Names of children's songs in rondo form. Musical Form: Rondo - Music Lesson Materials

Musical greeting:

W.: Hello guys.

D: Hello.

W.D.: The bell rang and class began.

W.: Hello guys. My name is Maria Andreevna, and I will teach you music lessons. Have a seat.

U .: The topic of our lesson is “Rondo”,and what it is we will find out by reading the tale of the fisherman and the fish. The fairy tale will tell us that in life there are many repetitions and different events, which will be displayed in the sounds of beautiful notes. Watch how the story unfolds on the screen. According to the same chain as in a fairy tale, musical works written in the form of a rondo are built.

W.: Look, in such works there is a refrain - this is the main theme, it is repeated several times in the work and episodes - each time there are new events, new music.

Rondo is French for circle. Indeed, the music really goes around in circles, each time returning to the refrain - the main theme.

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

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

W.: Listen to the work and tell me how the music sounds, in what mood?

Hearing "Rage over a lost penny."

W.: So how did the music sound?

D: Children's answers

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

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

Listening to the rondo-capriccio, we observe how his hero, in a fit of anger, under the influence of uncontrollable emotions, loses the appearance of a reasonable, balanced person. And although this is only a musical joke, it leads to the conclusion that it is necessary to maintain a human appearance in any situation. "Learn to control yourself."

W.: To the next lessonremember fairy tales written in rondo form.

And now we move on to the next piece. This is the choir “Get up, Russian people” from the cantata “Alexander Nevsky”, composer S.S. Prokofiev.

W.: Listen, and answer the question: is it possible to say that the choir is written in the form of a rondo?

Listening to the chorus "Get up, Russian people" from the cantata "Alexander Nevsky" - S.S. Prokofiev

W.: Is the work written in rondo form or not?

D.: Yes

W.: Why do you think so?

D.: Each time after a new verse, the lyrics returned to the first verse.

W.: Right. Now let's listen again, and you sing the refrain, that is, in our case, the first verse along with the choir.

Repeated listening + singingchorus "Get up, Russian people" from the cantata "Alexander Nevsky" - S.S. Prokofiev

W.: Okay, well done. People stood up for a mortal battle for their native land, for their native land.

Now we will perform the song Native Land. Listen to how it sounds.

Show of the song "Native land"

W.: Read the words on the screen all together. Now let's sing along with me.

Singing "Native land"

WCR:

Task	Methods, techniques
Pitch	Graphic display
Diction	Speaking in rhythm, reading out of rhythm

W.: Okay, sit down. So, what musical form did you learn about today?

D.: Rondo

W.: What is the name of the main theme?

D.: Refrain

W: What about the side effects?

D: Episodes.

W.: Well done. Thanks for the lesson, bye.

ital. rondo, French rondeau, from rond - circle

One of the most widespread musical forms that has passed a long way of historical development. It is based on the principle of alternating the main, unchanging theme - the refrain and constantly updated episodes. The term "refrain" is equivalent to the term chorus. A song of the chorus-chorus type, in the text of which a constantly updated chorus is compared with a stable chorus, is one of the sources of the R form. This general scheme is implemented differently in each era.

In the old, belonging to the preclassic. In the era of R. samples, episodes, as a rule, did not represent new topics, but were based on music. refrain material. Therefore, R. was then one-dark. In decomp. styles and national cultures had their own norms of comparison and interconnection otd. parts R.

Franz. harpsichordists (F. Couperin, J. F. Rameau, and others) wrote small pieces in the form of R. with program headings (Cuckoo by Daquin, Reapers by Couperin). The theme of the refrain, stated at the beginning, was reproduced in them further in the same key and without any changes. The episodes that sounded between its performances were called "verses". Their number was very different - from two ("Grape Pickers" Couperin) to nine ("Passacaglia" by the same author). In form, the refrain was a square period of repeated structure (sometimes repeated in its entirety after the first performance). The couplets were stated in the keys of the first degree of kinship (the latter sometimes in the main key) and had a middle developmental character. Sometimes they also included refrain themes in a non-main key ("Cuckoo" by Daken). In some cases, new motifs arose in couplets, which, however, did not form independent ones. those ("Beloved" Couperin). The size of couplets could be unstable. In many cases, it gradually increased, which was combined with the development of one of the expressions. means, most often rhythm. Thus, the inviolability, stability, stability of the music presented in the refrain was set off by the mobility, instability of couplets.

Close to this interpretation of the form are a few. rondo J.S. Bach (for example, in the 2nd suite for orchestra).

In some samples R. ital. composers, for example. G. Sammartini, the refrain was performed in different keys. The rondos of F. E. Bach adjoined the same type. The appearance of distant tonalities, and sometimes even new themes, was sometimes combined in them with the appearance of a figurative contrast even during the development of the main. themes; thanks to this, R. went beyond the ancient standard norms of this form.

In the works of the Viennese classics (J. Haydn, W. A. ​​Mozart, L. Beethoven), R., like other forms based on homophonic harmonic. music thinking, acquires the most clear, strictly ordered character. R. they have a typical form of the finale of the sonata-symphony. cycle and outside of it as independent. the piece is much rarer (W. A. ​​Mozart, Rondo a-moll for piano, K.-V. 511). The general character of R.'s music was determined by the laws of the cycle, the finale of which was written at a lively pace in that era and was associated with the music of the Nar. song and dance character. This affects the thematic R. Viennese classics and at the same time. defines significant compositional innovation - thematic. the contrast between the refrain and episodes, the number of which becomes minimal (two, rarely three). The decrease in the number of parts of the river is compensated by an increase in their length and greater internal space. development. For the refrain, a simple 2- or 3-part form becomes typical. When repeated, the refrain is carried out in the same key, but is often subject to variation; at the same time, its form can also be reduced to a period.

New patterns are also established in the construction and placement of episodes. The degree of contrasting episodes to the refrain increases. The first episode, gravitating towards the dominant tonality, is close to the middle of the simple form in terms of the degree of contrast, although in many cases it is written in a clear form - period, simple 2- or 3-part. The second episode, gravitating towards the eponymous or subdominant tonality, is close in contrast to a trio of a complex 3-part form with its clear compositional structure. Between the refrain and episodes, as a rule, there are connecting constructions, the purpose of which is to ensure the continuity of the muses. development. Only in some transitional moments, ligaments may be absent - most often before the second episode. This emphasizes the strength of the resulting contrast and is in line with the compositional trend, according to which a new contrast material is introduced directly. comparisons, and the return to the initial material is carried out in the process of a smooth transition. Therefore, links between the episode and the refrain are almost obligatory.

In connecting constructions, as a rule, thematic is used. refrain or episode material. In many cases, especially before the return of the refrain, the link ends with a dominant predicate, creating a feeling of intense expectation. Due to this, the appearance of a refrain is perceived as a necessity, which contributes to the plasticity and organicity of the form as a whole, its circular movement. The r. is usually crowned with an extended coda. Its importance is due to two reasons. The first is related to internal the development of R. himself - two contrasting comparisons require generalization. Therefore, in the final section, it is possible, as it were, to move by inertia, which boils down to the alternation of a code refrain and a code episode. One of the signs of the code is in R. - the so-called. "farewell roll calls" - intonation dialogues of two extreme registers. The second reason is that R. is the final of the cycle, and R.'s code completes the development of the entire cycle.

