Methodical development on music on the topic: Principle of programming in musical art. What is program music? Examples and definition of software music

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on the topic: "Software and musical form in modern music »

Performed: accompanist

Firsova Natalya Aleksandrovna

2016

Software and musical form in modern music

Software in the work of composers of classics

The essence of the program plan, which fundamentally distinguishes it from the idea of \u200b\u200ban unprofitable tool product, is in the desire of the composer to embody any out of music, to give an idea of \u200b\u200bthem as an extremiscal objective data. Along with the images of nature, historical eventsThe literary plots here refers to the conceptual sphere. In the consciousness of the composer, all such objects acquire sufficient certainty and can be verbally marked. Hence the role of verbly recorded plans, all sorts of "program" marks, messages in letters about what will be "depicted" in music - up to the development of the expanded scenario.

Both the composer's idea and the path of its embodiment - the phenomena of movable, volatile, difficult to predict, and that are not at all amenable to strict scientific analysis.

Otherwise, the program idea is subject to the laws of musical intent at all. The one in turn is associated with laws artistic designdiffering from scientific, technical, etc. .

Difficulties in the study of the composer's creative process are obvious. If the Writer is a clear writer in its meaning is the material of creativity, then the meaning of the corresponding music signs arising in the sketches and sketches of the composer, it is necessary to decipher that success does not always promise. The more importantly, all verbal marks and remarks become, which are sometimes found in musical preparatory materials, the greater the importance of the composer's statements about their work (in letters, conversations, memories, etc.).

At one time, R. Gruber strongly emphasized the importance of such "self-sucking" to study the creativity of composers, especially for the penetration of creativity. Of course, various types of musical works suggest far from the same approach to the organization. preparatory materials From the side of the composer: on one pole there are scenic, first of all, opera workswho, due to their proximity, both theater and literature, give the researcher rich evidence of the intentions of the composer (scenario, libretto, nature of situations, requirements for artists-performers, scenery, etc.); On another pole - the works of pure instrumentalism, the creation of which is rarely accompanied by verbal notation of intentions. Software music occupies an intermediate position in this regard, since the extremisical points of content usually require their preliminary wording during the composition of the music.

Moreover, the history of software symphony knows interesting casesWhen the music arose on the basis of a program, which was created by the contemporaries of the composer, acting as if libretties of symphonic music (Program A. Doda for "Alsas scenes" Jules Massne). M. Tchaikovsky ("Romeo and Juliet", Manfred) fulfilled such a role in the software-symphonic work of P. Tchaikovsky. Recall at the same time that the Scenario "Manfred" was originally intended for the city of Berliosis and took into account the features of the program creativity of the latter. However, in the creative process of most composers of software music, only the general contours of the software content, recorded as a preliminary plan (transfer of the main moments, and their submission) occur. In other cases there is no plan as such, but the most important musical images are accompanied by software-concrete remarks.

The word may not be in the text, but also in the subtext. Included or not included in the score, it can form a parallel row associated or not related to music - in any case, in no way affecting its intonational or rhythmic structure.

It should be recognized that literary criticism really accumulated and theoretically understood the rich material relating to the creative process of the artist. But not only the very essence of the literature as the art of the word, but also individual writers who firmly engaged in this field of self-surveillance were helped by literary waters, but also the "philosophy of creativity" by Edgar software here. Composers in this respect were much more misappling.

In general terms creative process The composer characterizes the composer D "Andy in his book about Cesar Franke, and the conclusions of the author are based not so much on self-observation, but on observations for the work of the teacher for about 20 years. In work on the work of D Andy distinguishes three stages: concept, disposition and execution. The concept of synthetic and analytic side differs in the concept. The first in the work of the symphonist suggests, according to D'Indi, the overall work plan and the distribution of the main development lines, the second is related to the development of specific musical ideas that are artistic implementation The most important points of the general plan. The author emphasizes the interdependence of both sides of the concept (concrete musical ideas can adjust the plan, the last, in turn, can dictate the choice of new musical images in return originally arising). The disposition stage is associated with the development - based on all preceding the most important elements. full structure Musical play, right up to the details. Execution, including tools (and, obviously, all performing instructions), ends with the creation of a tank text of the completed musical work

The novelty of the content of music of the XIX century and the multifaceted problems prompted composers XIX. century to update all means of musical language and expressiveness at all. Romantic injury and realistic trends of musical art, strengthening links with poetry, philosophy and visual arts, new attitude towards nature, appeal to national and historical color, increased emotionality and colorfulness, attraction to the characteristic and overcoming the old traditions by searching new - all this led to Enrichment in the XIX century musical Speech, genres, forms, techniques of dramaturgy.

In the era of romanticism, replaced by Bahovskoy Baroque and Mozartovsky classicism, disappear the structural essence and the noble spirit of old masters. Forms are discarded, and in sounds to eat and trembles the soul of the artist Eager to be heard - this music has become a self-expression. For each era, directions, style, creativity of various composers, specific features of musical speech are characterized.

Software music I. opera genre Required a special expression of the psychological principle, a new type of creative thinking. Lyrics miniature, philosophical generalization of Simphonism, sound image, confession of the soul in "vocal diaries" gave birth to a new imagery. Artistic worldview Composers of the XIX century spawned the silhouettes of new structures of musical forms. Throughout the century there was their continuous update. In the genre of the romance, it was born through development, due to the cyclicality of the repetition of the stop. In the instrumental music penetrated the vocal lyrics song. The workmanship variation of the image, a motive or a rhythm harmonic formula was mastered to the fore. The most bright examples in foreign music will remain "Tristanakkord" from the operas R. Wagner Tristan and Isolde and the "Motive of the Question" from the Shumanovsky Romance "Why", the motive "Walk" from "Life for the king" Glinka in Patriotic music, etc. . These and similar elements have become independent, iconic or "nominal" in the romantic music of the XIX century, and in modern times.

Composers successfully used the molding role of the program in instrumental music - it excludes the vagueness of the idea of \u200b\u200bthe idea and concentrated the action. Symphony began to approach the opera, because The vocal and choral scenes were introduced into her, as in Romeo and Juliet, Berliosis. The number of parts in the symphony either sharply increased, or it turned into, thanks to the program in a single-sighted symphony poem. Through development musical material The change in the appearance of the topic, and often its meaning, the transformation of the theme genre. Often, for the purposes of the greatest concentration of content in the musical form, a certain topic was elected as the main melody, throughout the poem undergoing some changes. This phenomenon is called monotemate. In the arsenal of means of musical and artistic expressiveness, it marked a new stage in the history of music of the X1x century. The creation of various images on the basis of one topic, internally bonding all sections of the form, contributed to the flexible development of the plot, musical idea. Thus, the genre of the symphonic poem, one-room sonata and a one-piece concert.

