Works in the form of a rondo. Musical form: Rondo - Materials for a music lesson. Great irregular rondo

Julia Zaitseva

Fairy tale by Yu. A. Zaitseva to "Rondo" from "Suite of Travels" by S. Slonimsky from the collection of Yu. A. Zaitseva "Non-boring classics for children"

The fairy tale presented to your attention is included in the "Magic Land of Rhythm" created by me and reviewed by KRIPK and PRO.

RONDO from "TRAVEL SUITE"

Sergei Slonimsky

One early sunny morning the children went to the zoo.

A light warm breeze gently stroked their heads, the sun doused them with hot rays.

They skipped running through the streets of their native city. Arriving at the zoo, the children saw a pony. The horse nodded happily at them.

The children wanted to surprise the pony and played with sticks for her.

Music B - children hit a stick with a stick

The pony liked the children's game very much. The horse was delighted, knocked with its hoof.

Music A - children move in circles

Suddenly a huge cloud appeared in the sky. It started to rain.

But the children did not have an umbrella, but only magic wooden wands.

The children played a song to the rain on sticks.

Music B1 - children tap the floor with a stick

The rain stopped crying and the children continued their journey.

Music A - children move in circles

The lion was bored in the big enclosure. The children decided not to disturb him and went quietly - quietly.

Music B2 - children hit their knees with sticks

But Leo's hearing was very sensitive, musical, he raised his ear and slightly opened one eye. He also wanted to listen to the music of wooden sticks.

Music B3 - children hit with a stick on a stick and on their knees

The lion was very pleased with the children's play. He shook his mane, waved his paw at them. The children said goodbye to him and skipped off on their way.

Music A - children move in circles

Suddenly, on the path, they spotted a large Turtle.

She slowly crawled, and the grass rustled softly under her paws. The children were very attentive and played the turtle only one understandable song.

Music B4 - children rub a stick on a stick and roll them between their palms

Music C - children collect split figures: "Horse", "Lion", "Turtle"

Related publications:

Planning a thematic week for Cosmonautics Day "Space Travel Week" Week of space travel. Tasks: 1) introduce children to the main planets; 2) to develop the ability to listen, to express their assumptions.

Health-improving complex "Krupenino" I have always dreamed of visiting Belarus. This year my dream came true. In July I am with my two sons.

Which of the children does not dream of visiting the sea. And having seen him once, he does not dream of returning again and again. before entering first grade.

Probably all residents of megacities with great pleasure leave (if possible) closer to nature. In March, it is usually cold in the Moscow region.

The starry sky has always attracted people, beckoning with its obscurity. People dreamed of learning about space as much as possible. Thus began the cosmic age.

Intellectual game "Musical Rondo" INTELLECTUAL GAME "MUSICAL RONDO" Purpose: expanding the horizons of schoolchildren in the field of musical art, encouraging self-education.

RondO - an old poetic solid form with a refrain of 8, 13 or 15 lines of fifteen lines and several stanzas. Rondo arose a very long time ago, back in the 14th century, and became known in versification as a kind of canzone.

Canzona is a lyrical love poem, originally a courtly song, the most common and universal genre in the poetry of the troubadours, later adopted by the Galician-Portuguese and Italian poets and reaching its highest flowering in the work of Petrarch. The canzone usually consisted of five to seven stanzas and ended with one shortened, and more often with two stanzas of three to four verses. The stanzas closing the canzone were called tornades (ox. tornata - turn) - they contained an indication of the object of the canzone's initiation.

The basic rondo scheme AB/aAab/AB was developed in detail around 1300 as the simplest, eight-line variety, which we later called the triolet, but by the end of the 15th century there were already up to 115 different forms of rondo, consisting of a different number of verses, for example, rondos of 22 and 25 verses are known.

Currently, RONDO is understood as the French form of a small poem with two rhymes and various types of refrains, such as:

1. 8-line rondo: where the first and second lines are repeated at the end of the rondo and the first verse - in the fourth line (triolet on a love theme);

No. 1. Rondo. Jean Froissart. (translated by Leonid Ivanov)

Will freeze mine at the sight of a lady,
Captivated by hopes and sweet dreams
The heart will beat, inhaling the heat of roses.
Their scent is fresh but lush vines
Mile love scars and scars
The heart will beat, inhaling the heat of roses,
Will freeze at the sight of my lady.

2. 9, 11, 12 or 13-line rondo, the initial words of the first line enter in the form of short lines in the middle and at the end of the poem, such as:

No. 2 Sad face. Benedikt Livshits.

The sad face of former love arose
In my soul: evening frantic
Fantasy takes me to the hiding place
of the past, and, quietly flipping through
Page after page diary

I am again, love, your timid student,
I'm under your control again, amethyst
The star of love that showed for a moment
sad face...

