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Beethoven's journey from classicism to romanticism. Beethoven's influence on the music of the future

Ludwig van Beethoven Beethoven is a key figure in Western classical music between classicism and romanticism, and one of the most respected and performed composers in the world. He wrote in all the genres that existed in his time, including opera, music for dramatic performances, choral compositions.

His father Johann (Johann van Beethoven,) was a singer, tenor, in the court chapel, his mother Mary Magdalene, before her marriage Keverich (Maria Magdalena Kverich,), was the daughter of the court chef in Koblenz, they got married in 1767.

Beethoven's teachers The composer's father wanted to make a second Mozart out of his son and began to teach him how to play the harpsichord and violin. In 1778, the first performance of the boy took place in Cologne. However, a miracle - Beethoven did not become a child, the father entrusted the boy to his colleagues and friends. One taught Ludwig how to play the organ, the other how to play the violin. In 1780, the organist and composer Christian Gottlob Nefe arrived in Bonn. He became a real teacher of Beethoven

The First Ten Years in Vienna In 1787, Beethoven visited Vienna. After listening to Beethoven's improvisation, Mozart exclaimed. He will make everyone talk about himself! Arriving in Vienna, Beethoven began classes with Haydn, subsequently claiming that Haydn had taught him nothing; classes quickly disappointed both the student and the teacher. Beethoven believed that Haydn was not attentive enough to his efforts; Haydn was frightened not only by the bold views of Ludwig at that time, but also by rather gloomy melodies, which was not common in those years. Once Haydn wrote to Beethoven. Your things are beautiful, they are even wonderful things, but here and there something strange, gloomy is found in them, since you yourself are a little gloomy and strange; and the style of a musician is always himself. Soon Haydn left for England and gave his student to the famous teacher and theorist Albrechtsberger. In the end, Beethoven himself chose his mentor Antonio Salieri.

Later years() When Beethoven was 34 years old, Napoleon abandoned the ideals of the French Revolution and declared himself emperor. Therefore, Beethoven abandoned his intentions to dedicate his Third Symphony to him: “This Napoleon also ordinary person. Now he will trample on all human rights with his feet and become a tyrant.” Due to deafness, Beethoven rarely leaves the house, loses sound perception. He becomes gloomy, withdrawn. It was during these years that the composer, one after another, creates his most famous works. During these same years, Beethoven was working on his only opera, Fidelio. This opera belongs to the genre of "horror and rescue" operas. Success for Fidelio came only in 1814, when the opera was staged first in Vienna, then in Prague, where the famous German composer Weber conducted it, and finally in Berlin.

Last Years Shortly before his death, the composer handed over the manuscript of "Fidelio" to his friend and secretary Schindler with the words: "This child of my spirit was born in more severe torment than others, and gave me the greatest grief. Therefore, it is dearer to me than anyone else ... ”After 1812, the composer’s creative activity fell for a while. However, after three years, he begins to work with the same energy. At this time, piano sonatas from the 28th to the last, 32nd, two cello sonatas, quartets, and the vocal cycle "To a Distant Beloved" were created. A lot of time is devoted to processing folk songs. Along with Scottish, Irish, Welsh, there are Russians. But the main creatures recent years were two of Beethoven's most monumental works, the Solemn Mass and the Symphony 9 with Choir.

Giulietta Guicciardi, to whom the composer dedicated the Moonlight Sonata, the Ninth Symphony was performed in 1824. The audience gave the composer a standing ovation. It is known that Beethoven stood with his back to the audience and did not hear anything, then one of the singers took his hand and turned to face the audience. People waved handkerchiefs, hats, hands, welcoming the composer. The ovation lasted so long that the police officials who were present immediately demanded it.
Works of 9 symphonies: 1 (), 2 (1803), 3 "Heroic" (), 4 (1806), 5 (), 6 "Pastoral" (1808), 7 (1812), 8 (1812), 9 (1824) ). 11 symphonic overtures, including "Coriolanus", "Egmont", "Leonora" 3. 5 concertos for piano and orchestra. 6 Youth Sonatas for Piano. 32 piano sonatas, 32 variations and about 60 piano pieces. 10 sonatas for violin and piano. concerto for violin and orchestra, concerto for piano, violin and cello and orchestra ("triple concerto"). 5 sonatas for cello and piano. 16 string quartets. 6 trio. Ballet "The Creations of Prometheus". Opera Fidelio. Solemn mass. Vocal cycle "To the distant beloved". Songs for verses different poets, arrangements of folk songs.

L.Karankova

1. Characteristics of Beethoven's creative style.

L. V. Beethoven - German composer, representative of the Viennese classical school(born in Bonn, but spent most of his life in Vienna - since 1792).

Musical thinking Beethoven is a complex synthesis:

the creative achievements of the Viennese classics (Gluck, Haydn, Mozart);

the art of the French Revolution;

new emerging in the 20s. 19th century artistic direction - romanticism.

Beethoven's compositions bear the imprint of the ideology, aesthetics and art of the Enlightenment. This largely explains the logical thinking of the composer, the clarity of forms, the thoughtfulness of the entire artistic conception and individual details of the works.

It is also noteworthy that Beethoven showed himself most fully in the genres of the sonata and symphony (genres characteristic of the classics). Beethoven was the first to spread the so-called. "conflict symphonism", based on the opposition and collision of brightly contrasting musical images. The more dramatic the conflict, the more complex the process of development, which for Beethoven becomes the main driving force.

The ideas and art of the French Revolution left their mark on many of Beethoven's works. From Cherubini's operas there is a direct path to Beethoven's Fidelio.

In the composer's works, appealing intonations and chiseled rhythms, broad melodic breathing and powerful instrumentation of the hymns of songs, marches and operas of this era found their embodiment. They transformed Beethoven's style. That is why the composer's musical language, although associated with the art of the Viennese classics, at the same time was profoundly different from it. In the works of Beethoven, in contrast to Haydn and Mozart, exquisite ornamentation, smooth rhythmic pattern, chamber, transparent texture, balance and symmetry of musical themes are rarely found.

Composer new era, Beethoven finds other intonations to express his thoughts - dynamic, restless, sharp. The sound of his music becomes much more saturated, dense, and dramatically contrasting. His musical themes acquire hitherto unprecedented conciseness, severe simplicity.

