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What is the genre of nocturne. Genre features of the nocturne in the work of Chopin

A nocturne is a small instrumental piece of a dreamy lyrical nature these days.

French nocturne means "night". This name in its French and Italian versions has been known since the Renaissance and meant instrumental night music of a light entertaining nature.

Night music became widespread in the 18th century. This genre flourished especially magnificently in Vienna, a city that at that time lived an intense and very peculiar musical life. Music was an important part of the various entertainments of the Viennese; it sounded everywhere - at home, on the street, in numerous taverns, at city festivities. Music invaded the night silence of the city. Numerous amateur musicians organized night processions with music, performed serenades under the windows of their chosen ones. This kind of music, intended to be performed outdoors, was usually a kind of suite - a multi-part instrumental piece. Varieties of this genre were called serenades, cassations, divertissements and nocturnes. The difference between one variety and another was very small.

The fact that the nocturnes were intended to be performed outdoors determined the features of this genre and the means of performance: such pieces were usually written for an ensemble of wind instruments, sometimes with strings.

It is interesting to note that the night music of the 18th century did not at all bear the languid and lyrical nature that arises in our imagination when we talk about the nocturne. This character of the work of this genre acquired much later. The nocturnes of the 18th century, on the contrary, are distinguished by a cheerful, by no means “nightly” tone. Often such suites began and ended with a march, as if depicting the arrival or departure of musicians. Samples of such nocturnes are found in I. Haydn and W. A. Mozart.

In addition to instrumental nocturnes, in the 18th century there were also vocal-solo and choral nocturnes.

In the 19th century, the nocturne genre was rethought in the work of romantic composers. Nocturnes of the Romantics are no longer extensive night suites, but small instrumental pieces.

dreamy, thoughtful, calm nature, in which they sought to convey various shades of feelings and moods, poetic images of nocturnal nature.

Nocturne melodies in most cases are distinguished by melodiousness, wide breathing. The nocturne genre has developed its own, “nocturne-like” texture of accompaniment; it is a swaying, swaying background that evokes associations with landscape images. The compositional structure of the nocturnes is a 3-part form, i.e. one in which the 3rd part repeats the 1st; while usually the extreme, calmer and lighter parts are opposed by the excited and dynamic middle.

The tempo of nocturnes can be slow or moderate. However, the middle (if 3 parts) is usually written at a more lively pace.

In the overwhelming majority of cases, nocturnes are written for solo instrumental performance and mainly for the piano. The creator of the romantic-type piano nocturne was the Irish pianist and composer John Field (1782-1837), who lived most of his life in Russia. His 17 nocturnes created a style of gentle, melodious piano playing. The melody of these nocturnes is usually melodious, melodic.

Nocturne, a poetic genre of romantic music, could not fail to attract the most poetic of the romantic composers, Frederic Chopin. Chopin wrote 20 nocturnes. Their main emotional tone is dreamy lyrics of various shades. In his work, the nocturne reached the highest artistic perfection, turned into a concert piece, significant in content. Chopin's nocturnes are diverse in character: bright and dreamy, mournful and thoughtful, heroic and pathetic, courageously restrained.

Perhaps the most poetic piece by Chopin is the nocturne in D flat major (op. 27, no. 2). The rapture of warm summer night, the poetry of a nocturnal date sound in the gentle and passionate music of this play. The main theme, as it were, is imbued with a lively and quivering human breath.

In the middle part of the nocturne, one can hear growing excitement, but it again gives way to the main clear and bright mood that dominates this piece. The nocturne ends with a wonderful duet-conversation of 2 voices.

Following Chopin, many Western European and Russian composers turn to the nocturne genre: R. Schumann, F. Liszt, F. Mendelssohn, E. Grieg, M. Glinka, M. Balakirev, A. Rubinstein, P. Tchaikovsky, S. Rachmaninoff, A. .Scriabin.

In the work of Russian composers, the nocturne genre occupies quite a significant place. The nocturnes of the Russian classics capture perhaps their most sincere statements.

