chamber sound. "Chamber music" message. Genres of contemporary music

Contemporary chamber music almost always consists of a three-movement or four-movement sonata cycle. To date, the basis of the chamber-instrumental repertoire are the works of the classics: the quartets and string trios of Mozart and Haydn, the string quintets of Mozart and Boccherini and, of course, the quartets of Beethoven and Schubert.

In the postclassical period, a large number of well-known composers who belonged to different directions preferred to write chamber music, but only some of its samples were able to gain a foothold in the widespread repertoire: for example, the string quartets by Ravel and Debussy, as well as the piano quartet written by Schumann.

The concept of "chamber music" implies duets, quartets, septets, trios, sextets, octets, nonets, as well as decimeters, at quite different instrumental compositions. Chamber music includes some genres for solo performance with accompaniment. These are romances or instrumental sonatas. "Chamber opera" implies a chamber atmosphere and a small number of performers.

The term "chamber orchestra" refers to an orchestra with no more than 25 performers.. In a chamber orchestra, each performer has his own part.

String chamber music reached its peak under Beethoven in particular. After him, Mendelssohn, Brahms, Schubert and many other famous composers began to write chamber music. Among Russian composers, Tchaikovsky, Glinka, Glazunov, Napravnik worked in this direction.

To support this kind of art in St. Petersburg, the Russian Musical Society, as well as the chamber music community, held various competitions. This area includes romances for singing, sonatas for strings and piano, as well as small piano pieces. Chamber music must be performed with great subtlety and detail.

Real chamber music has a rather deep and concentrated character. For this reason, chamber genres are better perceived in small rooms and in a free environment than in ordinary concert halls. This type of musical art requires a subtle knowledge and understanding of forms and harmony, and counterpoint was developed a little later, under the influence of the great ones.

Chamber music concert - Moscow

folk song the art of oral tradition. From ancient, time immemorial, songs, being created, passed from one singer to another, from the older generation to the younger, by word of mouth. At the same time, the singers often made changes both to the words of the song and to its melody. That is why every folk song exists in many varieties - variants, simpler and more complex. But almost always they are united by a peculiar feature: the repeated repetition of a melody with different words. While the main melody of the song is repeated several times in an unchanged or slightly varied form, the poetic text changes and develops. This is what makes the distinctive feature of the song form - couplet.

(See UMK "Russian Folk Music").

Close to folk are many of the songs created by poets and composers “Sleep My Joy Sleep” (Mozart), “Marmot” (Beethoven), “Nightingale” (Alyabyeva), “Along the Street”, “Red Sundress” (Varlamova), “ Bell "(Gurilev).

(Learning the song. See the musical appendix).

Along with the concept of "chamber music", at the end of the 18th century and in the 19th century, the term " romance".

romance ( Spanish) - the name of a relatively small vocal work for voice with accompaniment. In medieval Spain, the word "romance" meant a simple folk song in the Spanish household dialect.

In the 18th century, the romance gets spread in France, and later in Russia.

Many Russian romances of the late 18th and early 19th centuries were written in French. (For example, romances by O. Kozlovsky and even A. Dargomyzhsky).

Later romances in Russia began to be called lyrical, especially sensitive love songs with their typical plastic, softly rounded whorls. They were created not only by composers, but also by amateur singers, and the names of their creators usually remained unknown, for example, the song romances “Century Linden”, “White Acacia”, “What I upset you with”, “Under the silver moon”. Such romances were performed with the guitar - a favorite instrument of Russian urban life of the last century.

A similar intonation structure is inherent in the melodically charming everyday romance of Russian composers “Don’t wake her up at dawn”, Varlamov’s “Red Sundress” (1801-1848).

"Red sundress"- (learning).

Analysis of a musical work

Song " Red sundress "- original in form. The plot of the poem prompted to create a composition in the form dialogue. Major verses (daughter's confession) are replaced by minor ones (Matrona's answer). a moderately fast pace is replaced by a slow one. In the last stanza, with the final words of the mother (... And I was young like that), the music returns to a light major key, the original tempo and thematic material. There is a common three-part (reprise) form with internal variation-couplet development.

The main characteristically Russian sixth chant is intoned in a new way throughout the song.

“Do not neck ...”, “Inseparable”, “We look at the children ...”

The general color of the song is light and clear, only slightly fanned with pensive sadness, is well associated with the image of youth, with the graceful image of a Russian girl, familiar to us from the paintings of Russian painters - Venetsianov, Tropinin, the painting "The Lacemaker" (Analysis and comparison with romance).

The young girl is depicted with great warmth. Her pretty face with a slight smile is affably turned towards the viewer, she seems to have stopped for a minute, pinning the pattern with a small hand.

At the same time, the portrait, in its everyday nature, is devoid of everyday life: the composition of the figure is interesting, occupying the entire plane of the picture, making the image significant and elevated. The artist affirms the beauty of a girl engaged in everyday work, at the same time brings his ideal of beauty into this image: prettiness, grace, echoes of the elegant coquettishness of the 18th century.

P.A. Fedotov. Portrait of N. Zhdanovich- the sister of a friend of the artist, a student of the Smolny Institute. The world of the portrait is the world of youth and music. Thin and flexible girlish hands seem to continue their movement, the air is still riddled with sounds. Natural gracefulness of movement, there is no shadow of posing here. Freely, naturally and convincingly, the frozen moments in the life of a young musician who has entered the best time of girlhood are conveyed.

The graceful dance refrain of the piano part contributes to the general impression of the romance's lightness and clarity.

Genre over time romance more and more isolated from the song to which he owes his origin. The melodic side of the romances becomes more complicated and a gradual departure from the simple song form (verse-strophic) is observed. Creating romances that are more in-depth and complex in content, composers often use contrasting juxtapositions of images. In Glinka's romance "I remember a wonderful moment" after the lyrically light and tender melody, which depicts the main poetic image of the poem, a tense and dramatic episode follows - “The years passed. The storm is a rebellious impulse ... ". Speaking in the language of music about how life's hardships and worries pushed aside the enchanting impression of meeting a charming woman, the composer moves from a plastic, typically romance melody to a tense and impetuous presentation in the middle part. And then, in accordance with the meaning of Pushkin's poem (“The soul has come to awakening ...”), the original musical image returns, or, one might say, a reprise begins - a repetition of the main theme.

Widely using the term "romance", Russian composers did not apply it to songs that are comic, paradic-satirical and characteristically everyday, such as "Worm", "Melnik" by Dargomyzhsky.

Among the various genres of vocal chamber music, a prominent place belongs to the ballad.

Ballad- genre of folk origin. Back in the middle of the century in Italy, France and England, narrative songs about the exploits of folk heroes or about any extraordinary dramatic incidents were called that.

Ballad This is a story, but not a simple one. Fantasy elements must be present. The brightness of the events, the pictorial quality of the music, the gradual development of the plot do not fit into the framework of the verse or the 3-part form is built freely, following the text.

Serenade- a lyrical song to the accompaniment of a lute, mandolin or guitar, performed in honor of a beloved.

Vocalise- a piece without words, performed on any vowel (“a”). in the past were composed for educational purposes. "Vocalise" by Rachmaninoff is a song without words, about something dear and close.

Requiem- mourning choral work (funeral mass).

Questions and tasks for students

1. What is chamber music?

2. What is vocal music?

3. Varieties of vocal music.

Practical tasks

2. Learn and perform a folk song and romance or other types of vocal genre.

3. Prepare to learn a vocal piece with your group.

5. Sing and conduct.

6. Prepare a conversation about a vocal piece of your choice.

Chamber instrumental music The message summarized in this article will tell you a lot of useful information about this art form.

"Chamber music" report

Chamber music is music performed by small groups of musicians. In this article we will try to understand in detail this inimitable and unique musical phenomenon.

A bit of chamber music history

A couple of centuries ago, chamber music was called any music that did not sound in temples and churches.

The word camera is of Latin origin and translates as "room, ward." Each part of the chamber composition is performed by one instrument. In the XVIII-XIX centuries. chamber music sounds everywhere, in living rooms, salons, small concert halls. At the imperial courts, there were even positions - chamber musicians.

But it began to develop and gradually absorb the features of other genres. As a result, at the end of the twentieth century, it ceased to be music for a select circle of listeners. Those who played it became known as the chamber ensemble. It consists of up to 10 people. In the process of development of chamber music, chamber ensembles were formed:

1. String Quartet. They were best reflected in the work of the great composer Joseph Haydn. Viola, violin and cello solo.
2. Piano quintet. This is a common musical phenomenon that originates in the period of romanticism and is still popular today. Piano and string quartet solo.
3. piano trio. This genre comes from the trio sonata and is a classic variant of the piano trio. It established itself in the 18th century and was reflected in the works of the Mannheim school. Cello, violin and piano solo.
4. solo instrument. Wind or string instrument and piano.
5. Piano duet. Soloists are 2 pianos or one, but in 4 hands.
6. String Quartet. Soloist 2 violins, cello and viola.
7. piano quartet. Viola, violin, piano and cello solo.
8. String quintet. Soloist string quartet, cello or viola.

Features of chamber music

There are many genres of chamber music. The most common of them are instrumental sonatas, romances, opera, nocturnes, preludes, miniatures.

Chamber music is characterized by a tendency to detail the rhythm, intonation and melody, to equality in voices, a wide variety of themes. Its main features are the transmission of emotions and feelings, lyricism and emotionality.

