Plots and heroes of musical works. Heroic images in music

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The musical form is customary to call the composition, that is, the features of building a musical work: the ratio and methods of the development of musical and thematic material, the ratio and alternation of the tonalities.

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The fact that one sings is a soloist is singing a song. Have you ever paid attention to how the song is folded? Especially such a song, which can be singing to many together - on the demonstration, in a campaign or in the evening at the pioneer fire. It seems to be divided into two parts, which are repeated several times. These two parts are seals or, otherwise, the verse (the French word Couplet means stanza) and the chorus, in a different way called refrain (this word is also French - Refrain).

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In choral songs, often sewers are fulfilled by a singer, and the choir picks up the chorus. The song is not one of the same, but as a rule, from several versions. Music in them usually does not change or varies very little, but the words each time others. The chorus always remains unchanged in the text, and in music. Remember any pioneer song or some of those that you sing, speaking in the summer in a hike, and check themselves how it is built. The form in which the overwhelming majority of songs are written, is therefore a bought form.

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They are based on two (or - in Rondo - several) of various thematic materials. The form in such cases is based on comparison, development, and sometimes the collision of these often contrasting, and sometimes even conflict topics.

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The three-part is built according to the scheme, which is customary to depict the letters as: Ava. This means that the initial episode at the end, after a contrasting middle episode, is repeated. In this form they are written by the middle parts of the symphony and sonatas, parts of the suite, various instrumental plays, for example, Many Nocturons, Preludes and Mazurki Chopin, Songs without the words of Mendelssohn, Romances of Russian and foreign composers.

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The two-part form is spread less, as it has a shade of incompleteness, comparison, as if "without output", without the result. Its scheme: AB. There are musical forms based on the topic alone. These are, first of all, variations that can more accurate the theme with variations (variations are also devoted to a separate story in this book). In addition, many forms of polyphonic music are built on one topic, such as a fugue, canon, inventory, chakon and pasacle.

Objectives lesson:

Music material lesson:

Ø R. Wagner.

Ø E. Krylatov, poems N. Dobronravova.

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

The subject of the lesson: what is a musical form. "Plots" and "heroes" of a musical form.

III. Work on the lesson.

Artistic form - it has become visible content.

I. Gofmiller

Musical form-

1. A holistic, organized system of expressive music (melody, rhythm, harmony, etc.), with the help of which its ideological-shaped content is embodied in the musical work.

2. Building, structure of the musical work, the ratio of its parts. Elements of the musical form are: motive, phrase, sentence, period. Various methods of development and comparison of elements lead to the formation of a variety of musical forms. Major Music forms: Dual Spass, three-part, Sonataya shape, variation, bureaver shape, a group of cyclic forms, free forms, etc. The unity of the content and form of the musical work is the main condition and at the same time a sign of its artistic value.

The musical form is customary to call the composition, that is, the features of building a musical work: the ratio and methods of the development of musical and thematic material, the ratio and alternation of the tonalities. Of course, each musical work has its unique features. But still, over the course of several centuries, the development of European music has developed certain patterns, the principles for which certain types of works are being built.

With one of the musical forms, you all, no doubt, are very familiar. This is a bought form in which songs are written. It is similar to her leading origin from her an old form of Rondo. They are based on two (or - in Rondo - several) of various thematic materials. The form in such cases is based on comparison, development, and sometimes the collision of these often contrasting, and sometimes even conflict topics.

The three-part and two-part forms are also common in musical practice. The three-part is built according to the scheme, which is customary to depict the letters as: Ava. This means that the initial episode at the end, after a contrasting middle episode, is repeated. In this form they are written by the middle parts of the symphony and sonatas, parts of the suite, various instrumental plays, for example, Many Nocturons, Preludes and Mazurki Chopin, Songs without the words of Mendelssohn, Romances of Russian and foreign composers. The two-part form is spread less, as it has a shade of incompleteness, comparison, as if "without output", without the result. Its scheme: AB.

There are musical forms based on the topic alone. These are, first of all, variations that can more accurate theme with variations. In addition, many forms of polyphonic music are built on one topic, such as a fugue, canon, inventory, chakon and pasacle. They introduce you to the stories "Polyphony", "Fugue", "Variations".

It is found in music and the so-called free form, that is, a composition not related to established typical musical forms. Most often, composers turn to free form when creating software works, as well as with the composition of all sorts of fantasies and a potion on borrowed topics. True, often in free forms there are features of three parties - the most common of all musical constructions.

It is not by chance that the most difficult, top of all musical forms - semonate - is also at the heart of it is also three-part. Its main sections - exposure, development and reprise - form a complex three-part - symmetric and logically completed construction. You will read about this in the story dedicated to Sonata.

PROGRAM MUSIC

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 ...

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."

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.

HISTORY OF CREATION

With the legend of Loangrine Wagner met in 1841, but only in 1845 sketched a text sketch. Next year, work on music began.

After a year, the opera was completed in the key, and in March 1848 she was ready for score. The premiere scheduled in Dresden did not take place due to revolutionary events. The formulation was carried out thanks to the efforts of F. Sheet and under his management two years later, on August 28, 1850 in Weimara. Wagner saw his opera on stage only after eleven years after the premiere.

The plot of "Loengrina" is based on various folk tales, freely learned by Wagner. In seaside countries, the peoples living on the shores of large rivers are distributed by poetic legends about the knight, sailing in the roaster, harboring swan. He appears at the moment when a girl or widow, with all abandoned and pursued, threatens a deadly danger. The knight frees the girl from enemies and marries her. For many years they live happily, but the swan is unexpectedly returning, and the stranger disappears as mysterious as it appeared. Often, the "swan" legends intertwined with the legends about the Holy Grail. The unknown knight then turned out to be the son of ParsiFhala - the King of Grail, who united heroes around himself, which guard the mysterious treasure, giving them a wonderful power in the fight against evil and injustice. Sometimes legendary events were transferred to a certain historical era - to the reign of Heinrich I bird (919-936).

Legends about Lojngrine inspired many medieval poets, one of them - Wagters Eshchenbach, whom Wagner brought out in his "Tangayzer."

According to Wagner himself, the Christian motives of the legend of Loangrine were alien to him. The composer saw in her the embodiment of eternal human aspirations for happiness and sincere, selfless love. The tragic loneliness of Loengrina reminded the composer his own fate - the fate of the artist who carry the high ideals of truth and beauty, but meeting misunderstanding, envy and malice.

