Beethoven software symphony dedicated to nature images. Musical works about Nature: a selection of good music with a story about her
Six, pastoral symphony
Simultaneously with the fifth Beethoven graduated from sixth, "pastoral symphony." 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. "
Six, pastoral symphony occupies a special place in the work of Beethoven. It was from this symphony that representatives of romantic software symophonism were revealed. The enthusiastic fan of the sixth symphony was Berlioz.
The theme of nature gets a wide philosophical embodiment in the music of Beethoven - one of the greatest poets of nature. In the sixth symphony, these images have gained the most complete expression, for the very topic of symphony is nature and paintings of rural life. Nature for Beethoven is not only an object for creating picturesque paintings. She was for him an expression of a comprehensive, life-gone. It was in communicating with the nature of Beethoven found those hours of clean joy, which he so longed. The statements from the diaries and letters of Beethoven talk about his enthusiastic pantheistic attitude towards nature. More than once we meet in the notes of Beethoven's sayings that Ideal is "free", that is, natural nature.
The theme of nature is connected in the work of Beethoven with another theme in which he expresses himself a follower of Rousseau, is a poetry of simple, natural life in communicating with nature, the spiritual purity of Selyanin. In notes to the sketches of pastoral Beethoven, several times indicates a "memory of life in the village" as the main motive of the content of Symphony. This thought is preserved in full name of the symphony on the title page of the manuscript.
The Russoist idea of \u200b\u200bpastoral symphony binds Beethoven with Haydn (Oratage "Seasons"). But Beethoven disappears that raid the patriarchality, which is observed at Haidna. The topic of nature and rural life, he treats as one of the options of the main topic about the "free person" - it relates him to the "Sturmen", which, after Russo, saw in nature the fracturing start, opposed her to the world of violence, coercion.
In the pastoral symphony, Beethoven appealed to the plot, in music more than once. Among the program works of the past, many are devoted to the images of nature. But Beethoven decides in a new way the principle of the program in music. From naive illustrative, it proceeds to the poetic spiritualized embodiment of nature.
However, it should not be thought that Beethoven refused here from the picture, fine possibilities of the musical language. The sixth symphony of Beethoven - an example of the merge of the expressive and picture began. Images of its deep in mood, poetic, spiritualized by a large inner feeling, are imbued with a generalized philosophical thought and at the same time picturesque.
Seventh symphony
The symphony genre in the works of Beethoven was in constant development. Four years after the pastoral, the seventh and eighth symphonies were created (1812), in which the Beethoven Syphonism is revealed from the new Parties, due to the strengthening of peopanational traits.
The merger in these symphones of the heroic and genre began determines the increased importance of song intonations, dance rhythm. Mighty simplicity of the democratic language of Beethoven, with its energy rhythms, the relief of active intonation, is combined with the fine development of melodic, timbre, harmonic parts. In the harmony, the diversity of shades and contrasts, the strengthening of paintness is largely carried out by means of major-minor, diverse terr ratios. The cycle structure is a well-known retreat from classical tempo contrasts (instead of a slow part - Allegretto).
All this allowed Serov to see in these symphones the beginning of the late Beethoven style, although both of them not only in the time of creation, but also in style - the final works of the central period. They implemented synthesis of the principles of the Beethoven heroic and lyric genre symphony (which is especially clearly manifested in the seventh symphony). The nationality of Beethoven's images acts here in the new capacity, it is brighter in its national manifestation, although it does not lose and summarizing the heroic orientation.
Between the symphones of 1812 and the previous pastoral, such writings were published as the fifth piano concert, "Egmont", music to the play "King Stefan". Immediately after the seventh and eighth, the program symphony "Victory Wellington, or Battle for Vitatorium" is written. All these works (with all the difference in their artistic meaning), one way or another are associated with patriotic ideas of that time. Together with the "Battle of Vitatorium", the seventh and eighth symphony were performed in patriotic concerts in Vienna in 1813 and 1814 as a sign of victory over Napoleon.
Created in one year, combined by the general actively joyful tone, the seventh and eighth symphony, however, contrast each other, complementing each other.
