Polyphonic forms. Music theory: musical presentation, polyphony, austere style Austere style is different

lat. polyphonia, from ancient Greek. πολυφωνία - literally: "polyphonic" from ancient Greek. πολυ-, πολύς - "a lot" + Old Greek. φωνή - "sound"

A type of polyphony based on the same sounding two or more melodious. lines or melodic. votes. “Polyphony, in its highest sense,” A. N. Serov pointed out, “must be understood as the harmonious fusion of several independent melodies, going in several voices at the same time, together. his own, and so that this does not leave confusion, incomprehensible nonsense, but, on the contrary, an excellent overall impression. In music such a miracle is possible; it is one of the aesthetic specialties of our art. " The concept of "P." coincides with the broad meaning of the term counterpoint. N. Ya. Myaskovsky referred to the area of ​​counterpoint. mastery a combination of melodically independent voices and a combination of several at the same time. thematic elements.

Polyphony is one of the most important means of music. compositions and arts. expressiveness. Numerous. P.'s techniques serve for a versatile disclosure of the content of the muses. production, embodiment and development of arts. images; P.'s means can be modified, compared and combined muses. themes. P. relies on the laws of melody, rhythm, harmony, harmony. The expressiveness of P.'s techniques is also influenced by instrumentation, dynamics, and other components of music. Depending on the definition. muses. context can change arts. the meaning of certain means is polyphonic. presentation. There are decomp. muses. forms and genres used to create works. polyphonic warehouse: fugue, fughetta, invention, canon, polyphonic variations, in the 14-16 centuries. - motet, madrigal, etc. Polyphonic. episodes (eg, fugato) occur in other forms as well.

Polyphonic. (counterpoint) warehouse of music. manuf. opposes homophonic-harmonic (see Harmony, Homophony), where voices form chords and Ch. melodic. line, most often in the upper voice. A fundamental feature of the polyphonic. the texture, which distinguishes it from the homophonic-harmonic, is fluidity, which is achieved by erasing the caesura separating the constructions, by the imperceptibility of transitions from one to another. Voices are polyphonic. constructions rarely cadence at the same time, usually their cadances do not coincide, which causes a feeling of continuity of movement as a special expression. quality inherent in P. While some voices begin the presentation of a new or repetition (imitation) of the old melody (theme), others have not yet finished the previous one:

Palestrina. Richercar in the I tone.

At such moments, nodes of complex structural plexuses are formed, combining in simultaneity different functions of the muses. forms. After that comes the definition. rarefaction of tension, movement is simplified up to the next node of complex plexuses, etc. In such a playwright. conditions are developing polyphonic. production, especially if they allow large arts. tasks differ in the depth of content.

The combination of votes vertically is regulated in P. by the laws of harmony inherent in the definition. era or style. "As a result, no counterpoint can exist without harmony, for any combination of simultaneous melodies at separate points of its own forms accords or chords. In genesis, no harmony is possible without counterpoint, since the desire to combine several melodies at the same time precisely caused the existence of harmony" (G A. Laroche). In P. of the strict style of the 15th and 16th centuries. dissonances were located between consonances and required a smooth movement; in free-style P. in the 17th and 19th centuries. dissonances were not connected by smoothness and could pass one into another, pushing the modal-melodic resolution to a later time. In the present. music, with its "emancipation" of dissonance, discordant combinations of polyphonic. votes are allowed at any length.

P.'s types are varied and difficult to classify due to the great fluidity inherent in this genus of muses. lawsuit.

In some bunks. muses. cultures the podgolosochny view of P. is widespread, which is based on hl. melodic. voice, from which the melodic branch off. turnovers of other voices, echoes, varying and replenishing the main. the melody, at times merging with it, in particular in cadences (see. Heterophony).

In prof. art-ve P. worked out other melodic. ratios that contribute to the expressiveness of voices and all polyphonic. whole. Here, the type of P. depends on what the terms are horizontally: with the identity of the melody (theme), imitatingly carried out in different voices, an imitation P. is formed, with the difference in the combined melodies, the P. is contrasting. This distinction is conditional, since when imitating in circulation, increasing, decreasing, and even more so in crustal movement, the differences in melodies horizontally intensify and bring P. closer to contrast:

J.S.Bach. Organ fugue C-major (BWV 547).

In some cases, polyphonic. combination, starting as an imitation, in definition. the moment turns into contrast and vice versa - from contrast, a transition to imitation is possible. So the inextricable connection of two types of P. is revealed. In its pure form imitats. P. is presented in a one-dark canon, for example. in the 27th variation from the cycle "Goldberg Variations" by Bach (BWV 988):

To avoid monotony in muses. content of the canon, the propost is constructed here so that there is a systematic alternation of melodic-rhythmic. figures. When the rispost is carried out, they lag behind the figures of the propost, and intonation arises vertically. contrast, although horizontally the melodies are the same.

The method of increasing and decreasing intonation. activity in the propost of the canon, which ensures the intensity of the form as a whole, was known even in the strict style of P., as evidenced, for example, by the three-headed. Canon "Benedictes" of the Mass "Ad fugam" of Palestrina:

Thus, imitation. P. in the form of a canon is by no means alien to contrast, but this contrast arises vertically, while horizontally its terms are devoid of contrast due to the identity of the melodies in all voices. In this it is fundamentally different from contrasting P., edges unites horizontally unequal melodic. elements.

The final one-color canon as a form of imitations. P. in the case of a free extension of his votes goes into contrast P., edges, in turn, can go into the canon:

G. Dufay. Duo from the Mass "Ave regina caelorum", Gloria.

The described form connects P.'s types in time, horizontally: one type is followed by another. However, the music of different eras and styles is also rich in their simultaneous vertical combinations: imitation is accompanied by contrast, and vice versa. Some voices unfold imitatively, others create a contrast to them or in free counterpoint;

the combination of proposta and rispost here recreates the form of an old organum), or, in turn, forms an imitation. construction.

In the latter case, a double (triple) imitation or canon is added if the imitation extends for a duration. time.

D. D. Shostakovich. Symphony 5, movement I.

The interrelation of imitative and contrasting P. in double canons sometimes leads to the fact that their initial sections are perceived as one-dark-imitative, and only gradually the proposes begin to differ. This happens when the whole work is characterized by a common mood, and the difference between the two proposts is not only not emphasized, but, on the contrary, is masked.

In Et resurrexit of the canonical Mass of Palestrina, the double (two-volume) canon is veiled by the similarity of the initial sections of the propost, as a result of which at the first moment a simple (one-volume) four-part canon is heard, and only later does the difference of the propost become noticeable and the form of the two-volume canon is realized:

As diverse as the concept and manifestation of contrast in music, contrasting P. is just as diverse. In the simplest cases of this type of P., voices are quite equal, which is especially true for counterpoint. fabrics in production strict style, where polyphonic music has not yet developed. theme as a concentrated one-headed. expression d. thoughts, DOS. music content. With the formation of such a theme in the works of J.S.Bach, G.F. At the same time, in cantatas and works. In other genres, Bach has a diverse representation of contrasting music of another kind, which is formed from the combination of a choral melody with polyphony. with a cloth of other voices. In such cases, the differentiation of the components of contrasting P., brought to the genre character of polyphonic voices, becomes even clearer. whole. In instr. music of later times, the delineation of the functions of voices leads to a special kind of "P. layers", combining one-headed. melodies in octave doubles and, often, imitations with whole harmonics. complexes: the upper layer is melodic. bearer of thematic, medium - harmonious. complex, lower - melodious moving bass. "P. Plastov" is extremely effective in dramaturgy. relation and is applied not in a single stream for a long time, but in a definite way. nodes of production, in particular in the culminating sections, being the result of increases. These are the culminations in the first movements of Beethoven's 9th Symphony and Tchaikovsky's 5th Symphony:

L. Beethoven. Symphony 9, movement I.

P. I. Tchaikovsky. Symphony 5, movement II.

Dramatically tense "P. strata" can be opposed calmly-epic. the connection is self-contained. those exemplified by the reprise of the symphony. paintings by AP Borodin "In Central Asia", combining two diverse themes - Russian and Eastern - and is also the pinnacle in the development of the work.

Opera music is very rich in manifestations of contrasting P., where various are widely used. kind of combination dep. voices and complexes that characterize the images of heroes, their relationships, confrontation, conflicts and, in general, the entire environment of action. The variety of forms of contrasting P. cannot serve as a basis for rejecting this generalizing concept, just as musicology does not reject the term, for example, "sonata form", although the interpretation and application of this form by I. Haydn and D. D. Shostakovich, L. Beethoven and P. Hindemith are very different.

In europe. P.'s music originated in the depths of early polyphony (organum, treble, motet, and others), gradually taking shape in its self. view. The earliest surviving information about everyday polyphony in Europe refers to the British Isles. On the continent, polyphony developed not so much under the influence of English as because of the internal. reasons. The first, apparently, is the primitive form of contrasting P., formed from counterpoint to a given choral or other genre of melody. The theorist John Cotton (late 11th - early 12th centuries), setting out the theory of polyphony (two-part), wrote: other sounds; both of them at separate moments converge in unison or octave.This way of singing is usually called organum, because the human voice, skillfully diverging (from the main), sounds like an instrument called an organ.The word diaphony means a double voice or a divergence of voices ". A form of imitation, apparently, of folk origin - "very early in the people they knew how to sing strictly canonically" (RI Gruber), which led to the formation of self-sufficient. manuf. using imitation. This is the double hex. the endless "Summer Canon" (c. 1240), written by J. Fornset, a monk from Reading (England), testifying not so much to maturity as to the prevalence of imitation (in this case canonical) technique already by mid. 13th century Scheme of the "Summer Canon":

The primitive form of contrasting P. (S.S.Skrebkov refers it to the field of heterophony) is found in the early motet of the 13-14th centuries, where polyphonicity was expressed in the combination of several. melodies (usually three) with different lyrics, sometimes in different languages. An example is the anonymous motet of the 13th century:

Motet "Mariac assumptio - Huius chori".