The most important reception Composite techniques of romantics was variation. Variations on the rights of an independent part began to be included in larger compositions even with J. Haydna and its contemporaries (Mozartovskaya Sonata with "Turkish Rondo" or part of Sonata L.V. Beethoven with "Mour march to the death of the hero"). Variationity invades sonatoo and quartet, symphony and overture as the principle of development and as a genre, penetrating all genres and forms of music, right up to rhapsodies and transcriptions. Variation increased the intensity of development or made an element of staticness, weakened dramatic stress as R. Shahuman spoke of "divine longs" in the symphony of F. Shubert. Logical definiteness and clarity in any genre with end-to-end dramaturgy introduced a programming, rapping music with literature and visual arts, increasing specific images and psychological expressiveness.

The programmion is designed to specify the author's intent - so determined its task F. Sheet in 1837. He predicted her a big future in the area symphony creativity In the article of the early 1850s, "Berlioz and his" Harold-Symphony ". F.List was afraid that the explanation did not go too far away, the secrets of the content of art.

The principle of the programming manifests itself very manyly - by types, types, forms. Software types are several - picture, sequential-scene and generalized. The picture is a complex of form images that does not change throughout the process of perception, it is static and intended for defined types Music portrait, for nature paintings. The generalized primeness characterizes the main images and the general direction of the development of the plot, the outcome and the result of the ratio of the current conflict forces. It only binds the literary and musical work through the program. The sequential software is more detailed, because it retells the plot step by step, outlining events in direct sequence. This is more complex type By their virtuosity and ability to comment on events / taking into account the tips of Ferenz Leaf /.

German "Programmer" -R.Shumann came to change F. Lista. F.List wrote about him that he was "reached the greatest miracle, he is able to call us the most impressions in our music, which would give rise to the most item, whose image is refreshing in our memory thanks to the name of the play." The series of his piano miniatures is a kind of "musical notepads", where Schumani listed everything that watched in kind or something worried and thought, reading poetry and prose, enjoying the monuments of art. Thus arose "Rhine" symphony with the views of the Cologne Cathedral and the piano cycle "Carnival" based on the materials of his own articles, memories and novel Jean Fields "Naughty Years", "Creisleriana" - fantasies on Hoffmann ...

"The music is available all wealth and a variety of real life impressions," said R. Shuman, and plays appeared on the light of "Listers from the album", "Noveltites", "Ballroom scenes", "Eastern paintings", "An album for youth" . Shumana, when he brought out the outline in his music "Notepad", worried a specific idea expressed in the title. But sometimes he hid his idea under common title Genre, under the mysterious semi-milk-epigraph, Sphiplicis "Sphinx" in Karnavale, giving transcript with Latin letters Notes named after "Schuman" and the city "Ash", where the beloved of a young composer lived. Being a convinced supporter of the program, R. Shuman, sometimes refused to declare the program, on which the work was written. He feared to narrow the content and circle of associations. Searches in the field of music in music, following R. Shuman, continued J. Bizet, B.Smetan and A. Dvarak, E. Grieg, etc.

With the development of program principles, certain changes in the field of musical forms occurred. Berlioz connected Opera, ballet and symphony (synthetic genre was called "Dramatic Legend" and the best thing An example is his "condemnation of Faust"), it was brought to the symphony elements of the opera play and the synthetic thing "Romeo and Juliet" was born. M. Glinka wrote the first opera in Russia without traditional plug-in conversational dialogues "Life for the king, or Ivan Susanin" and the first national epic opera "Ruslan and Lyudmila", applying new for Russian in both cases musical Theater. Trees opera DramaturgiaFixed on the close relationship of characters, ideas and situations. This connection was carried out at the level of musical thematism. For a decade later, the reform of the opera dramperature, compositions and roles of the orchestra carried out in the west P. Bagnep. He, like M. Glinka, will be pronounced development methods from Symphony - Simphonism in the Opera Genre - like Berlioz. But R. Vagnera, unlike the city of Berlioz, it was possible to solve several tasks at once. The software is inherent exclusively "absolute" or "clean" music - instrumental. The French Clauses of the XYIII century - F. Kuperin or L.-F. Ramo - Pieces wore program headlines "knitters", "Little windmills" F.Kupine "Birds Roll" L. Ramo, "Cuckoo" Louis Dakena, "Duffa" J. Dandrid, etc.

In 1700, Johann Kunau issued six key sites under the overall heading "Music image of several biblical stories." IN orchestral music The programmith will bend Antonio Vivaldi, writing the four string concerts "Seasons of the Year." I.-S. Bach wrote "Capricho to depart the beloved brother" for a key. Josef Gaidn Also left a lot of symphonies under the brief headlines "Morning", "noon", "Evening", "Clock", "farewell", and his contemporary V.A. Motsart, unlike him, avoided giving instrumental works of the name. The plot in the development of the program was the work of L. Van Beethoven. He almost did not decipher the content of his works under rare headlines and only thanks to the diaries, biographers and musicologists, we know that the symphony N 3 was previously devoted to the consul Bonaparte, and then, after coronation, called "heroic", piano Sonata. N 24 is called "Appasionate", N 8 - "pathetic", N 21 "Aurora", N 26 - "Farewell, separation and return", etc. More specifically determined the content of symphony N 6 "Pastoral" - each part it has its heading: "Awakening of joyful feelings on arrival in the village", "Scene at the stream", "Merry gathering in the fall", "storm", "Pastuchov's singing. Joyful, thanksgiving feelings after a thunderstorm. " So L. Van Beethoven prepared the XIX century software symphony. He composed to Opera "Fidodio", giving her the name of the main heroine of Opera "Leonor". Soon there were two more options for Overture - "Leonor N 2" and "Leonora N 3". They were also intended for concert performance. So overture became an independent genre that in the work of romantics will be the usual phenomenon. D. Thresini composed such a type of overture to the opera Wilhelm Tella - he did not give her name, but the plot in it looks extremely relief. Same and "Skitalets" f. Schubert - piano fantasy.

