or complementary, contrast is most clearly manifested here, often with the unity of the figurative mood in the cycle, and sometimes even with the common intonation warehouse (Chromatic fantasy and fugue). However, almost every case is individual. Behind the large, of many sections (70 bars) prelude Es-dur from the I volume of "H.T.K." followed by a small (37 bars), rather light fugue. F. Busoni considered this an unfortunate discrepancy. Bach, on the other hand, was probably looking for just such a contrast in this case, since the prelude bore the main content load. Strict, objective in its thematic fugue D-dur from the II volume of "H.T.K." demanded for her part a lively, jig-like prelude. In the cis-moll prelude and fugue from Volume I, there is more unity of images and emotions (mournful, serious, with pathetic features), conveyed, however, in different ways: a small prelude (39 measures) is saturated with dramatic intonations of exclamations, and an extensive fugue (115 measures ) unfolds on a strict focused main theme with a slow, consistent growth of emotions. Rather united than opposed are the preludes and fugues in g-moll, b-moll, h-moll (all from Volume I of H.T.K.). But this unity of figurative inclination (mournful, lyrical, dramatic) is expressed with such richness of shades in each of the cycles that each time an individual solution arises. A particularly striking example in this sense is provided by the prelude-fugue in h-moll. To the most dramatic exclamation in the theme of the fugue (small nona! ), which determines the impression of the whole, corresponds - and opposes at the same time - the intense anxiety of the prelude with its pulsating rhythms. Sustained, prolonged anxiety - and after it a sudden exclamation, as if in a pathetic speech.

Chromatic Fantasy and Fugue in d-moll (1720-1730, No. 903) occupies a special place among Bach's clavier works in terms of the nature of the themes and imagery, in terms of the scale of form (79 and 161 measures) and sound. Inheriting the traditions of organ art (monumentality, improvisational scope), Bach simultaneously introduced into the rhapsodic recitatives of fantasy and the theme of the fugue an emphatically subjective principle, close to dramatic forms (in particular, to the accompaniment of recitatives of spiritual cantatas). At the same time, he also carried out certain gradations in the expressiveness of fantasy, on the one hand, and fugue, on the other. Fantasy is saturated to the limit with the pathos of dramatic expression, the fugue, as it were, moderates the direct expression of feelings, without removing the sharpness of the impression. In fantasy, broad, bold, virtuoso instrumental improvisation of a pathetic warehouse and a recitative monologue are compared, connected as if in a single poetic impulse by rich texture, complex harmonic writing, and sophistication of rhythms. The harmonic basis of fantasy is extraordinarily bold and new; here Bach reaches the limit in free use harmonic means up to enharmonic ones. In general, this work, so to speak, is extraordinary in terms of strength and scope of the embodiment of images that are unusual in their intense drama. Therefore, Bach included the expressive properties of large organ improvisations in the clavier fantasy, combining them with musical and dramatic recitation of theatrical origin.

Along with the actual polyphonic forms, Bach willingly developed on the clavier the cyclical forms of suite sonatas, in which he also did not refuse polyphonic methods of presentation and development. Six French suites, six English suites and seven partitas make it possible to imagine with sufficient completeness exactly how the composer understood the cycle. clavier suite and how his understanding changed. The title "French Suites" denotes a tradition rather than a precise definition of the genre. The tradition of turning to dances in music for the harpsichord (beginning with J. Ch. de Chambonnière) and in musical theater (J. B. Lully) was fixed for the French authors of the 17th century. However, the contemporary French harpsichordists of Bach (he knew their work very well) did not create dance suites, but large rows of elegant miniatures with program names. More consistently developed a suite of certain dances (allemande, courante, sarabande, gigue) just German authors, including Pachelbel in music for clavier. When creating the "French Suites", Bach singled out in this designation, on the one hand, the tradition of French harpsichordism, on the other hand, the French tradition of the wide inclusion of dances in chamber, orchestral and theatrical music. But the French harpsichord suites proper were not a model for him.

