Sonata-symphonic cycle: characteristics of species, structure, genres and number of parts

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

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 to write sonatas, instrumental ensembles (quartet, trio, quintet) and concertos, as well as symphonies. The formation of the modern look of this form took place at the beginning of the 18th century, and the origin even earlier.

The structure of the classical sonata-symphony cycle occurred during the creation of such authors as V. A. Mozart and J. Haydn. Separately, Beethoven should be singled out, because he became the founder of the symphony, writing 104 pieces of music in this genre. All these musicians belong to the Viennese school. And now you need to figure out which genres have the form of a sonata-symphony cycle.

Genres

Such a musical form in the form of a cycle belongs to one of the following types:

• Symphony.
• Sonata.
• Concert.
• Instrumental Ensemble.

Classical sonata-symphony cycle

Features:

1. Homophonic - harmonic warehouse (this means that one of the voices is a melody, while the others echo, obey it. This term is usually opposed to polyphony - polyphony).
2. The themes within each part are contrasting (not counting the old forms).
3. Integral development.
4. All parts have individual content, form and speed (tempo).
5. Each part is replaced by a contrasting one.

Building

And now it is worth dwelling in more detail on the structure of the sonata-symphony cycle.

First of all, each part in it has a certain key, mood and tempo. So, how many movements are in the sonata-symphony 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:

• 1 part "Man in Action";
• 2 part "Man of Reflection";
• 3 part "Man playing";
• 4 part "Man in society".

Sonata form

As mentioned above, usually the only part (in most cases the first) is created in the form of a sonata - the highest musical form, according to most musicians, because it allows the author to describe complex life situations, events. If we talk about which part of the sonata-symphony cycle is decisive, then most likely it will be directly the partwritten in sonata form.

Speaking of the sonata, we can draw an analogy with the drama. These are literary works intended for a theatrical production. It is built according to the following principle:

• string (acquaintance with the characters, the emergence of the main conflict);
• development (events that more deeply reveal the personalities of the characters, 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-symphony cycle directly depends, consists of:

• exposures - presentation of the main themes of a piece of music;
• development - development of already familiar topics, their change;
• reprises - the return of the original themes in a modified form.

Composition and application of sonata form

Scope of use:

1. First movement or finale of concertos, sonatas and symphonies.
2. Symphonic piece or overture.
3. Choral pieces, although this rarely happens.

And now let's specifically consider what parts the sonata form consists of.

• Exposure. Main party (main line, usually written in the main key). Binder (designed to connect the main and side parts, to ensure the transition from one key to another). Side party (the theme, which is opposed to the main one, is usually written in the key of the fifth degree - the dominant key of the main party for major and third degree for minor); Final (the final part of the exposition, usually fixes the tonalityside party. At the same time, it should be noted that the final and connecting parts of the slow part of the sonata-symphony cycle are not independent, they are based on the musical material of the main and secondary themes and do not affect the development of the idea. This pattern, and not a strict rule, may vary depending on the desire of the author. Indeed, for a composer, the main thing is to convey the essence of the content, and not to observe all the tonal and clock patterns. For example, this concerns the work of V. A. Mozart (sonatas No. 11 and No. 14).
• Development. In this part, the work can develop according to several scenarios. Using only the main and side parts to achieve artistic goals does not always make it possible to comply with all musical norms. J. Haydn (sonata No. 37), S. S. Prokofiev (symphony No. 1) can be mentioned as an example of musical works with the simplest development. Sometimes the introduction in a work of 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. Medtner "Sonata-Fantasy"). The concept of the author may imply the following development options: the future development of the main and side parties; emergence of a new topic; the maturation of the connecting and final parts.
• Reprise. The task of this part is to return to the themes of the exposition, transforming the tone of the secondary theme into the main one, and not the dominant one. Here, too, deviations are possible. The reprise may continue the development of the middle part orappear at the peak of the climax. For example, as in Symphony No. 4 by P. I. Tchaikovsky.

There are also pieces of music in sonata form that do not end with a reprise, but have an additional movement called "coda". This is the final section that sounds after the reprise. Helps to complement or expand the structure of a form. It may contain general themes or only one, which the composer ranked first in importance in dramaturgy (I. Brahms, Rhapsody in B minor; W. A. Mozart, Sonata No. 14).

When analyzing sonata form, it is important to determine the main themes and keys in which they are written. And also try to identify patterns in the appearance of such parties and the idea of their interaction in the work.

It is interesting to note that 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 an opera, to an orchestral suite.

Only by the beginning of the 18th century, the symphony turned into an independent concert piece in four parts, intended to be performed by a symphony orchestra. By its content, a symphony usually paints a picture of the world. All parts have their own individual image, semantic meaning, as well as form and tempo. In general, each of the parts can be characterized something like this:

1. This part is the most eventful that happens in a person's life. Written in sonata format a fast pace. The first movement of a symphonic work is commonly referred to as a "sonata allegro".
2. It represents the solitude of a person with himself, his deepening into himself, reflection on the meaning of life, a lyrical digression in the general idea of a musical work. Characterized by slow tempo in three-part or variation form.
3. In contrast to the second part, it shows not the inner experiences of the hero, but the life around him. To describe it most vividly, composers mainly used the minuet, and later a form such as the scherzo appeared, which is characterized by a moving tempo in a complex three-part form with a trio in the middle of the part.
4. The final part, the finale. 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 sonata form, rondo or rondo sonata.

