Software-visual music. What is program music? Examples and definition of software music

What do you think, what is the difference between the piano concert of Tchaikovsky from his own symphonic fantasy "Francesca da Rimini"? Of course, you will say that the concert solo the piano, and there is no fantasy at all.

Maybe you already know that the concert is a lot of things, as the musicians say cyclic, and in fantasy only one part. But now it is not interested in this. You are listening to a piano or violin concert, the symphony of Mozart or Beethoven Sonatu. Enjoying excellent music, you can follow its development, how to replace one different musical themes, how they change are developed. And you can reproduce some pictures in your imagination, images that cause sounding music. At the same time, your fantasies will certainly differ from what the other person who is listening to music with you.

Of course, it does not happen so that you imagine the sound of the battle in the sounds of music, and someone else is affectionate. But stormy, formidable music can cause associations and with a rampant of the elements, and with a beard of feelings in the soul of man, and with a formidable hum of battle ...

And in Francesca and Rimini, "Tchaikovsky himself pointed out exactly what his music draws: one of the episodes" Divine Comedy."Dante. This episode describes how among the hellish vortices, in the underworld, the sinners silence. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Vergil, meets among these unsolved swirl shower beautiful Francescu, which tells him sad story His unhappy love. The music of the extreme sections of Fantasy Tchaikovsky draws hellish vortices, the middle section of the work is a hustling story FarNI.

There are many musical works in which the composer in one form or another clarifies the listeners their content. So, the first Symphony Tchaikovsky called "winter dreams". The first part of it was presented by the headline of the "dreams of the winter road", and the second - "sullen edge, foggy edge."

P. I. Tchaikovsky. Symphony number 1 Sol Minor, Op. 13. "Winter dreams."
Part 1. "Songs of the Winter Dear"

P. I. Tchaikovsky. Symphony №1 G-MOL, Op.13. "Winter dreams."
Part 2. "Sullen edge, foggy edge"

Berlioz, except for the subtitle "Episode from the life of the artist", which he gave his fantastic symphony, still described the content of each of its five parts. This presentation by nature resembles a romantic novel.

And "Francesca da Rimini", and symphony "Winter dreams" Tchaikovsky, and fantastic symphony of Berlioz - examples of the so-called software music.

You, probably, have already understood that software music is called such instrumental music, which is based on the "program", that is, some completely concrete plot or image. Programs are different in their type. Sometimes the composer retells in detail the content of each episode of its work. So, for example, made Roman korsakov in his symphony picture "Sadko" or Lyadov in "Kimor".

It happens that referring to the well-known literary works, the composer considers only to specify this literary

it. Programmusik, Franz. Musique and Programme, Ial. Musica a Programma, English Programme Music

Musical works that have a certain verbal, often poetic. The program and revealing the contents dressed in it. Phenomenon of music. Software is associated with specific. features of music that distinguish it from other lawsuits. In the field of showing senses, moods, mental peaceful life, music has important advantages in front of others. Indirectly, through feelings and mood, music is able to repel MN. phenomena of reality. However, it is not able to accurately designate what exactly that or another feeling is in a person, it is not capable of achieving the subject, conceptual concreteness of the display. The possibilities of such concretization have a speech language, literature. In an effort to substantial, conceptual concretization, composers create software music. Machine; Backward cit. The program, they force the means of speech language, art. Lit-FL act in unity, in the synthesis with the actual music. means. Union of music and lit-ry contributes to the fact that they are lawsuit temporary, capable of showing growth, image development. Unity Split. The lawsuit occurred. In deep antiquity, it did not exist at all. The species of claim - they performed together, in unity, the lawsuit was syncretic; Simultane. It was closely related to the labor activity and with Split. kind of rituals, rituals. At this time, each of the claim was so limited in the means that outside Sinnotich. Unity aimed at solving applied tasks could not exist. The subsequent allocation of the claim was determined not only by the change in household text, but also the increase in the possibilities of each of them, achieved inside the syncretic. Unity associated with this growth of aesthetic. Feeling man. At the same time, the unity lawsuit never stopped, including the unity of music with the word, poetry - primarily in all sorts of wok. and wok.-dramatic. genres. In the beginning. 19th century, after a long period of the existence of music and poetry as an independent claim, the tendency to their unity intensified. It was no longer determined by their weakness, but rather their strength, bringing to the limit of their own. opportunities. Further enrichment of the display of reality throughout its diversity, in all its aspects could be achieved only by the joint action of music and the word. And the programming is one of the types of unity of music and speech language, as well as liters, denoting or reflecting those sides of the unified reflection object, transfer to-ry own means Music is unable. T about., An integral element of the program music. . is a verbal program created or elected by the composer himself - whether it is a brief program header pointing to the phenomenon of reality, to-ry meant the composer (play "Morning" E. Griega from music to the drama of Ibsen "Per-Gunt") Sometimes the "sending" listener to a certain lituit. . ("Macbeth" R. Strausa - Symph. Poem "For Drama Shakespeare"), or a lengthy excerpt from the literary production, a detailed program compiled by a composer on a particular lith. . (Symph. Suite (2nd Symphony) "Antar" Rimsky-Korsakov tale of the same name O. I. Senkovsky) or out of connection with K.L. Lit. The prototype ("fantastic symphony" of Berlioz).