Unlike Handel, who completely freely understood the cycle of the clavier suite, Bach gravitated toward stability within the cycle. Its basis was invariably made up of allemande-curanta-sarabande-jig, otherwise various options were allowed. Between the sarabande and the gigue, as the so-called intermezzo, various, newer and “fashionable” dances were usually placed: the minuet (usually two minuets), the gavotte (or two gavottes), the burre (two bourre), anglaise, the polonaise, the lur, the paspier. Sometimes in the same "plug-in" function you can find "aria", burlesque, scherzo. The main parts of Bach's suites are somewhat different from the dances included in the intermezzo and are more often sustained in a more transparent, homophonic presentation with greater proximity to the dance source. The four main dances, which went through the history of stylization in the suite even before Bach, are already far from their fundamental principle, although they do not break with it in the nature of the movement. In some details of texture, in ornamentation, Bach partly relies on the experience of French harpsichordists. But first of all, he leaves his own imprint on the style of presentation, polyphonizes the dance, introduces imitative techniques (especially in the gigue), gives the dance a prelude or magnificent improvisational movement (in the sarabande).

The meaning of comparing the four main parts in the suite at first glance lies in the contrasts of the dynamic order: softer between moderate and "dense" allemande and easily moving chimes, sharper between slow, emotionally rich sarabande and impetuous gigue. This was the end of the matter for many of Bach's predecessors and contemporaries. He also deepened this contrast as emotional, figurative, and thus outlined the new functions of the parts in the suite cycle. This is best seen in the example of his sarabande. Without violating some of the traditional signs of movement (for example, the accentuation of the second beat of the measure with a triple time signature and a slow tempo), Bach gives the sarabandes of his suites and partitas an unprecedented depth of expression - lyrical, lamentose, pathetic (see successively II English Suite, II and VI French, VI English, Partitas I and VI), equating them in significance with other excellent examples of his lyrics and pathos. Thanks to this, the sarabande often becomes not just the slowest part of the suite in a certain movement, but the true lyrical center of the cycle. It is followed, further emphasizing its function, by light dances and pieces of intermezzo, and the final giga forms a scattering, impetuous, lively finale. Thus, the dynamic contrasts of the cycle begin to develop into figurative contrasts in Bach's suites.

This process finds its expression in the interpretation of the beginning of the cycles, which is noticeable in the example of the English suites and scores. All of them open with either preludes (in eight cases out of thirteen), or overtures (in two cases - in partitas), or a symphony (sinfonia), fantasy, toccata (on one occasion in partitas). French suites do not have introductory parts. In some cases, the initial prelude (in the I English Suite and the I partita) or the fantasy (in the III partita) do not perform any function other than the actual opening. For the most part, in terms of breadth of scale, significance of development, even in form (the type of French overture, a large toccata of two sections in partitas), the first, non-dance parts of the English suites and Bach's partitas claim to be the center of gravity in the cycle, which also determines their function among other parts of it. The composer seems to be searching, “trying on”, choosing various types of pieces to start the cycle, not yet settling firmly on any of them, but preferring those that are developed in composition, sometimes detaining attention on an overture or a toccata from two sections.

Bach's monumental cycle of preludes and fugues, known as the Well-Tempered Clavier, is rightly considered one of highest achievements musical art. When creating it, Bach set himself a very specific goal - to acquaint those playing the clavier with all 24 major and minor keys (many keys with large quantity key signs were not in use at that time). He wanted to show the undoubted advantage of the new tempered tuning of keyboard instruments over the natural tuning generally accepted in the old days. The idea of temperament before Bach was also creatively supported by other musicians, for example, Pachelbel, Matteson, but Bach's solution to this artistic task became unique in craftsmanship and inspiration.

The appearance of the 1st volume of the "HTK" refers to 1722, the 2nd - to 1744; both volumes contain works from different years.

In both parts of the HTK, the preludes and fugues are arranged in pairs in “small cycles” (prelude and fugue in the same key) in ascending sequence along the chromatic scale.

In "HTK" Bach emphasized the characteristic semantics various tones. So, for example, D-dur personifies energy and triumph, c-moll - severe drama and pathos; Bach's h-moll is associated with a tense, passionate and mournful mood; es-moll and b-moll - with images of humility and sadness; E-dur and Fis-dur are associated with gentle pastoral images. B-dur - the tone of "angels and babies", very gentle and pure.

The fugue is built exclusively on the passages of the theme, which form numerous stretches. The 1st stretta appears already within the exposition (bars 7-8). The three-part and four-part strettas are contained in the middle part of the fugue. The theme here changes intonation: altered steps appear, mind 4 instead of part 4. Of the three recapitulations of the theme, 2 are also given in the form of a stretta. The fugue is completed by the anabasis figure - an ascending scale of five sounds (a symbol of resurrection).