In the work of F. Chopin, the role of program ideas was large enough, but no matter how difficult the program of individual instrumental plays, f. Chopin left her secret, not giving any names or verse epigraphs. He was limited only by the designation of the genre - ballad, polonais, etude and preferred a hidden type of program. Although at the same time he pointed out that "successfully selected name enhances the impact of music" and the listener then dives in a sea of \u200b\u200bassociations without fear, not distorting the nature of things. In their articles and the letter. Chopin has repeatedly opposed excessive detail - "Music should not be a translator or maid." In his unfinished work, F. Chopin wrote about the expression of thought through sounds, not formed definitely and finally the word is the sound ... The thought, expressed by sounds ... Emotion is expressed by sound, then the word was understood by F.Sopen and the city of Flaver, judging by The scene of Mato martyrdom and the orgy of the crowd in "Salambo".

F. Shopen brought the literary ballad to instrumental music, being under the strong impression of the poetic talent of his compatriot Adam Mitskevich. Romantic type Ballads with a pronounced patriotic start was F.Shopen-emigrant especially close and consonant. It is known that F. Shopen created his ballads for piano in the footsteps of the meeting with A.Mitzkevich and acquaintance with his poetry. But it is almost impossible to clearly and unequivocally identify some of the 4-pool composer from one or another Balladoya. Mitskevich. There are a number of versions about the ratio of scenes ballads No. 1 Sol Minor Opus 23 with "Conrad Wallrod", ballads N 2 Fa Major Opus 38 with "Swithezyanka", ballads N 3 la-Bembol Major Opus 47 s either "Svithezyanka" A.Mitzkevich , Whether with Loreley, G. Heine. All this hypothetical is already talking about how free the music of the Chopin's ballad from specific program and literary associations is. From the conversation F. Chopin with A.Mitzkevich, it is known that the first two ballads accurately arose under the impression of works. Mitskevich. The fact that the outstanding pianist, the writer and an even more talented chart of Obry Berdsley in his drawing "The Third Ballad of Chopin" depicted a girl grooming on a horse in the forest and escorted this drawing with a note line, presenting the motive of the second theme of ballads. And this is an image from "Swithesyanka".

Unlike F.Shopen, who preferred the hidden program, F. Madelson, in any case, in symphony genre, explicitly to the picture type, about what his overtures "Sleep in summer night"," Fingalova Cave, or Hebrides "," Sea-quiet and happy swimming "and two symphonies are Italian and Scottish. He was the creator of the first romantic concert program overture in the history of music (1825).

For the name of Glliosis, the appearance of the first romantic program symphony in 1830 "fantastic" is connected. His works raised French music to the level of advanced literature of their time, and precisely the newest, modern literature. D. Bariron, Alfred Mussse, F. Shatubin, c. Hugo, Georges Sand and re-outdoor romantics V. Sispir ... But the Glitioe is often laws musical form We took over the literary elements. Its program differed in certainty, and often verbal detail, as in "fantastic". He has been to a naturalistic understanding of the program, not limited to the headlines of the whole and parts, but also the premance of each part of the detailed annotation, thus presenting the content of the personally fictional plot. But the music almost never followed slaves for the details of the fictional plot. The second main feature of his creativity is theatricalization with all its techniques.

The plot of the "fantastic" scene from the Göthev "Faust", the image of Oktawa from the "Celebration of the Son of the Century" A. De Müsse, the poem of V. Hugo "Shabashchik Opium" de Quince, images of Shatubovsky and Georges-Sandov's novels and first of all - autobiographical features ...

The subtitle "fantastic" read: "Episode from the life of the artist." Music aesthetically elevated the madness of the "exalted musician", plunged into a opium dream and the story consistently develops from towning joining through the fence and passions of the Waltz and pastorly to the fantastic, gloomy-deaf-toe march and to the wild devilish whistle. The musical rod of this dramaturgical chain is so-called. "Intrusive idea", developing and transforming in all 6-parts.

The plot narrative-dramatic symophonism is present in the works of Glelioza three other symphonies - "Romeo and Juliet" Symphony-drama, "Harold in Italy" and partly traourno-triumphal symphony. The whole development is subordinate to the plot fabul.

The banner of the program from F. Chopin and the city of Berliosis passed to F. Lista. He preferred a different type of Simphonism - a problem-psychological, suggesting the maximum generalization of ideas. The composer wrote that it is much more important to show how he thinks, rather than its actions. Therefore, in many of his symphonic poems, the philosophical abstraction, concentrate of ideas and emotions is put forward on the "Faust Symphony". The main task of F. List in terms of the program was updating music through its internal relationship with poetry. Due to the declaration of philosophical ideas, F. Sheet introduced an announced program Wanting to avoid an arbitrary interpretation of the idea. F.List believed that poetry and music had occurred from one root and again need to be connected. Special programs for poems F.List called "spiritual sketches" the poem of V.GUGU - to the poem "What is heard on the mountain", from the tragedy I.Got - to "TopKTO TASSO", poem A.Lamitin - to "Preludes", fragments from The scenes of I.German - to "Prometheus", and the poem of F.Siller "Worship of Arts" - to the poem "Festive Sounds". More specifically presents the author's plan in the poem "Ideals", where each section accompanies a quote from F. Schiller. Sometimes the program It was made up not by the composer himself, and his friends and close Carolina vittgenstein - to "crying about heroes", but some programs appeared at all after the composition of the music: so the text A.Lamitina replaced with F. Lista, the initial poem was reflected "four elements in" Preludes " . Program music is a special cultural phenomenon. It occurs in it a peculiar synthesis of forms of spiritual culture and various types of arts - music on one side of the literature, architecture, painting on the other.

The content of which discloses some kind of composer embodied in it, is very often poetic, which is what program music. This phenomenon gives her specific features, distinguishing it from non-programmable, which displays moods, feelings, mental experiences. The program may be a reflection of any reality phenomena.

Specifications and synthesis

In theory, all the music in one degree or another is programmed, except that it is almost impossible to designate neither objects nor the concepts that cause certain feelings from the listener. Such abilities have only speech, oral or written. Therefore, composers often supply their works by the program, thus causing a verbal or literary background to work in synthesis with all musical instruments applied by them.

Unity of literature and music helps that both of these types of art are able to show the development and growth of the image in time. Different kinds creative actions were combined since antiquity, as art was born and developed in syncretic form, binding to rituals and labor activity. In the means it was very limited, so separately and without applied tasks simply could not exist.

Sewing

Gradually, the household way of humanity was improved, art became more sophisticated, and a tendency towards the separation of its main birth and species. The reality is enriched, and the mapping of this has already been achieved in all variety, although syncretic art remained forever in ritual, spiritual, vocal and instrumental, dramatic aspects. Joint actions of music and words, however, defining the program, also never went from music.