And in other heroes, Wagner's legend attracted live human features. Savened by Loangrin Elsa with its naive, simple soul seemed to composer to the embodiment of the natural strength of the People's Spirit. She is opposed to the figure of the evil and vengeful orthruda - the personification of the entire oblique, reactionary. In certain replicas of the actors, in the side episodes of the opera, the breath of the era is felt when "Loenngrin" was created: in the calls of the king to unity, in the readiness of Loangrin to defend their homeland and his faith in the coming victory, the echoes of the hopes and aspirations of advanced Germans of Germany 1840s are heard . Such an interpretation of old legends is typical for Wagner. Myths and legends were for him the embodiment of deep and eternal folk wisdom, in which the composer was looking for an answer to the conversion issues of modernity.

PLOT

On the banks of the River Shelda, Antwerp, King Henry birds gathered the knights, asking for their help: the enemy threatens his possessions. Count Friedrich Telramund calls to the Royal Justice. Dying, Duke Brabantsky instructed him his children - Elsa and little Gottfried. Once Gotfride mysteriously disappeared. Friedrich accuses Elza in fratania and requires a trial over it. As a witness, he calls his wife Ortron. The king orders to bring Elza. Everyone is amazed by her dreamy views and strange enthusiastic speeches. Elsa says that in a dream she was an excellent knight, who promised her help and protection. Listening to the infertility story Elsa, the king can not believe in her guilt. Friedrich is ready to prove its rightness in a duel with those who come to the honor of Elzy. There is no smack far away, but there is no answer. Friedrich already triumph victory. Unexpectedly, the sheldard shows a swan, hit by a root; In her, leaning on the sword, there is an unknown knight in brilliant armor. Going ashore, he gently says goodbye to the swan, and he slowly floats. Loangrin declares himself a defender Elsa: he is ready to beat her honor and call his wife. But she should never ask the name of the ridder. In the rustling of love and gratitude Elsa swars in eternal loyalty. The duel begins. Friedrich falls, fighting Loengrina; The Knight generously gives him life, but he is waiting for his slander.

The same night Friedrich decides to leave the city. It is angrily reproaches his wife: she was involved in false accusations against Elzy and woke in it ambitious dreams about power. Ortron ruthlessly arms of her husband's cowardice. She will not retreat until he revenge, and the weapon in her struggle will be pretending and deception. Not a Christian God, in which Frederich's blindly believes blindly, and the ancient avenge pagan gods will help her. It is necessary to make Elsa. To enter the oath and ask a fatal question. It is not difficult to glue in confidence in Elsa: instead of the former arrogant and proud orthruda, a humble, poorly dressed up a woman, Elsa forgives her former malice and hatred and calls to divide joy with her. Ortron begins a cunning game: she humiliately thanks Elza for kindness and with her pretended care warns her from trouble - a stranger did not open Elsa or a family, he may unexpectedly leave her. But the heart of the girl is free from suspicion. Morning comes. People are going to the square. The wedding procession begins. Suddenly, Elsa's path blocks orthrud. She dropped his humility mask and now openly mocks the Elsa, who does not know the name of his future spouse. The words of orthruses cause universal confusion. It is enhanced when Friedrich Massodily accuses an unknown knight in witchcraft. But Loengrina does not scary the evil enemies - only Elsa can open him the secret, and in her love he is sure. Elsa stands in embarrassment, struggling with internal doubts - poison orthruses has already poisoned her soul.

The wedding ceremony is completed. Elsa and Loangarn left alone. Nothing violates their happiness. Only a light cloud darkens the joy of Elsa: she cannot call the spouse by name. At first, timidly, cared, and then more and more persistently, she tries to bring the secret of Loengrin. In vain, Loengrin soothes Elsa, in vain reminds her of the debt and oath, in vainly assures that her love is most expensive to him in the world. Unable to overcome suspicions, Elsa asks the fatal question: who he and where did he come from? At this time, Friedrich Telramund with armed warriors. Loengrin snags the sword and kills him.

Does day. On the shore of the shelf gather knights, ready to go hiking against enemies. Suddenly, the joyful clicks of the people are grumbling: four nobles carry a corpse of Friedrich: for them it follows the silent, exhausted grief of Elsa. The appearance of Lojangrin explains everything, Elsa did not hold the oath, and he must leave Brabant. The knight opens his name: He is the Son of Parsifaha, sent to the ground by the Brotherhood of Grail to protect oppressed and offended. People must believe in the messenger of heaven; If they have doubts, the strength of the Knight of the Grail disappears, and it cannot remain on earth. Swan appears again. Loangrin sadly says goodbye to Elsa, predicts the glorious future of Germany. Lojengrin frees the swan, he disappears in the water, and from the river is a little Gottfried, the brother Elzy, turned by the witchcraft of orthrudes in the swan. Elsa can not transfer separation with Loangrin. She dies on his brother's hands. And on the waves of the shelda slides a shuttle, fascinated by a white pigeon grail. In the Chelny, sadly leaning on the shield, standing Lojengrin. The knight leaves the earth forever and removes his mysterious depression.

MUSIC

"Loangrin" is one of the most integral and perfect operas of Wagner. In it, a rich spiritual world, complex experiences of heroes revealed with great fullness. In Opera, the acute, irreconcilable clashes of the forces of good and truth, embodied in the images of Loangrin, Elza, the people, and the dark forces, personified by the gloomy figures of Friedrich and Ortruda, are bright. Opera music is distinguished by a rare poetry, sublime spiritualized lyrism.

This is already manifested in the orchestral entry, where in the transparent sound of the violin there is a vision of the wonderful kingdom of Graa - the countries of an unrealized dream.

In the first act, the free alternation of solo and choral siented is permeated continuously increasing dramatic voltage. Elza's story "I remember how I prayed, grievously grieving soul" conveys a fragile, pure nature of a dreamy, enthusiastic heroine. The knighting image of Loangrin is revealed in a solemn-elevated part of the swan "Swatch back, about my swan." In Quintet with a chorus, a concentrated meditation was captured by those present. The act ends with a large ensemble, in the joyful decomposition of which the angry replicas of Friedrich and orthrudes are drown.

The second act is saturated with sharp contrasts. Its beginning is shrouded in an ominous dusk, the atmosphere of the evil goat, which is opposed by the bright characteristic of Elsa. In the second half of the act a lot of bright sunlight, movement. Household scenes - the awakening of the castle, the militant choirs of the knights, a solemn wedding procession - serve as a colorful background of the dramatic collision of Elsa and orthrudes. A little Arioso Elza "On the Wind Light" was warmed by joyful hope, the waiting for happiness. The subsequent dialogue emphasizes the nobility of the Heroine: the appeal of orthruses to the pagan gods has a passionate, pathetic character, the speech of Elza is permeated with heartiness and mental warmth. The unfolded ensemble scene of the dispute of orthruda and Elsa at the Cathedral - the evil naval of orthruses and the hot, excited speech of Elzy - impressive dynamic change of moods. Large rise leads to a powerful quintet with a choir.