Thus, the lines-refrains to "face" are included here in the general chain of rhymes "arose - a hiding place - a diary", etc. A chain of much more refined hyperdactylic rhymes intertwines with it: "frantic - flipping - amethyst" and then "whistling - cambric".

No. 3. I'm crying. Valery Bryusov.

I'm crying. A row of sad pine trees along the path.
The coachman fell asleep, forgetting to whip the thin horse.
Looking at the fiery, solemn sunset,
I'm crying.

There, in the fiery sky, I, little one, what do I mean?
Here quietly the days creep, and there the centuries fly,
And the sky has no time to listen to human crying!

So in her soul - I, just a cursory glance ...
And with the thought of all that I will soon lose,
With a dull memory of lost pleasures,
I'm crying…

No. 4. I don't dare. Valery Bryusov

I do not dare to put all my dreams into verse,
And yet I caress and cherish him ...
But repeat loudly among others
I don't dare.

And now, before what I revere,
I bring to the noise of city bazaars ...
Do not make fun of a childish idea?
I don't dare.

Oh, if only there was someone who booked my thoughts
I read, comprehended and was completely imbued with it ...
At least for a moment! .. But to believe in this moment
I don't dare.

3. The most common - CLASSICAL RONDO - 15-line: the initial words of the first verse are repeated in the ninth and final lines. The rhyming scheme is aabba abbr aabbar, where r is the first half of the first line of the poem, in some cases rhyming with nothing, in other cases rhyming with a.

Examples of classical rondo:

No. 5. Manon Lesko. Mikhail Kuzmin.

Manon Lescaut, the amorous regular
Your times, I think winged
searched in vain for lost amusements,
And your image is charming and crafty,
I was driven by a changeable counselor.
And with the grace of mannered-angular
you said: "understand love tired,
After reading a novel where a sweet disposition is clear
Manon Lescaut."
From the first words in the thieving tavern
Passed true, then a beggar. the rich
Until the time when I fell without strength,
In the sand of a stranger, away native herbs,
Was buried with a sword, not a shovel
Manon Lesko!

No. 6. Your steps. Mikhail Kuzmin.

In the prophetic, the spirit of delirium is spinning,
With sacred fever censers,
And fights rustle in the air whirlwind
your steps.

So it is believed in a languid hell,
That on the threshold of the ashes of the desert I will find!
Porphyry floors are mirror-smooth...
They carry all the rainbows and all the clues
Ripe, transparent fruit
your steps.

No. 7. your steps. Mikhail Kuzmin

Where to begin? hurried crowd
To my soul, so long silent,
Poems run like a herd of frisky goats.
Again weaving a wreath of love roses
With a faithful and patient hand.

I'm not a braggart, but not a sleepy eunuch
And I'm not afraid of deceptive splinters;
I will ask openly, without mannered poses:
"Where to begin?"

So I rushed about in a fussy life, -
You came - and I with a bashful prayer
I look at the camp, slimmer than lake vines,
And I see clearly how ridiculous the question is.
Now I know proud and happy
Where to begin.

No. 8. You dreamed in the morning. Galina Rimskaya

You dreamed in the morning, lying naked in the dewy grass,
The clouds laughed like mother-of-pearl, sparkling in the stillness of the night.
I will fall with my lips to my chest, you hear, my heart beats impossible,
Tell me with your breath how you love, and I will gently touch
To those portals of consciousness to which I bow in my magic,
Whispering a confession to me, we will take off to a silvery distant star.
Oh, darling, oh God, I'm so warm and safe in strong arms,
We fall asleep on the bed ... I love, I touch you worrylessly ...
You dreamed in the morning.

And friends will lag behind Lado in their hopeless matchmaking,
She doesn’t need anyone, she dissolved in her deity…
Dear, kind, beloved, I will sew a shirt with my soul - it’s not difficult!
An invisible Angel of Light, you can correct Fate if you wish ...
I am the Goddess, we are near, together, in our wedding celebration ...
You dreamed in the morning.

4. In Russian poetry of the 18th century, Rondo was called broadly and more free forms of poems with long rows of identical rhymes.

For example, the Complicated Rondo, consisting of 25 lines, is known, its rhyming schemes vary from different authors, I did not find examples for this type of rondo. Sometimes the Complicated Rondo appears in the authors under the name of the Great Rondel: 25 lines, where all four lines of the first quatrain are repeated as the final verse in subsequent quatrains, and in conclusion, like a classic, a five-line follows, for example:

No. 9. Winter sleep. Lyubov Ilyenkov.

Winter sings. lingering echo
She is echoed with sadness by heaven.
A blizzard is purring and, with a wild laugh,
Gives miracles to the world.

