The sonata-symphonic cycle is a complex form consisting of many parts. It has long been known, and remains relevant for composing musical works to this day. The genres of the sonata-symphonic cycle are used for writing sonatas, instrumental ensembles (quartets, trios, quintets) and concerts, as well as symphonies. The formation of the modern appearance of this form occurred at the beginning of the XVIII century, and the nucleation even earlier.
The structure of the classical sonata-symphonic cycle occurred during the creation of such authors as V.A. Mozart and J. Haydn. Beethoven should be singled out separately, because he became the founder of the symphony, having written 104 musical works in this genre. All these musicians belong to the Vienna school. Now you need to figure out which genres take the form of a sonata-symphonic cycle.
Genres
Such a musical form in the form of a cycle refers to one of the following types:
- Symphony.
- Sonata.
- Concert.
- Instrumental ensemble.
Classical Sonata Symphony Cycle
Specific traits:
- Homophonic - harmonic warehouse (this means that one of the voices is a melody, and the others echo, obey it. This term is usually contrasted with polyphony - polyphony).
- Themes inside each part are contrasting (not counting the old forms).
- Whole development.
- All parts have individual content, shape and speed (pace).
- Each part is replaced by a contrast.
Structure
And now it’s worthwhile to dwell in more detail on the structure of the sonata-symphonic cycle.
First of all, each party in it has a certain tonality, mood and pace. So how many parts are in the sonata-symphonic cycle? The location of the components is not accidental and is important. The classification of M. G. Aranovsky, a Russian musicologist, gives the following order:
- Part 1 "The man is acting";
- Part 2, “The Man Meditating”;
- Part 3, "The Man Playing";
- Part 4 "Man in society."
Sonata form
As mentioned above, usually the only part (the first part in most cases) is created in the form of a sonata - the highest musical form, according to most musicians, because it is it that allows the author to describe difficult life situations, events. If we talk about which part of the sonata-symphonic cycle is decisive, then, most likely, it will be directly the part written in sonata form.
Speaking of the sonata, we can draw an analogy with the drama. These are literary works intended for theatrical production. It is built according to the following principle:
- plot (getting to know the heroes, the emergence of the main conflict);
- development (events that more deeply reveal the identities of the heroes, change them);
- denouement (resolution of the main conflict, the result that the heroes come to).
The sonata form, on which the structure of the sonata-symphonic cycle directly depends, consists of:
- expositions - presentation of the main themes of a musical work;
- development - the development of already familiar topics, their change;
- reprise - the return of the original topics in a modified form.
Composition and use of the sonata form
Scope of use:
- The first part or finale of concerts, sonatas and symphonies.
- Symphonic piece or overture.
- Choral works, although this happens quite rarely.
Now let’s specifically consider what parts the sonata form consists of.
- Exposition. The main part (the main line, usually written in the main key). Binder (designed to combine the main and side parts, to ensure the transition from one key to another). Side party (a theme that is opposed to the main one is usually written in the key of the V stage - dominants of the key of the main part for major and III stage for minor); The final (final part of the exposition, usually fixes the tone of the side part. It is worth noting that the final and connecting parts of the slow part of the sonata-symphonic cycle are not independent, based on the musical material of the main and secondary themes and do not affect the development of the idea. This is a regularity, and not a strict rule, it can vary depending on the author’s desire, because for the composer the main thing is to convey the essence of the content, and not to observe all tonal and clock patterns. devoted to the works of V.A. Mozart (sonatas No. 11 and No. 14).
- Development. In this part, a work can develop in several scenarios. Using only the main and secondary parts to achieve artistic tasks does not always allow us to comply with all musical standards. As an example of musical works with the simplest development, we can name Y. Haydn (sonata No. 37), S. S. Prokofiev (symphony No. 1). Sometimes entry into the work of the sonata form plays a special role. It controls the speed of development (L. Beethoven, symphony No. 5, sonata No. 8; Franz Schubert, symphony No. 8). Sonatas of the twentieth century have an active development of themes in development (S. S. Prokofiev, sonata No. 2; N. K. Metner "Sonata-fantasy"). The author’s concept may include the following development options: future development of the main and secondary parties; the emergence of a new topic; maturation of the connecting and final parties.