AT cycle D-dur the music of the prelude is notable for its lightness, grace, rhythmic elasticity, and the lush and majestic music of the fugue is sustained in the "theatrical" style of the French overture (the theme stands out for a sweeping upward leap to the sixth and dotted rhythm, which are developed in wide interludes). Lush, majestic fugue music is sustained in the "theatrical" style of the French overture (dotted rhythm, sweeping upward leap to the sixth).

Chopin (op. 28) and Scriabin (op. 11) arranged their preludes according to the principle of tonal relationship. Bach, obviously, was interested in a more visual arrangement of the keys of the tempered system.

Semantics - semantic meaning.

Other titles of this kind were also used, for example preamble, intrada, ricercar, fantasy, capriccio, toccata etc.

Rising quarts have long been used to express cheerfulness, mental stamina. In old chants and cantatas, quart-interval motifs often contain key words that speak of faith in the Lord.

The evolution of the "small baroque cycle": prelude and fugue in the work of composers - the predecessors of I.S. Bach

Introduction

Epoch XVII - first half XVIII century traditionally seen in research literature as a time of intense search in the field of musical art. At this time, there is an expansion of the range of stylistic means, the formation of new genres and principles of composition. Among the brilliant achievements of this time are the emergence of opera, oratorio, cantata, as well as the flourishing of instrumental music, which until that time was "in the shadow" of the dominant vocal polyphony.

Three periods are distinguished in the music of the era: early (the work of C. Monteverdi, G. Gabrieli, G. Schutz), middle (A. Scarlatti, A. Corelli, J. B. Lully, G. Purcell), later (J.S. Bach, G. F. Handel, G. F. Telemann, A. Vivaldi, D. Scarlatti, R. Couperin, J.-F. Rameau). Only by the names of composers, and, accordingly, genre preferences, one can understand how wide and deep the music world. “Moreover, one can say with absolute certainty what a great multitude of musical styles did not combine any previous stage in the history of art.

Among the discoveries of instrumental music of the 17th-first half of the 18th century, one can name the formation of a “small” cycle (microcycle), consisting of a prelude (toccata, fantasy) and fugue, which is one of the most interesting phenomena of the musical art of the Baroque era. In many ways, the comparison of the improvisational freedom of the first part and the strict intellectualism of the second part reflected the worldview of a complex era, its extremely intense and diverse antinomy. At the same time, the uniqueness of the microcycle is also due to the fact that, having reached its peak in the work of I.S. Bach, it does not go into the past along with the era that gave birth to it, but already in the art of the XIX-XXI centuries. “carries out a kind of connection of times.” As is known, F. Mendelssohn, N. Rimsky-Korsakov, S. Frank, M. Reger, P. Hindemith, D. Shostakovich, R. Shchedrin and many other composers turn to the cycle “prelude (toccata, fantasy) and fugue”.

Traditionally in music science, a small polyphonic cycle is considered on the example of I.S. Bach. At the same time, an important stage in the development of this genre in the previous period remains “behind the scenes”, that is, in the works of the predecessors and contemporaries of the great German master.

Interest in the formation and evolution of the "small cycle" until it reaches the top in the work of I.S. Bach determined the choice of the topic of this course work: “The evolution of the “small baroque cycle” in the work of composers - the predecessors of J.S. Bach.

The purpose of this course work is to analyze the evolution and ways of forming a small (polyphonic) baroque cycle on the example of the work of composers of the "pre-Bach" period.

The object of the study were three preludes and fugues written by I. Pachelbel, I. Fischer and D. Zipoli. These works reflect the various stages of the formation of the genre model that interests us.

The purpose of the work allows us to formulate a number of tasks:

· consider a small polyphonic cycle in the context of the aesthetics of the Baroque era;

· trace the formation of improvisational instrumental forms and fugues;

· to analyze the features of the interpretation of the small cycle in the work of composers of the pre-Bach period on the example of the works of I. Pachelbel, I. Fischer and D. Zipoli.

Research literature devoted directly to the small polyphonic cycle as a wholefew.

In this regard, we note the article by E. Svetalkina, in which the small cycle is considered as a unique and peculiar phenomenon of the Baroque era, incorporating “its most characteristic and most expressive features”. Thus, the small cycle is viewed through the prism of “genre instability, multiplicity, diffuseness”, when the most dissimilar compositions could be united by one “generic name” and “the border between many instrumental genres of the Baroque was conditional”.