R. of the post-Beethoven period is characterized by new features. Still used as a form of the finale of the sonata cycle, R. is more often used as an independent form. plays. In the work of R. Schumann, a special version of the multi-dark R. appears ("kaleidoscopic R." - according to G. L. Catuar), in which the role of ligaments is significantly reduced - they may be absent altogether. In this case (for example, in the 1st part of the Vienna Carnival), the form of the play approaches the suite of miniatures beloved by Schumann, sealed by the performance of the first of them. Schumann and other masters of the 19th century. R.'s compositional and tonal plans become freer. The refrain can also be performed not in the main key; one of his performances happens to be released, in which case the two episodes immediately follow each other; the number of episodes is not limited; there can be a lot of them.

R.'s form also penetrates the wok. genres - opera aria (Farlaf's rondo from the opera "Ruslan and Lyudmila"), romance ("The Sleeping Princess" by Borodin). Quite often entire operatic scenes also represent a rondo-shaped composition (the beginning of the 4th scene of the opera "Sadko" by Rimsky-Korsakov). In the 20th century a rondo-shaped structure is also found in otd. episodes of ballet music (for example, in the 4th scene of Stravinsky's Petrushka).

The principle underlying R. can receive a freer and more flexible refraction in many ways. rondo-shaped. Among them is a double 3-part form. It is a development in breadth of a simple 3-part form with a developing or thematically contrasting middle. Its essence lies in the fact that after the completion of the reprise, there is another - the second - the middle and then the second reprise. The material of the second middle is one or another variant of the first, which is either performed in a different key, or with some other creature. change. In the developing middle, in its second implementation, new motive-thematic approaches may also arise. education. When contrasting - creatures are possible. thematic transformation (F. Chopin, Nocturne Des-dur, op. 27 No 2). The form as a whole can be subject to a single end-to-end variational-dynamizing principle of development, due to which both reprises of the main. themes are also subject to significant changes. A similar introduction of the third middle and the third reprise creates a triple 3-part form. These rondo-shaped forms were widely used by F. Liszt in his fi. plays (an example of a double 3-part - Petrarch's Sonnet No. 123, a triple - "Campanella"). The forms with a refrain also belong to the rondo-shaped forms. Unlike the normative r., the refrain and its repetitions make up even sections in them, in connection with which they are called "even rondos". Their scheme is a b with b a b, where b is a refrain. This is how a simple 3-part form with a chorus is built (F. Chopin, Seventh Waltz), a complex 3-part form with a refrain (W. A. ​​Mozart, Rondo alla turca from sonata for piano A-dur, K.-V. 331) . This kind of chorus can occur in any other form.

V. P. Bobrovsky

Introduction

1) Purpose of the study- determination of the form of the III part of the sonata A-DurВ.А. Mozart.

Task– Logically analyze the work, study and determine the form of the work.

Research method - work with musical text, study of theoretical scientific literature.

Definition and characterization of form

The basic principle of the rondo. The name "rondo" (circle) is given to the forms where repeated performances of the main theme alternate with episodes. Unlike the two-part, three-part, three-five-part forms, for the rondo the defining feature is neither the total number of parts, nor their internal structure. This sign lies in the arrangement of parts, their specific order. The principle of rondo can be most briefly characterized as follows: the alternation of the different with the unchanging. From this it follows that the parts lying between the passages of the theme must be different every time. It also follows from this that the rondo in its normative form contains a double contrast:

theme and episode

episodes to each other.

The concepts of different and unchanging should be interpreted flexibly, depending on the general nature of the works, on the features of style. What in some cases should be regarded as "different", in other cases functions as essentially unchanged, but subjected to more or less modification.

Like other reprise forms, the rondo is created by the interaction of two principles of shaping - repetition and contrast. But, unlike these forms, both principles operate here repeatedly. Therefore, from the point of view of general principles, rondo should be defined as a series of contrasts, each time closed by repetition, or, conversely, as a repeated restoration of a disturbed balance. It is from here that the opportunity arises to define the rondo as a form where the main theme passes at least three times.

The meaning of the form, embedded in its basic principle, is twofold. It consists, on the one hand, in the insistent affirmation of the main idea - "refrain", and on the other hand, in the consistent introduction of diversity. The variability of the secondary parts sets off the persistence of the main theme; at the same time, the succession of episodes makes a particularly favorable impression against the background of repetitions of the same theme. The form, therefore, is artistically two-faced, and its special aesthetic value lies in the fusion of opposite, but complementary qualities.

The duality of the rondo form can also be described from a procedural point of view: two forces act in the rondo, one of which seeks to move us away from the center in any, non-coinciding directions; another force seeks to bring us back to the unchanging center. Thus, there is a struggle between centrifugal tendencies and centripetal ones, with the successive triumph of one or the other.

Refrain rondo. The refrain deserves special attention. Introducing unity into the form, the refrain, according to Asafiev, is a “mnemonic milestone”, orienting the listener among the diversity. This definition emphasizes not only the constructive, but also the communicative role of the refrain. In the same place, the author points to the opposite functions contained in the refrain - the principle of identity plays not only a unifying, but also a guiding role. "He is both a stimulus and a brake, and a starting point, and a goal of movement." The above formulation is one of the clear manifestations of the dialectical regularity established by Asafiev - the mutual transformations of the initial impulse and closure. Developing this idea, one should note the unique polyfunctionalism inherent in the main theme of the rondo: the refrain is an exceptional case where the musical thought is alternately endowed with initial, intermediate, and final functions. Such a plurality of positions and roles should be reflected in the composition of the refrain. So, he should have the features of "initiativity" (definiteness of the introduction, clearly defined intonations ) and at the same time - completeness (good cadence ending, general predominance of stability, metrical completeness). However, neither should be overemphasized. Otherwise, the refrain will be “one-sided”, which will make it difficult either for the episode to appear or for subsequent introductions of refrains. Polyfunctionalism can be taken into account by the composer either to a lesser or greater extent.

The evolution of the Rondo shape

There are three periods of development of Rondo:

Antique (couplet) rondo;

Classic era rondo:

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

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

Postclassical rondo.

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

1. Figurative-thematic correlation of refrain and episodes;

2. Structural and quantitative.

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

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

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

What is meant by "quantitative" level is:

1. Number of parts;

2. The structure of the refrain and episodes.

Ancient (couplet) rondo

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

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

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

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

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

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

Classic era rondo

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

The scope of the rondo during this period is the finals or slow parts of the cycles (that is, parts where stability, completeness and lack of conflict are important). Less common are individual pieces in the form of a rondo (Beethoven. Rondo "Rage over the lost penny").

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

Small one-dark rondo

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

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

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

Independent plays in this form are rare.

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

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

Small two-dark rondo

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

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

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

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

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

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

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

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

Grand rondo

Large rondos include forms with three or more themes.

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

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

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

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

Grand regular rondo with recurrence of side themes

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

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

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

Great irregular rondo

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

Sonata form with episode instead of development

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

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

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

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

Postclassical rondo

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

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

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

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

Rondo in the work of V.A. Mozart

In the work of Mozart, the Viennese-classical rondo reaches its full bloom. The features of the classical rondo - with all the variety of interpretations - finally crystallize. The musical heritage of Mozart is so comprehensive that to give a complete overview of any of the forms in his interpretation would require special work; therefore, we confine ourselves to a certain range of questions, which does not exhaust everything that could be said about the features of Mozart's rondo.

