Genres and periods of music development. Учебно-методическое пособие для студентов музыкальных вузов

Tasks to the text

I.General understanding.Answer the questions:

1.What does the fugue result from?

2.What is called the subject?

3.What is the function of a counter — subject?

4. Does the answer (or consequent) reproduce the subject (or antecedent) exactly?

5.Till when was not the term fugue used?

6.What composers contributed to the evolution of the form?

7.With whom and when did the fugue culminate?

8.What is called a mutation?

9.What are the parts of the academic fugue?

10.What corresponds to the point of greatest tension in a fugue?

11.In what form is the fugue found in many classical and romantic works?

12.What composers do you think about when we speak about a fugue?

II.Semantic analysis

1.Read the text and highlight the semantic parts of the text.

2.Title each part.

3.Find the key words in each part.

4.Write down the plan of the text.

III.Speaking practice

1.Outline the text using the plan.

2.Support your oral report by a presentation in Power Point.

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UNIT 10

Solo concerto Pre-reading activities

I.Saywhatpartofspeechthewordsbelongtoandtranslate them: formally, really, frequently, subsequently, wholeheartedly, brilliantly, technically, vaguely

II.State the function of participle II and translate the

phrases:

a)1.  an instrumental composition based on a dialogue; 2.  the solo concerto evolved formally in parallel with the symphony; 3.  the classical form attributed to Mozart; 4.  the instrument invented around 1710; 5.  concertos designed for the cello; 6.  concertos intended to convey all kinds of expression; 7.  pieces not labelled “concertos”.

b)1.  The word concerto is derived from a Latin verb. 2.  The composition is split into three movements. 3.  It was not really organized into three symmetrical movements. 4. A new musical formwasborn.5.  ThisconcertowasinauguratedbyBach.6.  The important role was played by Bach’s sons. 7.  His piano concertos are considered by many to be models of perfection.

III.Word structure. Analyse the structure of the words, pay attention to the suffixes. State what part of speech the words belong to and translate them:

similarity, instrumental, composition, following, statement, organized, inauguration, based, numerous, selfish, perfection, movement, variations, glorious, ruthless, embodiment, confluence, fusion, cleanliness, ensuring, simplify, simplicity, uneasy, dislike, unforgettable, unforbidden, goodness, visualize, influential, hospitality, likeness, expressively, according, newly, timeless, dominating, domination, willingly, kindness, helpfully, engagement

Read and translate the text

An instrumental composition based on a dialogue, or even an opposition, (the Italian word concerto is derived from the Latin verb concertarewhichmeanstorival,butalsotoconverse)betweenoneor

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more instruments and the whole orchestra, the solo concerto evolved formally in parallel with the symphony, the symphonic poem, etc.

In the classical form, attributed to Mozart, it is split into three movements: the first a fast movement (allegro) in Sonata form, the second slow (andante or adagio) in the form of a lied or a theme and variations, and the third fast movement (allegro) most often in the form of a rondo.

Bythetimetheconcertogrossodisappeared(around1760),the solo concertobecame established. It had made a cautiousappearance in musical history with Torelli (concerto a uno violino che concerta solo, 1698) andAlbinoni (Sinfonie e Concerti a cinque, 1700).

But it was not really organized into three symmetrical movements (“fast-slow-fast”) until the beginning of the 18th century (Vivaldi's Concerto for one violin from the “Estro Armonico”

1712). A new musical form was thus born by the intervention of the violin which, at least until 1770–1785, remained the most frequently used solo instrument. Other solo instruments, even in Vivaldi's time, had been put to use in a “dialogue” with the orchestra: the cello (Vivaldi), the viola (Telemann, Vivaldi), the flute (Vivaldi), the oboe (Albinoni, Handel), the horn (Telemann) and the bassoon (Vivaldi).

The concerto for keyboard and orchestra was inaugurated by J. S. Bach (the eight Concertos for harpsichord and strings, BWV 1052–1059, between 1728 and 1735). An important pioneering role was subsequently played by two of Bach's sons; Carl-Philipp Emanuel (1714–1788), composer of about fifty concertos and Johann Christian (1735–1782) who composed his four concertos opus 7 (1770) with the firm intention of emphasizing the tones of an instrument invented around 1710 which was becoming more and more popular: the piano.