Here it seems appropriate to make a small digression and explain where, in fact, the term "small cycle" came from. This question was of great interest to the author of this work when studying sources, since it was found everywhere in musical works, but at the same time, such a textbook concept does not exist either in the musical encyclopedia or on electronic resources. BUT! “The seeker will find”, and in the work of M. Lobanova there is this definition: “The personification of the baroque cosmos is the“ Well-Tempered Clavier ”. "New Chromatics" is enclosed in a strict framework. The number 2 builds the whole composition - the whole (two volumes - two circles of chromatics), a small cycle (prelude - fugue) // italics I.S. // , the organization of the tonal plan (the antithesis of the major and minor of the same name in neighboring small cycles), styles (the antitheses of the “free” prelude and the “ordered” fugue)”.

Further, the process of convergence of toccata with ricercar "mainly in organ music" and "the transformation of a multi-dark ricercar into a single-dark fugue and the formation of the prelude preceding it in the work of J. Frescobaldi" are mentioned. The article concludes that “at the turn of the XVII-XVIII centuries. the prelude was the most natural pair for the fugue.

As for the problem of the evolution of improvisational instrumental forms and fugue, there are many works on this issue. Let's call it "Essays from instrumental forms of the 16th-beginning of the 19th century" by Vl. Protopopov, in which a whole chapter is devoted to the predecessors of the fugue: ricercar, canzone and fantasy. N. Simakova's monumental monograph "Counterpoint of strict style and fugue" in two volumes deserves close attention in the context of the chosen topic. The first volume examines how the norms of voice behavior gradually developed from the forms of polyphony in the Middle Ages, then in the Renaissance, which later led to the rules of contrapuntal writing, and also shows the ancient genres in which the imitation form was formed (since in musical treatises of the 15th-16th centuries, the terms "canon", "imitation", "fuga" often overlapped). In the second volume, in addition to understanding the "contradictory, ambiguous" art of the Baroque, detailed coverage of the development of counterpoint leading to the fugue is given, as well as the works of musicians - theorists of the 16th-17th centuries. (of the pre-Bach period), considering the fugue as "one of the private issues of musical theory and practice." The conclusion made by N. Simakova reads: “1. the fugue is in close contact with the next major events counterpoint; 2. takes part in its formation great amount musicians." Also in the 2nd volume, the works of theorists of the late 18th-20th centuries are analyzed, in which the fugue is already considered as an independent composition and as a genre. It should be noted that in the work of various composers of the XIX-XX centuries. fugue was given great attention, which can be read in the works of A. Dolzhansky, Yu. Kon, S. Korobeinikov, N. Krupina, J. Fine, T. Frantova, I. Tsakher, K. Yuzhak. In connection with the analysis of small cycles presented in the 3rd chapter of this work, the necessary methods were taken from the Guide to the practical study of V. Zolotarev "Fugue", which in the most detailed way"gives the technical skills without which the student is usually unable to approach a complete and fluent mastery of the complex writing of the fugue."

A separate "block" of literature was made up of works devoted to the aesthetics and poetics of musical baroque. The fundamental research in this area is the monograph by M. Lobanova, which is first extensive workabout the musical-theoretical and aesthetic views of the Baroque era, the styles and genres of the main music schools, the interaction of music with other types of art, the doctrine of allegories and emblematics, as well as the work of O. Zakharova, which gives detailed overview problems of "music and language" ("sound and word") and the meaning of musical rhetoric, which helps "to comprehend the multitude musical techniques, "inventions", partially described later already from the standpoint of the actual musical theory.

Also, when revealing the chosen topic, the following works turned out to be interesting and meaningful: the chapter “Baroque Music as a Historical Artistic Paradox” from A. Kudryashov's Study Guide; monograph by S. Kozlykina "The Style of G. Frescobaldi"; "Chamber Music of the Early Baroque" by L. Shevlyakova and many other works.

1. "Small cycle" as a reflection of the worldview of the Baroque era

As you know, in the XVII - the first half of the XVIII century there was a change in the socio-economic structure, grandiose scientific discoveries, which turned the idea of the universe, and Europe was shaken by seemingly endless conflicts, revolutions and wars. The proclamation of freedom and innovation, declared by the very essence of baroque aesthetics, sometimes gave rise to strange and bizarre forms. creative expression. "Where old and new era, fantastic images and forms are inevitably born in culture.

