Beethoven software symphony dedicated to nature images. Beethoven.
"Pastoral" Symphony of Beethoven is a high philosophical idyll, suggested by the thought of human and nature harmony. The title, data by the Beethoven parts of the symphony, make it one of the first samples of software symphony. At the same time, Beethoven emphasized the primacy of music expressiveness. Here is its author's abstract to the sixth symphony:
"The listener is provided to identify situations. SINFONIA CARACTERISTICA, or memory of rural life. Any image is losing if it is excessively resorted to tool music. - SINFONIA PASTORELLA. The one who has the concept of rural life can and without many headlines imagine what the author wanted. The whole is more expressing feelings than the image, it will be recognized and without descriptions. "
1. "Awakening of joyful feelings from arrival in the village" (Angenehme, Heitere Empfindungen, Welche Bei der Ankunft). ALLEGRO MA NON TROPPO
2. "Scene at the stream" (Szene am Bach). Andante Molto Mosso.
3. "Merry gathering of peasants" (Lustiges ZUSAMMENSEIN DER LANDLEUTE). Allegro.
4. "Thunderstorm. Sturm "(donner. Sturm). Allegro.
5. "Shepherd Song" (Hirtengesang. WOHLTATIGE, MIT DANK AND DIE GOLTHEIT VERBUNDENE GEFUHLE NACH DEM STURM). Allegretto.
BERLINER PHILHARMONIKER, HERBERT VON KARAJAN
History of creation
The birth of pastoral symphony falls on the central period of creativity Beethoven. Almost simultaneously from his pen, three symphonies came out, completely different in nature: in 1805, he began writing heroic in a warehouse Symphony to Minor, known now under No. 5, in mid-November next year, finished the lyrical fourth, Si-Bemol-major, And in 1807 he began to write pastoral. Finished simultaneously with up-minor in 1808, it is sharply different. Beethoven, who resigned with an incurable ailment - deafness, does not fight here with hostile destiny, but glorifies the great strength of nature, simple joys of life.
Like up-minor, pastoral symphony is dedicated to the patron of Beethoven, the Viennese patron of Prince F. I. Lobkovitz and the Russian Messenger in Vienna, A. K. Razumovsky. Both they first sounded in a large "academy" (that is, the concert, which was performed by the works of only one author themselves as an instrumentalist-virtuoso or orchestra under his control) on December 22, 1808 in the Viennese theater. The first number of the program was "Symphony entitled" Memory of Rural Life ", F Major, No. 5". Only some time later she became the sixth. The concert held in the cold hall, where the audience was sitting in fur coats, did not have success. The orchestra was a national level. Beethoven at the rehearsal rushed with the musicians, worked with them conductor I. Zeifrid, and the author only led the premiere.
Pastoral symphony occupies a special place in his work. It is programmed, and, the only of nine, has not only a common name, but also headlines to each part. These parts are not four, as long as it has been established in the symphonic cycle, and five, which is due to the program: a dramatic picture of a thunderstorm is placed between the simplicity rustic dance and the peaceful finals.
Beethoven loved to spend the summer in quiet villages in the vicinity of Vienna, wander through the forests and meadows from dawn to dawn, in the rain and sun, and in this communication with nature arose planned his writings. "No one can love rural life as I, for the dubbiva, trees, the rocky mountains will respond to the thoughts and experiences of a person." Pastoral, which, according to the composer himself, draws feelings born from contact with the world of nature and rural life, has become one of the most romantic essays of Beethoven. No wonder in it saw the source of his inspiration Many romance. This is evidenced by the fantastic symphony of Berlioz, Rhine Schumanan Symphony, Scottish and Italian Symphony of Mendelssohn, Symphony Poem "Preludes" and many piano pieces of sheets.
Music
The first part is called the composer "Awakening of joyful feelings while staying in the village." Uncomplicated, repeated main topic, which sounded from violins, is close to folk dance melodies, and accompaniment from alto and cello resembles a buzz of a rustic violin. Several side do not contrast the main one. Development is also idyllic, devoid of sharp contrasts. A long stay in one emotional state varied with colorful comparisons of the tonalities, changing orchestral timbres, increments and downturns of the soundness, which anticipates the principles of developing romantics.
The second part is the "scene at the stream" - penetrated by the same serene feelings. Singing violin melody slowly unfolds on the murmurous background of other strings, which is preserved throughout the entire part. Only at the very end is the stream of the stream, and the bird's roll call becomes: Trelli Stolia (Flute), Creek Creek (Oboe), Cuckoo Cook (Clarinet). Listening to this music, it is impossible to imagine that it is written by a deaf composer, no longer heard bird singing!
The third part is the "cheerful pastime of peasants" - most cheerful and careless. It combines the evil spirits of the peasant dances introduced into the symphony by the teacher of Beethoven Haydn, and the sharp humor of the Typically Beethoven Skiers. The initial section is built on a repeated comparison of two topics - a fierce, with persistent stubborn repetitions, and a lyrical singement, but not without humor: the accompaniment of the heads sounds not in the tact, as if inexperienced village musicians. The following theme, flexible and graceful, in the transparent Redean Goboy accompanied by violins, is also not devoid of a comic shade, which gives it a syncous rhythm and suddenly entering the bass of the Fagota. In a more rapid trio, a rude spherkum with sharp accents persistently repeats, in a very loud sound - as if the village musicians were played by might and, without sorry forces. In the repetition of the initial section, Beethoven violates the classical tradition: instead of the full, all the topics there are only a brief reminder of the first two.
The fourth part is "Thunderstorm. The storm "- begins immediately, without a break. It is a sharp contrast to the entire preceding and is the only dramatic episode of symphony. Drawing a majestic picture of the swelling element, the composer resorts to the visual receptions, expands the composition of the orchestra, including, as in the fifth finals, not previously used in the symphonic music of flute piccolo and trombones. The contrast is particularly sharply emphasized by the fact that this part is not separated by a pause from the neighboring: starting suddenly, it also goes into the final, where the moods of the first parts are returned.
Final - "Shepherds Tunes. Joyful and grateful feelings after the storm. " The calm entanglement of the clarinet, to whom the Frenchman is responsible, reminds the ripper of the shepherd horns against the background of the voyage - they are imitated by the weathered sounds of alto and cello. Tool rollbacks gradually die away in the distance - the latter holds a horn melody with Surdine against the background of lung passages of strings. So unusually completed this one in its kind Bethoven symphony.
Simultaneously with Fifth Beethoven graduated from sixth, "pastoral symphony" F-DUR (Op. 68, 1808). This is the only symphonic work of Beethoven, published with the author's program. On the title page, the manuscript was the following inscription: "Pastoral symphony, or memories of rural life. More expression than sound painting. "
If the tragedy and heroic of the vital struggle reflected in the third and fifth symphony, in the fourth - a lyrical feeling of the joy of being, then the sixth symphony of Beethoven embodies the Russoist theme - "Man and Nature". This theme was widespread in the music of the XVIII century since the "rustic sorcerer" of Rousseau himself; She was embodied and Haidn in the oratory "Seasons". Nature and life of unspoiled urban civilization in the population, opoethized reproduction of patterns of rustic labor - similar images were often met in art born to the advanced educational ideology. The scene of the thunderstorm of the sixth symphony of Beethoven also has many prototypes in opera XVIII century (glitch, Montsigny, Ramo, Marho, Campra), in the "Days of the Year" Haidna and even in the ballet of Beethoven's Bethoven "Creation Prometheus". "Merry gathering ingredients" is familiar to us by numerous dance scenes from the opera and again for Haydna's Oratorio. The image of the twitter birds in the "scene at the stream" is associated with a typical culture of the culture of nature for the XVIII century. Traditional pastoralism is embodied in a serene idyllic shepherd painting. She is even tangible in the instrument of symphony, with its delicate pastel colors.
It should not be thought that Beethoven returned to the musical style of the past. Like all his mature works, the sixth symphony, with the well-known intonational relations with the music of the eyelid of enlightenment, from beginning to end deeply original.
The first part is the "awakening of the vigorous feelings upon arrival in the village" - everything is imbued with elements of folk music. From the very beginning, the quint background reproduces the sound of the bagpipes. The main theme is a plexus of pastoral intonations for the XVIII century:
All topics of the first part express the mood of joyful peace.
Beethoven resorts here not to his favorite admission of motive development, but to uniform, underlined by the clear cadans of repetition. Even in development, quiet contemplation prevails: development is based on the advantage on timbre-color varying and repetition. Instead of conventional sharp tonal gravity for Beethoven, a colorful comparison of the tonalities, located apart for the column (B-DUR - D-DUR for the first time, C-DUR is E-DUR when repeated). In the first part of the symphony, the composer creates a picture of a complete harmony of a person with the outside world.
In the second part - the "scene at the stream" - the mood of the dreamability is dominated. Here the moments of musical pictures play a big role. Weathered background create two solo cello with Surdins and a horn pedal. This accompaniment resembles a murmur stream:
In the final clutches, it is replaced by the imitation of bird twitter (nightingale, quailing and cuckoo).
Three subsequent parts of the symphony are executed without a break. Event raising, acute climax and discharge - so the internal structure is so folded.
The third part - "Merry gathering in the population" - genre scene. It is characterized by large shaped-visual concreteness. Beethoven transmits the features of folk rustic music in it. We hear how the chorus, a rustic orchestra and singers felt echoes, how the nepotist plays a phageotist, as the dancers are poured. Proximity to folk music is also manifested in the use of variables of the lads (in the first topic F-DUR - D-DUR, in the F-DUR - B-DUR trio topic), and in a metric, reproducing the rhythms of the Austrian peasant dances (a change of three- and dicreated sizes; ).
The "thunderstorm scene" (the fourth part) is written with a great dramatic force. The growing sound of thunder, a knock of rain, drops, flashes of lightning, vortex winds are felt almost with a visible reality. But these bright visual techniques are designed to expand the mood of fear, horror, confusion.
The thunderstorm subsides, and the last weak roller thunder dissolves in the sounds of the shepherd sweater, which the fifth part begins - "Song of the shepherds. Manifestation of joyful, grateful feelings after the storm. " The intonation of the swirls permeate the themed of the final. Topics are freely developed and varied. Calm, sunlight is spilled in the music of this part. Symphony ends with hymns of pacification.
"Pastoral Symphony" has had a great influence on the composers of the subsequent generation. It is also found in the "fantastic symphony" of Berlioz, and in an overture to "Wilhelmu Telly" Rossini, and in the symphones of Mendelssohn, Shuman and others. Beethoven himself, however, to such a type of software symphony no longer returned.
Ludwig Van Beethoven (1770-1827) Creativity of the ingenious German composer Beethoven is the greatest treasure of world culture, a whole epoch in the history of music. It had a huge impact on the development of the art of the XIX century. In the formation of the worldview of the Beethoven-artist, the ideas of the French bourgeois revolution of 1789 played a decisive role. The fraternity of people, a heroic feat in the name of freedom - the central themes of his creativity. Music Beethoven, volitional and indomitable in the image of the struggle, courageous and restrained in the expression of suffering and sorrowful meditation conquers optimistic and high humanism. Heroic images are intertwined in Beethoven with deep, concentrated lyrics, with images of nature. His musical genius was most fully manifested in the field of instrumental music - in nine symphones, five piano and violin concerts, thirty-two sonatas for piano, string quarters.
The compositions of Beethoven are inherent in the scale of forms, wealth and sculptural relief of images, expressiveness and clarity of a musical language saturated with volitional rhythms and heroic melodies
Ludwig Van Beethoven was born on December 16, 1770 in the Priesna town of Bonn in the family of the court singer. The childhood of the future composer, which proceeded in constant material needs, was hurt and harsh. The boy was taught the game on the violin, piano and organ. He did quick successes and has served in court chapel since 1784.
Since 1792, Beethoven settled in Vienna. Soon he acquired the fame of a wonderful pianist and improviser. The Beethoven game hit contemporaries with a powerful impulse, emotional force. In the first decade of Beethoven's stay in the Austrian capital, two of his symphonies were created, six quartets, seventeen piano sonatas and other writings. However, the composer who was in the heyday struck the heavy ailment - Beethoven began to lose hearing. Only a unreleased will, faith in their high calling the musician citizen helped him make this blow of fate. In 1804, the third ("heroic") symphony was completed, which marked the composer in the work of the composer began the new, even more fruitful stage. Following the "heroic", the only opera Beethoven "Fidelio" (1805), the fourth symphony (1806) was written, after a year - Koriolan overture, and in 1808 the famous fifth and sixth ("pastoral") symphony. In addition, the period includes music to the tragedy of Goethe "Egmont", the seventh and eighth symphony, a number of piano sonatas, among which № 21 (Aurora) and No. 23 ("Appassionate") are allocated and many other wonderful writings.
In subsequent years, the creative productivity of Beethoven decreased noticeably. He finally lost his hearing. The composer with bitterness perceived the political response after the Vienna Congress (1815). Only in 1818, he again refers to hint. Late works of Beethoven are marked by the features of philosophical recesses, search for new forms and means of expressiveness. At the same time, the pathos of the heroic struggle did not fade in the work of the Great Composer. On May 7, 1824, a grand ninth symphony was performed for the first time, which does not have equal idea, the breadth of the intention, the perfection of incarnation. Its basic idea is the unity of millions; The choir finale of this ingenious work on the text of ODY F. Schiller "to joy" is devoted to the glorification of freedom, chanting the infinite joy and a comprehensive feeling of fraternal love.
The last years of the life of Beethoven was overshadowed by heavy life deprivation, illness and loneliness. He died on March 26, 1827 in Vienna.
Symphony creativity
The contribution of Beethoven to world culture is determined primarily by its symphonic works. He was the greatest symphony, and it was in symphonic music that his worldview and the main artistic principles were most fully embodied.
The path of the Beethoven-Symphonist covered almost a quarter century (1800 - 1824), but its effect has spread to the entire XIX and even in many respects at the XX century. In the XIX century, each composer-symphonist had to solve the question for himself whether he would continue one of the lines of Beethoven Simphonism or tries to create something fundamentally different. One way or another, but without Beethoven, the symphonic music of the XIX century would be completely different.
Beethoven 9 symphony (10 remained in sketches). Compared with 104 Gaidnov or 41 Mozartovski, it is a bit, but each of them is an event. The conditions in which they were composed and were performed were fundamentally different from what was with Gaidne and Mozart. For Beethoven Symphony - a genre, firstly, purely public, performed mainly in large halls rather solid for the days of the orchestra; And secondly, the genre ideologue is very significant, which does not allow writing such writings at once by series of 6 pieces. Therefore, Bethoven symphonies are usually much larger even Mozartov (except 1 and 8th) and fundamentally individual on the concept. Each symphony gives only decision - both figurative and dramaturgical.
True, in the sequence of Beethoven symphony, some patterns that have long been observed by musicians are found. Thus, odd symphonies are more explosive, heroic or dramatic (except 1st), and even more "peaceful", genre-household (most of all - 4, 6 and 8th). This can be explained by the fact that Beethoven often conceived symphonies in pairs and even wrote them at the same time or immediately after each other (5 and 6 at the premiere even "changed" numbers; 7 and 8 followed in a row).
Chamber instrumental
In addition to string quartets, Beethoven left a lot of other chamber instrumental writings: septo, three strings of Quintet, six piano trio, ten violin, five cello sonatas. Among them, in addition to the above-described septhet, string quintet is distinguished (C-DUR OR, 29, 1801). This relatively early work of Beethoven has the subtlety and freedom of expression resembling Schubert style.
Great artistic value are violin and cellular sonatas. All ten violin sites are essentially duets for piano and violin, the piano party is so significant in them. All of them push the former borders of chamber music. This is especially noticeable in the ninth Sonate A-Moll (Op. 44, 1803), dedicated to the Paris, Rudolf Creacer, on the original of which Beethoven wrote: "Sonata for piano and bond violin, written in a concert-style - as it were for a concert". The peer of the "heroic symphony" and "Appassionates", "Creicerova Sonata" is related to them in the ideological design, and on the novelty of expressive techniques, and in syphonicity of development. Against the background of all the Beethoven Sonataya Viypical Literature, it stands out for its drama, solidity of the form and scale.
The sixth piano trio B-DUR (OR. 97, 1811), belonging to the most inspired works of Beethoven, is over the symphonic style. Images of deep reflection in the slow variation part, acute contrasts between parts, the tonal plan and the cycle structure anticipate the ninth symphony. Strict architectonics and purposeful thematic development are combined with a wide, pouring melody saturated with diverse color colors.
Over Symphony No. 6 F-Major Ludwig Van Beethoven worked simultaneously with - even the first execution of these two works took place at one concert, in December 1808, and the numbering them differed from the adopted now, and they are dedicated to the same patrons - Count A .Razumovsky and prince F.Lobryovitsa. Nevertheless, it is difficult to imagine creations, more from each other in figuratively. If the "Hero" is a unbending wrestler with fate, then the struggle is inferior to the place if not humility, then the glorification of simple life joys associated with enjoying natural beauty.
Symphony number 6, which received the title "Pastoral", is very unusual for L. Bethoven and differs from all previous works in this genre. First, it is not a four-party, but the five-party, but the last parts, starting with the third, are performed without a break (thus, the number of parts "hesitate" between five and three). Secondly, it is a software symphony, and the title concretizing the title is equipped with not only the work as a whole, but also each of its five parts.
Initially, the author entitled the work of the "Memories of rural life". The stay on the nature of nature was for L. Bethoven one of the favorite ways of pastime: "Dubrava, trees, rocky mountains respond to the thoughts and experiences of a person," said the composer. Such a love perception of nature was reflected in Symphony - there are no conflicts here, everything is ashamed in idyllic tones. Only the fourth part makes a shade of drama - but this is not the drama of the events of human life, but a natural force, a thunderstorm painting.
The name of the first part is "joyful feelings upon arrival in the village" - does not imply any pictorial, landscape or genre. Illustrativeness is expressed only in the nature of the main party: the image of the village will paint the simple melody, resembling a folk song. It is accompanied by a weathered Quinta (this is imitating a voyage and other folk instruments). Neither the side party nor the final special contrast contributes, therefore the development is devoid of conflict: the main intonation of the main party is not so much melodic development as "painted" by different timbres, registers and tonalities.
If there was an emotional state in the first part of the attention, then in the second, entitled "scene at the stream", a lot of sound-processed techniques: Measuring accompanies transmits the flow of water, Melimmons - the voices of birds ... "Scene at the stream" produces a particularly strong impression if you remember, That the composer at the time of creation of this music could no longer hear a bird twitter in the forest.
The third part represents a bright genre scene, echoing with creations, the author gave her the name "Merry gathering spread." Its main themes - a detachment and cantileneous - contrast, but not conflict, but the presentation is not devoid of humorous strokes. For example, accompanying baggages sound like "not in time" with a melody - as it could be in the village orchestra, from which no one expects perfect performance.
The picture of peasant fun without a break goes into the fourth part - "Thunderstorm. Storm". Depicting the austerity of the elements, L. Betchen uses new tools for symphonic music tools - flute piccolo and trombones.
And the same - without a pause - the final begins, called the "shepherd song". Accordingly, the melodies of a song warehouse dominate in the fifth portions. The alta and cello again imitate Volynka, and the solo clarinet resembles a shepherd horror.
The first performance of Symphony No. 6 did not happen at the most favorable conditions: a far from the best orchestra, too long a concert, a cold hall ... Fortunately, this did not affect the fate of the work - it took a worthy place in the repertoire. Many features of this symphony are free interpretation of the cycle, colorful development techniques - received a continuation in symphonic music of romanticism.
Music seasons
Pictures of changing the seasons of the year, the rustle of foliage, bird votes, splashing waves, the murmur of the stream, thunderstorms - all this can be conveyed in music. Many famous were able to do it brilliantly: their musical works about nature became a classic musical landscape.
Natural phenomena, musical sketches of the plant and animal world appear in instrumental and piano works, vocal and choral writings, and sometimes even in the form of program cycles.
"Seasons" A. Vivaldi
Antonio Vivaldi
Four three-part violin concerts of Vivaldi, dedicated to the times of the year, without a doubt, the most famous musical works about the nature of the Baroque era. The poetic sonnets to concerts are written, as it is considered to be the composer himself and express the musical meaning of each part.
Vivaldi passes with its music and thunder-rolls, and the noise of rain, and the rustle of the leaves, and the birds trill, and the dog Lai, and the uphold of the wind, and even the silence of autumn night. Many remarks of the composer in the score directly indicate or another phenomenon of nature, which must be depicted.
Vivaldi "Seasons of the Year" - "Winter"
"Seasons" J. Haydna
Josef Gaidn
The monumental oratorio "Seasons" was a peculiar result of the composer's creative activity and became a genuine masterpiece of classicism in music.
Four seasons are consistently appeared before the listener in the 44th pictures. Heroes Oratori - rural residents (peasants, hunters). They know how to work, and have fun, they have no time to indulge. People here are part of nature, they are involved in her annual cycle.
Haydn, like his predecessor, widely uses the possibilities of different tools for the transmission of nature sounds, such as summer thunderstorms, rogue of grasshoppers and frogs.
Haidna's musical works about nature are associated with people's life - they are almost always present on his "paintings". For example, in the final of the 103th symphony, we are as if we are in the forest and hear hunter signals, for the image of which the composer resorts to a well-known means. Listen:
Gaidn Symphony No. 103 - Final
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"Seasons" P. I. Tchaikovsky
The composer elected the genre of piano miniatures for his twelve months. But the same piano is capable of transmitting nature paints no worse than the choir and orchestra.
Here is a spring jurisdiction of the lark, and the joyful awakening of the snowdrop, and the dreamy romance of white nights, and a livelot of a bootman, striking on river waves, and field works of peasants, and the psovy hunting, and anxious and sad autumn fading nature.
Tchaikovsky "Seasons of the Year" - March - "Song of Lyonk"
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"Carnival of animals" K. Saint-Sansa
Among the musical works about nature, the mansion is the "big zoological fantasy" of Saint-Sansa for the chamber ensemble. The disadvantage of the plan defined the fate of the work: "Carnival", whose score of Saint-Sans even forbade publishing during life, was completely performed only in the circle of the composer's friends.
Original instrumental composition: In addition to stringed and multiple winds, there are two piano, chest and such a rare tool, like a glass harmonic.
In the cycle of 13 parts, describing different animals, and the final part, which combines all the numbers into a solid product. It's funny that the composer is taken to the number of animals and beginner pianists, diligently playing gammas.
Carnival's comicness emphasize numerous musical alluses and quotes. For example, "Turtles" are performed by the Offenbach Kankan, only several times slowdown, and the double bass in the "elephant" develops the theme of the Berliosovsky "ballet of the Sylves".
Saint-Sans "Carnival Animals" - Swan
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Sea Element N. A. Rimsky-Korsakov
The Russian composer knew about the sea not at the time. Mademaryan, and then Michman on the clip of "Almaz" he did a distant path to the North American coast. Favorite seaside images arise in many of his creations.
Such is, for example, the topic of the "ocean-sea of \u200b\u200bblue" in Opera "Sadko". Literally in several sounds, the author transmits the hidden power of the ocean, and this motive permeates the entire opera.
The sea reigns in the Sadko's Symphony Music Picture, and in the first part of Schöherazada Suite, "Sea and Saintbads a ship", in which the calm replaces the storm.
Roman-Korsakov "Sadko" - the accession of the "Ocean-Sea blue"
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"The ruddy glow was covered with the East ..."
Another favorite theme of musical works about nature is the sunrise. Here immediately come to mind the two most famous morning topics, something incense with each other. Each in its own way defias the awakening of nature. This is the romantic "morning" E. Grieg and a solemn "Dawn on the Moscow River" M. P. Mussorgsky.
At the Migra, the imitation of the shepherd horn picked up with string tools, and then and the whole orchestra: the sun rises over the harsh fjords, and the murmur of the stream and singing of birds is clearly heard in music.
The dawn of Mussorgsky also begins with the shepherd melody, in the string orchestral sound as if the ringing of bells is woven, and the sun is closed above the river, the sun covering the water with gold ripples.
Mussorgsky - "Khovanshchina" - the introduction of "Dawn on the Moscow River"
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List all in which the theme of nature is developing is practically impossible - this list will turn out too long. Here you can include the concerts of Vivaldi ("Nightingale", "Cuckoo", "Night"), "Bird Trio" from the sixth symphony of Beethoven, "Flight of Bumblebee" Roman-Korsakov, "Golden Fish" Debussy, "Spring and Autumn" and "Winter Road »Sviridov and many other musical pictures of nature.
Vein. Imperial royal privileged Vienna theater. Here on December 22, 1808, "Music Academy" took place, that is, the author's concert from the works of L. Van Beethoven - "completely new and previously not performed publicly." Among them were two symphones, completed almost simultaneously, - the fifth, up to-miner, and the sixth, pha magazine. Both symphonies captured the different states of the spirit of the Great German composer. The fifth is the highest voltage of the struggle leading to the difficult conquest of victory. Six - complete harmony of man and nature. It's like two faces of Beethoven creativity, his era. The fifth symphony is a living testimony of Beethoven's proximity to the ideas and accomplishments of the French revolution of 1789. In her at first, intonations, child anthem and the songs of the revolution, are distinguished. The final symphony seems to reproduce the picture of the festival in honor of the victory. In the sixth symphony you can hear the echoes of the ideas of J. Rousseau, called back to the "natural life". True joy gives man communication with nature and rustic residents. The only disaster is a thunderstorm - turns around even greater grace: the renewed nature gives a person a special completeness of life sense.