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. "
And then follow a brief title to each part of the symphony.
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.
Symphony creativity Beethoven
Beethoven symphonies arose on the soil prepared by the entire course of the development of instrumental music of the 18th century, especially its direct predecessors - Haidn and Mozart. The coordinating symphonic cycle in their work was finally in their work, its reasonable slender structures were solid foundation of the massive architecture of Beethoven symphony.
The musical thinking of Beethoven is a complex synthesis of the most serious and advanced, broken philosophical and aesthetic thought of his time, with the highest manifestation of the national genius, captured in the broad traditions of the centuries-old culture. Many artistic images prompted him and real reality - a revolutionary era (3, 5, 9 symphonies). Especially worried Beethoven's problem "Hero and People". The Hero of Beethoven is inseparable from the people, and the problem of the hero develops into the problem of personality and people, man and humanity. It happens that the hero is dying, but his death crowned victory, carrying the happiness of liberated humanity. Along with the heroic topics, the richest reflection found the theme of nature (4, 6 symphony, 15 sonata, many slow parts of symphony). In the understanding and perception of the nature of Beethoven is close to the ideas of J.-zh. Rousseau. Nature for him is not a formidable, incomprehensible power opposing a person; She is a source of life, from contact with whom a person is morally cleared, acquires the will to activities, seems to be bolder. Beethoven penetrates deeply and in the finest sphere of human feelings. But, revealing the world of the inner, emotional life of a person, Beethoven paints the same hero, a strong, proud, courageous who never becomes a victim of his passions, as his struggle for personal happiness sends the same thought of philosopher.
Each of the nine symphonies is an exceptional product, the fruit of long labor (for example, over Symphony No. 9, Beethoven worked for 10 years).
symphony
In the first symphonyC - DUR The features of the new Beethoven style appear very modestly. According to Berlioz, "This is excellent music ... but ... not yet Beethoven." Noticeably movement forward in the second symphonyD - DUR . Confidently courageous tone, dynamics of development, energy significantly reveal the image of Beethoven. But the genuine creative takeoff occurred in the third symphony. Starting with the third symphony, the heroic topic inspires Beethoven to create the most prominent symphony works - fifth symphony, an overture, then this topic is reborn with an inaccessible artistic perfection and a scope in the ninth symphony. At the same time, Beethoven reveals other figurative areas: Spring and Youth Poetry in Symphony No. 4, the dynamics of the seventh life.
In the third symphony, according to Becker, Beethoven embodied "only the typical, eternal ... - Will's power, the greatness of death, creative power - he connects together and creates his poem about everything great, heroic, which can be inherent in man" [Paul Becker. Beethoven, t.II. . Symphony. M., 1915, p. 25.] The second part is a mourning march, unsurpassed by beauty musical heroic-epic picture.
The idea of \u200b\u200bthe heroic struggle in the fifth symphony is carried out even more consistently and directed. Like an opera leitmotif, a four-minded main topic passes through all parts of the work, transforming in the course of the development of action and is perceived as a symbol of evil tragically invading man. The contrast between the drama of the first part and the slightly thoughtful strength of thought in the second.
Symphony number 6 "Pastoral", 1810
The word "pastoral" means a peaceful and carefree life of shepherds and shepherds among herbs, colors and fat herds. Since the time of antiquity, the pastoral paintings with their dimension and peace were for an educated Europeans with a non-gas ideal and continued to remain them in the time of Beethoven. "No one in the white light can love the village since I," he confessed in his letters. - I can love some tree more than a person. Omnipotent! In the forests, I am happy, I am happy in the woods, where every tree speaks about you. "
"Pastoral" Symphony - an essay of a sign, reminiscent of the fact that the real Beethoven is not a fanatic revolutionary, ready for the fight and victory to abandon all the human, and the singer of freedom and happiness, in the heat of battle is not forgetting about the goal for which victims are being brought And feats are performed. For Beethoven, active-dramatic writings and pastoral-idyllic are two sides, two appearance of his muses: action and thinking, struggle and contemplation are for him, as for any classic, compulsory unity, symbolizing the balance and harmony of natural forces.