J. Haydn left behind a dozen keyboard concertos (organ and harpsichord),fourfortheviolin,twodesignedforthecelloandabout ten for various instruments (horn, trumpet, flute, oboe, etc.), but he does not seem to have found the solo concerto to be a form in which he could wholeheartedly involve himself. Mozart, on the other hand, exploited the dramatic possibilities brilliantly. His piano concertos are considered by many to be models of perfection; he also excels

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in the composition of concertos for violin and orchestra (Concertos No.3 in G major K.216 and JVo.5 inAmajor K.219) and imposes his know-how in the technically-difficult domain of concerto for wind instruments (Concerto for Bassoon and Orchestra in B flat major K.191; Flute Concerto in G K.313, Oboe Concerto in C K.314, Horn Concerto JVo.2 in Eflat major K.417; Clarinet Concerto in

A major K.622).

Before bringing the genre to its maximum potential (Concerto in Eflat major “Emperor”, opus 73), Beethoven transformed and softened the orchestral and pianistic construction of Mozart(Concerto No.4 in G major opus 58). He only composed one violin concerto (in D major opus 61), the kind of concerto which afterwards, with the exception of some authentic (Mendelssohn, Brahms) or spectacular (Tchaikovsky)successes,fellmoreandmoreintodisuse.Themasters of the 19th century seemed to concede more importance to the cello concerto, as seen in Schumann (ConcertoinAminor opus 129), Lalo (Concerto in D minor), Saint-Saens (Concertos opus 33 and 119), Brahms (Concerto for violin, cello and orchestra in A minor opus 102) and Dvorak (Concerto in B minor opus 104).

Butthiscentury,withtheadventofthemodernpiano,atastefor contrasting tone, the often exaggerated virtuoso role of the soloist, is above all the century of the piano and orchestral concertos intended to convey all kinds of bursts of subjective expressions: Schumann (Concerto in A minor opus 54), Chopin (Concertos in E minor opus 11 and in F minor opus 21), Liszt (Concerto N.1 in D minor opus 15, N.2 in B flat major opus 83), Tchaikovsky (Concerto N.1 in B flat minor opus 23, N.2 in G major opus 44), Grieg (Concerto inAminor opus 16); and not forgetting Weber (2 concertos), Mendelssohn (2 concertos) and Saint-Saens (5 concertos).

In the 20th century, the solo concerto survived in its tripartite form (concertos for piano and orchestra by Ravel, Rachmaninov, Stravinsky, Prokofiev, Poulenc, Joliver) before giving way to more innovative pieces, whether or not labelled “concerto”, which in fact only vaguely follow the concertante principle: Chamber Concerto by Alban Berg, Concerto for nine instruments by Webern, Double Concerto for piano, harpsichord and two chamber ensembles by

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Elliott Carter, Domaines for clarinet and instrumental ensemble by Pierre Boulez, Tout un monde lointain (for cello and orchestra) by Henri Dutilleux, Chamber Concerto by Gyorgi Ligeti.

Tasks to the text

I.General understanding.Answer the questions:

1.To whom is the classical form of a solo concerto attributed?

2.How many movements are there in the solo concerto and what are they?

3.When did the solo concerto become established?

4.What instrument influenced the solo concerto?

5.What other instruments were used in a “dialogue” with the orchestra?

6.Who inaugurated the concerto for keyboard and orchestra?

7.Did Bach’s sons follow their father’s tradition in writing solo concertos?

8.What was the role of Haydn in the history of this genre?

9.What can you say about Mozart’s piano concertos?

10.What was Beethoven’s contribution to this genre?

11.What instrument played an important role in the solo concertos in the 19th century?

12.What above all characterizes the 19th century solo concertos?

13.Who composed in this genre in the 20th century?

II.Semantic analysis

1.Read the text and highlight the semantic parts of the text.

2.Title each part.

3.Find the key words in each part.

4.Write down the plan of the text.

III.Speaking practice

1.Outline the text using the plan.

2.Support your oral report by a presentation in Power Point.