In the third act two pictures. The first entirely dedicated to the psychological drama Elsa and Loengrin. In the center of her love duet. In the second large place occupy mass scenes. A brilliant orchestral intermission enters into a lively furnishings of a wedding feather with militant clicks, ringing of weapons and ingenuous fellow. Handling full Wedding Choir "Joyful Day". Dialogue of Loangrina and Elza "Wonderful Fire Fireless Heart Gently" belongs to the number of the best episodes of the opera; Wide flexible lyrical melodies with an amazing depth transfer to the change of feelings - from extinguishing happiness to a collision and catastrophe.

The second picture opens with colorful orchestral intermezzo, built on pipe roll call. In the story of Loengrin "In the edge of someone else, in the distant in the mountain kingdom", a transparent melody draws a majestic light image of the messenger of Grail. This characteristic is complemented by the dramatic farewell of "about my swan" and a sorrowful, impetuous appeal to Elsa.

¾ R. Wagner. Intermission to III action. From the Opera "Lorangery" (hearing).

Vocal choral work.

¾ R. Wagner. Intermission to III action. From the Opera "Lorangery" (hearing).

¾ E. Krylatov, poems N. Dobronravova. I believe only masts and dreams (singing).

IV. The outcome of the lesson.

V. Homework.

Lesson 18.

Topic: "Artistic form - it has become visible content"

Objectives lesson:

Ø Learn to perceive music as an integral part of the life of every person.

Ø Rip emotional responsiveness to musical phenomena, need for musical experiences.

Ø Formation of listener culture based on admission to vertex achievements of musical art.

Ø Significant perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and form in music).

Music material lesson:

Ø V. A. Mozart.

Ø F. Schubert. Serenade (hearing).

Ø E. Krylatov, poems N. Dobronravova. I believe only masts and dreams (singing).

Ø A. Zatsepin, poems L. Derbenyova. There is only a mig (singing).

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

Theme of the lesson: "Artistic form - it has become visible content"

III. Work on the lesson.

Content is both "images of volatile fantasies", and "dreams", running, wandering, being calmed and completion only in the deposit and definition of the form. Before The occurrence of the work as much as it does not exist, it is not issued, not implemented. And only after how the work is created, we can judge about all the advantages of its content - not because the form is more important, but because the world is arranged so that the content outside the form cannot exist . In addition, it is therefore studying the musical form means learning the music, how it is done, what ways should the musical thought follow, from which components it adds up, forming composition and drama Musical work. In the way the work is made, what expressive tools are on it to the fore, the plan of the composer is guessed. What is the musical sound, forming the form of music? The musicians know that composers are often referred to as names, but by the instructions of the tonalities: Prelude to Major, Sonata SO Minor, etc. This means that the choice of musical Lada is a major and minor, as well as a specific tonality, concludes a deep meaning. It is known that many composers have even favorite tones with which they associated certain figurative views. It is possible that Mozart turned to the tonality of re minor, and Mezhira wrote about the meaning of Fa-Dieza in his works, these composers were subjective (as probably subjectively subjectively those musicians who have "color hearing", that is, they associate the sound Those or other tonalities with defined colors). However, their music convinces us in the bright expressiveness of the chosen tonalities, in their deep-shaped validity. Of course, the sorrowful and at the same time sublime re minor in Lacrimosa from Mozartovsky Requiem sounds completely different in the Egyptian-sad Melody of the glitch from the Opera "Orpheus and Eurydick" or in the dreamy Serenade of Schubert. After all, the choice of tonality itself is not important, and his connection with the idea, the means of musical expressiveness.

¾ V. A. Mozart. Requiem. Lacrimose (hearing).

¾ F. Schubert. Serenade (hearing).

Vocal choral work.

¾ E. Krylatov, poems N. Dobronravova. I believe only masts and dreams (singing).

¾ A. Zatsepin, poems L. Derbenyova. There is only a mig (singing).

IV. The outcome of the lesson.

Each element of the musical form is the main carrier of the content: by how music sounds that it is dominated by the features of its structure, we can judge both the musical image, the character, mood.

V. Homework.

Learn the text of songs and definitions.

Lesson 19.

Subject: From the whole to detail

Objectives lesson:

Ø Learn to perceive music as an integral part of the life of every person.

Ø Develop a careful and friendly attitude towards the environment.

Ø Rip emotional responsiveness to musical phenomena, need for musical experiences.

Ø Develop interest in music through creative self-expression, manifested in reflections on music, their own creativity.

Ø Formation of listener culture based on admission to vertex achievements of musical art.

Ø Significant perception of musical works (knowledge of musical genres and forms, means of musical expressiveness, awareness of the relationship between content and form in music).

Music material lesson:

Ø V. A. Mozart. Overture from the opera "Wedding Figaro" (hearing).

Ø F. Schubert. Sharmanwger. From the vocal cycle "Winter Way" (hearing).

Ø E. Krylatov, poems N. Dobronravova. I believe only masts and dreams (singing).

Ø A. Zatsepin, poems L. Derbenyova. There is only a mig (singing).

Ø E. Kolmanovsky, poems L. Derbeenova, I. Scharun. Moscow Serenade (singing).

Ø A. Rybnikov, poems R. Tagora. Last poem. From the movie "You never dreamed" (singing).

Additional material:

During the classes:

I. Organizational moment.

II. Message Topics lesson.

III. Work on the lesson.

Wedding Figaro (Le Nozze Di Figaro) - Opera Buffa V. A. Mozart in 4 actions, Libretto L. Da Ponte. Premiere: Vienna, May 1, 1786, under the control of the author.

When Mozart decided to write a "Wedding Figaro", there were already works on the topic "Seville Tag" - J. Payzielo (1782), F. L. Benda, etc. It is considered that the success of the opera Phazzielo prompted Mozart to contact the second play Bomaoursche about Figaro . Perhaps this motive played a well-known role, but, of course, he was not decisive. The popularity of both plays of Bomaransch, their artistic perfection, wit and above all the social acuity attracted the sympathies of Mozart - a man and an artist who conscious of the humiliating position of the musician in the feudal society. The image of Figaro, a representative of the rising third estate, speaking to protect human dignity, personified the democratic ideas of his time. However, in Austria, the comedy Boualersha was banned, and to achieve permission to formulate the opera, it was necessary to make concessions to censorship. Therefore, when the comedy is rewritten to the libretto, many replicas Figaro had to be omitted. However, not these text abbreviations determine the nature of the work that has preserved the anti-refortion orientation of the Comedy of Bomaouxche.