- Reprise. The task of this part is to return to the themes of the exposition, transforming the tonality of the side theme into the main, and not dominant. Deviations are also possible here. Reprise can continue the development of the middle part or appear at the peak of a climax. For example, as in symphony No. 4 P.I. Tchaikovsky.
There are also musical works in sonata form, which do not end with a reprise, but have an additional part called “code”. This is the final section that sounds after the reprise. Helps to complement or expand the structure of the form. It may contain general themes or only one, which the composer took first place in importance in drama (I. Brahms, rhapsody in B minor; V.A. Mozart, sonata No. 14).
When analyzing the sonata form, it is important to identify the main themes and keys in which they are written. And also try to identify the patterns of appearance of such parties and the intent of their interaction in the work.
It is interesting to note that a sonata form is usually composed for a solo instrument.
Symphony and symphony orchestra
Initially, the word "symphony" denoted any sound combination. Later, this term was transformed into the concept of “overture” - an introduction to opera, to an orchestral suite.
Only at the beginning of the XVIII century the symphony turned into an independent concert work of four parts, intended for performance by a symphony orchestra. In its content, the symphony usually paints a picture of the world. All parts have their own individual image, semantic meaning, as well as form and pace. In general, each of the parts can be described as follows:
- This part is most saturated with events that occur in the life of a person. It is written in the form of a sonata; it is distinguished by a fast pace. The first part of the symphonic work is usually called the “sonata allegro”.
- It represents the solitude of a person with himself, his deepening in himself, reflection on the meaning of life, lyrical digression in the general idea of a musical work. It is characterized by a slow pace in a three-part or variational form.
- In contrast to the second part, it shows not the inner experiences of the hero, but the life surrounding him. To most vividly describe it, composers mainly used a minuet, and later a form such as a scherzo appeared, which is characterized by a moving pace in a complex three-part form with a trio in the middle of the part.
- The final part, the final. It summarizes the semantic content of the entire symphony. Very often composers base it on folk motifs at a fast pace. This part is distinguished by the sonata form, rondo or rondo-sonata.
Of course, each composer has his own vision of a picture of the world, which makes musical works truly unique. If we briefly talk about the sonata-symphonic cycle, each of them has its own type and features.
Symphony Orchestra Composition
As mentioned above, symphonies are written mainly for performance by a large orchestra of mixed composition. Such an orchestra is called a “symphony”. It includes 4 groups of tools:
- Percussion (timpani, cymbals). The largest group is used to create the globality of the work, to increase sonority.
- Woodwinds (flute, oboe, clarinet, bassoon).
- Wind instruments (trumpet, tuba, trombone, horn). Using the tutti technique, that is, playing together, they complement a piece of music with its powerful sound.
- Stringed bowed (violin, viola, cello, double bass). The tools of this group usually play a major role, lead the topic.
Sometimes they are used as solo instruments, but more often the strings are echoed and complement it.
If necessary, separate instruments are added to the composition: harp, organ, piano, celesta, harpsichord. In a small composition, a symphony orchestra can include no more than 50 performers, while a large orchestra can include up to 110 musicians.
Small symphony orchestras can often be found in small cities, since their use is inappropriate for most of the classical music. More often they play chamber music and music of early eras, which are characterized by the presence of a small number of instruments.
To indicate the size of the orchestra very often use the concept of "double" and "triple". This name comes from the number of wind instruments used (a pair of flutes, oboes, horns, etc.). In the fourth and fifth composition, an alto flute, piccolo, French horns, bass tubes, chimbasso are added.