Listeners brought up on the classicism of the 18th century were stunned and often misunderstood by the emotional power of Beethoven's music, manifested either in stormy drama, or in grandiose epic scope, or in penetrating lyrics. But it was precisely these qualities of Beethoven's art that fascinated romantic musicians. And although Beethoven's connection with romanticism is indisputable, his art in its main outlines does not coincide with him. It does not entirely fit into the framework of classicism. For Beethoven, like few others, is unique, individual and multifaceted.

Beethoven's themes:

The focus of Beethoven's attention is the hero's life, which takes place in an unceasing struggle for a wonderful future for everyone. The heroic idea runs like a red thread through all of Beethoven's work. Beethoven's hero is inseparable from the people. In serving humanity, in winning freedom for it, he sees the purpose of his life. But the path to the goal lies through thorns, struggle, suffering. Often a hero dies, but his death is crowned with a victory that brings happiness to liberated humanity. Beethoven's attraction to heroic images and the idea of struggle is due, on the one hand, to the warehouse of his personality, difficult fate, struggle with it, constant overcoming of difficulties; on the other hand, the impact on the worldview of the composer of the ideas of the Great French Revolution.

The richest reflection was found in the work of Beethoven and the theme of nature (6th symphony "Pastoral", sonata No. 15 "Pastoral", sonata No. 21 "Aurora", 4th symphony, many slow parts of sonatas, symphonies, quartets). Passive contemplation is alien to Beethoven: the peace and quiet of nature help to comprehend the exciting questions more deeply, to collect thoughts and internal forces for the struggle of life.

Beethoven penetrates deeply into the sphere of human feelings. But, revealing the world of the inner, emotional life of a person, Beethoven draws all the same hero, capable of subordinating the spontaneity of feelings to the requirements of reason.

The main features of the musical language:

Melodica. The fundamental principle of his melody is in trumpet signals and fanfares, in invocative oratorical exclamations and march turns. Movement along the sounds of the triad is often used (G.P. "Heroic Symphony"; theme of the finale of the 5th symphony, G.P. I part 9 of the symphony). Beethoven's caesuras are punctuation marks in speech. Beethoven's fermata are pauses after pathetic questions. Musical themes Beethoven's pieces often consist of contrasting elements. The contrasting structure of themes is also found in Beethoven's predecessors (especially Mozart), but in Beethoven this is already becoming a pattern. The contrast within the theme develops into a conflict between G.P. and P.P. in sonata form, dynamizes all sections of the sonata allegro.

Metrorhythm. Beethoven's rhythms are born from the same source. Rhythm carries a charge of masculinity, will, activity.

Marching rhythms are extremely common

Dance rhythms (in pictures of folk fun - the finale of the 7th symphony, the finale of the Aurora sonata, when, after long suffering and struggle, a moment of triumph and joy comes.

Harmony. With the simplicity of the chord vertical (chords of the main functions, laconic use of non-chord sounds) - a contrast-dramatic interpretation of the harmonic sequence (connection with the principle of conflict dramaturgy). Sharp, bold modulations in distant keys (in contrast to the plastic modulations of Mozart). In his later works, Beethoven anticipates the features of romantic harmony: polyphonized fabric, an abundance of non-according sounds, exquisite harmonic sequences.

The musical forms of Beethoven's works are grandiose constructions. “This is the Shakespeare of the masses,” V. Stasov wrote about Beethoven. "Mozart was responsible only for individuals ... Beethoven, on the other hand, thought about history and all of humanity." Beethoven is the creator of the form of free variations (final piano sonata No. 30, variations on a theme by Diabelli, movements 3 and 4 of the 9th symphony). He is credited with introducing variational form into a large form.

musical genres. Beethoven developed most of the existing musical genres. The basis of his work is instrumental music.

List of Beethoven's compositions:

orchestral music:

Symphonies - 9;

Overtures: "Coriolanus", "Egmont", "Leonora" - 4 versions for the opera "Fidelio";

Concertos: 5 piano, 1 violin, 1 triple - for violin, cello and piano.

Piano music:

32 sonatas;

22 variation cycles (including 32 c-moll variations);

Bagatelles (including "To Elise").

Chamber ensemble music:

Sonatas for violin and piano (including "Kreutzer" No. 9); cello and piano;

16 string quartets.

vocal music:

Opera "Fidelio";

Songs, incl. the cycle “To a Distant Beloved”, arrangements of folk songs: Scottish, Irish, etc.;

2 Masses: C-dur and Solemn Mass;

oratorio "Christ on the Mount of Olives"

2. The life and work of Beethoven.

Bonn period. Childhood and youth.

Beethoven was born in Bonn on December 16, 1770. In addition to German, Flemish blood also flowed in his veins (on the paternal side).

Beethoven grew up in poverty. My father drank away his meager salary; he taught his son to play the violin and piano in the hope that he would become a child prodigy, the new Mozart, and provide for his family. Over time, the father's salary was increased based on the future of his gifted and hardworking son.

Beethoven's general education was as unsystematic as his musical education. In the latter, however, practice played a big role: he played the viola in the court orchestra, performed on keyboard instruments, including the organ, which he quickly mastered. K.G. Nefe, the Bonn court organist, became Beethoven's first real teacher (among other things, he went through the entire "HTK" of S. Bach with him).

In 1787, Beethoven managed to visit Vienna for the first time - at that time the musical capital of Europe. According to the stories, Mozart, having listened to the young man's play, highly appreciated his improvisations and predicted a great future for him. But soon Beethoven had to return home - his mother lay near death. He remained the sole breadwinner of the family, which consisted of a dissolute father and two younger brothers.

The young man's talent, his greed for musical impressions, his ardent and receptive nature attracted the attention of some enlightened Bonn families, and his brilliant piano improvisations provided him with free entry to any musical gatherings. The Breuning family did a lot for him especially.

First Viennese period (1792 - 1802).

In Vienna, where Beethoven came for the second time in 1792 and where he remained until the end of his days, he quickly found titled patrons of the arts.

People who met the young Beethoven described the twenty-year-old composer as stocky young man, inclined to panache, sometimes impudent, but good-natured and sweet in relations with friends. Realizing the insufficiency of his education, he went to Joseph Haydn, a recognized Viennese authority in the field of instrumental music (Mozart had died a year earlier), and for some time brought him exercises in counterpoint to check. Haydn, however, soon cooled off towards the obstinate student, and Beethoven, secretly from him, began to take lessons from I. Shenk and then from the more thorough J. G. Albrechtsberger. In addition, wanting to improve in vocal writing, he visited for several years the famous opera composer Antonio Salieri. Soon he joined a circle that united titled amateurs and professional musicians. Prince Karl Likhnovsky introduced the young provincial to his circle of friends.