The progress of the rondo was also great in the works of Haydn, however, in its forms, their dual or even triple origin is still felt - they are often based on either a variational form, or double variations (closed by the first theme), or an extended complex tripartite. Individual cases of this kind can also be found in Mozart, but their role is much less.

Much more important, however, are the differences in content. G. Abert wrote about “the wide abyss that separated Mozart from the whole worldview of Haydn and his views on art. Haydn was the last musical prophet of the old closed culture, with all the fullness of its spiritual being and cheerfulness. Mozart is the son of a younger burgher generation, which greatly undermined this culture.

The related deepening of content was simply but clearly described by Ernst Toch: "Mozart's sadness is sadder than Haydn's, his joy is more joyful."

A comparison with the style that preceded Mozart's, the Rococo style, is also acceptable. Some of his features are not alien to Mozart, especially in the early period of creativity: the share of playfulness, lightness and transparency of texture, grace and whimsical sophistication of lines, melismatics. Echoes of French harpsichordism are heard in some - mostly small and mobile rondos. But all this, of course, cannot be regarded as decisive in terms of style. In the mature, and even more late period, Mozart departs far from the Rococo style.

What do disagreements in the interpretation of Mozart's legacy testify to? First of all, about the unusually deep content, the significance of his work. Music devoid of these qualities would not cause such disputes in historical and aesthetic evaluation. But these disagreements are connected with the special historical position of Mozart. Perhaps the world did not know the equal in strength of genius. Therefore, what he created in his short life was done so indisputably, so perfectly, that it often seemed to people mysterious and inexplicable. But he lived and worked at a time when the language of great, exciting passions, dramatic collisions was predominantly characteristic of the largest genres, primarily opera, while in instrumental music the range of moods and emotions reflected by it was far from being so extensive. Although Mozart was able to comprehend the most tragic, but still, both in the spirit of the era and in his personal qualities, he was more inclined to embody not life's struggle, but rather life's harmony, uniting and ultimately reconciling various aspects of human existence. What has been said here also explains the fact that in the 19th century Mozart's music seemed to some naive and outdated, while fans wanted to see the frozen beauty of forms in it, and the most perspicacious (Tchaikovsky, Taneyev) saw a living stimulus for musical creativity. Three main types can be distinguished in Mozart's music:

1) lively, more or less scherzo, but balanced motority;

2) bright, affectionate, heartfelt lyrics;

3) an expression of grief, more often - soft, but can become severe, tragic ("Don Juan", especially Requiem).

The classification is not to be understood schematically; different types, of course, touch, interact and interpenetrate. Nevertheless, it mainly covers the main areas of his work.

Mozart's rondo also contains individual dramatic contrasting moments that do not define (unlike the c-moll concerto) the appearance of the whole, but are very embossed and expressive. Such is the 2nd episode of the Romance from the Piano Concerto in d-moll - stormy, almost "theatrical", reminiscent of the excited episodes of Mozart's fantasy with its character of improvisation and very bold in terms of harmonics. You can really hear "demonism" here.

Is it a coincidence that the strongest contrasts between refrain and episodes are found in works of the duet and concert genres? It is unlikely that the dialogic nature of such works directly or indirectly contributes to such oppositions.

The increase in contrast from previous episodes to subsequent episodes, which was outlined by Mozart's predecessors, becomes almost a law for him. From this follows a smoother coherent transition to the 1st episode (“inclination towards sonata”, according to V.V. Protopopov) and a greater segmentation of the 2nd episode. In musical forms (especially in the 19th century), the opposite principle “from dismemberment to fusion” plays an important role. At the present historical stage, at least in the form of a rondo, we see something the opposite; the justification is that the contrast must resist the insistence of repetition, whence its growing emancipation follows.

Some special varieties of rondo can be noted. Such are the “variations with episodes” in the c-moll concerto, the assimilation of the whole form of the gigantic tripartite in the violin concerto A-dur, the emergence of second-order refrains from repeated additions.

The “three-part form with a chorus” in Rondoaliaturca should also be considered as a special variety; the meaning of the refrain lies in the fact that it is he who most clearly reveals the features of "Janissary music" with the "Turkish drum".

The smaller, in comparison with Haydn, role of the dance-playing rondo in Mozart is undoubtedly connected with a different emotional image of creativity, with the increased role of lyrics, personal principles. Unhurried deployment, the art of fluidity, the ability to be long enough and not monotonous (from time to time deviating from the main mood and returning to it) to be in a state of daydreaming, reflection - all this demonstrates Mozart. It must be assumed that some of the design features of the rondo played a role here: “calmness of form”, regularity of shifts, balance of proportions.

There are two types of this rondo. In one of them, the contrast of parts is preserved. An a-moll piano rondo can be considered an ideal example. The other kind is built on development from a single premise. An example is the Adagio from the C-moll piano sonata. The character of the music oscillates between gentle tenderness, fragile filigree and deep seriousness, flashes of pathetic peaks in the 2nd episode, the beginning of which strikingly anticipates the beginning of the Andante of Beethoven's Pathetic Sonata: it is reconciled with the grace of miniature, embellished with melismas intonations. Variation is richly represented, where ornamentality and mobility do not deprive the melody of melody (this is highly characteristic of Mozart).

In the Romance from the concerto d-moll, the genre of the parts is interesting. The calm serenity of the refrain reminds of the song, while the colored melody of its episode rather allows us to draw an analogy with the aria, and the agitation, confusion of the music of the 2nd episode is fantasy. The “farewell” nature of the addition to the refrain, returning after the 1st episode and the last refrain, forms a refrain of the second order, which further deepens the lyricism of Romance. A special place is occupied by Recordare from Mozart's Requiem. It cannot be attributed entirely to the category of lyrical rondos due to the severity of expression, the emphatically restrained regularity of movements, the disciplined polyphony. But it is equally certain that the lyrical beginning, sometimes to a greater, sometimes to a lesser extent, is represented - only not on a personal plane, but on a sublimely objectified one. It makes itself felt three times in the second theme of the refrain, and most of all in the 2nd episode, reaching a maximum in its second half. The example of Recordare is very important in principle, because it indicates the possibility of embodying images of greatness, high mood of the spirit within the framework of the rondo form.

As an example of the second type of lyrical rondo, one can name the work completed by Mozart nine months before his death - Andante As-dur, the middle part from the F-moll fantasy for a mechanical organ. In its extraordinary beauty, in its exquisite and at the same time deep melodic expressiveness, it has no equal even among the best works of Mozart.

Unlike works of the first type, here the art of unfolding the form without contrasting comparisons is demonstrated: at the first, expositional stage - by smoothly flowing the theme-period into the middle, the middle - in the lead up to the reprise. At the next, developing stages - through rich expressive variation. The beautiful melody is helped by the "singing harmony", which comments on almost every sound in the initial presentation; it cannot be called choral due to the melody of the middle voices. Behind the tenderness and sincerity of the music, a hidden melancholy is guessed. The second sentence, moved an octave higher, sounds lighter and more transparent. The middle does not reproduce the intonations of the initial period, but it is absolutely the same in spirit. It is not monothematism that is inherent, but monoexpressiveness.

In the future, the theme and the middle with the predicate return several times, each time with a new variation. An extended variational tripartiteness is formed, or rather, a triple three-suited form ABA1B1A2B2A3 with a common thematic unity and fluidity. In this work, Mozart anticipates the rondo - the figurative forms of the romantics, especially Liszt.

