The structure of a classical symphony. Symphony

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SECOND (HEROUS) SYMPHONY BY ALEXANDER BORODIN (B-FLAT MINOR, 1869–1876)

In Russia, by the second half of the 19th century, a fix idea had matured among composers: it was time to create their own, Russian symphony. By that time, in Europe the symphony celebrated its centenary, having gone through all stages of the evolutionary chain: from opera overture, which left the theater stage and was performed separately from the opera, to such colossuses as Beethoven’s Symphony No. 9 (1824) or Berlioz’s Symphony Fantastique (1830). In Russia, the fashion for this genre did not catch on: they tried it once, twice (Dmitry Bortnyansky - Concert Symphony, 1790; Alexander Alyabyev - symphonies in E minor, E-flat major) - and they abandoned this idea in order to return to it decades later in the works of Anton Rubinstein, Miliya Balakirev, Nikolai Rimsky-Korsakov, Alexander Borodin and others.

The mentioned composers judged absolutely correctly, realizing that the only thing that a Russian symphony can boast of against the backdrop of European abundance is its national flavor. And Borodin has no equal in this. His music breathes the expanse of endless plains, the prowess of Russian knights, the sincerity folk songs with their aching, touching note. The emblem of the symphony was the main theme of the first movement, upon hearing which the composer’s friend and mentor, musicologist Vladimir Stasov, suggested two names: first “Lioness”, and then a more appropriate idea: “Bogatyrskaya”.

Unlike the symphonic works of the same Beethoven or Berlioz, based on human passions and experiences, the Bogatyr Symphony tells about time, history and people. There is no drama in the music, no pronounced conflict: it resembles a series of smoothly changing paintings. And this is fundamentally reflected in the structure of the symphony, where the slow movement, usually in second place, and the lively scherzo (traditionally coming after it) change places, and the finale, in a generalized form, repeats the ideas of the first movement. Borodin in this way managed to achieve maximum contrast in the musical illustration of the national epic, and Bogatyrskaya’s structural model subsequently served as a model for the epic symphonies of Glazunov, Myaskovsky and Prokofiev.

I. Allegro (00:00)
II. Scherzo: Prestissimo - Trio: Allegretto (07:50)
III. Andante (13:07)
IV. Finale: Allegro (23:42)

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PETER TCHAIKOVSKY'S SIXTH (PATHETIC) SYMPHONY (B MINOR, 1893)


There is so much evidence, interpretation, and attempts to explain its content that the entire description of this work could consist of quotes. Here is one of them, from Tchaikovsky’s letter to his nephew Vladimir Davydov, to whom the symphony is dedicated: “During the trip, I had the idea of ​​another symphony, this time a program one, but with a program that would remain a mystery to everyone. This program is the most imbued with subjectivity, and often during my travels, mentally composing it, I cried a lot.” What kind of program is this? Tchaikovsky confesses this to his cousin Anna Merkling, who suggested that he described his life in this symphony. “Yes, you guessed right,” confirmed the composer.

In the early 1890s, the thought of writing memoirs repeatedly visited Tchaikovsky. Sketches for his unfinished symphony called “Life” date back to this time. Judging by the surviving drafts, the composer planned to depict certain abstract stages of life: youth, thirst for activity, love, disappointment, death. However, the objective plan was not enough for Tchaikovsky, and the work was interrupted, but in the Sixth Symphony he was guided exclusively by personal experiences. How sick the composer’s soul must have been for music to be born with such an incredible, amazing power of influence!

The lyrical-tragic first part and the finale are inextricably linked with the image of death (in the development of the first part the theme of the spiritual chant “Rest with the Saints” is cited), as Tchaikovsky himself testified by referring to this symphony in response to the proposal of Grand Duke Konstantin Romanov to write “Requiem” " That is why the bright lyrical intermezzo (five-beat waltz in the second part) and the solemn and triumphal scherzo are so keenly perceived. There are many discussions about the role of the latter in the composition. It seems that Tchaikovsky was trying to show the futility of earthly glory and happiness in the face of inevitable loss, thereby confirming the great saying of Solomon: “Everything passes. This too will pass.”

1. Adagio - Allegro non troppo 00:00
2. Allegro con grazia 18:20
3. Allegro molto vivace 25:20
4. Finale. Adagio lamentoso 33:44

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THIRD SYMPHONY (“DIVINE POEM”) BY ALEXANDER SCRYABIN (C MINOR, 1904)

If you happen to visit the Alexander Scriabin House-Museum in Moscow on a dark autumn evening, you will certainly feel the eerie and mysterious atmosphere that surrounded the composer during his lifetime. A strange structure of colored light bulbs on the table in the living room, plump volumes on philosophy and occultism behind the cloudy glass of the bookcase door, and finally, an ascetic-looking bedroom where Scriabin, who had been afraid all his life of dying from blood poisoning, died of sepsis. A gloomy and mysterious place that perfectly demonstrates the composer’s worldview.

No less indicative of Scriabin’s thinking is his Third Symphony, which opens the so-called middle period of creativity. At this time, Scriabin gradually formulated his philosophical views, the essence of which is that the whole world is the result of one’s own creativity and one’s own thoughts (solipsism in its extreme stage) and that the creation of the world and the creation of art are essentially similar processes. These processes proceed like this: from the primary chaos of creative languor, two principles arise - active and passive (male and female). The first carries divine energy, the second gives rise to the material world with its natural beauties. The interaction of these principles creates cosmic eros, leading to ecstasy - the free triumph of the spirit.

No matter how strange all of the above may sound, Scriabin sincerely believed in this model of Genesis, according to which the Third Symphony was written. Its first part is called “Struggle” (the struggle of a man-slave, submissive to the supreme Ruler of the world, and a man-god), the second - “Pleasures” (a person surrenders to the joys of the sensory world, dissolves in nature), and, finally, the third - “Divine play" (the liberated spirit, "creating the universe by the mere power of his creative will," comprehends "sublime joy free activity"). But philosophy is philosophy, and the music itself is marvelous, revealing all the timbre capabilities of a symphony orchestra.

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FIRST (CLASSICAL) SYMPHONY BY SERGEY PROKOFIEV (D MAJOR, 1916–1917)

The year is 1917, difficult war years, revolution. It would seem that art should frown gloomily and tell about painful things. But sad thoughts are not for Prokofiev’s music - sunny, sparkling, youthfully charming. This is his First Symphony.

Creativity Viennese classics The composer was interested in it back in his student years. Now a work a la Haydn has come from his pen. “It seemed to me that if Haydn had lived to this day, he would have retained his style of writing and at the same time adopted something new,” Prokofiev commented on his brainchild.

The composer chose a modest composition for the orchestra, again in the spirit Viennese classicism- without heavy copper. The texture and orchestration are light and transparent, the scale of the work is not large, the composition is harmonious and logical. In a word, it is very reminiscent of the work of classicism, mistakenly born in the twentieth century. However, there are also purely Prokofiev emblems, for example, his favorite genre of gavotte in the third movement instead of a scherzo (the composer later used this musical material in the ballet “Romeo and Juliet”), as well as a sharp “pepper” harmony and an abyss of musical humor.

0:33 I. Allegro
5:20 II. Larghetto
9:35 III. Gavotta (Non troppo allegro)
11:17 IV. Finale (Molto vivace)

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SEVENTH (LENINGRAD) SYMPHONY BY DMITRY SHOSTAKOVICH (C MAJOR, 1941)

On July 2, 1942, a twenty-year-old pilot, Lieutenant Litvinov, miraculously broke through the enemy encirclement and managed to bring medicine and four plump music books with the score of D.D.’s Seventh Symphony to besieged Leningrad. Shostakovich, and the next day a short note appeared in Leningradskaya Pravda: “The score of Dmitry Shostakovich’s Seventh Symphony was delivered to Leningrad by plane. Its public performance will take place in the Great Hall of the Philharmonic.”

An event for which the history of music has never known analogues: in a besieged city, terribly exhausted musicians (everyone who survived took part) under the baton of conductor Carl Eliasberg performed Shostakovich’s new symphony. The same one that the composer composed in the first weeks of the siege, until he and his family were evacuated to Kuibyshev (Samara). On the day of the Leningrad premiere, August 9, 1942, Big hall The Leningrad Philharmonic was filled to capacity with exhausted city residents with translucent faces, but at the same time in elegant clothes, and military personnel who had come straight from the front line. The symphony was broadcast to the streets through radio speakers. That evening, the whole world stood still and listened to the unprecedented feat of the musicians.

...Remarkable, but famous theme in the spirit of Ravel's "Bolero", which is now usually personified with a fascist army mindlessly moving and destroying everything in its path, was written by Shostakovich even before the start of the war. However, it was quite naturally included in the first part of the Leningrad Symphony, taking the place of the so-called “invasion episode”. The life-affirming ending also turned out to be prophetic, anticipating the longed-for Victory, from which it was still separated by such a long three and a half years...

I. Allegretto 00:00
II. Moderato (poco allegretto) 26:25
III. Adagio 37:00
IV. Allegro non troppo 53:40

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Publications in the Music section

Listening and understanding the symphony

What is the difference between classical, academic, symphonic and philharmonic music? Can a string quartet be considered an orchestra, and can such an “orchestra” then be called a violin orchestra? Answers to these and other popular questions about symphonies can be found in the material on the Kultura.RF portal.

Let's go to the concert

Ilya Repin. Slavic composers. 1872. Moscow State Conservatory named after P.I. Tchaikovsky

Standard symphony concert consists of an overture and a concerto for some instrument (most often for piano or violin) with an orchestra in the first part and the symphony itself in the second. Most often they perform either overtures from famous theatrical works, or having their own plot, which allows even completely unprepared listeners to perceive music - at an extra-musical semantic level. Composers also write instrumental concerts with the mass audience in mind. With a symphony everything seems much more complicated, but this is only at first glance.

The first symphonies in the form to which we are accustomed appeared during the time of Joseph Haydn and largely thanks to him. The word “symphony” itself, of course, existed long before the composer: translated from Greek it meant “joint [harmonious] sound” and served to designate a variety of musical forms and genres. But it was precisely in the work of Haydn, the first of Viennese classics- the symphony became what it is now.

Almost all symphonies are built according to the same scheme and, in fact, tell the same type of plot. This scheme is usually called a sonata-symphonic cycle; it consists of four independent musical parts. These individual pieces of music are literally are lining up, like architectural structures, in accordance with very specific and precise mathematical laws. It was these laws that the hero of Pushkin’s work Salieri had in mind when he said that he “believed harmony with algebra.”

What does a symphony consist of?

Henryk Semiradsky. Chopin in the salon of Prince Anton Radziwill in Berlin in 1829 (detail). 2nd half XIX century. State Russian Museum

First part symphonies are also sometimes called “sonata allegro”, since it is written in sonata form and usually goes at a fast pace. The plot of the sonata form consists of three large sections - exposition, development and reprise.

IN exposition Two contrasting themes sound consistently: the main part is usually more active, and the side part is often more lyrical. IN development these themes intertwine and interact with each other in any way at the discretion of the composer. A reprise sums up this interaction: in it the main part sounds in its original form, and the side part changes under the influence of the main one. For example, if in the exposition it was lyrical, then in the reprise it becomes tragic (if the symphony is written in a minor key) or, conversely, heroic (for a major symphony).

The main intrigue of the symphony remains how exactly the composer develops the typical plot. And in an already familiar composition, you can pay special attention to the interpretation of the music by this or that conductor - this is akin to watching a new film adaptation of a famous novel.

Second part symphonies - slow, meditative in nature. It represents an understanding of the dramatic vicissitudes of the first part - as a rest after a storm or as a necessary but slow recovery after a severe fever.

The third part leads the internal conflict of the symphony to resolution through external movement. That is why composers of the 18th century traditionally wrote it in the three-beat rhythm of the then popular minuet dance. The form of the minuet was traditionally three-part, the third section of which literally repeated the first according to the pattern “A - B - A”. This repetition was sometimes not even written out with notes, and after the second section they simply wrote “da capo”: this meant that they had to play the entire first section from the beginning.

Since the time of Ludwig van Beethoven, the minuet has sometimes been replaced by a fast and lively scherzo (translated from Italian as “joke”), but even in these cases, the third movement of the standard symphony often retained the three-beat rhythm and the obligatory three-part “da capo” form.

And finally, fast fourth part or the final The symphony emotionally and meaningfully returns the listener to the “circle of life.” This is facilitated by the musical form rondo(from the French rondeau - “circle”), in which the finales of classical symphonies are most often written. The rondo principle is based on periodic returns, as if in a circle, of the main theme ( refrain), interspersed with other musical fragments ( episodes). The rondo form is one of the most harmonious and positive, and it is this that contributes to the life-affirming nature of the symphony as a whole. .

No rules without exceptions

Peter Williams. Portrait of Dmitry Shostakovich. 1947. Central Museum musical culture named after M.I. Glinka

The typical form described is characteristic of the vast majority of symphonies created from the end of the 17th century to the present day. However, there are no rules without exceptions.

If something goes “not according to plan” in a symphony, this always reflects the composer’s special intention, and not his unprofessionalism or ignorance. For example, if the slow (“meaningful”) part of the symphony changes places with a minuet or scherzo, as often happens with romantic composers of the 19th century, this may mean that the author shifted the semantic emphasis of the entire symphony “inward,” since it was in the third quarter of the musical the work is the point of the “golden section” and the semantic culmination of the entire form.

Another example of a deviation from the standard form is another movement added “over plan,” as in Joseph Haydn’s Farewell (45th) Symphony, where the traditional fast finale is followed by a slow fifth movement, during which the musicians take turns stopping playing and leave the stage, extinguishing the candles attached to their music stands. With this violation of the canonical form, Haydn, being the head of the court orchestra of Prince Esterhazy, drew the attention of his employer to the fact that the musicians had not been paid for a long time and they were literally ready to leave the orchestra. The prince, who knew the form of a classical symphony very well, understood the subtle hint, and the situation was resolved in favor of the musicians.

Symphony Orchestra

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, 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 - 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 a new century. 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 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 towards 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 of the classical era, was G. Berlioz. In a program symphony, a narrative is told, or a picture is painted, or, generally speaking, there is an element of the “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 the late musical romanticism, and his affinity for programming gave rise to works such as the 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 orchestral cast: 4 flutes (including piccolo), 4 oboes (including 2 cor anglais), 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 unfolds at a moderate tempo (Andante moderato) and is reminiscent in character of 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 a choir - with the hymn about the risen Christ with lyrics German poet 18th century F. Klopstock. In the orchestral conclusion, light, brilliant orchestral colors appear and the key of E-flat major parallels the main C minor: the light of faith dispels the 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 flowed into Soviet period history of Russia. The most “advanced” can be considered his First, Tenth, Thirteenth and Fifteenth symphonies, while the Third, Eighth, Eleventh and Twelfth are more 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 of 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.

Symphonic music surprisingly does not give up its positions, although its history goes back centuries. It would seem that time dictates new harmonies and rhythms, new instruments are invented, the process of composing itself takes on new forms - to write music, you now need a computer with a suitable program. However, symphonic music not only does not want to fade into history, but also acquires a new sound.

A little about the history of the genre, or rather, the whole spectrum of genres, since the concept of symphonic music is multifaceted, combining several musical forms. General concept is this: it is instrumental music written for a symphony orchestra. And such orchestras can be created from large to chamber ones. Traditionally highlighted orchestral groups- string instruments, wind instruments, percussion, keyboards. In some cases, instruments can be solo, and not just sound in an ensemble.

There are many genres of symphonic music, but the symphony can be called the queen. The classical symphony was formed at the turn of the 18th and 19th centuries, its creators were composers of the Viennese school, primarily Joseph Haydn and Wolfgang Amadeus Mozart. It was they who brought to perfection the four-movement symphonic model, the variety of themes in the parts of the symphony, and the programmatic nature of each work. Symphonic music rose to a new level thanks to the work of Ludwig Van Beethoven. He made this genre more intense, dramatic, and shifted the semantic center to the finale of the symphony.

Beethoven's example was followed by romantic composers of the German and Austrian schools - Franz Schubert, Robert Schumann, Felix Mendelssohn, Johann Brahms. They considered software to be the main thing symphonic work, the framework of the symphony becomes cramped for them, new genres appear, such as symphony-oratorio, symphony-concert. This trend was continued by other classics of European symphonic music - Franz Liszt, Gustav Mahler.

Symphonic music in Russia seriously declared itself only in the second half of the 19th century. Although the first symphonic experiments of Mikhail Glinka can be called successful, his symphonic overtures and fantasies laid serious foundations for Russian symphonism, which reached true perfection in the works of composers " Mighty bunch" - M. Balakirev, N. Rimsky-Korsakov, A. Borodin.

Historically, Russian symphonic music, having passed the classical stage of development, was formed as romantic music with elements national color. Genuine masterpieces that have received global recognition, created by Pyotr Tchaikovsky. His symphonies are still considered the standard of the genre, and S. Rachmaninov and A. Scriabin became the successors of Tchaikovsky’s traditions.

Contemporary symphonic music, like all music of the 20th century, is in active creative search. Can Russian composers S. Stravinsky, S. Prokofiev, D. Shostakovich, A. Schnittke and other luminaries be considered modern? And what about the music of such famous composers of the 20th century as the Finnish, Englishman Benjamin Britten, and the Pole Krzysztof Penderecki? Symphonic music in modern processing, as well as in traditional, classical sound, is still in demand in the world stage areas. New genres are appearing - which means the life of symphonic music continues.

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); some musical instruments could be called this way (in particular, hurdy-gurdy) . In Germany, the symphony until the mid-18th century was general term for varieties of harpsichords - spinets and virginels, in France this was the name for 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 in no way essentially different from chamber music and hardly go beyond the usual entertainment and everyday genres of 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 Haydn's symphony is 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 at 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 secondary part and undergoes 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. In the finales of Haydn's symphonies, genre images that also go back to folk dance music usually attract attention. 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 early years his creativity. 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.

To the most characteristic features Mozart's interpretation of the symphony genre can be attributed to:

· conflict dramaturgy. At various levels of parts of the cycle, individual topics, various thematic elements within the 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 revelation of the spiritual world of man. In Mozart's sonata development it can acquire independent meaning any topic of the exhibition, 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, heroism, drama, and philosophy acquired great importance. 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 when performing very bright material.

2. Romanticism

The main distinguishing feature of 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 XIX - early XX 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 are distinguished by innovative features French composers A. Honegger, D. Milhaud and others. If at the end of the 19th - 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 most important feature 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 the images of the Russian 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 creative refraction different traditions 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 related to each other by commonality ideological plan. 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 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 the music of this outstanding composer, the scores of many of his symphonies have still not been published and are not readily available in Russia. Schnittke raised in his works philosophical problems, the main of which is man and environment. The first symphony contained a whole kaleidoscope of different styles, genres and directions of music. The starting point for the creation of the First Symphony was the relationship 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, German roots of its 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”) called all kinds of unusual musical compositions, and in the 18th century the so-called divertimento symphonies became widespread, which were created to sound the space at balls and various social events. 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. At turning points in its development, symphonic music changed its stable 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 to symphonic forms, which require less large composition performers. Concerts of this kind even use phonograms with recordings of noise or some kind of electronic-acoustic effects. Musical language, which is today cultivated 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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