It may be the names that provide software music. Examples - in the collection of piano plays P. I. Tchaikovsky where every play has not only "talking", but also "telling" title: "Morning prayer", "Nianin Tale", "Doll disease" and all other small works. This is his own collection for the older children's "Seasons", where the name of Peter Ilyich, the bright poetic epigraph is added to the title. The composer took care of the specific content of music, the fact and explaining what program music and how to perform this work.

Music plus literature

Software music for children is especially understandable if the work has a name, and the accompanying word that constitutes the composer himself or the writer who inspired him, as Roman-Korsakov made in the symphonic suite "Antar" on the Tale of Senkovsky or Sviridov in music

Nevertheless, the music program only complements, without being an accurate explanation. Just an inspiration object is the same in the writer and the composer, and the means are still different.

Music minus literature

If the play is called a "sad song" (for example, there is Kalinnikov, Sviridov and many other composers), it determines only the nature of the execution, but not a specific content, the more different music and non-program music. Specifications - this is "dog lost", "clowns", "Grandfather clock" (which are pretty, and then beat themselves). Such is almost all program music for children, it is deeper and faster understood and is better absorbed.

The musical language most often specifies the software content through its image: the sound can imitate the singing of birds ("ferry", "cuckoo"), injection of tension, the fun of a folk festival, fairing noises ("extraordinary incident", "Maslenitsa" and others. It is so Called sound test, which also clarifies what software music is.

Definition

Any product provided with a verbal characteristic necessarily contains the elements of a software that has many species. And what is software music, you can understand, even listening or learning the etudes. They themselves are intended to develop the technical capabilities of the musician in the role of expanded exercises and can not only contain music, but also music as such, but still often carry the features of the program and even there are absolutely. But if there is a plot in the tool, and the content is consistently disclosed, it is necessarily software music. Examples can be found in national folk, and in classical writings.

"Three Whale" and national traits in the program

Also help to understand what software music, certain features of the applied ("Polyushko", for example), march in everything genre diversity ("Marsh Chernomor" and "March of Wooden Soldiers"), as well as dance - folk, classical, fantastic. It with light hands D.B. Kabalevsky, in music - "Three China", which determine the genre affiliation.

Specific traits national music Also, they usually serve as a musical work program, asking the overall concept, pace, the rhythm of the composition ("dance with sabers" Khachaturian, for example, "two Jews ..." and "Hopak" Mussorgsky).

Landscape and Scene Software

The mapping of one or a number of images, which throughout the essay do not undergo changes, are also software music. Examples of works can be found everywhere: "In the fields" Gliera, "on the rocks and fjords" Grieg and so on. This can also include pictures of holidays and battles, music images landscape and portrait.

Even the same literary scenes Composers embody in music in different ways: for example, "Romeo and Juliet" Shakespeare at Chaykovsky poured into an overture, where the programming is generalized, and the Berlioz have a consistent. Both, of course, program music. The name is most often considered as a plot program, such as the "Battle of Gunnov" leaf on the Muffle of Kaulbach or its own etude "dance of the dwarves" and "Forest Noise". Sometimes the works of sculpture, architecture, painting help to understand what software music is, as they are involved in the choice of visual means for a musical picture.

Output

The software enriches music with new expressive means, helps in finding new forms of the work, differentiates genres. If the composer appeals to the program in his written, it brings his listener with reality, spiritualizes life, contributes to the comprehension of the deep spiritual principles. However, if the program defects over the rest of the tasks, then the perception of music is noticeably reduced, that is, the listener needs a space for his own creative perception.

Therefore, many composers from the software tried to refuse (including Mahler, Tchaikovsky, Stodoouse and others), but despite this, completely non-log music Neither one of them did it. The unity of music and the specifics of its content is never unstable and absolute. And the more generalized reflected content, the better for the listener. What is software music - will understand the slightest strokes of the development of musical thought: having ears, so to speak, hear, despite the fact that single definition And even the same understanding of this phenomenon in music in the environment of musical theorists has not yet appeared.

The origins and features of software music in creativity

composers-Romanticov

Romanticism in music was influenced by romanticism literature and developed in close connection with him, with literature at all. This was expressed in circulation to synthetic genres, primarily to theatrical genres (especially, opera), a song, tool miniature, as well as in a musical software. On the other hand, the approval of the program, as one of the brightest features of musical romanticism, due to the desire of advanced romantics to the concreteness of the figurative expression.

Another important prerequisite is the fact that many romance composers performed as musical writers And critics (Hoffman, Weber, Schuman, Wagner, Berlioz, Leaf, Versta, etc.). Despite the contradictory of romantic aesthetics in general, theoretical work Representatives of progressive romanticism made a very significant contribution to the development the most important issues musical art (content and form in music, nationality, programming, connection with other arts, updating musical expressiveness etc.), and this also influenced software music.

The software in instrumental music is a characteristic feature of the romanticism era, but not opening. The musical embodiment of various images and paintings of the surrounding world, following the literary program and sound-proceedings in a wide variety of options, can be observed from the composers of the Baroque era (for example, the "Seasons" of Vivaldi), in the French classistists (sketches of Coopen) and Vyards Classics ("software" symphonies, Hydena and Beethoven Overtures). And yet the program of composers-romantics is somewhat over another level. It is enough to compare the so-called genre of the "musical portrait" in the work of Cooper and Shuman to realize the difference.

Most often, the programming of composers of the era of romanticism is a consistent deployment in musical images of a plot borrowed from a literary and poetic source or created by the imagination of the composer. Such a plot-narrative type of program contributed to the specificization of the figurative content of the music.

So, software music is the musical works that the composer provided the verbal program concretizing the perception. Software compositions can be associated with plots and images embodied in other art types, including literature and painting.

All means of musical expression in the symphonic music of romantics, like a large artist (the nature of the thematism, the techniques of variational development, form, tools, harmonic language, etc.) are always subordinated to the disclosure of poetic ideas and images of the program.

Software works of Shuman, Berliosis, Sheet

Robert Schuman - One of the most striking representatives of musical romanticism in Germany.

Software music from R. Shuman is a lot. If you take, for example, its piano plays, then we will find that software plays 146, and non-programmable, no matter how surprisingly, the same number. These are collectors "Butterflies", "Carnival", "Variations on the topicABBEG. »Craislerian," Meetners "," Children's scenes "," An album for youth "and others. Software plays that are very diverse in these collections. From the symphonic software of music, you should mention the "Messinsky Bride", "Herman and Dorothea", music to the dramatic poem of Byrone "Manfred", Spring Symphony, "Rhineskaya" and other works.