The choral melody "Kyrie" is placed in the lower voice, in the middle and upper ones there are counterpoints to it with texts in lat. and French. languages, melodically close to the chant, but still possessing a certain amount of independence. intonation-rhythmic. pattern. The form of the whole - variation - is formed on the basis of the repetition of a choral melody, which acts as a cantus firmus with melodically changed upper voices. In the motet G. de Machaut "Trop plus est bele - Biauté paree - Je ne suis mie" (c. 1350), each voice has its own melody from its own. text (all in French), and the lower one, with its more even movement, also represents the repeating cantus firmus, and as a result, the polyphonic form is also formed. variations. This is typical. examples of the early motet - a genre that undoubtedly played an important role on the path to the mature form of P. The generally accepted division of mature polyphonic. art for strict and free styles corresponds to both theoretical and historical. featured. The strict style is characteristic of the Dutch, Italian, and other schools of the 15th and 16th centuries. It was replaced by the free-style P., which continues to develop to this day. In the 17th century. advanced along with others. nat. school, in the works of the greatest polyphonists Bach and Handel reached in the 1st half. 18th century vertices polyphonic lawsuit. Both styles were defined within the framework of their epochs. evolution, closely related to the general development of the muses. art and its inherent patterns of harmony, harmony, and other music - express. funds. The border between the styles is at the turn of the 16th and 17th centuries, when, in connection with the birth of opera, homophonic-harmonicism clearly took shape. warehouse and established two modes - major and minor, to-rye began to orient the whole Europ. music, incl. and polyphonic.

The works of the austere style "amaze with the loftiness of flight, severe grandeur, a kind of azure, serene purity and transparency" (Laroche). They used preim. wok. genres, instruments were used to duplicate singers. voices and very rarely - for themselves. execution. The system of ancient diatonic was dominant. modes, in which the introductory intonations of the future major and minor gradually began to break through. The melody was notable for its smoothness, the leaps were usually balanced by the subsequent move in the opposite direction, the rhythm, obeying the laws of the mensural theory (see Mensural notation), was calm, unhurried. In the combinations of voices, consonants prevailed; dissonance rarely appeared as a separate entity. consonance, usually formed by passing and auxiliary. sounds on weak beats of a measure or a prepared hold on a strong beat. "... All parties in res facta (here is a recorded counterpoint, as opposed to an improvised one) - three, four or more, - all depend on each other, that is, the order and laws of consonances in any vote must be applied in relation to to all other voices "- wrote the theorist Johannes Tinktoris (1446-1511). Main genres: chanson (song), motet, madrigal (small forms), mass, requiem (large forms). Receptions thematic. development: repetition, most of all represented by straight imitation and canon, counterpoint, incl. movable counterpoint, the contrast of the compositions of the singers. votes. Distinguished by the unity of mood, polyphonic. manuf. strict style were created by the method of variation, which allows: 1) variational identity, 2) variational germination, 3) variational renewal. In the first case, the identity of some of the polyphonic components was preserved. the whole while varying others; in the second - melodic. identity with the previous construction remained only in the initial section, while the continuation was different; in the third, the thematic update was taking place. material while maintaining the general character of intonation. The method of variability extended to horizontal and vertical, to small and large forms, and assumed the possibility of melodic. changes introduced with the help of circulation, crustal movement and its circulation, as well as variations in the metro rhythm - increasing, decreasing, skipping pauses, etc. The simplest forms of variational identity are the transfer of ready-made counterpoint. combinations to a different pitch (transposition) or attribution of new voices to such a combination - see, for example, in "Missa prolationum" by J. de Okegem, where melodic. the phrase on the words "Christe eleison" is sung first with alto and bass, and then repeated by soprano and tenor a second higher. In the same Op. Sanctus is made up of the repetition of a sixth higher by the soprano and tenor parts of what was previously entrusted to the alto and bass (A), which now counterpoint (B) to imitating voices, changes in duration and melodic. figure, the initial combination does not occur:

Variational renewal in a large form was achieved in those cases when the cantus firmus changed, but came from the same source as the first (see below about the "Fortuna desperata" masses, etc.).

The main representatives of the strict style of P. - G. Dufay, J. Okegem, J. Obrecht, Josquin Despres, O. Lasso, Palestrina. Remaining within the framework of this style, their production. demonstrate decomp. relation to the forms of music-thematic. development, imitation, contrast, harmonious. the fullness of the sound, cantus firmus is used in different ways. So, the evolution of imitation is visible, the most important of polyphonic. means of muses. expressiveness. Initially, imitations in unison and octave were used, then other intervals began to be used, among which the fifth and fourth were especially important as preparing the fugue presentation. The imitations were developed thematically. material and could appear anywhere in the form, but gradually their dramaturgy began to be established. purpose: a) as a form of initial, exposition presentation; b) as a contrast to non-imitative constructions. Dufay and Okegem almost did not use the first of these techniques, while he became permanent in production. Obrecht and Josquin Despres and almost obligatory for polyphonic. forms of Lasso and Palestrina; the second, initially (Dufay, Okegem, Obrecht), was advanced when the voice leading the cantus firmus was silenced, and later began to cover whole sections of a large form. Such are Agnus Dei II in the mass of Josquin Despres "L" homme armé super voces musicales "(see the musical example from this mass in the article Canon) and in the masses of Palestrina, for example in the six-part" Ave Maria. "The Canon in its various forms (in pure form or with the accompaniment of free voices) was introduced here and in similar samples at the final stage of a large composition as a factor of generalization. In such a role in the future, in the practice of free style, the canon almost did not appear. "Palestrina's two sections - Benedictus and Agnus - are written as precise two-headed canons with free voices, creating a soulful and smooth contrast to the more energetic sound of the previous and subsequent constructions. In a number of Palestrina's canonical masses, the opposite method is also encountered: lyric in content Crucifixus and Benedictus are based on non-imitative P., which contrasts with other (canonical) parts of the work.

Large polyphonic forms of strict style in thematic. relation can be divided into two categories: those who have a cantus firmus and those who do not. The former were more often created at the early stages of the development of the style, but at the subsequent stages, the cantus firmus gradually begins to disappear from the creative. practices, and large forms are created on the basis of the free development of thematic. material. At the same time, the cantus firmus becomes the basis of the instr. manuf. 16 - 1st floor. 17th century (A. and J. Gabrieli, Frescobaldi, etc.) - Richercar and others and gets a new embodiment in choral arrangements by Bach and his predecessors.

The forms, in which there is a cantus firmus, are cycles of variations, since the same theme is carried out in them several. once a time counterpoint surroundings. Such a large form usually has introductory-intermedia sections, where there is no cantus firmus, and the presentation is based either on its intonations or on neutral ones. In some cases, the ratios of the sections containing the cantus firmus with the introductory-intermedia ones obey certain numerical formulas (the masses of J. Okegem, J. Obrecht), in others they are free. The length of the introductory-intermedia and cantus firmus constructions can vary, but it can also be constant for the entire work. The latter include, for example, the aforementioned "Ave Maria" Mass of Palestrina, where both kinds of constructions have 21 bars each (in the conclusions, the last sound is sometimes stretched over several bars), and this is how the whole form is formed: 23 times cantus firmus is performed and so many the same introductory intermedia constructions. To a similar form P. strict style came as a result of the duration. evolution of the principle of variation itself. In a number of productions. cantus firmus carried out the borrowed melody in parts, and only in conclusion. section she appeared in full (Obrecht, masses "Maria zart", "Je ne demande"). The latter was a thematic technique. synthesis, very important for the unity of the entire composition. Changes in the cantus firmus, usual for P. of the strict style (rhythmic increase and decrease, circulation, crustal movement, etc.), hid, but did not destroy the variation. Therefore, the variational cycles were presented in a very heterogeneous form. Such, for example, is the cycle of the Mass "Fortuna desperate" by Obrecht: the cantus firmus, taken from the middle voice of the chanson of the same name, is divided into three parts (ABC) and then the cantus from its upper voice (DE) is introduced. General structure of the cycle: Kyrie I - A; Kyrie II - A B C; Gloria - В АС (В А - in crustacean movement); Credo - CAB (C - in crustacean movement); Sanctus - A B C D; Osanna - ABC; Agnus I - A B C (and the same in a decrease); Agnus III - D E (and the same in a decrease).

Variation is presented here in the form of identity, in the form of germination, and even in the form of renewal, since in Sanctus and Agnus III the cantus firmus changes. Similarly, in the mass "Fortuna desperate" by Josquin Desperate, three types of variation are used: the cantus firmus is first taken from the middle voice of the same chanson (Kyrie, Gloria), then from the upper voice (Credo) and from the lower voice (Sanctus), in the 5th part of the mass, the inversion of the upper voice of the chanson (Agnus I) is used and at the end (Agnus III) the cantus firmus returns to the first melody. If we designate each cantus firmus with a symbol, then we get a scheme: A B C B1 A. The form of the whole is based, therefore, on different types of variation and also involves reprisal. The same method is used in Josquin Despres' mass "Malheur me bat".

Opinion on neutralization thematic. material in polyphonic manuf. the strict style due to the stretching of the durations in the voice leading the cantus firmus is only partially true. In pl. In some cases, composers resorted to this technique only in order to gradually approach the true rhythm of everyday melody, lively and spontaneously, from long durations, to make its sounding, as it were, the culmination of thematic. development.

