If you have nothing to say, then there is nothing to sing. (Franz Schubert)
Franz Schubert, 1797-1828, Austrian composer, creator of romantic songs and ballads, vocal cycle, piano miniature, symphony, instrumental ensemble. Song permeates the compositions of all genres. Author of about 600 songs (to the words of F. Schiller, I.V. Goethe, G. Heine), including from the cycles "The Beautiful Miller's Woman" (1823), "The Winter Road" (1827, both to the words of W. Müller ); 9 symphonies (including "Unfinished", 1822), quartets, trios, piano quintet "Trout" (1819); piano sonatas (St. 20), impromptu, fantasies, waltzes, landlers.
As one of the true masterpieces of music, the lyric-dramatic "Unfinished Symphony" in B minor, No. 8 deserves special attention. Personal lyrical theme never before stood at the heart of a symphony. It manifests songliness in the presentation of themes - melody and accompaniment (as in a song), a complete form (as a verse), in development - it is variational, the symphony is permeated by the proximity of the sound of the melody to the voice. Each individual theme sings with a voice.
The image of the introduction is gloomy, hidden, it sounds in unison with the cellos and double basses in the lower register as an alarming foreboding. The main part of the oboe with clarinet is sincere, elegiac, drawn out, touching. The side part is light, friendly, song and dance with a tertian ratio of tonalities with the main part. We see the same in the second part.
The development is based on the theme of the introduction. It sounds rich, dense, tense, dramatic. We hear good polyphonic receptions.
The second part is full of the same touching thoughtfulness: in nature and dreams, the hero finds refuge from the world of evil and misfortune, is transferred to the world of bewitching magical dreams. Here the anxiety and sadness of the first part are overcome. From mental confusion, only a memory remains.
Both themes are distinguished by their amazing beauty: both the broad, melodious main theme and the secondary theme imbued with subtle nuances. A remarkable fading effect was found by the composer at the very end of the work.
It is a great regret that the work was never performed during the composer's lifetime. The manuscript was found by Schumann only in 1839 (this symphony was performed for the first time in the same year in Leipzig under the direction of F. Mendelssohn), and the first performance of the Unfinished Symphony was in 1865 (37 years later).
Over the years, the “Unfinished Symphony” has been of great interest due to the fact that, contrary to the rules, it has only 2 parts instead of 4. There are opinions that the symphony is not finished, but, in my opinion, “a sounding biography common man", deeply feeling life, striving to convey the fullness inner life of his personality, down to the most subtle, elusive experiences, is reflected in it quite fully.
lyrical unfinished symphony schubert
Output
Symphony No. 8 is an ideologically completed work. Schubert intentionally did not make the ending for the reason that there can be no ending to suffering and love for the world.
Used Books
1. History and theory of music. Textbook edited by O. B. Khvoina, Candidate of Art History. - M.: GITR, 2009.
2. Cognitive magazine "School of Life". Article by G. Konstantinova "Schubert and his little man".
3. K. Kuznetsov "Wreath to Schubert".
4. Materials of the international forum of arts "Romanticism: origins and horizons" of the Moscow Conservatory. P.I. Tchaikovsky.
Franz Peter Schubert
Symphony No. 8, B minor, D 759, "Unfinished"
Symphony No. 8 in B minor, D 759, "Unvollendete"
The composition of the orchestra: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings.
History of creation
In 1865, the Viennese court bandmaster Johann Herbeck, while compiling a program for a concert of old Viennese music, began to rummage through piles of forgotten manuscripts. In the unsorted archive of the chairman of the Styrian amateur musical society, A. Huttenbrenner, he discovered a previously unknown score by Schubert. It was a B minor symphony. Under the direction of Herbeck, she sounded for the first time on December 17, 1865 in a concert of the Vienna Society of Music Lovers.
The composer created it during the last months of 1822. During these years he was already widely known in Vienna as the author of many excellent songs and popular piano pieces, but none of his previous symphonies had been publicly performed, and no one but his closest friends knew him as a symphonist. The new symphony was first created as an arrangement for two pianos, and then as a score. In the piano edition, sketches of three parts of the symphony have been preserved, but the composer recorded only two in the score. He did not return to this symphony again. That is why it later received the name Unfinished.