In the work, Schumanim often relied on images of literary romanticism (Jean Paul and E.T. A. Gofman), many of his works are peculiar to literary and poetic software. Schumann often refers to the cycle of lyrical, often contrasting miniatures (for piano or voices with piano), allowing to reveal a complex gamut psychological states Hero, constant balancing on the verge of reality and fiction. In the music of Shuman, a romantic impulse alternates with contemplation, fancy scratchy with genre-humorous and even satirically grotesque elements. A distinctive feature of the works of Shuman is improvisation. The polar spheres of their artistic worldview of Schumann concretized in the images of Florestan (the embodiment of the romantic impulse, aspirations in the future) and Evzebia (reflection, contemplation), constantly "present" in the musical and literary works of Shuman as the identity of the composer himself. In the center of the musical and critical and literary activities of Shuman - a brilliant critic - the struggle with a banality in art and life, the desire for the transformation of life through art. Schumanov created a fantastic Union "Davids-Bund", united along with images real people (N. Paganini, F. Chopin, F. Sheet, K. Schuman) also fictional characters (Florestan, Evzebiy; Maestro Raro as an personification of creative wisdom). Fighting "Davidsbündlers" and Meshan-Filiuterov ("Philistines") became one of scene lines Software piano cycle "Carnival".

It is curious that fantasticity is combined in the "carnival" with a completely real and even documentary basis. After all, there really existed people, some - even under their own names (Chopin, Paganini). This can be obtained about the influence of certain portrait plays of French Clavesinsis (such as Couperin Furker), that is, again the old music.

Music psychological. It displays different contrast states and shifting these states. Schuman. The piano miniatures were very loved, as well as the cycles of piano miniatures, as they can be very good to express contrast. Schuman. refers to a software. These are software plays, often associated with literary images. They all have names that are a bit strange for that time - "Gusting", "Why?", Variations on the topic of the Abegeg (this is the name of his familiar girl), the letters of her surname he used as notes (a, b, e, g); "ASCH" - the name of the city in which there lived former love Shumana (These letters, as a tonality entered the "carnival"). Schuman. Very loved the carnality of music, due to variektility. For example: "Butterflies", "Hungarian Carnival", "Carnival".

"Carnival" - Suite characteristic plays, one of the most bright examples Software music in the works of Shuman. Introducing my mysterious "sphinxes", Schuman gave the key to reading the entire cycle as a process, and it turns out that the printing series of images is nothing more than the metamorphosis of a hidden, unreasonable foundation, "variations without the topic" (Schumann used this expression, however, In relation to not "carnival", but "Arabesok"). The openness of some plays in the context is enhanced by additional means. So, "Florestan", thanks to the tonal instability and an abundance of sudden contrasts (if not to tell the drops) of moods, it is possible to be conditionally called, without the topic. And the "replica" very much resembles a lyrical summarizing post-after or codette. The content of the process carried out in the "carnival" can be characterized as a gradual increase in humanity and sincerity of expression in the conditions of the carnival-gaming world. Here, the principle of through the development of the contrast ratio of two images, which later becomes the main thing in Creislerian. A pair of masks ("Piero" - "Harlequin"), then fictional characters ("Evsebiy" - "Florestan"), then real people ("Chopin" - "Estrell") - all this forms appropriate parallel lines of intonational development.

A row of cycles that grew on a dance basis was completed by DavidsBündler dances (in the second edition, the word "dance" disappeared), where Schumann deploys a whole series of portraits of just two heroes (Florestan and Evsebia, who came out of the "carnival"). Other Words, trying to convey its own world in his entire fullness and elusive variability. In "Davidsbunders", Schumann again returns to an open form almost in its pure form and creates its most bright sample. From this point of view, it is interesting to look at the completion of the cycle: after (seventeenth) play, which could claim the role of the final (summing up the nature of intonation, the reminiscence of the second play), follows one more. Schumanim should not be here not a formal-logical constructive principle, and the desire to say finally the most intimate, personal.

Another interesting example is "fantastic plays." Perhaps this is the first of the Shumanovsky cycles, whose plays (it is because of the completeness of the development and completeness of the form) may well exist, execute and think separately, outside the cycle. In this case, the cycle as a whole gives one of the most Expressive examples of open dramaturgy, not knowing clearly fixed faces ("from" and "to"), he embodies the romantic kaleidoscopy of "butterflies" in the new stage.

Internal completeness of development and new form quality are noticeably manifested even in such an open miniature as "why?"

Historical role Hector Berlioza It is to create a new type software symphony. Inherent symphonic thinking of Berliosis Picture Descriptions, plot concreteness Along with other factors (such as intonational origins of music, orchestration principles, etc.) make a composer with a characteristic phenomenon of French national culture.

All Berlioz symphonies have a program name - "fantastic", "Mourning-Triumphal", "Harold in Italy", "Romeo and Juliet". In addition to those named, he has works less than certain genres, but based on symphony.

The program, as the leading creative principle of Berlioz, leads to a new interpretation of the symphonic cycle. First of all, the number of parts of the cycle is dictated not so much by the traditional traditions of classical simphonism, as this particular program intent.

The unifying start in the symphonic cycle of Berlioz is usually one topic, passing through all parts and characterizing the main image - character symphony. This topic penetrating the whole cycle is a lattice symphony. Such is the motive of the beloved in the "fantastic symphony" or the motive of Harold in the Symphony "Harold in Italy." On the motive of love, sounding in the party of the choir at the beginning of the symphony "Romeo and Juliet", is based largely symphonicadagio. , drawing a love scene. At the same time, the symphonic cycle of Berlioz is deprived of the unity and integrity of the Beethoven Symphony Cycle. Separate parts of the symphony, following each other, represent a series of colorful and externally connected music pictures and images that consistently reveal all the main peripetics of the selected program. In the drama symphony there is no longer there is no dynamic purposeful, conflict development of a single idea, which is inherent in the Beethoven Symphony. Feature creative method Berlioz - Picture Descriptive - Conducts exactly the interpretation of the symphonic cycle. But at the same time, monumentality, democratism, civilian pathos is associated with Berlioz Simphonism with the Beethoven tradition.

Fantastic symphony is the first major work of the Berliosis in which he achieved complete creative maturity. She had a program subtitle - "Episode from the life of the artist." In romantic-fantastic colors, symphony depicts the love of the artist, that is, the Berlinios himself, suffering from undivided love for Harriet Smithson.

Paganini, admiring the Fantastic Symphony, Berlioz ordered Viola Concerto, but Berlioz, on the other hand came up to order - as was written a symphony with solo viola "Harold in Italy."