So, for example, cantus firmus in Dufay's mass "La mort de Saint Gothard" successively passes from long sounds to short ones:

As a result, the melody sounded, apparently, in the rhythm in which it was known in everyday life.

The same principle is used in Obrecht's Malheur me bat. We present her cantus firmus together with the published primary source - three-headed. Okegem's eponymous chanson:

J. Obrecht. Mass "Malheur me bat".

J. Okegem. Chanson "Malheur me bat".

The effect of gradually discovering the true basis of the production. was extremely important in the conditions of that time: the listener suddenly recognized a familiar song. The secular lawsuit was in conflict with the requirements for the church. music by the clergy, which caused the persecution of churchmen on P. strict style. From a historical point of view, the most important process of the liberation of music from the dominion of religions took place. ideas.

The variational method of developing thematicism extended not only to the large composition, but also to its parts: cantus firmus in the form of a det. small revolutions ostinatally repeated, and subvariation cycles were formed inside the large form, especially frequent in production. Obrecht. For example, Kyrie II of the Mass "Malheur me bat" is a variation on the short theme ut-ut-re-mi-mi-la, and Agnus III in the Mass "Salve dia parens" is a variation on the short formula la-si-do-si gradually shrinking from 24 to 3 bars.

Single repetitions immediately following their "theme" form a genus of a two-sentence period, which is very important from the historical point of view. point of view, because prepares a homophonic form. Such periods, however, are very fluid. They are rich in production. Palestrines (see example on column 345), they are also found in Obrecht, Josquin Despres, Lasso. Kyrie from Op. the last "Missa ad imitationem moduli" Puisque j "ai perdu" "is a period of the classic type of two sentences of 9 bars.

So inside the muses. forms of strict style matured principles, to-rye in the later classical. music, not so much in polyphonic as in homophonic-harmonic, were the main ones. Polyphonic. manuf. sometimes chord episodes were included, also gradually preparing the transition to homophony. Ladotonal relations have evolved in the same direction: the expositional sections of forms in Palestrina, as the finalizer of the strict style, clearly gravitate towards tonic-dominant relations, then a shift towards the subdominant and a return to the main system is noticeable. In the same spirit, the sphere of large-form cadences unfolds: the middle cadences usually end authentically in the key of the 5th century, the final cadences in the tonic are often plagal.

Small forms in P. of the strict style were dependent on the text: within the stanza of the text, development took place through repetition (imitation) of the theme, while the change of the text entailed renewal of the thematic. material, which, in turn, could be presented imitatively. Promotion of muses. forms occurred as the text progressed. This form is especially characteristic of a motet of the 15th and 16th centuries. and received the name of the motet form. This is how the madrigals of the 16th century were also built, where a form of a reprisal type emerges occasionally, for example. in the madrigal of Palestrina "I vaghi fiori".

Large forms of P. of the strict style, where there is no cantus firmus, develop according to the same motet type: each new phrase of the text leads to the formation of new muses. themes developed imitatingly. With a short text, it is repeated with new muses. themes that bring a variety of shades will express. character. The theory does not yet have any other generalizations about the structure of this kind of polyphonic. forms.

The link between P. strict and free styles can be considered the work of the composers of the late. 16-17 centuries J. P. Sweelinka, J. Frescobaldi, G. Schutz, K. Monteverdi. Sweelinck often used variation techniques of a strict style (the theme is enlarged, etc.), but at the same time, he has a wide range of modal chromaticisms, which are possible only in a free style; "Fiori musicali" (1635) and other organ op. Frescobaldi contain variations on cantus firmus in various modifications, but they also contain rudiments of fugue forms; the diatonism of the old modes was colored with chromatisms in the themes and their development. At Monteverdi dep. manuf., ch. arr. church, bear the stamp of a strict style (Mass "In illo tempore", etc.), while madrigals almost break with it and should be attributed to the free style. Contrast P. in them is associated with characteristic. intonations that convey the meaning of the word (joy, sadness, sigh, flight, etc.). Such is the madrigal "Piagn" e sospira "(1603), where the opening phrase" I cry and sigh "is especially emphasized, contrasting with the rest of the narration:

In instr. manuf. 17th century - suites, old sonatas da chiesa, etc. - usually there were polyphonic. parts or at least polyphonic. receptions, incl. fugue order, which prepared the formation of tools. fugues as they are. genre or in conjunction with prelude (toccata, fantasy). The work of I. Ya. Froberger, G. Muffat, G. Purcell, D. Buxtehude, I. Pachelbel, and other composers was an approach to the high development of P. free style in production. J.S.Bach and G.F.Handel. P. free style is preserved in the wok. genres, but its main conquest is instr. music, by the 17th century. separated from the vocal and rapidly developing. Melody - main. factor P. - in instr. genres were freed from the limiting conditions of the wok. music (range of singing voices, ease of intonation, etc.) and in its new form contributed to the variety of polyphonic. combinations, latitude polyphonic. compositions, in turn influencing the wok. P. Ancient diatonic. the frets gave way to two dominant ones - major and minor. Dissonance received great freedom, which became the strongest means of modal tension. The movable counterpoint, imitations, began to be used more fully. forms, among which remained circulation (inversio, moto contraria) and enlargement (augmentation but the crustacean movement and its circulation almost disappeared, dramatically changing the whole appearance and expressing, the meaning of a new, individualized free style theme. firmus, gradually faded away, replaced by the fugue, which matured in the depths of the old style. "Of all the genera of musical composition, the fugue is the only genus of it that could always withstand all the whims of fashion. For centuries, they could in no way force it to change its shape, and fugues , composed a hundred years ago, are still as new as if they were composed today, "noted FV Marpurg.

The type of melody in P. free style is quite different from that in strict style. The unrestrained soaring of melodic-linear voices is caused by the introduction of tools. genres. "... In vocal writing, melodic form formation is limited by the narrow scope of voices and their lower mobility compared to instruments," E. Kurt pointed out. "And historical development came to true linear polyphony only with the development of the instrumental style, starting from the 17th century. Moreover, vocal works, not only due to the smaller volume and mobility of voices, generally tend to chord roundness. Vocal writing cannot have the same independence from the chord phenomenon as instrumental polyphony, in which we find samples of the freest connection of lines. " However, the same can be attributed to the wok. manuf. Bach (cantatas, masses), Beethoven ("Missa solemnis"), as well as polyphonic. manuf. 20th century

Intonationally, the thematicism of P. free style is to a certain extent prepared by a strict style. Such are the reciters. melodic. revolutions with a repetition of sound, starting with a weak beat and going to a strong one for a second, a third, a fifth and other intervals upward, moves per fifth from the tonic, outlining the modal foundations (see examples) - these and similar intonations later formed in free style "core" of the theme, followed by "expansion" based on the general forms of melodic. movement (gamma, etc.). The fundamental difference between the themes of the free style and the themes of the strict style lies in their design into independent, monophonic sounding and complete constructions, succinctly expressing the main content of the work, while the thematicism in the strict style was fluid, was presented straight in conjunction with other imitating voices and only in its content was revealed in a complex with them. The contours of the austere theme were lost in the continuous movement and introduction of voices. The following example compares intonationally similar examples of the thematic of strict and free styles - from the Mass "Pange lingua" by Josquin Despres and from Bach's fugue on the theme of J. Legrance.

In the first case, a two-head is deployed. canon, the capital turns to-rogo flow into the general melodic. forms of non-cadential movement, in the second - a clearly outlined theme is shown, modulating into the tonality of the dominant with a cadence ending.

Thus, despite the intonation. the similarity, thematicism of both samples is very different.

The special quality of Bach's polyphonic thematicism (meaning, first of all, the themes of fugues), as the pinnacle of the free style, consists in composure, the richness of potential harmony, in the tonal, rhythmic, and sometimes genre definiteness. In polyphonic. themes in their one-legged. projection Bach generalized the modal-harmonic. forms created by his time. These are: the TSDT formula, emphasized in the themes, the breadth of the sequences and tonal deviations, the introduction of the II low ("Neapolitan") degree, the use of a diminished seventh, a diminished fourth, diminished third and fifth, resulting from the conjugation of an introductory tone in a minor key with other scale steps. Bach's thematism is characterized by a melodiousness originating from bunks. intonations and choral melodies; at the same time, it has a strong instrumental culture. melodies. The melodious beginning can be attributed to the instr. themes, instrumental - vocal. An important connection between these factors is created by the hidden melodic. the line in the themes - it flows more measuredly, giving the theme melodious properties. Both are intonations. sources are especially evident in those cases when the melodious "core" finds development in the rapid movement of the continuing part of the theme, in the "unfolding":

J.S.Bach. Fugue C-dur.

J.S.Bach. Duo a-moll.

In complex fugues, the function of the "core" is often taken over by the first theme, the function of unfolding by the second ("The Well-Tempered Clavier", vol. 1, fugue in cis-moll).

Fugu is usually referred to as an imitator. P., which is generally true, since the bright theme and its imitation dominate. But in general theory. plan fugue is a synthesis of imitation and contrasting P., t. to. already the first imitation (answer) is accompanied by a contraposition, not identical to the theme, and with the introduction of other voices, the contrast is further enhanced.

J.S.Bach. Fugue organ in a-moll.

This position is especially important for the Bach fugue, where opposition often claims to be the second theme. In the general structure of the fugue, as well as in the sphere of thematism, Bach reflected the main tendency of his time - the tendency towards sonata, which approached his classical style. stage - the sonata form of the Viennese classics; a number of his fugues approach the sonata structure (Kyrie I of the Mass in h-moll).

