Beethoven is a great maestro, a master of the sonata form, throughout his life he was looking for new facets of this genre, fresh ways to embody his ideas in it.

The composer remained faithful to the classical canons until the end of his life, however, in his search for a new sound, he often went beyond the boundaries of style, finding himself on the verge of discovering a new, still unexplored romanticism. Beethoven's genius is that he brought the classical sonata to its peak and opened a window into a new world of composition.

Unusual examples of Beethoven's interpretation of the sonata cycle

Choking within the framework of the sonata form, the composer was increasingly trying to move away from the traditional form and structure of the sonata cycle.

This can be seen already in the Second Sonata, where instead of the minuet he introduces a scherzo, which he will then do repeatedly. He makes extensive use of genres unconventional for sonatas:

• march: in sonatas Nos. 10, 12 and 28;
• instrumental recitatives: in Sonata No. 17;
• arioso: in Sonata No. 31.

He interprets the sonata cycle very freely. Taking his freedom with the tradition of alternating slow and fast parts, he begins with slow music Sonata No. 13, "Moonlight Sonata" No. 14. In Sonata No. 21, the so-called "Aurora" (), the final movement is preceded by a kind of introduction or introduction, which serves as the second movement. We can see the presence of a kind of slow overture in the first movement of Sonata No. 17.

Beethoven is also not satisfied with the traditional number of parts in a sonata cycle. His Nos. 19, 20, 22, 24 are in two parts. Sonatas 27, 32, more than ten sonatas have a four-part structure.

Not a single sonata allegro as such has sonatas # 13 and # 14.

Variations in Beethoven's Piano Sonatas

An important place in Beethoven's sonata masterpieces is occupied by parts interpreted in the form of variations. In general, the variation technique, variation as such, was widely used in his work. Over the years, it has gained a lot of freedom and has become unlike the classic variations.

The first movement of Sonata No. 12 is an excellent example of variations in the composition of the sonata form. For all its laconicism, this music expresses a wide range of emotions and states. The pastorality and contemplation of this beautiful part, no other form, than variations, could express so gracefully and sincerely.

The author himself called the state of this part "brooding awe." These reflections of a dreamy soul trapped in nature are deeply autobiographical. An attempt to get away from painful thoughts and plunge into contemplation of a beautiful environment, each time ends with the return of even darker thoughts. No wonder these variations are followed by a funeral march. Variation in this case is brilliantly used as a way of observing the internal struggle.

The second part of "Appassionata" is also full of such "reflections in oneself". It is no coincidence that some variations sound in the low register, plunging into dark thoughts, and then soar to the upper register, expressing the warmth of hope. The volatility of the music conveys the instability of the character's mood.

The second part of “Appationata” is written in the form of variations ...

The finals of sonatas No. 30 and No. 32 were also written in the form of variations. The music of these parts is permeated with dreamy memories, it is not effective, but contemplative. Their themes are emphatically soulful and quivering, they are not acutely emotional, but rather restrained-melodious, like memories through the prism of past years. Each variation transforms the image of a passing dream. In the hero's heart, there is either hope, or a desire to fight, alternating with despair, then again the return of the image of a dream.

Fugues in Beethoven's later sonatas

Beethoven enriches his variations with the new principle of the polyphonic approach to composition. Beethoven was so imbued with the polyphonic composition that he introduced it more and more. Polyphony serves as an integral part of the development in Sonata no. 28, the finale of Sonata no. 29 and 31.

In the later years of his work, Beethoven outlined the central philosophical idea that runs through all his works: the interconnection and interpenetration of contrasts into each other. The idea of \u200b\u200bthe conflict between good and evil, light and darkness, which was so brightly and violently reflected in the middle years, is transformed by the end of his work into a deep thought that victory in trials does not come in heroic combat, but through rethinking and spiritual strength.

Therefore, in his later sonatas, he comes to the fugue, as the crown of dramatic development. He finally realized that he could be the result of music so dramatic and mournful that even life could not go on. Fugue is the only option. Thus, G. Neuhaus spoke about the final fugue of Sonata No. 29.

The most complicated fugue in Sonata No. 29 ...

After suffering and upheaval, when the last hope fades away, there are no emotions or feelings, only the ability to reflect remains. Cold sober reason, embodied in polyphony. On the other hand, there is an appeal to religion and unity with God.

It would be totally inappropriate to end this kind of music with a cheerful rondo or calm variations. That would be a blatant inconsistency with her entire concept.

The fugue of the finale of Sonata No. 30 became a real nightmare for the performer. It's huge, two-dark and very complex. Creating this fugue, the composer tried to embody the idea of \u200b\u200bthe triumph of reason over emotions. There are really no strong emotions in it, the development of music is ascetic and thoughtful.

Sonata No. 31 also ends with a polyphonic ending. However, here, after a purely polyphonic fugue episode, the homophonic structure of texture returns, which suggests that the emotional and rational principles in our life are equal.

STRUCTURAL ANALYSIS OF L. BEETKHOVEN'S TWENTY PIANO SONATA

Beethoven's Twentieth Piano Sonata (op. 49Nr... 2), which has become the subject of our analysis, is one of the bright, sunny pages of the music of the great German master. It is notable for its relative ease of perception, but at the same time it contains bold decisions in the field of form, the most interesting composer finds.

Sonata No. 20 is distinguished by a small length of parts, a very small development in the sonataallegro the first part, the "lightness" of the texture, the general joyful and elated mood. Usually all of the above features are attributes of “sonatinity”. But the scale, significance of the music we are examining, its aesthetic depth indicate the "serious" origin of the sonata.

L. Beethoven is a brilliant innovator, a real revolutionary in the field of musical form. The number of parts in a sonata cycle and their ratio, the sequence of the composer often varies depending on the artistic task. So, in the twentieth piano sonata there are only two parts - the sonataAllegro and Minuet.

In this work, L. Beethoven limits his composer's thinking to a rather stingy, economical use of musical expressive means, which formally fully fit into the framework of classicism. There are no bright thematic, dynamic, tempo and register contrasts characteristic of Beethoven's style (as, for example, in "Aurora"). But there are elements of theatricality, in the sonataallegro - intonations of "fanfare" and "sighs".

Nevertheless, in the perfection of the architectonics of the sonata form, in the virtuoso ability to develop, compare and produce one of the other themes, the creative style of L. Beethoven is guessed.

The tonality of both parts isG- dur, the character is cheerful. The intonation connections between the parts are found. Let's point out some of them:

Moves according to the sounds of the triad (the beginning of the G.p. of the first movement, the cadence zones of the proposals of the first period of the Minuet, its trio);

Chromatic movement (second section of St. n. Of the first movement, final cadence of the first period of the Minuet);

Gamma-like movement (Z. of the first movement of the sonataallegro, an episode of the first part of a complex three-part form (serving as the first part of a complex three-part form (!) Minuet).

Let us dwell in more detail on each of the parts of the Twentieth Piano Sonata.

First part (Allegromanontroppo) is written in sonata form (see Appendix No. 1), where the development has a very short length. Only the exposition is marked by reprisal repetition. Let us note that L. Beethoven already in the early sonatas "canceled" the repetition of the development and reprise.

The exposition takes 52 measures. In it, the places of "increased semantic tension" (in G. p., P. p.) Are interspersed with general forms of movement (in St. p., Z. P.). Joyful emotions dominate in various gradations: vigorous, decisive, affirming, as well as tender and affectionate.

G. p. occupies the first sentence of the exposition period (1-4 vols.). One could erroneously assume that G.p. has the form of a period ("classical" type) and ends in bar 8, followed by St. But, first of all, the cadence of the second sentence is too much "fused" with the subsequent musical material. And secondly, in the first period of the reprise of the sonata form, in the final cadence, modulation into a subdominant is performed. And modulation is a sign of St.Petersburg, and by no means a G.P., the tonal-harmonic function of which is to show the main key, its consolidation.

So, G. p. polymotive. Active intonations of the first phrase (melodic move after the tonic chord onforte ) are opposed by soft melodious phrases in two voices. The singing phrases of the upper voice have an upward direction followed by "rounding" interspersed with melismatics. There is “warm” harmonic support in the lower back. For a moment, there is a deviation into the subdominant in order to set off the main tonality.

In St. p. three sections. The first section (5-8 vols.) Is built on the varied material of the G.p., set out an octave above. In the lower voice, movement appears in eighth durations (on a weak eighth, the fifth step is repeated for two measures).

The second section of St. (9-15 vols.) Is given on new material. Graceful chromaticisms (auxiliary and passing tones) appear in it. The sequential downward movement of phrases with "female" endings is replaced by a gamma-like sequence of sounds.

Harmonious development leads toD-> D, after which the third section of St. (15-20). Its goal is to "prepare the ground" for the item, to bring the dominant to the tonality. The third section of St. is given on the organ point that is dominant (with respect to the main key of the sonata) (the lower tone of the figurations in the triplet rhythm in the left hand). In the right hand, playful motifs based on chord sounds (authentic turns). There is a feeling of some kind of game.

After stopping at the dominant (in relation to the main key), P. (D- dur, 21-36 vols.). Form P. p. - a double period of two complex sentences of repeated structure (square, one-tone). In the motives of her first phrases, the derivation from the second element of G.p. - second intonationslamento onpiano , the predominance of an upward movement. Accompanied by an analogy with the movement of eighth durations in the first section of St. Further in P. there are two graceful phrases in high register, followed by thirds "squats" in the accompaniment. In the half cadence, the second sighs, interrupted by pauses (rhythmic similarity to the "female" endings in the phrases of the second section of St. P. In the final cadence, this phrase is given in a varied manner - in even movement in eighth durations.

Z. p. (36-52 vols.) Begins with an invading cadence. It can be divided into two sections. The first section of Z. (36-49) is built on cadence in the key of the dominant. In the triplet rhythm, the scale-like sequences “scatter” in octaves, stopping at rehearsals of one tone, accompanied by figurations in the left hand.

The second section of Z. on the organ point, the tonality of the dominant is fixed. Musical material is similar to section 3 of St.

The development (53-66 vols.) Introduces into the minor sphere (the effect of chiaroscuro). Consists of two sections. In the first section (vols. 53-59), the elements of the G. p. (tonal transposition, variation). Development begins with the tonic of the same-named key (in relation to the key in which the exposition ended;d- moll). In the process of harmonious development,a- moll ande- moll... That is, in the tonal plan of the first section of the development, a certain logic can be traced (along the quarto-fifth circle).

The second section of the development (60-66 vols.) - the prediction - is given in a parallel key (in relation to the main key of the sonata;e- moll). Intonationlamento in the upper register, interrupted by pauses, they are sequenced, accompanied by pulsation of eighth durations at the dominant organ point. At the end of the development, the dominant of the main tonality appears, the downward movement of the eighth notes "crashes" into the reprise.

G. p. (67-70 vols.) In the reprise (67-122 vols.) Passes unchanged.

At the end of the first section of St. (71-75 vols.) Modulation is performed in the key of the subdominant.

The second section of St. (71-82 vols.) Completely revised. In terms of material, it is similar (in its first four measures even identical, taking into account the tonal transposition) to the first section of the Z. At the end of it, there is a deviation into the tonality of the sixth degree.

The third section of St. (82-87 vols.) Does not contain changes, not even transposition! This is an interesting decision of L. Beethoven - to build the third section of St. in such a way that it is suitable both for further establishing the dominant sphere, and for remaining in the basic key.

The secondary part in the reprise (88-103 vols.) Sounds unchanged (apart from tonal transposition).

The first section of Z. (103-116 vols.) Contains a slight variation during the deviation inVI step.

The second section of Z. (116-122 vols.) Expanded by additional sequencing. The goal is the final approval of the main toneG- dur.

At the end of the reprise, two abrupt chords (D 7 - T).

The second movement of the twentieth piano sonata - Minuet (TempodiMenuetto, G- dur). L. Beethoven retains the typical features of this dance, but brings poetry and lyricism to it. Dancing is combined in the minuet with subtle melodious melodism.

The form of the second movement of the sonata is a complex three-part (see Appendix No. 2). The first part of this complex three-part form is also a complex three-part, the reprise is shortened - its form is a simple three-part. There is a code.

The first part of a complex three-part form (exposition, 1-68 vols.), Which itself is also the first part of a complex three-part form, is written in a simple three-part form (1-20 vols.). Its first part (1-8 vols.) Is a one-tone square period of two sentences of repeated construction. The melodic line of the period is very graceful, contains a dotted rhythm (like squats), the scale-thematic structure of both sentences is summation. The theme is predominantly diatonic, only in the final cadet appears "flirtatious"IV. In the accompaniment, pulsation of eighth durations over chord sounds.

The second part of a simple three-part form (9-12 volumes) develops the thematic elements of the first part. AffectedIV andIII steps.

After the half cadence, there is a reprise of a simple three-part form (13-20 vols.). The melodic line varied in the zone of the final cadence is given an octave higher.

The second part of the complex three-part form (21-47 volumes) is a trio with two independent sections. One could see in the trio a simple two-part non-repertoire form, but the material of the parts is too heterogeneous.

The first section (21-28 vols.) Is in the form of a square modulating tonalityIIdur steps (A- dur) a period of two sentences of re-construction. The first section begins in the main key. Tertz moves in the high register are accompanied by an ascending gamma-like movement in the lower voice, in the second sentence the voices are reversed.

The second section (28-36 vols.) Runs in the tonality of the dominant. An atmosphere of carefree fun reigns here. You can hear a folk tune in the music. The playful, unpretentious melody is accompanied by alberti bass on the dominant organ point (the organ point is removed only in front of the bunch).

The purpose of the bundle (36-47 volumes) is a smooth translation into a reprise of a complex three-part form. In conjunction, the motivational development of the first section of the trio turns into cadence on the dominant organ point to the main key.

Reprise of a complex three-part form, accurate (48-67 vols.).

The second part of the complex three-part form of the minuet is a trio (68-87 vols.). It is harmoniously open. Starts inC- dur... Developing as a period of two sentences of re-structure, it contains a link to the reprise. The topic is polymotive. "Fanfare" against the background of the octave moves of the accompaniment alternate with the ascending sequencing of the canable phrases.

After the link, where the modulation into the main key is performed, a reprise and coda of a complex three-part form follow (88-107 vols., 108-120 vols.). The reprise is shortened. All that remains is an exact repetition of the exposure (the first part) of a complex three-part form.

Code on the exposition material. It contains motivational development, deviations in the subdominant sphere. Ends with the statement of tonic and joyful dance mood.

Note that due to the specificity of the form, it is possible to catch the signs of a "simple" rondo. The first part of a complex three-part form (1-20 vols.) Can be considered as a refrain. The second part of a complex three-part form (which itself is the first part of a complex three-part form), therefore, will act as the first episode (21-47 vols.). And the "C major" trio (68-87 vols.) Will be the second episode.

The structural analysis of the Twentieth Piano Sonata allows one to get closer to understanding the logic of Beethoven's composer's thinking, to understand the role of the composer as a reformer of the piano sonata genre. This area was the "creative laboratory" of L. Beethoven, each sonata has its own unique artistic appearance. Two-part sonata op. 49Nr... 2 L. Beethoven is unusually inspired and poetic, as if covered with warmth and warmed by the radiant sun.

List of references

Alschwang A. Ludwig van Beethoven. M., 1977

Mazel L. The structure of musical works. M., 1979

Protopopov V.V. Beethoven's principles of musical form. M., 1970

Kholopova V. Analysis of musical forms. "Doe", M., 2001

Various interpretations of the sonata form in the work of the Viennese classics: one-theme (with an orientation towards the baroque prototype) sonata form in Haydn, multi-theme - in Mozart, dramatically built, with a through development - in Beethoven.

1. The sonata form of the Viennese classics. Section structure. Introduction(not necessary). The main types 1) preparation of a sonata Allegro by means of shading, often modal contrast (symphonies by J. Haydn);

2) anticipation of the thematism of the sonata Allegro (L. Beethoven. Sonata No. 8);

3) in romantic music - an independent theme participating in the development (symphonies by P. Tchaikovsky. Unfinished symphony by F. Schubert).

Exposition.The main part is the main idea of \u200b\u200bthe composition, an impulse for further development. Contrast (. Sonata No. 14, Part 1 K.457; L. Beethoven. Sonata No. 5, Part 1) and "homogeneous main theme (L. Beethoven. Sonata No. 1). Anticipation by intrathematic contrast in the main theme of contrast within the exposition and cycle. Key - basic (deviations are possible, but not modulation). Possibly unstable ending (L. Beethoven. Sonata No. 1, Part 1). Form - more often a period (Sonata No. 7, Part 1, K.309) or a large proposal (L. Beethoven. Sonata No. 1, Part 1.) In the finale, a simple form is possible (. Symphony in g-minor No. 40, К.550).

The connecting party. The main function is the transition from the main topic to the secondary one, its preparation. In tonal-harmonic terms - move (modulation from the main key to the secondary one, deviations, sequences are possible); structurally, there are three stages: addition to an equal theme, transition, prediction to the tonality of a secondary theme; in the thematic - the development of elements of the main theme, the preparation of secondary, general forms of movement, sometimes an independent theme (the so-called "intermediate" -. Sonatas No. 12, K.332; No. 14, K.457; No. 16, K.570, the first parts ). Some stages of the connecting theme may be absent, as sometimes the connecting theme as a whole (in some of Haydn and Mozart's sonatas, where the dominant to the main key, with which the main theme is tempered, is equated to the tonic of the secondary key - "metric modulation"; also - with a short connecting , which is an addition with an ending on the dominant: see, for example, Mozart's sonatas No. 1, К.279; No. 15, К.545, first parts).

The side part is the main figurative, thematic and tonal contrast. Structurally, it is a “loose” type of construction in comparison with the “solid” type of the main theme (“fest” and “locker” - solid and loose, A. Schoenberg's terms). Thematic relationship between the main and secondary themes is the principle of derived contrast. In the early samples, a side theme on the material of the main one is the baroque type of monotonousness (J. Haydn. Symphony Es-dur “with tremolo timpani”, No. 000; Sonata No. 16, К.570). Sometimes two (or more) themes in the side part, performing different functions (Sonata No. 18, К.533 / 491, chL). The tonal ratio of the secondary and the main one: dominant direction, in major - the tonality of the V degree, in the minor - a parallel tonality or - less often - the tonality of the minor dominant (L. Beethoven. Sonata for violin and piano No. 9, "Kreutzerov"; Sonata No. 17 , first parts). Beethoven has variants of the same name to typical related tonalities (sonatas no. 8-c-es; no. 21-c-e, first movements); in his later works, there are thirds ratios anticipating romantics (Symphony No. 9: d-B; Sonata No. 29: B-G, first movements). The form in the side batch is a period, usually with a large expansion. The turning point (shift) in the side part (L. Beethoven. Sonatas No. 5, part 1; No. 23, part 1).

The final batch. Harmonically and structurally - a series of additions, cadence turns. In the thematic: on the material of the main theme (. Symphony No. 40, g-moll, К.550, part II, on the material of the side theme (F. Schubert. Unfinished Symphony, part II), a new theme (. Sonata No. 14, К.457 , part 1); also in the case of building the main and secondary on the same topic). Several (two or three) concluding topics are possible, with increasing signs of conclusiveness.

Development -part dedicated to development. In a thematic sense - the use of various themes of the exposition, their transformation, fragmentation, polyphonic combination, and polyphonic techniques in general. Episodic theme (Sonata No. 12, K.332, part 1) or a more detailed episode in development (L. Beethoven. Symphony No. 3, part 1). In many samples - the sequence of sections is similar to the exposition (the so-called "developed exposition", the prototype is a baroque sonata form, for example: L. Beethoven. Sonata No. 1, 4.1; P. Tchaikovsky. Sixth Symphony, Part 1). In tonal terms - avoidance of exposure tonalities (movement towards subdominant or distant tonalities), predominance of tonal-harmonic instability, sequencing (in later samples, sequencing of large sections - the so-called "parallel movements"). In a close-up - three sections: introductory (starts from the end or the beginning of the exposition), the actual development (the most extensive), the background to the reprise. In mature samples - perhaps several sections with their own culminations ("waves" in the development of symphonies and some of Beethoven's sonatas).

Reprise.The main part - its dynamization is possible, sometimes - the coincidence of the culmination of the development and the beginning of the reprise - a feature leading to romanticism (L. Beethoven. Symphonies No. 5, 9, first movements). It is possible to rework the main theme, its openness (Sonata No. 7, K.309, part 1).

The connecting part - typical changes in accordance with the change in the tonal plan in the recap.

The side part - as in the rest of the final theme - is a transposition into the main key (or, in later samples, a convergence with the main key). In minor cycles - with a major side theme in the exposition, in a reprise - changing the scale from major to minor (Symphony in g-minor, No. 40, K.550; Sonata No. 14, K.457) or keeping the major scale with a further change in the final part (L. Beethoven. Symphony No. 5, part 1). Resolution of the main conflict and approval of the main tonality and main idea (subordination of the secondary theme to the main one) Typical of Beethoven code(in Mozart - less often, for example: Sonata No. 14, К.457). Expanded codes in symphonies and some of Beethoven's sonatas, possibly reflecting the main stages of development ("second development"). Code sections: volatile section and the actual code.

ABOUT special forms of reprise:

a) omission of the main theme - a reflection of the principles of the baroque sonata form (one-dark sonata forms in Haydn). Rarely found subdominant reprises are associated with the same - baroque - roots (carrying out the main theme in a subdominant tonality: Sonata No. 15, К.545, part 1);

b) skipping a side theme (rarely - Overture to the opera "Idomeneo");

c) a mirror reprise (Sonata No. 9, К.311, part 1).

2. Sonata form in the music of romantics: expansion of the genre sphere of thematism, deepening of the contrast between themes and sections of the form, juxtaposition instead of derivative contrast, new tonal relationships of the main and secondary parts, closed forms of themes, isolation of the sections of the main and secondary parts, up to tempo. "Plotness", "eventfulness" as the basis of drama, dynamization of reprises, merging of development with reprise (F. Chopin, first movements of sonatas in b-minor and h-minor; F. Schubert, sonatas for piano B-dur, part 1, " Arpeggion ", 4.1; R. Schumann. Piano sonata fis-moll, part 1, piano quintet, part 1; P. Tchaikovsky. Grand piano sonata, part 1.

Piano Sonatas No. 9, 15, 16, 23, first movements. Piano Sonata fis-moll, part 1. Sonata for cello and piano, part 1. Piano Quintet, Final.

Required literature:

ABOUTvariability of the functions of the musical form. - M., 1970. Kyureghian T.Form in Music of the 17th-20th Centuries. - M., 1998.-4.1, ch.5. Beethoven's later sonatas // Questions of musical form. - M., 1966.-Issue. one.

The structure of musical works. - M., 1986.-Ch.11. Forms of musical works.- M., 1999.- Ch.9, topic 5; Chapter 10, topic 2.

Topic 20. Special varieties and modifications of the sonata form

1. Sonata form without elaboration(in the old terminology - sonatina). Scope of application - opera overtures and slow parts of sonata-symphonic cyclops. Lack of noticeable contrasts and intense development. The lack of elaboration is sometimes compensated by the varied presentation of topics in the reprise. Between the exposure and the reprise, a link (move) is possible, sometimes of a developmental nature. The final game is short or may be absent altogether. Quite often the code, sometimes with the repetition of the main theme (round-shaped rhythm, a tendency towards a double three-part form: Sonata No. 98, K.311, R.2). Proximity to the second form of rondo (po) or the form of Adagio.

2.Sonata form with episode instead of development.Scope of application - finals of sonata-symphonic cycles, sometimes slow parts. The resemblance to a trio of a complex three-part form or the central episode of a rondo sonata (L. Beethoven. Sonata No. 1, finale) or an episode of a complex three-part form (L. Beethoven. Sonata No. 7, part 2). The code can reflect the episode. Distinguishing an episode instead of a development episode from a development episode.

3.Sonata form with double exposure.Scope of application - mainly the first movements of classical instrumental concerts. Difference from the old - the concert form of the Baroque era. The origin is the introduction to the concert and the traditional repetition of the exposition in the Allegro sonata. Determination of the form by the genre of the concert: competition between soloist and orchestra, alternation of tutti and solo. The difference between the two expositions: textured (orchestra, tutti - soloist - orchestra); tonal-harmonic (ending of 1 exposure in the main key, I - in the secondary key of the dominant or parallel); thematic (sometimes regrouping of themes in the II exposition, the possibility of new themes emerging - Concerto for piano and orchestra №20, d-moll, part 1, К.466; Concerto for clarinet and orchestra, К.622, part 1). Organization of the entire form of the first movement of the concert based on the principle of contrast tutti and solo (second tutti,

orchestral performance on the verge of exposure and development; solo cadence before coda; tutti in the code, echoing the second tutti).

Piano Sonata No. 17, slow movement. Overture to the drama "Rosamund".

The first parts of the concerts by F. Mendelssohn, I. Brahms, E. Grieg, P. Tchaikovsky.

Required literature:

Forms of Musical Works.- SPb, 1999.- Ch. 9, topic 4.

Additional literature:

Special displays in 19th century sonata form. - SPb., 1999.

Theme 21. Rondo Sonata

Rondo Sonata as a Synthesis of Form-Making Different in Nature

principles: rondo, based on folk song and dance genres, and sonatas as a form of professional musical art. Sufficient typicality and regulation of the form, which does not allow attributing it to mixed forms.

The general character of the classical rondo sonata is often light, movement at a brisk pace, mainly based on the genre features of rondo: dance-round dance, scherzo thematism, “circular” intonations, often virtuosity. Completeness of topics and sections, a single metro-rhythmic pulsation, often a major scale.

The dual structure of form: the rondo sonata as a fundamental transformation sonata form(violation of the tonal plan of the sonata exposition due to the appearance at the end of its main part in the main key). Rondo Sonata as a special variety rondo(violation of the principle of thematic update in each episode due to the thematic identity of the first and last episodes). In general, the rondo sonata is more similar to the rondo form than the sonata.

The structure of the rondo sonata:rondo with three (or more) episodes, refrain - the main part according to the type of the central section of the form - two main types of rondo sonata: sharpening of features rondoin the case of a thematically independent, structured second episode (L. Beethoven. Sonata No. 2, finale); approaching sonata formin case the second episode is development (L. Beethoven. Sopata No. 11, final).

Refrain form: often a simple two - or three-part (L. Beethoven. Sonata No. 2, finale; Violin Concerto, finale).

Variety of performances of the refrain are possible (Sonata No. 3, B major, К.281, finale). Sometimes a skip of a refrain in a reprise of a rondo sonata, leading to the appearance of a mirror reprise (. Sonata No. 14, c-moU, K.457, finale) or between episodes in the central section of the form (. Sonata No. 13 B-major, K.333, the final). The presence of a ligament (linking party) between the refrain andthe first episode (side part), where modulation takes place in the key of the dominant. Usually there is no connection between the refrain and the second episode.

Fret renewal in the central episode (parallel, same-named keys: L. Beethoven. Violin concerto, finale; sonata for piano No. 2, finale). Often - coda (L. Beethoven. Sonata No. 2, finale).

Scope of applicationrondo sonatas - most often in the finals of sonata-symphonic cycles, less often in other parts.

Stylish varieties of the form: Haydn -one-theme rondo sonata (symphony no. 99, finale); at Mozart -rondo sonata with several episodes (sonata no. 3, K.28I, finale).

Piano Sonata B-dur K.533 / 494, finale. AND -Piano Sonata F-dur K.533, finale. BeethovenJI. Concerto for piano and orchestra No. 5, finale. Beethoven L,Piano Sonata No. 4, finale.

Required literature:

Form in music of the 16th-20th centuries. - M., 1998. Kholopova V.Forms of musical works. - SPb., 1999. - Ch. Z, 7.

Additional literature:

Subject 22. Sonata-symphonine cycle

Origin, connection with and difference from baroque cycles. Stabilization of the sonata-symphonic cycle in the second half of the 18th century; a certain number (3-4) and functions of the parts (active motor first part, contemplative lyric - the second, genre-dance third and synthesizing all the main tendencies in the cycle finale). The number of parts - depending on the genre; 4 - in symphonies, quartets, quintets (and other chamber ensembles, except trios), 3 - in concerts in sonatas. The contrast of the parts is figurative and thematic (“jump with filling”) and the final unity. Preference for certain forms: in the first movement - sonata form (sometimes variations); second movement - any kind of sonata form, complex three-part with an episode, Adagio-form, variations, rondo; the third movement is a difficult three-part with a trio; fourth movement - sonata form, rondo, rondo sonata, variations. The possibility of the existence of a sonata cycle without a sonata form (Sonata No. 11; L. Beethoven. Sonata No. 12). The tonal ratio of the parts (traditionally - all parts, except for the slow one, are in the main key: connection with the Baroque sonata cycle). Thematic connections and cross-cutting development in the sonata-symphonic cycle - in mature and late samples (. Symphony in g-minor No. 40, K.550; L. Beethoven. Symphony No. 5 and 9). Departure from the traditional structure of the sonata-symphonic cycle: in the order of parts, the exchange of places of the slow part and the scherzo (L. Beethoven. Symphony No. 9; A. Borodin. Symphony No. I), their character, number (Beethoven's late quartets), tonal plans ( Haydn, late Beethoven) - an anticipation of romanticism.

Required literature:

Form in Music of the 17th-20th Centuries. - M., 19, ch. 7. Additional literature:

Topic 23.Free forms of the era of romanticism

New genres in connection with programmatic, "literary", "eventful" (ballads, poems, etc.). Increased contrast, increased scale of forms. The principle of monothematicism, the dynamic nature of development. Synthesis of cyclicity and one-part. Expansion, completeness of the exposition sections; compression, dynamization of the final sections (acceleration of development towards the end, compression of recapitulations. The principle "from fragmentation to unity"). Synthetic reprise.

The leading role of sonata, its synthesis with variability, rondality, cyclicity.

Sonata and cyclicality (merging of the cycle into a one-part continuous-cyclic composition - F. Schubert. Fantasy "Wanderer"; F. Liszt. Sonata h-moll). Symphonic poems by R. Strauss, concerts by Liszt, Rimsky-Korsakov, Glazunov.

Sonata and Variation - F. Liszt. "Spanish Rhapsody", M. Balakirev. Islamey.

Combination of different principles in one form (sonata, variability, concentricity (F. Liszt. Tarantella "Venice and Naples"). Suite as the basis of a continuous cycle (N. Rimsky-Korsakov. Fantasy for violin and orchestra on themes from the opera "Golden Cockerel") Rondified forms (W. Zuckerman; F. Chopin. Ballad in f-moll).

Genre genesis of the form and its impact on the concrete result of "mixing" (F. Liszt. Mephisto-waltz, a complex three-part form with a trio, transformed into a sonata form without elaboration).

Mixed forms as a reflection of the increased role of the process-dynamic factor in the music of romantics. Compositional deviation (F. Chopin. Scherzo No. 2). Compositional modulation (F. Chopin. Scherzo No. 3), ellipse (F. Chopin. Scherzo No. 4. Individualized forms on this basis (F. Chopin. Polonaise-fantasy As-dur).

Spanish Rhapsody; Hungarian Rhapsody No. 6. Concerto for violin and orchestra. Barcarole.

Mandatory literature:

Forms in music of the XVI1-XX centuries. - M., 1998, ch. 7,

Forms of musical works.-M, 1999. - Ch.10.

SectionIV Forms in musicXX century

Topic 24. General characteristics of forms in musicXX in. Chromatic tone and form. Center technique

1. General characteristics of forms in the music of the XX century. New content - new musical material - new (updated) forms. Spiritual and aesthetic foundations of the renewal of the musical language and, as a consequence, of musical forms. Coexistence in the formation of different trends and their gradual change: the prevailing orientation towards typical tonal forms in the first half of the 20th century (Myaskovsky, Prokofiev, Shostakovich, Khachaturian, Khmndemit, Ravel, Honegger, etc.) and the famous strengthening of the individualization of forms (according to which the construction is composed for of each work anew, as previously composed, for example, thematism) in the second half of the XX century.

Musical warehouse;new varieties: pointillism (based on an indefinitely large number of "dotted voices" without continuation) and sonoric monody (in which formally a large number of voices form a single layer, indivisible by ear); serial polyphony (the specificity of which is associated with the autonomization of the altitude and rhythmic parameters, which implies the possibility of only high-altitude and only rhythmic imitations, canons, the coexistence of two levels of counterpoint - serial and motive-thematic proper) and polyphony of layers (when the object of polyphonic combinations becomes a "line" thickened by many voices); aleatory gsterophony (resulting from a mobile combination of several voices-variants); the concept of combining several voices-options); the concept of a diagonal warehouse (as a result of a new ratio of vertical and horizontal, their gradual overflow).

Pitch; multiplicity of systems: chromatic tonality (with its inherent fundamental possibility of twelve-pitchedness, unlimited expansion of the chord, often increased dissonance); center technique (as another logical stage in the evolution of tonality, at which the functional relations of tonal harmony are "modeled" exclusively by dissonant components, and the entire system is built individually, according to the structure of its "central element" (Yu. Kholopov); neo-modality (with its traditional reliance on stability scale, but with an endless increase in the number of scales used); seriality and its main, dodekaphonic variety (as a result of the gradual degeneration of the late tonality and new modality); sonorics (in which the coloristic tendencies of the 20th century harmony reach their limit, resulting in the dissolution of pitch in a single colorful sonority) Non-regulation of musical material as a consequence of the multiplicity of high-altitude systems Creation of individual functional relationships based on non-regulated material Functional method of analysis.

Metro rhythm.Coexistence and interaction of different types of rhythm; rhythmics are accent and non-accent, regular and irregular (according to V. Kholopova) in any combination. Strengthening the role of metro-rhythm in shaping. The tendency towards an autonomous role of the metro-rhythm in the form, up to the creation of special, primarily rhythmic in their essence forms.

Thematicism.Reconsideration of thematicism (as the focus of the individual principle) following the spread of the individual sphere to practically all parameters of music (including rhythm, texture, timbre); the emergence as a result (in addition to the traditional melodic) of textured, timbre, rhythmic thematism.

The concept of composition technique as a complex phenomenon, where the central place belongs to the method of sound-pitch organization, but which is indirectly related to other aspects of music (metro rhythm, warehouse, texture, etc.). The influence of the composition technique on the appearance of the form. The general division of forms into: a) preserving the old structural types, but modified by means of the new compositional technique and b) not preserving, that is, individually created anew in each work.

2. Chromatic tone and form.The predominant connection of this technique with traditional types of forms. The properties of chromatic tonality (dissonance, twelve-pitchedness, separation of the chord's function from its traditional structure) as a basis for rethinking the ways of creating a functional relief of the form .. New qualities of expositional and developmental presentation, depending on the choice of a specific harmonic language (in particular: the specificity of cadances in the period and sentence ; construction of moves in rondo, taking into account individual systems of tonal relationship, determined by the specific properties of a given tonal system; means of creating developmental instability in conditions of prevailing dissonance). Harmonious features of a typical form, made by means of a new tonality, by different authors. Demonstration on the example of Prokofiev's music (demonstration of the principle of functioning of small forms in plays from "Fleetingness": No. 1.5, 10, rondo - on the example of a piece from the ballet "Romeo and Juliet" - "Juliet the Girl", sonata form - on the example of the first parts of piano sonatas No. 5, 6, 7), Shostakovich and other authors.

3. Center technology,representing a natural stage in the evolution of tonality; as a consequence, the dominant orientation of the forms associated with the center's technique towards the classic-romantic (that is, generated by tonality) types. The principle of technology (the central element of a non-traditional structure projecting its properties onto side elements; the formation of a system of relations between elements according to the properties of the central element), which presupposes obviously individual ways of recreating the traditional functions of typical forms. "Scriabin's mode" (in the music of the late period of the composer's work) as one of the incarnations of the center technique ("domino-like" with a tritone chord as the center of the system; its reconstruction at a different height, exact or modified, as derived elements; contrasting elements of another structure). Change in altitude as a parallel to change in key. The system of kinship arising from the structure of the central element (according to which the chords are closest at a tritone distance, as having the maximum sound coincidences, and the least at a fourth distance). A certain limitation of the dynamic capabilities of the "Scriabin's mode" (which sometimes are no longer enough to create the level of tension inherent in the development of a sonata form). Demonstration of the action of the technique of the center of this type on the example of the late works of A. Scriabin (for example: a simple three-part form in the prelude op. 67, a small rondo one-dark three-part form in the play "Dark Flame" op. 73 No. 2, the sonata form - in the Poem Nocturne op .61).

Required literature:

Form in Music of the 17th-20th Centuries. - M., 1998. - nie. Chapter 15.

Theoretical foundations of polyphony of the XX century. - M., 1994. Musical composition of the XX century: dialectics of creativity. - M., 1992.

XX century. Foreign music. Essays. Documents. - M., 1995. - Issue 1-2.

25. Neo-modality and form. Seriality and form. Serialiost and form

1.Neo-modality and form.The variety of modes of the new modality, among which, in addition to the traditional diatonic ones, there are various chromatic ones: in particular, “Shostakovich's modes”, symmetrical “Messiap's modes”, etc. Interaction of modality and tonality. Coexistence and mutual influence of the functionality of the tonal type (first of all, vertical-harmonic) and modal (first of all, linear-melodic) type. The implementation of a new modality (historically associated with monody and polyphony) in different types of musical makeup (including those that have lost connection with the melodic line), in conditions of different rhythms (including accent, which was not typical of modality from the beginning). Possibility of different types of thematicism in a new modality (in addition to the traditional melodic), in particular, textured. The admissibility of applying a new modality to forms of the classic-romantic type and having a different, historically more traditional for modality, orientation (for example, lowercase forms of znamenny chant, Gregorian sequence, motet of the 16th century).

Methods for constructing a typical form by modal means; gradual expansion of the scale as a method of development; a change in the altitude position of the scale or a change in mode, partially compensating for the lack of tonal-functional development. Relaxed modal functionality and its reflection in the relaxed functions of parts of the musical form. Low dynamic level of modal form. Demonstration on the example of the works of C. Debussy (for example, an example of a modal simple three-part form - "Shepherd's Tune" from the III picture of the ballet "Box with toys"), B. Bartok (example of a modal rondo - "Reflections" from the piano cycle "Microcosm"), O. Messiaen (a sample of the modal sonata form - the piano prelude "Reflection in the Wind") and other composers.

2. Seriality and form.The principle of serial organization: removing the entire musical fabric from the succession of non-repeating sounds of the series. Genesis of technology; 12-sound rows and fields as preforms of dodecaphony. The acquisition of serial technology as a means of communication in a large whole (instead of the lost connecting role of tonality). Series as a borderline phenomenon between the spheres of modal (analogue of a stable scale) and thematic (source of motives). The series is an intonational extract of the composition, to a certain extent “programming” the structure of the form. Principle of work with the series: 4 main forms - initial, or prima (abbreviated - P or O), inversion (I), roach (R), roach inversion (RI) and their transpositions; quart, quint, triton mutations, permutation, rotation, counter-rotation, interpolation, selection. The presentation of the series is single-track and multi-track (parallel carrying out of two or more serial rows in different voices). Polyseries (construction of a form based on two or more different series is rare). Basic norms of serial writing.

Warehouse and invoice in serial composition. With their considerable diversity, they are naturally inclined towards polyphony (of a special kind). Serial harmony, directly dependent on the interval content of the series, but also on the methods of "unfolding" the serial fabric (linear melodic or chordal harmonic based on one serial series or by combining different serial series). Thematicism. A fundamental gravitation towards traditional melodic thematicism, but at the same time the possibility of applying serial technique to a different kind of thematicism - textured, even sonorous. A special thematic richness of the serial fabric, almost abolishing the opposition of theme and general forms of movement.

Recreation of the functions of parts of a traditional musical form by serial means. Differentiation of the serial series used in the form of main and secondary (similar to the main and secondary functions in tonal harmony). Transposition of a series as an analogue of a key change. Serial relationship principle; dependence of the kinship system (based on common sound elements) on the structure of the series. "Layering" of the serial form; a combination in it (according to S. Kurbatskaya) of three plans, three systems of repetition: homophonic, polyphonic, and actually serial. Demonstration of the principles of the serial form on the example of the music of A. Webern (Concerto for Orchestra Op. 24: the second part is a simple three-part form, the third part is a small rondo, the first part is a sonata form), L. Schnittke (Sonata No. 1 for violin and piano but), R. Shchedrin ("Horizontal and Vertical" from "Polyphonic Notebook" for piano), etc.

3. Seriality and form.The principle of seriality: the extension of serial organization to different parameters of music. Series of dynamics, rhythm, timbre, articulation. A series of different parameters, interconnected by a common principle and independent of each other. Technological radicalism; its low compatibility with traditional types of forms; individual serial forms. Demonstration on the example of music by A. Pärt (Second Symphony), A. Schnittke ("Pianissimo") and others.

"Russian" from the ballet "Petrushka". Variations for violin and piano. Children's piece for piano. StravinskyI'm an Elegy by J.F.K. for voice and instrumental ensemble.

Required literature:

Form in Music of the 17th-20th Centuries. - M., 1998. - Ch. Z, Ch. b-7. Musical language technique. - M., 1994. Serial music: questions of history, theory, aesthetics. -M., 1996. Neo-modality and musical form // Musical art of the XX century: Creative process. Artistic phenomena. Theoretical concepts. - M., 1992.

Seriality and form:

Schoenberg is dead // Music. Peace. Being. - M., 1995. Dodecaphony and tonality // Philip Gershkovich on music. - M., 1991.

Exercises in counterpoint based on the twelve-tone technique // Musical art of the XX century: Creative process. Artistic phenomena. Theoretical concepts. - M., 1992. Who invented the twelve-tone technique? // Problems of the history of Austro-German music. Sat. Proceedings of the GMPI them. Gnesins. - M., 1983.-Issue 70. Music by Webern. - M, 1999.

Tonality and form:

Pierre Boulez as a theorist // The crisis of bourgeois culture and music. -M., 1983.-Bbin.4-

Pierre Boulez: theoretical concepts of tonal seriality and limited aleatorics // Modern foreign musical-theoretical systems. Sat. Proceedings of the GMPI them. Gnesins. - M., 1989.-Bbin. 105.

To the analysis of Pierre Boulez's Third Piano Sonata // Musical Art of the XX century. - M, 1995. - Issue 2. Rhythmic progressions and series // Problems of musical rhythm. - M., 1978.

Towards a single field of sound: Nr.2 Karlheinz Stockhausen // Musical art of the XX century. - M., 1995. - Issue 2.

Topic 26. Sonorica and form. Aleatorics and form1. Sonorica and form. Sonorous principle: high-altitude-undifferentiated colorful sonorities as the original musical material. Two types of sonor material: a) based on sounds of a certain pitch and traditional timbres (classical instrumentation or human voices); b) on the basis of sounds of an indefinite pitch, noises produced in any way (including with the participation of classical instruments) and unconventional timbres. Sonorous monody and sonoric polyphony (polyphony of layers), also aleatory heterophony, are the predominant types of warehouse. Micropolyphony as a means of creating internally mobile, but generally homogeneous sound masses. Features of the rhythm with its tendency towards chronometry; displacement of the traditional metro-rhythmic measurement by the "close-up rhythm". Types of sonors (according to A. Maklygin): point, placer, spot, line, strip, or thickened line, stream.

The opposite in comparison with the classical logic of sonor construction, which is based on the movement not from small to large (from motive to theme and further), but, on the contrary, from the idea of \u200b\u200ba volumetric and extended in time sound object to a more or less detailed drawing of it. Modification of the original sonority as a means of developing parts. Form articulation by changing paint. Smoothness and gradualness in the accumulation of a new quality. "Anti-classical" essence of the form: concentration on the sensory perception of a given moment, the prevailing static form and the contemplation of its perception associated with this. Demonstration on the example of music by Y. Slonimsky ("Coloristic fantasy" for piano, rond-shaped form), K. Pepderetsky ("Tren in memory of the victims of Hiroshima", outer contours of the sonata form), D. Ligeti ("Lontano" for orchestra, multi-part composition form), etc.

2. Aleatorics and form.Aleatory principle: flexible coordination of parts and structure elements. Appeal to aleatorics as a reaction to the overorganization of the music of the series Allowing elements of chance in the composition (P. Boulez's article declaring a new aesthetics is called "Alea" - a dice). Possibility of applying aleatorics to musical material, organized by means of different techniques modal, serial, sonor. Grades of freedom (according to E. Denisov): a) the shape is stable - the tissue is mobile, b) the shape is mobile - the tissue is stable, c) the shape is mobile, the tissue is mobile. A complete rethinking of the concept of form (in comparison with the classical one) in the last two cases, the rejection of its original assignment. "Group technique" (K. Stockhausen) as a method of realizing the second possibility (the tissue is stable - the form is mobile). Demonstration on the example of a piano piece by K. Serotsky "A piacere". Stockhausen's “intuitive” music (with its collective improvisation under the influence of the author's verbal suggestion) as a reflection of the third, highest level of aleatory freedom (the form is mobile - the fabric is mobile). A fundamental change in the traditional correlation "composer - performer", the most modern concept of "work" and moreover - the social role and meaning of music.

Required literature:

Kyureghian T.Form in Music of the 17th-20th Centuries. - M, 1998. Part Z, Ch. 18. Textured forms of sonor music // Laudamus. - M, 1992. Stable and mobile elements of musical form and their interaction // Theoretical problems of musical forms and genres. - M., 1971.

Additional literature:

Sonorica and form:

Kudryashov YuCatechism of the theory of the sonor mode // Problems of Musicology. Aspects of theoretical musicology. LGITMiK them. ... - М „1989. Issue 2.

Kurbatskaya S, Pierre Boulez. Edison Denisov. Analytical essays. - M., 1998.

D. Ligeti. Personality and creativity. / Comp. Yu. Kreinin. - M., 1993. The sonoristic and coloristic tendency in the harmony of Russian and Soviet composers // Problems of stylistic renewal in Russian classical and Soviet music. - M., 1983.

Instrumental works of K. Penderetsky in the early 60s // Problems of music of the XX century. - Gorky, 1977.

Aleatorics and form:

Aleatoric VLutoslawski and features of its use in the Second Symphony // Problems of Music of the XX century. - Gorky, 1977. "Plus-Minus" K. Stockhausen: symbol and sound // Musical culture in the Federal Republic of Germany. Symposium.-L., 199O.-Kassl, 1994.

Topic 27. Form in electronic music. Specific music. Polystylistics and form

1. Form in electronic music.Specificity of material in electronic music. Various ways of obtaining and existence of electronic sound; the variety of its characteristics. The fundamental possibility of reproducing old material and form by electronic means. Great prospects of searching for new sounds and ways of their design: expanding the boundaries of the material and searching for the appropriate form; also and vice versa, the creation of a material corresponding to the needs of the new form. Possibility of correlation of micro and macro levels. Combination of electronic and natural sounds. Demonstration on the example of music by E. Denisov ("Birds Singing"), S. Gubaidulina ("Vivente non vivente") and others.

2. Specific music("natural" sounds recorded on tape, including those transformed with the help of electrical equipment: "Symphony for one person" by P. Schaeffer and P. Henri) as a phenomenon associated with electronics by the form of its existence (tape recording), but opposite to it, abstracted from all natural with its “raw vitality”. The organization of concrete music by elementary means (such as ostinat, reprisal, refractory, etc.), borrowed from traditional shaping.

3. Polystylistics and form.Polystylistics is a combination of heterogeneous stylistic layers in music. Aesthetic acceptability of stylistic mixtures as a reflection of the specifics of modern artistic life (with its appeal to the art of different times and peoples). Similar trends in literature, architecture, painting. Collage as akin to polystylistics, but a narrower concept. Genesis of the phenomenon. Elements of polystylistics in the first half of the 20th century (in particular, by Ives, Stravinsky). Principles of quotation, pseudo-quotation, allusion. The main methods of handling alien material: a) its gradual preparation by the entire course of development (E. Denisov. "DSCH" for a chamber ensemble); b) introduction on the principle of contrast as a means of creating a culmination (A. Pärt. Second Symphony, finale); c) the regular repeated appearance of collage inserts creating an independent purposeful line of development (A. Schnittke. Second Sonata for Violin and Piano); d) the simultaneous coexistence of the borrowed and the author's material with the overlapping and commenting role of the latter (C. Berio. Symphony for orchestra and 8 singing voices, scherzo).

Required literature:

"Singing Birds" E. Denisov: composition - graphics - performance // Light. Good. Eternity. In memory of Edison Denisov. - M., 1999. Polystylistic tendencies in contemporary music // Alfred Schnittke. - M, 1990 Additional literature:

Form in electronic music:

Electroacoustic and experimental music // Musical culture in the Federal Republic of Germany. Symposium. - L., 1990.-Kassel, 1994.

Polystylistics and form:

On the perception of elements of the style of the past in a contemporary work // Traditions of musical art and musical practice of the present.-Leningrad, 1981.

. About two types of allusions in the musical language of composers of the "new simplicity" // Musical culture in the Federal Republic of Germany. Symposium.-L., 1990. - Kassel, 1994. Contemporary music in the aspect of "new eclecticism" // Music of the XX century. Moscow Forum. - M., 1999.

Functions of quotation in musical text // Soviet music. 1975 No. 8.

Alfred Schnittke. - M., 1990. Notes on the poetics of contemporary music // Contemporary art of musical composition. Sat. Proceedings of the GMPI them. Gnesins. - M., l985.Bbin.79.

Topic 28. Tutorial technique. Individual (atypical) forms

1. Repetitive technique.Minimalism as a general aesthetic prerequisite for rehearsal technique. The components of the rehearsal technique: short melodic-rhythmic constructions, clearly metrized, with a modally interpreted tonality at the base; multiple repetition of these constructions with their fundamental functional equality; the static musical form of the whole. Properties of a static form: the identity of the elements and the whole, lack of development, convention of the beginning and end. Demonstration on the example of the music of Riley ("In C"), Pärt ("Modus"), Martynov, etc.

2. Individual (atypical) forms.Genesis of individual forms, their individual examples in the late romantic era. Individualization of shaping as the completion of the process of consistent individualization of all parameters of music. The need for taxonomy. Impossibility of unambiguous taxonomy. The principle of constructing a system of forms based on various features. Principles of existing taxonomy of forms (K. Stockhausen, Yu. Kholopov, V. Kholopova, V. Tsenova, etc.). Samples of new forms on the example of Stockhausen's music and according to his own systematics (according to three parameters, namely, the nature of the material: 1,2,3, the degree of determinism: I, II, III, the nature of development: A, B, C). Compositions differ in material: 1) "pointillistic", their material is separate tones, between which equal rights are established ("Cross play" for an instrumental ensemble); 2) "group", their material - characteristic groups of tones, between which (groups), despite the differentiation of scales and appearance, also remains equal ("Groups" for three orchestras); 3) “statistical”, their material - a set of elements organized according to the laws of large numbers, including individual tones and groups (“Measures of time” for 5 wind instruments). Compositions differ according to the degree of determinism: 1) deterministic (Pieces for keyboard 1-IV); 2) variable (V-X keyboard pieces); 3) polysemous (Piano piece XI, "Cycles" for percussion instruments). By the nature of development, compositions differ: developing, or dramatic (there are no traditional forms of the previous era, similar to Stockhausen); B) suites (a composite principle at the level of the whole, Stockhausen himself refers to Lontano by Ligeti); C) moment-forms, (the most radical rethinking of the whole concept of form, which is understood as open and undirected - decentralized or polycentric - the succession of an indefinite number of self-sufficient and self-contained moments - moments that merge with eternity: “Moments” for a soprano, four choirs groups and thirteen instruments).

Principled plurality of approaches to form in contemporary music; their irreducibility to the Stockhausen system.

Required literature:

Repetitive technique and minimalism // Music Academy. 1992. # 4.

Atypical forms in Soviet music of the 50-70s // Problems of Musical Science. - M., 1989. Issue 7.

Music of the XX century in the university course in the analysis of musical works // Contemporary music in the theoretical courses of the university. Sat. Proceedings of the GMPI them. Gnesins. - M., 1980. Issue 51. Typology of musical forms of the second half of the XX century // Problems of musical forms in theoretical courses of the university. Sat. Proceedings of the GMPI them. Gnessin, Russian State Conservatory ... - M, 1994. Issue 132. About modern taxonomy of musical forms // I. audamus. - M., 1992.

Additional literature:

Repetitive techniques and form:

"Alternative-90": the facets of minimalism. Music. Express information. - M., 1991. Issue 2. Static tonality // Laudamus. - M., 1992.

Individual (atypical) forms:

To systematize forms inmusic of the XX century // Music of the XX century. Moscow Forum. - M., 1999.

On the question of individualization of forms // Style tendencies in Soviet music of the ies.-Leningrad, 1979. Musical ideas and musical reality of Karlheinz Stockhausen // Theory and practice of modern bourgeois culture: problems of criticism. Sat. Proceedings of the GMPI them. Gnesins. - M., 1987. Issue 94. Musical-theoretical system of K. Stockhausen. - M., 1990.

Sample exam questions

1. The essence of music as an art form

2. Music genre

3. Musical style

4. Expressive means of music. Melody

6. Warehouse and invoice

7. Tsmatism. Thematic development. Functions of parts of a musical form

8. Baroque instrumental forms

9. Form of the classical period

10 simple shapes

11. Complex shapes

12. Variations. Types of variations.

13. The shape of the classic rondo

14.Classical sonata form. Exposition structure

15. Development in a classical sonata form

16.Various types of reprise in classical sonata form. Code

17 special varieties of sonata form

18 Rondo Sonata Form

19.Sonata-symphonic cycle

20.Free forms of romantics

21. General characteristics of the forms of the XX century. Chromatic tonality. The center's technique (serial production, sonorics, aleatorics and forms of the 20th century).

1. Chromatic fantasy and fugue

2.B ah I.S.Clavier Concerto in D minor, 1 movement

3. BeethovenL. Piano Concerto No. 4, 1 movement and finale

4. Sonata No. 9, part 2

5. Variations for Piano in F Major

6.P rokofievC. Five pieces from the ballet "Cinderella" for violin and piano. Waltz, mazurka

7. Quartet No. 3, slow movement

8. Violin Concerto, Passacaglia

Sample samples of exam tickets:

Option I

1.The rondo form and the baroque concert form

2. Thematicism. Thematic development. Functions of parts of a musical form

3. Beethoven, sonata no. 25, finale

Option II

1.Classical sonata form. Exposition structure

2. Music genre

3.Prokofiev, violin concerto No. 2, slow movement

LITERATURE

Required literature:

Analysis of musical works. Rondo in 20th century music. - M, 1996.

Form in Music of the 17th-20th Centuries. - M., 1998.

Musical style and genre. History and modernity. - M., 1990.

On the patterns and means of artistic influence of music. - M., 1976.

The intonational form of music. - M, 1993. The technique of my musical language. - M, 1994.

Repetitive technique and minimalism // Music Academy. 1992 No. 4.

Skrebkov-Texture in music. - M. 1985. Musical form. - M.-Ya, 1980.

Forms of musical works. - SPb., 1999.

Analysis of musical works. Variational form. - M, 1974.

Polystylistic tendencies in contemporary music // Alfred Schnittke. - M., 1990.

Additional literature:

Dyachkova L.Harmony in XX century music. - M., 1994. Formation of the sonata form in the pre-classical era // Questions of the musical form. - M., 1972. Issue 2. Stravinsky's polyphonic thinking. - M., 1980. Rhetoric and Western European music of the 17th-first half of the 19th century: principles, techniques. - M., 1983.

Period, meter, form // Music Academy, 1996. №1.

Fundamentals of Musical Analysis. - M., 2000. Plot drama of Beethoven's symphony (fifth and ninth symphonies) // Beethoven. - M., 1972. Issue 2.

Musical composition of the XX century: dialectics of creativity. - M.1992.

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A holistic analysis of the content and form of the Sonata Op. 31 No. 2 in D minor (No. 17)

Piano Sonata in D minor, op. 31 No. 2, was written by L. van Beethoven in 1802, together with sonatas No. 16 and No. 18. Unofficial titles: "The Tempest", "Sonata with Recitative", "Shakespeare's Sonata". It is believed that Sonata No. 17 is a psychological portrait of the composer himself. Unlike other sonatas, it is performed without dedication. 1802 is a period of tragic reflections, dark feelings, thoughts of suicide due to deafness, the collapse of hopes for personal happiness. It was in 1802 that the composer wrote the famous "Heiligenstadt testament" (see Appendix 1). After the death of L. van Beethoven, several documents were found in a secret drawer of his closet, to which he apparently attached particular importance. One of these documents was a piercing letter he wrote in October 1802 in the village of Geiligenstadt near Vienna and called the "Heiligenstadt Testament."

The dramatic outlook appeared in the seventeenth sonata not only in the figurative and intonation plan, but also in the freer, improvisational logic of constructing the musical form, the through development of thematicism. This sonata continues the line of sonatas-fantasies with intense lyric-dramatic development, therefore there are no clear cadences between the sections of the sonata form, most often the end of one section is at the same time the beginning of another. Such a combination is possible due to the musical characteristics of the sonata themes, which often begin and end with dominant harmony. It should be said that tense dominant harmony (usually in the form of a seventh chord) is used here more often than stable harmonies, which creates a strong tension and aspiration of the sonata's musical movement. In this sonata, as well as in some of the previous ones, L. van Beethoven again returns to pathetic moods, to the epic and majestic flow of images of his first allegro and largo. It is remarkable that more and more new searches for dramatic expressiveness make L. van Beethoven, as it were, overstep the limits of purely instrumental techniques. The whole piano palette, even enriched with echoes of symphonic timbres, is not enough for him. And in the development of the allegro of this sonata, a recitative of a vocal type appears, so expressive that we seem to hear a word that has not yet been uttered, which will sound many years later in the vocal part of the Ninth Symphony. The melodic material of the middle part of adagio is also noted with extraordinary expressiveness. The melody is played against the background of short tremulous timpani beats, like a living voice, strict and convincing. These speech intonations are replaced by a spontaneous beginning in a wonderful finale, which creates the impression of either a light movement of the wind, or a stormy whirlwind.

Sonata No. 17 continues the line of sonatas-fantasies: a lyric-psychological, passionate tone of expression, psychological contrasts of a high level of tension, techniques of improvisational, fantasy music, but unlike Sonata No. 14, it has no title "Sonataquasiuna Fantasia". The content of the sonata is the lyrics of a passionate, stormy, dramatized sound, a return to pathos, but with psychological comprehension. The cycle has three parts, outwardly classical structure: Largo - Allegro, d-moll; Adagio, B major; Allegretto, d-moll. Each part is written in the sonata form of various options, complicated by signs of other forms: fantasy (elements, structure, methods of development), variability (all themes in all parts are based on common elements as options), end-to-end form (there are no exact reprisal repetitions).

The first movement is a complete sonata form, but thanks to its individual thematism, it has a number of sharply innovative musical ideas in drama, composition and language. The main part (measures 1 - 20) in the exposition is built on two contrasting elements: arpeggiato and ario-recitative descending second intonation-sighs. The first construction, d-moll, starts with a dominant function. The second construction of the main part is a variant of the initial one, but in the key of F-major, with the expansion of the structure and intonation and modal-tonal development. These two constructions have a kind of introductory meaning - in the course of a free improvisational presentation, a gradual crystallization of thought occurs. It acquires a clear design only in the third structure, which plays a connecting role, but, despite this, it does not have a single stable, in the full sense of the word, exposition structure. The image is revealed from the very beginning in the process of growth and development. The main batch has the form of a period, which consists of two sentences. The first sentence is 6 measures (2 + 4) with a cadence on the dominant, the second sentence is 14 measures (2 + 12) with a cadence on the tonic d-moll that invades the connecting section. The period with expansion, since the second sentence expands in the cadence zone by 6 measures due to the dramatic recitative against the background of the cadence quarter-text chord. The first sentence consists of two phrases - one phrase is 2 measures, and the second is 4 measures. The second sentence also consists of two phrases - one is 2 measures, and the second is a long one of 12 measures. This phrase is based on a number of motifs, which are sequentially repeated either in an ascending direction, or in a descending and last chromatized final motive in the main part. This period has a type of scale-thematic structure - summation. The period has a type of repeated structure, since the beginnings of two sentences are the same with the only difference that they sound in different keys. Both sentences consist of two parts based on intonationally contrasting elements.

The first phrase of the main theme (2 measures) is based on the first element - an arpeggiated ascending sixth chord (dominant in the first sentence, in the second on the dominant to III degree). By nature, he is interrogative-contemplative. In its genre foundations, signaling (more precisely, the sound of fanfare) and declamation can be designated. Although the genre basis of the fanfare is very veiled by the dynamics of pianissimo and the improvisational free rhythm, the declamation sounds like a quiet question hanging on the dominant.

The second construction of the main theme, dramatic in nature, consists of the second and third elements. The intonations of the second element are directed downward. In the genre foundations, declamation is clearly manifested, especially lamento intonation - a second descent with an emphasis on the first note - from this mini-intonation the entire melodic line of the first sentence is completely built, outlining the Phrygian turnover in minor with basic sounds, first from A, then from D. And in the second sentence, the rhythmic division of two eighth notes is preserved, and the melodic movement is dynamized, large leaps appear, wave-like rising to the culmination in measure 13 and breaking down to the tonic. Also in this part of the theme, the third element appears, the genre basis of which is associated with a march based on a uniform chord accompaniment. In the second sentence, this chord accompaniment on the weak beats (2 and 4) gives the opposite effect of "out of breath".

The harmony of the main theme is simple, set out in clear chords, is built in the first sentence on the passing revolutions from D6 to T6, in d-moll and g-moll and stops at the dominant, and in the second sentence on the deviation in III, the subdominant and the use of tense harmonies of the Neapolitan sixth chord and diminished seventh chords. Period with a deviation, since the second sentence begins in a new key, but towards the end returns to the main key. After the composer has outlined the main theme, he begins to develop the main theme, or rather a modification of its first element. And this is the beginning of the connecting section of the exposition.

The assignment of the main theme of the seventeenth sonata to the chant type may cause controversy. Shouldn't initio be seen in its recitative two-bar. Yes, it has weight, aspiration, inherent in initio, but there are contraindications for this. First of all, the pace of Largo. At such a tempo, even a short thematic turn, moving along the sounds of the triad, can appear chanting - it all depends on the nature of the performance. One should not lose sight of the fact that in the reprise the chanting tones of Largo continue with the recitative proper, and their nature is revealed. The formal feature that distinguishes chant from initio is also important: the latter, as it was clarified above, moves after the first sentence, while the chant is repeated only after the attached second element in the next sentence of the period. This is exactly the structure of the topic here: ab + a1b1.

Moving the chant in the second sentence into parallel is unusual for this type of theme, but there is still something unusual in this theme: the beginning of the main part with a dominant chord is the first time in the history of the sonata form.

The connecting part (21-40 measures) has a common character with the main part, but a more agitated image, a triplet rhythm, and the roll-over of two bright motifs - bass and upper voice create a dialogue of two contrasting principles typical for L. van Beethoven. The ascending movement along the sounds of the decomposed chords is a strong-willed, objective proclamation and lamentous lamentable, chanting phrases based on subjective emotional and expressive second intonation. Never before had the thematism of the connecting part been distinguished in L. van Beethoven's sonatas by such a bright individuality, convexity and functional significance in the further development of sonata drama. Written in the key of d-moll with modulation in a-moll. The connecting section is a development of the main theme based on the dialogue in different registers of intonations of the first two elements of the main part and modulation into the key of the dominant. Structurally, this section takes 20 bars and is built according to the principle of splitting into smaller and smaller constructions (4 + 4 + 2 + 2 + 2 + 2 + 2 + 1 + 1), and sequentially rising upwards. The tension of the section is also given by triplet harmonic figurations.

It is interesting to trace the transformation of intonations: in the first fanfare intonation, when transferred to a minor on forte, the declamatory component is intensified, now it sounds like an exclamation. The second intonation, due to the appearance of the off-beat, becomes more melodious, but in the process of development it concentrates in one sound-exclamation. The tonal plan of the section introduces modulation from d-minor to a-minor, through a brightly tense diminished chord of double dominant to a-minor. The construction is developing in nature. “This is where the real drama begins,” writes Romain Rolland. Indeed, the roll call of two voices is a dialogue between two participants in the action. The "advance" of the lower voice and the "retreat" of the upper voice are almost evident. The fact that we recognize in these voices the transformed elements of the main party serves as another argument in favor of interpreting them as "characters". Here, the illusion of combining functions is created, since in the main party these "persons" are only preparing for action, which gives the initial stage of the exposition the meaning of a dramatic introduction; the action itself begins with a linking party. The intensity of passions in this section of the exposition reaches its climax at the climax, where the motive of the upper voice is compressed to a single sound, containing the richest inner content. Such a condensation of the intonation space leads to the fact that the expression contained in it requires relaxation, and as a result of the straightening of the intonation space, a moment of combining the functions of development and presentation arises - the theme of a side part is born.

The side part (41 - 54 measures) is a new version of the development of the lyrical elements of the main part. The a-minor tonality testifies to the strong tonic-dominant connection between these themes. Like the main part, the side part begins with a dominant function, which maintains a tense tone of presentation. The arious-monological type of melody creates a strong contrast in relation to the previous thematicism, and this, in turn, sharpens and maximally concentrates attention on the events taking place in the exhibition. The theme of the side part grows out of the lamento intonations of the main theme, maintaining its characteristic rhythm. Her small phrases sound more supportive, doomed than the striving unified line in the main party. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The first two sentences consist of two motives of 1 bar each and a phrase of 2 bars. The third sentence consists of 2 motives, 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins in the same way only from different sounds. The period is one-tone. It has no modulations or deviations. The 1st and 2nd cadences end in the root note, and the final cadence ends in the tonic sixth chord. The harmony is simple, consisting of tonic and dominant (to a greater extent), presented by melodic figuration around the V degree, with the inclusion of the sounds of the septima and nona. The theme of the side part unfolds in brief, agitated tunes, the repetitions of which may have been generated by the imitation system. It is significant that the theme of the side part is introduced as if "on the fly" and sounds on the dominant organ point of the dominant tonality, that is, on the harmony of the usual precursor to the side part. The reason for this is the activity of the dramatic action, which seems to compress the intonation space in all its parameters.

The final part (bars 55 - 92) contains intonational elements of all the previous images, thus, as it were, summing up the first expositional stage in the development of the action. It also ends in a very significant way: on the dominant to the main tonality (the sound of la), as if opening the way to a new stage of development. It is written in a-minor key in the form of a period with additions. Has a scale within 38 bars. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of 2 measures and phrases of 4 measures. Ends with a half cadence on the tonic triad. It is built on the alternation of a tonic sixth chord a-minor and a Neapolitan sixth chord. Already in this section, a rhythmic figure with an emphasis on the second note is born, opposite to the lamento rhythm. The second sentence has a length of 6 measures, consists of three phrases of 2 measures each. In the next sentence, this figure is clearly manifested in a downward movement in parallel thirds, reminiscent of the main party. The time signature is 6 bars, consists of 6 motives, 1 bar each. The fourth sentence - 18 measures, consists of 4 motives of 2 measures each and a large phrase of 10 measures. Development slows down here. In this section, against the background of whirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian turn from the note E. The same turn in octave unison completes the exposition. The final batch is a period of unrepeatable construction. Each sentence has its own new theme, not like the previous one. Monochromatic. The final cadence ends in D to the root key. Calming down is carried out on the alternation of the harmony of the cadence quart-text chord and the dominant, which also violates the stereotype familiar to L. van Beethoven himself. The more significant is the moment of the tonic in A minor. Behind her deep calmness is hidden the result of the experienced drama.

The unity of the exposition is very clearly evident in the system of cadences dividing the parts of the sonata exposition: 20 bars of the main part - intrusive cadence in a-minor; 41 bars to the intruding cadence in a minor; after 24 bars the second cadence in a minor, with a stop. The system of cadences comes into conflict with the thematic material, because the linking part is all based on the main theme and therefore, as it were, gives its continuation, and the side part is separated: 40 bars are main and connecting, 45 bars are side and final. Such a discrepancy between structures reflects the dialectic of Beethoven's sonata form; in the "dispute" of different principles, the dynamism of the form and its perception are born, since, when listening, we notice this discrepancy.

So, in the exposition of the first movement of the sonata, contrasting elements are contrasted only at the level of the thematic core and the theme of the main part as a whole. The rest of the stages of movement at the exposure level only use the result of these contrasting oppositions. This is where Beethoven's dramatic efficacy is clearly manifested.

EXPOSITION I PART OF SONATA No. 17 L. VAN BEETHOVEN
Tonal plan
Thematic row, letter
Scale series	2+4+2+12 Summation	4+4+12 4+4+2+2+2+2+2+1+1 splitting up	4+4+6 1+1+2+1+1+2+1+1+4 summation	14+6+18 2+2+4+2+2+2+1+1+1+1+2+2+2+2+4+6 Summation and crushing with closure
Structural series, shape definition	Period of 2 sentences, rebuild, Period with deviations. The half cadence ends with a D, and the final cadence ends with a t. Period with expansion by adding a recitative at the end.	A developmental type construction based on elements of G.P.	Period from 3 offers of rebuild, one color The 2nd cadence ends at t, and the final cadence ends at t6.	Period with additions. Monochromatic. There are Phrygian turns. The half cadence ends with t, and the final cadence ends with D to the main key.
Functional range	Presentation of the 1st topic G. P. exposition	tie 1st theme (G.P.) Expo link section	Presentation P. P. exposition	Final section of the exposition
Final shape definition	The exposition of the first part of LV Beethoven's sonata No. 17 is written according to the laws of the sonata form of Viennese classicism. GP - written in the form of a period. It sets out the main theme, which consists of 2 elements. The connecting section is built on the elements of G. P. .. P. P. - written in the form of a period of 3 sentences - carrying out a new (2nd) theme, which is a new version of the development of the elements of the main party. The final section is similar to the form of the period with additions in a dominant key.

Form-scheme 1. 2 Exposition of the first part of the sonata op. 31 # 2 (# 17)

Development is based on the first motive of the main party and the dialogizing connecting party. At the end of the development, the dominant background. Development can be divided into three sections. The first (measures 93-98) represents the fanfare element of the main theme. It is performed three times (D6, dis um6, Fis6), providing with colorful juxtapositions the transition to the fis-moll key of the second section. The first section takes 6 measures - they include 3 phrases of 2 measures, built according to the type of periodicity. However, the forces of contrast in the core of the main party continue to be felt. At the beginning of the development, a polarization of contrast occurs: the three quiet arpeggios of the first element (their tonal-harmonic positions extremely push the boundaries of further development) corresponds to the theme of the connecting part - the most dramaturgically active element of the exposition, reaching here, thanks to a higher compositional level, extreme intensity. The second section (99-120 bars) continues the line of development of the connecting section of the exposition, actually repeating it in a more dramatic form in fis-moll and leading to a culmination in 119-120 bars. The section takes 22 bars and consists of two sentences and 6 phrases and is built according to the type of splitting. The third section (measures 121-142) is a precursor to the beginning of the recapitulation, based on the dominant harmony to d-moll and swirling intonations that create a slow-motion effect. The development ends with a series of chords on the dominant bass, outlining the upper tetrachord of the harmonic d-moll, and a descending octave monologue, anticipating the recitative of the main part in the reprise.

So, the second section of the first part of the seventeenth sonata by L. van Beethoven has a developmental character. It is based on the development of the first element of the main party and the connecting section of the exposition. It ends with a prejudice to a reprise on the dominant function to the main key. The development of the first movement of the seventeenth sonata by L. van Beethoven is an example of the existence of a form of a moving period (sentence), but it passes into the free development of the developmental type itself. This applies to the greatest extent to the development of dramatic content, developing from large structures to small ones and receiving generalization in a vivid melodic form. Such a decrease in structural elements plays an inhibitory role, being located at the pre-reprocessing organ point.

DEVELOPMENT OF THE I PART OF SONATA No. 17 BY L. VAN BEETHOVEN
Tonal plan
Thematic row, letter
Scale series	2+2+2 periodicity	4+4+14 4+4+2+2+2+2+2+2+1+1 splitting up	4+4+4+10 summation
Structural series, form definition	The construction has an introductory character, based on the theme of G.P.	The construction continues the development of the connecting section of the exposition. The form is like a period.	Building a developing character
Functional range	Varied presentation of the 1st element by G.P. introduction	Development of the connecting theme of the exposition	Preface to the reprise
Final shape definition	The development of L. V. Beethoven's Sonata 17 has a developmental character. Based on the development of the first GP element and the linking section. It ends with a prejudice to a reprise on the dominant function to the main key.

Form-scheme 2. 2 Development of the I part of the sonata op. 31 # 2 (# 17)

Reprise. All themes in it are modified, especially the main part, to which new elements are added: two expressive lyric and psychological recitatives, presented in one voice, like a speech in the first person. Hence the name of the sonata - "sonata with recitative". The side part and others are already set out in the main key of d-moll with deviations. The main part and the connecting section in the reprise are carried out with changes. These sections are the culminating area of \u200b\u200bthe form. The recitative in the reprise, as an element of the through dramatic action in the zone of the main party, also leads to the renewal of the connecting one. Only the secondary and final parts are given in accordance with the norms of the sonata form, due to which the overall movement is evened out.

In the main part (measures 143 to 149), the main emphasis is on the dramatic recitative, which is an extension of the first element (arpeggiated sixth chord) of the main part of the exposition. The main part is written in the key of D minor and in the form of the period. The period is 16 bars. The first sentence increases to 10 bars. Of these, 6 measures are a long phrase, then 4 measures are the next phrase with a half cadence on the dominant. The second sentence consists of only one phrase (6 measures), which breaks off at the recitative, passing immediately to the ostinata chords of the connecting section. There is no final cadence. The period is of the type of crushing with closure. The period is one-tone, repeated structure, since both sentences begin in the same way, only from different sounds.

The connecting section (measures 150 to 170) is reduced to 12 measures and new material is introduced into it, retaining a distant connection with the first (fanfare) and third (chord) elements of the main part. The entire section is built as a dialogue in two measures of these transformed intonations with the structure (4 + 4 + 4) - the type of periodicity. The first element, which was characterized by the movement of the chord sounds upwards - here it becomes violent waves of arpeggios across the entire range. From the connecting section of the exposition, only the triplet rhythm is preserved in the recapitulation, but in the last beat it changes to faster durations (sixteenths or sixteenths). The third element, marching chord sounds, is manifested in its extreme quality - in the form of an even, ostinata repetition of four chords in a low register. This is the culminating section of the form, where the main (personal) thematism is destroyed, it disappears, and the rest of the elements acquire the maximum degree of generalization and impersonality. In tonal terms, the movement goes through fis-moll, G-Dur and two diminished chords leading to a side part in the main key.

The side part (from measures 171 to 184) is played in the main key (d-moll) practically unchanged. The side batch has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). The signs of such a period are that it has 3 cadences distant from each other. The first two sentences consist of two motives of 1 bar each and a phrase of 2 bars. The third sentence consists of 2 motives, 1 bar each and a phrase extended by 3 bars. The period has a type of repeated structure, since each sentence begins in the same way only from different sounds. The period is one-tone. It has no modulations or deviations. The 1st and 2nd cadences end in the root note, and the final cadence ends in the tonic sixth chord. The harmony is simple, consisting of the tonic of the idominant (to a greater extent), set forth by melodic figuration around the V degree, with the inclusion of the sounds of the septima and nona.

The final section (from measures 185 to 228) is also carried out practically unchanged. Several measures are added only at the end - these are figurations-waves on the tonic triad in the bass against the background of a sustained tonic sixth chord, as if the first element of the main part is concentrated in the main key. It is written in the key of d-moll in the form of a period with additions. Has a scale within 44 measures. Consists of 4 sentences. The first sentence - 8 measures, consists of 2 motives of 2 measures and phrases of 4 measures. Ends with a half cadence on the tonic triad. Constructed on the alternation of a tonic a-minor sixth chord and a Neapolitan sixth chord. The second sentence has a length of 6 measures, consists of three phrases of 2 measures each. In the next sentence, this figure is clearly manifested in a downward movement in parallel thirds, reminiscent of the main party. The time signature is 6 bars, consists of 6 motives, 1 bar each. The fourth sentence - 22 measures, consists of 4 motives of 2 measures each and a large phrase of 16 measures. Development slows down here. The period of unrepeatable structure, since each sentence has its own new theme, not similar to the previous one. Monochromatic. The final cadence ends at the root of the fundamental key. The coda is replaced by a long-held tonic harmony: since it hardly sounded throughout the entire Allegro, its impact is especially significant. It concentrates on everything that happens in the first part and hears the answer to all the questions that have arisen in Allegro, the answer is deep, not reducible to any unambiguous formula.

As a result, we can say that the reprise of the seventeenth sonata by L. van Beethoven has the main part, which is modified, introducing a recitative to the first element, written in the form of a period. The connecting section, which is built on new material, only slightly resembles elements of the main batch and the side batch. The side game is repeated unchanged and written in the form of a 3-sentence period. The final section is also carried out unchanged, only with the addition at the end of several measures that replace the coda and are built on the root and tonic sixth chord. Written in the form of a period with additions.

REPRISE I PART OF SONATA No. 17 L. VAN BEETHOVEN
Tonal plan
Thematic cue row or letter
	6+4+6 Crushing with closure	4+4+4 2+2+2+2+2+2 periodicity	4+4+6 1+1+2+1+1+2+1+1+4 Summirov	2+2+4+2+2+2+1+1+1+1+2+2+2+2+4+2
Structures row, definite form	Period of two sentences eny, one-tone, repeated structure. The half cadence ends in D, and conclude no body cadence	developmental development	Period from 3 offers of re-construction. Monotonal 2nd cadence ends on t, and the final cadence ends	Period with additions. Monotonal ny. Phrygian turns are present. The half cadence ends with t, and the final the cadence ends in t.
nal row	Repetition of G.P. exposure with speciation unrelated 1st element G. P. reprise	New material resembling recap section	Repeat without changes P. P. exposure P. P. reprise	Constructing the final character.
Final definition form	The reprise of the first part of the 17th sonata by L. V. Beethoven has a G.P., which is modified by introducing a recitative to the first element (hence one of the sonata's names “sonata with recitative”). Has the form of a two-sentence period. The connecting section, which is built on the new material, only slightly resembles the elements of the G.P. The side game is repeated without changes and has the form of a period of 3 sentences. The final section is also carried out without changes, only with the addition at the end of several measures, built on t and t6. Has the form of a period with additions. At the end, a coda is added, which sounds on the tonic triad.

Form-scheme 3. 2 Reprise of the first movement of the sonata, op. 31 # 2 (# 17)

As a result of the analysis, it can be concluded that there are significant changes in the reprise and the exposition, primarily in the sphere of the main party, but also stable elements in the sphere of the connecting and secondary party. In the sonata allegro of the seventeenth sonata there are only three full cadenzas - the ending of the main part (at the level of the exposition), the exposition (at the level of the form as a whole), the entire sonata form (at the level of the sonata cycle). In other words, only the initial exposition sections of each of the three levels are clearly completed, the rest of the form is blurred by the continuity of development, the source of which is dramatic efficiency. But in this case, the implementation of this principle is combined with another major formative trend. In this continuous flow of musical movement, in the absence of contrasting oppositions outside the main part, the principle of self-movement is manifested, which played a leading role in J.S. Bach and many other composers of the Baroque era and became the most important factor in shaping in the late period of L. van Beethoven's work. The first movement of L. van Beethoven's sonata No. 17 has a high degree of theatricality, a bright, dramatic development of the main intonations. This is achieved due to the through development of intonations and the dialogic nature of their combination with each other. When L. van Beethoven was asked what his music was about, he replied: “Reread The Tempest by W. Shakespeare”.