This also applied to musicians who tried (and found!) New means of expression, choosing “invention” as their motto, understanding it as “discovery”, “invention”, “innovation”. But the “invention” concerned precisely the creative process, which presupposed knowledge of common “themes”, “ideas”. "The system of "discovery" ("ars inveniendi") and the art of "combination" ("ars combinatoria") require special ingenuity: the old basis is preserved, the material is usually traditional - ready-made formulas associated with a strict canon of representation of affect, style, genre ".

The theory of affects - a new dimension in music, associated with the "analysis of the soul", the expression of human passions - one of greatest achievements the baroque era. “Monteverdi identified three main passions: anger, confidence and humility (plea). This pattern has held up throughout the epoch.” Strict canons of the depiction of affect were developed; so, joy (good) - Lydian, Mixolydian, Hypoionian modes, prohibition of dissonances, increased and decreased intervals (joyful: third, fourth, fifth), saltos figure, anabasis, fast tempo without syncopation, 3 xdol size. Affect of love: "weak" intervals, syncopations, dissonances, calm smooth movement. Affect of sadness: rigid intervals, free dissonances, chromatics, sixth chords, violations of harmonic connections, slow movement of tirata with sharp syncopations, Dorian, Phrygian, Aeolian modes, musical-rhetorical figures ellipsis, climax, gradatio, katabasis. Complaining affect: second intonations lamento, suspirato - a sigh, wide intervals (fifths, sixths, sevenths), other means are similar to the affect of sadness.

A direct relationship is drawn between dissonances, musical-rhetorical figures, rhythm and affects: punctuated and sustained notes should express the serious and pathetic in music, the alternation of long and fast notes serves the sublime and majestic. The typification of keys depending on the affects was developed by the Neapolitan opera: D-dur - bravura and heroism, d-moll - revenge, g-moll - complaint, G-dur - pastoral, A-dur - love, cis-moll, fii-moll - demonic scenes. A change in the context of the rhetorical figure entailed the possibility of a transition to the opposite affect. In the late Baroque, there is a transition from the image of affects to the image of a certain character.

Another striking consequence of the renewed baroque culture was the “awareness of the spatiality of the compositional factor”. All Baroque scientists and thinkers are occupied with a new perception of space: a person exists between two abysses - infinitely small and infinitely great. In music, the exploration of space manifested itself primarily in the Venetian multi-choir: Andrea and Giovanni Gabrieli "were destined to make a qualitative leap - to make the new polyphony multidimensional." Just as important was the doctrine of "musical order" - the purpose of music, its place in the world. The category of time was comprehended in a new way: the “theme of frailty” permeated the Baroque with endless lamentations.

At the same time, at the “historical crossroads”, according to Lobanova, the “extremes” of the Baroque era speak of “paradoxes and limits of synthesis, achievable precisely in the combination of the incompatible, about tests for incompatibility, about connections found in the gap.” After all, the proclaimed motto of freedom and innovation gave rise not only to a rethinking of existing styles, genres and themes, but also brought some confusion to the heads of many artists, created an intensity of passion. Opposite beginnings of any phenomenon are considered absolutely equally; feelings-antonyms are inseparable from each other; every question contains an answer; “Yes” and “no” are two sides of the same essence… A logical question arises: how in such a full of contradictions, oddities, and sometimes pretentiousness, time could crystallize such (such?) perfect symbiosis - the cycle of “prelude and fugue”?

“In the emblematics of the Baroque, eternity is a continuous run in a circle ... which determines the choice of the leading key musical and rhetorical figures circulatio (circle) and fuga (running), which form the majority of counterpoints.” Eternity and time in music is understood as an alternation of incompatible processes filled with the opposite affective meaning: genre and style antitheses, contrasting styles. So we came close to the answer to the above question, and the paradox is that "chaos gave rise to harmony, and chaos is contained in harmony"! The essence of baroque aesthetics anticipated many trends in art for several centuries, aggravating the problem of "man - the universe" to the utmost, delimiting these concepts and at the same time showing their inseparable connection. “The fact that the baroque extended the principle of antithesis to the world and art gives this culture a unique identity.”

The prelude and fugue became the embodiment of such principles of baroque aesthetics and poetics as the combination of the incompatible, the balance of antitheses, the unity of opposite principles. The improvisational prelude (fantasy, toccata) embodies the idea of freedom, the fugue embodies the established, established order; the emotional, unreal beginning, characteristic of the prelude, subjugates the intellectual rationalism inherent in the fugue; the spontaneous improvisation of the prelude is opposed by the clear structure and organization of the fugue.