Chamber music performers

The main representative of this trend in music is the artist, the most Russian composer, as he was called. He wrote works about his country Russia and its fate. Composers was a symbolist. His work was dominated by philosophical motives, deep images and symbols. The example of Rachmaninov was followed by P.I. Tchaikovsky, N.A. Rimsky-Korsakov, S. Prokofiev.

Another bright representative of chamber music is the main figure of Western classical music. His works are widely known all over the world. He was followed by such composers as Ferdinand Ries and Carl Czerny. Not to mention the classics

CHAMBER MUSIC (from the Middle Ages, Latin camera - room; Italian musica de camera; French musique de chambre; English chamber music; German Kammermusik) - a type of musical art intended for performance in small rooms or for home playing music. It is worth saying that it is characterized by specific instrumental compositions (from one performer-soloist to several combined in an ensemble) and features of musical presentation: detailing of melodic, intonational, rhythmic and dynamic expressive means. It has great potential for conveying emotions and the most subtle gradations of a person's mental states. Although the origins of Chamber music date back to the Middle Ages, the term became established in the 16th and 17th centuries. In this period, chamber music, in contrast to church and theatrical music, meant secular music intended for performance at home or at the courts of monarchs. K ser. 18th century the difference between chamber music and concert music (orchestral and choral) comes out more and more clearly.

A special genre is CHAMBER-INSTRUMENTAL MINIATURES. In the 19th and 20th centuries they are often combined into cycles. Among them: "songs without words" by Mendelssohn, plays by R. Schumann, waltzes, nocturnes, preludes and etudes by F. Chopin, works of small form by A. N. Scriabin, S. V. Rachmaninov, "Fleeting" and "Sarcasm " S. S. Prokofiev, preludes by D. D. Shostakovich, "Marginalia" by J. Ryaets, skr. pieces such as "Melodies" and "Scherzo" by P. I. Tchaikovsky, preludes by Tsintsadze, etc.

From con. 18th century and especially in the 19th century. VOCAL CHAMBER MUSIC (in the genres of song and romance) occupied a prominent place in art. Exceptional attention was paid to her by romantic composers. Οʜᴎ introduced the genre of vocal miniature, as well as vocal-song cycles, united by one idea ("Winter Way" by F. Schubert, "Love and Life of a Woman" by R. Schumann, etc.). The genres of song and romance were widely developed in Russia (since the 18th century); artistic heights M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky, A. P. Borodin, M. P. Mussorgsky, I. A. Rimsky-Korsakov, S. V. Rachmaninov.

SONATA (Italian sonata, from sonare - to sound) is one of the basic genres of instrumental music. In the 16th century the concept of the Sonata was established as a work intended for instrumental performance, in contrast to the cantata - for vocal performance. The sonata was formed during the 18th century. Classic style. Viennese Sonata - in the works of J. Haydn, W. A. ​​Mozart͵ M. Clementi S. is a 3-part sonata-symphony. cycle and involves no more than two performers.

TRIO (Italian trio, from Latin tres, tria - three) - 1) an ensemble of performers of three people; see also Tercet. 2) Music production for three instruments or singing voices. Outstanding examples of the piano trio were created by L. Beethoven, F. Schubert, R. Schumann, J. Brahms, P. I. Tchaikovsky, S. I. Taneev, S. V. Rakhmaninov, D. D. Shostakovich.

QUARTET (Italian quartette, from Latin quartus - fourth; French quatuor; German Quartett; English quartet) - 1) an ensemble of 4 performers (instrumentalists or vocalists). In chamber instrumental music, they are homogeneous (4 bowed, 4 woodwind, 4 brass, etc.) or mixed. Strings (bowed) (2 violins, viola, cello) became widespread.

PRELUDE, prelude (mid-century lat. praeludium, from lat. praeludo - I play in advance, I make an introduction), - a small instrumental piece. Initially of an improvisational nature, an introduction to the main piece (usually a fugue) of a 2-part cycle (P. and fugue by D. Buxtehude, "HTK" by J. S. Bach) or to a multi-part cyclic work. In the 16-18 centuries. the genre takes shape as an independent play, similar in character and type of presentation to fantasy. In the 19th century becomes one of the most common genres of small forms in the work of romantic composers (the cycles of preludes by F. Chopin, A. N. Scriabin, and others). In the work of composers of the 20th century. is interpreted in many ways: it can perform an introductory function (D. D. Shostakovich, R. K. Shchedrin), be an independent piece (by S. V. Rachmaninov, Shostakovich) or an expanded composition (Prelude op. 44 by Schoenberg, "Preludes" for orchestra. Debussy).