The second part of. Adagio. B major, sonata form without elaboration. Like the first movement, it starts with an arpeggio. The main theme uses the method of dialogue-roll call. This movement is one of two examples of a sonata form without development in the group of works being analyzed - already from the second sentence of the main theme it assumes the possibility of variation, and it is realized in a reprise. The reprise as a whole also appears as a reprise-variation. Thus, the form of the sonata without elaboration also obeys the basic principle of variation. In the side theme of Adagio, with its reliance on the fifth and singing of the III step from below and I and VI from above, one can hear Russian intonations. The second movement from the seventeenth sonata obeys the general principle of Beethoven's slow movements in the sense of holding the main theme in the code (89 - 98 measures). Through invisible ways, the connection with the side part of the first part, full of nagging melancholy and mournfulness, is carried out.

The third part. Allegretto. d-moll. Sonata form based on figurative and musical-thematic unity. A new version of the development of the main thematic intonations, closeness to the genre of prelude. In the finale of the seventeenth sonata, the unity of movement of the main and secondary part is facilitated by the fact that the latter begins on the dominant from the dominant, demonstrating its striving forward, towards the cadence of the exposition. Fluidity is a technique that applies, of course, to the entire ending. It is necessary to highlight a very important structural feature - holding the main topic in the code as a finishing factor. It creates an inclination towards the rondo form, already encountered in its various manifestations. If the inclination towards sonata is formed at the beginning of the form, in its expositional section, then the inclination towards rondo in works with the sonata form is noticed towards the end, after the sonata structure has been determined: exposition - development - reprise. The conclusion of the main topic is then rounding off. But this apparently also reflects the connection with the long tradition of writing finals in the form and even in the genre of rondo. It was her that L. van Beethoven often followed, especially in the early period of his work. This tradition obviously left its mark on the sonata finals.

The inclination to rondo increases if the main theme with the preservation of the structure (in whole or in part) is also carried out in development, then a total of 4 conductions are formed, clearly showing the rond-like in sonata form. The finale of the seventeenth sonata also gives an example of how the main theme is carried in the code. It is curious that the conduct of the main theme in the code completely coincides with the expositional one, while the reprisal one differs from it. It is important to emphasize the similarity of the extreme passages: they border the shape, thus reminding the principle of dacapo, found in various ancient forms.

Typical features of the classical sonata form:

The exposition mainly consists of tonic-dominant turns. The subdominant often appears only in the cadence (since it can shake the primacy of the tonic), deviations are rare.

The main part determines the main content of the musical form. It, as the core of the whole work, in most cases is carried out without major changes: in the exhibition for the first time and in development it develops. The main part always ends in the main key, with a cadenza on the root or dominant.

The linking party is a transitional section. It provides gradual intonation preparation for the side part.

The form of the side batch is free and allows for many variations. However, it should be noted that under the influence of relative harmonic freedom, these forms often lose their squareness due to additions, extensions, etc. Often there is a rhythmic renewal of the side part. The durations are enlarged and the movement slowed down. Movement activation and shorter durations are less common.

The final part should harmoniously consolidate the new key. Often there is a multiple repetition of the cadence turn or the presence of a tonic organ point.

Development is a big move between the extreme points (exposure and recap). During the development process, modulations take place in various keys. The path of these modulations, like many other development qualities, is not regulated. There are two main types of tonal movement possible. If the development started in the key of the end of the exposure (or in the key of the same name) - gradual modulations to more and more distant from the original key and at the end of the development return to the main key.

The reprise - the third major section of the sonata form - reduces the tonal difference of the exposition to unity (the side and final parts this time are presented in the main key or approaching it). Since the binder batch must lead to a new key, it usually undergoes some kind of processing.

Code is an additional section of the form. Its function is a generalization of the material, the approval of the result, the "conclusion" of the entire work.

The individual features of the sonata form of the sonata op. 31 No. 2 (No. 17):

The main part of the exposition is built on two elements (like a question - an answer). The main emphasis is on the dramatic recitative (for the first time in music, Beethoven uses it in the thematic of the main part), which is an extension of the first element (arpeggiated sixth chord). The second element consists of only one phrase (6 measures), which breaks off at the recitative, passing immediately to the ostinata chords of the connecting section. There is no final cadence. In the main part of the exposition of the seventeenth sonata, there is a deviation from the main key to the parallel F-dur. The main part is written in the form of a period. Basic key in d-moll.

The connecting section is built on the elements of the main batch. Written in the key of d-moll with modulation in a-moll. The theme of the linking party is brightly individual, but has a ntonational affinity with the main party.

The theme of the side part unfolds in short agitated tunes and at an allegro tempo. Carrying out its second new theme represents a new version of the development of the elements of the main party. It has the form of a period of 3 sentences (4 + 4 + 6), each with a summation structure (1 + 1 + 2 (4 in the last)). Written in a-minor key.

The final cadence ends in D to the root key. In this section, against the background of whirling harmonic figurations, we see the melodic scheme of the main part in a concentrated form - a repeated descending Phrygian turn from the note E. The same turn in octave unison completes the exposition. The final part is written in a-minor key and has the form of a period with additions.

The development is based on the development of the first element of the main batch and the connecting section. The tonal movement of the development of the first movement of Sonata No. 17 is presented in such a way that if the development began in a distant key by means of juxtaposition, then a gradual return to the main key occurs. It ends with a prejudice to a reprise on the dominant function to the main key.

The reprise has a modified main part - a recitative is introduced to the first element. The connecting party only slightly resembles the elements of the main party - it is built on new material. The side and final games are played practically unchanged. Basic tonality in D minor with deviations.

The coda is replaced by a long-held tonic harmony: since it hardly sounded throughout the entire Allegro, its impact is especially significant.

The individuality of this sonata is emphasized above all by the unique, brightly expressive, inimitable, thematic appearance of each of its sections.

What is the difference between the words: confession and monologue?

A monologue can be on any topic, confession is very personal, it is a state of mind of an individual.

Today we will listen to the music of L. Beethoven, about which the French writer R. Roldan said: "This is a monologue without words, a true, amazing confession, the likes of which can be found in music ... there is not a single word, but it is this music, understandable to everyone" ...

Sounds I part Analysis.

Melody - bass - triplets.

Man - Man's sorrow - the world around.

How are these three components developing?

Tenderness, sadness, meditation. Measured, swaying movement of the middle voice. Then a pleading melody appears, a slight upward movement. “Is it really with me? - the person thinks. She passionately, persistently tries to come out to light registers, but gradually the melody goes to the bass. The man dissolved in grief, went into it completely, and nature remained unchanged. Merged into trouble. The last chords are like covering a person with a heavy stove.

Sounds P part

What image has this melody inspired?

This is an island of little happiness. B. Aget called it "a flower between two abysses".

What is this lyrical part?

Some consider it to be a musical portrait of Juliet Guichardi, while others refrain from figurative explanations of the mysterious part. The intonations can be interpreted from unassuming grace to noticeable humor. The man, probably, has fulfilled something long past, beloved, a corner of nature, a holiday, G. Neuhaus said that it is "A flower with drooping leaves."

Part III sounds

What associations have arisen?

Sounds like a storm sweeping away everything in its path. Four waves of sound, rolling with tremendous pressure. Each wave ends with two sharp blows - the elements are raging. But here comes the second theme. Her upper voice is wide, melodious: complains, protests. The state of extreme excitement is maintained thanks to the accompaniment - in the same movement as in the stormy beginning of part 3. Sometimes it seems that complete exhaustion sets in, but the person rises again to overcome suffering.

This is the dominant part of the sonata and the natural conclusion to its dramatic events. Everything here is like in the life of many people, for whom to live means to struggle, to overcome suffering.

"Pathetic Sonata" No. 8

The sonata was written by L. Beethoven in 1798. The title belongs to the composer himself. From the Greek word "pathos" - with an uplifted, uplifting mood.This name refers to all three parts of the sonata, although this "uplifting" is expressed in each part in different ways.

I part written at a fast pace in the form of a sonata allegro. The beginning of the sonata is unusual "The slow introduction sounds gloomy and at the same time solemn. Heavy chords, the sound avalanche gradually moves up from the lower register. Menacing questions sound more and more insistently. They are answered by a gentle, melodious melody with a touch of supplication against the background of calm chords.

After the introduction, a swift sonata allegro begins.

Main party resembles violently surging waves. Against the background of the restless bass, the melody of the upper voice rises and falls in alarm.

Binding Party gradually calms the excitement of the main theme, and leads to a melodic and melodious side party.

Contrary to the established rules in the sonatas of the Viennese classics, the side part of the "Pathetique Sonata" sounds not in a parallel major, but in the minor of the same name.

Test questions and assignments for students

1.What year was L, Beethoven born?

A) .1670,

B). 1870,

IN). 1770 year.

2. Where was Beethoven born?

AND). In Bonn,

B). In Paris,

IN). In Bergen.

3. Who was Beethoven's teacher?

AND). Handel G.F.

B). Nefe K.G.

IN). Mozart W.

4. At what age did Beethoven write the Moonlight Sonata?

AND). At 50.

B). At 41.

IN). At 21.

five . Just right to love what woman Beethoven wrote “Moonlight Sonata?

AND). Juliet Guichardi.

B) Juliet Capulet. IN). Josephine Deim.

6. What poet gave the name to Sonata No. 14 "Moonlight"?

A), And Schiller.

B). L. Relshtab.

IN). I. Shenkom.

7. What work does not belong to Beethoven's work?

AND). "Pathetic Sonata".

B). "Heroic Symphony".

IN),. "Revolutionary study".

8. How many symphonies did Beethoven write?

Exercise 1.

Listen to two works, determine which of them by L. Beethoven by style, explain your opinion.

Sounds: "Prelude No. 7" by F. Chopin and "Sonata" No. 14, part 3 by L. Beethoven.

Symphony

Symphony (from the Greek συμφωνία - "consonance") is a genre of symphonic instrumental music of a multipart form of fundamental ideological content.

Due to the similarity in structure with sonata, the sonata and symphony are united under the general name “ sonata-symphonic cycle ". A classical symphony (in the form in which it is presented in the work of the Viennese classics - Haydn, Mozart and Beethoven) usually has four parts.

1st movement, at a fast pace, is written in sonata form;

2nd, in slow motion, written in the form of variations, rondo, rondo sonata, complex three-part

3rd - scherzo or minuet - in three-part form

4th movement, at a fast pace - in sonata form, rondo or rondo sonata form.

A program symphony is one that is associated with the well-known content set forth in the program and expressed, for example, in the title or epigraph, - Beethoven's Pastoral Symphony, Berlioz's Fantastic Symphony, Tchaikovsky's Winter Dreams Symphony No. 1, etc.

Student assignments

Hearing and analyzing excerpts from symphonies by the program of Cretan E. D. "Music".

Mozart Symphony No. 40, exposition.

1. To sing the main melody solfeggio, vocalise, to the text invented by yourself.

2. Listen and draw the melodic line of the main theme.

3. In the process of listening, draw the arisen artistic image.

4. Compose a rhythmic score for the WMI.

5. Learn the proposed rhythmic movements and compose rhythmic improvisations.

A. P. Borodin Symphony No. 2 "Heroic"

1. The main theme: singing, playing metallophones, playing the piano.

2. Compare the musical image with the artistic one - A. Vasnetsov "Bogatyrs".

P. Tchaikovsky Symphony No. 4 finale

1. Sing the main theme with pauses on the words of the song "There was a birch in the field."

2. Perform rhythmic accompaniment on noise musical instruments.