Composers turn to this genre and more late period. Rachmaninoff's 4 youthful nocturnes attract with freshness and sincerity (3 of them were written at the age of 14).

Of the nocturnes written for the orchestra, one can recall Mendelssohn's nocturne, Debussy's Nocturnes. However, if Mendelssohn's nocturne retains all the stylistic features of this genre, then Debussy's orchestral works - "Clouds", "Celebrations", and "Sirens", - called by the author "Nocturnes", are very far from the usual interpretation of the genre. These plays are contemplative-coloristic musical pictures. Giving them the names "nocturnes", the composer proceeded from the subjective impression generated by the color and play of night light.

Soviet composers relatively rarely turn to the nocturne genre in its traditional meaning. Giving his works the name "Nocturne", contemporary composers usually they borrow from this genre only the general character and general figurative orientation of music - they emphasize the intimate-lyrical side of the work.

In general, it is hardly accidental that today the nocturne is increasingly found in combination with other genres or is, as it were, a program subtitle of any work. This can be seen as a manifestation of a general trend, a general pattern in the development of the genre.

Thus, in our time, the name "Nocturne" acquires to some extent a programmatic character. However, the program itself, the circle of images and moods that the composer wants to emphasize, calling the work a nocturne.

Nocturnes by Chopin

Nocturne is one of the characteristic genres of romantic art. french word nocturne in translation means "night". This term appeared in music XVIII century. At that distant time, this word was used to refer to plays performed in the open air, most often wind or string instruments. They were close to instrumental serenades or divertissements.

In the 19th century, a completely different nocturne appeared - a dreamy, melodious piano piece, inspired by the image of the night, the silence of the night, the thoughts of the night.

For the first time, piano nocturnes began to be written by the Irish composer and pianist, John Field.

John Field is an Irish musician who spent many years in Russia and it is here that he created his numerous nocturnes. “The romantics for the first time showed a deep artistic interest in this genre of“ night music ”. Paintings of night nature, scenes of love dates in the background moonlit night, various moods of a lonely romantic artist - either suppressed by the elemental power of a night thunderstorm, or dreaming on the river bank ... of a vague and distant happiness ... - all this ... romantic images, well known not only in music, but also in poetry, and in painting,” wrote V. Ferman.

We find nocturnes in the works of Glinka, Tchaikovsky, Schumann. But the most famous are Chopin's nocturnes. Dreamy or poetic, strict or mournful, stormy or passionate, they make up a significant part of the work of this piano poet.

Chopin began writing these romantic pieces in the 1930s. Chopin's nocturnes are significantly different from D. Field's nocturnes.

Chopin began writing nocturnes while still in Warsaw. Nocturne, published after the death of the composer under op. 72, composed in 1827, and op. 9 is dated 1829-1830. The general chronology of Chopin's works is conducted according to the dates of their lifetime publication, from which it can be concluded that the creation of the vast majority of nocturnes dates back to the period of the 30s and early 40s. Except for the youthful cis-moll nocturne. In total, Chopin, along with the posthumously published E minor, has nineteen nocturnes.

As a rule, Field's nocturnes are based on one musical image, the manner of presentation resembles a song with accompaniment: the right hand leads the melody, the rest of the voices accompany it. Chopin's nocturnes are much deeper in content. They are wealthy musical images and the power of creativity. Most of Chopin's nocturnes are based on the contrast of the two images.

The soulful lyricism of Chopin finds its specific means of expression in the nocturnes. With purely Mozartian generosity, Chopin sprinkles his beautiful melodies into them. Extremely expressive, direct, they sound like a naturally flowing song, like a living human voice. In the nocturnes, the song, vocal origins of Chopin's melody are most obvious.

Chopin's thrilling nocturne...
A fallen leaf carries away the night of poetry.
How slow and inspirational
The pianist plays his dream.
In moments soaring - eternity,
Chords, notes magical moment.
The world of illusions is infinity,
Soaring phrases...
The moon's midnight face...

Three Nocturnes Op. 15 are works that are considered the pinnacle of Chopin's work.