The idea of \u200b\u200bsuperiority of a smart, enterprising and bold leaving from the people above the depraved, arrogant and hypocritical nobleman is pronounced in Opera. Mozart not only retained the main and most important ideological motifs of the comedy; He rethought, deepened and enriched the images of heroes, boldly dramatically dramatically. Countess he feels deeper and thinner than in comedy. Her experiences are dramatic, although it remains a character of comic opera. Buffonous images, such as Martselin, are enriched and purely. At that moment, when she learns that Figaro her son, Melos of her party changes unrecognizable: sincere, the agitated feeling displaces the familiar intonation for the comedy character. A new understanding of the opera playing system's system has found an expression in expanding the role of the ensembles: in the Mozart opera, their number (14) is equal to the number of Aria. If earlier the action was revealed in the recipatatives, and the arias and ensembles were a stop in the development of the plot, then the Mozart also move the action. According to the inexhaustibility of inspiration, the rarest expressiveness "Wedding Figaro" - the most important milestone in the history of the world musical theater.

HISTORY OF CREATION

Opera plot is borrowed from the comedy of the famous French playwright P. Beaouta (1732-1799) "Mad Day, or Figaro's marriage" (1781), which is the second part of the dramatic trilogy (the first part of the Seville Berber, 1773, - served as the basis of the same name Opera D. Rossini). The comedy appeared in the years directly preceding the French revolution (for the first time set in Paris in 1784), and thanks to its anti-refortional trends caused a huge public resonance. Mozart "Marriage Figaro" attracted not only the abilities of characters, rapidness, comedy sharpness, but also a socio-critical direction. In Austria, the comedy Boualersche was banned, but the librettist of Mozart L. Da Ponte (1749-1838) achieved permission to formulate the opera. When recycling in a libretto (written in Italian), many comedy scenes were reduced, journalistic monologues of Figaro were issued. This was dictated not only by the requirements of censorship, but also the specific conditions of the opera genre. Nevertheless, the main idea of \u200b\u200bthe plays of Boualersche is the idea of \u200b\u200bthe moral superiority of Figaro vehicle over the aristocrat of Almaviva - received in music Opera irresistibly convincing artistic embodiment.

Opera Hero Lackey Figaro is a typical representative of the third class. A clever and enterprising, mockery and isroshdov, boldly leading the fight against all-powerful nobles and a triumphant victory over him, he is out of Mozart with great love and sympathy. Opera, the images of the perky and gentle girlfriend Figaro Susanna, which suffering the Countess, young Kerubino, covered by the first unrest of love, arrogant graph and traditional comic characters, Bartolo, Basilio and Martzelin, are also realistic.

To the composition of music Mozart began in December 1785, he graduated from five months; The premiere took place in Vienna on May 1, 1786 and passed with a minor success. Genuine recognition of the opera acquired only after putting in Prague in December of the same year.

PLOT

Countess saddenly indifferent husband. The story of Susanna about his infidelity deeply hurts her heart. Sincerely sympathizing with her maid and her bridegroom, the Countess willingly takes Figaro Plan - to call the graph at night in the garden and send to him on a date instead of Susanna Kerubino, disguised into a women's dress. Susanna immediately accepted to dress up. The sudden appearance of the graph leads all in confusion; Kerubino hide in the next room. Surprised by the embarrassment of his wife, the count demands that she opened a locked door. Countess persistently refuses, assuring that Susanna is located there. Jealous suspicions of the graph are enhanced. Having decided to hack the door, he together with his wife goes for the tools. Lovely Susanna releases Kerubino from his asylum. But where to run? All doors on constipation. In fear, the poor Page jumps out the window. Returning Count finds behind the locked door laughing at his suspicions of Susanna. He is forced to ask for forgiveness from his wife. The figaro ranked Figaro that the guests were already gathered. But the graph in every way pulls the beginning of the holiday - he is waiting for the appearance of Martselin. The Klyuchantica places Figaro lawsuit: it requires that he either returned to her old debt, or married her. Wedding Figaro and Susanna postponed.

The court decided the case in favor of Martselin. The graph triumphs, but his triumph is short. Suddenly it turns out that Figaro is the native son of Martselin and Bartolo, in childhood abducted by robber. Radic parents Figaro decide to get married. Now there are two weddings to celebrate.

Countess and Susanna did not leave thoughts to teach the graph. Countess decides to put on the dress maid and go for a night date. Under her dictation, Susanna writes a note by appointing a meeting in the garden. During the holiday, Barbarina must pass it.

Figaro laughs at his master, but, having learned from the sharp of Barbarina that Susanna wrote a note, begins to suspect his bride in deception. In the dark of the night garden, he learns to disguise Susanna, but pretends to take her for the Countess. The graph does not recognize his wife, disguised as a maid, and carries her in a gazebo. Seeing the Figaro explaining in love with imaginary decanter, he raises noise, shortens people to publicly catch his wife in treason. At midges about forgiveness, he responds with refusal. But here the real Countess removed the mask appears. Count is posted and asks for forgiveness from his wife.

MUSIC

"Figaro wedding" is a household comic opera in which Mozart is the first in the history of the musical theater - it was possible to clearly and multilaterally in action in the action of living individual characters. Relationships, clashes of these characters identified many features of the musical drama "Weddings of Figaro", attached flexibility, a variety of operational forms. Particularly significant is the role of ensembles associated with the stage action, often freely developing.

The swiftness of the movement, the drowning fun permeate the opera supervisor, entering the cheerful situation of the events of the "crazy day".

In the first act, the ensembles and arias naturally alternately alternate. The two of the following Duet Susanna and Figaro are attracted by grace; The first - joyful and serene, in the jesterity of the second slip the disturbing notes. The sharply and courage of Figaro are captured in Cavatina "if the barin wants to jump", the irony of which is emphasized by the dance rhythm. The excited aria can be trembling to "tell us, I can not explain" outlines the poetic image of the adult group. In Tervently, the anger of the count, embarrassment of Basilio, the alarm of Susanna was expressively transmitted. The mockery aria "Furious Boy", aged in the nature of the military march, accompanied by the sound of the pipe and Litavr, draws an image of an energetic, temperamental and fun Figaro.