Other forms
In addition to the performance of a part of the sonata - symphony cycle by a symphony orchestra, symphonies can be written for wind, string, chamber orchestra. Moreover, the choir or individual parts can additionally be added.
In addition to the symphony, there are other varieties of the genre. For example, a symphony is a concert, which is characterized by the performance of a work by an orchestra with one solo instrument. And if the number of solos increases (from 2 to 9 in different cases), then this subgenre is called a “concert symphony”.
All of these varieties are similar in structure.
Also called a symphony are works for the choir (choral symphony) and instruments (for example, organ or piano).
The symphony can be transformed into other, mixed works with the help of other musical genres. Namely:
- symphony is fantasy;
- symphony - suite:
- symphony - a poem;
- symphony - cantata.
Three-part form
What genres are in the form of a sonata-symphonic cycle? The three-part form also belongs to them. This variety, in turn, is divided into several types:
- Simple. The simple three-part form consists of several sections: a - b –a. a - the first part, which shows the main theme in the form of a period. b - the middle section in which the development of the declared topic or the emergence of a new one similar to it takes place. c - the third part, the music of which repeats the first section. This repetition may be exact, abbreviated or with some modifications.
- A complex three-part form: A - B - A. A - is composed in a simple form, which can consist of one or two parts (ab or aba). B - the middle part is a trio. A - reprise, which can accurately repeat the first batch, be modified or dynamic.
Becoming
The change in the sonata-symphonic cycle took place in stages. Musicians from Italy and Germany played an important role in this. These include:
- Arcangelo Corelli
- Antonio Vivaldia.
- Domenico Scarlatti. His concerti grossi, solo sonata and trio gradually formed the features of the sonata-symphonic cycle.
In addition to the Vienna school, the composers of the Mannheim school played an important role:
- Svyatoslav Richter.
- Karl Cannabich.
- Carl Philipp Stamitz.
At this time, the structure of the sonata-symphonic cycle was based on four sections. Then a new kind of classical orchestra appeared.
All these points prepared the appearance of the classic sonata-symphonic cycle in the work of J. Haydn. Its specific characteristics passed from the old sonata, but new features appeared.
Haydn
In total, this composer wrote 104 symphonies. He created the first musical work in this genre in 1759, and the final in 1795.
According to his work, one can trace the evolution of Haydn's sonata-symphonic cycle. Starting with examples of domestic and chamber music, he advanced to the Paris and London symphonies.
Paris symphonies
This is a series of pieces with the classical (paired) composition of the orchestra. The composition is characterized by a slow entry with subsequent contrast development.
The symphonic style of J. Haydn as a whole is characterized by an increase in figurative contrast, the individuality of the content.
"6 Paris Symphonies" were created in the 80s of the XVIII century. Most of the names of symphonic works by this composer are related to the circumstances in which they were written or performed.
London symphonies
A cycle of 12 works is rightfully considered one of the highest creations of this composer. The London symphonies have a special liveliness and cheerfulness, are not burdened by serious problems, because the main task of the author was to interest an experienced listener.
A pair of orchestral balances the sound of strings and woodwinds. This contributes to the harmonious and harmonious appearance of the symphony. Haydn symphonies are aimed at the listener and create a feeling of openness. Of no small importance in this is the use by the composer of song and dance, as well as everyday motifs, which were often borrowed from folk art. Their simplicity, woven into a complex system of symphonic development, acquires new dynamic and imaginative possibilities.
The classical composition of the orchestra, which includes all five groups of musical instruments, was established in the symphonic works of J. Haydn in a later period. In these symphonies, the most diverse aspects of life are presented in a single balanced way. This applies to lyrical and philosophical reflections, serious dramatic events and humorous situations, to summarize and speak briefly.
J. Haydn's sonata-symphonic cycle contains 3, 4 or 5 parts. Sometimes the composer changed the usual arrangement of parties in order to create a special mood. The improvisational moments of his works make it easy to grasp even the most ambitious and serious instrumental genres.