"Pastoral" symphony has a subtitle "Memories of rural life". Therefore, it is completely natural in the first part of it, the echoes of the village music sounds: the swirle naigers, accompanying rural walks and dances spread, lazily overshadowing jolts. However, Beethoven's hand, inexorable logic, is visible here. Both in the melodies themselves, and in their continuation there are similar features: repayment, inertia and repetition dominate the presentation of those in small and large phases of their development. Nothing will retreat, without repeating several times; Nothing will come to an unexpected or new outcome - everything will return to the circles, turns on the lazy cycle of already familiar thoughts. Nothing will take an imposed on the outside plan, and will follow the commissioned inertia: all the motive of the Waves will unlimited to grow or go to no, dissolve, giving way to another similar motive.
Are all natural processes are not inertia and quietly measured and are not so unlikely and lazily float in the sky of the clouds, the grass pegs, murmur streams and rivers? Natural life Unlike people's life does not discover an obvious goal, and because it is devoid of tension. Here it is, life-stay, life, free from desires and desire for the desired.
As in opposition to the dominant tastes of Beethoven, in recently creative years, works, exceptional in depth and greatness.
Although the ninth symphony is far from the last work of Beethoven, it was she who concluded that the composer's ideological and artistic quest. Problems outlined in symphones №3 and 5 here I acquire a all-calovic, universal character. The symphony genre itself has also fundamentally. In the instrumental music of Beethoven introduces word. This discovery of Beethoven has repeatedly used composers 19, 20th century. The usual principle of Contrast Beethoven subordinates the idea of \u200b\u200bcontinuous figurative development, hence the non-standard alternation of parts: first two quick parts, where the drama of the symphony concentrates, and the slow third part prepares the final - the result of the most complex processes.
Ninth symphony is one of the most prominent creations in the history of world musical culture. According to the greatness of the idea, the latitude of the plan and the powerful dynamics of musical images, the ninth symphony exceeds everything created by the same Beethoven.
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Piano Sonatas Beethoven.
Late Sonats differ in the great complexity of the musical language, compositions. Beethoven in many respects retreats from the patterns of formation typical of classical sonata; At that time to philosophical and contemplative images led to the hobby with polyphonic forms.
Vocal creativity. "To a distant beloved." (1816?)
The first of the works of the last creative period was the cycle of songs "KDV". Absolutely original on the plan and composition, he was an early precursor of the romantic vocal cycles of Schubert and Shuman.
The symphonic creativity of Beethoven is the most important stage in the development of the genre of symphony. On the one hand, it continues the traditions of the classic symphony after Hydean and Mozart, and on the other, it anticipates the further evolution of the symphony in the work of composers-romantics.
The multi-faceted creativity of Beethoven is manifested in the fact that he became the founder of the heroic-dramatic line (3, 5, 9 of symphonies), and also revealed another equally important lyric genre sphere in Simphonism (partly 4; 6, 8 symphonies). The fifth and sixth symphony were composed by the composer at almost simultaneously (finished in 1808), but reveal new, various figurative and thematic possibilities of the genre.
General characteristics 5 and 6 Symphony
The fifth symphony is a tool drama, where each part is the stage in the disclosure of this drama. It consistently continues the heroic-dramatic line, scheduled to 2, revealed in 3 symphones, further developed in 9. The fifth symphony arose under the influence of the ideas of the French revolution, republican ideas; The concept characteristic of Beethoven is characteristic of Beethoven: through suffering - to joy, through the struggle - to victory.
Six, "pastoral" symphony opens a new tradition in European music. This is the only program of the Beethoven software symphony having not only a common program subtitle, but also the name of each part. The path to the sixth comes from 4 symphony, and in the future the lyrical genre sphere will find an embodiment in 7 (partly) and 8 symphony. Here is a circle of lyric-genre images, a new property of nature is revealed as a start, a liberating person, such an understanding of nature is close to the ideas of Rousseau. "Pastoral" symphony predetermined the further path of the program symphony and romantic symphony. For example, analogies can be found in the "fantastic" symphony of Berliosis ("scene in the fields").