The forests are already entangled in sleep -
Wrapped lovingly in snow.
And somewhere you hear voices -
Winter sings with a lingering echo ...

The whole valley is covered with whitish fur,
Frozen dew,
And praises the people of the Winter of Joy,
Only the heavens echo with sadness ...

The Sun-wheel is not visible.
And, sweeping the trail after the trail,
Snowflakes are looking for addresses -
The blizzard circles them, with wild laughter.

The sky fell asleep in the ice of the river.
Yes, only clouds-sails
They run, driven by a violent wind,
Giving Miracles to the World...

Violating the purity of the sheet
Turn, under the faded daylight
Already the first line of the poet
Recorded long ago from canvas
“Winter sings. Echoes…”

In conclusion, a few more words from history. RONDO (French rondeau from rond - circle), a solid form in poetry, one way or another based on medieval patterns. It reached its peak in Western Europe in the 16th-17th centuries. Known in Russia with V.K. Trediakovsky. In the XIX-XX centuries, it was preserved in stylizations.

Among the mass of objects and phenomena associated with circles, circular movements and all kinds of roundness and denoted by the same root words, there is also the word "round dance", which in France, as in many other countries, is associated with folk dance. No wonder they say "circle in a round dance", that is, make a circle and return to the starting point. This scheme passed from round dances to poetry (where "rondo" are called poems with periodic repetitions of words or verses) and to music. This form is closely related to man, it is surprisingly commensurate with him. How often in life we return to the same action, place, phenomenon from different angles. Rondo captures this regularity of our being in a peculiar way.

The principle of rondo gives many possibilities. First of all, it is the extreme clarity and harmony of the structure, its completeness and stability due to the repetition of the refrain. At the same time, the rondo has wonderful opportunities for contrasts of various kinds (between the refrain and episodes). In addition, it is important to saturate the entire structure with development, although in this case some other principle of shaping is added to the rondo principle, which partly suppresses the first one. The rondo form remarkably combines unity and dynamism.

The CLASSICAL RONDO arose as a more refined version of the rondel: its refrain is reduced to a minimal hint, in the middle and at the end of the poem, not the entire first line is repeated, but its beginning, remaining even without rhyme - as if unfinished. The classical rondo has 15 lines with the rhyme AABBA+ABBx+AABBAx (where x is the repetition of the beginning of the first verse). Often this order of rhymes is violated, but the positions of the repeating semi-refrains are firmly preserved.

Tip for writing a classical rondo:

As in all solid forms with refrains, the artistic effect of the rondo is that the given semi-refrain, appearing each time with seeming naturalness, in new contexts receives a new, somewhat different meaning.

There are three periods of development of Rondo:

Ш Antique (couplet) rondo;

Sh Rondo of the classical era:

1) Small rondo (one-dark and two-dark).

2) Grand Rondo (regular rondo with repetition of side themes, irregular rondo, sonata form with an episode instead of development.

Ш Postclassical rondo.

Historically, all types of rondo followed each other, making changes in two directions:

1. Figurative-thematic correlation of refrain and episodes;

2. Structural and quantitative.

Therefore, it is more logical (having outlined the historical framework of each of the 3 types of rondo) to give a comparative description, based on the above directions. So the “quality” level of rondo is determined:

· Thematic similarity or contrast of refrain and episodes. Musical thinking has evolved from the monotony and figurative homogeneity of the material in the couplet rondo through the contrasting and shading and complementary relationships of the sections in the classical rondo, and the autonomy and even eclipsing refrain contrast of the episodes in the postclassical rondo. As it turned out, the authority of the refrain of the French and German clavescinists was based on a simple periodical unchanging repetition. The Viennese classics strengthened the meaning of the refrain by contrasting its relationship with various episodes. And the romantics and subsequent composers treated the refrain as a source of a gallery of images and a connecting component of the entire composition, so they allowed a change in the refrain.

· Tonal plan and "junctions" of the episode with the refrain. At the same time, it was the classics who managed to introduce internal movement and a dynamic process (sometimes modest, but in Beethoven it is very embossed). Romantics and other composers of the 19th-20th centuries also used this in their compositions and went further in some ways. As a result, a code was needed.

What is meant by "quantitative" level is:

1. Number of parts;

2. The structure of the refrain and episodes.

Ancient (couplet) rondo

The name comes from the French word Couplet, which was used by composers of the 18th century to mark sections, which we call episodes. The refrain was called "rond" (fr. rondeau; sometimes the form of the couplet rondo, according to the French tradition, is also called "rond", with the accent on the last syllable).

