Software-visual music. Big Soviet Encyclopedia - Software Music

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

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

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

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

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

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

Software (from the Greek "Program" - "Announcement", "Order") musical workswho have a certain title or literary preface, Created or chosen by the composer himself. Due to specific content program music more accessible and understood by listeners. Her expressive agents are especially relief and bright. In the software works, composers are widely used orchestral sounding, imaging, stronger emphasize the contrast between the images, shapes, etc.

Rich and diverse a circle of images and those program music. This and the picture of nature is the gentle paints of "Dawn on the Moscow River" in an overture to opera M. P. Mussorgsky "Hovhanshchina"; The gloomy Darialya Gorge, Terek and the castle of Queen Tamara in the symphony poem M. A. Balakirev "Tamara"; Poetic landscapes in the works of K. Debussy "Sea", " Moonlight" Juicy, colorful paintings folk holidays Recreated in the symphony works of M. I. Glinka "Kamarinskaya" and "Aragon Khota".

Many writings of this type of music are associated with wonderful works of world literature. Turning to them, composers in music seek to reveal those moral problemsOver which poets reflected, writers. P. I. Tchaikovsky (fantasy "Francesca da Rimini"), F. Sheck ("Symphony" of the Divine Comedy "Dante") appealed to the "Divine Comedy" Dante ("Symphony to" Dante's Divine Comedy "). TRAGEDY W. Shakespeare Romeo and Juliet is inspired by the same name symphony. Berlioz and Fantasy-fantasy Tchaikovsky, tragedy "Hamlet" - Symphony of the sheet. One of the best Overtoire R. Shuman was written to the dramatic poem J. Byrona "Manfred". Paphos of the struggle and victory, the immortality of the Hero's female, who gave life for freedom of the birthplace L. Beethoven expressed in an overture to Drama I. V. Gothe "Egmont".

The program works include the writings that are called musical portraits. This is the piano foreplay of Debussy "Girl with a lines of flax color", a play for the Harpsichord "Egyptian" J. F. Ramo, piano miniatures of Shuman "Paganini" and "Chopin".

Sometimes program musical Composition It happens inspired by works visual arts. In the piano suite "Pictures from the exhibition", Mussorgsky reflected the impressions of the composer from the artist's exhibition of artist V. A. Gartman.

Large-scale, monumental works of software music are related to the most important historical events. Such, for example, Symphony D. D. Shostakovich "1905", "1917", dedicated to the 1st Russian Revolution 1905-1907. and the October Revolution.

Software music has long been attracted by many composers. Graceful Rococo Pieces wrote for Crucian French Composers 2nd half XVII - early XVIII in. L. K. Daken ("Cuckoo"), F. Kuperen ("Vinography"), Ramo ("Princess"). The Italian composer A. Vivaldi, four violin concert united under the general title "Seasons". They created subtle musical sketches of nature, pastoral scenes. The content of each concert composer outlined in the deployed literary Program. I. S. Bach One of the play for the key was jokingly called "Capricho for the departure of his beloved brother." IN creative heritage J. Haydna is more than 100 symphony. Among them are also software: "Morning", "noon", "Evening and Storm".

An important place was taken by software music in the work of composers-romantics. Portraits, genre scenes, mood, the finest shades Human feelings are subtly and inspired in the music of Shuman (Carnival's piano cycles, "Children's scenes", "Creisleriana", "Arabesca"). A kind of musical diary has become a big piano cycle Leaf "Years of Wanders". Under the impression of a trip to Switzerland, they are written by the play "Chapel Wilhelm Telly", "Geneva Bells", "on the Vallendstad Lake". In Italy, the composer conquered the art of the great masters of the Renaissance. Poetry Petrarki, the picture of Raphael "Observation", the sculpture of Michelangelo "Thinker" became a kind of program in the music of the sheet.

The French symphonist of Berlioz embodies the principle of the program not generalizable, and consistently reveals the plot in music. "Fantastic Symphony" has a detailed literary preface written by the composer himself. The symphony hero falls on the ball, then in the field, then it goes on the execution, it turns out to be on a fantastic Shabash Witch. With the help of a colorful orchestral letter, Berlioz seeks almost visual paintings of theatrical action.