Contrasting P. is represented in Bach not only by combinations of themes and contrasts with themes in the fugue, but also by the counterpoint of genre melodies: the chorale and the self. accompanying voices, several. decomp. melodies (eg, "Quodlibet" in "Goldberg Variations"), finally, by combining P. with homophonic-harmonic. formations. The latter is constantly found in works that use basso continuo as an accompaniment to polyphonic. construction. Whatever form Bach used - an old sonata, an old two-three-part, rondo, variations, etc. - the texture in them is most often polyphonic: imitations are constant. sections, canonical sequences, movable counterpoint, etc., which in general characterizes Bach as a polyphonist. Historical the significance of Bach's polyphony lies in the fact that the main principles of thematic and thematic were established in it. development, allowing you to create highly arts. samples full of philosophical depth and vital spontaneity. Bach's polyphony was and remains a model for all subsequent generations.

What has been said about Bach's thematicism and polyphony fully applies to Handel's polyphony. Its basis, however, lay in the operatic genre, which Bach did not touch at all. Polyphonic. Handel's forms are very diverse and historically significant. The playwright deserves special mention. function of fugues in Handel's oratorios. Closely connected with the drama of these works, the fugues are arranged in a strictly planned way: in the starting point (in the overture), in large mass scenes of generalizing content as an expression of the image of the people, in conclusion. section of the abstract-jubilant character ("Hallelujah").

Although in the era of the Viennese classics (2nd half of the 18th - early 19th centuries) the center of gravity in the field of texture shifted towards homophony, painting nevertheless gradually took an important place with them, although quantitatively and smaller than before. In production J. Haydn and especially W.A.Mozart often meet polyphonic. forms - fugues, canons, movable counterpoint, etc. Mozart's texture is characterized by the activation of voices, the saturation of their intonations. independence. Formed synthetic. structures that combined the sonata form with the fugue, etc. Homophonic forms include small polyphonic. sections (fugato, imitation systems, canons, contrasting counterpoint), their chain forms a large polyphonic. the form of a dispersed character, systematically developing and in the top samples significantly influencing the perception of homophonic sections and the whole op. generally. Among these peaks are the finale of Mozart's symphony "Jupiter" (K.-V. 551), his Fantasia in f minor (K.-V. 608). The way to them lay through the form of the finals - Haydn's 3rd Symphony, Mozart's G-dur quartet (K.-V. 387), the finals of his D-dur and E-dur quintets (K.-V. 593, 614).

In production Beethoven's gravitation towards P. manifested itself very early and in mature work led to the replacement of the sonata development with a fugue (the finale of the sonata op. 101), the displacement of other forms of the finale by the fugue (sonata op. 102 No. 2, op. 106), the introduction of the fugue at the beginning of the cycle (quartet op. 131), in variations (op. 35, op. 120, the final of the 3rd symphony, the Allegretto of the 7th symphony, the final of the 9th symphony, etc.) and to the complete polyphonization of the sonata form. The last of these tricks was logical. a consequence of the proliferation of large polyphonic. forms that embraced all the constituent elements of the sonata allegro, when P. began to dominate its texture. These are the 1st movements of the sonata op. 111, 9th Symphony. Fugue in Op. of the late period of Beethoven's work - the image of efficiency as an antithesis to the images of grief and reflection, but at the same time - and unity with them (sonata op. 110, etc.).

In the era of romanticism, P. received a new interpretation in the works of F. Schubert, R. Schumann, G. Berlioz, F. Liszt, and R. Wagner. Schubert imparted song to fugue forms in vocal (masses, "The Victory Song of Miriam") and instrumental (fantasy in f minor, etc.) compositions; Schumann's texture is saturated with inner singing voices ("Kreisleriana", etc.); Berlioz was attracted by contrasting themes. connections ("Harold in Italy", "Romeo and Julia", etc.); in Liszt P. is influenced by images that are opposite in character - demonic (sonata h-moll, symphony "Faust"), mournful-tragic (symphony "Dante"), choral-pacified ("Dance of Death"); the richness of the Wagnerian texture is in filling it with the movement of the bass and middle voices. Each of the great masters introduced into P. features inherent in his style. They used P.'s means a lot and significantly expanded them in the 2nd floor. 19 - early. 20th century I. Brahms, B. Smetana, A. Dvorak, A. Bruckner, G. Mahler, who kept the classic. the tonal basis is harmonious. combinations. P. was especially widely used by M. Reger, who recreated certain Bach's polyphonic sounds. forms, ex. completion of the cycle of variations of fugue, prelude and fugue as a genre; polyphonic completeness and variety were combined with harmonious compaction. tissue and its chromatization. A new direction associated with dodecaphony (A. Schoenberg, A. Berg, A. Webern, and others), breaks with the classical. tonality and for the series uses the forms used in the production. strict style (direct and crustaceous movement with their appeals). This similarity, however, is purely external due to the cardinal difference in thematicism - a simple song melody taken from the existing song genres (cantus firmus in a strict style), and an amelodic dodecaphonic series. Western-European music of the 20th century gave high samples of P. outside the dodecaphony system (P. Hindemith, as well as M. Ravel, I. F. Stravinsky).

Creatures. contribution to P.'s claim was made by rus. classics 19 - early. 20th century Rus. prof. music later in Western Europe embarked on the path of developed polyphony - its earliest form (1st half of the 17th century) was three lines, representing a combination of a melody borrowed from a znamenny chant (the so-called "path") with voices attributed to it top and bottom ("top", "bottom"), very sophisticated in rhythm. relation. Demestvo polyphony belongs to the same type (the 4th voice was called "demestva"). Three lines and demestvennoe polyphony were sharply criticized by contemporaries (I. T. Korenev) for the lack of harmonics. communication of voices and to the end. 17th century exhausted themselves. Part-song singing, which came from Ukraine at the beginning. 2nd floor 17th century, was associated with the widespread use of imitation techniques. P., incl. a straight presentation of topics, canons, etc. The theorist of this form was NP Diletskiy. The partes style has put forward its masters, the largest of which is V.P. Titov. Rus. P. in the 2nd half. 18th century enriched classic. Western-European fugue (M. S. Berezovsky - choir concert "Do not reject me in my old age"). In the general system of imitations. P. at the beginning. 19th century D.S.Bortnyansky gave it a new interpretation, which stems from the songwriting characteristic of his style. Classic stage rus. P. is associated with the work of M. I. Glinka. He combined the principles of nar.-sub-voice, imitation and contrasting P. This was the result of the conscious aspirations of Glinka, who studied with Nar. musicians and mastered the theory of modern. to him P. "The combination of the Western fugue with the conditions of our music" (Glinka) led to the formation of synthetic. forms (fugue in the introduction of the 1st act "Ivan Susanin"). A further stage in the development of Rus. fugue - the subordination of her symphony. principles (fugue in the 1st suite by P.I.Tchaikovsky), the monumentality of the general concept (fugues in ensembles and cantatas by S.I.Taneev, fp. fugues by A.K. Glazunov). The contrasting P. widely represented by Glinka - a combination of song and recitative, two songs or bright independent themes (scene "In the hut" in the 3rd house of "Ivan Susanin", reprise of the overture from music to "Prince Kholmsky", etc.) - continued to develop with AS Dargomyzhsky; it is especially richly represented in the works of the composers of The Mighty Handful. Among the masterpieces of contrast P. include fp. play by M. P. Mussorgsky "Two Jews - rich and poor", symphonic picture "In Central Asia" by Borodin, dialogue between Grozny and Stesha in the 3rd edition of "Pskovityanka" by Rimsky-Korsakov, a number of arrangements of folk songs by A. K. Lyadov ... Saturation of muses. fabrics with singing voices is extremely characteristic of productions. A. N. Skryabin, S. V. Rachmaninova - from small forms of romance and fp. pieces to large symphons. canvases.

In owls. music P. and polyphonic. forms occupy an extremely important place, which is associated with the general rise of P., characteristic of 20th-century music. Prod. N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, V. Ya. Shebalin give examples of the magnificent possession of polyphonic. lawsuit aimed at identifying the ideological arts. music content. The large polyphonic sound inherited from the classics has found the widest application. form, in a cut polyphonic. episodes systematically lead to logical. the top will express. character; the form of the fugue is also developed, which in Shostakovich's work gained fundamental significance both in the large concepts of symphonies (4th, 11th) and chamber ensembles (quintet op. 49, quartets fis-moll, c-moll, etc.), and in solo productions for php. (24 preludes and fugues op. 87). Thematicism of Shostakovich's fugues in meaning. the least stems from the nar.-song source, and their form - from the couplet variation. Will exclude. importance in the music of Prokofiev, Shostakovich, Shebalin acquired ostinata and the associated form of variations of the ostinata type, which also reflects the tendency inherent in the entire modern. music.

P. in the Sov. music develops under the influence of the latest means of muses. expressiveness. Its striking samples contain works. K. Karaeva (4th notebook of fp. Preludes, 3rd symphony, etc.), B. I. Tishchenko, S. M. Slonimsky, R. K. Shchedrin, A. A. Pyarta, N. I. Peiko , B. A. Tchaikovsky. The polyphonic one stands out especially. beginning in the music of Shchedrin, who continued to develop fugue and polyphonic in general. forms and genre are independent. op. ("Basso ostinato", 24 preludes and fugues, "Polyphonic notebook"), and as parts of larger symphonic, cantata and theatrical productions, where imitations. P., in combination with contrast, conveys an unusually broad picture of life phenomena.