Thus, the small polyphonic cycle can be fully considered the embodiment of the aesthetic ideal of the musical baroque. “The measure of freedom is musical order, the measure of order is musical freedom. Baroque brings extremes together, creates a system of opposing principles. The balance of the baroque is the balance of the antithesis.

The next question is that the small cycle has reached perfection with I.S. Bach, crowning the apogee of the Baroque, but was created and very actively used by composers - the predecessors of the great Master of the late Baroque, which will be proved in the third chapter of this work.

polyphonic baroque fugue bach

2. Formation of the "prelude and fugue" cycle in instrumental music at the end of the 16th-17th centuries

To find out how, under what circumstances, the small cycle was formed, it is necessary to trace the formation of each of its components: the fugue itself and the prelude.

Praeludere (lat. "to play in advance, prepare for the game") arose in the improvisations of church organists, establishing the mode (mode) of the music to be performed during the service; with similar impromptu "introductions", performers tested the tuning and tone of their instruments. "The earliest surviving organ preludes are found in the Yleborg Tablature (1448), Paumann's Fundamentum organisandi (1452) and the Buxheim Organ Book (1460-70)." The prelude was not characterized by a specific form, the improvisational beginning prevailed, because, often acting as a sample instrument before any play, the prelude not only preceded it musically, but often contrasted it. The characteristic features of the prelude are the use from beginning to end of a single type of texture, free development, figurative development of material, often imitation and elements of a polyphonic warehouse. In mature manifestations, the prelude is “an important independent type of composition, often very lengthy, the purpose of which is to anticipate the nature and mood of the service, to give a poetic musical commentary on the traditional text of the anthem. The chorale prelude was cultivated by Bach's North German predecessors - especially Scheidt, Buxtehude, Pachelbel and Böhm.

Pieces similar to preludes also had other names: preamble, intrada, richercar, fantasy, toccata.

The fantasy genre is one of the oldest in instrumental music and dates back to the 16th century. Unlike early instrumental genres, which had a close connection with vocal ones, fantasy has an improvisational nature of precisely an instrumental nature (because it was originally performed on plucked instruments). Its features "are expressed in the deviation of the norms of construction for their time, unusual combinations of "terms" usual for this era - structural and meaningful." In the period of interest to us - the era of strict style - the fantasy genre was marked by a magnificent flowering.

“The result of the evolution of fantasy towards the end of the 18th century ... is the transformation into a prelude to a fugue or into an independent free form.”

"In the Baroque era, the main cyclical forms were the suite, the sonata da chiesa, the concerto grosso, and the form consisting of prelude (toccata, fantasia) and fugue." Thus, many researchers agree that the prelude-fugue cycle developed much earlier than the 17th century. And even the “weaving of fates” of prelude and fugue in a truly polyphonic style: penetrating each other, interacting in every possible way over the centuries, these two diverse, heterogeneous forms merged into a strong tandem, a vicious circle, a “microuniverse”.

3. The cycle of "prelude and fugue" in the clavier work of composers - the predecessors of I.S. Bach on the example of the works of I. Pachelbel, I. Fischer, D. Zipoli

Based on the study of research literature, it can be concluded that the small polyphonic cycle was formed approximately in the third quarter of the 17th century. It seems interesting to analyze various variants of its embodiment in the works of baroque composers: I. Pachelbel, I. Fischer, D. Zipoli. Let's present brief biographical information about each of them.

Johann Pachelbel (1653-1706) - German composer and an organist who has achieved wide fame, including as a teacher. He studied Johann Christoph Bach - the elder brother and teacher of J.S. Bach. The extensive heritage of Pachelbel is dominated by works for keyboard instruments: 70 choral preludes, 95 organ fugues to the Magnificat (for the evening service), a number of non-church pieces: toccata, preludes, fugues, fantasies, etc. Pachelbel was one of the direct predecessors of J.S. Bach in genres organ music. The style of his polyphonic writing combines great clarity and simplicity of the harmonic basis, the fugues are thematically specific, but not yet developed and essentially consist of a chain of expositions. Improvisational genres are characterized by significant integrity and unity. I.S. Bach closely studied Pachelbel's instrumental compositions, and they became one of the sources for the formation of his own musical style.

Johann Caspar Ferdinand Fischer (1662-1746) - German court composer - composed mainly instrumental music: a collection of orchestral suites "Spring Diary" - 1695, Pieces de clavesin-1696 in the French manner; Musicalischer Parnassus-1740, in Italian style; two collections of organ music Ariadne musica-1702, which includes 20 preludes and fugues in 20 keys, and Blumen straube-1732, consisting of pieces in 8 church modes; there are also 2 vocal collections church music. Instrumental works I. Fisher are well known to I.S. Bach, in particular, modeled on the collection Ariadne musica created the Well-Tempered Clavier.

Domenico Zipoli (1688-1726) Italian organist and composer. He studied in Italy with A. Scarlatti, B. Pasquini. In 1716 he published a collection of pieces for organ and harpsichord, which quickly gained popularity. From 1717 he lived in Argentina. Masses, motets and other spiritual compositions of D. Zipoli were widely performed in the churches of South America, where he was sent to serve by the Order of the Jesuits.

"Prelude and Fugue" d-moll by I. Pachelbel.

The chordal prelude (even with some toccatic elements) is a 3-part reprise form with a developing middle. Thematically, this prelude is surprisingly solid: each of the voices consistently draws its own line, which is unchanged throughout the work; in general, an impression of rigor, and in some places even the "inevitability of being" is created.

The use of rhetorical figures and means inherent in the affect of sadness helps to create a vivid image of “fatality”: intra-bar (bars 2, 4, 8, 22) and inter-bar (bars 1, 2, 6, 8, 11 - 13, 15, 17, 19, 20, 23, 24, 26) syncope; sixth chords; chromatic intonations (for example, the introductory tone to the first step appears 5 times during bars 1-4).

Particularly interesting is the bass part, which begins with the rhetorical formula circulato, continuing downward and ending with broken jumps: by a fourth, mind. 5↓, fourth and fifth↓ from V to I (bars 3-4). This theme will sound 6 times in the prelude, changing somewhat in the middle and fully affirming itself in the reprise. In figurative terms, this theme expresses the drama of human existence: running in circles, searching, failures and losses, vicissitudes of fate. In general, the descending moves of the catabasis predominate in the prelude. And no matter how high the melody rises, acquiring major intonations (bars 5, 6, 14, 23), the result is the same: a return “to the sinful earth” ... The first time this figure appears in bar 3 in the main key, it “opposes” in reversed form and in a major plan (F-dur, III st.), the reciprocal rising theme (bars 5,6), which rushes up, then jumps down to a major sixth, rises again in semitones (bar 7), and ... inevitable move down from I st. to V, quarter notes... the circle is closed...

Strict verticality, sometimes slight delays in the middle and upper voices, which play a subordinate role to the dominant lower voice, rhetorical formulas of a certain affect - all this helps to feel the thoughtful, dramatic and somewhat detached spirit of the prelude.

The fugue has a bright theme not only in terms of intonation, but also in tonal terms: in the theme itself there is a modulation into the key of s-you (g-moll) - it ends on b (VI st., third tone s-you). In the rhetorical aspect, the theme consists of an ascending sixth (I-VI st.) - an exclamation, and an ascending quart (V-I st.) - a statement. It would seem that everything is definite and life-affirming, but suddenly the quarter notes change to smaller durations, an interbar syncopation occurs and, despite the authentic move #VII-V-I, then a deviation in s (g-mol) immediately follows: d¹ -c ¹ - b. The answer is real in the key of D - you (m. 3), a small codetta to return to the tonic, and the theme follows - the leader in the tenor part (m. 6) and the answer in the bass (m. 8), i.e. repeats the previous episode an octave lower. As for the opposition, with the introduction of the theme in the tenor, a retained opposition appears (v. 6, 8-9). The development begins with bar 11, which is based on the motive of the first opposition, then in bar 14 the theme-leader sounds, in counterpoint the initial motive of the theme appears - a jump to the sixth, and the part ends with a descending sequence consisting of quarts. Reprise from vol. 18, the leader theme in the soprano part with the original form of counterpoint. The character of the fugue is more enlightened than in the prelude, and the rhetorical figures indicate feelings of hope, change for the better, although "reality is rather harsh." The prelude leaves a feeling of some piercing, light sadness. This cycle by I. Pachelbl is a vivid example of a “spiritual tandem” in a person: sadness, sadness, hope for the best, and, alas, the inevitability of fate intervening in the plans of such a defenseless person before the “fatum” coexist here ...

