home › Test Drives › What is recitative in music. Sing or talk? What is recitative in music What is choral recitative

What is recitative in music. Sing or talk? What is recitative in music What is choral recitative

As the text of the recitative becomes more lyrical and its form expands, gaining more musical content, the recitative becomes:

dry (secco)
measured (a tempo)
melodious (ariose singing).

In all three genders, correct, meaningful recitation is of great importance.

In vocal music, a mixture of three intermediate types of recitative is often used, moving from one to another. For all recitatives, prose can serve as a text.

Also, recitative can be used in the meaning of slang vocabulary, i.e. the number of jargon words in the lexicon.

Dry recitative

Dry recitative has a size of four quarters. The accompaniment consists of abrupt chords without figures and does not express mood, but only serves to indicate the singer's tone and to emphasize punctuation marks. Chords are taken mainly where there is a break in the recitative. Sometimes, in the interval between two phrases that have a break, a short ritornello is inserted with a figure expressing the mood. Such a recitative has very little melodic content. Only one sound is required for each syllable of the text. The form of such a recitative is indefinite and is completely dependent on the text. The singer sings it freely, not in tempo. The alternation of keys is arbitrary, but still one should not make too frequent and sharp modulations into distant keys. The change of tone corresponds to the change of thought in the text. If there are no chords in the measure of the recitative, then the bandmaster does not strike out four quarters, but gives only one stroke. The vocal part of such a recitative is written centrally for the voice, that is, in the middle register, leaving it (up or down) only at moments of strong dramatic mood.

measured recitative

Measured recitative (a tempo) happens in different counts - 4/4, 3/4, etc. While singing recitative, which is not particularly rich in melody, the accompaniment goes all the way, in the form of chords sustained or played by tremolo. There is no conducted motive, that is, a drawing, in such an accompaniment. The form is indefinite, the alternation of keys is arbitrary. There is one note per syllable. Such a recitative is performed in tempo and conducted entirely.

Singing recitative

Singing recitative (ariose singing) is the most developed form of recitative. The vocal part is distinguished by melodic content. One syllable of a word can sometimes have two or more sounds. Like the measured one, this recitative is not constrained by the modulation plan. The form is mostly free. The musical content of the accompaniment, in comparison with the previous recitatives, is richer both in harmonic and rhythmic terms; a figure (motive) is carried in it.

Singing, which has roundness and great completeness, but lacks a knee warehouse, is called arioso.

Dry recitative

measured recitative

Measured recitative (a tempo) happens in different sizes - 4/4, 3/4, etc. While singing recitative, which is not particularly rich in melody, the accompaniment goes all the way, in the form of chords sustained or played by tremolo. There is no conducted motive, that is, a drawing, in such an accompaniment. The form is indefinite, the alternation of keys is arbitrary. There is one note per syllable. Such a recitative is performed in tempo and conducted entirely.

Singing recitative

Singing, which has roundness and great completeness, but lacks a knee warehouse, is called arioso.

Write a review on the article "Recitative"

Notes

An excerpt characterizing Recitative

The countess watched the cleaning of things, was dissatisfied with everything and went after Petya, who was constantly running away from her, jealous of him for Natasha, with whom he spent all the time. Sonya alone ordered practical side business: packing things. But Sonya was especially sad and silent all this. Lately. Nicolas' letter, in which he mentioned Princess Marya, evoked in her presence the Countess's joyful reflections about how she saw God's Providence in Princess Marya's meeting with Nicolas.
“I never rejoiced then,” said the countess, “when Bolkonsky was Natasha’s fiancé, but I always wished, and I have a presentiment that Nikolinka will marry the princess. And how good it would be!
Sonya felt that this was true, that the only way to improve the affairs of the Rostovs was to marry a rich woman, and that the princess was a good match. But she was very sad about it. In spite of her grief, or perhaps precisely because of her grief, she took upon herself all the difficult cares of the arrangements for cleaning and packing things, and was busy all day long. The count and countess turned to her when they needed to order something. Petya and Natasha, on the contrary, not only did not help their parents, but for the most part they annoyed and interfered with everyone in the house. And all day long their running, screams and causeless laughter were almost audible in the house. They laughed and rejoiced not at all because there was a reason for their laughter; but their hearts were joyful and cheerful, and therefore everything that happened was for them a cause of joy and laughter. Petya was amused because, having left home as a boy, he returned (as everyone told him) as a fine man; it was merry because he was at home, because he had come from Belaya Tserkov, where there was no hope of falling into battle soon, to Moscow, where they would fight one of these days; and most importantly, cheerful because Natasha, whose spirit he always obeyed, was cheerful. Natasha, on the other hand, was cheerful because she had been sad for too long, and now nothing reminded her of the cause of her sadness, and she was healthy. She was also cheerful because there was a person who admired her (the admiration of others was that wheel grease that was necessary for her car to move completely freely), and Petya admired her. Most importantly, they were cheerful because the war was near Moscow, that they would fight at the outpost, that they were handing out weapons, that everyone was fleeing, leaving somewhere, that something extraordinary was happening in general, which is always joyful for a person, especially for a young one.