"The use of polyphony can only be welcomed, because the possibilities of polyphony are practically endless,” D. D. Shostakovich emphasized. “Polyphony can convey everything: the span of time, and the span of thought, and the span of dreams, creativity."

The concept of "P." and "counterpoint" refer not only to the phenomena of music, but also to the theoretical. study of these phenomena. How uch. P.'s discipline is included in the system of muses. education. Sci. theorists of the 15th and 16th centuries were engaged in the development of P. questions: J. Tinktoris, Glarean, J. Tsarlino. The latter described in detail DOS. P.'s techniques - contrasting counterpoint, movable counterpoint, etc. The system of assigning counterpoints to a given voice (cantus firmus) with a gradual decrease in durations and an increase in the number of sounds (note against note, two, three, four notes against note, flowery counterpoint) continued to be developed by theorists 17-18 centuries - JM Bononcini and others, in the work of I. Fuchs "Gradus ad Parnassum" (1725) reached its peak (according to this book, the young VA Mozart studied P. of strict writing). In the same works we find the methods of studying the fugue, the theory of which is more fully set forth by F.V. Marpurg. For the first time, I. Forkel gave a fairly complete description of the style of J.S.Bach. Mozart's teacher J. Martini insisted on the need to study counterpoint using canto fermo and cited samples from literature on P. free style. The later manuals on counterpoint, fugue, and canon by L. Cherubini, Z. Dehn, I. G. Bellerman, and E. Prout improved the system of teaching P. strict writing and the use of other polyphonic sounds. forms. All R. 19th century a number of mute. theorists opposed the study of the foundations of the strict style adopted, in particular, in the newly discovered Rus. conservatories. In defense of him, GA Laroche published a series of articles. Proving the need for historical. method of muses. education, he at the same time gave a description of the role of P. in the history of music, in particular P. strict style. It was this idea that served as the impetus for the theoretical. development and practice of pedagogical. activities of SI Taneyev, summarized by him in the work "A mobile counterpoint of strict writing" (Leipzig, 1909).

The most important stage in the theory of P. was the study of E. Kurt "Foundations of Linear Counterpoint" (1917, Russian translation - Moscow, 1931), which revealed not only the principles of melodic. polyphony of J.S.Bach, but also gave the prospect of studying certain aspects of P. free style, which were previously in oblivion.

Sci. work of owls. theorists are devoted to polyphonic. forms, their dramaturgy. role and historical. evolution. Among them are "Fugue" by V.A. ., 1962), "History of polyphony" V. V. Protopopov (issue 1-2, M., 1962-65), a number of dep. works about polyphonic. otile N. Ya.Myaskovsky, D.D.Shostakovich, P. Hindemith and others.

Literature: Musikian grammar of Nikolai Diletsky, 1681, ed. St. Petersburg, 1910 (includes the treatise by I. T. Korenev "Musikia. On the Divine Singing"); Rezvoy M.D., Conducting Voices, in the book: Encyclopedic Lexicon, ed. A. Plyushara, t. 9, St. Petersburg, 1837; Gunke OK, Guide to composing music, part 2, On counterpoint, St. Petersburg, 1863; Serov A. N., Music, musical science, musical pedagogy, "Epoch", 1864, No. 16, 12, the same, in his book: Izbr. articles, t. 2, M., 1957; Laroche G. A., Thoughts on musical education in Russia, "Russian Bulletin", 1869, vol. 82, the same, in his book: Collection of musical critical articles, vol. 1, M., 1913; his, Historical method of teaching music theory, "Musical leaf", 1872-73, No. 2-5, the same, in his book: Collection of musical critical articles, vol. 1, M., 1913; Taneyev S.I., Moving counterpoint of strict writing, Leipzig, (1909), M., 1959; his, From the scientific and pedagogical heritage, M., 1967; Myaskovsky N. Ya., Claude Debussy, Printemps, "Music", 1914, No 195 (republished - Articles, letters, memoirs, vol. 2, M., 1960); Asafiev B.V. (Igor Glebov), Polyphony and organ in modern times, L., 1926; his, Musical form as a process (kn. 1-2, M., 1930-47, (kn. 1-2), L., 1971; Sokolov N. A., Imitations on cantus firmus, L., 1928; Konyus G.A., Course of counterpoint of strict writing in frets, M., 1930; Skrebkov S.S., Polyphonic analysis, M.-L., 1940; his, Textbook of polyphony, parts 1-2, M.- L., 1951, M., 1965; his, Artistic principles of musical styles, M., 1973; Garbuzov HA, Old Russian folk polyphony, M.-L., 1948; Gippius E.V., On Russian folk polyphony in late XVIII - early XIX century, "Soviet Ethnography", 1948, No. 2; Kulanovsky L. V., On Russian folk polyphony, M.-L., 1951; Pavlyuchenko S. A., Guide to the practical study of the foundations of invention polyphony, M., 1953; his, Practical Guide to the counterpoint of strict Letters, L., 1963; Trambitsky V.N., Polyphonic foundations of Russian song harmony, in the book: Soviet music. Theoretical and critical articles, M., 1954; Vinogradov G. S, Characteristic features of the polyphonic maste Creativity MI Glinka, in collection: Scientific and methodical notes of the Saratov state. conservatory, v. 1, Saratov, 1957; Pustylnik I. Ya., A Practical Guide to Writing a Canon, L., 1959, revised., 1975; his, Moving counterpoint and free letter, M., 1967; Bogatyrev S. S., Reversible counterpoint, M., 1960; Evseev S. V., Russian folk polyphony, M., 1960; its the same. Russian folk songs in the processing of A. Lyadov, M., 1965; Bershadskaya TS, Basic compositional patterns of polyphony of the Russian folk peasant song, L., 1961; Nikolskaya L.B., On the polyphony of A.K. Glazunov, in the book: Scientific and methodological notes of the Ural State. Conservatory, vol. 4. Sat. articles on music education, Sverdlovsk, 1961; Dmitriev A. N., Polyphony as a factor of shaping, L., 1962; V. V. Rotopopov, History of polyphony in its most important phenomena, vol. 1-2, M., 1962-65; his, Procedural meaning of polyphony in the musical form of Beethoven, in the book: Beethoven. Collection, vol. 2, M., 1972; his, Problems of form in polyphonic works of strict style, "CM", 1977, No 3; Etinger M., Harmony and Polyphony. (Notes on the polyphonic cycles of Bach, Hindemith, Shostakovich), ibid., 1962, No. 12; Dubovskiy I. I., Imitation processing of Russian folk song, M., 1963; his, The simplest laws of the Russian folk song two-three-part warehouse, M., 1964; Gusarova O., Dialogue in P. I. Tchaikovsky's polyphony, in collection: Scientific and methodical notes of the Kipvskaya conservatorii, Kipv, 1964; Tyulin Yu. N., The Art of Counterpoint, M., 1964; Klova V., Polifonija. Praktinis polifonijos vadovelis, Vilnius, 1966; Zaderatsky V., Polyphony as a principle of development in the sonata form of Shostakovich and Hindemith, in the collection: Questions of musical form, v. 1, M., 1966; his, Polyphony in the instrumental works of D. Shostakovich, M., 1969; Methodical note and program of the polyphony course, comp. H. S. Kushnarev (1927), in collection: From the history of Soviet musical education, L., 1969; Kushnarev Kh.S., About polyphony. Sat. articles, M., 1971; Chebotaryan G. M., Polyphony in the works of Aram Khachaturian, Er., 1969; Koralsky A., Polyphony in the works of composers of Uzbekistan, in collection: Questions of musicology, vol. 2, Tash., 1971; Bat N., Polyphonic forms in the symphonic works of P. Hindemith, in the collection: Questions of musical form, vol. 2, M., 1972; her, On the polyphonic properties of melody in Hindemith's symphonic works, in: Problems of the theory of music, vol. 3, M., 1975; Kunitsyna I.S., The role of imitation polyphony in the drama of the musical form of works by S.S. Prokofiev, in collection: Scientific and methodological notes of the Ural State Conservatory, vol. 7, Sverdlovsk, 1972; Reuterstein MI, Practical polyphony, M., 1972; Stepanov A. A., Chugaev A. G., Polyphony, M., 1972; Titz M., A question requiring attention (on the classification of types of polyphony), "CM", 1973, No. 9; Polyphony. Sat. theoretical articles, comp. K. Yuzhak, M., 1975; Yevdokimova Yu., The problem of the original source, "CM", 1977; No 3; Kurth E., Grundlagen des linearen Kontrapunkts ..., Bern, 1917, 1946 (Russian translation: Kurt E., Foundations of linear counterpoint, Moscow, 1931).