ETUDE (from the French etude - literal teaching, study) is an instructive piece of music, originally intended only to improve the technical skills of playing the instrument. The development of the genre is associated primarily with the flourishing in the 19th century. virtuoso piano performance. Later they appeared for the violin (R. Kreutzer, P. Rode), for the cello (D. Popper), and other instruments. Romantic composers (N. Paganini, F. Liszt, F. Chopin, R. Schumann, F. Mendelssohn, I. Brahms, etc.) become an artistically significant work, interpreted either as a vivid concert piece, or as a miniature of the prelude type . Later in the work of Russian (A. K. Lyadov, A. S. Arensky, S. V. Rakhmaninov, A. N. Skryabin, I. F. Stravinsky), Soviet (S. S. Prokofiev, D. D. Shostakovich , N. P. Rakov, D. D. Kabalevsky, etc.) and foreign composers (C. Debussy, O. Messiaen, B. Bartok, K. Shimanovsky, etc.), developing a certain performing skill, retains the importance of artistic composition œnia.

SONG (Latin cantus, cantio; Italian canzona; French chanson; English song; German Lied) - the most common genre of vocal music, as well as the general designation of a poetic work intended for singing or chanting. Genre classification can be carried out according to various criteria: verbal and musical content (revolutionary, patriotic, lyrical, satirical, marching, dance, etc.), social functioning (peasant, urban, everyday, military combat, etc.), textures and performing staff (single and polyphonic, solo and choral, with and without instrumental accompaniment). The musical form is related to the structure and content of the poetic text. The most common is the couplet form. The author's song is created by the composer (not folklore). Among the largest composers: F. Schubert, R. Schumann, I. Brahms, X. Wolf, G. Mahler, R. Strauss (Austria and Germany); G. Berlioz, Ch. Gounod, J; Massenet, G. Fauré (France); L. A. Alyabiev, M. I. Glinka, A. S. Dargomyzhsky, A. P. Borodin, M. P. Mussorgsky, P. I. Tchaikovsky, S. V. Rakhmaninov (Russia).

However, to the beginning 20th century the concept of the author’s Song has acquired a double meaning: Song (romance) is a “high” genre of serious music composed by the composer primarily for professional performance, and a “popular” song (including pop and mass), often created without written fixation by the performers themselves (in France - chansonniers, in the USA, Great Britain and other countries - rock musicians, in the USSR - the so-called bards.

ROMANCE (Spanish: romance) is a chamber vocal work for voice and instrument. The term originated in Spain and originally meant a poem in Spanish ("Romance"), designed for musical performance. It differs from the song in greater detail of the melody and its connection with the words, the expressive role of the instrumental accompaniment. Romances are divided into genre varieties: ballad, elegy, barcarolle, etc. In the 19th century. R. becomes one of the leading genres, reflecting the trend characteristic of the era of romanticism - the reproduction of the inner world of a person in all psychology, nuances (the work of F. Schubert, R. Schumann, I. Brahms, X. Wolf, etc.) For 19 in. national schools are being formed in Russia (M. I. Glinka, A. S. Dargomyzhsky, M. A. Balakirev, Ts. A. Cui, M. P. Mussorgsky, A. P. Borodin, N. L. Rimsky-Korsakov, P. I. Tchaikovsky, S. V. Rachmaninov), in France (Ch. Gounod, J. Bizet, J. Massenet), in the Czech Republic (B. Smetana, A. Dvorak), in Poland (M. Karlovich, K. Shimanovsky), in Norway (H. Hjerulf, E. Grieg), etc. In the 20th century. the problem of synthesis of music and poetry is posed in a new way: poems with music arise (S. I. Taneyev, Rakhmaninov, N. K. Medtner, S. S. Prokofiev, K. Debussy), free verse and even prose are widely used as text ; new methods of recitation are used (A. Schoenberg); folk music-speech genres penetrate into romance (I. F. Stravinsky). Romance traditions were creatively developed by Soviet composers (Prokofiev, Shostakovich, N. Ya. Myaskovsky, A. A. Aleksandrov, Yu. A. Shaporin, Sviridov).

VOCALIZE (French vocalise, from Latin vocalis - a vowel sound; sonorous, melodious) - 1) an exercise performed on a vowel sound for the development of vocal technique, specially composed or improvised by the singer. 2) Concert piece, more often for soprano with instrumental accompaniment. The absence of words and cantilena, sometimes virtuosity ("Vocalise in the form of a habanera" by Ravel) make it possible to vividly show the beauty and elaboration of the voice ("Vocalise" by Rachmaninov). In the 20th century V. approaches instrumental genres (5 melodies for voice or violin and piano by Prokofiev; Shimanovsky's etude), including large ones (sonata-Vocalise, suite-Vocalise by Medtner; concerto for voice and orchestra by Gliere).