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UNIT 11

Instrumental chorale Pre-reading activities

I.Makethefollowingsentencesnegativeandinterrogative:

1.  The word chorale describes a type of canticle. 2.  This assembly singing spread rapidly from the beginning of the Reformation.3.  The writing of vocal chorale had remained fairly simple. 4. An instrumental chorale for the organ was developing. 5.  The choice of the organ is readily explained. 6.  The chorales make up the sound commentary of a text. 7.  The history of Lutheran organ chorales was completed with J. S. Bach. 8.  Notable examples of this type were the Chorale preludes by Brahms and Reger.

II. Word structure. Analyse the structure of the following words and translate them:

moonless,unfamiliar,fairly,reappeared,peculiarity,projection, reality, development, personal, impressively, intensify, effectively, watchful, popularize, simplify, educational, creator, transformation, childish, irrespective, relaxation, instructive, imagination, depiction, additional, familiarity, objective, objectify, government, falsify, fixation, teaching, movement, masterfully, entrance, security, personality, director, painting, theoretician, reinforcement

III. State the function of Participle I and II in the word combinations and translate them:

preserving their ease of execution, the writing of the vocal chorales remained simple, chorales composed by Bach, in acquiring its own identity, perfected the scoring, tunes subjected to all transformations,thethemeaccompaniedincounterpoint,theimplied text, allusions to this type disseminated and concealed

Read and translate the text

The word chorale (from the Latin choralis; “pertaining to a chorus”) describes, firstly, a type of canticle that serves as the basis of the Lutheran liturgy. This assembly singing, generally in unison, spread rapidly from the beginning of the Reformation, as it was, for Luther, one of the foundations of the religious practice. The popular musical style of chorales, their distinctive structure, the

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ease with which they are sung, all contributed to their success. Since the beginning of the 16th century, composers like Schein, Praetorius, Franck and Hassler harmonized chorales for many voices, while still preserving their ease of execution.And those composed by Bach for his Cantatas also comply, two centuries later, to this principle.

Aswellasthisvocalchorale,thewritingofwhichhadremained fairly simple, an instrumental chorale, for the organ, was developing and gradually became one of the most complex musical forms. The choice of the organ is readily explained. Firstly its role is uniquely utilitarian: it allows the vocal chorale to be accompanied. Also, in acquiring its own identity in becoming concertante, the instrument gradually developed what we call, in short, chorales for the organ. “In short” because these instrumental chorales, besides the fact that they occur in fairly diverse forms, serve either to introduce the vocal chorale (chorale prelude) or to comment upon it during the interlude (choral fantasia). Chorales for the organ always exhibit the melody of a canticle, generally a familiar one, and accompany it in counterpoint, the sense of which is underlined by the rhythmic, harmonic and melodic elements. In brief, the chorales make up the sound commentary of a text.

The history of the chorale for the organ did not really start until the beginning of the 17th century, with musicians like J. P. Sweelinck (1562–1621).And it was D. Buxtehude (1637–1707) whose chorale preludes already used symbolic motifs, who first attempted to musically transcribe the text. Finally, J. Pachelbel (1653–1706) added the partita de choral and the prelude fugue.

But it was J. S. Bach (1685–1750) who, with more than 150 chorales for the organ, perfected the scoring. Simple canticle tunes, subjected to all the possible transformations (chorales in counterpoint, fugued, figured, in canon, with variations, in trio, harmonized and in choral fantasia), the majority of Bach's chorales “derived their raison d'etre from the technique of variation”. The method most characteristic of Bach “consists in the expression of the theme, accompanied in counterpoint, by the three other parts, in which the smallest, modulation, the smallest rhythmic movement elucidates the implied text”.

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The history of Lutheran organ chorales was completed with J. S. Bach, for no other new chorale form was developed after him, and his best students, J. L. Krebs and J. C. Kittel, were content to maintain the tradition.

Fromthe19th century,instrumentalchoralewasdividedintotwo groups.The first group included works which were organ chorales in the strict sense of the term; the sound commentary of a text. Notable examples of this type were the Choral Vorspiels (Chorale preludes; by J. Brahms (1833–1897) and M. Reger (1873–1916)). The second group contained works whose passages borrowed or cited some of the aspects of chorales. In this group we find, disseminated and concealed, if not chorales in a strict sense, at least allusions to this type of composition by musicians like Mendelssohn, Franck, Stravinsky, Berg, Honegger and even in the last bars of Integrates by Edgar Varese.