The couplet rondo was one of the favorite forms of French harpsichordists - Chambonnière, F. Couperin, Rameau and others. For the most part, these are program pieces, usually miniatures, of a very different nature. These composers also wrote dances in this form. In German Baroque, the rondo is rare. Sometimes it is used in the finals of concerts (J.S. Bach. Violin Concerto E-dur, 3rd movement). In suites, this is often an imitation of the French style (in one way or another) or dances of French origin (J.S. Bach. Passpier from the English Suite e-moll).

The duration of the form is different. The norm is 5 or 7 parts. Minimum - 3 parts (F. Couperin. "Le Dodo, ou L "Amour au berceau"). The maximum known number of parts (in principle for a rondo) is 17 (F. Couperin's Passacaglia).

The refrain sets out the leading (almost always the only one in the whole work) theme, its dominant role is strongly expressed. It is usually written compactly, in a homophonic texture and has a songlike character. In most cases, it is square (including J.S. Bach) and has the shape of a period.

Subsequent refrains are always in the main key. It almost does not change, the only normative change is the refusal to repeat (if it was in the first refrain). Refrain variation is extremely rare.

The verses almost never have new material, they develop the theme of the refrain, emphasizing its stability. In most cases, one of two tendencies takes place: small differences between couplets from each other or purposeful development of couplets, accumulation of movement in the texture.

Classic era rondo

Rondo occupies a large place in the music of the Viennese classics. After F.I. Bach, this form regained balance and harmony. Parts of the classical rondo are strictly regulated, freedom is minimal. Such an understanding of form corresponds to the concept of a harmonious and rationally arranged world common to the classics.

The scope of the rondo during this period is the finals or slow parts of the cycles (that is, parts where stability, completeness is important and there is no conflict). Less common are individual pieces in the form of a rondo (Beethoven. Rondo "Rage over the lost penny").

By the number of topics, a small rondo (1 or 2 topics) and a large rondo (3 topics or more) are distinguished. These types will be listed below. It should be noted that in the European theory of the 19th - early 20th centuries (A.B. Marx and his followers, including Russians), 5 forms of rondo were distinguished. Further, it will be indicated to which form of rondo according to Marx each type corresponds.

Small one-dark rondo

The structure of this type of form has a presentation of a theme and its repetition, connected by a modulating move).

The main quality of this form, which allows it to be classified as a rondo form, is the presence of a move. This form in its pure form is rare, often there is the emergence of new thematic material (and imagery) within the movement, which brings the whole closer to a two-dark rondo.

The theme is usually in a simple two-part form, which determines the independent meaning of the move (and not its middle role), less often a simple three-part or period (in this case, the move has dimensions that are much larger than the theme).

Independent plays in this form are rare.

· L. van Beethoven. Bagatelle, op. 119 (the theme is a simple two-part non-reprise form).

· R. Schumann. Novelette No. 2 in D-dur (the theme is a period, the move takes 74 bars).

Small two-dark rondo

Also called "Adagio form" or "Andante form" - since most of the slow parts of the sonata-symphony cycles of classical composers (traditionally Andante or Adagio) are written in this form.

The two-dark rondo is mainly used in slow lyrical music (slow parts of cycles, nocturnes, romances, etc.) and in lively motor, often genre-dance music (finals of cycles, etudes, individual pieces, etc.).

The main (first) theme is usually written in a simple form, most often in a simple two-part. It is steadily stated in the main key and has a clear cadence.

The second theme in one way or another contrasts with the first and has an independent meaning. According to the theme, it can be a derivative of the main one. In most cases, it is stable, but it can also be unstable. Often the second theme is written in a simple two-part, less often in the form of a period.

Sometimes one of the moves can be skipped (more often - leading away). Moves can have their own thematic material or develop the material of the topic.

· L. van Beethoven. Concerto No. 1 for piano and orchestra, II movement.

· L. van Beethoven. Piano Sonata No. 3 in C major, op. 3, II part.

· W. Mozart. Piano Concerto A-dur (KV 488), II movement.

Grand rondo

Large rondos include forms with three or more themes.

It is customary to divide a large rondo: by the number of topics - into three-dark, four-dark, etc.; according to the correctness of the return of the refrain - to regular and irregular; according to the repeated section - forms are possible where, in addition to the refrain, one of the episodes returns.

A large rondo consists of the same parts as a small rondo - from themes and moves. The characteristics of these sections are the same - the themes are more stable, the moves are less.

An introduction to a large rondo, when it is part of a cycle, is rare, if it exists, then it is small and not independent. On the contrary, in some works, the introduction can grow to a large introduction (Saint-Saens. Introduction and rondo-capriccioso).

The coda is almost always present in the grand rondo. Often it includes the last holding of the main theme.