The virtues of AndanteAs-dur remind us that Mozart's genius manifested itself with great force not only in large works, not only in the "highest genres", but also in any other conditions.

The genre connections of the themes with song, romance, aria, slow or fast dance, play continue to be felt. In Mozart they are more generalized, mediated and freely transformative. The figurative circle continues to gradually expand. In Mozart's rondos, we find, along with the gallantly elegant, also folk-everyday, they have both shining like a heavenly body, and gloomy, almost like thunderclouds.

From this follow the increased possibilities in the figurative-genre relationship of the parts. On one pole there are works that are close to thematic unity, while on the other there is a contrast, sometimes, as it seems, knows no limits, but is redeemed by the logic of the whole. In general, the contrast of the refrain and episodes, as well as episodes among themselves, increases. This is especially evident when compared with the works of harpsichordists.

The same comparison leads to the conclusion: there is a noticeable tendency to reduce the number of parts with their enlargement, internal growth. Already outlined by Haydn, this trend receives further highly artistic development. With a smaller number of parts, their coherence increases, and ultimately the integrity of the works. This is achieved both by the intonation relatedness of the themes, and by great attention to connecting, transitional parts and predicates. The thematic emancipation of episodes and, at the same time, their growing coherence are the two sides of progress in the development of the rondo.

This development makes itself felt in quite numerous manifestations, which concern both the refrain and the episodes. In refrains, one should first of all point out the very large role of their variation. This was already the case with Haydn, but Mozart surpasses him in subtlety, sophistication and, ultimately, in the expressive, enriching nature of intonation modifications. The intensity of variation became possible precisely because of the greater contrast between the refrain and the episodes. The harpsichordists were very careful in varying the refrain, not only because of the connection with the unchanging chorus of folk songs, dances, round dances, not only because of less pronounced tendencies towards through development, but also because of the very close proximity of the verses to the refrain, which would make the variation risky, dangerous for distinguishability of functions in the form. Here, there is no such danger. Excessive, "excessive" refrains, auxiliary refrains (on the basis of repeated additions) participate in the development of the form, we even met with a passing refrain.

There are new episodes too. They, like the refrain, are over the top. The structure of some episodes is striking in its complexity. Patterns of form deepen due to the functional differentiation of episodes, the increasing significance of subsequent ones (in comparison with the previous ones). The role of the code is increasing. Sometimes updated code variants of the refrain are created. There are signs of syntheticity, attempts are made to sum up the overall result in the work. And here the increased contrast serves as a stimulus: a polythematic work needs a special unifying part to a greater extent than a monothematic work, integral within itself already by virtue of thematic unity. In its embryonic form, it generalizes the Aliaturca rondo code: directly arising from the refrain, it at the same time recalls episodes with groupette patterns of the melody.

Mozart's achievements in the field of non-sonata rondo might seem modest, if we consider them against the backdrop of all the great things that he did in major genres - opera, symphony, chamber ensembles. But a fair assessment requires, firstly, a comparison with the Domozart rondo, and secondly, taking into account all the innovations mentioned above. turn - melodies and harmonies. Taking all this into account, we have the right to highly appreciate the contribution of Mozart.

Another typical property is that Mozart often prefers to combine different motives with each other instead of developing one motive. In such cases, the melodic variety comes forward in comparison with the concentration, the preservation of the material, and this shows the generosity of the composer. One can name the types of melodic movement that are especially characteristic of Mozart's fast rondos. These are the types: running (scales, their fragments), rotational (circling in place, fast chanting), related to it "trill". Characteristic, further, are rehearsals (“accumulation”, according to E. Toch), paired slips, progressive repulsions from a repeated sound, broken movements (mainly descending, as complications of scales). Together, they form a kind of catalog of melodic motor types. In relation to slow rondos or, in general, to more melodious themes, it is wrong to talk about types of melodic movement, because they are much less amenable to a regulatory description. But on the other hand, certain types of intonations stand out very clearly here, primarily the intonations of the choreic root (“sigh intonations” in the broad sense). The simplest and most constant are the intonations of detentions, primarily cadence, but also intra-dark. Downward detentions predominate quantitatively. However, Mozart's style is no less, and perhaps even more, characterized by individual, refined intonations of ascending half-tone gravity with the participation of altered steps, easily folding into a question-corresponding structure. This is followed by intonations of slow chanting, simple and complicated by deviations; harmonically they are mostly associated with delays, and rhythmically with "weak" endings. Slowly performed gruppettos, which under the given conditions play not only an embellishing role, but also serve as “lyrical content”, can also be attributed to hymns. Chromatically moving sections of the melody, especially descending ones, also contribute to the refined expression. To scale-like melodies they give a flowing, almost glissant-dating tone, and in melodies of a more complex pattern they make the curves especially graceful. But the purely expressive role of chromatism is also great, mainly in minor key conditions. The originality of the composer can be traced to some extent in the endings of his themes and sections, which lend themselves easily to standardization. Mozart either could not or did not consider it necessary to overcome the inertia of such endings in half and full cadences, not to mention the almost ubiquitous final trills on the sound of the second degree.

In harsh terms, referring to Mozart, Wagner wrote of the abundance of "homogeneous, constantly returning noisy half cadences." How can one explain the stereotypedness of some cadenza formulas in the composer, whose genius could easily allow him to avoid them? The answer to this question is not so simple. There was probably a desire to clarify the form, indicating the completeness of the previous part and the caesura before the next, that is, there is a tendency towards a distinct dissection of the form. In a broader sense, one can speak of normativity as a particular manifestation of classicism. Could play a role and "introducing to the banks" cadences of the predecessors - Rameau, I.S. Bach - after a very free development. And, finally, it is possible that Mozart simply paid tribute to the conventions of form, giving them a third-rate importance.

In harmony there is an interaction of fresh harmonic invention with proven final formulas. It is characteristic that when speaking of harmony, one has to keep in mind the melody, and everything is melodious in Mozart. In relation to it, it is legitimate to apply the concept of “singing harmony”. Indeed, one can very often observe how harmony actively and vigilantly supports almost every step of the melody (we will see an excellent example in the rondo-shaped Andante from F-moll fantasy). Sustained sounds, copious delays, movements in rhythmic unison or melodic parallel to the main voice - all this creates the basis for singing harmony. Detentions in cadences are often "total" in nature, extending to all voices, except for the bass, and sometimes capturing it as well. Regularly repeated, very distinct and similar construction endings (especially in two cadences of the repetition period) on the intonations of chord descending retentions form a kind of system of rhymes standing guard over the construction. This system ensures both the correctness of the routine and the lyrical tone. Among the triad chords, there is a particular tendency to sixth chords as the softest variants of triads; with their wide arrangement, a juicy full-sound is created. Thirds and sixths in chords stand out in every possible way, especially between extreme voices. The sound of sixth chords is most noticeable when they are parallel (the same applies to thirds). A favorite doubling of the main melodic voice in decima, so a quasi-vocal "duet of consent" is created. Frequent sequential comparisons of tonalities of II and I steps correspond to the previously noted increase in the first step, which forms the introductory tone.

Since Mozart operated mainly with simple harmonies, among which the tonic-dominant turns took the first place, he apparently felt the need to sometimes soften their naked sound. This is served by non-chord sounds in various voices. But of more specific interest is a special device: a tonic organ point placed under authentic sequences. It ennobles, refines and softens harmony. Subsequently, the tonic organ point in the themes (and not only in the codes!) was quite often resorted to as an “emotional mute” by Tchaikovsky, who, as you know, boundlessly admired the work of Mozart.