Russian composers often appealed to program music. Fantastic fabulous stories Fore the foundation symphony paintings: "Night on Lysa Mountain" Mussorgsky, "Sadko" Roman Corsakov, "Baba Yaga", "Kimikor", "Magic Lake" A. K. Lyadova. The creative strength of human will and mind champed A. N. Scriabin in the symphony poem "Prometheus" ("Poem of Fire").

program music

The origins and features of software music in creativity

composers-Romanticov

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

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

Software B. tool music It is a characteristic feature of the era of romanticism, but not opening. The musical embodiment of various images and paintings of the surrounding world, following the literary program and sound-proceedings in the most different options You can also observe the composers of the Baroque era (for example, the "Seasons" of Vivaldi), in the French classist (sketches of Coopen) and Vyrzhinalists in England, in the works of Viennese Classics ("program" symphonies, Haydna and Beethoven Overtures). And yet the program of composers-romantics is somewhat over another level. It is enough to compare the so-called genre of the "musical portrait" in the work of Cooper and Shuman to realize the difference.

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

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

All means of musical expression in symphonic music romantics like any big Artist (theatism character, variational development techniques, form, tools, harmonic Language etc.) always subordinate to the disclosure of poetic ideas and images of the program.

Software works of Shuman, Berliosis, Sheet

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

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

In the work, Schumani often relied on images literary romanticism (Jean Paul and E.T. A. Gofman), many of its works are characterized by literary and poetic software. Schumann often refers to the cycle of lyrical, often contrasting miniatures (for piano or voices with piano), allowing to reveal a complex gamut psychological states Hero, constant balancing on the verge of reality and fiction. In the music of Shuman, a romantic impulse alternates with contemplation, fancy scratchy with genre-humorous and even satirically grotesque elements. Distinctive feature Shuman's works is improvisation. The polar spheres of their artistic worldview of Schumann concretized in the images of Florestan (the embodiment of the romantic impulse, aspirations in the future) and Evzebia (reflection, contemplation), constantly "present" in the musical and literary works of Shuman as the identity of the composer himself. In the center of musical and critical and literary activity Shumanan - a brilliant critic - the fight against a banality in art and life, the desire for the transformation of life through art. Schumanov created a fantastic Union "Davids-Bund", united along with images real people (N. Paganini, F. Chopin, F. Sheet, K. Schuman) also fictional characters (Florestan, Evzebiy; Maestro Raro as an personification of creative wisdom). Fighting "Davidsbündlers" and Meshan-Filiuterov ("Philistines") became one of scene lines Software piano cycle "Carnival".

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

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

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

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

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

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

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

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

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

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

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

Paganini, delighted with fantastic symphony, ordered Berliozu Altov Concert, but Berlioz came to the order on the other hand - so a symphony was written with Harold soling Altol in Italy.

The participation of soloists and the choir brings the symphony of "Romeo and Juliet" with opera-oratorical cantal genres. Therefore, symphony and named dramatic. Obviously, Berlioz followed the path of Beethoven with his 9 symphony, where the chorus comes in the final, here the vocal element is present throughout the symphony. the last part - Pater Lorenzo and reconciliation choir - could well be opera scene. Along with this, the nodal moments of the action of the tragedy are revealed by purely symphonic means - street fight at the beginning of the symphony, the night of love, the scene in the crypt Juliet. Special program idea Symphony made Berliosa resolutely retreat from the classical symphony tradition and create a natural product, where the structure is determined by the sequence of events in the development of the plot. And yet, in the middle parts of the Symphony (Night of Love and Fairy Mab), you can see connections with symphony adagio and scherzo. According to Romeo and Juliet, Berlioz exceeds everything that existed before in the Symphony region.

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

Among everything symphony creativity Sheets allocate two software symphonies - "By reading Dante" and "Faust", which are high samples of software music. Also the sheet is the creator of a new genre, a symphonic poem, which is a synthesis of music and literature. The genre of the symphonic poem became favorite in composers different countries and received a large development and original creative implementation in Russian classical symphonism of the second halfXIX. century. The prerequisites for the genre were examples of free form at F. Schubert (Piano Fantasy "Skitalets"), R. Shuman, F. Mendelssohn ("Hybrids"), later to the Symphony Poem turned R. Strauss, Scriabin, Rakhmaninov. The main idea of \u200b\u200bsuch a work - through the music to convey poetic intent.

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

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

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

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

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

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

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

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

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

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

N. A. Rimsky-Korsakov "Shehherazada", in front of us there are images of cruel Sultan Shakhriyar, a skillful teacher of Shehherazada, a majestic picture of the sea and the ship of Sinbad-Morleod's flooding in the distance. Arab fairy tales "Thousand and one night" became the program of this wonderful work. Roman Korsakov briefly outlined it in the literary preface. But already the name of the suite directs the attention of listeners to the perception of a certain content.

Berlioz.

Software (from the Greek "Program" - "Announcement", "Order") include musical works that have a certain title or literary preface, created or elected by the composer himself. Thanks to a specific content, software music is more accessible and understood by listeners. Her expressive means Especially relief and bright. In the software works, composers are widely used orchestral sounding, imaging, stronger emphasize the contrast between the images, shapes, etc.