The participation of soloists and the choir brings the symphony of "Romeo and Juliet" with opera-oratorical cantal genres. Therefore, symphony and named dramatic. Obviously, Berlioz followed the path of Beethoven with his 9 symphony, where the chorus comes in the final, here the vocal element is present throughout the symphony. The last part is Pater Lorenzo and reconciliation choir - it could well be a opera scene. In addition, the key moments of the tragedy reveals the purely symphonic action means - a street fight in the early symphonies, a night of love, the scene in the tomb of Juliet. A special program plan symphony Berlioz made strongly depart from the classical symphonic tradition and create a multipart work, where the structure is due to the sequence of events in the development of the plot. And yet, in the middle parts of the Symphony (Night of Love and Fairy Mab), you can see connections with symphony adagio and scherzo. According to Romeo and Juliet, Berlioz exceeds everything that existed before in the Symphony region.

Being an active and convinced propaganda of the program in music, cramped and organic communication between music and other arts (poetry, painting), Ferrenz Leaf Especially persistently and fully carried out this its leading creative principle in symphonic music.

Among the entire symphonic creativity of the sheet allocate two software symphonies - "By reading Dante" and "Faust", which are high samples of software music. Also the sheet is the creator of a new genre, a symphonic poem, which is a synthesis of music and literature. The genre of the symphonic poem became favorite in composers of different countries and received a large development and original creative implementation in Russian classical symphony of the second halfXIX. century. Preconditions genre examples were in the free form Schubert (piano fantasy "Skitalets"), Schumann, F. Mendelson ( "hybrids"), later to symphonic poem accessed R. Strauss, Skryabin, Rahmaninov. The main idea of \u200b\u200bsuch a work - through the music to convey poetic intent.

Twelve symphony sheet poems make up a wonderful monument of software music, in which musical images and their development are associated with a poetic or moral and philosophical idea. The symphonic poem "What is heard on the mountain" according to the poem of V. Gyu, embodies the romantic idea of \u200b\u200bopposing the magnitude of nature by human mourn and suffering. In the Symphony Poem "Tasso", written on the occasion of the celebration of the age anniversary since the birth of Goethe, are depicted by the suffering of the Italian poet of the Renaissance Torquato Tasso during life and the triumph of his genius after death. As the main topic of the work sheet, the song was used by the song of the Venetian Gondolors, who performed on the words of the initial stanter of the main work of Tasso, the poems "liberated by Jerusalem".

The symphonic poem of the "Preludes" was originally written independently of Lamartin, as joining the four male choirs on the texts of Joseph was reflected. Only in the processing of "preludes" into an independent symphony poem, the list after some searches of the program stopped on the poem of Lamartin "Poetic Reflections" ("Meditations Poetiques. "), Which, as it seemed to him, most suitable for music of the poem. It is due to the fact that the program was found by the Sheet after the end of the poem, there is no complete correspondence between the "preludes" of the sheet and the poem of Lamartin. In the poem, human life is compared with a number of preludes to death, leaf has a completely different concept. It is not only no image of death, in it, on the contrary, the statement of life, the joy of earthly existence is expressed.

The symphonic poem of Leaf "Orpheus" was originally conceived as an overture to setting in Weimar Opera Glitka "Orpheus." In this poem, the sheet embodied famous myth About the Thracian singer is not in serial-scene, but in a generalized philosophical plan. For a sheet in this case, the Orpheus is a generalized symbol of art, "spilling up their melodic waves, their powerful chords," as they say in the program.

You can also call other symphonic poems of sheets - "Prometheus", "Festive Slans", "Mazepa", "Plach about the Hero", "Hungary", "Hamlet" and others.

The sheet it was important not so much to transfer the consistent development of the scene of the elected program in the music, how much to implement the means of musical art with a common poetic idea leading poetic images. Unlike the works of Berliosis, in the symphony works of the sheet pre-claiming program is not a plot presentation, and only transmits the overall mood, it is often even limited to one heading, the name of the work or its individual parts. It is characteristic that the list of works of the sheet is not only literary and poetic images, but also works of visual arts, in which there is no fluttering story-narration, as well as various landscapes and phenomena of nature.

In some symphonic works of the sheet, the principle of monothematism is used, that is, the reception through the entire product of one topic or a group of topics by the variational transformations up to a radical change in the image. The reception of monothematism is especially consistently carried out in the symphony poems of Tasso and "Preludes", where the variational transformations of one topic (even one intonation) express various stages of development of the idea. Such a variational development of the topic leads to its powerful heroic statement at the end of the work. Hence the solemn codes-apotheosis of a march-shaped characteristic of the sheet.

In the three-part symphony "Faust" the third part ("Mephistofel") is the most interesting transformation of all those first part (Faust). Themes philosophical, pathetic, lyrical, heroic, acquire in the final grotesque, mocking-sarcastic character, corresponding to the image of Mephistophele, in the ideological concept of a sheet meaning the "wrong" of the Faust, skeptical denial of all the noble and sublime, notification of high ideals. By the way, it resembles the reception of Berliosis in the final of the "fantastic symphony", where the lyrical theme of love is being distorted.

Many software music and in the work of other romantics - F. Mendelssohn (including software concert slicers), E. Griega ("Poetic pictures", "Homories", Suites "Per Gunt", "From the time of Holberg") and others. In Russian music, the brightest examples of the program, the cycles of the piano plays "pictures from the exhibition" M.P.Morusorgsky and "Seasons" P.I. Tchaikovsky.

Romanticism left a whole epoch in the world artistic cultureHis representatives in literature, visual art and music opened and developed new genres, paid close attention to the fate of the human person, revealed the dialectics of good and evil, the workshops opened human passions and others.

The work of composers-romantics was often an antithesis of the mesh atmosphere of 1820-40-kh. It was called in the world of high humanity, chasing the beauty and power of feeling. Hot passion, proud masculinity, thin lyricism, the capricious variability of the endless flow of impressions and thoughts - specific traits Music composers of the era of romanticism, which brightly manifested in instrumental music.

Program musicRod tool music; Music works that have verbal, often poetic program and discovering the content captured in it. The program can serve the title, indicating, for example, on the phenomenon of reality that the composer meant ("Morning" of the Migra from music to the Drama of Ibsen "Per Gunt"), or to the inspired literary work (Macbeth "R. Straus - a symphonic poem According to the Shakespeare drama). More detailed programs are usually compiled by literary works (symphonic Suite. "Antar" Rimsky-Korsakov on tale of the same name Senkovsky), less often - out of connection with the literary prototype ("Fantastic Symphony" of Berlioz). The program reveals something inaccessible for musical incarnation and therefore not disclosed by the music itself; it is fundamentally different from any analysis or music description; It is possible to give it to a musical work only its author. In P. m. Musical image is widely used, sounding, concretization through the genre.