Symphony cycle 5 and 6 symphony
The fifth symphony is a classic 4-private cycle, where each part simultaneously has an individual function and is a link in the disclosure of a common dramatic circuit of the cycle. In the 1st part laid an effective conflict of the two principal - personal and extlicient. This is a Sonataya Allegro, which is distinguished by the unity of thematism. All themes develop in one intonational system, presented by the initial topic (the theme "of fate") of 1 part. 2 part of the symphony - in the form of double variations, where 1 the topic belongs to the lyrical sphere, and 2 - the heroic plan (in the spirit of the march). Interacting, topics continue the "monorithm" (rhythmic formula) 1 of part. Such an interpretation of the form of double variations has also met earlier (Haidna in Symphony No. 103, Mi-Flat Major), but Beethoven is invested in a single development of a dramatic concept. 3 Part - Scherzo. Having appeared in 2 symphonies, Beethoven Schrozo displaces Menuet, and also acquires other, devoidfulness, quality. For the first time, the scherzo becomes a dramatic genre. The final, next without a break after Skester, is a solemn apotheosis, the result of the development of the drama, which marks the victory of the heroic, the triumph of the personality over the extravaluity.
The sixth symphony is a five-part cycle. Such a structure is found for the first time in the history of the genre (not counting the "farewell" symphony No. 45 of Haydna, where 5-part behave in nature). The basis of symphony is a comparison of contrast paintings, it is distinguished by a leisurely, smooth development. Here Beethoven moves away from the norms of classical thinking. Not so much nature itself, how many poetic spirituality in communicating with nature, but the image does not disappear ("more expression of feeling than paintings," according to Beethoven). Symphony is also distinguished by a figurative unity, and the integrity of the cycle composition. 3, 4 and 5 parts follow each other without a break. Through development was observed in 5 symphonies (from 3 to 4 parts), creating a dramatic unity of the cycle. Sonate form 1 of the part of the "pastoral" is not built on a conflict opposition, but on complementary themes. The leading principle is the variationality, which creates graduality, leisureness of development. Beethoven refuses here from his characteristic former works of heroics and pathos struggle (3, 5 symphonies). The main thing becomes contemplation, the deepening in one state, the harmony of nature and man.
Intonation-thematic complex 5 and 6 symphony
The intonational-thematic complex 5 and 6 of symphony is formed on the basis of their development principles. A peculiar intonation "source" and the basis of 5 symphonies (especially in 1 and 3 parts) becomes the initial epigraph - monointonation of 4 sounds ("so fate knocks on the door"). This determines the organization of the cycle. The beginning of the exposition 1 of the part contains two contrasting elements (the motives of "fate" and "response"), which still within the main batch form a conflict. But, contrasting figuratively, they are close intonational. The side consignment is also built on the material of the initial monointonation presented in another aspect. Everything becomes a subordinate unified intonation sphere that connects all parts of the dramatic whole. The intonation of "fate" will appear in all parts in another appearance.
"Pastoral" symphony does not contain monointonation. The genre elements, folk melodies are based on its thematism (1 topic 1 of the part of the tune of the children's Croatian song according to Barthok, 5 part - Landler). Repeability (even in development) is the main development of development. Themes of symphony is given in a figurative-color comparison. Unlike 5 symphony, where all the material was given in development, the "exposure" presentation prevails here.
New, "Beethovenskoye" The development of the form is concluded in 5 symphonies, where each section of the form (for example, GP, PP exposure) is saturated with internal action. There is no "show" here, they are presented in action. The culmination of 1 part is to develop, where thematic and tonal development contribute to the disclosure of the conflict. The tonality of the quart-quinto ratio increase the strength of the developing section. A special role is played by the code that received the value of the "second development" at Beethoven.
In 6 symphonies, the capabilities of thematic variation are expanded. For greater color of Beethoven, there is a largest ratio of tone (development of 1 part: to Maj. - Maj.; Si-Fleol Maj. - Reagine.).