Tasks to the text

I.General understanding.Answer the questions:

1.What does the word “chorale” describe?

2.What contributed to its success?

3.In what century did composers harmonize chorales for many voices?

4.Instrumental chorale for what instrument began to develop later?

5.How can the choice of this instrument be explained?

6.When did the history of the chorale for the organ start?

7.Who perfected the scoring of chorales?

8.In what did the method of Bach consist?

9.By whom was the history of Lutheran organ chorales completed?

10.Нow can you characterize two groups of instrumental chorales?

II.Semantic analysis

1.Read the text and highlight the semantic parts of the text.

2.Title each part.

3.Find the key words in each part.

4.Write down the plan of the text.

III.Speaking practice

1.Outline the text using the plan.

2.Support your oral report by a presentation in Power Point.

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UNIT 12

Fantasia Pre-reading activities

I. Say what part of speech the following words belong to and translate them: essentially, permanently, dramatically, episodically

II.State the function of Participle I and II and translate the word combinations:

1.  acontrapuntalformusedinItaly;2.  tookinterestintheform giving the name fantasia to compositions; 3.  to stir the passions by giving the impression of being impromptu; 4.  the name was given to motifs constituting a pot-pourri

III. Analyse the structure of the following words and translate them:

1.  witty, wittiness, wittily; 2.  ready, readiness, readily; 3.  use,useful,useless;4.  joy,enjoy,enjoyment,joyful;5.  admire, admirer, admirable, admiration; 6.  uneducated, educate, education, educational; 7.  create, recreate, creation, creator, creative, creatively; 8.  short, shortish, shortage, shorten, shorting; 9.  attentive, attentively, attention; 10.  decorate, decorative, decoration, decorating, decoratively.

Read and translate the text:

Fantasias are essentially instrumental music works which evolved in the 16th century by adopting the structure of the ricercare (the Italian for “research”), a contrapuntal form already used in Italy (fantasias by G. Gabrieli, O. Vecchi, etc.). It was also associated with the ricercare in England (W. Byrd's Fancies for viol ensemble), in France (viol fantasias by C. Guillet and E. du Caurroy) and in Spain (tientos byA. de Cabezon).

For the French polyphonists of the 17th century (L. Couperin, N. Lebegue) fantasias were similar to harpsichord preludes in that they were written in an improvisational style. In Germany, S. Scheldt's fantasias were inspired by the ricercare and the English fancy, while J. J. Froberger's were related to the instru­ mental canzona.

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After the death of G. Frescobaldi (1643), the Italian masters of the 18th century abandoned the fantasia permanently in favour of the sonata and the sinfonia. J. S. Bach, on the other hand, took an interestinthisimpreciseform,givingthenamefantasiatohisorgan and harpsichord compositions which were organized like preludes or toccatas (Fantasia in C minor BWV 562; Chromatic Fantasia and Fugue in D minor BWV 903). With Wilhelm Friedmann and Carl Philipp Emanuel Bach, fantasias expressed the “preromantic” desire to stir the passions (the Empfindsamkeit movement) by giving the impression of being impromptu.

The classical style transformed the fantasia dramatically; it became 'a sonata of sorts with less rigid construction: Mozart's FantasiainCminorfor piano K.475; the slow movement of Haydn's

Quartet opus 76 No.6; and Beethoven's Sonatas quasi una fantasia opus 27.

From Schubert (Wanderer-Fantasia for piano opus 15) to Brahms (Piano Fan­tasias opus 116) and including Mendelssohn, Chopin, Schumann (Fantasia for piano opus 17) and Liszt, all the romantic composers who wanted to break away from the framework of classical rules, adopted the fantasia form. Most often they gave it the form of an irregular sonata with a free variation. Towards the end of the 19th century the name “fantasia” was also given to the assortment of opera or opera-comique motifs for piano or small orchestra, constituting a pot-pourri without much musical value

(Fantaisie sur Carmen).

In the 20th century several musicians episodically revived the form, such as Faure (Fantasia for piano and orchestra), Darius Milhaud (Pastoral Fantasia for piano and orchestra), Andre Jolivet (Fantaisie-capricefor flute and piano), Vaughan Williams (Fantasia on Greensleeves, Fantasia for string orchestra on a theme by Thomas Tallis) and Schönberg (Fantasia for violin and piano).

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