Not any title, not any explanation for music can be considered as its program. The program can come only from the author of the music. If he did not inform the program, then his idea himself was unprogrammed. If he first gave his op. The program, and then refused it, it means he translated his op. In the discharge of non-programs. The program is not an explanation of music, it complements it, revealing something missing in music, inaccessible to the incarnation of muses. Means (otherwise it would be excess). This is fundamentally different from any analysis of the music of the non-programmable cit., Any description of his music is at least the poetic, incl. and from the description belonging to the author op. And pointing to specific phenomena, the swarm caused to his work. Consciousness Those or other music. Images. Conversely - software op. - This is not a "translation" to the language of music itself, but the reflection of the music. The means of the same object, which is indicated, reflected in the program. The program is not the headlines themselves and the author themselves, if they denote not the specific phenomena of reality, but the concepts of the emotional plan, the on-ry music transmits much more accurate (for example, headlines of the "sadness", etc.). It happens that the program coming. The author himself is not in the organic. Unity with music, however, this is determined by art. The skill of the composer, sometimes how well the verbal program is made up or chosen. To the question of the essence of the phenomenon of the program, it does not have a direct relationship.

The muses themselves possesses certain means of concretization. language. Among them are music. Image (see Sounding) - Reflection of various kinds of sounds of reality, associative representations generated by the music. Sounds - their height, duration, timbre. An important means of concretization is also attracting the features of the "applied" genres - dance, march in all its varieties, etc. Suspitation can be NC.- specific traits MUZ. Language, music. style. All these means of concretization allow and without contacting the program to express the overall concept of op. (eg, triumph of light forces over dark, etc.). And yet they do not give that subject, conceptual concretization, K-paradium is provided by the verbal program. Moreover, the wider applied to the music. . Actually music. The means of concretization, the more necessary for the full perception of music, the words are provided.

One of the types of software is a picture program. It is related to it, representing one image or a complex of reality images, not undergoing creatures. Changes throughout its perception. These are pictures of nature (landscapes), paintings by Nar. festivities, dancing, battles, etc., music. Images dep. Inaniseive nature objects, as well as portrait music. sketch.

Second land Type of music. Software - plot software. The source of the plots for software produce. This species serves first of all art. Lit-ra. In plot and software music. . Development of music. The images in general or in particulars meets the development of the plot. Discern the programming of the generalized-story and serial-scene. The author of op., relating to the generalized-plot type of software and related through the program with one or another lit. The producer does not aim to show the events outlined in it in all their sequences and complexity, but the music gives. Characteristic of the OSN. Images lit. . and the general direction of the development of the plot, the initial and final ratio of the current forces. On the contrary, the author of the program belonging to the serial-scene type of software seeks to display and intermediate stages of event development, sometimes the entire sequence of events. The appeal to this type of software is dictated by the plots, and the median stages of development occurring, which occurs not straight-line, but associated with the introduction of new characters, with a change in the action of action, with events that are not direct consequence of the previous situation. Appeal to the serial-scene software depends on the work. Composer settings. In different composers, the same plots often implemented in different ways. For example, the tragedy of "Romeo and Juliet" W. Shakespeare inspired P. I. Tchaikovsky to create a contract. A generalized-story type of software (fantasy overture "Romeo and Juliet"), Berlioz - to create a contract. Serial-scene type of software (dram. Symphony "Romeo and Juliet", in Kyu, the author even goes beyond the limits of pure Simphonism and attracts wok. Beginning).