Both symphonies are characterized by an exceptional specificity of the expression of ideas embedded in ^. In the fifth Symphony, Beethoven found a brilliant musical summary of the theme of rock, fate - everything that prevents the person in his desire for freedom. The extremely compressed, concise motive ("so fate knocks on the door," Beethoven said about him) permeates the music of the whole symphony. But he can turn around and call for action, and a victorious tide, and the expression of a peaceful trep. The motive of fate forms the whole of the first part of the Symphony, occasionally arises in the second, dominates in the third, the reminder of it in the fourth part shall shall with the overall picture of the admission. Through the struggle towards victory - this basic thesis of the Beethoven Symphony - is embodied here with a special relief. All of her parts: Full of drama - the first, calm second, where the heroic topic is gradually awarded, close to "Mosselese", Scherzo, returning drama and strong contrasts in the new perspective, the victorious finale - the essence of the consistent stages of the formation of a heroic idea, steps to conquer and Approval of human power in unity with humanity.
It is completely different to the Beethoven sixth symphony. It reigns the peace of the highest harmony, which man acquires in nature. The composer does not build a whole step behind the step, but turns it with different faces. Parts of symphonies are pictures or scenes. The specificity of the images protrudes through the associations with the murmur of the stream, the singing of birds, the rollers of thunder, the niper of the shepherd of the horn, the sound of a rustic orchestra. It is emphasized by program names that Beethoven presented all the symphony and its separate parts. "Pastoral symphony, or a memory of rural life" includes "joyful feelings upon arrival of P to Reven", "Scene at the streams", "Merry gathering in the population", "Thunder, Thunderstorm" and "Songs". At the end of the "scene at the stream", Beethoven even marked in score, what birds belong to replicas, imitating their voices (quail, cuckoo, nightingale); The main theme of this part has grown, according to him, from the head of the Oriole.
However, Beethoven in his title symphony warns and that here "more expressing feelings than painting." The pictureness does not exclude deeply poetic lyrism of the second part or the dynamic "Natisk" for Beethoven "in the third. This is a holistic world, alone which has its own movement, development leading to the majestic hymn nature.
The fifth and sixth symphony laid their ways to the future. It is with the idea of \u200b\u200bthe fifth symphony binds to. We have the very concept of dramatic symphony, symphony about the most important thing in the life of a person - the struggle for the approval of his ideals. The fifth symphony of Beethoven believed P. I. Tchaikovsky's prototype of its fourth symphony - the first symphony drama in his work. The first symphony of Brams and Symphony to Minor Taneyev, the second piano concert of Rachmaninov and the third symphony of Scriabin, the fifth symphony of Shostakovich - all these works of completely different composers, different eras converge in a deep support for a brilliant essay of the Great Classic.
The sixth symphony was especially consonant with romance composers: Schubert, Shumanu, Berliozu. Symphony program, a new world of its colorful sounds, thin blacks, songs intonations, freedom in the interpretation of the cycle (five parts instead of ordinary for classical symphony of four) - All this has found its continuation in a romantic simphonism. The theme of nature received a new development and embodiment in Schubert and Shuman symphonies, Brahms, Bruckner, Maleer. In the work of Beethoven himself, two symphonies of 1808 were the most important stages on the way to the climax of his simphonism - ninth symphony, reached their highest expression and tensions of the struggle, and the all-consuming joy of unity of mankind, his mergers with all the universe.
The premieres of the fifth and sixth symphony did not bring success to their author mainly due to unsuccessful performance. However, soon these works have won tremendous popularity. We know beautiful records of symphonies in the interpretations of the largest conductor of the world - A. Tuscanini and V. Furtvengler, B. Walter and Karaian. In the repertoire of many Soviet conductors, the fifth and sixth concephena symphonies are constantly present - satellites of our life, in which the drama and heroic of "Eternal Fight" coexist and the desire for beauty and wisdom of nature coexist.
E. Tsareva