Grand regular rondo with recurrence of side themes

In this type of rondo, one or more secondary themes (episodes) are repeated - usually transposed, very rarely in the same key. It is used almost exclusively in the finals of sonata-symphony cycles.

Sometimes one of the refrain may be skipped when repeating (Haydn. Symphony No. 101 in D-dur, 4th movement).

The structure of this type of rondo has different, larger proportions. The initial section of the form (ABA) is perceived differently - now it is already a whole expositional section. In most cases, there is no move before the central episode (C) in order to more clearly separate it from the exposition and reprise sections. The contrast between the refrain and the central episode is greater than between the refrain and the first episode - the character often changes (for example, from a moving dance to a singsong and lyrical).

Great irregular rondo

In this type of rondo, the alternation of parts is free, there may be two or more episodes side by side. This form does not have a typical layout. Example: Schubert. Rondo for piano 4 hands e-moll, op. 84 #2.

Sonata form with episode instead of development

This type of form can be interpreted in two ways - both as a kind of rondo and as a mixed form.

It differs from the rondo sonata in the absence of development and in that the main key does not return at the end of the exposition (in the rondo sonata, the second performance of the main part sounds in the main key)

This form has some features of sonata form - a typical sonata exposition and recapitulation. However, it lacks the main section for the sonata form - development, which is replaced by an episode with new thematic material. Therefore, in principle, this form is closer to rondo.

The main scope of this form is the finale of sonata-symphony cycles (for example, the finale of Beethoven's Piano Sonata No. 1).

Postclassical rondo

Rondo in the new conditions has a very diverse application. It can be used more traditionally (the finale of the cycle), or more freely - for example, an independent miniature (some of Chopin's nocturnes - as turning the slow part of the cycle into an independent piece), an independent vocal piece (Borodin. "The Sea"), according to the principle of rondo can be built very large constructions (Introduction from Glinka's "Ruslan and Lyudmila").

The figurative content of the rondo is also changing. Now it can be ecstatic music (The Filthy Dance of Kashcheev's Kingdom from The Firebird, the finale of Stravinsky's The Rite of Spring), dramatic and tragic music (Taneyev, Romance Minuet). Although the traditional lyrical sphere is also preserved (Ravel. "Pavane").

The classical unification of the form disappears, its individualization greatly increases. Two identical designs are rare. Rondo can have any number of parts, not less than five. The refrain can be performed in different keys (which was sometimes already found among the Viennese classics), often there is a violation of the regularity of the parts (2 episodes in a row).

This type of rondo merges with other forms, in particular, with contrast-composite (this is expressed in increased contrast between sections) or suite (formally Mussorgsky's Pictures at an Exhibition suite - rondo).

Musical Form: Rondo

We meet the concept of uniform in everyday life: uniform - work, sports, school; geometric shapes - circle, square, rectangle, etc.

We all know: the form is
The outline of the subject.
From it we immediately know:
pilot, miner,
Doctor and polisher
Chef, railway worker,
Fireman and janitor.

If there are shields and a helmet,
Everyone can see the hockey player.
Capless, flared trousers,
collar, shirt,
And under it is a vest.
All then from afar
Recognize a sailor.

Form teaches us order
In it we do exercises.
Music needs a form
With her, she is always slim,
They behave with dignity
Content and form.

A composer can be compared to an architect. Before constructing a building, the architect creates its plan - shape - structure. The composer also builds a plan for the future musical work. To do this, each composer uses his own methods of constructing musical works.

Since ancient times, people loved to sing songs and dance. Often, during the performance of round dance songs, she sang (soloist) sang verses, and the choir picked up the chorus. The verses differed in music from each other. The chorus was repeated without change. The movement of music went as if in a circle.

In French, "circle" is "rondo". France is considered the birthplace of the rondo. Folk dance with singing was popular here in the old days. The dance was called rondo, which means circle, round dance.

The rondo form is a musical form that is built on repetition. This form is based on multiple (at least three times) repetition of the main theme, alternating with episodes of different content.

In the rondo there is the most important theme, which is called the REFRAIN - it is repeated several times, alternating with new themes - EPISODES.

The rondo form, due to its expressiveness, has a wide range of applications in the art of music. Very often its use is associated with images of a playful, humorous nature. In the form of a rondo, such famous musical works as the Rondo in the Turkish style of W. A. Mozart were written, “ Rage over the lost penny» L. Beethoven, Farlaf's Rondo from M. Glinka's opera "Ruslan and Lyudmila" and many others.

Ludwig van Beethoven. "Rage over the lost penny"

Rondo "Capriccio" in G major, op. 129 is better known by its subtitle "Fury over a Lost Penny".

