What is a symphony definition for children. The history of the birth of the symphony as a genre

Instrumental music. Usually consists of 4 parts. The classical type of symphony developed in the end. 18 - beginning 19th centuries (J. Haydn, W. A. ​​Mozart, L. Beethoven). Among romantic composers, lyric symphonies (F. Schubert, F. Mendelssohn) and program symphonies (G. Berlioz, F. Liszt) became of great importance. Western European composers of the 19th and 20th centuries made important contributions to the development of symphonies. (I. Brahms, A. Bruckner, G. Mahler, S. Frank, A. Dvorak, J. Sibelius, etc.). The significant place of the symphony in Russia (A. P. Borodin, P. I. Tchaikovsky, A. K. Glazunov, A. N. Scriabin, S. V. Rachmaninov, N. Ya. Myaskovsky, S. S. Prokofiev, D. D. Shostakovich, A. I. Khachaturian and others) music.

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See agreement... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M.: Russian Dictionaries, 1999. symphony harmony, agreement; consonance, dictionary index, symphonietta Dictionary of Russian synonyms ... Synonym dictionary

- (Greek consonance). A large piece of music written for orchestra. Dictionary of foreign words included in the Russian language. Chudinov A.N., 1910. SYMPHONY Greek. symphonia, from syn, together, and phone, sound, harmony, harmony of sounds.… … Dictionary of foreign words of the Russian language

Symphony No. 17: Symphony No. 17 (Weinberg). Symphony No. 17 (Mozart), G major, KV129. Symphony No. 17 (Myaskovsky). Symphony No. 17 (Karamanov), “America”. Symphony No. 17 (Slonimsky). Symphony No. 17 (Hovaness), Symphony for Metal Orchestra, Op. 203... ...Wikipedia

SYMPHONY, symphonies, women. (Greek symphonia harmony of sounds, consonance). 1. A large musical work for orchestra, usually consisting of 4 movements, of which the first and often the last are written in sonata form (music). “A symphony can be... ... Ushakov's Explanatory Dictionary

symphony- and, f. symphonie f. , it. sinfonia lat. symphonia gr. symphonia consonance. Krysin 1998. 1. A large piece of music for orchestra, consisting of 3-4 parts, differing from each other in the nature of the music and tempo. Pathetic Symphony... ... Historical Dictionary of Gallicisms of the Russian Language

Female, Greek, music harmony, agreement of sounds, polyphonic consonance. | Special view polyphonic musical composition. Hayden Symphony. | Symphony on the Old, on the New Testament, code, indication of places where the same word is mentioned. Intelligent... ... Dahl's Explanatory Dictionary

- (Latin symphonia, from Greek symphonia consonance, agreement), work for symphony orchestra; one of the main genres of instrumental music. The symphony of the classical type developed among the composers of the Viennese classical school Y... ... Modern encyclopedia

Symphony- (Latin symphonia, from Greek symphonia - consonance, agreement), a work for symphony orchestra; one of the main genres of instrumental music. The symphony of the classical type was developed by the composers of the Viennese classical school - J. ... ... Illustrated Encyclopedic Dictionary

SYMPHONY, and, female. 1. A large (usually four-movement) piece of music for orchestra. 2. transfer Harmonic compound, combination of something n. (book). S. flowers. S. paints. S. sounds. | adj. symphonic, aya, oe (to 1 value). S. orchestra... ... Ozhegov's Explanatory Dictionary

- (Greek consonance) the name of an orchestral composition in several parts. S. the most extensive form in the field of concert orchestral music. Due to the similarity, in its construction, with the sonata. S. can be called a grand sonata for orchestra. How in… … Encyclopedia of Brockhaus and Efron

Books

• Symphony. 2, A. Borodin. Symphony. 2, Score, For orchestra Publication type: Score Instruments: orchestra Reproduced in the original author’s spelling of the 1869 edition.…

At the end of the Baroque era, a number of composers, such as Giuseppe Torelli (1658–1709), wrote works for string orchestra and basso continuo in three movements, with a fast-slow-fast tempo sequence. Although such works were usually called "concertos", they were no different from works called “symphonies”; for example, in the finales of both concerts and symphonies they were used dance themes. The difference concerned mainly the structure of the first part of the cycle: in symphonies it was simpler - this is, as a rule, a binary two-part form of the Baroque overture, sonata and suite (AA BB). The word “symphony” itself dates back to the 10th century. meant harmonious consonance; by the end of the 16th century. such authors as J. Gabrieli applied this concept to the consonance of voices and instruments. Later, in the music of composers such as Adriano Banchieri (1568–1634) and Salomone Rossi (c. 1570–c. 1630), the word “symphony” came to mean the sound of instruments together without votes. Italian composers of the 17th century. The word “symphony” (sinfonia) often denoted the instrumental introductions to an opera, oratorio or cantata, and the term in meaning came close to the concepts of “prelude” or “overture”. Around 1680 operatic creativity A. Scarlatti established the type of symphony as an instrumental composition in three sections (or parts), built on the principle “fast - slow - fast”.

Classical symphony.

18th century listeners I liked orchestral pieces in several parts with different tempos, which were performed both in home gatherings and in public concerts. Having lost the function of the introduction, the symphony developed into an independent orchestral work, usually in three movements (“fast – slow – fast”). Using the features of the baroque dance suite, opera and concerto, a number of composers, most notably G.B. Sammartini, created the model of the classical symphony - a three-movement work for string orchestra, where the fast parts usually took the form of a simple rondo or an early sonata form. Gradually, other instruments were added to the strings: oboes (or flutes), horns, trumpets and timpani. For listeners of the 18th century. the symphony was determined by classical norms: homophonic texture, diatonic harmony, melodic contrasts, a given sequence of dynamic and thematic changes. The centers where the classical symphony was cultivated were the German city of Mannheim (here Jan Stamitz and other authors expanded the symphonic cycle to four parts, introducing into it two dances from the Baroque suite - minuet and trio) and Vienna, where Haydn, Mozart, Beethoven (as well as their predecessors, among whom Georg Monn and Georg Wagenseil stand out, raised the symphony genre to a new level.

The symphonies of J. Haydn and W. A. ​​Mozart are brilliant examples of the classical style. The parts are clearly separated from each other, each having independent thematic material; The unity of the cycle is ensured by tonal comparisons and thoughtful alternation of tempos and the nature of themes. Strings, woodwinds, brass and timpani provide a variety of instrumental combinations; the lyrical beginning, coming from operatic vocal writing, penetrates the themes of the slow movements, the trio sections in the third movements and the secondary themes of other movements. Other motifs of operatic origin (octave leaps, repetitions of sounds, scale-like passages) become the thematic basis of the fast movements. Haydn's symphonies are distinguished by their wit, inventiveness of thematic development, originality of phrasing, instrumentation, texture and thematics; Mozart's symphonies are marked by richness of melody, plasticity, grace of harmony and masterful counterpoint.

An excellent example of a classical symphony from the late 18th century. – Mozart’s Symphony No. 41 (K. 551, C major (1788), known as Jupiter. Its score includes a flute, two oboes, two bassoons, two horns, two trumpets, timpani and a group of strings (first and second violins, violas, cellos, double basses). The symphony consists of four movements. The first, Allegro vivace, is written in a lively tempo, in the key of C major, in 4/4 time, in sonata form (the so-called sonata allegro form: themes first appear in the exposition, then develop in the development, followed by a reprise, usually ending with a conclusion - a coda). The second part of Mozart's symphony is written at a moderate (moderato) tempo, in the subdominant key of F major, again in sonata form and has a melodious character (Andante cantabile).

The third movement consists of a moderately active minuet and trio in C major. Although each of these two dances is written in a ronda-like binary form (minuet - AAVABA; trio - CCDCDC), the return of the minuet after the trio gives the overall structure a tripartite structure. The finale is again in sonata form, at a very fast tempo (Molto allegro), in the main key of C major. Built on laconic motifs, the finale's themes radiate energy and strength; in the finale's coda, Bach's counterpoint techniques are combined with the virtuosity of Mozart's classical style.

In the work of L. van Beethoven, the parts of the symphony are more closely connected thematically, and the cycle achieves greater unity. The principle of using related thematic material in all four movements, carried out in Beethoven's Fifth Symphony, led to the emergence of the so-called. cyclical symphony. Beethoven replaces the calm minuet with a more lively, often riotous, scherzo; he raises thematic development to a new level, subjecting his themes to all sorts of changes, including contrapuntal development, isolating fragments of themes, changing modes (major - minor), and rhythmic shifts. Beethoven's use of trombones in the Fifth, Sixth and Ninth Symphonies and the inclusion of voices in the finale of the Ninth are very impressive. In Beethoven, the center of gravity in the cycle shifts from the first movement to the finale; in the Third, Fifth, and Ninth, the finales are undoubtedly the culminations of the cycles. Beethoven has “characteristic” and programmatic symphonies - the Third ( Heroic) and Sixth ( Pastoral).

Romantic symphony.

With the work of Beethoven, the symphony entered into new Age. Characteristic of his style are sharp changes of tempo, breadth dynamic range, richness of imagery, virtuosity and drama, sometimes unexpected appearance and ambiguity of themes - all this cleared the way for composers of the romantic era. Realizing the greatness of Beethoven, they sought to follow his path without losing their own individuality. Romantic composers, starting with F. Schubert, experimented with sonata and other forms, often narrowing or expanding them; The symphonies of the romantics are full of lyricism, subjective expression and are distinguished by a richness of timbre and harmonic color. Beethoven's contemporary Schubert had a special gift for creating lyrical themes and unusually expressive harmonic sequences. When the logic and orderliness of classicism gave way to the subjectivity and unpredictability characteristic of the art of romanticism, the form of many symphonies became more spacious and the texture heavier.

Among the German romantic symphonists are F. Mendelssohn, R. Schumann and J. Brahms. Mendelssohn, with his classicism in the areas of form and proportions, was especially successful in the Third ( Scottish) and Fourth ( Italian) symphonies that reflected the author’s impressions of visiting these countries. Schumann's symphonies, influenced by Beethoven and Mendelssohn, tend to be cyclical and at the same time rhapsodic, especially the Third ( Rhineland) and Fourth. In his four symphonies, Brahms reverently combines Bach's counterpoint in style, Beethoven's method of development, Schubert's lyricism and Schumann's mood. P.I. Tchaikovsky avoided the typical tendency of Western romantics to detailed programs for symphonies, as well as the use of vocal means in this genre. The symphonies of Tchaikovsky, a gifted orchestrator and melodist, capture the author's penchant for dance rhythms. The symphonies of another talented melodist, A. Dvorak, are distinguished by a rather conservative approach to symphonic form, adopted from Schubert and Brahms. The symphonies of A.P. Borodin are deeply national in content and monumental in form.

The author, in whose work a type of program symphony of the last century was formed, differing in many respects from the abstract or, so to speak, absolute symphony classical era, became G. Berlioz. In a program symphony, a narrative is told, or a picture is painted, or, generally speaking, there is an element of “extra-musical” that lies beyond the music itself. Inspired by Beethoven's Ninth Symphony with its final chorus to the words of Schiller's Odes to Joy, Berlioz went further in his epochal Fantastic Symphony(1831), where each part is a fragment of a seemingly autobiographical narrative, and leitmotifs-reminders run through the entire cycle. Among the composer's other program symphonies are Harold in Italy according to Byron and Romeo and Juliet according to Shakespeare, where, along with instruments, vocal means are also widely used. Like Berlioz, F. Liszt and R. Wagner were “avant-gardists” of their era. Although Wagner's desire for a synthesis of words and music, voices and instruments led him from the symphony to opera, the magnificent mastery of this author influenced almost all European composers of the subsequent generation, including the Austrian A. Bruckner. Like Wagner, Liszt was one of the leaders of late musical romanticism, and his attraction to programmaticity gave rise to works such as symphonies Faust And Dante, as well as 12 program symphonic poems. Liszt's techniques of figurative transformations of themes in the process of their development greatly influenced the work of S. Frank and R. Strauss, authors of a later period.

At the end of the 19th century. the work of a number of talented symphonists, each of whom had a bright individual style, marked the final stage of the classical-romantic tradition with its predominance of the sonata form and certain tonal relationships. The Austrian G. Mahler imbued the symphony with thematic themes that had their origins in his own songs and dance motifs; often he directly quoted fragments from folk, religious or military music. Mahler's four symphonies use chorus and soloists, and all ten of his symphonic cycles are marked by extraordinary variety and sophistication of orchestral writing. Finn J. Sibelius composed symphonies of an abstract nature, imbued with deep feeling; His style is characterized by a preference for low registers and bass instruments, but in general his orchestral texture remains clear. The Frenchman C. Saint-Saens wrote three symphonies, of which the most famous is the last (1886) - the so-called. Organ Symphony. The most popular French symphony of this period can perhaps be called the only symphony by S. Frank (1886–1888).

An excellent example of a post-Romantic symphony from the late 19th century. is Mahler's Second Symphony in C minor, completed in 1894 (sometimes called Resurrection in connection with the content of the chorale in the last part). The gigantic five-part cycle was written for a large orchestra: 4 flutes (including piccolo), 4 oboes (including 2 English horns), 5 clarinets (including one bass), 4 bassoons (including 2 contrabassoons), 10 horns, 10 trumpets, 4 trombones, tuba, organ, 2 harps, two soloists - contralto and soprano, mixed choir and a huge percussion group, including 6 timpani, bass drum, cymbals, gongs and bells. The first movement has a solemn (Allegro maestoso) march-like character (4/4 time signature in the key of C minor); in terms of structure, it is an extended sonata form with double exposure. The second part takes place in moderate pace(Andante moderato) and is similar in character to the graceful Austrian Ländler dance. This movement is written in the key of submediant (A-flat major) in 3/8 time and in simple ABABA form. The third movement is distinguished by the smooth flow of music; it is written in the main key and in 3/8 time. This three-movement scherzo is a symphonic development of a song simultaneously composed by Mahler Sermon of St. Anthony to the Pisces.

In the fourth part, “Eternal Light” (“Urlicht”), a human voice appears. This orchestral song, radiant and full of deep religious feeling, is written for solo viola and a reduced orchestra; it has the form ABCB, time signature 4/4, key of D-flat major. The stormy, “wild” finale at the tempo of a scherzo contains many changes in mood, tonality, tempo, and meter. This is a very large sonata form with a monumental coda; The finale includes motifs of a march, chorale, and songs reminiscent of the previous parts. At the end of the finale, voices enter (solo soprano and contralto, as well as the choir - with a hymn about the risen Christ to the words of the 18th century German poet F. Klopstock. In the orchestral conclusion, light, brilliant orchestral colors and the tonality of E-flat major, parallel to the main one, appear C minor: the light of faith dispels darkness.

The twentieth century.

In sharp contrast to Mahler's sprawling late-romantic cycles were the carefully finished neoclassical symphonies of such French authors as D. Milhaud and A. Honegger. The Russian author I.F. Stravinsky wrote in the neoclassical (or neo-baroque) style, who filled traditional symphonic forms with new melodic and tonal-harmonic material. The German P. Hindemith also combined forms that came from the past with a sharply individual melodic and harmonic language (he was characterized by a preference for the fourth interval in thematics and chords).

The largest Russian symphonists are S.V. Rachmaninov, S.S. Prokofiev and D.D. Shostakovich. Rachmaninov's three symphonies continue the national-romantic tradition coming from Tchaikovsky. Prokofiev's symphonies are also associated with tradition, but reinterpreted; This author is characterized by rigid motor rhythms, unexpected tonal shifts, and there is a theme that comes from folklore. Creative life Shostakovich took place during the Soviet period of Russian history. The most “advanced” can be considered his First, Tenth, Thirteenth and Fifteenth symphonies, while the Third, Eighth, Eleventh and Twelfth to a greater extent associated with the traditional “Russian style”. In England, the outstanding symphonists were E. Elgar (two symphonies) and R. W. Williams (nine symphonies written between 1910 and 1957, including including a vocal element). Among other authors, each of whom is associated with the traditions of his country, one can name the Poles Witold Lutoslawski (b. 1913) and K. Penderecki, the Czech Boguslav Martinu (1890–1959), the Brazilian E. Villa-Lobos and the Mexican Carlos Chavez (1899– 1976).

At the beginning of the 20th century. American Charles Ives composed a number of avant-garde symphonies that used orchestral clusters, quarter-tone intervals, polyrhythms, dissonant harmonic writing, and collage techniques. In the next generation, several composers (all of whom studied in Paris in the 1920s with Nadia Boulanger) created the American symphonic school: A. Copland, Roy Harris (1898–1981) and W. Piston. In their style, thanks to elements of neoclassicism, the French influence is noticeable, but still their symphonies create an image of America with its open spaces, pathos and natural beauty. The symphonies of Roger Sessions are marked by the complexity and whimsicality of chromatic melodic lines, the tension of thematic development, and an abundance of counterpoint. Wallingford Rigger used A. Schoenberg's serial technique in his symphonies; Henry Cowell used such experimental ideas in his symphonies as fugue melodies of hymns, exotic instruments, sound clusters, and dissonant chromaticism.

Among other American symphonists of the mid-20th century. we can highlight H. Hanson, W. Schumann, D. Diamond and V. Persichetti. In the second half of the century, interesting symphonies were created by E. Carter, J. Rochberg, W. G. Still, F. Glass, E. T. Zwilich and G. Corigliano. In England, the symphonic tradition was continued by Michael Tippett (1905–1998). The 1990s saw an unusual phenomenon: a modern symphony became a "hit" with the general public. It's about about the Third Symphony ( Symphonies sad songs ) Pole Heinrich Górecki. At the turn of the third millennium, composers different countries created symphonies that reflected their authors’ attraction to such diverse phenomena as minimalism, total serialism, aleatorics, electronic music, neo-romanticism, jazz and non-European musical cultures.

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Symphony

Symphony(from Greek " consonance") is a genre of symphonic instrumental music of a multi-part canonized form of fundamental ideological content.

A symphony is usually a composition for orchestra, usually consisting of several movements. This is one of the most important genres of European music. In the modern sense, the word “symphony” came into use relatively recently, in the 70s. XVIII century, but it itself is very ancient origin.

"Symphony" means "harmony" in Greek. IN ancient times this was the name given to the singing of a choir or ensemble in unison, as well as any harmonic, euphonious combination of tones. In the Middle Ages the word disappeared from use, and new life it began during the Renaissance. But now the word “symphony” had a different meaning. In the music of the Renaissance, polyphonic vocal compositions were common - madrigals, canzones. They usually opened with an instrumental introduction, which was called a symphony. When in the 17th century. When the opera arose, it also began with a symphony - later such an introduction turned into an overture.

In the 18th century the symphony gradually separated from vocal music and began its independent existence. Classic look she found it in the 1780-1790s. in the works of the great Austrian composers J. Haydn and W. A. ​​Mozart. From this time on, the brilliant path of the symphony in European and world music began; it was then that it became the most important, central genre of musical creativity.

A classical symphony consists of four contrasting movements. Together they form a sonata-symphonic cycle. The cyclic structure allows the composer to express a variety of feelings and moods, to create a musically generalized image of the era. The symphonies of Mozart, L. Beethoven, L. I. Tchaikovsky, J. Brahms, G. Mahler, D. D. Shostakovich give us the opportunity to experience the unique atmosphere of time, just as a novel or theatrical play does.

The first part of a classical symphony is energetic, effective, at a fast tempo, and, as a rule, occupies a dominant position in the cycle. For it, composers choose one of the most complex forms - the sonata. The sonata form makes it possible to compare contrasting, even conflicting images - heroic and lyrical, gloomy and bright, solemn and tender. These images then develop, change and, as a result, acquire new character, new features. The first part of the symphony is therefore particularly distinguished by its diversity and richness.

The second part is usually slow. Its character is determined by lyrical, contemplative moods; it contains melodies close to songs and romances. This is a respite after the turbulent events of the first part. But there are also deviations. For example, in one of Haydn’s symphonies and in Beethoven’s “Eroic Symphony” in the second movement, a funeral march sounds, mournful and majestic.

The third movement in the symphonies of Haydn and Mozart is a minuet. Minuets in classical symphonies are like sketches, pictures from nature. Haydn's minuets are full of folk fun, close to peasant dances; in Mozart they are lyrical, sometimes with a touch of dramatic seriousness. Beethoven replaced the minuet with a scherzo - music of a rapid, lively nature, often with a humorous overtones.

The fourth part is the finale. Like the first, it is written at a fast pace, but internally it is not so contrasting. If the meaning of the first part lies in the conflicting comparison of images and dramatic development actions, then in the finale the statement and summing up come to the fore. It is no coincidence that finales are often written in the form of a rondo, based on the circular return of the same theme, that is, on the proclamation of the same musical thought. Simultaneously with the sonata-symphonic cycle, the orchestral composition for which the symphonies were created was formed - a symphony orchestra.
Top in historical development The symphony is rightfully considered the work of Beethoven. Each of his symphonies is a new, individual version of the genre, each of them contains a whole world philosophical ideas, is the result of the composer’s hard work of thought.

Beethoven's 9th Symphony, which crowns his career, opens a new page in the history of the genre. In its final part, the ode “To Joy” by F. Schiller sounds, affirming the idea of ​​​​the universal brotherhood of mankind. This idea, central to Beethoven's work, is proclaimed in the powerful sound of the choir and orchestra. This is how the symphony becomes vocal. It was inherited by composers of subsequent generations: vocal symphonies were written by G. Berlioz, Mahler, A. N. Scriabin, I. F. Stravinsky, Shostakovich.

The poetic text makes the content of the symphony more specific, and such compositions belong to program music. A program symphony can also become a program if the composer simply prefixes it with a title. Haydn also had similar works, for example the original “Farewell Symphony,” which ends with the gradual departure of the musicians. In Beethoven's 6th (Pastoral) Symphony, all five movements are titled. We see that the program plan forced Beethoven to increase the number of parts in the symphony and move away from the classical construction of the cycle. Later composers treated the form of the symphony even more freely, increasing the number of parts or, on the contrary, compressing the cycle into one movement. Each time it is connected with the idea of ​​the composition, with an individual plan.
The greatest symphonists after Beethoven are F. Schubert, Brahms, A. Bruckner, A. Dvorak, Mahler.

The symphonic heritage of Russian composers - Tchaikovsky, A. P. Borodin, A. G. Glazunov, Scriabin, S. V. Rachmaninov - is of world significance. Their great traditions received a rich and vibrant development in the works of Soviet composers of all generations - N. Ya. Myaskovsky, S. S. Prokofiev. A. I. Khachaturyan, T. N. Khrennikova, K. A. Karaev, Y. A. Ivanov, F. M. Amirov and other masters. The greatest symphonist of our time was Shostakovich. His 15 symphonies are a real chronicle of the 20th century.

Due to the similarity in structure with the sonata, the sonata and symphony are combined under common name"sonata-symphonic cycle". A classical symphony (as represented in the works of the Viennese classics - Haydn, Mozart and Beethoven) usually has four movements. The 1st movement, at a fast tempo, is written in sonata form; The 2nd, in slow movement, is written in the form of variations, rondo, rondo sonata, complex three-movement, less often in the form of a sonata; 3rd - scherzo or minuet - in three-part form da capo with trio (that is, according to the A-trio-A scheme); 4th movement, at a fast tempo - in sonata form, in the form of a rondo or rondo sonata.

A program symphony is one that is associated with a known content set out in the program (expressed, for example, in the title or epigraph), for example, Beethoven’s “Pastoral Symphony”, Berlioz’s “Fantasy Symphony”, etc. The first to introduce a program into a symphony were Dittersdorf, Rosetti and Haydn.

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What is a toccata

Toccata (Italian toccata from toccare - touch, push) - originally any work for keyboard instruments, V modern sense- an instrumental piece of fast, clear movement of equal short durations. Usually the toccata is written for piano or organ, but there are also...

Among the many musical genres, one of the most honorable places belongs to the symphony. Always, from the moment of its inception to the present day, it has sensitively reflected its time: the symphonies of Mozart and Beethoven, Berlioz and Mahler, Prokofiev and Shostakovich are reflections on the era, on man, on the ways of the world, the ways of life on earth.

The symphony as an independent musical genre arose relatively recently: some two and a half centuries ago. However, during this historically short period of time, it has come a long way. Word symphonia translated from Greek it means only consonance. In Ancient Greece, this was the name given to a pleasant combination of sounds.

Later they began to designate either an orchestra or the introduction to a dance suite.

IN early XVIII century, this term replaced the current concept of overture.

The first symphonies in the current sense appeared in the center of Europe in the second half of the 18th century. And the place and time of her birth are not accidental. Originating simultaneously in different parts of Europe, in the depths of old, previously formed musical forms- dance suite and opera overture, the symphony was finally formed in the countries of the German language. In Italy the national art was opera.

In pre-revolutionary France, already saturated with an atmosphere of freethinking and rebellion, other arts came forward, such as literature, painting and theater - more concrete, directly and clearly expressing new ideas that excite the world. When, several decades later, it came to music, the song entered the ranks of the revolutionary troops as a full-fledged fighter - “Carmagnola”, “Sa ira”, “La Marseillaise”.

Symphony - and to this day the most complex of all types of music not related to other arts - required other conditions for its formation, for full perception: it required thinking, generalization - calm and concentrated work. It is no coincidence that the center of philosophical thought that reflected social changes in Europe late XVIII century, found himself precisely in Germany, far from social storms. At the same time, rich traditions of instrumental music have developed in Germany and Austria. This is where the symphony appeared.

It arose in the works of Czech and Austrian composers, and acquired its final form in the works of Haydn, in order to reach its peak in Mozart and Beethoven. This classical symphony (Haydn, Mozart and Beethoven entered the history of music as " Viennese classics", since most of their work is connected with this city) developed as a cycle of four parts, which embodied different aspects of human life.

The first part of the symphony is fast, active, sometimes preceded by a slow introduction. It is written in sonata form.

The second part is slow - usually thoughtful, elegiac or pastoral, that is, dedicated to peaceful pictures of nature, quiet rest or dreams. There are second parts that are mournful, concentrated, and deep.

The third part of the symphony is a minuet, and later, in Beethoven, a scherzo. This is a game, fun, live pictures folk life, a fascinating round dance...

The finale is the result of the entire cycle, the conclusion from everything that was shown, thought out, felt in the previous parts. Often the ending is life-affirming, solemn, victorious or festive.

At general scheme, the symphonies of different composers are very different. So, if Haydn’s symphonies are mostly serene, joyful, and only in very few of the 104 works of this genre he created, serious or sad tones appear, then Mozart’s symphonies are much more individual, sometimes perceived as the predecessors of romantic art.

Beethoven's symphonies are filled with images of struggle. They fully reflected the time of the Great era french revolution, lofty civic ideas inspired by her. Beethoven's symphonies are monumental works, in depth of content, breadth and power of generalization, not inferior to opera, drama, or novel. They are distinguished by deep drama, heroism, and pathos. The last of Beethoven's symphonies, the Ninth, features the chorus singing the rapturous and majestic hymn "Embrace, O Millions," set to the verses of Schiller's ode "To Joy." The composer paints here a grandiose picture of a free, joyful humanity that strives for universal brotherhood.

Ludwig van Beethoven. Ode "To Joy" from Symphony No. 9

At the same time as Beethoven, in the same Vienna, lived another wonderful Austrian composer, Franz Schubert. His symphonies sound like lyrical poems, like deeply personal, intimate statements. With Schubert, a new movement came to European music, the symphony genre - romanticism. Representatives of musical romanticism in the symphony are Schumann, Mendelssohn, Berlioz.

Hector Berlioz, an outstanding French composer, was the first to create a program symphony (see the story about program music), writing a poetic program for it in the form of a short story about the artist's life.

Symphony in Russia is primarily Tchaikovsky. His symphonic works are exciting, exciting stories about a person’s struggle for life, for happiness. But this is Borodin: his symphonies are distinguished by their epic breadth, power, and truly Russian scope. These are Rachmaninov, Scriabin and Glazunov, who created eight beautiful, bright, balanced symphonies.

The symphonies of D. Shostakovich embody the 20th century with its storms, tragedies and achievements. They reflect the events of our history and the images of people of the composer’s contemporaries, building, fighting, searching, suffering and winning. S. Prokofiev's symphonies are distinguished by their epic wisdom, deep drama, pure and bright lyrics, and sharp jokes.

D. Shostakovich. Symphony No. 7 op. 60 “Leningradskaya” in C major. Part 1

Any symphony is a whole world. The world of the artist who created it. The world of time that gave birth to it. Listening to classical symphonies, we become spiritually richer, we become familiar with the treasures of human genius, equal in significance to the tragedies of Shakespeare, the novels of Tolstoy, the poems of Pushkin, the paintings of Raphael.

Flegontova Anastasia

class 7specialization "Music Theory",MAOUUDOD DSHI No. 46, Kemerovo

Zaigraeva Valentina Afanasyevna

scientific adviser,teacher of theoretical disciplines MAOU DOD "DSHI No. 46"

Introduction

In every big city there is a symphony orchestra. It is also in demand in opera houses, and in philharmonic societies. But the symphony genre itself - one of the most venerable genres of academic music - is being replaced today by chamber and electronic music. And it may happen that the hour will come when such a great genre as the symphony will no longer be performed at concerts at all. At least they have almost stopped composing symphonies. Relevance research topics: unflagging interest in the question concerning the future existence of the “symphony” genre; what awaits the symphony in the 21st century: rebirth or oblivion? Object of study is a symphony as a genre and as a serious way of understanding the world and human self-expression. Subject of study: the evolution of the symphonic genre from its origins to the present day. Goal of the work: study the features of the development of the symphonic genre. Research objectives: analyze scientific and theoretical material on the problem; describe symphonic laws, norms, models and trends in the development of the genre.

ChapterI. History of the word "symphony".

Symphony (from the Greek symphonía - consonance, from sýn - together and phone - sound), a musical work in sonata cyclic form, intended for performance by a symphony orchestra; one of the most important genres of symphonic music. In some symphonies, a choir and solo singers are also involved. Symphony is one of the most complex musical genres. “For me, creating a symphony means using all modern means musical technology build peace,” said the Austrian composer Gustav Mahler.

Initially, in Ancient Greece, “symphony” was the name given to the euphonious sound of tones, singing together in unison. In Ancient Rome, this was already the name for an ensemble or orchestra. In the Middle Ages, secular music in general was considered a “symphony” (in France, this meaning remained until the 18th century), and some musical instruments (in particular, a hurdy-gurdy) could be called this way. In Germany, until the mid-18th century, symphony was a general term for varieties of harpsichords - spinets and virginels; in France, this was the name given to barrel organs, harpsichords, two-headed drums, etc.

At the end of the Baroque era, some composers, such as Giuseppe Torelli (1658-1709), composed works for string orchestra and basso continuo in three movements, with a fast-slow-fast tempo sequence. Although such works were usually called "concertos", they were no different from works called "symphonies"; for example, dance themes were used in the finales of both concerts and symphonies. The difference concerned mainly the structure of the first part of the cycle: in symphonies it was simpler - as a rule, a binary two-part form of the Baroque overture, sonata and suite (AA BB). Only in the sixteenth century. it began to be applied to individual works, initially vocal-instrumental, by such composers as Giovanni Gabrieli (Sacrae symphoniae, 1597, and Symphoniae sacrae 1615), Adriano Banchieri (Eclesiastiche Sinfonie, 1607), Lodovico Grossi da Viadana (Sinfonie musicali, 1610) and Heinrich Schütz (Symphoniae sacrae, 1629). Italian composers of the 17th century. The word “symphony” (sinfonia) often denoted the instrumental introductions to an opera, oratorio or cantata, and the term in meaning came close to the concepts of “prelude” or “overture”.

The prototype of the symphony can be considered the Italian overture, which took shape under Domenico Scarlatti at the end of the 17th century. This form was already called a symphony and consisted of three contrasting parts: allegro, andante and allegro, which merged into one whole; features of a sonata form were outlined in the first part. It is this form that is often seen as the direct forerunner of the orchestral symphony. On the other hand, the predecessor of the symphony was an orchestral sonata, consisting of several movements in the simplest forms and mainly in the same key. The terms "overture" and "symphony" were used interchangeably for much of the 18th century.

In the 18th century the symphony separated from the opera and became an independent concert genre, usually in three movements (“fast - slow - fast”). Using the features of the baroque dance suite, opera and concerto, a number of composers, and above all J.B. Sammartini, created the model of a classical symphony - a three-movement work for string orchestra, where the fast movements usually took the form of a simple rondo or an early sonata form. Gradually, other instruments were added to the strings: oboes (or flutes), horns, trumpets and timpani. For listeners of the 18th century. the symphony was determined by classical norms: homophonic texture, diatonic harmony, melodic contrasts, a given sequence of dynamic and thematic changes. The centers where the classical symphony was cultivated were the German city of Mannheim (here Jan Stamitz and other authors expanded the symphonic cycle to four parts, introducing into it two dances from the Baroque suite - minuet and trio) and Vienna, where Haydn, Mozart, Beethoven (as well as their predecessors, among whom Georg Monn and Georg Wagenseil stand out, raised the symphony genre to a new level... Johann Sebastian Bach (1685-1750, Germany).

ChapterII. Symphonies of foreign composers

1. Viennese classics

1.1. Franz Joseph Haydn

In the work of Franz Joseph Haydn (1732-1809), the symphonic cycle was finally formed. His early symphonies are still essentially no different from chamber music and almost do not go beyond the usual entertainment and everyday genres for that era. Only in the 70s did works appear that expressed a deeper world of images (“Funeral Symphony”, “Farewell Symphony”, etc.). Gradually his symphonies are saturated with deeper dramatic content. The highest achievement of Haydn's symphonism are the twelve “London” symphonies.

Sonata structureallegro. Each of the symphonies (with the exception of C minor) begins with a short slow introduction of a solemnly majestic, thoughtfully focused, lyrically pensive or calmly contemplative character (usually in Largo or Adagio tempo). The slow introduction sharply contrasts with the subsequent Allegro (which is the first part of the symphony) and at the same time prepares it. There is no bright figurative contrast between the themes of the main and secondary parts. Both of them are usually of a folk song and dance nature. There is only a tonal contrast: the main tonality of the main parts is contrasted with the dominant tonality of the side parts. Developments that are built through motivic isolation received significant development in Haydn's symphonies. A short, but most active segment is separated from the theme of the main or side party and is subjected to a rather long independent development(continuous modulations in different keys, carried out with different instruments and in different registers). This gives developments a dynamic and aspirational character.

Second (slow) parts have a different character: sometimes thoughtfully lyrical, sometimes songlike, in some cases march-like. They also vary in shape. The most common are complex three-part and variation forms.

Minuets. The third movements of the "London" symphonies are always called Menuetto. Many of Haydn's minuets have the character of country dances with their somewhat heavy gait, sweeping melody, unexpected accents and rhythmic shifts, often creating a humorous effect. The three-beat size of the traditional minuet is preserved, but it loses its aristocratic sophistication and becomes a democratic, peasant dance.

Finals. The finales of Haydn's symphonies usually attract attention genre images, also going back to folk dance music. The form is most often sonata or rondo sonata. In some finales of the “London” symphonies, the techniques of variation and polyphonic (imitation) development are widely used, further emphasizing the rapid movement of the music and dynamizing the entire musical fabric [ 4, p. 76-78]

Orchestra. The composition of the orchestra was also established in Haydn's work. It is based on four groups of instruments. The string section, the leading section of the orchestra, includes violins, violas, cellos and double basses. The wooden group consists of flutes, oboes, clarinets (not used in all symphonies), and bassoons. Haydn's brass group consists of horns and trumpets. From percussion instruments Haydn used only timpani in the orchestra. The exception is the twelfth “London Symphony”, G major (“Military”). In addition to the timpani, Haydn introduced a triangle, cymbals, and a bass drum. In total, Franz Joseph Haydn's work includes more than 100 symphonies.

1.2. Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791), together with Haydn, stood at the origins of European symphonism, while Mozart's best symphonies appeared even before Haydn's London Symphonies. Without duplicating Haydn, Mozart solved the problem of the symphonic cycle in his own way. The total number of his symphonies exceeds 50, although according to the continuous numbering accepted in Russian musicology, the last symphony - “Jupiter” - is considered the 41st. The appearance of most of Mozart's symphonies dates back to the early years of his work. During the Viennese period, only the last 6 symphonies were created, including: “Linzskaya” (1783), “Prague” (1786) and three symphonies of 1788.

Mozart's first symphonies were strongly influenced by the work of J.S. Bach. It manifested itself both in the interpretation of the cycle (3 small parts, absence of a minuet, small orchestral composition) and in various expressive details (melody of themes, expressive contrasts of major and minor, leading role of the violin).

Visits to the main centers of European symphony (Vienna, Milan, Paris, Mannheim) contributed to the evolution of Mozart's symphonic thinking: the content of the symphonies is enriched, emotional contrasts become brighter, thematic development is more active, the scale of the parts is enlarged, and the orchestral texture becomes more developed. Unlike Haydn's "London Symphonies", which generally develop one type of symphonism, Mozart's best symphonies (Nos. 39-41) do not lend themselves to typification, they are absolutely unique. Each of them embodies a fundamentally new artistic idea. Two of Mozart's last four symphonies have slow introductions, the other two do not. Symphony No. 38 (“Prague”, D major) has three movements (“symphony without minuet”), the rest have four.

The most characteristic features of Mozart’s interpretation of the symphony genre include:

· conflict dramaturgy. At the most different levels parts of a cycle, individual themes, various thematic elements within a theme - contrast and conflict appear in Mozart's symphonies. Many of Mozart's symphonic themes initially appear as " complex nature": they are built on several contrasting elements (for example, the main themes in the finale of the 40th, first movement of the Jupiter symphony). These internal contrasts are the most important stimulus for the subsequent dramatic development, in particular in the developments:

1. preference for sonata form. As a rule, Mozart refers to it in all parts of his symphonies, except for the minuet. It is the sonata form, with its enormous potential for transforming initial themes, that is capable of the most profound disclosure spiritual world person. In Mozart’s sonata development, any theme of the exposition can acquire independent significance, incl. connecting and final (for example, in the symphony “Jupiter”, in the development of the first part, the themes of z.p. and st.p. are developed, and in the second part - st.t.);

2. the huge role of polyphonic technology. Various polyphonic techniques greatly contribute to the drama, especially in later works (the most striking example is the finale of the Jupiter symphony);

3. departure from open genres in symphonic minuets and finales. The definition of “genre-everyday” cannot be applied to them, unlike Haydn’s. On the contrary, Mozart in his minuets often “neutralizes” the dance principle, filling their music either with drama (in symphony No. 40) or with lyricism (in the “Jupiter” symphony);

4. the final overcoming of the suite logic of the symphonic cycle, as an alternation of different parts. Mozart's four movements of the symphony represent an organic unity (this was especially evident in Symphony No. 40);

5. close connection with vocal genres. Classical instrumental music was formed under the strong influence of opera. In Mozart this influence of operatic expressiveness is felt very strongly. It is manifested not only in the use of characteristic operatic intonations (as, for example, in the main theme of the 40th symphony, which is often compared to Cherubino’s theme “I can’t tell, I can’t explain...”). Mozart's symphonic music is permeated with contrasting juxtapositions of the tragic and the buffoonish, the sublime and the ordinary, which is clearly reminiscent of his operatic works.

1.3. Ludwig van Beethoven

Ludwig van Beethoven (1770-1827) further enriched the symphony genre. In his symphonies great importance acquired heroism, drama, and a philosophical beginning. The parts of the symphony are more closely connected thematically, and the cycle achieves greater unity. The principle of using related thematic material in all four movements, carried out in Beethoven's Fifth Symphony, led to the emergence of the so-called. cyclical symphony. Beethoven replaces the calm minuet with a more lively, often riotous, scherzo; he raises thematic development to a new level, subjecting his themes to all sorts of changes, including contrapuntal development, isolating fragments of themes, changing modes (major - minor), rhythmic shifts.

Speaking about Beethoven's symphonies, we should emphasize his orchestral innovation. Among the innovations:

1. actual formation of the copper group. Although the trumpets are still played and recorded together with the timpani, functionally they and the horns are beginning to be treated as a single group. They are also joined by trombones, which were not in the symphony orchestra of Haydn and Mozart. Trombones play in the finale of the 5th symphony (3 trombones), in the thunderstorm scene in the 6th (here there are only 2), as well as in some parts of the 9th (in the scherzo and in the prayer episode of the finale, as well as in the coda);

2. compaction of the “middle tier” forces the vertical to increase above and below. The piccolo flute appears above (in all of the above cases, except for the prayer episode in the finale of the 9th symphony), and below - the contrabassoon (in the finales of the 5th and 9th symphonies). But in any case, there are always two flutes and bassoons in a Beethoven orchestra;

3. Continuing the tradition of Haydn's London Symphonies and Mozart's later symphonies, Beethoven enhances the independence and virtuosity of the parts of almost all instruments, including the trumpet (the famous solo offstage in the Leonora overtures No. 2 and No. 3) and timpani. He often has 5 string parts (double basses are separated from cellos), and sometimes more (divisi playing). All woodwinds, including the bassoon, as well as horns (in chorus, as in the Scherzo trio of the 3rd symphony, or separately) can solo, performing very bright material.

2. Romanticism

Home distinctive feature Romanticism was the growth of form, composition of the orchestra and density of sound, leitmotifs appeared. Romantic composers preserved the traditional scheme of the cycle, but filled it with new content. A prominent place among them is occupied by the lyric symphony, one of the brightest examples of which was the Symphony in B minor by F. Schubert. This line was continued in the symphonies of F. Mendelssohn-Bartholdy, often having a painting-landscape character. Thus, the symphonies acquired the programmatic features so characteristic of romantic composers. Hector Berlioz, an outstanding French composer, was the first to create a program symphony, writing a poetic program for it in the form of a short story about the artist’s life. However, programmatic ideas in romantic music were more often embodied in the forms of one-part symphonic poem, fantasies, etc. The most prominent author of symphonies at the end of the 19th and beginning of the 20th centuries. there was G. Mahler, who sometimes attracted the vocal element. Significant symphonies in the West were created by representatives of new national schools: in the 2nd half of the 19th century. - A. Dvorak in the Czech Republic, in the 20th century. - K. Szymanowski in Poland, E. Elgar and R. Vaughan Williams in England, J. Sibelius in Finland. The symphonies of French composers A. Honegger, D. Milhaud and others are distinguished by their innovative features. If at the end of the 19th and beginning of the 20th centuries. While the large symphony (often for an expanded orchestra) dominated, later the “chamber symphony”, modest in scale and intended for an ensemble of soloists, began to play an increasingly important role.

2.1. Franz Schubert (1797-1828)

The romantic symphonism created by Schubert was defined mainly in the last two symphonies - the 8th, B minor, called “Unfinished,” and the 9th, C major. They are completely different, opposite to each other. The epic 9th is imbued with a feeling of the all-conquering joy of being. “Unfinished” embodied the theme of deprivation and tragic hopelessness. Such sentiments, which reflected the fate of an entire generation of people, had not yet found a symphonic form of expression before Schubert. Created two years earlier than Beethoven's 9th symphony (in 1822), “Unfinished” marked the emergence of a new symphonic genre - the lyrical-psychological one.

One of the main features of the B-minor symphony concerns its cycle, consisting of only two movements. Many researchers have tried to penetrate the “mystery” of this work: was the brilliant symphony really left unfinished? On the one hand, there is no doubt that the symphony was conceived as a 4-part cycle: its original piano sketch contained a large fragment of the 3rd movement - the scherzo. The lack of tonal balance between the movements (H minor in the 1st and E major in the 2nd) is also a strong argument in favor of the fact that the symphony was not conceived in advance as a 2-part one. On the other hand, Schubert had enough time if he wanted to complete the symphony: following the “Unfinished” he created a large number of works, including the 4-part 9th symphony. There are other arguments for and against. Meanwhile, “Unfinished” has become one of the most repertoire symphonies, absolutely without giving the impression of understatement. Her plan in two parts turned out to be fully realized.

The hero of “Unfinished” is capable of bright outbursts of protest, but this protest does not lead to the victory of a life-affirming principle. In terms of the intensity of the conflict, this symphony is not inferior to the dramatic works of Beethoven, but this conflict is of a different plane, it is transferred to the lyrical-psychological sphere. This is the drama of experience, not action. Its basis is not the struggle of two opposite principles, but the struggle within the personality itself. This is the most important feature of romantic symphonism, the first example of which was Schubert's symphony.

ChapterIII. Symphony in Russia

The symphonic heritage of Russian composers - P.I. Tchaikovsky, A.P. Borodina, A.G. Glazunov, Scriabin, S.V. Rachmaninov. Beginning in the second half of the 19th century, the strict forms of the symphony began to collapse. Four movements have become optional: there are both one-movement symphonies (Myaskovsky, Kancheli, Boris Tchaikovsky), as well as eleven-movement (Shostakovich) and even twenty-four-movement (Hovaness). Slow finales, impossible in classical symphony, appeared (Tchaikovsky's Sixth Symphony, Mahler's Third and Ninth Symphonies). After Beethoven's 9th Symphony, composers began to increasingly introduce vocal parts into symphonies.

The second symphony of Alexander Porfirievich Borodin (1833-1887) is one of the peaks of his work. It belongs to the world symphonic masterpieces, thanks to its brightness, originality, monolithic style and ingenious implementation of Russian images folk epic. In total, he wrote three symphonies (the third was not completed).

Alexander Konstantinovich Glazunov (1865-1936) is one of the largest Russian symphonists. His style uniquely broke the creative traditions of Glinka and Borodin, Balakirev and Rimsky-Korsakov, Tchaikovsky and Taneyev. He was the link between the pre-October Russian classics and the young Soviet musical art.

3.1. Pyotr Ilyich Tchaikovsky (1840-1893)

The symphony in Russia is, first of all, Tchaikovsky. The first symphony “Winter Dreams” was his first major work after graduating from the St. Petersburg Conservatory. This event, which seems so natural today, was quite extraordinary in 1866. The Russian symphony - a multi-movement orchestral cycle - was at the very beginning of its journey. By this time, only the first symphonies of Anton Grigorievich Rubinstein and the first edition of the First Symphony of Nikolai Andreevich Rimsky-Korsakov existed, which did not gain fame. Tchaikovsky perceived the world dramatically, and his symphony - unlike Borodin's epic symphony - is lyrical-dramatic, acutely conflicting in nature.

Tchaikovsky’s six symphonies and the program symphony “Manfred” are artistic worlds unlike each other; these are buildings built according to an “individual” project. Although the “laws” of the genre, which arose and developed on Western European soil, are observed and interpreted with outstanding skill, the content and language of the symphonies are truly national. That’s why they sound so organically in Tchaikovsky’s symphonies folk songs.

3.2. Alexander Nikolaevich Scriabin (1872-1915)

Scriabin's symphony was formed on the basis of a creative refraction of various traditions of symphonic classics of the 19th century. This is, first of all, the tradition of dramatic symphonism by Tchaikovsky and partly Beethoven. Along with this, the composer also implemented some features of Liszt’s programmatic romantic symphony. Some features of the orchestral style of Scriabin's symphonies connect him in part with Wagner. But all these various sources were deeply processed by him independently. All three symphonies are closely connected with each other by a common ideological concept. Its essence can be defined as the struggle of the human personality with hostile forces standing in its way to the establishment of freedom. This struggle invariably ends with the victory of the hero and the triumph of light.

3.3. Dmitry Dmitrievich Shostakovich (1906-1975)

Shostakovich - composer and symphonist. If for Prokofiev, with all the diversity of his creative interests, the most important thing is Musical Theatre, then for Shostakovich, on the contrary, the main genre is the symphony. It is here that the main ideas of his work find deep and comprehensive embodiment. The world of Shostakovich's symphonies is huge. In them we see the entire life of humanity in the 20th century with all its complexities, contradictions, wars and social conflicts.

The Seventh (“Leningrad”) Symphony is one of the most significant works composer. It is four-part. Its scale is enormous: the symphony lasts more than 70 minutes, of which almost half is occupied by the first movement. “What devil can defeat a people capable of creating music like this,” wrote one of the American newspapers in 1942. Shostakovich's Seventh Symphony can rightfully be called the “Heroic Symphony” of the 20th century.

3.4. Alfred Garrievich Schnittke (1934-1998)

Schnittke - Soviet and Russian composer, music theorist and teacher (author of articles on Russian and Soviet composers), one of the most significant musical figures of the second half of the 20th century, Honored Artist of the RSFSR. Schnittke is one of the leaders of the musical avant-garde. Despite the great popularity of this music outstanding composer, the scores of many of his symphonies have still not been published and are not readily available in Russia. Schnittke raised philosophical problems in his works, the main of which were man and the environment. The first symphony contained a whole kaleidoscope of different styles, genres and directions of music. Starting point The creation of the First Symphony became the balance between the styles of serious and light music. The Second and Fourth Symphonies largely reflect the formation of the composer's religious self-awareness. The Second Symphony sounds like an ancient mass. The third symphony was the result of his inner need to express his attitude towards German culture, the German roots of his origin. In the Third Symphony, the whole story unfolds before the listener in the form of short passages. German music. Alfred Schnittke dreamed of creating exactly nine symphonies - and thereby conveying a kind of bow to Beethoven and Schubert, who wrote the same number. Alfred Schnittke wrote the Ninth Symphony (1995-97) while he was already seriously ill. He suffered three strokes and did not move at all. The composer did not have time to finally complete the score. For the first time, its completion and orchestral edition was performed by Gennady Rozhdestvensky, under whose direction the first performance took place in Moscow on June 19, 1998. A new editorial version of the symphony was carried out by Alexander Raskatov and performed in Dresden on June 16, 2007.

In the second half of the 20th century, the combination of the principles of various genres in one work - symphonic, choral, chamber, instrumental and vocal - became most popular. For example, Shostakovich’s Fourteenth Symphony combines symphony, chamber vocal and instrumental music; Gavrilin's choral performances combine the features of oratorio, symphony, vocal cycle, ballet, and dramatic performance.

3.5. Mikhail Zhuravlev

In the 21st century there are many talented composers who pay tribute to the symphony. One of these is Mikhail Zhuravlev. With his musical as well as political manifesto, the composer boldly stepped into line with such figures of musical history as L. Beethoven, P. Tchaikovsky and D. Shostakovich. M. Zhuravlev’s 10th Symphony today can easily be called the “Heroic Symphony of the 21st Century.” In addition to the general ethical aspects of this symphony, purely professional ones should also be noted. The author does not strive for innovation for the sake of innovation. At times he is even emphatically academic, resolutely opposing all decadents and avant-garde artists. But he managed to say something truly new, his own word in the symphonic genre. Composer M. Zhuravlev uses the principles of the sonata form amazingly masterfully, each time demonstrating its endless possibilities. The combined 3rd and 4th movements, in fact, represent a kind of “super-sonata”, in which the entire 4th movement can be considered as expanded into a separate part of the coda. Researchers in the future will still have to deal with this extraordinary compositional decision.

Conclusion

Symphonies were originally called those works that did not fit into the framework of traditional compositions - in terms of the number of parts, tempo ratio, combination of different styles - polyphonic (which was considered dominant in the 17th century) and the emerging homophonic (with voice accompaniment). In the 17th century, a symphony (which meant “consonance, agreement, search for new sounds”) was the name for all kinds of unusual musical compositions, and in the 18th century, the so-called divertissement symphonies, which were created to sound the space at balls and various social events, became widespread. The symphony became a genre designation only in the 18th century. In terms of performance, the symphony is rightly considered a very complex genre. This requires a huge composition, the presence of many rare musical instruments, skill of the orchestra players and vocalists (if it is a symphony with text), excellent acoustics. Like any genre of music, a symphony has its own laws. Thus, the norm for a classical symphony is a four-movement cycle, with a sonata (the most complex) form at the edges, with a slow and dance movement in the middle of the composition. This structure is not accidental. The symphony reflects the processes of a person’s relationship with the world: active - in the first part, social - in the fourth part, contemplation and play - in the central sections of the cycle. IN turning points its development symphonic music changed the established rules. And those phenomena in the field of art that at first caused shock, then became familiar. For example, a symphony with vocals and poetry became not just an accident, but one of the trends in the development of the genre.

Modern composers today prefer chamber genres, which require a smaller cast of performers, to symphonic forms. IN this kind concerts even use phonograms with recordings of noise or some kind of electronic-acoustic effects. The musical language that is cultivated today in modern music, - very experimental, exploratory. It is believed that writing music for an orchestra today means putting it on the table. Many believe that the time of the symphony as a genre in which young composers work is certainly over. But is this really so? Time will answer this question.

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