There is still debate about whether this symphony is really unfinished, or whether Schubert fully embodied his plan in two parts instead of the generally accepted four. Its two parts leave an impression of amazing wholeness, exhaustion. This allowed some researchers to assert that the composer did not intend to continue, since he embodied his idea in two parts. However, sketches of the score of the third movement have been preserved, for some reason left in the sketch. Moreover, among the music for the play "Rosamund", written in the same period, there is an intermission, also written in B minor - a key extremely rarely used - and similar in character to the traditional symphonic finale. Some researchers of Schubert's work are inclined to believe that this intermission, coupled with sketches of a scherzo, constitutes the usual four-movement cycle.
There are no thematic connections with the Unfinished in this intermission, so it cannot be said with certainty that it should have been the finale of the symphony. At the same time, such connections are visible in the sketches of the third part. Perhaps the most probable seems to be the opinion also expressed on the pages of books devoted to Schubert: he was going to write an ordinary four-movement symphony, but, unlike the song, in which he was a sovereign, self-confident master, he did not feel confident in the symphonic genre. After all, he has not yet been able to hear any of his symphonies in a professional orchestral sound. And he did not aspire to be an innovator at all: his ideal, to which he dreamed of approaching, was Beethoven, which was proved by the next Grand Symphony in C major. And having written these two parts, he could just be scared - they were so unlike everything written in this genre before him.
By the way, this was not his first symphony that turned out to be unfinished: before that, in August 1821, he wrote a symphony in E major (conditionally considered the Seventh), the score of which was written in sketches. It already shows the approaches to the next two symphonic cycles - as part of an orchestra, scale, a distinct romantic flavor. Perhaps the composer did not begin to finish it, since he had not yet found a new path along which he thought to move. Also - one can only guess about this - the path of the Unfinished did not seem fruitful to him either: not realizing that what he had created was a masterpiece that opened up completely new paths in the symphony, Schubert considered it a failure and left the work. Moreover, there is no reason to consider it a complete two-part cycle, since not only Schubert, but also later composers, up to the 20th century, usually maintain the tonal ratios of the parts: the symphony should conclude with the same (or the eponymous) tonality in which it began. The only bold innovation was the creation by Mahler of the finale of the Ninth Symphony, in D major, in D flat major, however, completely justified by the very idea. At the time of Schubert, it was completely unthinkable to create a work that would begin in B minor and end in E major, but the key of the subdominant could well appear in one of the middle parts of the cycle.
Unfinished is one of the most poetic pages in the treasury of world symphony, a bold new word in this most complex of musical genres, which opened the way for romanticism. With it, a new theme enters symphonic music - inner world a person who is acutely aware of his discord with the surrounding reality. This is the first lyric-psychological drama in the symphonic genre. Unfortunately, its appearance on the stage was delayed by almost half a century, and the symphony, which became a shock to the musicians who discovered it, did not have the timely influence on the development of music that it could have had. It sounded when the romantic symphonies of Mendelssohn, Berlioz, Liszt had already been written.
Music
First part. Somewhere from the depths, in unison of cellos and double basses, a wary opening theme, which plays the role of a kind of leitmotif of the symphony. She freezes like an unresolved issue. And then - a quivering rustle at the violins and against its background - the chant of the main theme. The melody is simple and expressive, as if praying for something, intoned by oboe and clarinet. An agitated, quivering background and outwardly calm, but filled with internal tension cantilena create the brightest expressive, typically romantic image. Gradually, the tape of the melody unfolds. The music becomes more and more tense, reaching fortissimo. Without a binder, obligatory for the Viennese classics, separated only by a laconic transition (stretching sound of horns) from the main part, a side part begins. A soft waltz melody is sung by the cellos at ease. There is an island of serene peace, a bright idyll. Measured swaying, as if lulling, accompaniment. This theme acquires an even brighter character when it is picked up and transferred to a higher register of the violin. Suddenly, the free, unconstrained chant-dance breaks off. After complete silence (general pause) - an explosion of orchestral tutti. Another pause - and another burst of thunder tremolo. The idyll is interrupted, the drama comes into its own. Crushing chords rise violently, fragments of the accompaniment of a secondary theme answer with plaintive groans. She seems to be trying to break through to the surface, but when she finally returns, her appearance has changed: she is broken, painted with sorrow. At the end of the exposure, everything freezes. Returns, like inevitable fate, the mysterious and ominous motive of the entry. The development is built on the opening motive and intonations of the accompaniment of the side part. Drama intensifies, developing into tragic pathos. Musical development reaches a colossal climax. Suddenly there is complete prostration. Exhausted fragments of motives dissipate, only a lonely dreary note remains. And again, the introductory theme creeps in from the depths. The reprise begins. The coda, in the tradition of Beethoven, was created as a second development. It contains the same painful tension, the pathos of despair. But the fight is over, there is no more strength. The last bars sound like a tragic epilogue.