The harmonies discussed so far have assumed a major context. But there is also the other side of the medal, where not light and joy are depicted, but twilight and sorrow. In this area, Mozart created a sequence as characteristic as it is expressive, it can be called the frigo-chromatic series. This sequence is related to the famous chaconne bass. But instead of D → S in the third chord, Mozart uses a natural V6; the shift is less abrupt, the voicing is more fluid, the harmony "sings" more. But moreover, the shade of mourning associated with phrygia is more pronounced. Very interesting and also different from the chaconne bass is the second half of the series. The fourth chord could be resolved as a delay to the IV6 major, but the resolution comes already at the moment of the bass shift with the formation of the IVB step in the melody, which introduces the poignantly dreary note so characteristic of Mozart. The last three chords can be called the leitharmony of his minor music. This, as an option, also includes a turnover with the famous parallel “Mozart Quints”. In general, the series is favorable not only for lyricism, but also for severity.

The last feature of harmony, which should be mentioned, is the generous, abundant use of interrupted turns V7 / VI, not only to expand the scope of thought, but also within the theme, as its completely normative element. We can assume two reasons for this predilection: firstly, the love for the soft sound that SVI carries in itself, and, secondly, the ennoblement of the dominant in its naked form, that is, a stimulus similar to what was discussed in connection with the tonic organ station.

Varieties of rondo. First, we note the relationship between the actual rondo and the rondo-sonata. Forming the classical rondo sonata, Mozart clearly indicates its origin from the usual rondo, endowing it with the appropriate attributes. The rudiments of sonata development can be seen in the connecting and development parts, codes; all this can be found in samples that are simple in structure. On the other hand, rondo-sonata forms are cultivated with digressions that greatly enhance the purely rondal side.

The singularity of the finale of Violin Concerto No. 5 A-dur is associated with the strength of the contrast of images, and if we assume more, then with the struggle between the genres of salon and democratic music-making. This also applies to the Strasbourg Concerto. The whole form of the finale can be interpreted as a multi-part rondo, where special unity and completeness are introduced by returning the 1st episode, but with a change in tone from the sonata type. At the same time, the form of the finale can also be perceived as a gigantic three-part, where everything that exists before and after the central episode is the extreme parts, while it itself is a common trio.

The complexity of the forms just described is one of the virtues and an indicator of the courage of Mozart's thinking. Rondo-sonatism with a noticeable bias towards the rondo proper can also be found in other genres. This is the finale of the sonata F-durK. 533, numbering five passages of the main theme; their multiplicity, in the first place, gives the main party the features of a refrain.

Mozart's Rondo can be fairly clearly divided into two groups: motor-scherzo and melodious-lyrical. The first, fast ones attract with their cheerfulness, full of animation, game mobility. Their coloring is light, like that of Haydn, but there is more lightness in movement, more transparency in presentation. All these qualities are so important that, apparently, Mozart sometimes considered them defining the genre and title of the work. Therefore, one can understand why Mozart sometimes gave the name Rondo to works that actually do not use this form (for example, the rondo D-durK. 485, presented in a developed monothematic sonata form). The fact that Mozart proceeded from the nature of the music in his titles can be confirmed by contradiction: slow movements set out in a rondo structure are usually not assigned appropriate names. In a broader sense, it can be assumed that the composer considered the name "Rondo" appropriate in general for relatively small, separately existing pieces (such concepts as "impromptu", "musical moment" appeared later). Another reason could also play a role - the very multiplicity of the theme's introductions, as is the case in the D-dur rondo. For all these reasons, “imaginary rondos” arise.

The grace and liveliness inherent in most of Mozart's works are not destroyed even by the composer's strongly pronounced tendency to reinforcing repetitions of individual parts and constructions, to multi-link additions (as well as extensions, to justify which Mozart, as we already know, does not skimp on interrupted cadenzas - one of characteristic features of his harmonic and syntactic style). Even very modest in scale themes are sometimes crowned with a chain of additions. So, in the violin concerto D-dur No. 2, a rather simple eight-bar theme of the 1st episode receives three additions. Sometimes a repeated addition acquires the features of a second-order refrain. Mozart interpreted at least many of them as a real "complement" of musical thought in a deeper sense, even as a concentration of its expression. In the adagio of the c-moll sonata, after the 1st episode, you can see an example of one of Mozart's additions, remarkable in terms of expressiveness - "clumps of expression".

But there is another important function of additions: under the veil of statements in fidelity to the main harmony, intentions of a directly opposite nature can be hidden - “treason” to it. And the more persistently the tonic is affirmed - first in larger, then in smaller constructions - and the stronger the “oversaturation” of the theme with additions, the stronger the “resistance” of the listener, the stronger he feels the need to break through this immutability, that is, modulation. The development of additions (as well as the second sentences of the main parts and sometimes local reprises) into bundles, connecting parts is one of the remarkable features of the classical style, giving the flow of music a special coherence, logicality, and at the same time an effective turn in development. Mozart, more than Haydn, uses the method of functional development of stable moments into unstable ones, the transition from affirmation to negation, which will greatly affect sonata expositions.

Turning to the form as a whole, it should be recognized that Mozart's fast rondos are interesting mainly when they incorporate sonata elements to one degree or another. The instrumental music of the active movement, distinguished by the content of themes and the significance of the scale, Mozart already interprets mainly as sonata music. Non-sonata fast rondos are inferior to sonata ones in terms of the quality of the thematic material and the depth of development.

Before turning to the consideration of the rondo of slow and moderate movement, let's take a look at the ratio of refrain and episodes in terms of their degree of contrast and, in this regard, at the general figurative range. Let's also touch on some special types of rondo.

Quite a few of Mozart's rondos leave the impression of little contrast between refrain and episodes. Such rondos are inferior to Haydnian ones in contrast. In such cases, Mozart adheres more to the figurative unity, relies more on the difference in shades. Apparently, this is due to the absence of that close, direct connection with the complex three-part form and double variations, which imparted great contrast to Haydn's forms.

But it would be a mistake to draw general conclusions about Mozart's rondo from this, concerning the level of contrasts and, ultimately, the figurative range. Not only is it not narrower than Haydnian, but, on the contrary, it is much broader. This is evidenced by the samples we analyzed, as well as some others. In the finale of the violin sonata e-molll (K. 304), the refrain is written in Tempodi Minuetto, and the 2nd episode, completely independent in material and character, resembles a choral song; its first four bars are done in the Schubert style.

In the Es-dur violin sonata, against the background of the lightness and melodious danceability of the refrain, the 2nd episode also stands out, in minor key, fully justifying Energico's remark; its melody is a characteristic example of a three-fold sequentially offensive development with energetic deceleration during the “change for the fourth time”.

The construction of episodes also contributes to the contrast, when within any of them not one theme is given, but two or more. We have already observed in the Strasbourg Concerto the "combination of the incompatible"; there was also talk about sharp oppositions within the central episode in the concerto A-dur. And in Violin Concerto No. 2 in D-dur, the 2nd episode even demonstrates four materials, moreover, in three different subdominant tonalities; significant and overshadowing figurative contrast. Let us emphasize this last circumstance, because the essence of the matter lies not only in the strength of the contrast as such, but also in its type, content: elegantly gallant and rude, calm and dramatized. In this regard, perhaps the first place belongs to the finale of the piano concerto in c-moll (K. 491). According to A. Einstein, this concerto is a “gloomy and magnificent work”, which Beethoven admired. As for the finale, it's "a revolutionary, sinisterly fast march."