V.V. Protopopov

The musical development of a child presupposes the upbringing of the ability to hear and perceive both separate elements of the piano fabric, that is, the horizon, and a single whole - the vertical. In this sense, great educational value is attached to polyphonic music. The student gets acquainted with the elements of sub-voice, contrasting and imitation polyphony already from the 1st grade of the school. These varieties of polyphonic music in the repertoire of grades 3-4 do not always appear in an independent form. We often find in children's literature a combination of contrasting voice-leading with sub-voice or imitation.
One cannot but mention the irreparable mistake of those teachers who, observing the formal requirements of the program, use polyphonic music in the education of a student, which is beneficial only for showing him. Often these are works where a student can show his performing achievements not so much in polyphony as in a mobile, toccata type of polyphonic texture (for example, preludes in C minor and F major from the first notebook of “Little Preludes and Fugues” by JS Bach). Considering that only two or three polyphonic works are studied during the year, it is clear how much their one-sided selection limits the development of the child.
A special role belongs to the study of cantilevered polyphony. The school curriculum includes polyphonic arrangements for the piano of folk lyric songs, simple canted works by Bach and Soviet composers (N. Myaskovsky, S. Maikapar, Y. (Durovsky). They contribute to better listening to the student in voice leading, cause a vivid emotional reaction to music.
Let us analyze some samples of polyphonic arrangements of Russian musical folklore, noting their importance in the musical and pianistic education of a child.
Let us take, for example, such pieces: “Podblyudnaya” by A. Lyadov, “Kuma” by A. Aleksandrov, “Oh, Garden” by V. Slonim. All of them are written in verse-variation form. accompaniment, plucked folk instrumental background, colorful transfers to different registers. While working on these pieces, the student acquires the skills of canted polyphonic playing, possession of episodic two-part voice in the part of an individual hand, contrasting articulatory strokes, hearing and feeling of the integral development of the entire form.
We find the combination of the under-voice fabric with imitations in Ukrainian folk songs arranged by I. Berkovich for piano, processed by N. Lysenko, N. Leontovich. In the school repertoire, the plays “Tanema prsh shkomu”, “Oh z za gori kam'yano” G, “Plive choven”, “Lncinonka made a noise.” The verse structure is enriched here not only with imitations, but also with a denser chord-choral texture ...
The student comes into contact with contrasting vocal studies mainly when studying the polyphonic works of J.S. Bach. First of all, these are pieces from the “Notebook of Anna Magdalena Bach”. Thus, in the two-part Minuet in C Minor and Aria in G minor, the child easily hears voice leading due to the fact that the leading upper voice is intonationally plastic and melodious, while the lower one is significantly distant from it in regards to register and is more independent in melodic-rhythmic pattern. The clarity of the syntactic captivity of short phrases helps the feeling of melodic breath in each voice.
A new step in mastering polyphony is acquaintance with Bach's characteristic structures of a continuous, metrically uniform movement of voices. An example would be the "Little Prelude" in C minor from ^ a pass notebook. The expressive performance of a continuous movement with eighths in the upper voice is helped by the disclosure of the intonational characteristic of bloody and the feeling of melodic breathing within long constructions. The very RUKTura melody, set out mainly by harmonic

figurations and broken intervals, creates natural prerequisites for its expressive intonation. It should sound very melodious with a bright shade of ascending intonation turns (for example, in bars 3, 6, 8, 18). In the continuous "fluidity" of the upper voice, the student should feel the inner breathing, as it were, hidden caesura, which are revealed upon careful listening to the phrasing division into different bar groups. So, for example, at the beginning of the prelude, such division is carried out in two-bar groups, in bars 9-12 - in one-bar groups, and then, with all developing ascending intonations, with a wide breath of an integral eight-bar (bars 13-20). This inner sense of syntactic articulation helps to plastically unite the pianistic movements within the sound "circuits" and prevent stiffness, tightness of the muscles. In the examples considered, the melodic contrast of voices is usually combined with the belonging of the bass voice to one or another harmonic function.
The next stage in the study of imitation polyphony is acquaintance with inventions, fughettes, small fugues. In contrast to the contrasting two-part voice, here each of the two polyphonic lines often has a stable melodic-intonational imagery.
Even when working on the lightest samples of such music, auditory analysis is aimed at revealing both the structural and expressive side of the thematic material. After the performance of the work by the teacher, it is necessary to proceed to the painstaking analysis of polyphonic material. Having divided the piece into large sections (most often, proceeding from the three-part structure), one should begin to explain the musical-semantic and syntactic essence of the theme and its opposition in each section, as well as to interludes. First, the student must determine the location of the topic and feel its nature. Then his task is its expressive intonation with the help of means of articulatory and dynamic coloring at the found basic tempo. The same applies to counter-composition, if it is of a restrained nature.
As you know, even in small fuguettes, the theme first appears in an independent monophonic presentation. It is important to develop the student's internal auditory attunement to the basic tempo, which he should feel from the very first sounds. In this case, one should proceed from a sense of the character, genre structure of the entire work. For example, in "Fughetta" in A minor by S. Pavlyuchenko, the author's "andante" should be associated not so much with a slow tempo as with the fluidity of rhythm at the beginning of the theme; in Y. Shchurovsky's "Invention" in C major, "allegro" does not mean so much speed as the liveliness of rhythm dance image with its characteristic pulsating accent.
Articulation plays a decisive role in the performing disclosure of the intonational imagery of the theme and its opposition. It is known how subtly found articulatory strokes help to reveal the expressive wealth of voice leading in the works of Bach. An educator studying Bach's inventions in class can find much instructive in Busoni's editions. Landshof.
What general, elementary laws of articulation can we talk about at this stage of training?
Already in two-part small preludes, fuguettes, and inventions, the expressive features of the strokes should be considered horizontally (i.e., in the melodic line) and vertically (i.e., with the simultaneous movement of a number of voices). The most characteristic in the articulation of the horizontal can be the following: smaller intervals tend to merge, large ones - to separation; a moving metric (for example, sixteenth and eighth notes) also tends to merge, and a quieter one (for example, quarter, half, whole notes) tends to dismemberment. On the example of N. Myaskovsky's “Hunting roll call” it is possible to show how the corresponding articulatory strokes have been found for a theme that carries two figurative principles. The rhythmically weighted beginning of the fanfare melody with its wide interval is played by deep pop legato with accentuation of each of the four sounds. The triplet eighths of the movable concluding part of the theme are reproduced with a light finger legato.
Likewise, in the aforementioned "Invention" by Yu. Shchurovsky, all sixteenth notes, set out in smooth, often scale-like successions, are performed legato or quasi legato; longer sounds with their wide interval “steps” are dissected by short leagues, staccate sounds or tenuto.
In the articulation of the vertical of a two-part fabric, each voice is usually set off with different strokes. A. B. Goldenweiser, in his edition of Bach's two-part invention, advises to play all sixteenth notes in one voice coherently (legato), while contrasting eighth notes in the other voice - separately (pop legato, staccato).
The use of different strokes to "color" the theme and the opposition can be found in Busoni's edition of Bach's two-part Inventions (see Invention in E major).
One of the characteristic properties of Bach's themes is the iambic structure prevailing in them. Most often, their very first performance begins with a weak lobe after a previous pause for a strong time. When studying small preludes (№№ 2, 4, b. 7, 9, II from the first notebook), the teacher should draw the student's attention to the indicated structure, which determines the nature of the performance. When playing into a topic without accompanying voices (for example, in a small prelude in C major from the first notebook), the child's hearing should be immediately included in an “empty” pause so that he feels a natural breath in it before the melodic line unfolds. The pianistic technique itself is carried out by slightly raising the hand from the strong beat with its further elastomeric immersion into the keyboard. The feeling of such polyphonic breathing is very important when studying cantilent preludes.
Unlike the inventions and the foot, in small preludes, the theme is not always clearly expressed in one small melodic structure. Sometimes a short, laconic theme, repeated several times, is carried out in the form of smoothly changing thematic “chains.” The example of the same little prelude No. 2 in C major shows that the first three-bar consists of three links. With an iambic structure, it is important to hear the soft endings of thematic segments on strong beats (A, B, C), followed by an inner feeling of short “breaths” before each new construction. auditory attention to the natural change of the 'harmonies during the transition to a new segment.For example, in each of the three initial measures of the mentioned prelude, one should try, having delayed the last three sounds, to hear the chord and its gravitation into a new function in the next measure. allows you to feel the integral line of intonational development within each functionally stable group of sounds when it is performed in one voice.
For a more active listening to the student in two-voice tissue, his attention should be paid to the reception of the opposite movement of voices. For example, in A. Gedick's “Inventions”, “Two-Part Fugue” in D minor and “Hunting Roll Call” by N. Myaskovsky, the student almost directly assimilates the melodic pattern of each voice with their contrasting directional pitch movement.
In the performing interpretation of imitations, especially in the works of Bach, a significant role is assigned to dynamics. For the composer's polyphony, the most characteristic is architectonic dynamics, in which the changes of large constructions are accompanied by new dynamic “lighting”. For example, in a small prelude in E minor from the first notebook, the beginning of the two-part episode of the middle of the piece after the preceding large forte in three parts is set off by a transparent piano. At the same time, small dynamic fluctuations can appear in the horizontal development of voices, a kind of microdynamic nuance. Unfortunately, we still see today the unjustified use of wave-like dynamics in small segments of Bach's music as an echo of Cherni's editorial staff. The student does this subconsciously, under the influence of more directly assimilated dynamics in lyric pieces of small forms of the homophonic structure.
Thinking over the dynamics of three-part canted small preludes, the student's auditory control should be directed to episodes of two-part in the part of a separate hand, outlined in lingering notes. Due to the rapid decay of the piano sound, there is a need for greater fullness of the sound of long notes, as well as (which is very important) listening to interval connections between long and shorter sounds passing against its background. Such features of dynamics can be traced on small preludes Nos. 6, 7, 10.
As we can see, the study of polyphonic works is an excellent school of auditory and sound preparation of the student for the performance of piano works of any genre.

Canon(from the Greek. – Normaʼʼ, ruleʼʼ) is a polyphonic form based on the imitation of a theme with all eight voices, and the introduction of the voices occurs before the end of the presentation of the theme, that is, the theme is superimposed on itself by its various sections. (The interval of the introduction of the second voice in time is calculated in the number of measures or beats). The canon ends with a general cadence revolution or gradual "switching off" of the voices.

Invention(from Lat. - "invention", "invention") - a small piece of polyphonic warehouse. Such pieces are usually based on imitation techniques, although more complex fugue techniques are often found in them. In the repertoire of students of music schools, 2- and 3-voice inventions of JS Bach are widespread (the 3-voice ones were originally called “synphonies”). According to the composer, these pieces can be viewed not only as a means to achieve a melodious manner of playing, but also as a kind of exercise for the development of the musician's polyphonic inventiveness.