The second act begins with light lyrical episodes. The aria of the Countess "God of Love" attracts lyrism and noble restraint of feelings; The plasticity and beauty of vocal melodies are combined with the fineness of orchestra. The tenderness and love tray is full of Aria Kerubino "Heart is worried." The finale of the act is based on the free alternation of ensemble scenes; Dramatic tension increases with waves. Following the rapid duet of the graph and the Countess, there is a tercet, which begins with mocking replicas of Susanna; An alive, bright, rapidly sounds the following scenes with Figaro. The act ends with a large ensemble, in which the triaming votes of the count and his accomplices are opposed to the parties of Susanna, Countess and Figaro.

In the third act, the duet of the graph and the Susanna, captivating truthfulness and the subtlety characteristics, is distinguished; The music simultaneously transfers the lucavia of the charming maid and genuine passion and tenderness of the deceived graph. The duet of Susanna and Countess are designed in transparent, pastel colors; Voices are gently echoing, accompanied by a gobb and a bargain.

The fourth act begins a small naive-graceful Arya Barbarina "dropped, lost." The lyrical aria of Susanna "Come, my dear friend" washed with a quiet moon night poetry. The music of the final, transmitting complex feelings of heroes, sounds at first muffled, but gradually filled with joyful flashes.

Consider one of the most cheerful works in the history of music - Mozart's overture to his opera "Wedding Figaro". The German musicologist G. Abert, describing an overture, writes about her incessant musical movement, which "trembles everywhere and everywhere, is laugh, then quietly giggles, it tries; In the rapid flight, all new sources arise .. everything rushes to face

The heroic is an important topic in the work of many domestic and foreign composers. It can be said that along with a love topic, a heroic topic is the most asked in music. For any plot musical work, the presence of a hero (and often antihero) is characterized, and therefore, the author is faced with the task of creating his artistic image.

Heroic images are very characteristic of, the composer creates them, relying on the motives of patriotism, the victims for their homeland, military and human feat. And since the history of any country does not lack the heroes, the main reservoir of the national musical culture is dedicated to them.

The heroic topic has always attracted the attention of Russian composers, in the work of some of them it became the main one. The overthrow of the Mongol-Tatar yoke, the Patriotic War of 1812, the revolution of 1917, the Civil and Great Patriotic War left an indelible mark in Russian music, each of these events has its heroes. Many of these heroes, rather their images, found an incarnation in the works of domestic authors. Foreign composers also devoted a lot of works by the heroes, fought for their fatherland.

From the images of Russian heroes, especially loved ones in musical art, you can call: Prince Igor Borodina, Ivan Susanin Glinka, Alexander Nevsky and Kutuzov from Prokofiev operas. In many musical works, the collective heroic image of the Russian people is derived, for example, in the Opera Boris Godunov and Khovanshchina Mussorgsky.

A lot of heroic images also contained in the work of foreign composers, both Beethoven, Mozart, leaf appea to the heroic.

Glinka was the first Russian composer who wrote Opera, he lived in a difficult historical period - during the Patriotic War of 1812. This struggle of the Russian people is not for life and death, the desire to protect their fatherland, inspired Glinka to writing the opera "Ivan Susanin".

The story of Ivan Susanin himself echoes the realities of the war with Napoleon, in the era of which the composer lived and worked. As follows from the legend (some historians are convinced that actually the feat of Susanin is fictional), Susanin, without having trouble, started in the forest of the detachment of Polish interventory, where they were cripped. Along with the enemies, Susanin himself was killed. In his opera, Glinka draws a multi-dimensional image of the hero, which appears before us a fortress peasant Ivan Susanin. The characteristic approach of this image is the bell ringing, which accompanies His Aria. The ringing symbolizes the victory of the people over foreign invaders, it was the bells in Russia that the people convened to the Council and reported the significant events. So the glint knitted the image of the hero with the image of the bell nabath.

The feeling of city, arising when listening to the Opera Glinka, was undoubtedly the author's idea. For this, the composer used the whole rich palette of musical expressive agents and, in particular, melodies similar to folk songs. Before his death, Susanin sings that he was terribly dying, but he does not see another way out, except to die for his homeland, but not to give up her enemy. Even the price of terrible torment (the enemies are trying him, so that he will point them the way from the thicket) Susanin does not betray his own.

In Opere "Ivan Susanin", Glinka created and the heroic image of the people, who performs the party of the choir and, as it were, confirms the words of the chief hero, who, without fear of death, is ready to give life for salvation of the Motherland. The whole Russian people glorifies the feat of Susanin and himself, not hesitating, will go to death, in the name of life.

The plot of the opera Borodin "Prince Igor" is based on the history of the struggle of the Old Russian princes with the Polovmers-Polovtsy. The story itself was described in the "Word about the shelf of Igor", which the composer used when writing his work. In Opere Borodin, as in Opere Glinka, much attention is paid to popular motifs, especially in choral parties. Prince Igor is a genuine hero, he really loves his homeland - Rus and get ready by fire and sword to defend her from enemies.

The Opera "Prince Igor" represents the majestic folk epic, truthfully recreated in generalized, bright and vital images of one of the tragic periods of the past Russian people in its struggle for unity and national independence. In the heroic concept of the opera, in its main musical images, Borodin embodied the most typical features of the national character and the spiritual warehouse of the Russian people: selfless love and dedication to the Motherland, moral durability and heroic cohesion in the fight against the enemy, resistance to despotism, violence and arbitrariness.

In the Opera Khovovshchyna and Boris Godunov, the author - M. Mussorgsky draws the heroic image of the people.

Work on the "Handish" continued until the last days of the composer's life, one can say she was the matter of his life.

In the center of the Opera "Hovhanshchina" - the idea of \u200b\u200bthe tragic collision of the old and new Russia, the disappearance of the old defendance and the victory of the new one. The content is the genuine historical events of the late XVII century, the struggle of the reaction feudal nobility led by Prince Khovansky against Peter I Party. The plot is given in difficult, multidimensional development, various social groups are shown - Sagittarius, Raskolniki, Peasants ("Successful People"), a rude fastener-feudal feudal of Khovansky and "Semi-European-Semi-" Vasily Golitsyn. In Opera, not everything corresponds to the actual events, but with the afflicting depth, the drama of the Russian people is given, its spiritual force is shown and its durability. In Hovovishna, Mussorgsky created images of Russian people (Distinity, Martha), striking the greatness of the soul.