Of course, each composer has his own vision of the picture of the world, which makes musical works truly unique. Speaking briefly about the sonata-symphony cycle, each of them has its own type and features.

Composition of the symphony orchestra

As mentioned above, symphonies are written mainly for performance by a large mixed orchestra. Such an orchestra is called a "symphony". It includes 4 groups of instruments:

• Drums (timpani, cymbals). The most extensive group, used to create a global work, increase sonority.
• Woodwinds (flute, oboe, clarinet, bassoon).
• Winds (trumpet, tuba,trombone, horn). With the help of the “tutti” technique, that is, playing together, they complement the piece of music with their powerful sound.
• String-bowed (violin, viola, cello, double bass). The instruments of this group usually play the main role, lead the theme.

Sometimes they are used as solo instruments, but more often they echo string parts, complement it.

If necessary, separate instruments are added to the composition: harp, organ, piano, celesta, harpsichord. A small symphony orchestra can include no more than 50 players, while a large orchestra can include up to 110 musicians.

Small symphony orchestras are more likely to be found in small towns, since their use is impractical to perform most of the classical music. More often they perform 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, the concept of "double" and "triple" is very often used. This name comes from the number of wind instruments used (pairs of flutes, oboes, horns, etc.). Alto flute, piccolo, horn trumpets, bass tubas, chimbasso are added in quadruple and five composition.

Other shapes

Besides the performance of part of the sonata-symphony cycle by a symphony orchestra, symphonies can be written for wind, string, chamber orchestra. Moreover, they can additionally add a choir or individual parts.

Besides the symphony, there are other varieties of the genre. For example, a symphony is a concerto, 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 such a subgenre is called a "concert symphony".

All these varieties are similar in structure.

Also called a symphony works for choir (choral symphony) and instruments (for example, organ or piano).

Symphony can be transformed into other, mixed works with the help of other musical genres. Namely:

• symphony - fantasy;
• symphony-suite:
• symphony - poem;
• symphony - cantata.

Three-part form

What genres are in the form of a sonata-symphonic cycle? They also include a three-part form. This variety, in turn, is divided into several types:

• Simple. A simple tripartite form consists of several sections: a - b - a. a is the first part that shows the main theme in the form of a period. b - the middle section, in which the development of the stated topic or the emergence of a new one similar to it takes place. c is the third movement, the music of which repeats the first section. This repetition may be exact, abbreviated, or modified.
• 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 is a reprise that can exactly repeat the first part, be changed ordynamic.

Becoming

Changing 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, sonatas solo and trio gradually formed the features of the sonata-symphony cycle.

Besides the Viennese school, the composers of the Mannheim school played an important role:

• Svyatoslav Richter.
• Karl Cannabich.
• Carl Philipp Stamitz.

At that time, the structure of the sonata-symphony cycle was based on four sections. Then came a new kind of classical orchestra.

All these moments prepared the emergence of the classical sonata-symphonic cycle in the work of J. Haydn. Its specific characteristics are carried over from the old sonata, but there are also new features.

Haydn

In total, 104 symphonies were written by this composer. He created the first musical work in this genre in 1759, and the final one in 1795.

The evolution of Haydn's sonata-symphony cycle can be traced in his creative work. Starting with samples of everyday and chamber music, he advanced to the Paris and London symphonies.

Paris Symphonies

This is a cycle of works with a classical (pair) composition of the orchestra. The composition features a slow introduction followed by a contrasting development.

The symphonic style of J. Haydn as a whole is characterized by an increase in figurative contrast, individuality of content.

"6 Paris Symphonies" were created in the 80s of the XVIII century. Most of the titles of this composer's symphonic works are related to the circumstances under which they were written or performed.

London Symphonies

The cycle of 12 works is rightfully considered one of the highest creations of this composer. The London symphonies have a special liveliness and cheerfulness, they are not burdened with serious problems, because the main task of the author was to interest a sophisticated listener.

Pair orchestral composition balances the sound of strings and woodwinds. This contributes to the harmonious and harmonious appearance of the symphony. Haydn's symphonies are aimed at the listener and create a sense of openness. Of no small importance in this is the use by the composer of song and dance, as well as everyday motives, 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 work of J. Haydn in a later period. In these symphonies, the most diverse aspects of life are presented in a single balanced form. This applies to lyrical-philosophical reflections, serious dramatic events and humorous situations, to summarize and speak briefly.

Sonata-the symphonic cycle of J. Haydn contains 3, 4 or 5 parts. Sometimes the composer changed the usual arrangement of parts in order to create a special mood. The improvisational moments of his works make it easy to perceive even the largest and most serious instrumental genres.