The political and social life of Europe at that time was alarming: when Beethoven arrived in Vienna in 1792, the city was agitated by the news of the revolution in France. Beethoven enthusiastically accepted revolutionary slogans and sang of freedom in his music. The volcanic, explosive nature of his work is undoubtedly the embodiment of the spirit of the times, but only in the sense that the character of the creator was to some extent shaped by this time. A bold violation of generally accepted norms, a powerful self-affirmation, a thunderous atmosphere of Beethoven's music - all this would have been unthinkable in the era of Mozart.

Nevertheless, Beethoven's early compositions largely follow the canons of the 18th century: this applies to trios (strings and piano), violin, piano and cello sonatas. The piano was then the closest instrument to Beethoven, in piano works he expressed his most intimate feelings with the utmost sincerity. The First Symphony (1801) is Beethoven's first purely orchestral composition.

The approach of deafness.

We can only guess to what extent Beethoven's deafness influenced his work. The disease developed gradually. Already in 1798, he complained of tinnitus, it was difficult for him to distinguish high tones, to understand a conversation conducted in a whisper. Terrified at the prospect of becoming an object of pity - a deaf composer, he spoke about his illness to a close friend - Carl Amenda, as well as doctors, who advised him to protect his hearing as much as possible. He continued to rotate in the circle of his Viennese friends, took part in musical evenings, wrote a lot. He was so good at hiding his deafness that, until 1812, even people who often met him did not suspect how serious his illness was. The fact that during the conversation he often answered inappropriately was attributed to a bad mood or absent-mindedness.

In the summer of 1802, Beethoven retired to a quiet suburb of Vienna - Heiligenstadt. A stunning document appeared there - the Heiligenstadt Testament, a painful confession of a musician tormented by illness. The will is addressed to the brothers of Beethoven (with instructions to read and execute after his death); in it, he speaks of his mental suffering: it is painful when “a person standing next to me hears a flute playing from afar, which is not audible to me; or when someone hears a shepherd singing and I can't make out a sound." But then, in a letter to Dr. Wegeler, he exclaims: “I will take fate by the throat!”, And the music that he continues to write confirms this decision: in the same summer, the bright Second Symphony, magnificent piano sonatas op. 31 and three violin sonatas, op. thirty.

Period mature creativity. « New way"(1803 - 1812).

The first decisive breakthrough to what Beethoven himself called the "new way" occurred in the Third Symphony (Heroic, 1803-1804). Its duration is three times that of any other symphony written before. It is often asserted (and not without reason) that at first Beethoven dedicated the "Heroic" to Napoleon, but when he learned that he had proclaimed himself emperor, he canceled the dedication. “Now he will trample on the rights of man and satisfy only his own ambition,” were the words of Beethoven, according to stories, when he tore the title page of the score with the dedication. In the end, "Heroic" was dedicated to one of the patrons - Prince Lobkowitz.

During these years, brilliant creations came out from under his pen one after another. The main works of the composer form an incredible stream of brilliant music, this imaginary sound world replaces the world of real sounds that leaves him. It was a victorious self-affirmation, a reflection of the hard work of thought, evidence of a rich inner life musician.

Works of the second period: violin sonata in A major, op. 47 (Kreutzerova, 1802-1803); Third Symphony, (Heroic, 1802-1805); oratorio Christ on the Mount of Olives, op. 85 (1803); piano sonatas: "Waldstein", op. 53; "Appassionata" (1803-1815); Piano Concerto No. 4 in G major (1805-1806); Beethoven's only opera, Fidelio (1805, second edition 1806); three "Russian" quartets, op. 59 (dedicated to Count Razumovsky; 1805-1806); Fourth Symphony (1806); Overture to the Tragedy of Collinus Coriolanus, op. 62 (1807); Mass in C major (1807); Fifth Symphony (1804-1808); Sixth Symphony (Pastoral, 1807-1808); music for the tragedy by Goethe Egmont (1809) and others.

A number of compositions were inspired by the romantic feelings that Beethoven had for some of his high-society students. The sonata, later called "Lunar", is dedicated to Countess Juliette Guicciardi. Beethoven even thought of proposing to her, but realized in time that a deaf musician was not a suitable match for a coquettish secular beauty. Other ladies he knew rejected him; one of them called him "freak" and "half-crazy". The situation was different with the Brunswick family, in which Beethoven gave music lessons to two older sisters - Teresa and Josephine. The assumption that Teresa was the addressee of the message to the "Immortal Beloved", found in Beethoven's papers after his death, has long been discarded, but modern researchers do not exclude that this addressee was Josephine. In any case, the idyllic Fourth Symphony owes its idea to Beethoven's stay at the Hungarian Brunswick estate in the summer of 1806.

In 1804, Beethoven willingly accepted an order to compose an opera, since in Vienna the success of opera stage meant fame and money. The plot in brief was as follows: a brave, enterprising woman, dressed in men's clothing, saves her beloved husband, imprisoned by a cruel tyrant, and exposes the latter before the people. To avoid confusion with the already existing opera on this subject - "Leonora" by Gaveau, Beethoven's work was called "Fidelio", after the name that the disguised heroine takes. Of course, Beethoven had no experience of composing for the theatre. The climaxes of the melodrama are marked by excellent music, but in other sections, the lack of dramatic flair does not allow the composer to rise above the operatic routine (although he was very keen on this: in Fidelio there are fragments that were remade up to eighteen times). Nevertheless, the opera gradually conquered listeners (during the life of the composer, three of its productions took place in different editions - in 1805, 1806 and 1814). It can be argued that the composer has not invested so much work in any other work.

Beethoven, as already mentioned, deeply revered the works of Goethe, composed several songs on his texts, music for his tragedy Egmont, but met Goethe only in the summer of 1812, when they ended up together at a resort in Teplitz. Refined manners the great poet and the sharpness of the composer's behavior did not contribute to their rapprochement. “His talent struck me extremely, but, unfortunately, he has an indomitable temper, and the world seems to him a hateful creation,” says Goethe in one of his letters.