There is some exaggeration in such a characterization, but it is not so great if we perceive the finale as part of the whole, that is, the entire cycle. Indeed, the first part of the concerto is in no way inferior to the most sublime works of the Baroque era in drama and grandeur, but surpasses them in effectiveness, energy, dynamics, in comparison with which Baroque works may seem somewhat frozen. The reflection of the first part for the listener, who perceives the cycle as a whole, is undoubtedly felt in the finale; therefore, in analyzing it, we have no right to digress from the "aftereffect" of the first part.

In form, the finale follows the Haydnian tradition of "variations with an episode", according to Einstein - "with deviations into the realm of meekness and heavenly peace and a return to inevitability in the conclusion". The contrast between the refrain (-theme of variations) and episodes increases as the refrain gradually transforms from a restrained expression of mourning to more and more masculine26. The coda of the finale is remarkable, where the refrain, taking on a new size and fast pace, rushes like a flowing stream. This is a typical code refrain. Let us add that the finale (like the first movement) is a kind of encyclopedia of Mozart's chromaticism, the application of which follows directly from the essentially dramatic content of the finale.

Mozart's rondo also contains individual dramatic contrasting moments that do not define (unlike the c-moll concerto) the appearance of the whole, but are very embossed and expressive. Such is the 2nd episode of the Romance from the piano concerto in d-moll - stormy, almost "theatrical", reminiscent of the excited episodes of Mozart's fantasies by its character of improvisation and very bold in terms of harmonics. You can really hear "demonism" here.

Is it a coincidence that the strongest contrasts between refrain and episodes are found in works of the duet and concert genres? It is unlikely that the dialogic nature of such works directly or indirectly contributes to such oppositions. Comparing dramatic and, more broadly, sharply contrasting moments in Mozart's rondo with similar moments in F.E. Bach, one can come to the conclusion that these latter, although created quite sincerely, still seem far-fetched, external and exaggerated, while Mozart's rondos never raise doubts about their organic nature.

The increase in contrast from previous episodes to subsequent episodes, which was outlined by Mozart's predecessors, becomes almost a law for him. From this follows a smoother, coherent transition to the 1st episode (“inclination towards sonata”, according to V.V. Protopopov) and a greater segmentation of the 2nd episode. In musical forms (especially in the 19th century), the opposite principle “from dismemberment to fusion” plays an important role. At the present historical stage, at least in the form of a rondo, we see something the opposite; the justification is that the contrast must resist the insistence of repetition, whence its growing emancipation follows.

Let us now note some special varieties of rondo. Let us recall those that have already been mentioned on other occasions. Such are the “variations with episodes” in the c-moll concerto, the assimilation of the whole form of the gigantic tripartite in the violin concerto A-dur, the emergence of second-order refrains from repeated additions.

Results

In general, it is not possible to list all the options, all the deviations from the simplest norm. Mozart creates a wide variety of schemes, individualizing the general principle he applies.

Unusual variants are also found in vocal music. Approximation to the type of "even rondo" can be seen in the opera "Mercy of Titus". One example is Rondo Sestia (Allegro). The first refrain is missing, but freely created initial parts (the term "episodes" does not suit them well) lead to developed, thrice-conducted refrain parts. Another fragment of the same opera, Vitellia's aria, is close in construction - and here the original parts lead to refrains three times (“Chivedes-si”); the form is generally very free; this could be afforded precisely in the operatic genre.

The famous aria of Figaro "The frisky boy" was originally constructed. The military march from the 2nd episode appears a second time as a coda, and thus the center of gravity shifts from the first theme to the march. One can therefore speak of a passing refrain - a phenomenon that occasionally occurs in later eras. In this case, the transformation of form follows directly from the meaning of the aria, which depicts the future career awaiting Cherubino.

Mozart liked to experiment, which is also observed in the III part of the A-dur sonata I am considering, which should be considered as a special variety: "a three-part form with a chorus." The meaning of the refrain, obviously, lies in the fact that it is he who most clearly reveals the features of "Janissary music" with the "Turkish drum". The grace notes on the strong beat in the bass part, as well as the part itself, clearly emphasize the style of drum playing. The bass only serves as an accompaniment.

Summing up the study of Mozart's rondo, we can say the following: Mozart, along with Haydn and after him, significantly improved and enriched the form of the rondo.

D why is it sometimes difficult to keep track of many people at once, make decisions that take into account only the interests of one of the parties, and manage the school, especially if you are no longer seventeen and your health, to put it mildly, is not what it used to be. Albus Dumbledore gazes pensively at the cage with Fawkes, who calmly steps from one paw to the other. There is still a long time before self-immolation - the feathers of the bird have not wrinkled, and the eyes are still curiously looking at the world, as if they are seeing it for the first time. Albus never ceases to be amazed at the nature of phoenixes. Clean, amazing and unusually hardy birds.

R The Hogwarts Headmaster's thoughts are interrupted by a thin squeak, announcing that the Help-room is no longer empty. And he knows perfectly well that one particular Slytherin is again awake in his house dorm. So he, as usual, will stick around there for an hour, after which, kicking the door with annoyance with his boot, he will go to his room. Draco Malfoy would have been a promising student ... Talented, purposeful, in a word, the way he once was - a completely different boy named Tom Riddle, if he had not wasted himself hating Harry and trying to do what he could not do. And so ... this is just a driven teenager who does not know what he wants, but with all his might strives to complete the task as best as possible. The right to choose had been taken away from him, had been taken away long ago, and everything: family, entourage, and Voldemort. But maybe it's not too late to give him a choice on his part? Although Albus strongly doubts that with his eternal pride and keen unwillingness to appear weak in any way, Malfoy will accept help.

A meanwhile, the clock solemnly strikes midnight. The galleries are deserted, and only the echo of your own steps breaks the silence that reigns in the castle. A couple of turns - and Albus again stops near the column, remaining invisible to prying eyes. He never speaks to Malfoy, letting events take their course. It's just that for the second week now, the director of Hogwarts has been standing at the column and waiting for Draco, realizing the futility of his attempts, to try to do something else, try to find another way to complete the assignment. Yes, Albus Dumbledore knows perfectly well what the essence of the task is, about which Harry spoke with such fervor in his office. He knows from Severus, who will eventually do what is required for Malfoy anyway, because the Unbreakable Oath hangs over him. But the headmaster is interested, if not easy, to watch these attempts, although he cannot guess what the young copy of his father will do next. Watching and realizing that using Legilemence and knowing everything would mean forever losing the chance to win Draco over to your side. Though the chance is tiny, but for now it is still there. It is impossible to stop the boy now, when he is driven to the limit by his failures, and the nervous state of illness only indicates how much luck Malfoy needs. Then, when Draco starts to succeed in his plans, anger will be replaced by triumph, and the fanatical fire of the winner will light up in his eyes, it is quite possible to interest him in other prospects, gain trust ... and no trust is based on the actions of a person interested in him on the sly. It's like a mutual deal, if it's fair... That necklace and mead... stupid, of course, but the boy continues to try to solve this problem, getting more and more annoyed with each unsuccessful attempt. Of course, failures only spur us on, forcing us to move forward with desperate, insane frenzy. The nature of human logic is sometimes so predictable...