The second part of the symphony is a world of other images. Here - reconciliation, the search for other, brighter sides of life, contemplation. As if the hero, who has experienced a spiritual tragedy, is looking for oblivion. Bass steps (double bass pizzicato) sound measuredly, they are superimposed by a simple, but surprisingly beautiful violin melody, dreamy and sincere. Repeatedly repeated, it varies, overgrown with expressive chants. Short-term dynamic rise of tutti - and again a calm movement. After a short connection, a new image appears: the melody is naive and, at the same time, deep, more individual than the first theme, sad, in warm, reminiscent of a human voice, the timbres of the clarinet and the oboe replacing it, filled with lively trepidation. This is a side part of the laconic sonata form. It also varies, acquiring at times an agitated character. Suddenly there is a turning point in its smooth flow - it sounds dramatic in a powerful presentation of the entire orchestra. But a short burst is replaced by an expressive, imitation-rich development: this is a brief development, ending with long chords of strings, the mysterious calls of horns and individual woods. Subtle orchestral sound recording leads to a reprise. In the code, there is a gradual fading, dissolution of the initial theme. Silence returns...
L. Mikheeva
Symphony Nr. 8 h minor (Unvollendete), D. 759
I. Allegro moderato
II. Andante con moto
Herbert von Karajan
and the Berlin Philharmonic OrchestraGunther Wand
Karl Böhm and the Berlin Philharmonic Orchestra
Lesson outline
on the subject " Musical literature»
Grade 3 (5-year course of study) DPOP
teacher Beloborodova Victoria Viktorovna
MUDO "Ust-Orda Children's Art School"
Topic: "Unfinished" symphony by F. Schubert
Target: introduce students to the symphony in B minor "Unfinished" by F. Schubert
Tasks: 1. Educational:
Survey homework, a quiz on piano compositions by F. Schubert.
Symphony in B minor "Unfinished" - year of publication, its first performance, form, thematics of the symphony. ParsingIAndIIparts of the symphony: rhythm, character, tonality, instruments, which are performed by the main themes.
Define a symphony.
Listening to the main themes of the Symphony in B minor:Ih. - introduction, g.p., p.p.,IIh. - 2 topics.
2. Educational: evoke a sense of emotional responsiveness in students to musical images in F. Schubert's "Unfinished" symphony.
3. Educational : hearing, rhythm, memory, thinking, speech.
Methods : verbal, visual, retrospectives, perspectives, comparisons, musical generalizations.
Equipment : a laptop.
Use of ICT : Kushnir M.B. Audio guide for educational institutions. Music of foreign countries. - M .: Musical Publishing House LANDGRAF, 2007.
Using the ESM: http:// www. classic- music. en
http:// www. audiopoisk. com/ track/ franc-6 ...
Resource name : Thematic selection of material
List of methodological and used literature
1. Dmitrieva L.V., Lazareva I.A., Kazantseva I.V. The program of the subject PO.02.UP.03. "Musical Literature" of the additional pre-professional general educational program in the field of musical art "Folk Instruments" for students in grades 1-5. – Implementation period – 5 years. - Ust-Ordynsky, 2015.
2. Shornikova M. Musical Literature: The Development of Western European Music. Second year of study. Ed. 2nd, add. and reworked. - Rostov n / a: Phoenix, 2005.
4.I. Prokhorov. Musical literature of foreign countries for the 5th grade of children's musical school. - M .: "Music", 1990.
5. Yu. Buluchevsky, V. Fomin. A short musical dictionary for students. – 10th ed. - L .: "Music", 1990.
Visual aids
Portrait of the composer Franz Schubert. Note examples of the main themes. Pictures from musical instruments: strings, woodwinds.
During the classes
1. Homework survey on the topic: Piano works by F. Schubert, quiz (Waltz in B minor, “Military March”, “Musical Moment” in F minor, Impromptu in E flat major).