Beethoven first gave symphony public purpose, elevated it to the level of philosophy. It is in the symphony with the greatest depth embodied revolutionary-democratic The worldview of the composer.
Beethoven created majestic tragedies and dramas in his symphony works. Beethoven Symphony facing tremendous human masses has monumental forms. So, I part of the "heroic" symphony almost twice the first part of the largest of the Symphony of Mozart - "Jupiter", and the giant sizes of the 9th Symphony are generally incommensurable with any of the previously written symphonic works.
Up to 30 years, Beethoven did not write symphonies at all. Any symphonic work of Beethoven is the fruit of the longest labor. So, "heroic" was created by 1.5 years, the fifth symphony - 3 years, ninth - 10 years. Most of the symphony (from the third to the ninth) falls for the period of the highest lift of Beethoven creativity.
I symphony summarizes the searches of the early period. According to Berlioz, "this is no longer Haydn, but not yet Beethoven." In the second, third and fifth - expressed images of revolutionary heroics. The fourth, sixth, seventh and eighth are characterized by their lyrical, genre, cross-humorous features. In the ninth Symphony, Beethoven is the last time returning to the topic of the tragic struggle and optimistic life affirmation.
Third symphony, "heroic" (1804).
The genuine flourishing of creativity Beethoven is associated with his third symphony (a period of mature creativity). The appearance of this essay was preceded by tragic events in the life of the composer - the offensive of the deafness. I realized that there was no hope for recovery, he plunged into despair, the thoughts of death did not leave him. In 1802, Beethoven wrote his brother's testament, known as Hailiegestadsky.
It was in that terrible moment that the idea of \u200b\u200bthe 3rd symphony was born for the artist and began the mental fracture, from which the most fruitful period begins in the creative life of Beethoven.
The work this reflected the passion of Beethoven by the ideals of the French revolution and Napoleon, who personified in his consciousness the image of a true folk hero. Having finished the symphony, Beethoven called her "Boonaparte". But soon he came to Vienna that Napoleon changed the revolution and proclaimed himself with the emperor. Having learned about this, Beethoven came into rage and exclaimed: "This one is also an ordinary person! Now he will trample all human rights, follow only his ambition, will put himself above all others and is made by Tyran! " According to eyewitnesses, Beethoven approached the table, grabbed the title leaf, ripped it from top to bottom and threw it on the floor. Subsequently, the composer gave symphonies a new name - "Heroic".
From the third symphony, a new new era began in the history of world symphonism. The meaning of the work is as follows: during the titanic struggle, the hero dies, but his feat is immortal.
I part - ALLEGRO CON BRIO (ES-DUR). G. P. - The image of the hero and struggle.
Part II - mourning march (C-Moll).
III part - scherzo.
IV Part - Final - feeling of all-encompassing folk fun.
Fifth symphony,c.- moll. (1808).
This symphony continues the idea of \u200b\u200bthe heroic struggle of the third symphony. "Through the darkness - to the light," so determined this concept A. Serov. The composer did not give this name symphony. But its content is associated with the words of Beethoven, who said in a letter to a friend: "Do not need peace! Other peace, except for sleep, I do not recognize ... I grab fate for a throat. To completely bend me, she will not succeed. " It is the idea of \u200b\u200bfighting fate, with rock determined the content of fifth symphony.
After the Grand epic (third symphony), Beethoven creates a concise drama. If the third is compared with the "orady" Homer, then the fifth symphony - with the classic tragedy and the operations of the glitch.
4 Part of the symphony perceived as 4 acts of tragedy. They are interconnected by a leitmotif from which the work begins, and about which Beethoven himself said: "So fate knocks on the door." It is extremely concise, like an epigraph (4 sound), this topic is outlined with a sharply knocking rhythm. This is a symbol of evil tragically invading a person, as an obstacle that requires incredible efforts to overcome.
In I Parts theme Roca Mustrally dominant.
In the second part, sometimes its "tapping" alarmingly alarmingly.