O However, today Dumbledore is breaking his habit of silently watching the boy leave the room. He silently passes a couple of flights, moving away from this place, and comes around the corner, just in time to collide with a Slytherin hurriedly walking towards the dungeons by the shortest route. Draco raises his head and freezes for a moment, slowing down abruptly, but by momentum continuing to fly forward. Dumbledore gently stops the imminent fall. Malfoy's fingers are cold as ice. However, the boy himself is like an icicle - sharp and prickly from the inside.

Draco thanks him unintelligibly and hurriedly steps aside. Confusion and fear can be clearly read in gray eyes. Just one moment. And then the familiar mask returns to the face, and the Slytherin's voice does not tremble at all:

Good evening, Professor Dumbledore, a little hitch. - Sorry, I didn't see you.

Kind, Mr. Malfoy, - agrees Dumbledore. The director is unable to present anything to him - technically, Draco may well be returning from his evening rounds, although now it is a bit late for this. Are you fulfilling the duties of an elder?

It seems to him that Malfoy's shoulders relax a little. That's right, he himself suggested a profitable pretext that the Slytherin would not hesitate to use.

Yes, sir, - he smiles guiltily, but there is no hint of a smile in his eyes - only emptiness. Apparently, Bellatrix still taught the boy Occlumency, although ... Dumbledore cautiously tries to look at his memories - and stumbles upon a deaf mental barrier. The protection is not strong, but Draco will certainly feel the intrusion, and unnecessary suspicions are useless now, - I just finished walking around the castle, there are no violators today. - he tries to joke sourly, - apparently, it’s not the season ...

The sentence ends abruptly because Draco clearly sees a condescending smile in the blue eyes opposite, as if Dumbledore is well aware that he did not perform any "duties of the head girl" today, and is waiting for Malfoy to get tired of lying.

Draco raises his eyebrows questioningly, fading away for the sake of it, as if he doesn't know if he should continue reporting in such a rambling manner or not. And Albus pretends to take this innuendo at face value. He nods absently and remarks in a low voice:

I understand, Mr. Malfoy, - from the official address, the tension of the teenager noticeably disappears, and the boy again looks into his eyes, not realizing that for those who can see, it is not a problem to discern the pulsing fear there, very precariously hidden by arrogance. - Well, then good night to you.

Goodbye Professor Dumbledore.

Malfoy takes a couple of steps from the fork in the direction of the faculty dungeons, forcing himself to walk rather slowly, without breaking away, when a question flies at his back, from which everything inside turns over, turns to stone, and his legs seem to grow into place.

Draco, is there anything you want to tell me?

The heart trembles unsuccessfully in the chest, and sticky fear does not allow a word to be uttered. Everything is unusual for Malfoy - both the address by name, and this tone, not intended for someone like him. Too ... friendly and suggesting a long intimate conversation. Blasphemy - open your soul to those you plan to kill. This is a manifestation of trust, and therefore an unacceptable weakness.

Therefore, Draco spends a couple of imperceptible seconds slowly turning around, meeting an attentive old look and indifferently answering:

I have nothing to tell you, director.

The sixth year's footsteps fade into silence, swallowed up by the castle itself, a centuries-old building that held no secrets, and Dumbledore chuckles silently at his memories.

Again. This episode of his life has already been repeated three times, but each time is still different.

More than twenty years ago - a sharp, defiant: "No, sir" from Tom Riddle, who had already decided to go the other way, contrary to generally accepted norms and laws. Then it was a decisive refusal.

Four years ago - a confident but distinctly guilty "No, Professor Dumbledore, nothing" from Harry Potter, who always preferred to figure things out on his own. He did not want to involve outsiders in his problems, he was afraid of not being in time, being late ...

But today it's just impeccably polite: "I have nothing to tell you, director." Not a refusal, but not a phrase that suggested Draco was willing to accept help if it was offered.

And this ostentatious indifference touches much more than anything else, although Dumbledore cannot understand why. Maybe he doesn’t want to fully believe that the boy can’t be returned? Maybe he is not going to accept that Malfoy has almost mastered the technique of pretense, locking in himself all inadmissible manifestations of feelings and leaving only the goal?

Or maybe Albus just understands all this and knows that the executioners are not able to stay close to their victims for a long time, because the obvious reach of the target will toss and turn in his chest with displeasure, pressing with all his weight, exhausting, demanding to find a way out and stop this daily torture by searching , even if funds are still not found? No, Dumbledore would not provoke the boy. Let him keep trying.

I AM it is clear that one of the two of them will definitely succeed, although Albus is not sure that Malfoy's attempts are as ethereal as they seem at first glance. But still, the headmaster thinks as he tugs at the sleeve of his left arm robe and walks back down that same corridor to his office, even if Draco finds a way, he will carry out Lord Severus's task. Because it's already decided. The plan is drawn up, the actions are scheduled, the sequence is agreed. And it was not proper for some boy, even an ambitious Slytherin, even Draco Malfoy, to change these plans.

RONDO

It is necessary to distinguish between concepts: rondo - genre;

rondo - form.

The word "rondo" (rondo) means "circle".

The concept of a circle is one of the most important in human thinking, associated with observations of cyclic processes in nature and society:

― circular, spherical space bodies, the sun;

- in rituals - movement in a circle;

- the symbolism of the ring, as a representation of a closed infinity in the Universe (“Everything returns to its full circle ...”).

Rondo - genre= song and dance music of a cheerful, optimistic nature, often found in the finale of a cyclic work. instrumental rondo XVII - XX centuries - it is predominantly homophonic music.

vocal rondo(rondό, rondel, along with virele, ballata) - known since the XIV century (late Gothic, Middle Ages). The prototype of the rondo was round dance, or the so-called circular songs with a chorus. This is evidenced by the very meaning of the words "rondeau" - a circle and "refrain" - a refrain.

In the XIX - XX centuries. there is a revival of the vocal rondo in opera numbers, scenes, romances.

Distinctive features of the vocal rondo from the previous song (simple) forms:

— multipartness (multi-darkness);

— contrast of parts;

— combination of dynamic development (in episodes) with static stability (in reference);

— variability of the nature of presentation in the process of form development;

— scale-thematic parameters: the form is large, saturated, “strong”.

Rondo - form is based on the alternation of a repeatedly recurring main theme - refrain (R) and episodes (E), which can be built on the development of the theme of the refrain or new themes. The features of the vocal rondo are subordinated to the form of the poetic text. The number of sections of the vocal rondo depends on the number of stanzas of the text.

The main scheme of the form: A B A C A ... or: R E1 R E2 R ...

Number of episodes, character R and E, their ratio changed in different eras and stages of development of musical art.

Ancient rondo

Outstanding representatives are the French baroque harpsichordists - Chambonière, Jacques(between 1601 and 1611 - 1672); Couperin, Francois(1668 - 1733); Ramo, Jean Philippe(1683 - 1764); Daken, Louis Claude (1694 – 1772).

Characteristic features of the genre - forms:

1. Multipart : 5 to 17 parts [Example of maximum

the number of parts - Couperin. Passacaglia (Rondo)]

2. small part sizes(8 - 16 measures)

3. Refrain , usually a period of 2 sentences of rebuilding

4. Episodes – development of refrain material

5. Lack of contrast

Occurs as an independent play or as part of a cycle.