When Beethoven was 25, he wrote the Capriccio rondo, but he never played it for his contemporaries. The short five-minute piece became known only after Beethoven's death: it was found in a pile of papers that were intended for sale at auction. This cheerful work had an unusual subtitle - "Rage over a lost penny." The idea of the subtitle did not belong to the composer, but to his friend Anton Schindler.

The title explains the music quite eloquently. This comic scene is full of energy inherent in Beethoven, strong-willed aspiration, dynamics. This is precisely the nature of the theme of the refrain, leaving no doubt that the hero's rage is playful.

“This is a great Beethoven joke,” notes musicologist Mikhail Kazinik, “an immortal joke of a genius and thunderer, written for only one piano. And every time the pianists compete with each other, who will play it wittier, funnier, more provocative: who will show that very Beethovenian sense of humor, seasoned with a generous portion of rage? ..»

Modern musicologists compare this rondo with an extended comic story-scene, where the music conveys various contrasting episodes and situations: the initial serenity, then the discovery of the loss, the alternation of hope and excitement. What follows is a mindless search with wandering through the keys and violations in the composition, creating chaos. Finally, furious fury from a fruitless search. An additional comic effect creates a contrast between the concepts of "rage" and "penny". It's anger over the smallest of things.

Listening to the rondo-capriccio, we observe how his hero, in a fit of anger, under the influence of uncontrollable emotions, loses the appearance of a reasonable, balanced person. From the sounds of the initial cheerful and carefree theme in the spirit of polka, the music moves to stormy passages, trills and arpeggios in a low register, reminiscent of an indignant growl. And although this is only a musical joke, it leads to the conclusion that it is necessary to maintain a human appearance in any situation. "Learn to control yourself."

Today, the rondo is often heard in concerts and is performed by both eminent musicians and beginners.

Wolfgang Amadeus Mozart. "Rondo in Turkish style"

The melody you are about to hear is loved by many people. She is very famous and popular all over the world.

"Turkish Rondo" by Wolfgang Amadeus Mozart attracts with the beauty of melodies, grace, and brilliance. In this work, W. A. Mozart depicted the beats of a large Turkish drum, unknown at that time in Europe. "Turkish Rondo" ("Rondo Alla turca") is often heard as an independent piece, although it was written as the third movement of the sonata in A major for piano.

The sounds of the "Turkish Rondo" immediately reminded the Austrians of the well-known sound of Turkish military marches.

Turkey (then called the Ottoman Empire) and Austria (Osterreich, Eastern Empire - this is how the name of the country is translated from German) were old and bitter enemies, and fought intermittently from the beginning of the 16th century to the end of the 18th century. However, despite such constant enmity, the Austrians had a strong interest in both Turkish culture in general and Turkish music in particular.

For the first time, the Austrians got acquainted with the game of Turkish musicians in 1699, when a Turkish delegation arrived in Vienna to celebrate the signing of the Karlovitsky peace treaty, which ended another Austro-Turkish war that lasted 16 years. The delegation of the Ottoman Empire was guarded by Janissaries - Turkish infantry, and along with other Janissaries, the delegation was accompanied by a Janissary military band, which gave several public concerts for the inhabitants of Vienna.

The Austrians were so enthusiastic about Janissary music that many Austrian musicians began to try to imitate Turkish music on European musical instruments, and even fake Turkish orchestras appeared when the native Austrians put on Janissary clothes and played instruments brought from Turkey.

And no subsequent Austro-Turkish wars could destroy the love of the Austrians for Turkish music. It even got to the point that in 1741 the Austrian government turned to the Turkish government with a request to send Turkish musical instruments for the imperial court orchestra. The tools have been sent.

This is very lively, cheerful, cheerful music, you can do anything to it, but to walk in formation and march along the parade ground - it is not suitable for this. Indeed, the Turkish Janissaries never marched in formation to the music. Music was played before a fight, during a fight, and after a fight to celebrate a victory, as well as during ceremonial events.

Wolfgang Amadeus Mozart, when he wrote the Turkish Rondo, transcribed traditional orchestral Turkish military music for piano performance, making it possible to listen to music in the Turkish style without assembling a huge Janissary orchestra, in any home where there was a grand piano or piano. Although there are also arrangements of the "Turkish March" for orchestral performance.

"Turkish Rondo" has a three-part form with a chorus. The repeating chorus - the refrain - gives the form the features of a rondo. The festively cheerful, danceable melody of the chorus sounds with a characteristic arpeggiated accompaniment, reminiscent of a small drum roll.

Mikhail Ivanovich Glinka. Rondo Farlaf from the opera "Ruslan and Lyudmila"

... haughty screamer,
In feasts undefeated by anyone,
But a modest warrior among swords ...

This is how Pushkin characterizes Farlaf.

Farlaf, together with Ruslan, goes in search of Lyudmila. However, the "brave savior", seeing the danger, prefers to flee.

Farlaf…
With fear writhing, dying
And, waiting for certain death,
He drove the horse even faster.
So it’s like a hurried hare,
Close your ears fearfully,
Over bumps, fields, through forests
Leaps away from the dog.

Farlaf's great aria is written in the form of a rondo (hence its name comes from): the main theme is heard several times, alternating with two episodes.

By what expressive means did Glinka draw a musical portrait of Farlaf?

Usually the braggart speaks a lot and quickly - and the composer chooses a very fast pace for the aria. He saturates the vocal part with virtuoso techniques, for example, the frequent repetition of the same sounds. This gives the impression of a choking tongue twister. And the listener involuntarily laughs at such a "hero". After all, the expression of humor is quite accessible to music.

Questions:

What musical sections make up the rondo form?
What does the word "rondo" mean?
What is the name of the main, recurring theme of the rondo?
What is the nature of the work we listened to?
How does Farlaf appear in M. Glinka's music? Words for reference: confident, proud, funny, stupid, smug.
Why do you think the composer used the rondo form to characterize Farlaf?

Presentation

Included:
1. Presentation - slides, ppsx;
2. Sounds of music:
Beethoven. Rondo "Rage over the lost penny", mp3;
Mozart. Alla turca ("Turkish March") from Sonata No. 11, mp3;
Glinka. Rondo Farlaf from the opera "Ruslan and Lyudmila", mp3;
3. Accompanying article, docx.

Music lessons

Musical Form: Rondo

With the concept of form we meet in everyday life: uniform - work, sports, school; geometric shapes - a circle, a square, a rectangle, etc. We all know: a form is
The outline of the subject.
From it we immediately know:
pilot, miner,
Doctor and polisher
Chef, railway worker,
Fireman and janitor. If there are shields and a helmet,
Everyone can see the hockey player.
Capless, flared trousers,
collar, shirt,
And under it is a vest.
All then from afar
They recognize a sailor. The form teaches us order,
In it we do exercises.
Music needs a form
With her, she is always slim,
They behave with dignity
Content and form. A composer can be compared to an architect. Before constructing a building, the architect creates its plan - shape - structure. The composer also builds a plan for the future musical work. To do this, each composer uses his own methods of constructing musical works. Since ancient times, people loved to sing songs and dance. Often, during the performance of round dance songs, she sang (soloist) sang verses, and the choir picked up the chorus. The verses differed in music from each other. The chorus was repeated without change. The movement of the music went in a circle, as it were. In French, “circle” is “rondo”. France is considered the birthplace of the rondo. Folk dance with singing was popular here in the old days. The dance was called rondo, which means a circle, a round dance. The rondo form is a musical form that is built on repetition. This form is based on repeated (at least three times) repetition of the main theme, alternating with episodes of various content. The rondo has the most important theme, which is called REFRAIN - it is repeated several times, alternating with new themes - EPISODES. The rondo form, due to its expressiveness, has a wide range of applications in the art of music. Very often its use is associated with images of a playful, humorous nature. Such well-known musical works as W. A. Mozart's Turkish-style Rondo, L. Beethoven's Fury over the Lost Penny, Farlaf's Rondo from M. Glinka's opera Ruslan and Lyudmila, and many others were written in the form of a rondo.

Ludwig van Beethoven. "Rage over the lost penny"

Rondo "Capriccio" in G major, op. 129 is better known by its subtitle "Rage over a Lost Penny". When Beethoven was 25, he wrote the rondo "Capriccio" but never played it for his contemporaries. The short five-minute piece became known only after Beethoven's death: it was found in a pile of papers that were intended for sale at auction. This cheerful work had an unusual subtitle - "Rage over a lost penny." The idea of the subtitle did not belong to the composer, but to his friend Anton Schindler. The title quite eloquently explains the music. This comic scene is full of energy inherent in Beethoven, strong-willed aspiration, dynamics. This is precisely the nature of the theme of the refrain, which leaves no doubt that the hero's rage is playful. And every time the pianists compete with each other, who will play it wittier, funnier, more provocative: who will show that very Beethovenian sense of humor, seasoned with a generous portion of rage? various contrasting episodes and situations: initial serenity, then discovery of the loss, alternation of hope and excitement. What follows is a mindless search with wandering through the keys and violations in the composition, creating chaos. Finally, furious fury from a fruitless search. An additional comic effect creates a contrast between the concepts of "rage" and "penny". This is anger for the most insignificant reason. Listening to the rondo-capriccio, we observe how his hero, in a fit of anger, under the influence of uncontrollable emotions, loses the appearance of a reasonable, balanced person. From the sounds of the initial cheerful and carefree theme in the spirit of polka, the music moves to stormy passages, trills and arpeggios in a low register, reminiscent of an indignant growl. And although this is only a musical joke, it leads to the conclusion that it is necessary to maintain a human appearance in any situation. “Learn to control yourself.” Today, the rondo is often heard in concerts and is performed by both eminent musicians and beginners.