The simplest view of P. m. - picture software (musical painting of nature, folk festivals, battles, etc.). In plot and software works, the development of musical images to one degree or another corresponds to the contours of the plot, as a rule, borrowed from fiction. Sometimes they are given only music characteristic basic images general Direction The development of the plot, the initial and final ratio of the current forces (summarized-scenery), sometimes the entire sequence of events is displayed (serial-scene software).

In P. m. Development methods are used to "follow" over the plot without violating self-musical patterns. Among them: variation and related principle monothematism, nominated by F. Sheet; The principle of leitmotive characteristics (see Leitmotif ), which one of the first applied Berlioz; Combining in one-piece form the features of a semonate allegro and a seen-symphonic cycle characteristic of the Symphonic poem of the genre created by F..

The programming appeared to the big conquest of musical art, stimulated the search for new expressive means, promoted the enrichment of the circle of images of musical works. P. m. Equally with the music of non-programmable and develops in close cooperation with it.

P. m. Known with deep antiquity (antique Greece). Among program works 18 V. - Clausian miniatures F. Coopen and J. F. Ramo, "Capricheo for the departure of his beloved brother" I. S. Baha. A number of software works were created by L. Beethoven - "Pastoral Symphony", "Egmont", Coriolian Overtures, etc. Floaling P. m. At 19 V. largely associated with the romantic direction in musical art (cm. Romanticism ), proclaimed the slogan of updating music through the unity of it with poetry. Among the program products of composers-romantics - "Fantastic Symphony" and Symphony "Harold in Italy" Berlioz, Symphony "Faust", "K" Divine Comedy."Dante", the symphonic poems "Tasso", "Preludes" and others. Sheet. A large contribution to P. m. Made and Russian classic composers. Symphonic picture "Ivanov Night on Bald Mount" and the piano cycle "Pictures from the exhibition" of Mussorgsky, Symphonic Suite "Antar" Roman-Korsakov, Menfred Symphony, Romeo and Juliet, Fantasy fantasy, fantasy "Francesca" Yes Rimini "Tchaikovsky and others. Software compositions were also written by A. K. Glazunov, A. K. Lyadov, A. I. Skryabin, S. V. Rakhmaninov and others. National traditions In the field of P. M. Find their continuation and development in creativity soviet composers - N. Ya. Meskovsky, D. D. Shostakovich, etc.

LIT: Tchaikovsky P. I., On Software Music, Flex. Excerpts from letters and articles, M., 1952; Stasov V.V., Art of the XIX century, is favored. Op. (Essay), vol. 3, M., 1952; F. leaf, option. Articles, M., 1959, p. 271-349; Khokhlov Yu., On music program, M., 1963; Kiauwell O., GESCHICHTE DER PROGRAMMUSIK, LPZ., 1910; Sychra A., Die Einheit Von Absoluter Musik und Programmusik, "Beiträge Zur Misik-Wissenschaft", 1, 1959; Niecks Fr., Programme Music In The Last Four Centuries, N. Y., 1969.

Software and Fine Music

In a person's life, music happens to another, and comforter, and a dream. But some people (often by ignorance) launched her the role of a simple maid, without even suspecting that she is a goddess that can exalt the human soul, touched upon her good, noble strings.

Our great compatriot writer Mikhail Afanasyevich Bulgakov expressed about music important thought: "Music can not be loved. Where music, there is no evil. "

Even listening to unfamiliar music, you suddenly understand that it is your feelings, mood: then sadness, then stormy joy, then such a shade of mood, what words do not determine ...

It turns out that all these emotions also survived another person - the composer, and then managed to express in the sounds of music a huge variety of excitedness of his feelings and sentiment. And it does not matter, in which a century the composer lived - in XVIII or XX, there are no borders for music: it moves from the heart to heart. Here in this property of music - expressiveness - she lies main force. Even a short song or a small instrumental play for expressiveness can compete with a complex sonaca or symphony. The reason for such an unusual phenomenon is that the music, "talking" by a simple music language, is understandable and accessible to everyone, and musical language "Sonata" or "Symphony" requires a listener of training, musical culture. This training is knowledge of music, its language, its expressive and visual opportunities - are designed to give our music classes.

You have become acquainted with a large number of musical works. Many of them have names. "A well-selected name strengthens the impact of music and the most prosaic person will make something imagine, something to focus" (R. Schuman).

If, for example, you will open the "children's album" and read the name of the first play: "Morning Prayer", then immediately tighten on a certain tone, strict, light and focused. The title helps the Contractor to uncover the nature of the music closest to the author's intent, and the listener is better to take this idea.

All works that have names, headlines of individual parts, epigraphs, or deployed literary program are called software.

IN vocal works - Songs, romance, vocal cyclesAs well as in musical and theater genres - there is always a text and the program is clear.

And if the music is instrumental, there is no text in it, how best to understand it and execute? Composers took care of this, which gave names to their instrumental writings, especially those in which the music of something or someone depicts. So, it will now go about program-visual music.

What ocean sounds surrounding us! The singing of birds and the rustling of trees, wind noise and rain rustling, grumble rocked, rakewalls ... All these sound phenomena of nature can be portrayed, and we, listeners, submit. How does the music "depicts" the sounds of nature?

One of the most striking and majestic musical paintings was created. In the fourth part of its sixth ("pastoral") symphony, the composer sounds "painted" the picture of the summer thunderstorm (this part is called - "thunderstorm"). Listening to the mighty Crescendo of the amplifying shower, frequent thunder rolls, the wind winds depicted in music, we imagine a summer thunderstorm.

IN symphony picture "Three Miracles" depicted sea storm (The second "miracle" - about thirty three heroes). Pay attention to the author's definition - "picture". It is borrowed from fine art painting. The music is heard a formidable rokot of waves, upholding and whistle wind.

One of the most favorite glasses of pictusive in music is to imitate the voices of birds. The witty "trio" of the nightingale, cuckoo and quail you will hear in the "scene at the stream" - the second part of the "pastoral symphony" of Beethoven.

Bird voices sound in the plays for the harpsichord "Crossbing birds" and "chicken" Jean-Philip Ramo, "Cuckoo" Louis-Claude Dakena, in piano play "Lyonki's song" from the cycle "Seasons" Tchaikovsky, in the prologue of the Opera "Snow Maiden" of Roman-Korsakov and in many other works. So, imitating the sounds and votes of nature is the most common reception of pictorial in music.