In the field of music. Language cannot be established distinguished. Signs of P. M. This is true in relation to the form of programmatic products. In Op., Representing the picture type of program, there are no prerequisites for the occurrence of specifics. structures. Tasks, to-rye put the authors of the software. generalized-plot type, successfully performed by the forms developed in non-Program Music, First of all, the shape of the Sonata Allegro. Authors of software op. Consecutive-plot type has to create music. Form, in a greater or less "parallel" plot. But they build it, the combining elements are spinning. Forms of non-program music, attracting some widely represented techniques in it. Among them - the variation method. It allows you to show changes that do not affect the creatures of the phenomenon concerning the MN. Important features, but conjugate with the preservation of a number of qualities, which makes it possible to learn the image, in any new look he opposed. The principle of monothematism is closely connected with the variational method. Using this principle in terms of figurative transformation, so widely used by F. Sheet in its symphony poems, etc., the composer acquires greater freedom Following the plot without danger to break the music. Soral wholeness Another type of monothematism associated with the leitmotive characteristic of the characters (see Leitmotif), finds the use of ch. arr. in serial-scenery. Binding in the Opera, the leitmotive characteristic was transferred to the Instrase region. Music, where one of the first and most widely resorted to the city of Berlioz. Its essence lies in the fact that one topic throughout the whole op. He acts as the characteristics of the same hero. It appears every time in a new context, denoting the surrounding hero. This topic may change itself, but the changes in it do not change its "subject" meaning and reflect only changes in the state of the same hero, a change in ideas about him. The reception of the leitmotative characteristic is most appropriate in cyclicity conditions, suitivity and turns out to be a powerful means of combining the contrasting parts of the cycle that reveal a single story. It facilitates the embodiment in the music of sequential-scene plans and the union in one-piece shape of the Sonata Allegro and Sonate-Symph. The cycle characteristic of the Symph genre created by F. is a sheet. Poems. Split. Stages of action are transmitted using relatively independent. Episodes, the contrast between the k-fish corresponds to the contrast of the parts of the Sonate-Symph. The cycle, then these episodes "are given to unity" in a compressed reprise, and in accordance with the program, one or another is allocated. From the point of view of the reprise cycle, the final corresponds to the final, from the point of view of the Sonata Allegro 1st and 2nd episodes correspond to the exposure, 3rd ("Scherzo" in the cycle) - development. The sheet uses such synthetic. Forms are often combined using the principle of monotematism. All these techniques allowed composers to create music. Forms that meet the individual features of the plot and at the same time organic and holistic. However, new synthetic. Forms cannot be considered to belong only to software music. They arose not only in connection with the embodiment of program ideas - general trends of the era affected their appearance. Exactly the same structures were constantly used in non-program music.

There are software music. Op., In a program, the program is involved in the program. Painting, sculptures, even architecture. Such, eg, Symph. The poems of the "Battle of Gunnov" on the fresco V. Kaulbach and "from the cradle to the grave" on the drawing of M. Zichi, his own play "Chapel Wilhelm Telly"; "Observation" (to the picture of Raphael), "Thinker" (according to the statue of Michelangelo) from the FP. The cycles are "years of wanderings", etc. However, the possibilities of the subject, conceptual concretization of these lawsuits are not exhaustive. It is not by chance the picturesque and sculptural productions. Equipped with a specifying name, to-rye can be considered as a kind of program. Therefore, muses. Production, written in one way or other creations, is a lawsuit, in essence, not only music and painting, music and sculpture, but music, painting and word, music, sculpture and word are united. And the functions of the program in them performs ch. arr. Not a contract. Pictures, the claim, but the verbal program. This is determined primarily by the diverseness of music as a temporary lawsuit and painting and sculpture as a claim in static, "spatial". What concerns architectural images, they are generally unable to specify music in an objective and conceptual plan; The authors of the music. The producer associated with architectural monuments, as a rule, was inspired not so much by themselves, how many history, the events played in them or near them, the legends, which were about them (the play "Vyšehd" from the Symph. Cycle B. Smetanes My homeland, "mentioned above the FP. Piece" Chapel Wilhelm Tell "Sheet, the author did not accidentally possessed the epigraph" one for all, all for one ").

The program was a big conquest of the music. Iska She led to the enrichment of the circle of the form of reality, which are reflected in the music. Production, searching for new express. Funds, new forms contributed to the enrichment and differentiation of forms and genres. The appeal of the composer to P. m. Usually it is determined by his connection with life, with modernity, attention to current problems, in other cases itself contributes to the approach of the composer with reality, deeper comprehension it. However, in something P. m. Inferior to the music of non-programm. The program narrows the perception of music, distracts attention from the general idea expressed in it. The embodiment of plot ideas is usually associated with the music. Characteristics that are characteristic of greater or less convention. Hence the dual attitude of many great composers to the program, Kraya and attracted them, and repelled (statements of P. I. Tchaikovsky, Mahler, R. Straus, etc.). P. m. It is not some: the highest native of music, as not to them and the music is non-programm. These are equal, equally legitimate varieties. The difference between them does not exclude their connection; Both types are connected with wok. music. So, the cradle of software symphonism was Opera and Oratoria. Opera Overture was a prototype of a software symbol. poems; in opera art The prerequisites of leitimativism and monothematism are both, so widely used in P. m. In turn, non-printable ins. Music is experiencing the influence of wok. Music and P. m. Found in P. m. New express. Opportunities become the property and non-program music. Common tendencies of the era affect the development of both P. m. And non-program music.

Unity of music and program in software op. It is not absolute, unstable. It happens that the program is not communicated to the listener in the execution of op., that Lit. Production, to the second, the author of the music sends a listener, it turns out to him unfamiliar. The more generalized form elects the composer to embody his plan, the less damage to perception will cause a similar "separation" of the music of his program. Such a "gap" is always undesirable if we are talking about the execution of the Council. works. However, it may be natural when it comes to execution. more early eraSince software designs over time may lose their previous relevance, significance. In these cases, MUZ. . More or lesser extent lost the features of the program, turn into non-programm. T about., The line between P. m. And the music is non-programmable, generally completely clear, in historical. Aspect of conditional.

P. M. Developed essentially throughout the history of prof. MUZ. Iska The earliest of the program music found by researchers. cit. refers to 586 BC. "This year, Avetist Sakao performed on the Piemphine's Pythiy Games (DR. Greece), which moved the battle of Apollo with a dragon. Many software op. It was created in the subsequent time. Among them - the keystones "Biblical stories" of the Leipzig composer I. Kunau, the clutical miniatures of F. Coopen and J. F. F. Ramo, keyboarding "Capriche to the departure of the beloved brother I. S. Baha. Presented the program and in the work of Viennese Classics. Among them, in.: Triad program symphony J. Haydna, characterizing Split. The days of the day (NO 6, Morning; NO 7, "noon"; NO 8, "Evening"), his "farewell symphony"; " Pastoral symphony "(NO 6) Beethoven, all parts of the swarthy are equipped with software subtitles and on the partition of K-Roy is a mark, important to understand the type of software in Op. -" more expression of feelings than the image ", his play" Battle of Vitatorium "Music in originally intended for mechanical. MUZ. Tool of the Pangarmonicon, but then performed in the orc. Editorial, and especially his Overtures to the ballet" Creation of Prometheus ", to the tragedy" Coriolian "Collision, Overture" Leonor "NO 1-3, Overture to the tragedy "Egmont" Goethe. Written as entry into the drams. Or Muz.-Dram. Mag., They soon gained independence. Later software op. Also, they were also often created as an entry to K.L. Lit. Mot., Over time Losing, however, will come out. Functions. The genuine flourishing of P. m. It came to the era of the music. Romanticism. Comparatives with representatives of the classicist and even educational aesthetics, romance artists deeper understood the specifics of the Split. Script in. They saw that each of them displays Well, life in its own way, using the funds characteristic only to him and reflecting the same subject, a phenomenon with a certain part available to him, which, therefore, each of them is limited in something and gives an incomplete picture of reality. It was this that led the romantic artists to the idea of \u200b\u200bthe synthesis of lawsuit for a more complete, multilateral display of the world. MUZ. Romance proclaimed the slogan of updating music using her connection with the poetry that has found the implementation of the MN. MUZ. . Software op. occupy an important place in the works of F. Mendelssohn-Bartholdi (Overture from music to "SNA in the summer night" Shakespeare, Exdunts "Hebrides", or "Fingalov Cave", "Sea Tail and Happy Swimming", "Beautiful Meluzina", "Ryui Blaz "And Dr.), R. Shumanan (Overtures for Manfred Byrone, to the scenes from the" Faust "Goethe, MN FP. Pieces and cycles of plays, etc.). Especially the great importance of P. m. Acquires from Berlioz ("Fantastic Symphony", Symphony "Harold in Italy", Drum. Symphony "Romeo and Juliet", "Mourning-Triumphal Symphony", Overtures "Wi-Selli", "Secret Judges" , "King Lear", "Rob Roy" and others) and F. Sheet (Faust Symphony and Symphony to the "Divine Comedy" Dante, 13 Symph. Poems, MN FP. Pieces and Plays Cycles). In the subsequent time, an important contribution to the development of P. m. Contributed B. Smetana (Symph. Pooms "Richard III", "Vallenstein Camp", "Gakac Yarl", the cycle "My Homeland" from 6 poems), A. Dvarak (Symph. The poems "Water", "Golden Spread", "Forest Pigeon", etc., Overtures - Gusitskaya, "Othello" and others. ) And R. Strauss (Symph. Pooms "Don Juan", "Death and Enlightenment", "Macbeth", "Til Ulenenspigel", "So spoke Zarathusta", fantastic. Variations on the knight's theme "Don Quixote", "Home Symphony" and etc.). Software op. Creating K. Debussy (Orc. Prelude "Afternoon rest of Favna", Symph. Cycles "Nocturns", "Sea", etc.), M. Reger (4 Symph. Poems on Böklin), A. Ongher (Symph. Poem " Song Nigamona ", Symph. Movement" Pacific 231 "," Rugby ", etc.), P. Hindemite (Symphony" Artist Mathis "," Harmony of Peace ", etc.).

The rich development program received in Rus. music. For rus. nat. MUZ. School appeal to the software dictated aesthetic. Installations of its leading representatives, their desire for democratic, the general concern of their cit., as well as the "objective" character of their creativity. From writings, land. On song topics and therefore elements of the synthesis of music and the word, since the listener with their perception correlates with the music of the texts. songs ("Kamarinskaya" Glinka), Rus. The composers soon came to the actual P. M. A number of outstanding software op. Created members " Mighty bunch"- M. A. Balakirev (Symph. Poem" Tamara "), M. P. Mussorgsky (" pictures from the exhibition "for FP.), N. A. Rimsky-Korsakov (Symph. Painting" Sadko ", Symphony" Antar "). A considerable number of program products belongs to P. I. Tchaikovsky (1st Symphony" Winter Gree ", Symphony" Manfred ", Fantasy" Romeo and Juliet ", Symph. Poem" Francesca and Rimini ", etc.) . Bright program products. Written by A. K. Glazunov (Symph. Poem "Stem" Razin "), A. K. Lyadov (Symph. Painting" Baba-Yaga "," Magic Lake "and" Kimor "), you. With . Kalinikov (Symph. Painting "Cedar and Palma"), S. V. Rakhmaninov (Symph. Fantasy "Utøs", Symph. The poem "Island of the Dead"), A. N. Scriabin (Symph. "Poem Ecstasy", "Poem Fire "(" Prometheus "), MN. FP. Pieces).

The software is widely represented in the work of owls. composers, incl. S. S. Prokofiev (Scythian Suite for Orchestra, Symph. Sketch "Autumn", Symph. Picture "Dreams", FP. Pieces), N. Ya. Meakovsky (Symph. Poles "Silence" and "Alastor", Symphony NO 10, 12, 16, etc.), D. D. Shostakovich (Symphony NO 2, 3 ("May Day"), 11 ("1905 year"), 12 ("1917 year") and others). Software op. Created by representatives of younger generations of owls. composers.

The program is characteristic not only for professional, but also by Nar. MUZ. claim. Peoples, music. Cultures of the to-ryh include developed an inst. Muzitication, it is connected not only with the execution and varying of song melodies, but also with the creation of independent writings of writings, B.C. software. So, software op. Make up means of Kazakh. (Cyui) and Kirg. (KYU) Instel Pieces. Each of these plates, executed by a soloist instrumentalist (Kazakhov - Kyushi) on one of the Nar. Tools (Dombré, Kobyz or Soyzgi in the Kazakhs, Komez and others. In Kyrgyz), has a programmatic title; MN. Of these plays, they became traditional, like the songs passing into spindle. Options from generation to generation.

An important contribution to the coverage of the phenomenon of the programming was made by the composers who worked in this area - F. Sheet, Berlioz, and others. In the subsequent time, despite the research, which clarified some private questions, Cube. Musicology not only did not advance forward in understanding the phenomenon of P. m., but rather disturbed from him. It is significant, for example. The authors of articles about P. m., Placed in the largest Zap.-Europe. MUZ. Encyclopedias and must summarize the experience of researching problems, give a programming experience very vague definitions (see Groves Dictionary of Music and Musicians, v. 6, L.-NY, 1954; Riemann Musiklexikon, Sachteil, Mainz, 1967), Sometimes they are generally refused K.L. Definitions (Die Musik in Geschichte und Gegenwart. Allgemeine enzyklopddie der Musik, BD 10, Kassel U. a., 1962).

In Russia, studying the problem of the program began even during RUS's activities. Classic. MUZ. Schools, representatives of K-Roy left important statements on this issue. Attention to the problem of the software was particularly intensified in the owls. time. In the 1950s. on journals pages. " Soviet music"and gas." Soviet art "was held specials. Discussion on the issue of music. Software. This discussion revealed and discrepancies in understanding the phenomenon of P. m. expressed, for example, thoughts about" programming in the strict sense of the word "and in a wide understanding of the term , about the programming "announced" and "undeclared", about the program "for yourself" (composer) and for listeners, about the "conscious" and "unconscious" program, about the program in non-program music, etc. The essence of all these statements comes down to recognizing the possibility P. m. Without a program, the composer himself. A similar point of view inevitably leads to identifying a content with meaningfulness, to the announcement of software all the music, to the excuse of "guessing" of undeclared programs, i.e. arbitrary interpretation of composer ideas, against Commoters themselves have always sharply performed sharply. In the 50-60s. A lot of work has emerged, which have made a certain contribution to the development of the problems of the program, in particular to the field of separation Netty species P. M However, a single understanding of the program's phenomenon has not yet been established.

Literature: Tchaikovsky P.I., letters to HP background-Mecca on February 17 / March 1, 1878 and 5/17, 1878, in the book: Tchaikovsky P.I., correspondence with N.F.Fon-Mecc, T. 1, M.-L., 1934, the same, full. Cathedral cit., t. VII, M., 1961 p. 124-128, 513-514; his own, about software music, M.-L., 1952; Kyu C. A., Russian Romance. Essay of its development, St. Petersburg, 1896, p. five; Laros, something about software music, "World of Art", 1900, vol. 3, p. 87-98; His preface of the translator to the book of Hanslika "On Music and Great", Coll. Muz.-Critic. Articles, t. 1, M., 1913, p. 334-61; His, one of the opponents of Hanslik, is there, with. 362-85; Stasov V. V., Art in the XIX century, in the book: XIX century, St. Petersburg, 1901, the same, in his book: EYM. cit., vol. 3, M., 1952; Yastrebtsev V. V., My memories of N. A. Rimsky-Korsakov, Vol. 1, P., 1917, L., 1959, p. 95; Shostakovich D., On genuine and imaginary programming, "CM", 1951, NO 5; Bobrovsky V.P., Sonataya form in Russian classical software music, M., 1953 (dismission abstract); Sabinina M., What is software music?, "MZH", 1959, NO 7; Aranovsky M., What is program music?, M., 1962; Tülin Yu. N., about the program in the works of Chopin, L., 1963, M., 1968; Khokhlov Yu., On music program, M., 1963; Auerbach L., considering the problems of the program, "see", 1965, NO 11. See also lit. Under articles of aesthetics, music, music, sounding, monothematism, a symphonic poem.

Not including verbal text, that is, instrumental, but accompanied by a verbal indication on its content.

Definition

The software as a phenomenon is directly related to the specifics of music: the most abstract of arts, music has important advantages in the transfer of emotional states and sentiment, but cannot accurately designate with its own funds, which itifies these moods, - the conceptual, subject concrete is not necessarily. The function of the program in music, as O. Sokolov writes, - filling and specifying: "In the best works This kind of program and music is aesthetically perfectly complemented by each other: the first indicates the object, the second expresses the copyright attitude to it, which is best and amenable to the musical expression. "

History

According to musicists, the program music existed already in ancient Greece: according to one of the messages that have reached us, in 586 BC. e. At the Pythi Games in Delphi, the Aveletist named Sakao performed the Piesel of Timmuplena, portraying the battle of Apollo with a dragon.

The real flourishing program was experienced in the era of romanticism, both in chamber genres and symphonic music, primarily in the work of Hector Berlioz and Ferenz, who developed a special program genre of a symphonic poem.

Also an interesting programming in the music of Scriabin, where different remarks are often found in the notes, for example, commenting music ("the appearance of horror", "wing, turbulence" (sixth sonata)), or the explanatory content ("with a languor grace", "with mournful Grace "(two dance Op.73)).

Types of programs

The minimum program is the name of the essay, indicating any phenomenon of reality or on the work of literature or visual art, with which this music product is associated with associative. However, more unfolded programs are possible: for example, Antonio Vivaldi to each of the four concerts for violin with the Orchestra "Seasons" was presented by Sonet dedicated to the same time.

Music studies distinguish several types of programs: Generalized (extra-wing) - such, for example, "pastoral symphony" L. Beethoven, "Italian" and "Scottish" Symphony F. Mendelssohn, "Rhineskaya" R. Shuman or "Gardens in the rain" K. Debussy ; A generalized-story type - for example, Romeo and Juliet P. Tchaikovsky; narrative-picture, such as, for example, "

What do you think, what is the difference between the piano concert of Tchaikovsky from his symphonic fantasy "Francesca da Rimini"? Of course, you will say that the concert solo the piano, and there is no fantasy at all. Maybe you already know that the concert is a lot of things, as musicians say - cyclic, and in fantasy only one part. But now it is not interested in this. You are listening to a piano or violin concert, the symphony of Mozart or Beethoven Sonatu. Enjoying excellent music, you can follow its development, how to replace one different musical themes, how they change are developed. And you can also reproduce some pictures in your imagination, images that cause sounding music. At the same time, your fantasies will certainly differ from what the other person who is listening to music with you. Of course, it does not happen so that you imagine the sound of the battle in the sounds of music, and someone else is affectionate. But stormy, formidable music can cause associations and with a rampant of the elements, and with a beard of feelings in the soul of man, and with a formidable hum of battle ...

And in the "Francesca and Rimini" Tchaikovsky himself pointed out exactly what it draws his music: one of the episodes of the Divine Comedy Dante. In this episode, it is described as among the hellish vortices, in the underworld, the sinners silence. Dante, who descended into hell, accompanied by the shadow of the ancient Roman poet Virgil, meets among these wicked swirl shower beautiful Francescu, which tells him the sad story of his unhappy love. The music of the extreme sections of Fantasy Tchaikovsky draws hellish vortices, the middle section of the work is a hustling story FarNI.

There are many musical works in which the composer in one form or another clarifies the listeners their content. So, the first Symphony Tchaikovsky called "Winter Dreams". It was the first part of it, he presented the headline of the "dreams of the winter road", and the second - "sullen edge, foggy edge."

Berlioz, except for the subtitle "Episode from the life of the artist", which he gave his fantastic symphony, still described the content of each of its five parts. This presentation by nature resembles a romantic novel.

And "Francesca da Rimini", and the symphony "Winter dreams" Tchaikovsky, and fantastic symphony of Berliosis - examples of the so-called software music. You probably already understood that software music is called such instrumental music, which is based on the "program", that is, a completely specific plot or image.

Programs are different in their type. Sometimes the composer retells in detail the content of each episode of its work. So, for example, Made Roman-Korsakov in his Sadko's symphonic picture or Lyadov in Kimoore. It happens that, referring to the well-known literary works, the composer considers sufficient only to specify this literary source: it is meant that all the listeners know him well. This is done in the "Faust Symphony" sheet, in Romeo and Juliet, Tchaikovsky and many other works.

It is found in music and a different type of type, the so-called picture when the plot canvas is absent, and the music draws one of some image, picture or landscape. Such are the symphonic sketches of Debussy "Sea". Their three: "From dawn to noon to the sea", "The game of Waves", "The conversation of the wind with the sea." And "pictures from the exhibition" of Mussorgsky because they are called that in them the composer handed his impression from some pictures of the artist Gatman. If you have not heard this music yet, try to get acquainted with it. Among the pictures, inspired by the composer, - "Gnome", "Old Castle", "ballet of unheard of chicks", "Hut on the courier legs", "Bogatyr Gate in the ancient Kiev" and other characteristic and talented sketches.

L. V. Mikheev

I do not know if you noticed that when listening to music, her sounds respond inside us not only by feelings and thoughts, but also with visual paintings. And although each of this occurs in its own way, similar ideas often arise.

The fact is that the music has the ability to express certain mood of people and depict many actions, phenomena of the world around us: the singing of birds, the movement of the waves, clock ticking, echo, wheel knock, raindrops, etc., and so on. Therefore, in antiquity, and in a new time - with early XVIII century - works appeared entitled by the images and plots, which presented the composer, writing music. Such writings are called software. Both composers, and performers, and listeners love program music, there are many such works.

Just do not think that software music is more substantial and is available than the music is non-printable. The composer cannot compose, thinking only about notes. His thoughts, feelings, imagination represent quite specific images. Another thing is that music is instrumental, without text - always something mysterious. No one, even the composer himself, can not express its content in words in detail. And glory to God. Otherwise it would cease to be music. "Music begins where words are shown," said Robert Schuman. Therefore, even listening to software music, do not try to imagine exactly what is in the title. Do you trust your own feelings and associations. It may seem paradoxical, but in many cases, and even in most, the composer first writes music, and only then comes up with a program name.

M. G. Khverev

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. Music embodiment of various images and paintings of the world, following literary Program and sound cartiness 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 " music portrait"In the work of Cooper and Shuman to realize the difference.

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

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

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

Software works of Shuman, Berliosis, Sheet

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

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

In the work, 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. A distinctive feature of the works of Shuman is improvisation. The polar spheres of their artistic worldview of Schumann concretized in the images of Florestan (the embodiment of the romantic impulse, aspirations in the future) and Evzebia (reflection, contemplation), constantly "present" in the musical and literary works of Shuman as the identity of the composer himself. In the center of 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). The fight "Davidsbündlers" and Meshan-Filiuterov ("Philistines") became one of the storylines of the Carnival program piano-pancal.

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 striking examples of software music in the work 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. The peculiarity of the creative method of Berlioz - picture descriptive - causes precisely such 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 the entire symphonic creativity of the sheet allocate two software symphonies - "By reading Dante" and "Faust", which are high samples of software music. Also the sheet is the creator of a new genre, a symphonic poem, which is a synthesis of music and literature. The genre of the symphonic poem became favorite in composers 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 plot of the Favorites program in the music, how much to implement means music art The general poetic idea leading poetic images. Unlike the works of Berlioz, in symphony works The pre-listed program is not a statement of the plot, and only transfers the overall mood, it is often even limited to one heading, the name of the work or its separate 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 cultureHis representatives in literature, visual art and music opened and developed new genres, paid close attention to the fate of the human person, revealed the dialectics of good and evil, the workshops opened human passions and others.

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