Romeo and Julia symphonic poem by Berlioz. Berlioz. Symphony “Romeo and Juliet. Dramatic symphony after Shakespeare with choruses, vocal solos and a prologue in the form of choral recitative

His fame was first consolidated in that area in which comparatively very little had been done before him, namely in the field of artistic song, which occupies the same position in music as a lyric poem in poetry. The heightened individual pathos of romanticism, which was expressed in poetry earlier than in music, was a necessary prerequisite for the prosperity of this musical genre. An extremely multifaceted and flexible romance, with piano accompaniment, was explored by Schubert in a variety of directions. Achieving without any difficulty the unity of musical form and poetic content, Schubert poured out an endless variety of poetic motifs in his romances, and, at the same time, so correctly grasped the musical essence of the poems he set to music that we still perceive many of them only in that interpretation. what he gave them.

The main characteristics of Franz Schubert are his songs. None of the composers before him devoted as much creative imagination and energy to this area as Schubert. The number of songs he wrote reaches 600. It should be emphasized that Schubert calls his vocal works “songs”. In them he completely breaks with traditional arias and operatic romances. Despite the fact that during Schubert’s lifetime his songs were known only to a small circle of his friends (Goethe did not even consider it necessary to respond to the compositions sent to him by Schubert), these songs quickly entered everyday life and became widespread. The sources of Schubert's melody are folk song, mass dance, which he raised to enormous artistic heights.

The texts of Schubert's songs cover almost all German poets from the last decades of the 18th century, right up to Heine (1828). Schubert was closest to texts that conveyed the life experiences of a “simple” person (a wandering apprentice - the cycles “The Beautiful Miller’s Wife”, “Winter Journey”), but he also wrote music based on Goethe’s deeply philosophical poems. He gives his best inspirations to Goethe (“Margarita at the Spinning Wheel”, “The Forest King”, “The Boundaries of Humanity”). Schubert's songs, with few exceptions, were published in random publications. For example, his “Traveler” was published in the “Almanac for a Fun Pastime”.

Schubert's songs reflect his entire deep spiritual life as a romantic musician, socially disadvantaged, fruitlessly seeking a way out of life's hardships, poverty, unable to fight and defend himself. But on the other hand, his music is all permeated with health, a passionate love for nature (the sun, the stars). In piano accompaniment, Schubert strives for musical clarity and realism of sound expression.

Schubert belongs to the first romantics (the dawn of romanticism). His music does not yet contain such condensed psychologism as that of the later romantics. This is a composer - lyricist. The basis of his music is inner experiences. Conveys love and many other feelings in music. In the last work the main theme is loneliness. He covered all genres of the time. He brought in a lot of new things. The lyrical nature of his music predetermined his main genre of creativity - the song. He has over 600 songs. Songfulness influenced the instrumental genre in two ways:

The use of song themes in instrumental music (the song “Wanderer” became the basis of a piano fantasy, the song “The Girl and Death” became the basis of the quartet).

Penetration of songfulness into other genres.

Schubert is the creator of a lyric-dramatic symphony (unfinished). Song theme, song presentation (unfinished symphony: Part I– g.p., p.p.. Part II– p.p.), the principle of development is the form, like that of a verse, complete. This is especially noticeable in symphonies and sonatas. In addition to the lyrical song symphony, he also created an epic symphony (C major). He is the creator of a new genre - the vocal ballad. Creator of romantic miniatures (impromptu and musical moments). Created vocal cycles (Beethoven had an approach to this).

The creativity is enormous: 16 operas, 22 piano sonatas, 22 quartets, other ensembles, 9 symphonies, 9 overtures, 8 impromptu, 6 musical moments; music related to everyday music playing - waltzes, lenglers, marches, more than 600 songs.

Life path.

Born in 1797 on the outskirts of Vienna - in the city of Lichtenthal. Father - school teacher. A large family, they were all musicians and played music. Franz's father taught him to play the violin, and his brother taught him the piano. A familiar regent for singing and theory.

1808-1813

Years of study in Konvikt. This is a boarding school that trained court singers. There, Schubert played the violin, played in the orchestra, sang in the choir, and participated in chamber ensembles. There he learned a lot of music - the symphonies of Haydn, Mozart, the 1st and 2nd symphonies of Beethoven. Favorite work is Mozart's 40th Symphony. In Konvikt he became interested in creativity, so he abandoned other subjects. In Konvikta he took lessons from Salieri from 1812, but their views were different. In 1816 their paths diverged. In 1813, he left Konvikt because his studies interfered with his creativity. During this period, he wrote songs, a fantasy for 4 hands, the 1st symphony, wind works, quartets, operas, and piano works.

1813-1817

He wrote his first song masterpieces (“Margarita at the Spinning Wheel,” “The Forest Tsar,” “Trout,” “Wanderer”), 4 symphonies, 5 operas, and a lot of instrumental and chamber music. After Konvikt, Schubert, at the insistence of his father, completed teaching courses and taught arithmetic and the alphabet at his father’s school.

In 1816 he left school and tried to get a position as a music teacher, but failed. The connection with my father was severed. A period of disaster began: I lived in a damp room, etc.

In 1815 he wrote 144 songs, 2 symphonies, 2 masses, 4 operas, 2 piano sonatas, string quartets and other works.

Fell in love with Teresa Grob. She sang in the choir at the Lichtenthal Church. Her father married her to a baker. Schubert had a lot of friends - poets, writers, artists, etc. His friend Spout wrote about Schubert Goethe. Goethe did not answer. He had a very bad character. He didn't like Beethoven. In 1817, Schubert met the famous singer Johann Vogl, who became a fan of Schubert. In 1819 he made a concert tour of upper Austria. In 1818, Schubert lived with his friends. For several months he served as a home teacher for Prince Esterhazy. There he wrote a Hungarian divertimento for piano 4 hands. Among his friends were: Spaun (who wrote memoirs about Schubert), the poet Mayrhofer, the poet Schober (Schubert wrote the opera “Alphonse and Estrella” based on his text).

There were often meetings of Schubert's friends - the Schubertiades. Vogl was often present at these Schubertiades. Thanks to the Schubertiades, his songs began to spread. Sometimes his individual songs were performed at concerts, but operas were never staged and symphonies were never played. Schubert was published very little. The first edition of the songs was published in 1821, funded by admirers and friends.

Early 20s.

The dawn of creativity - 22-23. At this time he wrote the cycle “The Beautiful Miller's Wife”, a cycle of piano miniatures, musical moments, and the fantasy “The Wanderer”. Schubert's everyday side continued to be difficult, but he did not lose hope. In the mid-20s, his circle broke up.

1826-1828

Last years. His hard life reflected in his music. This music has a dark, heavy character, the style changes. IN

songs appear more declamatory. Less roundness. The harmonic basis (dissonances) becomes more complex. Songs based on Heine's poems. Quartet in D minor. At this time the symphony in C major was written. During these years, Schubert once again applied for the position of court conductor. In 1828, recognition of Schubert's talent finally began. His author's concert took place. He died in November. He was buried in the same cemetery as Beethoven.

Schubert's songwriting

600 songs, collection of late songs, collection of late songs. The choice of poets is important. I started with the work of Goethe. He ended with a tragic song on Heine. Wrote for Schiller “Relshtab”.

Genre – vocal ballad: “The Forest King”, “Grave Fantasy”, “To the Father of the Murderer”, “Agaria’s Complaint”. The genre of the monologue is “Margarita at the Spinning Wheel.” Genre of the folk song “Rose” by Goethe. Song-aria – “Ave Maria”. The genre of the serenade is “Serenade” (Relshtab serenade).

In his melodies he relied on the intonation of an Austrian folk song. The music is clear and sincere.

The connection between music and text. Schubert conveys the general content of the verse. The melodies are broad, generalized, and flexible. Some of the music notes the details of the text, then more recitativeness appears in the performance, which later becomes the basis of Schubert’s melodic style.

For the first time in music, the piano part acquired such a meaning: not an accompaniment, but a carrier of a musical image. Expresses an emotional state. Musical moments arise. “Margarita at the Spinning Wheel”, “The Forest King”, “The Beautiful Miller’s Wife”.

Goethe's ballad “The Forest King” is structured as a dramatic refrain. Pursues several goals: dramatic action, expression of feelings, narration, author's voice (narration).

Vocal cycle “The Beautiful Miller's Wife”

1823. 20 songs based on poems by W. Müller. Cycle with sonata development. The main theme is love. The cycle has a hero (miller), an episodic hero (hunter), and a main role (stream). Depending on the state of the hero, the stream gurgles either joyfully, lively, or violently, expressing the pain of the miller. The 1st and 20th songs sound on behalf of the stream. This unifies the cycle. The last songs reflect peace, enlightenment in death. The overall mood of the cycle is still bright. The intonation structure is close to everyday Austrian songs. Wide in intonation of chants and sounds of chords. In the vocal cycle there is a lot of songfulness, chanting and little recitativeness. The melodies are broad and generalized. Mostly the song forms are verses or simple 2 and 3 parts.

1st song - "Let's hit the road". B-dur, cheerful. This song is on behalf of the stream. He is always depicted in the piano part. Exact couplet form. The music is close to Austrian folk songs.