Beethoven's friendship with Rudolf, the Austrian archduke and half-brother of the emperor, is one of the most curious historical plots. Around 1804, the Archduke, then aged 16, began taking piano lessons from the composer. Despite the huge difference in social status, the teacher and the student had a sincere affection for each other. Appearing for lessons at the Archduke's palace, Beethoven had to pass by countless lackeys, call his student "Your Highness" and fight his amateurish attitude to music. And he did all this with amazing patience, although he never hesitated to cancel lessons if he was busy composing. By order of the Archduke, such compositions as the piano sonata "Farewell", the Triple Concerto, the last and most grandiose Fifth Piano Concerto, the Solemn Mass (Missa solemnis) were created. The Archduke, Prince Kinsky and Prince Lobkowitz established a kind of scholarship for the composer, who made Vienna famous but did not receive support from the city authorities, and the Archduke turned out to be the most reliable of the three patrons.

Last years.

The financial situation of the composer improved markedly. Publishers hunted for his scores and commissioned works such as Grand Piano Variations on a Waltz by Diabelli (1823). When his brother Kaspar died in 1815, the composer became one of the guardians of his ten-year-old nephew Karl. Beethoven's love for the boy, the desire to ensure his future came into conflict with the distrust that the composer had for Karl's mother; as a result, he only constantly quarreled with both, and this situation painted a tragic light last period his life. In the years when Beethoven sought full custody, he composed little.

Beethoven's deafness became almost complete. By 1819, he had to completely switch to communicating with his interlocutors using a slate board or paper and pencil (the so-called Beethoven conversational notebooks have been preserved). Completely immersed in work on such compositions as the majestic Solemn Mass in D major (1818) or the Ninth Symphony, he behaved strangely, instilling alarm in strangers: he “sang, howled, stamped his feet, and generally seemed to be waging a mortal struggle with invisible adversary" (Schindler). The brilliant last quartets, the last five piano sonatas - grandiose in scale, unusual in form and style - seemed to many contemporaries the works of a madman. Nevertheless, the Viennese listeners recognized the nobility and grandeur of Beethoven's music, they felt that they were dealing with a genius. In 1824, during the performance of the Ninth Symphony with its choral finale to the text of Schiller's ode "For Joy", Beethoven stood next to the conductor. The hall was captivated by the powerful climax at the end of the symphony, the audience went wild, but the deaf Beethoven did not turn around. One of the singers had to take him by the sleeve and turn him to face the audience so that the composer bowed.

The fate of other later works was more complicated. Many years passed after Beethoven's death, and only then did the most receptive musicians begin to perform his last quartets and last piano sonatas, revealing to people these highest, most beautiful achievements of Beethoven. Sometimes Beethoven's late style is characterized as contemplative, abstract, in some cases neglecting the laws of euphony.

Beethoven died in Vienna on March 26, 1827 from pneumonia complicated by jaundice and dropsy.

3. Piano creativity Beethoven

The legacy of Beethoven's piano music is great:

32 sonatas;

22 variation cycles (among them - "32 variations in c-moll");

bagatelles, dances, rondos;

many small essays.

Beethoven was a brilliant virtuoso pianist, improvising on any subject with inexhaustible ingenuity. In Beethoven's concert performances, his powerful, gigantic nature, the enormous emotional power of expression, very quickly revealed themselves. It was no longer the style of a chamber salon, but of a large concert stage, where the musician could reveal not only lyrical, but also monumental, heroic images, to which he passionately gravitated. Soon all this was clearly manifested in his compositions. Moreover, Beethoven's individuality was first revealed precisely in piano compositions. Beethoven began with a modest classical piano style, still largely associated with the art of harpsichord playing, and ended with music for the modern piano.

Innovative techniques of Beethoven's piano style:

expansion to the limit of the range of sound, thereby revealing hitherto unknown means of expression end registers. Hence - the feeling of a wide air space, achieved by comparing distant registers;

moving the melody to low registers;

the use of massive chords, rich texture;

enrichment of pedal technique.

Among Beethoven's extensive piano heritage, his 32 sonatas stand out. Beethoven's sonata became like a piano symphony. If the symphony for Beethoven was the sphere of monumental ideas and broad "all-human" problems, then in the sonatas the composer recreated the world of inner experiences and feelings of a person. According to B. Asafiev, “Beethoven's sonatas are the whole life of a person. It seems that there are no emotional states that would not find their reflection here in one way or another.

Beethoven refracts his sonatas in the spirit of different genre traditions:

symphonies ("Appassionata");

fantasies ("Lunar");

overture ("Pathetic").

In a number of sonatas, Beethoven overcomes the classical 3-part scheme, placing an additional part - a minuet or a scherzo - between the slow movement and the finale, thereby likening the sonata to a symphony. Among the late sonatas there are 2-part ones.

Sonata No. 8, "Pathetic" (c-moll, 1798).

The name "Pathetic" was given by Beethoven himself, having very accurately determined the main tone that dominates the music of this work. "Pathetic" - translated from Greek. - passionate, excited, full of pathos. Only two sonatas are known, whose names belong to Beethoven himself: "Pathetique" and "Farewell" (Es-dur, op. 81 a). Among Beethoven's early sonatas (before 1802), Pathetique is the most mature.

Sonata No. 14, "Moonlight" (cis-moll, 1801).

The name "Lunar" was given by Beethoven's contemporary poet L. Relshtab (Schubert wrote many songs on his poems), because. the music of this sonata was associated with silence, mystery moonlit night. Beethoven himself designated it "Sonata quasi una fantasia" (a sonata, as it were, a fantasy), which justified the rearrangement of parts of the cycle:

Part I - Adagio, written in free form;

Part II - Allegretto in a prelude-improvisational manner;

Part III - Finale, in sonata form.

The originality of the composition of the sonata is due to its poetic intention. A spiritual drama, the transitions of states caused by it - from mournful self-immersion to violent activity.

I part (cis-moll) - mournful monologue-reflection. Reminds me of a sublime chorale, a funeral march. Apparently, this sonata captured the mood tragic loneliness who owned Beethoven at the time of the collapse of his love for Juliet Guicciardi.

Often, the second part of the sonata (Des-dur) is associated with her image. Full of graceful motifs, the play of light and shadow, Allegretto differs sharply from the first movement and the finale. According to the definition of F. Liszt, this is "a flower between two abysses."

The finale of the sonata is a storm that sweeps away everything in its path, a raging element of feelings. The finale of the Lunar Sonata anticipates the Appassionata.

Sonata No. 21, "Aurora" (C-dur, 1804).

In this work, a new face of Beethoven is revealed, far from violent passions. Here everything breathes with primordial purity, shines with dazzling light. No wonder she was called "Aurora" (in ancient Roman mythology - the goddess of the dawn, the same as Eos in ancient Greek.). "White Sonata" - Romain Rolland calls it. Images of nature appear here in all their splendor.

Part I - monumental, corresponds to the idea of a royal picture of the sunrise.

Part II R. Rolland designates as "the state of Beethoven's soul among peaceful fields."

The finale is a delight from the unspeakable beauty of the surrounding world.

Sonata No. 23, "Appassionata" (f-moll, 1805).

The name "Appassionata" (passionate) does not belong to Beethoven, it was invented by the Hamburg publisher Kranz. The fury of feelings, the raging stream of thoughts and passions of truly titanic power, are embodied here in classically clear, perfect forms(passions are restrained by an iron will). R. Rolland defines "Appassionata" as "a fiery stream in a granite rudder." When Beethoven's student, Schindler, asked his teacher about the content of this sonata, Beethoven replied, "Read Shakespeare's The Tempest." But Beethoven has his own interpretation of Shakespeare's work: for him, the titanic combat of man with nature acquires a pronounced social coloring (the struggle against tyranny and violence).

"Appassionata" - favorite work V. Lenin: “I don’t know anything better than Appassionata, I’m ready to listen to it every day. amazing, inhuman music. I always proudly, perhaps naively, think: these are the miracles people can do!

The sonata ends tragically, but at the same time the meaning of life is acquired. Appassionata becomes Beethoven's first "optimistic tragedy". The appearance in the code of the finale of a new image (an episode in the rhythm of a ponderous mass dance), which has the meaning of a symbol in Beethoven, creates an unprecedented contrast of hope, a rush to the light and gloomy despair.

One of characteristic features"Appassionata" - its extraordinary dynamism, which expanded its scale to colossal proportions. The growth of the sonata allegro form occurs due to the development that penetrates into all sections of the form, incl. and exposure. The development itself grows to gigantic proportions and without any caesura turns into a reprise. The coda turns into a second development, where the culmination of the whole part is reached.

The sonatas that arose after the "Appassionata" marked a turning point, marking a turn towards a new - late style of Beethoven, which in many respects anticipated the works of romantic composers of the 19th century.

4. Symphonic works of Beethoven.

Beethoven was the first to give the symphony a public purpose, elevated it to the level of philosophy. It was in the symphony that the revolutionary-democratic worldview of the composer was embodied with the greatest depth.

Beethoven created majestic tragedies and dramas in his symphonic works. Beethoven's symphony, addressed to huge human masses, has monumental forms. Thus, the I part of the "Heroic" symphony is almost twice the size of the I part of the largest of Mozart's symphonies - "Jupiter", and the gigantic dimensions of the 9th symphony are generally incommensurable with any of the previously written symphonic works.

Until the age of 30, Beethoven did not write a symphony at all. Any symphonic work by Beethoven is the fruit of the longest labor. So, the "Heroic" was created 1.5 years, the Fifth Symphony - 3 years, the Ninth - 10 years. Most of the symphonies (from the Third to the Ninth) fall on the period of the highest rise of Beethoven's creativity.

I symphony sums up the quest early period. According to Berlioz, "this is no longer Haydn, but not yet Beethoven." In the Second, Third and Fifth - images of revolutionary heroism are expressed. The fourth, sixth, seventh and eighth - are distinguished by their lyrical, genre, scherzo-humorous features. In Beethoven's Ninth Symphony last time returns to the theme of tragic struggle and optimistic life-affirmation.

Third symphony, "Heroic" (1804).

The true flowering of Beethoven's work is associated with his Third Symphony (the period of mature creativity). The appearance of this work was preceded by tragic events in the life of the composer - the onset of deafness. Realizing that there was no hope for recovery, he plunged into despair, thoughts of death did not leave him. In 1802, Beethoven wrote his will to his brothers, known as the Heiligenstadt.

It was at that terrible moment for the artist that the idea of the 3rd symphony was born and a spiritual turning point began, from which the most fruitful period in creative life Beethoven.

This work reflected Beethoven's passion for the ideals of the French Revolution and Napoleon, who personified in his mind the image of a true folk hero. After finishing the symphony, Beethoven called it "Buonaparte". But soon the news came to Vienna that Napoleon had changed the revolution and proclaimed himself emperor. Upon learning of this, Beethoven was furious and exclaimed: “This one is also an ordinary person! Now he will trample on all human rights with his feet, follow only his own ambition, will put himself above all others and become a tyrant! According to eyewitnesses, Beethoven went to the table, grabbed the title page, tore it from top to bottom and threw it on the floor. Subsequently, the composer gave the symphony a new name - "Heroic".

With the Third Symphony, a new new era began in the history of world symphony. The meaning of the work is as follows: in the course of a titanic struggle, the hero dies, but his feat is immortal.

Part I - Allegro con brio (Es-dur). G.P. - the image of a hero and struggle.

Part II - funeral march (c-moll).

III part - Scherzo.

Part IV - Finale - a feeling of all-encompassing folk fun.

Fifth Symphony, c-moll (1808).

This symphony continues the idea of the heroic struggle of the Third Symphony. “Through the darkness - to the light”, - this is how A. Serov defined this concept. The composer did not give this symphony a title. But its content is associated with the words of Beethoven, said by him in a letter to a friend: “There is no need for rest! I don't recognize any other rest than sleep... I'll grab fate by the throat. She won’t be able to bend me at all.” It was the idea of fighting fate and fate that determined the content of the Fifth Symphony.

After a grandiose epic (Third Symphony), Beethoven creates a laconic drama. If the Third is compared with Homer's Iliad, then the Fifth Symphony is compared with the classicist tragedy and Gluck's operas.

The 4th part of the symphony is perceived as 4 acts of tragedy. They are interconnected by the leitmotif with which the work begins, and about which Beethoven himself said: “Thus fate knocks at the door.” Extremely succinctly, like an epigraph (4 sounds), this theme is outlined with a sharply knocking rhythm. This is a symbol of evil, tragically invading a person's life, as an obstacle that requires incredible efforts to overcome.

In Part I, the theme of rock reigns supreme.