In the center of Hovhanchina, there are people. The feature of this Opera Mussorgsky is that the author shows the people not as a whole, but allocates various social groups, which receive a special musical outcome, and the characteristic of each group is given in development. Thus, the characteristic of the shooters is sharply different from the characteristics of the splitters; Particularly worth a group of "eligible people", peasants; Other features emphasize Mussorgsky, depicting fortress Khovansky. Various characteristics are given to individual groups using various song genres and various song characters. The choirs of brown fittings are built on the intonations of young people, dance songs with energetic, dancing rhythms; In the song "About the gossip" reflected the features of the urban chatevety folklore. The contrast represent the prayer choirs of Streltsov and the choir of Strevetsky wives in the scene "Processions on the execution" - where folk crying, screams, inhibitors serve as the basis. Raskolnik's choirs sound archaic, they combine the features of a nationwide warehouse with the severity of a bannyal manner (the choir "winning", in which the melody of the folk song "Stop, my cute dance") was reworked; In v action ("in the skete") in music, vintage splitting prayers and chants are widely used. The choir of the "Promotional Loda" and the fortress girls are used directly to the peasant song - lyrical, long, magnifier.

The heroic topic is reflected in the work of S. Prokofiev. It can be said that the whole music written by them is literally impregnated with the heroic. Most of the composer's works are created using historical plots, and where history, there are heroes. Especially brightly images of heroes are manifested in his famous opera "War and Peace", written on the reasons of the eponymous epic novel L. Tolstoy. With particular care, the composer is working as the image of Kutuzov, forced to leave Moscow to the defeat of the enemy, and the collective image of the Russian soldier fighting for his depression.

The idea of \u200b\u200bthe opera "War and Peace" originated at Prokofiev in the spring of 1941. The beginning of the Great Patriotic War made this topic particularly close and relevant. The composer wrote: "... Already then they took clear forms of the thoughts, I had the thoughts to write Opera to the plot of the novel of the Tolstoy" War and Peace ". Somehow, the pages that tell about the struggle of the Russian people with Horde of Napoleon in 1812 and about the expulsion of the Napoleonic army from the Russian Earth are differently close. It was clear that it was these pages that should lie down the basis of the opera. "

The persistence of a Russian nature, which stood, did not break in the face of harsh tests that had fallen into a fraction of the heavier years of enemy invasion, is shown in the opera in scenes on the battlefield, folk images (soldiers, militias, residents of Moscow, partisans) and in the images of individual heroes . The greatest figure of the commander - Feldmarshal Kutuzov, whose musical characteristic is made of leisurely, separated by pauses of phrases, speaking, its main theme and the final image of the monologue. Two principals are concentrated in Opera Prokofiev, generalized in the theme of war, popular disaster, and in the subject of Moscow - Motherland. The first theme, with its insistent sharp sound of the pipe and horn on the background of the oxinato tube and the samples, forms a symphonic entry. This formidable and alarming "screensaver" plays an important dramatic role, sounds like a Nabat, arranged for the deadly danger that hung over Moscow and Russia. The second topic is the symbol of the immortality of the Motherland - sounds in Aria Kutuzov. The magnificent, structurally completed monologue of Kutuzov - the climax of the 10th painting. This aria, written in a complex three-part form with a declamination entry and the middle part, is standing out as a mighty top over the "fluid" cleatative music of the preceding dialogues of the participants of the Military Council. It was created according to the principle of the epic portrait characteristics of the Russian hero in the operations of Glinka and Borodin, which was mentioned above. Thoughts and feelings of Kutuzov are addressed to the fate of Moscow and fragile.

From foreign composers, it is worth highlighting Beethoven, who wrote the famous Koriolan overture. Coriolian was a Roman commander and lived in the first century to our era. The name Coriolian was given to him in honor of the conquest of the city of Volskov Coriolis. Beethoven wrote his music for the plays of the Collill. In an overture, the composer draws a psychological "portrait" of Coriolan, shows the tragic conflict of his soul. According to Beethoven, it is a big misfortune that allows a person to become courageous that we are observing "Kriacan". The whole overture is an inner monologue of the hero, the formation of his heroic image.

Summing up the above, we note that Russian composers in their work often turned to a heroic-patriotic topic, since it was relevant at all times. The main thing is that the heroic images created in music reflect the idea of \u200b\u200bprotecting the Motherland, glorify peaceful life and show that the heroes only defend the schism of the enemy, but never attack. The hero in general brings people only good, protects and protects them and in itself belongs to the folk medium. Such, Ivan Susanin, the image of which is painted in Opere Glinka, this is the people from Khovanchina Mussorgsky, such Kutuzov Prokofiev, forced to pass the capital to the enemy, in the name of salvation of the whole country.

A prerequisite for the significance of the composer of heroic images embodied by a composer is the historicism of copyright. In the heroic musical works, there is a link between the sparkle of the People's Spirit that flashed back in the distant past, which argued the need to struggle for themselves, his genus, their nation, to the selfless struggle for the liberation of the peoples of Europe from fascism in the Great Patriotic War, for the Universal World on Earth for All Peoples - in our time. The appearance of each essay - operas, symphonies, cantata - is always due to the needs of their era. Or they say, each era has its hero. But it is important that completely without heroes can not exist any era.

Music obeys the laws of life, it is reality, therefore affects people. It is very important to learn to listen and understand classical music. In school, children are studying what a musical image is, and who creates it. Most often, the teacher gives the concept of an image determination - a particle of life. The richest possibilities of the tongue of melodies give the opportunity to composers to create images in musical works to embody their creative designs. Immerse yourself in the rich world of musical art, learn about various types of images in it.

What is a musical image

It is impossible to master the musical culture without the perception of this art. It is perception that makes it possible to carry out composer, listeners, performing, pedagogical, music generalicular activities. Perception makes it possible to understand what a musical image is and how it is born. It should be noted that the composer creates an image under the influence of impressions with the help of creative imagination. To make it easier to understand what a musical image is, it is better to imagine it in the form of a set of musical and expressive money, style, the nature of music, building a work.

Music can be called live art uniting many activities. The sounds of the melodies embody the vital content. In the image of the musical work, they mean thoughts, feelings, experiences, actions of certain people, various natural manifestations. Also, this concept implies events from someone's life, the activities of the whole people and humanity.

The musical image in music is the complexity of character, musical and expressive means, social and historical conditions of the occurrence, principles of construction, the style of the composer. Here are the main types of images in music:

1. Lyrical.Passs personal experiences of the author, reveals his spiritual world. The composer transmits feelings, mood, sensations. There are no actions here.
2. Epic.Tells, describes some events in the life of the people, talks about his history and exploits.
3. Dramatic.Pictures a person's privacy, his conflicts and clashes with society.
4. Fairy. Shows fictional fantasies and imagination.
5. Comic.Exposes all the bad, using funny situations and suddenness.