2. F. Schubert "Unfinished Symphony" in B minor.
C symphony in Greek means consonance. This is a work for orchestra, written in the form of a sonata cycle.
Symphony in B minor was written by Schubert in 1822, at the peak of his talent. This is the eighth symphony (in total, Schubert wrote 9 symphonies, one of them is lost). She received the name "Unfinished", because. has only two parts. In contrast to Beethoven's Heroic Symphony No. 5, this work is lyrical. All the themes of Schubert's symphony have a song character, which was influenced by his own vocal work.
The symphony was first performed in December 1865, 43 years after its creation. At the time when Schubert wrote this symphony, he was already known as the author of beautiful songs and piano pieces. But none of the symphonies he wrote was publicly performed. The Symphony in B minor was first created as an arrangement for two pianos, and then as a score.
In the piano version, sketches of three movements have been preserved, but the composer recorded only two in the score. Therefore, later it was called "Unfinished".
The "unfinished" symphony opened the way for romanticism. A new theme has entered symphonic music - the inner world of a person who feels his discord with the environment.
First part written in sonata formallegro, tempo -Allegromoderato.
The main party is precededintroduction, full of hidden, hidden anxiety. The theme of the entry has a song-declamation character. It sounds muffled and mysterious on cellos and double basses in a low register.(hearing ):
Haydn's symphony "With tremolo timpani" also had an introduction. With its slow introduction and somewhat mysterious sound, it set off the cheerful musicallegro. Here the introduction has a different meaning - this is the beginning of the story.
Main party sounds at the same moderately fast pace. Oboes and clarinets "sing" a gentle, lyrical, sad and thoughtful melody(hearing):
The restless accompaniment of the string instruments preserves the sense of anxiety expressed at the beginning of the symphony. As in Schubert's songs, the accompaniment, the background, “gets ahead” of the main melody, anticipates its mood.
Side party also song. This second song is "sung" by the cellos with their thick soft timbre. The lively rhythm of the melody, syncopated accompaniment give the side part a dance character. The theme sounds in G major (tonalityVIsteps to B minor). Due to the lack of transition, there is a direct, colorful juxtaposition of keys.(hearing):
The development is built on the theme of the introduction. Frequent accents, abrupt changes in sound strength, restlessly pulsating background create sharpness, impetuousness and tremendous tension in the sound. Musical development reaches a colossal climax. At the climax, the sonority of the orchestra is enhanced by the introduction of trombones.
Reprise is coming. In the same order as in the exposition, the main and secondary themes sound. Everything experienced is hidden from the human eye, goes deeper. And only the conclusion of the first part, where the theme of the introduction reappears, is reminiscent of the anxiety and confusion of feelings that so violently erupted in the development.
The second part – Andanteconmoto(slowly, with movement), a world of other images. It is based on 2 themes. Both are lyrical. The lyrics here are especially sincere, sublime. This is a search for new, bright sides of life, reconciliation with it. As if the hero, who has experienced a spiritual tragedy, is looking for peace. In contrast to the first part, the second part as a whole has a light character. The minor of the second theme passes without a trace. But there are also common features. Both topicsAndantesong. And the syncopated rhythm of the danceable second theme brings it closer to the side part of the first movement.(hearing) .
The composer completes the symphony very effectively: the initial theme gradually fades out and dissolves. Silence returns...
There is a sketch of the third movement of the symphony in B minor - resolute, strong-willed. Schubert completed only two parts of the symphony. Obviously, her intention did not require the traditional four-movement cycle.
The “unfinished” symphony is song-based in terms of theme, it is distinguished by colorful harmonies, other than those of the Viennese classics, the methods of thematic development. It highlights the symphony and the texture of the presentation, reminiscent of a song with accompaniment. Hence the peculiar sound of the orchestra, when solo voices get the role of "singing" voices. All this opened up new avenues for the development of the romantic symphony genre by other composers.
For many years the symphony was kept by Schubert's friend A. Huttenbrenner. It was only in 1865 that it was first performed by conductor Johann Herbeck. Since then, Schubert's "Unfinished Symphony" has invariably graced concert programs.
D/Z
1. Compose 7 questions in writing based on Schubert's symphony in B minor.
2. Prepare for the quiz and written survey on the symphony.
The manuscript was preserved by Schubert's friend Anselm Hüttenbrenner, from whom it was discovered by the Viennese conductor Johann Herbeck, who first performed the symphony in a concert of the Viennese Society of Music Lovers on December 17, 1865. (The first two movements completed by Schubert were played, and instead of the missing 3rd and 4th movements, the final movement from Schubert's early Third Symphony in D major DV 200 was performed.)
Even in the 19th century, attempts were made to complete the "Unfinished" symphony by other composers. Currently, there are several options for completing the "Unfinished" symphony - in particular, options for the English musicologist Brian Newbauld (eng. Brian Newbould) and Russian composer Anton Safronov. Boris Tishchenko's Eighth Symphony (2008) was conceived as a continuation of Schubert's symphony, which was first performed on December 20, 2008 in one concert with the work of the Austrian composer. “Boris Tishchenko is far from simple stylization - he develops the harmonic and rhythmic ideas laid down in the “Unfinished” symphony, using modern means musical expressiveness, ”says the music critic.
Brief analysis of the parts
I part
It begins with a concentrated bass theme, creating an image of painful reflection, sad immutability. This is a kind of epigraph. It plays an important role in the development of parts. Then, against the background of the tremulous, as if somehow constrained movement of the violins, the oboe and clarinet sing a thoughtfully sad melody. She is being replaced by another - waltz, youthfully impetuous, light and affectionate. Both themes are songs. But already in the first, disturbing accents appear, and the development of the second is interrupted by sharp intrusions of tragic chords, harbingers of drama. In the development, the stormy excitement intensifies, sharpens the contrasts, finally gets an outlet in the restless "run" of violin passages, in the formidable, as the dictates of fate, sound of the theme - the epigraph. The theme returning in the reprise does not bring calm, and therefore, at the end, again, like an unresolved question, the epigraph theme appears.
II part
Music plunges into the atmosphere of a deep poetic lyrical expression. Singing themes replace each other, varying the shades of a dreamy state - sometimes bright, sometimes a little sad. Only occasionally it is disturbed by short-term, but intense ups and downs - echoes of the recent drama.
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Notes
- Khokhlov Yu. N. Schubert F. P. // Musical encyclopedia / ed. Yu. V. Keldysha
- Konigsberg A. K., Mikheeva L. V. 111 symphonies. - St. Petersburg: "Kult-inform-press", 2000. - S. 153.
- Pavlov G. N. Herbek I. F. // Musical encyclopedia / ed. Yu. V. Keldysh. - M .: Soviet encyclopedia, Soviet composer, 1982. - T. 6.
- Aleksaeeva L. N., Grigoriev V. Yu. Pages of foreign music of the 19th century. - M .: Knowledge, 1983. - S. 11.
- Steinpress B.S. Symphony // Musical encyclopedia / ed. Yu. V. Keldysh. - M .: Soviet encyclopedia, Soviet composer, 1981. - T. 5.
Excerpt characterizing Symphony No. 8 (Schubert)
“Yes,” answered Sonya. - And you?In the middle of the road, Nikolai let the coachman hold the horses, ran up to Natasha's sleigh for a minute and stood to the side.
“Natasha,” he said to her in a whisper in French, “you know, I made up my mind about Sonya.
- Did you tell her? Natasha asked, all of a sudden beaming with joy.
- Oh, how strange you are with those mustaches and eyebrows, Natasha! Are you happy?
- I'm so glad, so glad! I've been angry with you. I didn't tell you, but you did bad things to her. It's such a heart, Nicolas. I am so glad! I can be ugly, but I was ashamed to be alone happy without Sonya, Natasha continued. - Now I'm so glad, well, run to her.
- No, wait, oh, how funny you are! - said Nikolai, peering at her all the time, and in his sister he also found something new, unusual and charmingly tender, which he had not seen in her before. - Natasha, something magical. BUT?
“Yes,” she answered, “you did well.
“If I had seen her the way she is now,” Nikolai thought, “I would have asked a long time ago what to do and would have done whatever she ordered, and everything would have been fine.”
“So you’re happy, and I did well?”
– Oh, so good! I recently got into a fight with my mom about this. Mom said she's catching you. How can this be said? I almost got into a fight with my mom. And I will never allow anyone to say or think anything bad about her, because there is only good in her.
- So good? - said Nikolai, once again looking out for the expression on his sister's face to find out if this was true, and, hiding with his boots, he jumped off the allotment and ran to his sleigh. The same happy, smiling Circassian, with a mustache and sparkling eyes, looking out from under a sable bonnet, was sitting there, and this Circassian was Sonya, and this Sonya was probably his future, happy and loving wife.
Arriving home and telling their mother about how they spent time with the Melyukovs, the young ladies went to their place. Having undressed, but not erasing the cork mustache, they sat for a long time, talking about their happiness. They talked about how they would live married, how their husbands would be friendly and how happy they would be.
On Natasha's table there were mirrors prepared by Dunyasha since the evening. – When will all this be? I'm afraid never... That would be too good! - said Natasha, getting up and going to the mirrors.
“Sit down, Natasha, maybe you will see him,” said Sonya. Natasha lit the candles and sat down. “I see someone with a mustache,” said Natasha, who saw her own face.
“Don’t laugh, young lady,” said Dunyasha.
With the help of Sonya and the maid, Natasha found a position for the mirror; her face took on a serious expression, and she fell silent. For a long time she sat, looking at the row of departing candles in the mirrors, assuming (considering the stories she had heard) that she would see the coffin, that she would see him, Prince Andrei, in this last, merging, vague square. But no matter how ready she was to take the slightest spot for the image of a person or a coffin, she did not see anything. She blinked rapidly and moved away from the mirror.
“Why do others see, but I don’t see anything?” - she said. - Well, sit down, Sonya; now you definitely need it, ”she said. - Only for me ... I'm so scared today!
Sonya sat down at the mirror, arranged the situation, and began to look.
“They will certainly see Sofya Alexandrovna,” Dunyasha said in a whisper; - and you're laughing.
Sonya heard these words, and heard Natasha say in a whisper:
“And I know what she will see; she saw last year.
For three minutes everyone was silent. "Definitely!" Natasha whispered and did not finish ... Suddenly Sonya pushed aside the mirror that she was holding and covered her eyes with her hand.
- Oh, Natasha! - she said.
- Did you see it? Did you see? What did you see? cried Natasha, holding up the mirror.
Sonya didn’t see anything, she just wanted to blink her eyes and get up when she heard Natasha’s voice saying “by all means” ... She didn’t want to deceive either Dunyasha or Natasha, and it was hard to sit. She herself did not know how and why a cry escaped her when she covered her eyes with her hand.
- Did you see him? Natasha asked, grabbing her hand.
- Yes. Wait ... I ... saw him, ”Sonya said involuntarily, still not knowing who Natasha meant by his word: him - Nikolai or him - Andrei.
“But why shouldn’t I tell you what I saw? Because others see it! And who can convict me of what I saw or did not see? flashed through Sonya's head.
“Yes, I saw him,” she said.
- How? How? Is it worth it or is it lying?
- No, I saw ... That was nothing, suddenly I see that he is lying.
- Andrey lies? He is sick? - Natasha asked with frightened fixed eyes looking at her friend.
- No, on the contrary - on the contrary, a cheerful face, and he turned to me - and at the moment she spoke, it seemed to her that she saw what she was saying.
- Well, then, Sonya? ...
- Here I did not consider something blue and red ...
– Sonya! when will he return? When I see him! My God, how I’m afraid for him and for myself, and I’m scared for everything ... - Natasha spoke, and without answering a word to Sonya’s consolations, she lay down in bed and long after the candle was put out, with her eyes open, lay motionless on bed and looked at the frosty, moonlight through the frozen windows.
Soon after Christmas, Nikolai announced to his mother his love for Sonya and his firm decision to marry her. The countess, who had long noticed what was happening between Sonya and Nikolai, and was expecting this explanation, silently listened to his words and told her son that he could marry whomever he wanted; but that neither she nor his father would give him blessings for such a marriage. For the first time, Nikolai felt that his mother was unhappy with him, that despite all her love for him, she would not give in to him. She, coldly and without looking at her son, sent for her husband; and when he arrived, the countess wanted to briefly and coldly tell him what was the matter in the presence of Nikolai, but she could not stand it: she burst into tears of annoyance and left the room. The old count began to hesitantly admonish Nicholas and ask him to abandon his intention. Nikolai replied that he could not change his word, and his father, sighing and obviously embarrassed, very soon interrupted his speech and went to the countess. In all clashes with his son, the count did not leave the consciousness of his guilt before him for the disorder of affairs, and therefore he could not be angry with his son for refusing to marry a rich bride and for choosing Sonya without a dowry - he only on this occasion more vividly recalled that, if things had not been upset, it would be impossible for Nicholas to wish for a better wife than Sonya; and that only he, with his Mitenka and his irresistible habits, is to blame for the disorder of affairs.
How to tell 11-14 year old students about romanticism in music? I invite students to recreate a romantic picture of the world through the analysis of each musical thought on the example of the "Unfinished Symphony". The first such lesson was held at the Russian Children's Art School in Pevek in May 2002. I believe that this idea will also be of interest to teachers of a general education school. The lesson can be adapted by simplifying the text and getting rid of excessive musicological terminology.
IS SCHUBERT'S UNFINISHED SYMPHONY UNFINISHED?
Epigraph: "Romanticism is the soul"
V. Zhukovsky.
LESSON OBJECTIVES:
1. Introduce the romantic image of the world, trace the features of a romantic hero in music, answer the question posed in the topic.
2. Develop the skills of analyzing a musical work, continue to enrich the "musical speech".
3. Arouse interest in the work of romantic composers. Develop research skills.
FORMING THE LESSON.
Portraits of Romantic composers.
Exhibition of books about the life and work of Schubert.
Exhibition of musical editions of his works.
Symphony in B minor by Schubert on record,
Notebooks.
ON THE BOARD there is a table covered with a curtain. The columns of the table are opened in turn, after the characteristics of each topic by the students.
|
First part |
The second part |
|||
|
Intro Theme |
Main party |
Side party |
First theme |
Second theme |
gloomy |
sincere |
contemplative |
sad |
|
Hidden |
elegiac |
sedative |
||
Anxious |
friendly |
Sublime |
Enlightened |
|
soulful |
sad |
Mysterious coloring |
||
lyrical |
lyrical |
lyrical |
lyrical |
|
thoughtful |
"Sad Detachment" |
dreamy |
||
song |
song |
Song and dance |
"Light breath of nature |
|
"World of Poetic Dreams" |
||||
In the table, expressive phrases are highlighted in type: "light breath of nature", "world of poetic dreams", "mysterious color".
Below are the concepts, terms on which attention should be paid: recitation, colorful juxtaposition of keys, tertian tonal combinations, a contemplative, “eternal” question, a romantic image of the world, a romantic hero. The topic of the lesson and the epigraph are written on the top of the board. In the course of the lesson, I turn to these notes, some of which the students transfer to notebooks. The lesson is conducted in the form of a casual conversation.
LESSON PLAN
- Introduction by the teacher.
Repetition of the theme of "Songs" by Schubert. (The repetition of the theme of the last lesson in the development is omitted, only conclusions are used: the features of the protagonist of vocal creativity). The history of the creation of the work.
- Listening to fragments of the symphony: the main themes of the first movement, the 1st and 2nd themes of the second movement.
- Playing the themes of the symphony on the piano with an oral analysis of content and form, leading to the conclusion that Schubert embodied in his work the image of a romantic personality.
- The interpretation of the theme of the introduction as the main philosophical question is very important: to be or not to be; what is the meaning of being? The question that needs to be answered, explaining the development of the figurative sphere in this direction.
- Romantic image of the world in Schubert's music. (In the previous lesson, the features of a romantic personality in Schubert's song works were analyzed and written on the board.)
- Whether the Schubert symphony is an unfinished work is a question that we will answer at the end of the lesson.
LESSON SUMMARY
Introduction.
Teacher: In the last lesson, analyzing Schubert's vocal work, we came to the conclusion that the lyrical hero of his songs has the following features:
- A simple, modest, noble man, as the composer himself was. Deeply and subtly feeling the world around.
- He is unhappy and lonely. Nature is his only friend.
- He loves nature and admires its beauty.
Today you will get acquainted with the Symphony in B minor by Franz Schubert. You already know that Schubert was one of the first Romantic composers. Together we will look for the answer to the question: "What is typical for the romantic hero of this work?". This will help you understand the concept of "musical romanticism" more deeply.
The symphony in B minor was written in 1822. It was called "Unfinished", as it has only two parts, instead of the traditional four. Recognized by all as a true masterpiece of Schubert.
Questions: Let's remember what a sonata-symphonic cycle is? How many parts are in a symphony? In what form is the 1st part written? Tonal ratio of topics? Briefly describe the parts of the classical sonata cycle. (You can skip these questions and go straight to listening and analysis).
Listening to the themes of the first part.
Introduction theme, main part, side part in the exposition, development, end of the 1st part.
Teacher: What can you say about the topic of the introduction?
Student: The image of the introduction is gloomy, secret, disturbing, it sounds in the cellos and double basses in the lower register, in the key of B minor, has a songlike character.
Teacher: Does her final melodic turn reproduce an interrogative, exclamatory, narrative intonation?
Student: Interrogative (stopping on the dominant sounds unstable, unfinished). Haydn's symphony also had an introduction...
Teacher: But it played a different role. It set off the music of the cheerful ALLEGRO. And here? The theme of the introduction is the main idea of the work, it runs through the entire first part (before the development and code, the development of the code of the 1st part is deployed on the material of the introduction). I. Frumkin speaks about it like this: "There is something painful and irresistible, like a haunting thought, like a bad premonition." Is it possible to substantiate the interrogative intonation of the introduction? Probably, this can be interpreted as the main question of being: to be or not to be, what is the meaning of life? I wonder what answer music will give us? Let's move on to the main topics.
Student: The main part is played by the oboe with the clarinet. Sincere, tender, lyrical, song. Key in B minor. The side part is light, joyful, song and dance. The tonality of G major is the tonality of the 5th degree.
Teacher: A colorful juxtaposition of tonalities typical of romantics. Both topics are compared, but do not collide. What is development in development based on?
Student: The development is based on the topic of the introduction. Sounds powerful, tense, dramatic.
Teacher: Sharp changes in the strength of the sound, a pulsating background, trombones enter at the crest of the culmination. In the code, the intro theme is again insistent, so it has the last word. Let's recap. Is there an answer to the question posed in the introduction? Is there a way out of the created psychological (dramatic) situation?
Student: No answer.
Teacher: Perhaps it will be in the future.
The music of the second part sounds.
Student: It is based on two themes. The 1st theme is sad, unhurried, lyrical, in the key of E major. “The light breath of nature” - this is how V. Galatskaya (musicologist) described this topic. 2nd theme - quiet, dreamy, lyrical (C sharp minor). She (like the first) song.
Teacher: After the unrest experienced, rest is required. According to V. Bryantseva, "the second part, as it were, takes you to the world of poetic dreams, bewitching magical dreams." Did Schubert embody the features of a romantic personality in the symphony? Which?
Student: The lyrical hero is a subtle, deeply feeling personality ...
Teacher: which collides with the material world. What way out of this situation did the lyrical hero of Schubert find?
Disciple: In nature and dreams, he finds refuge from the world of evil and misfortune.
Teacher: Do you agree with the actions and thoughts of the romantic hero?
Student: Not always.
Teacher: Is there an answer to the question posed at the beginning of the lesson in the 2nd part?
Student: Yes. The lyrical hero of the symphony found his ideal in nature...
Teacher: that is, in the spiritual world. Based on our joint research, I will allow myself to draw a conclusion about the romantic image of the world. The main idea of art, including romantic art, is man and the world, their relationship. In the image of a romantic hero, a person of simple origin appears, deeply feeling life, striving to convey the fullness of the inner life of his personality, down to the most subtle, elusive experiences. It is not accidental that a “sounding biography” appeared in various versions, a kind of symphonic, vocal-song or piano diary. The world seems to romantics to be dual: material, at the same time, spiritualized. Material existence is a source of evil and misfortune, therefore a romantic person rushes into the spiritual world. There is a contradiction between ideal and reality. The main theme of Romanticism is the romantic hero and his conflict with the environment. Nature has become a refuge from the troubles of civilization, healing the restless soul of man. In connection with the above, can the symphony be considered unfinished?
Student: (They usually give opposite answers, that is, both yes and no). What do you think?
Teacher: In my opinion, the romantic picture of the world is reflected quite fully in it. Sketches of part 3 have been preserved, but for some reason the author did not publish them. Maybe that's how he conceived his work, considering it self-sufficient? Schubert did not leave us an exact answer. And our study only confirms the idea of a plurality of meanings and interpretations.
BIBLIOGRAPHY:
- Prokhorova I. Musical literature of foreign countries.
- Bryantseva V.N. Musical literature of foreign countries.
- Popova T.V., Skudina G.S. Foreign music of the 90th century.
- Galatskaya V. Musical literature of foreign countries.