The fis-moll prelude and fugue from I. Fischer's Ariadne musica is an example of a polyphonic cycle in which, at first glance, the demonstrative, technical side prevails (it is no coincidence that J.S. Bach took the Ariadne musica collection as a model when writing his "HTK").

And indeed: on a very small scale - 10 tons. prelude and 12 vols. fugue, - Fischer demonstrated all the techniques inherent in parts of a small polyphonic cycle. So, in the prelude of a typically toccato, organ character, where future Bach intonations are clearly traced, the following is provided: - “recognizable” tonal plan of the prelude t - s - D → s - D → III-VI-II - D - K6 / 4 - D - T; - texture, consisting of arpeggiated broken moves, - those indicators that have always been used in the main will be used by composers working in the prelude (and fugue) genre. Against the background of sustained whole and half notes in the bass (bars 1-2), in the upper voice (bar 3), in the middle (bar 4), again in the lower (bar 5) it circles with sixteenth notes, unfolds the “thread of Ariadne ”, its movement is non-stop, but where will it lead?. The movement of the passages is mostly downward, from the highest note of the arpeggiated chord, with the exception of tt. 4, 7. In the cadenza (bar 9) the only "straight" descending passage from f² →eis along the steps of melodic fis-moll to major T.

The 12-voice 12-bar fugue by I. Fischer is an example of the most complex polyphonic technique. Over the course of 12 measures, the theme-leader is repeated 7 times, of which once in magnification (bars 7-8); the counterpoint to the topic-answer becomes the topic in circulation; along with the restrained opposition, there is a vertically mobile counterpoint, and in the development (v. 5) stretto techniques are used, condensing the already complex, “tense texture”.

"Prelude and Fughetta No. 2" e-moll is one of several similar small cycles by D. Zipoli, but in the context of our question, it is this prelude and fugue that are of particular interest from the point of view of "program" thematics.

The prelude is in the typical improvisational chorale style; it may have originally been written for organ, because the editorial note includes a footnote stating that it is left to the player's discretion to double the bass an octave lower, and to use various options arpeggio. The static, monumental nature of the prelude is created by chords of whole lengths with delays, "flowing" into each other, due to this, a dense, inseparable texture is sustained. The use of mind VII, seventh chords II, VI steps give the internal tension of the prelude with external restraint. And the “breakthrough” comes in a dynamic 3-voice fughetta with an extremely energetic theme, consisting of a fourth jump from the V to the I degree (anabasis figure) and a sequential move from the I → V degree and again a fourth leap V↓IIV (v. 2). The leader theme is followed by a tonal dominant response, turning into a circulato figure in the codette, and in the upper voice a dissonant counterposition with chromatic moves (m. 3-4). With the onset of the theme in the bass, a retained “dissonant” counterposition sounds in the middle voice (bars 5-6), and after the codette there comes a small but intensive development (bar 8) from the first part of the theme, the counterpoint of which is again the elements of the retained opposition - descending chromatic moves that develop into a climax (v. 11), where the stretto technique is used. The first part of the theme is carried out 4 times during vols. 11-14, and there comes a coda (m. 15, in the remark it says “very loud, important, slowing down”), in which the rhythmic pattern of the theme is preserved, but changed intonation, “softened” by a stepwise downward move from VI → II, passing into IV step and resolved into a major third - the struggle and confrontation are over. Thus, this cycle represents the "unity of contrasts"

So, we have considered three small cycles that differ in authorship, in time of creation, in style and presentation techniques, but each of them is an example folded small polyphonic cyclein the period from 1690 to 1716, and this period has not yet been blossomed by the talent of the Great Master - Johann Sebastian Bach. Yes, it is certainly proved that the cycle of preludes and fugues reached its highest point of development precisely with him, but according to the logic of the development of any genre, its apogee is preceded by the birth and at least formation. With the origins and development in the research literature, everything was explained, but there was a certain gap in the specific definition of a small polyphonic cycle, as existingand currentgenre of instrumental music of the late baroque. In no way claiming global conclusions and a detailed technical analysis of the genre of interest to us polyphonic music, the author of this work tried to "restore some injustice" in relation to the appearance of a small polyphonic cycle and its role and demand among composers of the pre-Bach period.

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