On the 31st of August, Saturday, everything seemed to be turned upside down in the Rostovs' house. All doors were opened, all furniture removed or rearranged, mirrors, paintings removed. There were chests in the rooms, hay, wrapping paper and ropes. The peasants and the servants who were carrying out things walked with heavy steps on the parquet. Peasants' carts were crowded in the yard, some already loaded on horseback and tied up, some still empty.
The voices and steps of the huge household and the peasants who arrived with carts sounded, calling to each other, in the yard and in the house. The Count went somewhere in the morning. The Countess, who had a headache from the bustle and noise, was lying in the new sofa with vinegar bandages on her head. Petya was not at home (he went to a comrade with whom he intended to move from the militia to the active army). Sonya was present in the hall when laying crystal and porcelain. Natasha was sitting on the floor in her ruined room, between scattered dresses, ribbons, scarves, and, looking motionlessly at the floor, she held in her hands an old ball gown, the same dress (already old in fashion) in which she had first been to St. Petersburg ball.

Such as opera, operetta, musical. Often small musical forms cannot do without it. And it happens that he completely replaces the usual understanding of music, becoming the head of a musical work. What is recitative and what role does it play in music, we find out in this article.

concept

Recitative is a vocal form in music that is not subject to rhythm and melody. It can sound with the presence of an accompaniment or, in fact, it sounds like in the middle of a general musical setting. To understand what recitative in music is, it is necessary to analyze in more detail musical works that contain this element.

The recitative cannot be attributed to the usual recitation of a verse, since this passage does not always contain rhyme. If we consider recitative as a means of expressiveness, then it is he who often reflects the emotional state of the hero and the main experiences that cannot be expressed by melodic techniques.

How a new form was born

If we talk about the origins, they go deep into antiquity. Epic and ritual songs, folk songs and nursery rhymes were often nothing more than recitative. The professional music of antiquity was also rich in conversational moments. First of all, this applied to sacred music: psalms, liturgies.

However, the very concept of what recitative is was born with the advent of opera genre. Its first manifestations were a melodious recitation. Actually, the early recitative was intended to revive the ancient tragedy with its manner of melodious recitation.

Over time, melody lost its meaning, and by the end of the 17th century, recitative acquired a clear outline, firmly entrenched in vocal music as an independent genre.

What are recitatives

Despite the fact that recitative does not obey the generally accepted laws of music, rhythm and melody, there are still rules that allow you to harmoniously include this genre in a piece of music.

If the recitative piece does not have a rhyme and a clear rhythm, then it is considered dry secco. It is pronounced with a meager accompaniment of staccato chords. Accompaniment in this case serves to enhance the dramatic effect.

When a recitative is endowed with a rhyme or just a clear rhythm, then it is called measured a tempo and is performed accompanied by an orchestra.

It also happens that this genre is framed by a melodic line. In order to understand what recitative is in this case, one should refer to the definition musical form. Recitative singing simply may not have it. The free form and manner of performance will indicate the presence of a melodious recitative or arioso.

Where do recitatives live

The colloquial form found its most frequent use in classical opera music. Exactly vocal genre opened up unlimited possibilities for the development of recitative. Its main purpose in the opera was to oppose the general musical content and create dramatic accents. It can be performed on stage by a single vocalist, an ensemble, or even a choir.