One of the best works Chopin in this genre - Nocturne in F sharp major, Op. 15 No. 2. Like a song flowing in the silence of the night, a soulful melodic melody sounds.

The fullness of the lyrical feeling results in a passionate outburst. As if a whirlwind (perhaps, despair, passion) interrupts the dreaminess of the song. As much as the first section of the form is calm and dreamy, the middle section is so excited and anxious. After it, the melody of the first part sounds completely different in the reprise. And only in the code does the tension of the topic disappear and everything calms down.

Nocturne in F Major, Op. 15 No. 1 begins with a gentle, unusually light melody. The second part - con fuoco ("With fire") - unexpectedly dramatic and stormy. Peace reigns again only at the very end, with the return of the first theme.

Nocturne in G minor, Op. 15 No. 3 starts with a sad melody folk song. It sounds more plaintive, piercing and bitter. The next fragment resembles a chorale constructed as a sequence of chords denoting modulation (change of keys within one work). At the end, an interrogative motive sounds - “crying for lost love”.

Nocturne in D Flat Major, Op. 27 No. 2 - beautiful with transparent beauty. The crystal clear melody underlying the composition is repeatedly transformed by Chopin using the most sophisticated technical means (trills, melismas, passages, reduced fourths and fifths).

The ecstasy of a warm summer night, the poetry of a nightly date sound in the gentle and passionate music of this play. The main theme, as it were, is imbued with a lively and quivering human breath.

In the middle part of the nocturne, one can hear growing excitement, but it again gives way to the main clear and bright mood that dominates this piece. A piercing, passionate romantic melody leads us to a passionate climax, and then to a quiet, calm finale. The nocturne ends with a wonderful duet-conversation of 2 voices.

On the Nocturne in E Flat Major, Op. 9 No. 2, it is known that Chopin wrote its beginning on a sheet of a letter to Maria Wodzińska, his beloved. This nocturne has always been very popular with the public. Its sleepy flow, calm chords in the part of the left hand, full of lyricism, bliss and romantic sensuality, the melody fascinates, bewitches the heart. The composer himself loved this work and often performed it at concerts or simply played it to his students, each time finding pleasure in changing the ornamentation.

Presentation

Included:
1. Presentation - 10 slides, ppsx;
2. Sounds of music:
Chopin. Nocturne in E Flat Major (Op. 9 No. 2), mp3;
Chopin. Nocturne in D Flat Major (Op. 27 No. 2), mp3;
Chopin. Nocturne in G minor (Op. 15 No. 3), mp3;
Chopin. Nocturne in F major (Op. 15 No. 1), mp3;
Chopin. Nocturne in F sharp major (Op. 15 No. 2), mp3;
3. Accompanying article, docx.

In the 20th century, some composers tried to rethink the artistic essence of the nocturne, using it to display not lyrical night dreams, but ghostly visions and natural sounds of the night world. This was started by Robert Schumann in the cycle Nachtstucke, this approach was more actively manifested in the works of Paul Hindemith (Suite "1922"), Bela Bartok ("Night Music") and a number of other composers.

Bibliography

Yankelevich V. Le nocturne. - Paris, 1957
Marina Malkiel. A series of lectures on history foreign music(Age of Romanticism)

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An excerpt characterizing the Nocturne

“Do you know that you will be here for a very long time, much longer than people live on Earth?” Do you really want to stay here?
“My mother is here, so I must help her. And when she “leaves” to live on Earth again, I will also leave ... Where there is more goodness. In that scary world and people are very strange - as if they do not live at all. Why is that? Do you know something about it?
- And who told you that your mother would leave to live again? Stella asked.
Dean, of course. He knows a lot, he's been living here for a very long time. He also said that when we (my mother and I) live again, our families will be different. And then I will no longer have this mother ... That's why I want to be with her now.
“And how do you talk to him, to your Dean?” Stella asked. "And why don't you want to tell us your name?"
But it’s true – we still didn’t know her name! And where she came from - they also did not know ...
– My name was Maria... But does it really matter here?
- Surely! Stella laughed. - And how to communicate with you? When you leave, they will give you a new name, but while you are here, you will have to live with the old one. Have you spoken to anyone else here, Maria girl? - Out of habit, jumping from topic to topic, Stella asked.
“Yes, I did…” the little girl said uncertainly. “But they are so strange here. And so miserable... Why are they so miserable?
“But is what you see here conducive to happiness?” I was surprised by her question. – Even the local “reality” itself kills any hopes in advance!.. How can one be happy here?
- Don't know. When I’m with my mother, it seems to me that I could be happy here too ... True, it’s very scary here, and she really doesn’t like it here ... When I said that I agreed to stay with her, she yelled at me and said that I am her "brainless misfortune" ... But I'm not offended ... I know that she's just scared. Just like me...
- Perhaps she just wanted to save you from your "extreme" decision, and only wanted you to go back to your "floor"? - Carefully, so as not to offend, asked Stella.
- No, of course ... But thank you for Nice words. Mom often called me not quite good names, even on Earth... But I know it's not out of spite. She was just unhappy because I was born, and often told me that I ruined her life. But it wasn't my fault, was it? I always tried to make her happy, but for some reason I didn’t really succeed ... But I never had a dad. Maria was very sad, and her voice trembled, as if she was about to cry.
Stella and I looked at each other, and I was almost sure that similar thoughts had visited her ... I already really disliked this spoiled, selfish "mother", who, instead of worrying about her child herself, did not care about his heroic sacrifice at all. I understood and, in addition, hurt me more painfully.
- But Dean says that I'm good, and that I make him very happy! - the little girl murmured more cheerfully. And he wants to be friends with me. And the others I met here are very cold and indifferent, and sometimes even angry... Especially those who have monsters attached...
- Monsters - what? .. - we did not understand.
“Well, they have scary monsters on their backs and tell them what they should do. And if they don't listen, the monsters mock them terribly... I tried to talk to them, but these monsters won't let me.
We understood absolutely nothing of this “explanation”, but the very fact that some astral beings torture people could not remain “explored” by us, therefore, we immediately asked her how we could see this amazing phenomenon.

Nocturne

Bibliography

Yankelevich V. Le nocturne. - Paris, 1957
Marina Malkiel. A series of lectures on the history of foreign music (Age of Romanticism)

Links

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Synonyms:

Ferra, Christian
trench coat

See what "Nocturne" is in other dictionaries:

NOCTURNE- (nocturno) genus musical composition, dreamy, melodious, melancholic pieces. world famous use n us Chopin. Dictionary foreign words included in the Russian language. Pavlenkov F., 1907. NOCTURNE, NOCTURN musical ... ... Dictionary of foreign words of the Russian language

NOCTURNE- NOCTURNE, nocturne, husband. (French nocturne, lit. night) (music). A kind of short lyrical piece of music. Chopin nocturne. “Could you play the nocturne on the flute of the drainpipes?” Mayakovsky. Dictionary Ushakov. D.N. Ushakov. ... ... Explanatory Dictionary of Ushakov

nocturne- Cm … Synonym dictionary

nocturne- a, m. nocturne adj., it. nocturno night. 1. A little lyrical musical composition. BAS 1. Julie played Boris the saddest nocturnes on the harp. Tolst. War and Peace. The good-natured man heard Field in Moscow and thought that there were only music in music ... ... Historical dictionary gallicisms of the Russian language

NOCTURNE- (French nocturne from Latin nocturnus night), at 18 and early. 19th centuries a multi-part instrumental piece of music, mostly for wind instruments, usually performed outdoors in the evening or at night; kindred... ... Big Encyclopedic Dictionary

NOCTURNE- NOCTURNE, husband. A small lyric, preimusch. piano piece of music. | adj. nocturne, oh, oh. Explanatory dictionary of Ozhegov. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 ... Explanatory dictionary of Ozhegov

NOCTURNE- "NOCTURNE", USSR, RIGA film studio, 1966, b/w, 88 min. War film, tragic melodrama. Based on the story of the same name by Jean Griva. Frenchwoman Yvette and Latvian Georges met in the years civil war in Spain, where they fought on the side of ... ... Cinema Encyclopedia