In Part II, sometimes her “tapping” is alarmingly alarming.

In the third part - Allegro - (Beethoven here refuses both the traditional minuet and the scherzo ("joke"), because the music here is disturbing and conflicting) - sounds with new bitterness.

In the finale (holiday, triumphal march), the rock theme sounds like a memory of past dramatic events. The finale is a grandiose apotheosis, reaching its climax in a coda expressing the victorious jubilation of the masses seized with a heroic impulse.

Symphony No. 6, "Pastoral" (F-dur, 1808).

Nature and merging with it, a sense of peace of mind, images of folk life - such is the content of this symphony. Among Beethoven's nine symphonies, the Sixth is the only program symphony; has a common title and each part is titled:

Part I - "Joyful feelings upon arrival in the village"

II part - "Scene by the brook"

Part III - "A Merry Gathering of Villagers"

IV part - "Thunderstorm"

Part V - “Shepherd's song. Song of gratitude to the deity after a thunderstorm.

Beethoven strove to avoid naive figurativeness and in the subtitle to the title emphasized - "more an expression of feeling than painting."

Nature, as it were, reconciles Beethoven with life: in his adoration of nature, he seeks to find oblivion from sorrows and anxieties, a source of joy and inspiration. Deaf Beethoven, secluded from people, often wandered in the forests on the outskirts of Vienna: “Almighty! I am happy in the forests where every tree speaks of you. There, in peace, I can serve you.”

The "pastoral" symphony is often considered a forerunner of musical romanticism. The "free" interpretation of the symphonic cycle (5 parts, at the same time, since the last three parts are performed without a break - then three parts), as well as the type of programmatic, anticipating the works of Berlioz, Liszt and other romantics.

Ninth Symphony (d-moll, 1824).

The ninth symphony is one of the masterpieces of the world musical culture. Here Beethoven again turns to the theme of the heroic struggle, which takes on a universal, universal scale. In terms of the grandeur of the artistic conception, the Ninth Symphony surpasses all the works created by Beethoven before it. No wonder A. Serov wrote that “all the great activity of the brilliant symphonist was leaning towards this“ ninth wave ”.

The sublime ethical idea of the work - an appeal to all mankind with a call for friendship, for the fraternal unity of millions - is embodied in the finale, which is the semantic center of the symphony. It is here that Beethoven introduces the choir and soloists for the first time. This discovery of Beethoven was used more than once composers XIX-XX centuries (Berlioz, Mahler, Shostakovich). Beethoven used lines from Schiller's Ode to Joy (the idea of freedom, brotherhood, the happiness of mankind):

People are brothers among themselves!

Hug, millions!

Merge in the joy of one!

Beethoven needed a word, because the pathos of oratory has an increased power of influence.

In the Ninth Symphony there are features of programming. In the finale, all the themes of the previous parts are repeated - a kind of musical explanation of the idea of the symphony, followed by a verbal one.

The dramaturgy of the cycle is also interesting: first, two fast parts with dramatic images follow, then the third part - slow and final. Thus, all continuous figurative development is steadily moving towards the final - the result of life's struggle, various aspects given in the previous sections.

The success of the first performance of the Ninth Symphony in 1824 was triumphant. Beethoven was greeted with five applause, while even the imperial family, according to etiquette, was supposed to be greeted only three times. The deaf Beethoven could no longer hear the applause. Only when he was turned to face the audience, he was able to see the delight that seized the listeners.

But, with all this, the second performance of the symphony took place a few days later in a half-empty hall.

Overtures.

In total, Beethoven has 11 overtures. Almost all of them arose as an introduction to an opera, ballet, theater play. If earlier the purpose of the overture was to prepare for the perception of a musical and dramatic action, then with Beethoven the overture develops into an independent work. In Beethoven, the overture ceases to be an introduction to the subsequent act and turns into independent genre subject to its own internal laws of development.

Beethoven's best overtures are Coriolanus, Leonore No. 2, Egmont. Overture "Egmont" - based on the tragedy of Goethe. Its theme is the struggle of the Dutch people against the Spanish enslavers in the 16th century. Hero Egmont, fighting for freedom, perishes. In the overture, again, all development moves from darkness to light, from suffering to joy (as in the Fifth and Ninth Symphonies).

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http://www.musarticles.ru

Bagatelle (French - “trinket”) is a small piece of music that is not difficult to perform, mainly for a keyboard instrument. The name was first used by Couperin. Beethoven, Liszt, Sibelius, Dvorak wrote bagatelles.

There are 4 Leonora overtures in total. They were written as 4 versions of the overture to the opera Fidelio.

“Music is obliged to carve fire from the human chest” - these are the words of the German composer Ludwig van Beethoven, whose works belong to the highest achievements of musical culture.

Beethoven's worldview took shape under the influence of the ideas of the Enlightenment and the freedom-loving standards of the French Revolution. Musically, his work, on the one hand, continued the traditions of Viennese classicism, on the other hand, captured the features of the new romantic art. From classicism in the works of Beethoven, the sublimity of content, beautiful mastery of musical forms, appeal to the genres of symphony and sonata. From romanticism bold experimentation in the field of these genres, enthusiasm for vocal and piano miniatures.

Ludwig van Beethoven was born in Germany in the family of a court musician. He started playing music with early childhood under the direction of his father. But the real mentor of Beethoven was the composer, conductor and organist K.G. Nave. From the age of eleven, Beethoven served as an assistant organist in the church, later court organist, accompanist in opera house Bonn.

In 1792 Beethoven moved to Vienna. He took music lessons from the greatest musicians that era. Hence the composer's brilliant knowledge of musical forms, harmony and polyphony. Soon Beethoven began to give concerts; became popular. He was recognized on the streets, invited to festive receptions in the homes of high-ranking persons. He invented a lot: he wrote sonatas, concertos for piano and orchestra, symphonies.

For a long time, no one guessed that Beethoven was struck by a serious illness - he began to lose his hearing. Convinced of the incurability of the disease, the composer decided to die and in 1802. prepared a will, where he explained the motives of his own decision. But Beethoven was able to overcome despair and found the strength to write music further. The way out of the crisis was the Third ("Heroic") Symphony.

In 1803-1808. the composer also worked on the creation of sonatas; in particular, the Ninth for violin and piano, it is dedicated to the Parisian violinist Rudolf Kreutzer, therefore it received the title "Kreutzer"; Twenty-third ("Appassionata") for piano, Fifth and Sixth symphonies.