This genre found great application in the works of J.S. Bach. It was especially pronounced in the Passion according to John. It must be said that J.S. Bach surpassed all his contemporaries in this sense. The favorite dramatic technique was the recitative for K.V. Gluck and W.A. Mozart.

In Russian opera music, recitative appeared somewhat later. It manifested itself most clearly in the music of A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov. P.I. Tchaikovsky especially skillfully used the form of arioso. As for the Soviet classics, S.S. Prokofiev and D.D. Shostakovich made a special contribution to the development of recitative.

Recitative: examples in contemporary music

Remember, in the film “Irony of Fate, or Enjoy Your Bath”, the main characters perform “The Ballad of a Smoky Carriage” by A.S. Kochetkov:

How painful, dear, how strange

Akin to the earth, intertwined with branches,

How painful, dear, how strange

Split in two under the saw.

If you think that recitative songs are a phenomenon that is unique to classical music, try to find them in modern times. To do this, it is enough to imagine the recitation of poetry or prose, accompanied by music.

The recitative presented above is considered dry, since it does not obey instrumental accompaniment.

by the most a prime example measured recitative in modern times can be considered rap and hip-hop. It is these directions contemporary music opened up new facets and possibilities of recitative.

It is impossible to imagine such a genre of modern music as rock opera without recitative singing. As in the classical version of the opera, singing from time to time turns into spoken language.

Even an experienced musician can get confused in the variety and forms. But now you know what recitative is, and you won’t confuse it with anything.

The new interpretation of ariose monologues could not but affect the place and function of recitatives in the opera. From about mid-nineteenth century, neither in Russian nor in foreign opera will we find that noticeable difference between recitative and aria, which was characteristic of the classics throughout the entire 18th century. "Dry" recitative (i.e. colloquial) in its pure form is gradually disappearing from opera usage.

If in Rossini's The Barber of Seville (1816) we still find solo remarks and dialogues uttered in a patter, which, according to the classical tradition, are accompanied by a harpsichord (in contemporary practice piano), then composers of a later time in the comedy genre also abandoned such a delimitation of musical speech: “dry” recitatives, which became more measured and melodious, were accompanied by a lightweight orchestral composition.

The beginning of such a reform in the serious genre was laid by Christoph Gluck; in 1762, when creating his "Orpheus", he abandoned the harpsichord - all "dry" recitatives were sung to the accompaniment of string instruments. In the 19th century, advanced composers, who achieved unity and coherence in the construction of the opera, finally approved this trend.

Thus, the two types of recitative again merged into one. However, this new recitative did not lose anything from the diverse possibilities of the former two types. In any classical work, Western or Russian, it is still possible to distinguish recitatives of a sublime plan, which, in their melodiousness, approach the Arios style, and everyday, ordinary recitatives. Both types retain their former functions: the first is most often used as a dramatic introduction to an aria; the second - in dialogues that are not of paramount importance, but necessary for understanding the situation and the relationship of the characters.

Lisa's monologue at the Kanavka (" Queen of Spades» Tchaikovsky) is a classic example of a tragic recitative, which is not inferior to an aria in significance and scale: full of anxiety and gloomy forebodings, Lisa tries to convince herself that Herman will come, that he loves her. According to the pathetic intonations of her part, opposing the gloomy theme of the orchestra, they speak more of spiritual discord than of true courage - they make the listener assume that Lisa's confidence is imaginary and she is possessed by much more complex and painful feelings. We find confirmation of this in the aria expressing the utmost fatigue, despairAnd a bitter sense of doom (“Ah, I am weary of grief”).

If you have lost the keys to your Alfa Romeo, you can contact the experts who will make another key. You can also find an alfa romeo keychain to your taste. We work only in the presence of documents.

ital. recitativo, from recitare, to recite; French recitatif, German. Rezitative, eng. recitative

A kind of vocal music based on the desire to get closer to natural speech. However, this is inevitably conditional, since the free intonation of speech cannot be accurately reproduced in a system of fixed music. building and regular rhythm (see Intonation). The main intonations of recitative are muses. an analogy of the most characteristic and stable speech intonations (for example, questions, exclamations, appeals, etc.). Like their speech prototypes, they combine typical and individual features, reflecting not only the general nature of the speech statement, but often very subtle emotions. shades. The phrasing and rhythm of R. are determined by the syntax. the structure of the text and the distribution of speech accents. Thematic repetition and symmetry are not characteristic of R. art (for example, epic songs of various peoples) and in the most ancient genres of prof. claims (for example, liturgical psalmody).