Nocturne- (Notturno, Nottorno, Italian) night music, a kind of serenade intended to be performed in the silence of the night; the character is calm, gentle. It is written in a column warehouse and mainly in size 8/8. N. received artistic processing from Field, Chopin and others ... ... Encyclopedia of Brockhaus and Efron

Nocturne- (fr. nocturne, lit. - night) - in the XVIII - beginning. 19th century a multi-part instrumental piece of music, mostly for wind instruments, usually performed outdoors in the evening or at night; from the 19th century small ... ... Encyclopedia of cultural studies

A nocturne is a small instrumental piece of a dreamy lyrical nature these days.

The French nocturne means "night". This name in its French and Italian versions has been known since the Renaissance and meant instrumental night music of a light entertaining nature.

In addition to instrumental nocturnes, in the 18th century there were also vocal-solo and choral nocturnes.

In the 19th century, the nocturne genre was rethought in the work of romantic composers. Nocturnes of the Romantics are no longer extensive night suites, but small instrumental pieces.

dreamy, thoughtful, calm nature, in which they sought to convey various shades of feelings and moods, poetic images of nocturnal nature.

The tempo of nocturnes can be slow or moderate. However, the middle (if 3 parts) is usually written at a more lively pace.

Perhaps the most poetic piece by Chopin is the nocturne in D flat major (op. 27, no. 2). The ecstasy of a warm summer night, the poetry of a nightly date sound in the gentle and passionate music of this play. The main theme, as it were, is imbued with a lively and quivering human breath.

The genre of nocturne occupies a rather significant place in the work of Russian composers. The nocturnes of the Russian classics capture perhaps their most sincere statements.

Composers of a later period turn to this genre as well. Rachmaninoff's 4 youthful nocturnes attract with freshness and sincerity (3 of them were written at the age of 14).

Of the nocturnes written for the orchestra, one can recall Mendelssohn's nocturne, Debussy's Nocturnes. However, if Mendelssohn's nocturne retains all the stylistic features of this genre, then Debussy's orchestral works - "Clouds", "Celebrations", and "Sirens", - called by the author "Nocturnes", are very far from the usual interpretation of the genre. These pieces are contemplative-coloristic musical pictures. Giving them the names "nocturnes", the composer proceeded from the subjective impression generated by the color and play of night light.

Soviet composers relatively rarely turn to the nocturne genre in its traditional meaning. Giving their works the name "nocturne", modern composers usually borrow from this genre only the general character and general figurative orientation of music - they emphasize the intimate and lyrical side of the work.

Debussy's music strikes with the novelty of the vision of the world, the freshness of the feelings inherent in them, strength, courage and unusualness. means of expression: harmonies, textures, forms, melodics. FEATURES OF CREATIVITY OF CLAUD DEBUSSY Claude Debussy was one of the most interesting and seeking artists of his time, he was always looking for new ways to improve his skills, studied the work of his contemporary...

Sh. his heart was transported by his sister to Warsaw and buried in the dungeon of the Church of the Holy Cross; in 1879 it was walled up in one of the columns of this temple, on which a board was erected with the inscription: “Compatriots to Fryderyk Chopin”. Prod. Sh., not published during his lifetime, were published shortly after his death. In 1851, the 1st sonata for piano was published in Vienna. Sh., who gave her manuscript to the publisher K. Haslinger. IN...

Grieg - processing folk songs and dances: in the form of simple piano pieces, a suite cycle for piano four hands and for orchestra. Diverse in genres, Grieg's work is diverse in subject matter. Paintings folk life, native nature, images of folk fiction, a person with all the fullness of his life-sense - such is the world of Grieg's music. Grieg's works, no matter what he writes about, are fanned...

All of them are written on the island of Mallorca. Chopin was almost the first to make the prelude an independent piece, and not an introduction to something. A cycle of 24 preludes Genre attracted Chopin with its improvisation, the possibility of direct expression. There is a logical thought here. Chopin is a romantic with classical thinking. Each prelude is written in its own key. They are arranged in quarto-quints

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