Fugue -(from lat., ital. – "Run", "escape", "fast flow") – a form of a polyphonic piece based on repeated imitation of the theme in different voices. Fugues are composed for any number of voices (starting with two).

The fugue opens with a presentation of the topic in one voice, then other voices come in successively with the same topic. The second conduct of the topic, often with varying it, is usually called the answer; while the answer sounds, the first voice continues the development of its melodic line (counterposition, that is, a melodically independent construction, inferior to the theme in brightness, originality).

Introductions of all voices form the fugue display. The exposure can be followed by either a counter-exposure (second exposure), or a polyphonic elaboration of the whole theme or its elements (episodes). In complex fugues, a variety of polyphonic techniques are used: increase (increase in the rhythmic value of all sounds of the theme), decrease, inversion (inversion: the intervals of the theme are taken in the opposite direction - for example, instead of a fourth up, a fourth down), stretch (an accelerated introduction of voices that `` overlap '' on top of each other), and sometimes a combination of similar techniques. In the middle part of the fugue there are connecting constructions of an improvisational nature, called interludes... The fugue can end with a coda. The fugue genre is of great importance in both instrumental and vocal forms. Fugues can be independent pieces, combined with a prelude, toccata, etc., and finally, be part of a large work or cycle. Techniques characteristic of a fugue are often used in the developmental sections of the sonata form.

Double fugue, as already mentioned, it is based on two themes that can enter and develop together or separately, but in the final section, they are necessarily combined in counterpoint.

Complex fugue can be double, triple, quadruple (on 4 themes). The exhibition usually shows all themes that are contrasting in terms of expressiveness. There is usually no developing section, the last exposition of the theme is followed by a combined reprise. Expositions are joint and separate. The number of topics is not limited in a simple and complex fugue.

Polyphonic forms:

Bach I.S. The Well-Tempered Clavier, Inventions

Tchaikovsky P. Symphony No. 6, 1 hour (working out)

Prokofiev S. Montague and the Capulet

Polyphonic forms - concept and types. Classification and features of the category "Polyphonic forms" 2017, 2018.

French suites: No. 2 in C minor - Sarabande, Aria, Minuet. Small Preludes and Fugues. Tetr. 1: C major, F major; Tetr. 2: D major.

Selected works. Issue 1. Compiled by and the editorship of L. Roizman: Allemandre in D minor, Aria in G minor, Three pieces from the music book by V.F. Bach.

Handel G. 12 light pieces: Sarabande, Gigue, Prelude, Allemand.

Selected Works for Piano. Compiled by and ed. L. Roizman.

Six small fugues: No. 1 in C major, No. 2 in C major, No. 3 in D major;

Large form:

Handel G. Sonata in C major "Fantasy". Concerto in F major, part 1.

Grazioli G. Sonata in G major.

Clementi M. Op. 36 Sonatina in D major, part 1. Op. 37 Sonatina: E-flat major, D major. Op. 38 Sonatinas: in G major, ch. 1, in B flat major.

Martini D. Sonata in E major, part 2.

Reinecke K. Op. 47 Sonatina No. 2, Part 1. Rozhavskaya Y. Rondo (Collection of pedagogical pieces by Ukrainian and Soviet composers).

Schumann R. Op. 118 Sonata in G major for youth, part 3, part 4. Sonatas, Sonatins: A minor, B flat major.

Schaibelt D. Rondo in C major.

Plays:

Berkovich I. Ten Lyric Pieces for Piano: Ukrainian Melody (No. 4). Beethoven L. Allemanda, Elegy.

Dargomyzhsky A. Waltz "Snuffbox".

Dvarionas B. Little Suite: Waltz in A Minor.

Cui C. Allegretto in C major.

Ladukhin A. Op. 10, No. 5, Play.

Prokofiev S., op. 65. Children's music: Fairy tale, Walk, Procession of grasshoppers.

Rakov N. 24 plays in different keys: Snowflakes, Sad melody.

Novelettes: Waltz in F Sharp Minor.

8 pieces on the theme of Russian folk song: Waltz in E minor, Polka, Tale in A minor.

Eshpay A. "Quail"

Etudes:

Bertini A. 28 selected etudes from Op. 29 and 42: Nos. 1,6,7,10,13,14,17.

Geller S. 25 melodic etudes: Nos. 6,7,8,11,14-16,18.

Zhubinskaya V. Children's album: Etude.

Lac T. 20 selected etudes from Op. 75 and 95: Nos. 1,3-5,11,19,20.

Leshhorn A. Op. 66. Etudes: Nos. 6,7,9,12,18,19,20. Op. 136. School of fluency. Tetra 1 and 2 (optional).

Selected Etudes for Piano by Foreign Composers. Issue 5 (optional).

Selected etudes and pieces by Russian and Soviet composers. Tetr. 3 (optional).

Forms and methods of control

Certification:

Assessment of the quality of the implementation of the "Piano" program includes the current monitoring of progress, intermediate and final certification of students. Academic concerts, auditions, technical tests can be used as a means of monitoring progress.

1. Material and technical conditions for the implementation of the program

The material and technical conditions for the implementation of the "Listening to Music" program must ensure the ability of students to achieve the results established by these Federal State Requirements.

The material and technical base of the educational institution must comply with sanitary and fire safety standards, labor protection standards. The educational institution must comply with the timely terms of current and major repairs.

The minimum list of audiences and material and technical support required for implementation within the framework of the Listening to Music program includes:

classrooms for small-group piano lessons;

educational furniture (tables, chairs, shelves, cabinets);

visual and didactic means: visual teaching aids, magnetic boards, interactive whiteboards, demonstration models;

electronic educational resources: multimedia equipment;

room for background, video library (class).

In an educational institution, conditions must be created for the maintenance, modern maintenance and repair of musical instruments.

Creative Mestre "Music without Borders"

the piano

Supervisor

In a musical piece of polyphonic nature (for example, in the canon of Josquin Despres, in the fugue of JS Bach), the voices are equal in compositional and technical (the same methods of motive and melodic development for all voices) and logical (equal carriers of "musical thought") relations. The word "polyphony" also refers to the musical-theoretical discipline, which is taught in the courses of secondary and higher music education for composers and musicologists. The main task of the discipline of polyphony is the practical study of polyphonic compositions.

Stress

The stress in the word "polyphony" experiences fluctuations: Russian general lexicon dictionaries of the 2nd half of the 20th century and the beginning of the 21st century, as a rule, put a single stress on the second syllable from the end. Musicians (composers, performers, educators and musicologists) usually emphasize the "o"; the latest (2014) Great Russian Encyclopedia and the Musical Spelling Dictionary (2007) adhere to the same orthoepic norm. Some profile dictionaries and encyclopedias allow orthoepic variants.

Polyphony and harmony

The concept of polyphony (as a warehouse) is not correlative with the concept of harmony (pitch structure), therefore it is fair to speak, for example, of polyphonic harmony. With all the functional (musical-semantic, musical-logical) independence of individual voices, they are always vertically coordinated. In a polyphonic piece (for example, in the organum of Perotin, in the Machaut motet, in the madrigal of Gesualdo), hearing singles out consonances and dissonances, chords and (in the old polyphony) conords, and their connections, which are manifested in the unfolding of music in time, obey the logic of this or that fret. Thus, a polyphonic piece has a sign of the integrity of the pitch structure, musical harmony.

Polyphony and polyphony

In some Western traditions, the same word is used to denote polyphony (more than one voice in the musical "vertical") and to denote a special musical makeup, for example, in English-language musicology the adjective polyphonic (in German, on the contrary, there are adjectives mehrstimmig and polyphon) - in such cases, the specifics of word usage can only be established from the context.

In Russian science, the attribute "polyphonic" refers to the specifics of the musical makeup (for example, "polyphonic piece", "composer-polyphonist"), while the attribute "polyphonic" does not contain such a specific clarification (for example, "chanson is a polyphonic song", "Bach is the author of polyphonic choral arrangements"). In modern non-special literature (as a rule, due to “blind” translation from English), the word “polyphony” is used as an exact synonym for the word “polyphony” (for example, compilers of advertising texts find “polyphony” in mobile phones), and in this (non-terminological) When used, the stress is often placed on the penultimate syllable - polyphony.

Typology

Polyphony is divided into types:

• Subvoice polyphony, in which, together with the main melody, it sounds side voices, that is, slightly different options (this coincides with the concept of heterophony). Typical for Russian folk songs.
• Imitation polyphony, in which the main theme sounds first in one voice, and then, possibly with changes, appears in other voices (there can be several main themes). The form in which the theme is repeated without changes is called canon. The pinnacle of the forms in which the melody changes from voice to voice is the fugue.
• Contrast-thematic polyphony (or polymelodism), in which different melodies sound simultaneously. First appeared in the 19th century.
• Hidden polyphony- hiding thematic intonations in the texture of the work. Applies to free style polyphony, starting with small polyphonic cycles by J.S.Bach.

Historical sketch

The first surviving examples of European polyphonic music are non-parallel and melismatic organums (IX-XI centuries). In the XIII-XIV centuries, polyphony was most clearly manifested in the motet. In the 16th century, polyphony became the norm for all European music, both church (polyphonic) and secular. Polyphonic music reached its highest flowering in the works of Handel and Bach in the 17th-18th centuries (mainly in the form of fugues). At the same time (starting approximately from the 17th century), a homophonic warehouse developed rapidly, during the time of the Viennese classics and in the era of romanticism, clearly dominating the polyphonic one. Another rise in interest in polyphony began in the second half of the 19th century. Imitation polyphony, oriented towards Bach and Handel, was often used by composers of the 20th century (Hindemith, Shostakovich, Stravinsky, etc.).

In the Russian language of the XIX - early XX century. in a meaning similar to modern polyphony, the term "polyphonism" () was used (along with the term "polyphony"). In literary criticism of the XX century. (MM Bakhtin and his followers) the word "polyphonism" is used in the sense of discord, the simultaneous "sounding" of the author's "voice" and the "voices" of literary heroes (for example, they say about).

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Notes (edit)

1. The Great Russian Encyclopedia (T.26. Moscow: BRE, 2014, p. 702) fixes the only stress in this word, on "o".
2. The Musical Spelling Dictionary (Moscow: Sovremennaya Muzyka, 2007, p. 248) shows only one stress - on "o".
3. M.V. Zarva. Russian verbal stress (2001, p. 388) fixes the only stress on "and"
4. The Big Explanatory Dictionary of the Russian Language (Ch. Ed. S. A. Kuznetsov. Norint 2000, p. 902) fixes the only stress on "and"
5. A.V. Superanskaya... - Science, 1968 .-- P. 212. fixes the only stress on "and" with the proviso that "in the speech of musicologist K. Adzhemov, the stress on" o "is fixed.
6. ... - 1966 .-- S. 79.... The author of the article? Article title?
7. M.V. Zarva. Russian verbal stress (2001, p. 388)
8. The Big Explanatory Dictionary of the Russian Language (Ch. Ed. S. A. Kuznetsov. Norint 2000, p. 902)
9. Frayonov V.P. Polyphony // Great Russian Encyclopedia. Vol.26. Moscow: BRE, 2014, p. 702.
10. Musical spelling dictionary. M .: Contemporary music, 2007, p. 248. ISBN 5-93138-095-0.
11. / T.V. Taktashova, N.V. Basko, E.V. Barinova. - Science, 2003 .-- S. 229 .-- ISBN 5-89349-527-6.
12. Protopopov V.V. Polyphony // Musical encyclopedia / ed. Yu. V. Keldysh. - M .: Soviet Encyclopedia, 1978 .-- T. 4. - S. 344.

Literature

• Motte D. de la... Kontrapunkt. Ein Lese- und Arbeitsbuch. Kassel, Basel: Bärenreiter, 1981; 9te Aufl., 2014.
• Evdokimova Yu.K. Polyphony of the Middle Ages. X-XIV centuries. M., 1983 (History of polyphony, vol. 1).
• Fedotov V.A. The beginning of Western European polyphony. Vladivostok, 1985.

see also

Excerpt from Polyphony

“But you know, Your Excellency, a wise rule prescribing the worst,” said the Austrian general, apparently wanting to end the jokes and get down to business.
He involuntarily glanced back at the adjutant.
“Excuse me, General,” Kutuzov interrupted him and also turned to Prince Andrey. - That's what, my dear, you take all the reports from our scouts at Kozlovsky. Here are two letters from Count Nostitz, here is a letter from His Highness Archduke Ferdinand, here's another one, ”he said, handing him several papers. - And out of all this, neatly, in French, compose a memorandum, a note, for the visibility of all the news that we had about the actions of the Austrian army. Well, then, and introduce it to His Excellency.
Prince Andrey bowed his head as a sign that he understood from the first words not only what was said, but also what Kutuzov would like to tell him. He gathered up the papers, and, giving a general bow, quietly walking on the carpet, went out into the waiting room.
Despite the fact that not much time has passed since Prince Andrey left Russia, he has changed a lot during this time. In the expression on his face, in his movements, in his gait, there was almost no sign of the former pretense, fatigue and laziness; he had the appearance of a man who has no time to think about the impression he makes on others, and is busy with a pleasant and interesting business. His face expressed more satisfaction with himself and those around him; his smile and look were more cheerful and attractive.
Kutuzov, whom he caught up with back in Poland, received him very kindly, promised him not to forget him, distinguished him from other adjutants, took him with him to Vienna and gave more serious assignments. From Vienna, Kutuzov wrote to his old friend, the father of Prince Andrey:
“Your son,” he wrote, “gives hope to be an officer who is one of the best in his occupations, firmness and diligence. I consider myself lucky to have such a subordinate at hand. "
At Kutuzov's headquarters, between his comrades and colleagues and in the army in general, Prince Andrei, as well as in Petersburg society, had two completely opposite reputations.
Some, a smaller part, recognized Prince Andrew as something special from themselves and from all other people, expected great success from him, listened to him, admired him and imitated him; and with these people Prince Andrew was simple and pleasant. Others, the majority, did not like Prince Andrew, considered him a pouty, cold and unpleasant person. But with these people, Prince Andrew knew how to position himself in such a way that he was respected and even feared.
Leaving Kutuzov's office in the reception room, Prince Andrey with papers went up to his comrade, the adjutant on duty Kozlovsky, who was sitting by the window with a book.
- Well, what, prince? Kozlovsky asked.
- Ordered to draw up a note why we are not going forward.
- And why?
Prince Andrew shrugged his shoulders.
- No word from Mac? Kozlovsky asked.
- No.
- If it were true that he was defeated, then the news would come.
“Probably,” said Prince Andrey and went to the exit door; but at the same time a tall, obviously newcomer, Austrian general in a frock coat, with a head tied with a black shawl and with the Order of Maria Theresa around his neck, quickly entered the reception room, slamming the door towards him. Prince Andrew stopped.
- General in chief Kutuzov? - the visiting general quickly said with a sharp German reprimand, looking back at both sides and without stopping walking to the door of the office.
“The general in chief is busy,” said Kozlovsky, hurrying up to the unknown general and blocking his way from the door. - How would you like to report?
The unknown general looked down contemptuously from top to bottom at the short Kozlovsky, as if surprised that they might not know him.
“General in chief is busy,” Kozlovsky repeated calmly.
The general's face frowned, his lips twitched and trembled. He took out a notebook, quickly drew something with a pencil, tore out a piece of paper, gave it away, walked quickly to the window, threw his body on a chair and looked around at the people in the room, as if asking: why are they looking at him? Then the general raised his head, stretched out his neck, as if intending to say something, but immediately, as if casually beginning to hum to himself, made a strange sound, which immediately stopped. The office door opened, and Kutuzov appeared on the threshold. The general with his head tied, as if fleeing from danger, bending down, with large, quick steps of thin legs approached Kutuzov.
- Vous voyez le malheureux Mack, [You see poor Mack.] - he said in a broken voice.
The face of Kutuzov, who was standing at the door of the office, remained completely motionless for several moments. Then, like a wave, a wrinkle ran across his face, his forehead smoothed; he bowed his head respectfully, closed his eyes, silently let Mack past him and shut the door behind him.
The rumor, already widespread before, about the defeat of the Austrians and the surrender of the entire army at Ulm, turned out to be true. Half an hour later, adjutants were dispatched in different directions with orders proving that soon the Russian troops, still inactive, would have to meet the enemy.
Prince Andrew was one of those rare officers in the headquarters who considered his main interest in the general course of military affairs. Seeing Mack and hearing the details of his death, he realized that half of the campaign had been lost, understood the difficulty of the position of the Russian troops and vividly imagined what awaited the army and the role that he would have to play in it.
Unwittingly, he felt an exciting joyful feeling at the thought of the shame of the arrogant Austria and that in a week, perhaps, he would have to see and take part in the clash between the Russians and the French, for the first time since Suvorov.
But he was afraid of the genius of Bonaparte, who could prove to be stronger than all the courage of the Russian troops, and at the same time could not afford shame for his hero.
Excited and irritated by these thoughts, Prince Andrey went to his room to write to his father, to whom he wrote every day. He met in the corridor with his roommate Nesvitsky and the joker Zherkov; they, as always, were laughing at something.
- Why are you so gloomy? - asked Nesvitsky, noticing Prince Andrey's pale face with shining eyes.
- There is nothing to have fun, - answered Bolkonsky.
While Prince Andrei met with Nesvitsky and Zherkov, from the other side of the corridor, Strauch, an Austrian general who was at Kutuzov's headquarters to monitor the food of the Russian army, and a member of the gofkrigsrat, who had arrived the day before, were walking towards them. There was enough room along the wide corridor for the generals to disperse freely with the three officers; but Zherkov, pushing Nesvitsky away with his hand, said in a breathless voice:
- They are coming!… Coming!… Step aside, the road! please go!
The generals passed with the air of a desire to get rid of the burdensome honors. On the face of the joker Zherkov suddenly expressed a stupid smile of joy, which he seemed unable to keep.
“Your Excellency,” he said in German, moving forward and addressing the Austrian general. - I have the honor to congratulate you.
He bowed his head and, awkwardly, like children learning to dance, began to bow with one or the other leg.
The general, a member of the Hofkrigsrat, looked sternly at him; not noticing the seriousness of a stupid smile, he could not refuse a moment's attention. He narrowed his eyes to show that he was listening.
“I have the honor to congratulate you, General Mack has arrived, completely healthy, only a little hurt here,” he added, beaming with a smile and pointing to his head.
The general frowned, turned away and walked on.
- Gott, wie naiv! [My God, how simple he is!] - he said angrily, taking a few steps away.
Nesvitsky hugged Prince Andrei with a laugh, but Bolkonsky, even paler, with an angry expression on his face, pushed him away and turned to Zherkov. The nervous irritation into which he was led by the sight of Mack, the news of his defeat and the thought of what awaited the Russian army, found an outcome in anger at Zherkov's inappropriate joke.