The sixth ("Pastoral") symphony is subtitled "Memories of Rural Life". This work depicts different states of the human soul, detached for a while from internal experiences and struggle. The symphony conveys feelings arising from contact with the world of nature and rural life. Its structure is unusual - five parts instead of four. The symphony has elements of figurativeness, onomatopoeia (birds sing, thunder rumbles, etc.). Beethoven's finds were later used by many romantic composers.

The pinnacle of Beethoven's symphonic work was the Ninth Symphony. It was conceived back in 1812, but the composer worked on it from 1822 to 1823. The symphony is grandiose in scale; the finale is especially unusual, which is something like a large cantata for choir, soloists and orchestra, written to the text of the ode “To Joy” by J.F. Schiller.

In the first part, the music is cruel and dramatic: out of the chaos of sounds, a precise and completely large-scale theme is born. The second part - the scherzo in character echoes the first. The third part, performed in slow pace, is the calm gaze of an enlightened soul. Twice, the sounds of fanfares burst into the unhurried flow of music. They remind of thunderstorms and battles, but they cannot change the general philosophical image. This music is the pinnacle of Beethoven's lyrics. The fourth part is the final. The themes of the past parts float before the listener as if the passing past. And here comes the theme of joy. The inner structure of the theme is amazing: trepidation and strict restraint, great inner strength, released in a grandiose hymn to goodness, truth and beauty.

The premiere of the symphony took place in 1825. at the Vienna Opera House. To implement the author's plan of the theatrical orchestra, it was not enough, they had to invite amateurs: twenty-four violins, ten violas, twelve cellos and double basses. For a Viennese classical orchestra, such a composition was unusually massive. In addition, any choral part (bass, tenor, alto and soprano) included twenty-four singers, which also exceeded the usual norms.

During Beethoven's lifetime, the Ninth Symphony remained incomprehensible to many; it was admired only by those who knew the composer closely, his students and listeners enlightened in music, but over time, the famous orchestras of the world began to include the symphony in their repertoire.

The works of the late period of the composer's work are characterized by restraint of feelings and philosophical depth, which distinguishes them from the passionate and dramatic early works. During his life, Beethoven wrote 9 symphonies, 32 sonatas, 16 string quartets, the opera Fidelio, Solemn Mass, 5 piano concertos and one for violin and orchestra, overtures, individual pieces for various instruments.

Surprisingly, the composer wrote many works (including the Ninth Symphony) when he was already completely deaf. But also his latest works- sonatas for piano and quartets - unsurpassed masterpieces of chamber music.

The music of the classicism period is usually called the development of European music in the period approximately from the second half of the 18th century to the first quarter of the 19th century.

The concept of classicism in music is strongly associated with the work of such composers and musicians as Haydn, Mozart and Beethoven, also called the Viennese classics, who determined the further development of music.

The very concept of "music of classicism" is not identical with the concept of " classical music", which has more general meaning denoting the music of the past that has stood the test of time. Classical musical works reflect and glorify the actions and actions of a person, the feelings and emotions he experiences, which are largely heroic in nature (especially in Beethoven's music).

Wolfgang Amadeus Mozart

V.A. Mozart was born in Salzburg in 1756 and from early childhood studied music with his father, who was the conductor of the Imperial Chapel in Salzburg. When the boy was six years old, his father took him and his younger sister to Vienna to show gifted children in the capital; followed by concerts in almost all parts of Europe.

In 1779, Mozart entered the service of the court organist in Salzburg. In 1781, after leaving hometown, a talented composer finally moves to Vienna, where he lived until the end of his life. The years he spent in Vienna became the most fruitful in his career: in the period from 1782 to 1786, the composer composed most of his concertos and works for piano, as well as dramatic compositions. As an innovator, he already showed himself in his first opera, The Abduction from the Seraglio, in which for the first time the text was heard in German, and not in Italian(Italian is the traditional language in opera librettos). Then followed Le nozze di Figaro, first presented at the Burgtheater, then Don Giovanni and That's What All Women Do, which were huge successes.

Mozart's operas are a renewal and synthesis of previous forms and genres. In the opera, Mozart gives supremacy to music - the vocal beginning, symphony and ensemble of voices.

Mozart's genius also manifested itself in other genres of music. He perfected the structure of the symphony, quintet, quartet, sonata, he is the creator of the classical form of the concerto for a solo instrument with an orchestra. His everyday (entertaining) orchestral and ensemble music is elegant and original - divertissements, serenades, cassations, nocturnes, as well as marches and dances. The name of Mozart has become the personification of creative genius, the highest musical talent, the unity of beauty and truth in life.

Luwig van Beethoven

Ludwig van Beethoven is a famous German composer, who is rightly considered one of the greatest creators of all times and peoples. His work belongs to both the period of classicism and the period of romanticism. In fact, it can hardly be limited by such definitions: Beethoven's works are, first of all, an expression of his brilliant talent.

Future brilliant composer was born in December 1770 in Bonn. The exact date of Beethoven's birth is not known, only the date of his baptism has been established - December 17th. The boy's abilities were already noticeable at the age of four. His father immediately took it as a new source of income. One teacher succeeded another, but really good musicians were rarely among them.

The first concert took place in Cologne, where Ludwig, at the age of 8, was announced for promotional purposes as six years old. But the performance did not bring the expected income. At the age of 12, he freely played the harpsichord, organ, violin, easily read notes from a sheet. It was in this year that the most important event took place in the life of the young Beethoven, which significantly influenced his entire subsequent career and life: Christian Gottlob Nefe, the new director of the court chapel in Bonn, became Ludwig's true teacher and mentor. Nefe was able to awaken in his student an interest in the work of J.S. Bach, Mozart, Handel, Haydn, and on samples and lessons clavier music F. E. Bach Beethoven successfully comprehends the subtleties of the modern piano style.

Over the years of hard work, Beethoven manages to become quite a prominent figure in the city musical society. Young talented musician dreams of his recognition by great musicians, of classes with Mozart. Overcoming all sorts of obstacles, 17-year-old Ludwig comes to Vienna to meet Mozart. He succeeds in this, but the maestro at that time was completely absorbed in the creation of the opera "Don Giovanni" and the game young musician listened rather absent-mindedly, voicing only modest praise at the end. Beethoven asked the maestro: "Give me a theme for improvisation" - in those days, the ability to improvise on a given theme was widespread among pianists. Mozart played him two lines of polyphonic exposition. Ludwig did not lose his head and did a wonderful job, impressing the famous composer with his abilities.