R. in own. sense of the word arose in connection with the birth of opera and close to it monodich. genres. A new kind of wok. music was conceived by its creators - the figures of the Florentine camerata - as a revival of the melodious recitation of antich. tragedy. IN early operas R., alternating with more melodious choral or solo episodes, occupied the core. place, sometimes reaching a big dramatic. expressiveness (K. Monteverdi). Declamation in R. was not opposed to melodiousness, which is reflected in the term recitare cantando (to chant) used by Marco da Galliano in the preface to the opera Daphne. R.'s accompaniment was recorded as basso continuo (see example 1).

Melodich. and declamatory beginnings, united in the early examples of r., became isolated over time: each began to perform its functions in the opera. Main music the content was concentrated in arias expressing the feelings of the hero, but static in the dramatic. respect. The development of action in a dialogue or a story about a Ph.D. events became a function of R.

J. Peri. "Eurydice", prologue.

At the end of the 17th century in the work of the composers of the Neapolitan opera school, two types of R were formed. The first, performed in a "talk", in a free rhythm, supported by extended cembalo chords, was called secco ("dry"). Such a R., schematically recorded in equal durations and in a close range, in the stage. performance could acquire the expressiveness of lively speech (as evidenced by the Italian performing tradition). This was especially evident in the buffa opera, where the P. secco type survived until the 19th century. Dr. type R., with a precisely fixed rhythm, more expressive intonation and performed with orc. accompaniment was called accompagnato (accompanied). He often preceded the aria, performing with it the same function as the monologue in the drama. A freer form compared to the aria made it possible to convey complex psychological states, the struggle of feelings, in R..

R.'s close connection with the specific features of the language and intonations of speech determined the meaning. its differences in individual national. schools. R. early French. operas (J. B. Lully) was formed under the influence of the structure of the French. syllabic. verse and speech manner of the French. classic tragedy. R. in cantata-oratorio op. J. S. Bach (especially in the "Passion according to John") is far ahead of the opera of his time intonation. diversity, drama, realism. Two great operatic reformers of the 18th century, K. V. Gluck and W. A. Mozart, especially the former, paid much attention to the romantic. In his mature operas, the differences between the two traditions are smoothed out. R. types, and even in R. type secco, accompaniment is entrusted to the orchestra. Gluck assigns a particularly important place to P. accompagnato, which sometimes turns into an arioso or a freely constructed monologue. scene with a detailed orc. party, revealing the emotional subtext.

W. A. Mozart. The Marriage of Figaro, Act 2, No 14 (recitativo secco).

In the 19th century in connection with the gradual development of opera into music. drama, and the "numbered" composition - into the composition of "through development" R. becomes essential musical and dramaturgy. element. The recitative principle pervades arias and even ensembles. Wok. parties in music the dramas of R. Wagner are melodic R., freely turning into ariose episodes. Main music the content is concentrated in them in a symphonized orc. parties. Vivid examples of drama. R.-arioso are not uncommon in G. Verdi, especially in later operas ("Othello"). We also find brilliant examples of R. - "talker" in the best traditions of the opera buffa ("Falstaff").

K. V. Gluck. Armida, act 5, scene 4 (recitativo accompagnato).

In Western Europe. opera con. 19th-20th centuries are developing. arr. Wagnerian principles of music. recitations. At the same time, recitative intonations are often hyperbolized, acquiring increased expressiveness (R. Strauss). On the other hand, C. Debussy's purely recitative support "Pelléas et Mélisande" is written in an exquisite chamber style. In the stage prod. composers of the new Viennese school (A. Schoenberg, A. Berg), along with R. or displacing it, speech declamation with refined pitch and rhythm (Sprechstimme, Sprechgesang) is used. To record this method of intonation, a special kind of notation is used: crosses with stems (a cross is placed instead of a note head and indicates the pitch, a calm is its duration).