Another reception exists for an image not sounds of nature, but movements of people, animals, birds. Let us turn back to the fairy tale "Peter and Wolf". Drawing in music a bird, a cat, duck and other characters, the composer portrayed their characteristic movements, habits, and so skillfully, that you can personally imagine each of them in motion: flying bird, sanging a cat, jumping wolf, etc.

The bird has fun chirirts: "Everything is calm." It sounds light, as if a fluttering melody on high sounds, wittyly depicting a bird twitter, porch of birds. It is performed by a wooden brass instrument - flute.

In the melody, the duck reflects her nervousness, incurred from the side on the side of the gait and even as if heard her chambling. The melody becomes especially expressive performed by gently sounding, a little "hollow" oboe.

The ripple sounds of the melody in the low register are handed over a soft, ingratiated flow of a cat. The melody performs a wooden brass instrument - clarinet.

Here, the main visual means were rhythm and pace. After all, the movements of any living being occur in a certain rhythm and pace, and they can very accurately be transferred to the music.

The nature of movements is different: smooth, flying, sliding or, on the contrary, sharp, clumsy ... Music sensitively responds to it. Smooth movements are reflected in a flexible melodic pattern, Legato touch, and sharp - in the "Kolyum", angular pattern of the melody, a sharp station Staccato.

The musical theme of the grandfather expressed his mood and character, features of speech and even gait. Grandfather says Basa, leisurely and as if he was a little grumbling - so his melody sounds performed by the lowest wooden wind instrument - Fagota.

Depicting the movements, gait your heroes, the composer reveals their character. So, the musical portraits of a boy and grandfather "drawn" to Prokofiev bright, contrasting paints: both hero fairy tales are depicted in motion, so their music is associated with the march genre. But as these two march do not look like.

Cheerfully walks in the march, as if singing a lung, mischievous melody. Bright, cheerful topic embodies the elderish character of the boy. Petya S. Prokofiev depicted with all strings tools - Violins, altov, cello and double bass.

The theme of Petit, lightning, elaborating on the rhythm and movable, is similar to a perky song, and in the theme grandfather, the traits of the march appear: she is "hard", sharp on rhythm, dynamics, more restrained by tempo.

Bright examples of images of this kind can be found in the plays of the Mussorgsky "Gnome", "ballet of unheard of chicks", "Hut on the couch legs" from the piano cycle "pictures from the exhibition".

"Draw" musical portraits first learned french composers XVIII century. Francois Coopen many of their plays for Clavsian gave names. The author wrote: "The plays with the title are a kind of portraits, which were pretty similar in my performance." Listening to the "Sister Monic" play, it is not difficult to imagine her cheerful temper.

In the play "Florentinka" sounds the rapid Italian dance Taranttella, which becomes the main feature of her musical portrait. "Tips" for the listener were program headers "Kumushka", "mysterious" and others.

Tradition to write musical portraits continued in the XIX century: Schumani, Mussorgsky, Roman-Korsakov, Tchaikovsky, Lyadov ...

Bright and aphoristical "written" women's portraits-characters in piano cycle Robert Shuman "Carnival". Compare two of them: "Kiarin" and "Estrella". What is in common with them? First of all, the romantic genre of the Waltz - dance century. His "FULLY", the grace as it is impossible to more accurately fit female imagesBut at the same time the character of two waltz is sharply different. Under the carnival mask "Kiarina" the portrait of Clara Vic, the wife of the composer, an outstanding pianist, appears. A discreet-passionate topic of the Waltz expresses the sublime spirituality, the poeticness of the musical image. But another waltz - "Estrell", and before us "participant" of Carnival, completely unlike "Kiarin", - temperamental, ardent girl. Music is executed external shine, bright emotionality.

Or maybe music to portray space? Is it possible, listening to it, mentally see the endless plains, expanses of the fields, bustling seas? It turns out, it is possible. For example, the first parts of the first symphony of P. Tchaikovsky "Grey Winter Dear". It begins barely audible - as if the sillaver is dry snow from the wind, the frosty air rang. A moment ... and a sad melody appeared. It creates the impression of a widely spread spacious, desert, loneliness.

The same impression of space, sound volumes helps to create wide intervals, sounding "transparent", "empty." These are quints, octaves. Let's call the first part of the eleventh Symphony of Shostakovich. Composer portrayed huge space Palace Square, closed by the bulk of palaces. To do this, he chose simple and accurate fine techniques: Related orchestral invoice with empty average register and transparent sound "empty" quint in extreme registers, a special timber flavor of versed strings and harp.

Greasy fine role In music play harmony and tools timbres. We have just mentioned the features of the orchestra sound in the Symphony of Shostakovich.

Let's call other works. Among them is an episode of the magical turn of winch in girls in the second painting of the opera of the Roman Corsakov "Sadko", the play "Morning" from the Suite "Per Gunt".

Software works in music there are a huge set. We will not once again meet them on our lessons.

Questions and tasks:

1. What is program music?
2. What is the purpose of composers give the name to the instrumental works?
3. In what form can be expressed a generalized program?
4. List all the familiar software works.

Presentation

Included:
1. Presentation - 34 slides, PPSX;
2. Music sounds:
Beethoven. Symphony number 6 "Pastoral". II part. "Scene at the stream" (fragment), mp3;
Beethoven. Symphony number 6 "Pastoral". IV part. "Thunderstorm" (fragment), MP3;
Daken. "Cuckoo" (2 version options: Piano and Ensemble), MP3;
Coopen. "Sister Monic" (Clavsine), MP3;
Coopen. "Florenty" (Clavsine), MP3;
Mussorgsky. "Ballet of unheard of chicks" from the cycle "Pictures from the exhibition" (2 versions: symphony Orchestra and piano), mp3;
Prokofiev. Fragments of the symphonic fairy tale "Peter and Wolf":
Theme grandfather, mp3;
Cat theme, mp3;
Theme Petit, MP3;
Theme of birds, mp3;
Theme duck, mp3;
Rimsky-Korsakov. "33 Bogatyr" from the Opera "Tale of Tsar Saltan", MP3;
Rimsky-Korsakov. "Turning the winches in girls" from the Opera "Sadko", mp3;
Tchaikovsky. Morning Prayer from the "Children's Album" (2 version options: Symphony Orchestra and Piano), MP3;
Tchaikovsky. Symphony number 1. I part. (fragment), MP3;
Shostakovich. Symphony number 11. I part. (fragment), MP3;
Schuman. Kiarin from Carnival Cycle (Piano), MP3;
Schuman. "Estrell" from the Carnival cycle (Piano), MP3;
3. Accompanying article, DOCX.