In the third part - Allegro - (Beethoven refuses here from traditional Menuet, and from Skester ("joke"), because Music is anxious and conflict here) - sounds with new fierce.
In the final (holiday, triumphal march) the theme of rock sounds like a memory of the past dramatic events. The final is a grand apotheosis, reaching its apogee in a code expressing a victorious adequacy of the masses covered by the heroic gust.
Sixth Symphony, "Pastoral" (F.- dur, 1808).
Nature and merger with her, feeling of peace of mind, images of people's life is such a content of this symphony. Among the nine symphonies of Beethoven, the sixth is the only program, i.e. It has a common name and entitled each part:
I part - "Joyful feelings upon arrival in the village"
II Part - "Scene at the stream"
III part - "Merry gathering in the population"
IV Part - "Thunderstorm"
V Part - "Salt Song. Thank you song Divine after a thunderstorm. "
Beethoven sought to avoid naive graphic and in the subtitle to the title emphasized - "more expression of feeling than painting."
Nature as if reconciles Beethoven with life: in his adoration of nature, he seeks to find oblivion from the seals and anxiety, a source of joy and inspiration. Deaf Beethoven, retaining from people, often wandered in the forests in the suburb of Vienna: "Almighty! I am happy in the woods, where every tree speaks about you. There, at rest, you can serve you. "
"Pastoral" symphony is often considered a harbinger of musical romanticism. "Free" interpretation of the symphonic cycle (5 parts, at the same time, since the last three parts are executed without a break - then three parts), as well as the type of programming, anticipating the works of Berlioz, Sheet and other romantics.
Ninth symphony (d.- moll., 1824).
The ninth symphony is one of the masterpieces of world musical culture. Here Beethoven again refers to the theme of the heroic struggle, which acquires permanent, universal scale. According to the grandinity of the artistic plan, the ninth symphony surpasses all the writings created by Beethoven to her. No wonder A. Serov wrote that "the whole great activity of the genius symphonist was cloned to this" nine shaft ".
The sublime ethical idea of \u200b\u200bthe work is to appeal to all of humanity with a call for friendship, to fraternal unity of millions - gets an embodiment in the final, which is the semantic center of Symphony. It is in him Beethoven first introduces the choir and singers-soloists. This discovery of Beethoven has repeatedly used composers of the XIX-XX centuries (Berlioz, Malener, Shostakovich). Beethoven used lines from ODD "to joy" Schiller (idea of \u200b\u200bfreedom, fraternity, happiness of mankind):
People are brothers among themselves!
Rather, millions!
Follow the joy of one!
Beethoven needed word,for the pathos of the speech has an increased power of influence.
In the ninth symphony there are software features. In the final, all the topics of previous parts are repeated - a kind of musical explanation of the plan of symphony, followed by verbal.
Interesting and dramaturgy cycle: first follow two rapid parts with dramatic images, then III part is slow and finals. T. about., All continuous figurative development is steadily moving towards the final - the result of the vital struggle, the various aspects of which are given in the preceding parts.
The success of the first fulfillment of the ninth symphony in 1824 was triumphal. Beethoven was welcomed with five-time applause, while even the imperial family of etiquette was supposed to welcome only three times. Deaf Beethoven could no longer hear the applauses. Only when he was turned face to the public, he was able to make sure of his delighted listeners.
But, with all this, the second performance of the symphony passed in a few days in a half-empty hall.
Overtures.
In total, Beethoven - 11 overture. Almost all of them arose as joining the opera, ballet, theatrical play. If earlier an appointment of Overture was to prepare for the perception of musical and dramatic action, then the Beethoven overture develops into an independent work. Beethoven Overture ceases to be entry into subsequent action and turns into an independent genre that submits to its internal laws of development.
Best Beethoven Overtures - Coriolan, Leonora No. 2 2, "Egmont". Overture "Egmont" - Goette's tragedy. Her topic is the struggle of the Netherlands people against the Spaniards in the XVI century. Hero Egmont, fighting for freedom, dies. In an overture, again, all the development moves from the darkness to light, from suffering - to joy (both in fifth and ninth symphony).