Lyrical image

In antiquity there was such a people stringed instrument - Lira. The singers were transferred with its various experiences and emotions. From him, the concept of lyrics, transmitting deep mental experiences, thoughts and feelings. Lyrical musical image has emotional-constituable elements. With the help of it, the composer transmits his individual spiritual world. The lyric work does not include any events, it only conveys the spiritual state of the lyrical hero, this is his confession.

Many composers learned to pass lyrics through music, because it is very close to poetry. The instrumental lyrical works include the creations of Beethoven, Schubert, Mozart, Vivaldi. Also, Rachmaninov and Tchaikovsky were created in this direction. Music lyrical images They formed with melodies. It is impossible to formulate the purpose of music, rather than it did Beethoven: "What comes from the heart should be keen on it." Forming the definition of the image of musical art, many researchers take exactly this statement. In his "Spring Sonate", Beethoven made the nature of the wake-up of the world from the winter hibernation. The musical image and artist's skill helps to see in Sonata not only spring, but also joy, freedom.

It is also necessary to remember the "lunar sonata" of Beethoven. This is a truly masterpiece with a musical and artistic way for piano. Passionate melody, persistent, ends with hopeless despair.

Lyrical composer in masterpieces connects to figurative thinking. The author tries to show which imprint in his soul left this or that event. Just masterfully handed over the "melodies of the soul" of Prokofiev in the waltz Natasha Rostova in the opera "War and Peace". The character of the Waltz is very gentle, it feels a timidity, slowness and, at the same time, emotion, thirst for happiness. Another example of a lyrical musical image and mastery of the composer is Tatiana from the Opera Tchaikovsky "Eugene Onegin". Also, an example of a musical image (lyrical), the works of Speert "Serenade", Tchaikovsky "Melody", Rakhmaninov "Vocaliz".

Dramatic musical image

Translated from the Greek "Drama" means "action". With the help of a dramatic work, the author transmits events through the heroes dialogs. In the literature of many nations, such writings existed a long time ago. There are also dramatic musical images in music. Their composers are shown through the actions of the heroes seeking a way out of the situation entering into the fight with their enemies. These actions cause very strong feelings for challenging.

The audience's dramatic character see in a constant struggle, which leads him to either to victory or to death. At first in the drama, actions are acting, not feelings. The most bright dramatic characters are Shakespearers - Macbeth, Othello, Hamlet. Othello is jealous, which leads him to the tragedy. Hamlet overwhelms the desire to revenge the killers of his father. Strong thirst for Macbeth's power makes him kill the king. Without a dramatic musical image in music, the drama is unthinkable. It is nerve, source, focus of the work. The drama hero is represented by a slave of passion, which leads it to a catastrophe.

One example of a dramatic conflict is the Opera Tchaikovsky "Peak Lady" in the same name of Pushkin. First, the audience get acquainted with the poor German officer, who dreams quickly and easily get rich. Previously, he was never fond of gambling, although in the shower was a player. Stimulus Herman attaches love to the rich heiress of one old countess. All the drama is that the wedding cannot take place because of his poverty. Soon German learns about the secret of the old Countess: allegedly she keeps the secret of three cards. The officer overcomes the desire by all means to develop this mystery to rip the big kush. Herman comes to the house of the Countess and threatens her with a gun. The old woman dies from fear and without giving the secret. At night, the ghost comes to Herman and whispering cherished cards: "Troika, Seven, Ace." He comes to his beloved Lisa and admits to her that, for his reason, the old Countess died. Lisa from grief rushed into the river and drowned. The cherished words of the ghost do not give peacekeeper, he goes to a gambling house. The first two bets, on the top three and the seven, turned out to be successful. Winning so much headed Herman's head that he was going on Wa-Bank and puts all the money won on the ace. The heat of drama is approaching its top, instead of ace in the deck, a peak lady turns out. At this point in the lady Peak Herman learns the old woman. The final loss leads a hero to suicide.

It is worth comparing how the drama of his hero Pushkin and Tchaikovsky show. Alexander Sergeevich showed Hermann cold and calculating, he wanted to use Lisa for his enrichment. Tchaikovsky a little differently approached the image of his dramatic character. The composer changes the characters of his heroes slightly, because for their image you need inspiration. Tchaikovsky showed Hermann romantic, in love with Lisa, having a dusty imagination. Only one passion displaces the image of the officer's favorite from the head - the mystery of three cards. The world of musical images of this dramatic opera is very rich and impressive.

Another example of dramatic ballad is the creation of Schubert "Forest King". The composer showed the struggle of two worlds - valid and fictional. For Schubert, romanticism was characterized, his mystic fascinated, and the work was quite dramatic. The collision of the two worlds is very bright. The real world is embodied in the form of a father, who is sensible and calmly looks at reality and does not notice the Forest King. His child lives mystical world, he is sick, and his forest king is molded. Schubert shows a fantastic picture of a mysterious, shrouded dark haired forest and rushing through him on his father's horse with a dying child in her arms. Each hero composer gives its characteristic. A dying boy is strained, frightened, in his words he sounds plenty of help. A wedding child falls into the terrible kingdom of the Terrible Forest King. Father tries to calm the child with all their might.

The entire ballad is permeated with heavy rhythm, the hitch is depicting a continuous octave fraction. Schubert created a complete visual hearing illusion filled with drama. At the end of the dynamics of musical development, ballad ends, as the father kept on the hands of a dead infant. Here are what musical images (dramatic) helped Schubert create one of the most impressive of their creations.

Epic portraits in music

Translated from the Greek "Epos" is the meaning of the story, words, songs. In the epic works, the author narrates about people, the events in which they take part. The first place is floating characters, circumstances, social and natural environments. The literary epic works include stories, legends, epics, stories. Most often, composers use poems for writing epic works, it is them that tells about heroic acts. From the epic, you can learn about the life of ancient people, their history and exploits. The main dramatic musical images and mastery of the composer are concrete heroes, events, history, nature.

Epos relies on real events, but there is some fiction in it. The author idealizes and mythologizes its heroes. They are endowed with heroism, make feats. There are also negative characters. Epos in music shows not only specific persons, but also events, nature, symbolizing the native land in one or another historical era. So, the lesson on the musical image in the 6th grade Many teachers are represented by passages from the opera of the Roman Corsakov "Sadko". Pupils are trying to understand what the composer's money was able to draw a portrait of the hero, after listening to Sadko song "Oh, Dark Dubravushka." Children hear annealing, smooth melody, even rhythm. Gradually, Major is replaced by Minor, the pace slows down. Opera is quite sad, twisted and thoughtful.