Beethoven's work is imbued with revolutionary heroism, pathos, lofty images and ideas, full of true drama and the greatest emotional strength and energy. “Through struggle - to victory” - such a basic idea, his Third (“Heroic”) and Fifth symphonies are pierced with convincing, all-conquering power. The tragic-optimistic Ninth Symphony can rightly be considered Beethoven's artistic testament. The struggle for freedom, the unity of people, faith in the victory of truth over evil are captured unusually expressively and vividly in the life-affirming, invocative finale - the ode "To Joy". A true innovator, an unbending fighter, he boldly embodied new ideological concepts in remarkably simple, clear music, which is accessible to the understanding of the widest range of listeners. Epochs and generations change, but the unique immortal music of Beethoven continues to excite and delight the hearts of people.

L. W. Beethoven - German composer, representative of the Viennese classical school (born in Bonn, but spent most of his life in Vienna - since 1792).

Beethoven's musical thinking is a complex synthesis:

Ø creative achievements of the Viennese classics (Gluck, Haydn, Mozart);

Ø the art of the French Revolution;

Ø new emerging in the 20s. 19th century artistic direction - romanticism.

It is also noteworthy that Beethoven showed himself most fully in the genres sonatas and symphonies(genres characteristic of the classics) . Beethoven was the first to spread the so-called. "Conflict Symphony" based on the opposition and collision of brightly contrasting musical images. The more dramatic the conflict, the more complex the process of development, which for Beethoven becomes the main driving force.

The ideas and art of the French Revolution left their mark on many of Beethoven's works. From Cherubini's operas there is a direct path to Beethoven's Fidelio.

Composer of a new era, Beethoven finds other intonations to express his thoughts - dynamic, restless, sharp. The sound of his music becomes much more saturated, dense, and dramatically contrasting. His musical themes acquire hitherto unprecedented conciseness, severe simplicity.

Listeners brought up on 18th-century classicism were stunned and often misunderstood emotional strength Beethoven's music, which manifests itself either in stormy drama, or in a grandiose epic scope, or in penetrating lyrics. But it was precisely these qualities of Beethoven's art that fascinated romantic musicians. And although Beethoven's connection with romanticism is indisputable, his art in its main outlines does not coincide with him. It does not entirely fit into the framework of classicism. For Beethoven, like few others, is unique, individual and multifaceted.

Beethoven's themes:

Ø Beethoven's focus is the life of a hero, flowing in an unceasing struggle for a universal beautiful future. The heroic idea runs like a red thread through all of Beethoven's work. Beethoven's hero is inseparable from the people. In serving humanity, in winning freedom for it, he sees the purpose of his life. But the path to the goal lies through thorns, struggle, suffering. Often a hero dies, but his death is crowned with a victory that brings happiness to liberated humanity. Beethoven's attraction to heroic images and the idea of struggle is due, on the one hand, to the warehouse of his personality, difficult fate, struggle with it, constant overcoming of difficulties; on the other hand, the impact on the worldview of the composer of the ideas of the Great French Revolution.

Ø Found the richest reflection in the work of Beethoven and nature theme(Symphony 6 "Pastoral", Sonata No. 15 "Pastoral", Sonata No. 21 "Aurora", Symphony No. 4, many slow parts of sonatas, symphonies, quartets). Passive contemplation is alien to Beethoven: the peace and silence of nature help to comprehend the exciting issues more deeply, to gather thoughts and inner strength for the struggle of life.

Ø Deeply penetrates Beethoven and into realm of human feelings. But, revealing the world of the inner, emotional life of a person, Beethoven draws all the same hero, capable of subordinating the spontaneity of feelings to the requirements of reason.

The main features of the musical language:

Ø Melodika . The fundamental principle of his melody is in trumpet signals and fanfares, in invocative oratorical exclamations and march turns. Movement along the sounds of the triad is often used (G.P. "Heroic Symphony"; theme of the finale of the 5th symphony, G.P. I part 9 of the symphony). Beethoven's caesuras are punctuation marks in speech. Beethoven's fermata are pauses after pathetic questions. Beethoven's musical themes often consist of contrasting elements. The contrasting structure of themes is also found in Beethoven's predecessors (especially Mozart), but in Beethoven this is already becoming a pattern. The contrast within the theme develops into a conflict between G.P. and P.P. in sonata form, dynamizes all sections of the sonata allegro.

Ø Metrorhythm. Beethoven's rhythms are born from the same source. Rhythm carries a charge of masculinity, will, activity.

§ Marching rhythms extremely common

§ dance rhythms(in the pictures of folk fun - the finale of the 7th symphony, the finale of the Aurora sonata, when, after long suffering and struggle, a moment of triumph and joy comes.

Ø Harmony. With the simplicity of the chord vertical (chords of the main functions, laconic use of non-chord sounds) - a contrast-dramatic interpretation of the harmonic sequence (connection with the principle of conflict dramaturgy). Sharp, bold modulations in distant keys (in contrast to the plastic modulations of Mozart). In his later works, Beethoven anticipates the features of romantic harmony: polyphonized fabric, an abundance of non-according sounds, exquisite harmonic sequences.

Ø musical forms Beethoven's works are grandiose constructions. “This is the Shakespeare of the masses,” V. Stasov wrote about Beethoven. "Mozart was responsible only for individuals ... Beethoven, on the other hand, thought about history and all of humanity." Beethoven is the creator of the form free variations(finale of the piano sonata No. 30, variations on a theme by Diabelli, 3rd and 4th movements of the 9th symphony). He is credited with introducing the variation form into the large form.

Ø musical genres. Beethoven developed most of the existing musical genres. The basis of his work is instrumental music.

List of Beethoven's compositions:

Orchestral music:

Symphonies - 9;

Overtures: "Coriolanus", "Egmont", "Leonora" - 4 versions for the opera "Fidelio";

Concertos: 5 piano, 1 violin, 1 triple - for violin, cello and piano.

Piano music:

32 sonatas;

22 variation cycles (including 32 c-moll variations);

Bagatelles (including "To Elise").

Chamber ensemble music:

Sonatas for violin and piano (including "Kreutzer" No. 9); cello and piano;