In Russian A. S. Dargomyzhsky, who strove for the unity of music and words, paid special attention to music. His opera The Stone Guest, written entirely in a recitative style, is notable for the subtle individualization of each part and the variety of declamatory techniques: from "speaking" to wide chanting. speech intonations. This tradition was continued by MP Mussorgsky, who created a recitative opera in prose. text ("Marriage"). From the fixation of individual speech intonations, Mussorgsky later moves on to their muses. generalization, expanding the possibilities of R. through the use of elements of Nar. music speech genres (jokes, parables, epic tales) and striving for "melody created by human speech." N. A. Rimsky-Korsakov (Sadko, The Tale of the City of Kitezh and the Maiden Fevronia) also developed elements of folk epic, epic poetry. In P. I. Tchaikovsky’s operas, R.-arioso is especially widely and varied, to which the composer gave the form of either an intimate “recitative-conversation” (B. V. Asafiev), or a vividly dramatic monologue.

In the owls In opera, S. S. Prokofiev showed special mastery in the sphere of rhyme, creating well-aimed and vivid “intonational portraits.” R. in the operas of D. D. Shostakovich are no less characteristic, to which the method of satire is not alien. hyperbolization of speech intonations. In modern owls. Opera, along with R., are also used by others close to him, musical and speech. types of intonation: Sprechgesang, melo- and rhythmic recitation.

P. I. Tchaikovsky. Mazeppa, act 1. no 5.

R. is also used in the chamber wok. music, most often in the genre of a ballad (F. Schubert) or a dramatized song-sketch (Dargomyzhsky, Mussorgsky). Separate elements of recitative recitation can be found in the most melodious, melodic productions. Imitation of the "speaking" intonations and free rhythm of R. is also used in instr. music (fantasy from the cycle "Chromatic fantasy and fugue" by Bach, the finale of Beethoven's 9th symphony, "Recitative and Romance" in the 2nd quartet by Shostakovich).

Literature: Druskin M., Questions of the musical dramaturgy of the opera, L., 1952; Yarustovsky B., Dramaturgy of Russian opera classics, M., 1952; Reformatsky A., Speech and music in singing, in Sat: Questions of the culture of speech, vol. 1, Moscow, 1955; Ogolevets A., Word and music in vocal and dramatic genres, M., 1960; his own, Mussorgsky's Vocal Dramaturgy, M., 1966; Dolivo A., Recitatives in vocal art, in collection: Questions of musical and performing arts, vol. 3, M., 1962; Vasina-Grossman V., Music and poetic word, part 1, Rhythm, ch. 2, M., 1972; Rousseau J.-J., Recitatif, in his book: Dictionnaire de musique, P., 1768 (Russian translation in the book: Materials and documents on the history of music, edited by M. V. Ivanov-Boretsky, vol. 2, M., 1934, pp. 79-81; Rolland R., L "opera au XVII siecle en Italie - Les origines de l" opera allemand - L "opera anglais au XVIIe siecle, in the book: Encyclopedie de la musique et dictionnaire du Conservatoire..., v. 2-3, P., 1913 (Russian translation - Rolland P., Opera in the 17th century in Italy, Germany and England, M., 1931).

V. A. Vasina-Grossman

The manner of singing, approaching the recitation, reflecting the desire to convey human speech. Recitative arose in early examples of operas and was conceived by its creators as a revival of the melodious recitation of ancient tragedy. The further development of the genre led to the separation of recitative and melodic principles.

With the advent of the "numbered" structure in the opera, the quintessence of which was the aria with its melody (see also bel canto), the recitative began to perform a dramatic function associated with the development of the action, in contrast to the aria and other types of ensembles, in which the actual musical content works.

At the end of the 17th century two types of recitatives have developed: "secco" ("dry") and "accompagnato". 1st was a fairly free recitation (intoned speech), accompanied by cembalo chords; 2nd - a more rhythmically and musically organized recitation, accompanied by an orchestra.

In the 19th century, when, under the influence of the Wagnerian reform, opera began to gradually turn into a musical drama, and the "number system" gave way to a through musical development, it is this type of recitative that is most widely used.

Popular in category: