An image of nature in the pastoral symphony of Beethoven. Creativity L.V.

Pastoral is a genre in literature, music, painting and theater. What is the meaning of this word? What can be called Pastoral? What are the examples of the use of words in the literature? What is pastoral music? What composers are found in the work of composers, devoted to the image of rural life or nature?

The meaning of the word pastoral

This is primarily a genre that is used in various types of art (painting, music, literature and theater). It is used for the image and poetization of the rural and peaceful life of a person. It also corresponds to meaning with nouns. It is characterized as a quiet and peaceful. Translated from French Pastorale (pastoral) is a shepherd, rural.

Pastoral - a unique genre

In European, it has existed for many centuries. History confirms his longevity and indicates a specific figure - the 23rd century. At first he took shape into a special genre of poetry. But it quickly spread to others and then in other arts: painting, music, drama, applied creativity. The forms of its manifestation and options created each era. So, Pastoral is both generic, and species genre category. The musical component of pastoral lies in the ancient sources. It is under its influence that the pastoral developed in European art. These were dancing Satirov and Nymph, songs of shepherds, games on "shepherd" tools (swirls and others).

Examples of word use in literature

"He drove three kilometers among the ghostly deserts and snow-covered volcanoes that have nothing to do with the pastoral dawn of his valley."

"The office was as before. His walls were painted in a monophonic green color and there were no pastoral landscapes and in risen."

"The hired specialists were seeded and fed the soil. For Jack, the same pastoral grass hanging was some therapy."

As we see, in the literature "Pastoral" is a frequently used word that is used in different speech revolutions to underline the desired meaning. Here are some more successful and diverse examples.

"A young man who only woke up from pastoral sounds was able to see the flashing over his head flashed."

"He wandered around the amazing and charming forest to which he dedicated a whole poem. In it, pastoral motives are closely intertwined with mythological images and are combined with political assessments."

"In the pastoral play he turned into a real drama of suffering and tragic fate."

Pastoral in music

For the image of rural life or nature, works are created that can be small or large.

In scale, they are also different. Pastoral music has characteristic features:

• Melody movement calm and smooth.
• The most commonly used size is 6/8 or 12/8.
• In the melody often doubles the policy.

Many composers treated pastoral. Among them: I.S. Bach, A.Vivaldi, F.Kuperene, D.Skarlatti, L. Betchen and others. Pastoral operas are available in the works of K. Glituka, J.Ramo, J.Lully, V. Motzart, M. Irall and many other composers.

Sixth Symphony Beethoven

Pastoral symphony in the work of the composer refers to the central period. The date of its creation is 1806. In this work there is no fight against the villain-fate. Here in the foreground there are simple events of worldly life and the glorification of the Great Power of Nature.

It is devoted to the prince of F. Lobkovitz (Viennese patron), who was the patron saint of the composer. On December 22, 1808, the symphony was first sounded in the Viennese theater. Initially, she wore the name "Memories of rural life."

The first premiere of the work was failing. The orchestra consisted of prefabricated performers and was a low level. The hall was cold, the audience in fur coats did not perceive the writing as a highly artistic sample and did not appreciate.

Beethoven's pastoral symphony occupies a special place in the work of the composer. Of the nine existing only it is software. It has both the general name and headlines directly to each of the five parts. Their quantity and deviation from the traditional four-part cycle is also due to the program. The dramatic pattern of thunderstorms is contrast to simple rustic dance and the peaceful finals.

This symphony is one of the most romantic composer himself wrote that it draws feelings arising from contact with the world of nature and rural life.

Thus, the considered genre is used in various types of art (painting, literature, music, theater). Many composers treated pastoral. A special place is occupied by the pastoral symphony of Beethoven, which is a software essay. It conveys feelings filled with inspiration from wonderful surrounding nature and rural life.

Pictures of changing the seasons of the year, the rustle of foliage, bird votes, splashing waves, the murmur of the stream, thunderstorms - all this can be conveyed in music. Many famous were able to do it brilliantly: their musical works about nature became a classic musical landscape.

Natural phenomena, musical sketches of the plant and animal world appear in instrumental and piano works, vocal and choral writings, and sometimes even in the form of program cycles.

"Seasons" A. Vivaldi

Antonio Vivaldi

Four three-part violin concerts of Vivaldi, dedicated to the times of the year, without a doubt, the most famous musical works about the nature of the Baroque era. The poetic sonnets to concerts are written, as it is considered to be the composer himself and express the musical meaning of each part.

Vivaldi passes with its music and thunder-rolls, and the noise of rain, and the rustle of the leaves, and the birds trill, and the dog Lai, and the uphold of the wind, and even the silence of autumn night. Many remarks of the composer in the score directly indicate or another phenomenon of nature, which must be depicted.

Vivaldi "Seasons of the Year" - "Winter"

"Seasons" J. Haydna

Josef Gaidn

The monumental oratorio "Seasons" was a peculiar result of the composer's creative activity and became a genuine masterpiece of classicism in music.

Four seasons are consistently appeared before the listener in the 44th pictures. Heroes Oratori - rural residents (peasants, hunters). They know how to work, and have fun, they have no time to indulge. People here are part of nature, they are involved in her annual cycle.

Haydn, like his predecessor, widely uses the possibilities of different tools for the transmission of nature sounds, such as summer thunderstorms, rogue of grasshoppers and frogs.

Haidna's musical works about nature are associated with people's life - they are almost always present on his "paintings". For example, in the final of the 103th symphony, we are as if we are in the forest and hear hunter signals, for the image of which the composer resorts to a well-known means. Listen:

Gaidn Symphony No. 103 - Final

************************************************************************

"Seasons" P. I. Tchaikovsky

The composer elected the genre of piano miniatures for his twelve months. But the same piano is capable of transmitting nature paints no worse than the choir and orchestra.

Here is a spring jurisdiction of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of white nights, and a livelot of a bootman, striking on river waves, and field works of peasants, and the psovy hunting, and anxious and sad autumn fading nature.

Tchaikovsky "Seasons of the Year" - March - "Song of Lyonk"

************************************************************************

"Carnival of animals" K. Saint-Sansa

Among the musical works about nature, the mansion is the "big zoological fantasy" of Saint-Sansa for the chamber ensemble. The disadvantage of the plan defined the fate of the work: "Carnival", whose score of Saint-Sans even forbade publishing during life, was completely performed only in the circle of the composer's friends.

Original instrumental composition: In addition to stringed and multiple winds, there are two piano, chest and such a rare tool, like a glass harmonic.

In the cycle of 13 parts, describing different animals, and the final part, which combines all the numbers into a solid product. It's funny that the composer is taken to the number of animals and beginner pianists, diligently playing gammas.

Carnival's comicness emphasize numerous musical alluses and quotes. For example, "Turtles" are performed by the Offenbach Kankan, only several times slowdown, and the double bass in the "elephant" develops the theme of the Berliosovsky "ballet of the Sylves".

Saint-Sans "Carnival Animals" - Swan

************************************************************************

Sea Element N. A. Rimsky-Korsakov

The Russian composer knew about the sea not at the time. Mademaryan, and then Michman on the clip of "Almaz" he did a distant path to the North American coast. Favorite seaside images arise in many of his creations.

Such is, for example, the topic of the "ocean-sea of \u200b\u200bblue" in Opera "Sadko". Literally in several sounds, the author transmits the hidden power of the ocean, and this motive permeates the entire opera.

The sea reigns in the Sadko's Symphony Music Picture, and in the first part of Schöherazada Suite, "Sea and Saintbads a ship", in which the calm replaces the storm.

Roman-Korsakov "Sadko" - the accession of the "Ocean-Sea blue"

************************************************************************

"The ruddy glow was covered with the East ..."

Another favorite theme of musical works about nature is the sunrise. Here immediately come to mind the two most famous morning topics, something incense with each other. Each in its own way defias the awakening of nature. This is the romantic "morning" E. Grieg and a solemn "Dawn on the Moscow River" M. P. Mussorgsky.

At the Migra, the imitation of the shepherd horn picked up with string tools, and then and the whole orchestra: the sun rises over the harsh fjords, and the murmur of the stream and singing of birds is clearly heard in music.

The dawn of Mussorgsky also begins with the shepherd melody, in the string orchestral sound as if the ringing of bells is woven, and the sun is closed above the river, the sun covering the water with gold ripples.

Mussorgsky - "Khovanshchina" - the introduction of "Dawn on the Moscow River"

************************************************************************

List all in which the theme of nature is developing is practically impossible - this list will turn out too long. Here you can include the concerts of Vivaldi ("Nightingale", "Cuckoo", "Night"), "Bird Trio" from the sixth symphony of Beethoven, "Flight of Bumblebee" Roman-Korsakov, "Golden Fish" Debussy, "Spring and Autumn" and "Winter Road »Sviridov and many other musical pictures of nature.

The symphonic creativity of Beethoven is the most important stage in the development of the genre of symphony. On the one hand, it continues the traditions of the classic symphony after Hydean and Mozart, and on the other, it anticipates the further evolution of the symphony in the work of composers-romantics.

The multi-faceted creativity of Beethoven is manifested in the fact that he became the founder of the heroic-dramatic line (3, 5, 9 of symphonies), and also revealed another equally important lyric genre sphere in Simphonism (partly 4; 6, 8 symphonies). The fifth and sixth symphony were composed by the composer at almost simultaneously (finished in 1808), but reveal new, various figurative and thematic possibilities of the genre.

General characteristics 5 and 6 Symphony

The fifth symphony is a tool drama, where each part is the stage in the disclosure of this drama. It consistently continues the heroic-dramatic line, scheduled to 2, revealed in 3 symphones, further developed in 9. The fifth symphony arose under the influence of the ideas of the French revolution, republican ideas; The concept characteristic of Beethoven is characteristic of Beethoven: through suffering - to joy, through the struggle - to victory.

Six, "pastoral" symphony opens a new tradition in European music. This is the only program of the Beethoven software symphony having not only a common program subtitle, but also the name of each part. The path to the sixth comes from 4 symphony, and in the future the lyrical genre sphere will find an embodiment in 7 (partly) and 8 symphony. Here is a circle of lyric-genre images, a new property of nature is revealed as a start, a liberating person, such an understanding of nature is close to the ideas of Rousseau. "Pastoral" symphony predetermined the further path of the program symphony and romantic symphony. For example, analogies can be found in the "fantastic" symphony of Berliosis ("scene in the fields").

Symphony cycle 5 and 6 symphony

The fifth symphony is a classic 4-private cycle, where each part simultaneously has an individual function and is a link in the disclosure of a common dramatic circuit of the cycle. In the 1st part laid an effective conflict of the two principal - personal and extlicient. This is a Sonataya Allegro, which is distinguished by the unity of thematism. All themes develop in one intonational system, presented by the initial topic (the theme "of fate") of 1 part. 2 part of the symphony - in the form of double variations, where 1 the topic belongs to the lyrical sphere, and 2 - the heroic plan (in the spirit of the march). Interacting, topics continue the "monorithm" (rhythmic formula) 1 of part. Such an interpretation of the form of double variations has also met earlier (Haidna in Symphony No. 103, Mi-Flat Major), but Beethoven is invested in a single development of a dramatic concept. 3 part - scherzo. Having appeared in 2 symphonies, Beethoven Schrozo displaces Menuet, and also acquires other, devoidfulness, quality. For the first time, the scherzo becomes a dramatic genre. The final, next without a break after Skester, is a solemn apotheosis, the result of the development of the drama, which marks the victory of the heroic, the triumph of the personality over the extravaluity.

The sixth symphony is a five-part cycle. Such a structure is found for the first time in the history of the genre (not counting the "farewell" symphony No. 45 of Haydna, where 5-part behave in nature). The basis of symphony is a comparison of contrast paintings, it is distinguished by a leisurely, smooth development. Here Beethoven moves away from the norms of classical thinking. Not so much nature itself, how many poetic spirituality in communicating with nature, but the image does not disappear ("more expression of feeling than paintings," according to Beethoven). Symphony is also distinguished by a figurative unity, and the integrity of the cycle composition. 3, 4 and 5 parts follow each other without a break. Through development was observed in 5 symphonies (from 3 to 4 parts), creating a dramatic unity of the cycle. Sonate form 1 of the part of the "pastoral" is not built on a conflict opposition, but on complementary themes. The leading principle is the variationality, which creates graduality, leisureness of development. Beethoven refuses here from his characteristic former works of heroics and pathos struggle (3, 5 symphonies). The main thing becomes contemplation, the deepening in one state, the harmony of nature and man.

Intonation-thematic complex 5 and 6 symphony

The intonational-thematic complex 5 and 6 of symphony is formed on the basis of their development principles. A peculiar intonation "source" and the basis of 5 symphonies (especially in 1 and 3 parts) becomes the initial epigraph - monointonation of 4 sounds ("so fate knocks on the door"). This determines the organization of the cycle. The beginning of the exposition 1 of the part contains two contrasting elements (the motives of "fate" and "response"), which still within the main batch form a conflict. But, contrasting figuratively, they are close intonational. The side consignment is also built on the material of the initial monointonation presented in another aspect. Everything becomes a subordinate unified intonation sphere that connects all parts of the dramatic whole. The intonation of "fate" will appear in all parts in another appearance.

"Pastoral" symphony does not contain monointonation. The genre elements, folk melodies are based on its thematism (1 topic 1 of the part of the tune of the children's Croatian song according to Barthok, 5 part - Landler). Repeability (even in development) is the main development of development. Themes of symphony is given in a figurative-color comparison. Unlike 5 symphony, where all the material was given in development, the "exposure" presentation prevails here.

New, "Beethovenskoye" The development of the form is concluded in 5 symphonies, where each section of the form (for example, GP, PP exposure) is saturated with internal action. There is no "show" here, they are presented in action. The culmination of 1 part is to develop, where thematic and tonal development contribute to the disclosure of the conflict. The tonality of the quart-quinto ratio increase the strength of the developing section. A special role is played by the code that received the value of the "second development" at Beethoven.

In 6 symphonies, the capabilities of thematic variation are expanded. For greater color of Beethoven, there is a largest ratio of tone (development of 1 part: to Maj. - Maj.; Si-Fleol Maj. - Reagine.).

Ludwig Van Beethoven (1770-1827) Creativity of the ingenious German composer Beethoven is the greatest treasure of world culture, a whole epoch in the history of music. It had a huge impact on the development of the art of the XIX century. In the formation of the worldview of the Beethoven-artist, the ideas of the French bourgeois revolution of 1789 played a decisive role. The fraternity of people, a heroic feat in the name of freedom - the central themes of his creativity. Music Beethoven, volitional and indomitable in the image of the struggle, courageous and restrained in the expression of suffering and sorrowful meditation conquers optimistic and high humanism. Heroic images are intertwined in Beethoven with deep, concentrated lyrics, with images of nature. His musical genius was most fully manifested in the field of instrumental music - in nine symphones, five piano and violin concerts, thirty-two sonatas for piano, string quarters.

The compositions of Beethoven are inherent in the scale of forms, wealth and sculptural relief of images, expressiveness and clarity of a musical language saturated with volitional rhythms and heroic melodies

Ludwig Van Beethoven was born on December 16, 1770 in the Priesna town of Bonn in the family of the court singer. The childhood of the future composer, which proceeded in constant material needs, was hurt and harsh. The boy was taught the game on the violin, piano and organ. He did quick successes and has served in court chapel since 1784.

Since 1792, Beethoven settled in Vienna. Soon he acquired the fame of a wonderful pianist and improviser. The Beethoven game hit contemporaries with a powerful impulse, emotional force. In the first decade of Beethoven's stay in the Austrian capital, two of his symphonies were created, six quartets, seventeen piano sonatas and other writings. However, the composer who was in the heyday struck the heavy ailment - Beethoven began to lose hearing. Only a unreleased will, faith in their high calling the musician citizen helped him make this blow of fate. In 1804, the third ("heroic") symphony was completed, which marked the composer in the work of the composer began the new, even more fruitful stage. Following the "heroic", the only opera Beethoven "Fidelio" (1805), the fourth symphony (1806) was written, after a year - Koriolan overture, and in 1808 the famous fifth and sixth ("pastoral") symphony. In addition, the period includes music to the tragedy of Goethe "Egmont", the seventh and eighth symphony, a number of piano sonatas, among which № 21 (Aurora) and No. 23 ("Appassionate") are allocated and many other wonderful writings.

In subsequent years, the creative productivity of Beethoven decreased noticeably. He finally lost his hearing. The composer with bitterness perceived the political response after the Vienna Congress (1815). Only in 1818, he again refers to hint. Late works of Beethoven are marked by the features of philosophical recesses, search for new forms and means of expressiveness. At the same time, the pathos of the heroic struggle did not fade in the work of the Great Composer. On May 7, 1824, a grand ninth symphony was performed for the first time, which does not have equal idea, the breadth of the intention, the perfection of incarnation. Its basic idea is the unity of millions; The choir finale of this ingenious work on the text of ODY F. Schiller "to joy" is devoted to the glorification of freedom, chanting the infinite joy and a comprehensive feeling of fraternal love.

The last years of the life of Beethoven was overshadowed by heavy life deprivation, illness and loneliness. He died on March 26, 1827 in Vienna.

Symphony creativity

The contribution of Beethoven to world culture is determined primarily by its symphonic works. He was the greatest symphony, and it was in symphonic music that his worldview and the main artistic principles were most fully embodied.

The path of the Beethoven-Symphonist covered almost a quarter century (1800 - 1824), but its effect has spread to the entire XIX and even in many respects at the XX century. In the XIX century, each composer-symphonist had to solve the question for himself whether he would continue one of the lines of Beethoven Simphonism or tries to create something fundamentally different. One way or another, but without Beethoven, the symphonic music of the XIX century would be completely different.

Beethoven 9 symphony (10 remained in sketches). Compared with 104 Gaidnov or 41 Mozartovski, it is a bit, but each of them is an event. The conditions in which they were composed and were performed were fundamentally different from what was with Gaidne and Mozart. For Beethoven Symphony - a genre, firstly, purely public, performed mainly in large halls rather solid for the days of the orchestra; And secondly, the genre ideologue is very significant, which does not allow writing such writings at once by series of 6 pieces. Therefore, Bethoven symphonies are usually much larger even Mozartov (except 1 and 8th) and fundamentally individual on the concept. Each symphony gives only decision - both figurative and dramaturgical.

True, in the sequence of Beethoven symphony, some patterns that have long been observed by musicians are found. Thus, odd symphonies are more explosive, heroic or dramatic (except 1st), and even more "peaceful", genre-household (most of all - 4, 6 and 8th). This can be explained by the fact that Beethoven often conceived symphonies in pairs and even wrote them at the same time or immediately after each other (5 and 6 at the premiere even "changed" numbers; 7 and 8 followed in a row).

Chamber instrumental

In addition to string quartets, Beethoven left a lot of other chamber instrumental writings: septo, three strings of Quintet, six piano trio, ten violin, five cello sonatas. Among them, in addition to the above-described septhet, string quintet is distinguished (C-DUR OR, 29, 1801). This relatively early work of Beethoven has the subtlety and freedom of expression resembling Schubert style.

Great artistic value are violin and cellular sonatas. All ten violin sites are essentially duets for piano and violin, the piano party is so significant in them. All of them push the former borders of chamber music. This is especially noticeable in the ninth Sonate A-Moll (Op. 44, 1803), dedicated to the Paris, Rudolf Creacer, on the original of which Beethoven wrote: "Sonata for piano and bond violin, written in a concert-style - as it were for a concert". The peer of the "heroic symphony" and "Appassionates", "Creicerova Sonata" is related to them in the ideological design, and on the novelty of expressive techniques, and in syphonicity of development. Against the background of all the Beethoven Sonataya Viypical Literature, it stands out for its drama, solidity of the form and scale.

The sixth piano trio B-DUR (OR. 97, 1811), belonging to the most inspired works of Beethoven, is over the symphonic style. Images of deep reflection in the slow variation part, acute contrasts between parts, the tonal plan and the cycle structure anticipate the ninth symphony. Strict architectonics and purposeful thematic development are combined with a wide, pouring melody saturated with diverse color colors.

Beethoven, who resigned with the incurable ailment, does not fight here with hostile destiny, but glorifies the great strength of nature, simple joys of rural life. This topic has repeatedly received an incarnation in the music ("Seasons" of Vivaldi, Gaidna). Beethoven, enthusiastically, pantheistically believed to nature, revealed it in his own way. His interpretation is close to Rousseau. For Beethoven, nature is not only an object for creating picturesque paintings, not only a source of pure joy, but also a symbol of free, free life, spiritual liberation. As in the "Aurora", in the 6th Symphony, the role is great folk startSince the proximity to nature for Beethoven was equivalent to the proximity to the people. That is why many themes of symphonies detect relationships with folk melodies.

The 6th symphony refers to the lyric gense type of Simphonism (as well as 2, 4, 8 symphonies and most Sonatas). Her dramaturgy is very different from the dramatic of heroic symphony (3, 5, 9):

• instead of conflict clashes, the struggle of the opposite began - a long stay in one emotional state, which will diversify the effort of a coloristic start;
• the contrasts and the face between the sections are smoothed, characterized by smooth transitions from one thought to another (this is clearly manifested in the second part, where the side theme continues the main, entering into the same background);
• melted melodic start and variationality, as the main method of thematic development, including in semonate developments (a bright example - II h);
• topics are homogeneous by structure;
• in orchestra - the abundance of solo brass tools, the use of new techniques that have been subsequently characteristic of romantics (Divizi and Surdins in a batch of cello, imitating the murmur of the stream);
• in tonal plans - the domination of colorful terr tonal comparisons;
• widespread use of ornamentics; abundance of organs;
• the wide implementation of the genres of folk music - Ledler (in the extreme sections of the scherzo), songs (in the final).

Sixth symphony programmate, and the only of nine, it has not only a common name, but also headlines to each part. These parts are not 4, as firmly approved in the classical symphonic cycle, and 5, which is due to the program: There is a dramatic picture of thunderstorms between the simply rustic dance and the peaceful finals. These three parts (3,4,5) are executed without a break.

1 part - "Joyful feelings upon arrival in the village" (F-DUR)

The name emphasizes that the music is not a "description" of the rural landscape, and reveals the feelings caused by them. All single allegro is imbued with elements of folk music. From the very beginning, the quint the background of alto and cello reproduces the buzz of a rustic bool. Against this background, the violin is removed by a simple, repeating a melody, based on pastoral intonations. This is the main theme of the sonatoy form. The side and final does not contrast her, they also express the mood of joyful peacekeeping, sound in C - DUR. All the topics are once again returning, but not at the expense of motive development, as it was, for example, in the "heroic" symphony, and thanks to the abundance of the teams of repeats underlined by the clear Cadans. The same thing is observed in the development: The characteristic speaker of the main game is repeated as an object for once-diversity repeated many times without any changes, however, it is cleaned by the game of registers, instrumental timbres, colorful terts comparison (B - D, C - E ).

2 part - "Scene at the Creek" (B-DUR)

It is imbued with the same serene feelings, however, here is more dreamy, and besides - an abundance of images and sound-speaking moments. Throughout the entire part, the "murder" background of two coolant cello with Surdinov and a horn pedal (only at the very end of the "Creek" will be clentclicks, giving way to the bird's roll call: Tselims of the nightingale in the execution of the flute, the crust of the cuckoo in the clarinet). This part, like the I-I, is also written in a semonate form, which is interpreted in the same way: a support for songs thematism, no contrasts, timbre variation.

3 Part - "Merry Salary Salad" (F-DUR)

3rd part - juicy genre sketch. Her music is most cheerful and careless. It combines the evil spirits of peasant dances (Gaidnov tradition) and acute humor of Beethoven Scherzo. There is also a lot of visual concreteness here.

I Section of the SK-private form is built on a repeated comparison of two topics - a fierce, with persistent stubborn repetitions, and lyrically singers, but not without humor: the accompaniment of the heads does not sound in tact, as if inexperienced village musicians. Another topic sounds in the transparent ruble Goba accompanied by violins. It is graceful and elegant, but, at the same time, the syncopying rhythm and suddenly entering the bass of the Fagota also make a comic from-tenak.

In more busy trio Persistently repeats a rude span with sharp accents, in a very loud sound, as if village musicians were played out with might and, and, without sorry forces, accompany the cargo peasant dance.

In reprise, the full holding of all topics is replaced by a brief reminder of the first two.

The proximity to folk music is manifested in 3 parts of the symphony and in the use of variables of the lads, and in the variability of three - and dysdochny sizes characteristic of the Austrian peasant dances.

4 part - "Thunderstorm. Storm "(D-Moll)

<Бесхитростный деревенский праздник внезапно прерывает гроза - так начинается 4 часть симфонии. Она составляет резкий контраст всему предшествовавшему и является единственным драматическим эпизодом всей симфонии. Рисуя величественную картину разбушевавшейся стихии, композитор прибегает к изобразительным приемам, расширяет состав оркестра, включая, как и финале 5-й симфонии, флейту - пикколо и тромбоны.

Music thunderstorms "Bush" in many writings of the XVIII - XIX centuries of various genres (Vivaldi, Haydn, Rossini, Verdi, Leaf, etc.). The Bethoven tracts of the image of a storm is close to Gaidnovskaya: the thunderstorm is not perceived as a devastating disaster, but how to grace needed for all living things.

5 Part - "Shepherdney of the Tunes. Joyful and grateful feelings after the storm "(F-DUR)

The free form of the 4th part has its own prototype the real life pro-process - thunderstorm, which from the first timid drops gradually enhances, reacmodes accomplices, and then subsides. The last weak raskat thunder dissolves, in the sounds of the shepherds, the latter, which begins the last, 5 part. All the music of the final permeated by the People's Sielery elements. Leisurely pouring clarinet, which is responsible for horn, sounds like a genuine folk melody. She is similar to the hymn glorifying the beauty of nature.