Rich and diverse a circle of images and those program music. This and the picture of nature is the gentle paints of "Dawn on the Moscow River" in an overture to opera M. P. Mussorgsky "Hovhanshchina"; The gloomy Darialya Gorge, Terek and the castle of Queen Tamara in the symphony poem M. A. Balakirev "Tamara"; Poetic landscapes in the works of K. Debussy "Sea", "Moonlight". Juicy, colorful paintings of the national holidays are recreated in the symphony works of M. I. Glinka "Kamarinskaya" and "Aragon Khota".

Many writings of this type of music are associated with wonderful works of world literature. Turning to them, composers in music seek to reveal the moral problems over which poets reflected, writers. P. I. Tchaikovsky (fantasy "Francesca da Rimini"), F. Sheck ("Symphony" of the Divine Comedy "Dante") appealed to the "Divine Comedy" Dante ("Symphony to" Dante's Divine Comedy "). TRAGEDY W. Shakespeare Romeo and Juliet is inspired by the same name symphony. Berlioz and Fantasy-fantasy Tchaikovsky, tragedy "Hamlet" - Symphony of the sheet. One of the best Overtoire R. Shuman was written to the dramatic poem J. Byrona "Manfred". Paphos of the struggle and victory, the immortality of the Hero's female, who gave life for freedom of the birthplace L. Beethoven expressed in an overture to Drama I. V. Gothe "Egmont".

Software works include the writings that are called musical portraits. This is the piano foreplay of Debussy "Girl with a lines of flax color", a play for the Harpsichord "Egyptian" J. F. Ramo, piano miniatures of Shuman "Paganini" and "Chopin".

Sometimes the program of musical composition is inspired by the works of fine art. In the piano suite "Pictures from the exhibition", Mussorgsky reflected the impressions of the composer from the artist's exhibition of artist V. A. Gartman.

Large-scale, monumental works of software music are associated with the most important historical events. Such, for example, Symphony D. D. Shostakovich "1905", "1917", dedicated to the 1st Russian Revolution 1905-1907. and the October Revolution.

Software music has long been attracted by many composers. Graceful Rococo Pieces wrote for Harpsichord french composers 2nd half of the XVII - early XVIII century. L. K. Daken ("Cuckoo"), F. Kuperen ("Vinography"), Ramo ("Princess"). Italian composer A. Vivaldi Four violin concert united under common title "Seasons". They created subtle musical sketches of nature, pastoral scenes. The content of each concert composer outlined in the expanded literary program. I. S. Bach One of the play for the key was jokingly called "Capricho for the departure of his beloved brother." In the creative heritage of Y. Haydna more than 100 symphony. Among them are also software: "Morning", "noon", "Evening and Storm".

An important place was taken by software music in the work of composers-romantics. Portraits, genre scenes, moods, the finest shades human feelings Thin and inspiredly disclosed in the music of Shuman (carnival piano cycles, "children's scenes", "Creisleriana", "Arabesque"). A kind of musical diary became a large piano cycle of the "Years of Wanders". Under the impression of a trip to Switzerland, they are written by the play "Chapel Wilhelm Telly", "Geneva Bells", "on the Vallendstad Lake". In Italy, the composer conquered the art of the great masters of the Renaissance. Poetry Petrarki, the picture of Raphael "Observation", the sculpture of Michelangelo "Thinker" became a kind of program in the music of the sheet.

The French symphonist of Berlioz embodies the principle of the program not generalizable, and consistently reveals the plot in music. "Fantastic Symphony" has a detailed literary preface written by the composer himself. The symphony hero falls on the ball, then in the field, then it goes on the execution, it turns out to be on a fantastic Shabash Witch. With the help of a colorful orchestral letter, Berlioz seeks almost visual paintings of theatrical action.

Russian composers often appealed to program music. Fantastic, fabulous plots formed the basis of symphonic paintings: "Night on Lysa Mountain" Mussorgsky, "Sadko" Roman Corsakov, "Baba Yaga", "Kimoro", "Magic Lake" A. K. Lyadova. The creative strength of human will and mind champed A. N. Scriabin in the symphony poem "Prometheus" ("Poem of Fire").

Software music occupies a large place in the work of Soviet composers. Among the symphony N. Ya. Meskovsky is "collective farm", "aviation". S. S. Prokofiev wrote symphony work Scythian Suite, Piazza Pieces "Petering", Sarkazma; R. K. Shchedrin - concerts for the orchestra "Naughty Chastushki", "Slans"; M. K. Koyashibayev - Poem for the Orchestra of Kazakh folk instruments "Soviet Kazakhstan"; Z. M. Shahidi is the symphonic poem "Buzruk".