Wolfgang Amadeus Mozart. "Rondo in Turkish style"

The melody you are about to hear is loved by many people. It is very famous and popular all over the world. The "Turkish Rondo" by Wolfgang Amadeus Mozart attracts with the beauty of melodies, grace, and brilliance. In this work, W. A. Mozart depicted the beats of a large Turkish drum, unknown at that time in Europe. "Turkish Rondo" ("Rondo Alla turca") is often heard as an independent piece, although it was written as the third part of the sonata in A major for piano. The sounds of the "Turkish Rondo" immediately reminded the Austrians of the well-known sound of Turkish military marches. Turkey (called then the Ottoman Empire) and Austria (Osterreich, Eastern Empire - this is how the name of the country is translated from German) were old and bitter enemies, and fought intermittently from the beginning of the 16th century to the end of the 18th century. However, despite such constant enmity, the Austrians had a strong interest in both Turkish culture in general and Turkish music in particular. The Austrians first became acquainted with the playing of Turkish musicians in 1699, when a Turkish delegation arrived in Vienna to celebrate the signing of the Karlowitz peace treaty. , which ended the next Austro-Turkish war, which lasted 16 years. The delegation of the Ottoman Empire was guarded by Janissaries - Turkish infantry, and along with other Janissaries, the delegation was accompanied by a Janissary military band, which gave several public concerts for the inhabitants of Vienna. The Austrians were so delighted with Janissary music that many Austrian musicians began to try to imitate Turkish music on European musical instruments, and even fake Turkish orchestras appeared when the native Austrians put on Janissary clothes and played instruments brought from Turkey. And no subsequent Austro-Turkish wars could destroy the Austrians' love for Turkish music. It even got to the point that in 1741 the Austrian government turned to the Turkish government with a request to send Turkish musical instruments for the imperial court orchestra. The instruments were sent. This is very lively, cheerful, cheerful music, you can do anything to it, but to walk in formation and march along the parade ground - it is not suitable for this. Indeed, the Turkish Janissaries never marched in formation to the music. The music was played before the battle, during the battle, and after the battle to celebrate the victory, as well as during ceremonial events. Wolfgang Amadeus Mozart, when he wrote the "Turkish Rondo", arranged the traditional orchestral Turkish military music for performance on the piano, resulting in listening music in the Turkish style became possible without assembling a huge Janissary orchestra, in any house where there was a grand piano or upright piano. Although there are arrangements of the "Turkish March" for orchestral performance. "Turkish Rondo" has a three-part form with a chorus. The repeating chorus - the refrain - gives the form the features of a rondo. The festively cheerful, danceable melody of the chorus sounds with a characteristic arpeggiated accompaniment, reminiscent of a small drum roll.

Mikhail Ivanovich Glinka. Rondo Farlaf from the opera "Ruslan and Lyudmila"

In the opera Ruslan and Lyudmila, Mikhail Ivanovich Glinka uses the rondo form to characterize one of the characters - Farlaf. In Farlaf's aria, the characteristic features of his image are most fully revealed - cowardice and bragging. ... An arrogant screamer,
In feasts undefeated by anyone,
But a modest warrior among swords ... This is how Pushkin characterizes Farlaf. Farlaf, together with Ruslan, goes in search of Lyudmila. However, the "brave savior", seeing the danger, prefers to flee. Farlaf ...
With fear writhing, dying
And, waiting for certain death,
He drove the horse even faster.
So it’s like a hurried hare,
Close your ears fearfully,
Over bumps, fields, through forests
Jumps away from the dog. Farlaf's big aria is written in the form of a rondo (hence its name): the main theme sounds several times, alternating with two episodes. With what expressive means did Glinka draw a musical portrait of Farlaf? Usually the braggart speaks a lot and quickly - and the composer chooses a very fast tempo for the aria. He saturates the vocal part with virtuoso techniques, for example, the frequent repetition of the same sounds. This gives the impression of a choking tongue twister. And the listener involuntarily laughs at such a "hero". After all, the expression of humor is quite accessible to music. Questions:

What musical sections make up the rondo form? What does the word "rondo" mean? What is the name of the main, recurring theme of the rondo? What is the nature of the work we listened to? How does Farlaf appear in M. Glinka's music? Words for reference: confident, proud, funny, stupid, smug. Why do you think the composer used the rondo form to characterize Farlaf?