Plays: Couperin F. “Scented Water”, “Reapers”, “Reeds”, “Beloved”; Daken L. "Cuckoo"; Ramo J. "Tender Lamentations"

Part of a cycle: Bach I.S. Violin Concerto E-dur, finale.

classical rondo

Outstanding representatives - Western European classics - J. Haydn; W. Mozart, L. Beethoven.

After the style of "storm and stress" F.E. Bach's rondo form entered a period of aesthetic regulation. A high perfection of architectonics has been achieved, which includes both development, and the depth of contrasts, and the balance of diversity and unity.

Scope: sometimes independent pieces "Rondo"; more often - finals (Haydn, Beethoven) and slow parts (Mozart) of instrumental cycles: sonatas, chamber ensembles, concertos, symphonies.

Specific traits:

1. Availability 5 parts

2. Scale up partitions: refrain – simple 2-3-part form

3. Episodes – independent in form and thematic content sections

4. Contras t between the refrain and episodes - tonal, thematic, textural, dynamic, etc.

5. The need for introduction ligaments between refrain and episodes

6. Availability codes (brings contrast to aesthetic unity)

Postclassical rondo (XIX - XX centuries) - a new stage in the development of the rondo form.

In the work of R. Schumann: "Arabesques", "Viennese Carnival", "Novelettes" are built on the principle of rondo. Carnival is a favorite theme: flashing pictures, masks, faces, costumes, moods, dances.

"Rondo Suite"(based on a complex 3-part form with two trios).

Schumann R. "Arabesques":

A In St. A C A + code

C-dur e-moll C-dur a-e moll C-dur

"Even Rondo": the refrain is not in the first, but in the second place:

Schumann R. "Blumenstück" (9 parts):

A R B R CD R1 C R+ code

Chopin F. Mazurka op. 30 No. 2 (4 movements): A B C B

Different "songs" end with one "refrain".

Chopin F. Waltz cis minor: A + B C + B A + B

Rondo in the work of Russian composers

Various types of rondo are found in vocal music: romances, opera scenes, arias, solo and ensemble numbers.

Lyrics- Antonida's Rondo from op. "Ivan Susanin" M. Glinka

Antonida's Rondo is the second part of the aria, which sounds after the slow cavatina. The text and music convey the mood of bright expectation. The episodes here are built on the continuing melodic development of the whole aria has a complex 2-part form: the 1st part is a cavatina, the 2nd part is a rondo.

Rondo scheme: A B A C A

Tonal plan: f Es-c f Des-f f

The reception of the same ending of episodes is found in Figaro's aria "The Frisky Boy", which is written in the form of a rondo (Mozart's opera "The Marriage of Figaro"). The ending of the episodes on the words “Say goodbye to lace”, which entails a repetition in the music.

epic- Introduction from op. "Ruslan and Lyudmila" M. Glinka

Nationality(pseudo-folklore) - "Yaroslavna's Lament" from op. "Prince Igor" A. Borodin

"Simple Rondo" in the romances of A. Borodin: "The Sleeping Princess", "Haughtiness"; Dargomyzhsky: "Night marshmallow", "Wedding".

In romance Dargomyzhsky "Night marshmallow"”- the form of a five-part rondo (A B A C A) is distinguished by the brightness of the contrast not only in comparing the refrain and episodes, but also the episodes themselves (Kolovsky's textbook, pp. 194 - 196).

"Complicated Rondo"- an increase in the levels at which the rondo structure operates.

Glinka M. "Rondo Farlaf" from op. "Ruslan and Ludmila". There are two versions of the interpretation of the rondo form.

The 1st version belongs to V.N. Kholopova (textbook "Forms of Musical Works", 2001, pp. 111-112): refrain - a simple 3-part form, 2 episodes (similar). Five large parts and the alternation of small constructions form 2-tier rondo:

Level I: a b a With a b a c 1a b a

II level: b c b c 1b

The 2nd version of the rondo form is given in Kolovsky's textbook (pp. 190 - 191). His scheme is based on the text sequence:

A B A C A D B A coda

Lyudmila is close, Ruslan is close, Close In cares Lyudmila, Close

it's an hour in vain it's an hour forget you're an hour in vain it's an hour

Compare both versions of Farlaf's interpretation of the rondo form.

Borodin A. "Cry of Yaroslavna" from op. "Prince Igor": refrain - simple 3-part form, 2 episodes, 3-tier rondo.

The 1st level consists of 5 large constructions (parts) with a three-part refrain;

2nd level - alternation and tonal comparison of small sections with the refrain of the cry itself (A);

The 3rd level forms a goose wagering:

A A B r A C r C r A D r E r A B r E r B r A

h, h, D-fis, h D-H h fis-G, c h, D-A, d, D-h, H, h

orc. orc. orc.

"Variation Rondo"- based on the variational principle of development. Example : "The Ballad of Finn" from op. "Ruslan and Lyudmila" M. Glinka: 7 parts - 4 refrains, 3 episodes that develop the theme of the refrain in different ways.

All presentations refrain – options for expansion, reduction and reharmonization:

A- a simple 3-part form with reharmonization of the reprise (“Half the year has sped off”);

A1- “Ardent desires came true” - double 3-part form with reharmonization of the reprise;

A2- "In the Dreams of Hope" - a synthesis of the exposition with the middle (16 volumes) and reprise (8 volumes);

A3- "All witchcraft" - a period of 8 measures, followed by a large coda (44 volumes).

Episodes :

V- "I called the brave", the running development of the refrain (12 volumes) .;

WITH– “On my gray beard”, a fantasy development of a refrain with multiple enharmonic modulations (44 volumes);

D- “Ah, knight”, a small episode on the organ station (14 volumes).

Rimsky-Korsakov and Tchaikovsky - in opera scenes, when new characters appear (episodes).

Mussorgsky M. "Pictures at an Exhibition" - rondo suite.

Glinka M. "Waltz-Fantasy" - 9-part rondo suite.

Rondo of the 20th century

Associated with neoclassical (neo-baroque) trends in music.

Ravel M."Pavane" is a rondo of the type of French harpsichordists.

Prokofiev S. Rondo - the ideal of "new simplicity": March from op. "The Love for Three Oranges".

Romance "Chatterbox" (teacher of Kolovsky, from 192 - 193).

Scheme: A B A1 C A2 D A3 F A

Tone plan: G G As E C As As E G

Ballet Romeo and Juliet: Minuet, Gavotte, Dance of the Knights, Juliet the Girl.

Opera "War and Peace": Waltz by N. Rostova and A. Bolkonsky.

The concept of "micro - rondo" = the structure of the theme;

"macro - rondo" = the structure of the cycle

Ronda shapes

Chopin F. Mazurka op. 6 No. 1: sl. 3-part form with rondo features

Mendelssohn F. "Songs without words", No. 14: double 3-part, close to rondo

Chopin F. Nocturne Des-dur= double 3-part with rondo features

Chopin F. Waltz As major op. 42: rondo suite

Addition

Differences RONDO from Complex 3-part form

A B A C A A b A C a

1. Episodes and refrain 1. Middle (C) - semantic

equivalent in scale to the center of the form, maximum

contrast to

surrounding parts

2. Coda - last refrain, 2. Reprise (often shortened)

one of the sections of the form result, result of development

3. Refrain - always 3. Initial formation can

single tone be modulating

4. signs are not typical 4. repetitions, reprise are typical

repetitions da capo