The epic style was worked as a composer "mighty bunch" A. P. Borodin. The "Bogatyr Symphony" No. 2, Opera "Prince Igor" can be included in the list of its epic works. In Symphony No. 2, Borodin captured a mighty heroic homeland. Initially, there is an inlet and smooth melody, then it turns into a ripple. Smooth rhythm is replaced by dotted. Slow pace is combined with Minor.

The monument of medieval culture is considered the famous poem "The Word about the regiment of Igor". The work tells about the campaign prince Igor On Polovtsy. Here are bright epic portraits of princes, boyars, Yaroslavna, Polovtsy Khanov. The opera begins with an overture, then there is a prologue about how Igor prepares his army campaign, watches the sunny eclipse. Four actions of the opera follow the following. A very bright point in the work is crying Yaroslavna. In the end, the people sings the fame of the prince Igor and his wife, at least the campaign ended with defeat and death of troops. To display the historic hero of that era, the musical image of the artist is very important.

It is also worth incorporated into the list of epic creations, the work of the Mussorgsky "Bogatyr Gate", Glinka "Ivan Susanin", Prokofiev "Alexander Nevsky". The heroic actions of their heroes composers were transferred to various musical means.

Fabulous music image

In the very word "fabulous" lies the storyline of such works. The most striking creator of fabulous creations can be called Roman Corsakov. Even since the school program, children will learn his famous Tale-opera "Snow Maiden", "Golden Cockerel", "Tale of Tsar Saltan". It is impossible not to remember the symphonic suite of Shacherzada on the book "1001 night". Fabulous and fantastic images in the music of Roman Corsakov are closely unity with nature. It is fairy tales to lay moral foundation in a person, children begin to distinguish good from evil, they learn mercy, justice, condemn cruelty and deceit. Being a teacher, Roman korsakov in the tale tale told about high human feelings. In addition to the above, the opera can be called "idle of the immortal", "night before Christmas", "May night", "Tsarist Bride". The composer melodies have a complex melody-rhythmic structure, they are virtuoso and movable.

Fantastic music

It is worth mentioning fantastic musical images in music. Fantastic works are created every year a lot. From a long time, various folklore ballads and songs, praising different heroes, are known. The musical culture began to fill fiction in the era of romanticism. Fiction elements are found in the creations of glitch, Beethoven, Mozart. The most bright writers of fantastic motifs of steel german composers: Weber, Wagner, Hoffman, Mendelssohn. Gothic intonations sound in their writings. The fabulous fantastic element of these melodies is intertwined with the theme of the opposition of a person around the world. Folk Epos with elements of fiction is based on the works of the composer Edward Griega from Norway.

Is the fantastic image inherent in Russian musical art? Composer Mussorgsky filled with fantastic motifs of creation "pictures from the exhibition" and "Night on the Bald Mount". Spectators can watch the witch shabby at night on holiday Ivan Kupala. Mussorgsky also wrote an interpretation to the work of Gogol "Sorochinsky Fair". Fiction elements are overlooked in the writings of Tchaikovsky "Mermaid" and Dargomyzhsky "Stone Guest". They did not remain aside from fiction, such masters like Glinka (Ruslan and Lyudmila), Rubinstein ("Demon"), Roman Corsaqi ("Golden Cockerel").

A real revolutionary breakthrough in synthetic art produced an Experimentator Scriabin, which used elements of light communications. In his works, he specially fitted lines for light. Fantastic filled with his writings "Divine Poem", "Prometheus", "Ecstasy Poem". Some fiction techniques were also present at the realists of Kabalevsky and Shostakovich.

The appearance of computer equipment made fantastic music with her beloved for many. Films with fantastic compositions began to break on the screens and cinemas. After the emergence of musical synthesizers, great prospects for fantastic motives have opened. The era came when composers can sculpt music like sculptors.

Comic mappings in musical works

About comic images in music is difficult to speak. Few art crops characterize this direction. The task of comic music is to correct laughter. It is smiles that are real comic music satellites. The comic genre is easier, it does not need conditions that cause suffering to heroes.

To create a comic moment in music, composers use the surprise effect. So, J. Haydn in one of his London symphonies created a melody with the party Litavr, which instantly shake the listeners. The smooth melody in the waltz with a surprise ("in the apple!") Strauss is broken with a pistol shot. It immediately worst the hall.

Any jokes, even musical, carry funny absurdity with them, funny inconsistencies. Many signs of comic marches genre, jokes. From the beginning to the end endowed with the commander of the Marsh Prokofiev from the collection "Children's Music". Comic characters can be seen in the work of Mozart "Wedding Figaro", where laughter and humor are heard in the introduction. Merry and smart figaro deftly chittrate in front of the graph.

Satire elements in music

Another type of comic is satire. Satyric genre is inherent stiffness, it is a formidable, sewing. With satyric moments, composers exaggerate, exaggerate some phenomena to expose vulgarity, evil and immorality. So, satirical images can be called Dodon from the Opera of the Roman-Korsakov "Golden Cockerel", Farlaffa from Ruslan and Lyudmila Glinka.

Image of nature

The theme of nature is very relevant not only in the literature, but also in music. Showing nature, composers depict her real sound. Just imitates the votes of nature by composer M. Messian. Such English and French masters, like Vivaldi, Beethoven, Berlioz, Haydn, were able to convey paintings of nature and the feelings that they cause. A special pantheistic image of nature is at Roman Corsakov and Mahler. The romantic perception of the surrounding world can be observed in the play of the Tchaikovsky "Seasons". Gentle, dreamy, friendly character has the written Sviridov "Spring".

Folklore motifs in musical art

Many composers for creating their masterpieces used folk song melodies. Simple songs have become the decoration of orchestral compositions. Images from folk fairy tales, epic, testes formed the basis of many works. They were used by Glinka, Tchaikovsky, Borodin. The composer of Rimsky-Korsakov in the opera "Tale of Tsar Saltan" used the Russian folk song "Lee in the garden, in the garden" to create a squirrel image. People's melodies are heard in the Opere of Mussorgsky "Hovanshchina". Composer Balakirev based on Kabardian folk dance created the famous fantasy "Islamey". Fashion for folk motifs in the classics did not disappear. Many familiar with the modern symphony-action V. Gavrilina "Chimes".