2nd song - "Where". The miller sings, G major. The piano has the gentle murmur of a stream. The intonations are wide, sing-song, close to Austrian melodies.

6th song - “Curiosity.” This song features quieter, more subtle lyrics. More detailed. H-dur. The form is more complex - unremarkable 2 private form.

Part 1 – “Neither stars nor flowers.”

The 2nd part is larger than the 1st. Simple 3-part form. Appeal to the stream - 1st section of the 2nd part. The murmur of the stream appears again. This is where major-minor comes into play. This is typical of Schubert. In the middle of the 2nd movement the melody becomes recitative. An unexpected twist in G major. In the reprise of the 2nd section, major-minor appears again.

Song form diagram

A - C

CBC

11 song - "My". There is a gradual increase in lyrical joyful feeling in it. It is close to Austrian folk songs.

12-14 songs express complete happiness. A turning point in development occurs in song No. 14 (Hunter) – c-moll. The fold is reminiscent of hunting music (6\8, parallel sixth chords). Further (in the following songs) there is an increase in sadness. This is reflected in the piano part.

15 song - “Jealousy and pride.” Reflects despair, confusion (g-moll). 3-part form. The vocal part becomes more declamatory.

16 song - "Favorite color". h-moll. This is the mournful culmination of the entire cycle. The music has rigidity (astinate rhythm), constant repetition of F#, sharp arrests. The comparison between h-moll and H-dur is typical. Words: “Into the green coolness...”. For the first time in the cycle, the text contains a memory of death. Further it will permeate the entire cycle. Verse form.

Gradually, towards the end of the cycle, a sad enlightenment occurs.

19 song - “The Miller and the Stream.” g-moll. 3-part form. It's like a conversation between a miller and a stream. The middle is in G major. The babbling stream near the piano appears again. Reprise - the miller sings again, again in G-moll, but the murmur of the stream remains. At the end, enlightenment is G-major.

20 song - “Lullaby of the stream.” The stream calms the miller at the bottom of the stream. E-dur. This is one of Schubert’s favorite keys (“Lip’s Song” in “Winter Reise”, 2nd movement of the unfinished symphony). Verse form. The words: “Sleep, sleep” from the face of the stream.

Vocal cycle “Winter Way”

Written in 1827. 24 songs. Just like “The Beautiful Miller's Wife”, to the words of W. Müller. Despite being 4 years apart, they are strikingly different from each other. The 1st cycle is light in music, but this one is tragic, reflecting the despair that gripped Schubert.

The theme is similar to the 1st cycle (also the theme of love). The action in the 1st song is much less. The hero leaves the city where his girlfriend lives. His parents leave him and he (in winter) leaves the city. The rest of the songs are lyrical confessions. Predominance of minor key. The songs are tragic. The style is completely different. If we compare the vocal parts, the melodies of the 1st cycle are more generalized, reveal the general content of the poems, are broad, close to Austrian folk songs, and in “Winter Reise” the vocal part is more declamatory, there is no songfulness, much less close to folk songs, and becomes more individualized.

The piano part is complicated by sharp dissonances, transitions to distant keys, and enharmonic modulations.

The forms are also becoming more complex. The forms are saturated with end-to-end development. For example, if it is a verse form, then the verse varies; if it is a 3-part form, then the reprises are greatly changed and dynamized (“By the Stream”).

There are few songs in major keys, and even minor keys penetrate into them. These bright islands: “Linden Tree”, “Spring Dream” (the culmination of the cycle, No. 11) - romantic content and harsh reality are concentrated here. Section 3 – laughing at yourself and your feelings.

1 song – “Sleep well” d-moll. The measured rhythm of July. “I came by someone else’s path, I will leave by someone else’s.” The song begins with a high climax. Verse-variation. These couplets vary. 2nd verse – d-moll – “I can’t hesitate any longer.” Verse 3-1 – “No more waiting here.” 4th verse – D-dur – “Why disturb peace.” Major, as a memory of a beloved. Already inside the verse the minor returns. The end is in a minor key.

3rd song – “Frozen Tears” (f-moll). Depressing, heavy mood - “Tears stream from the eyes and freeze on the cheeks.” The melody has a very noticeable increase in recitativeness - “Oh, these tears.” Tonal deviations, complicated harmonic composition. 2-part form of end-to-end development. There is no reprise as such.

4th song – “Daze”, c-moll. A very broadly developed song. Dramatic, desperate character. “I am looking for her traces.” Complex 3-part form. The extreme parts consist of 2 topics. 2nd topic in g-moll. “I want to fall to the ground.” Interrupted cadences prolong development. Middle part. Enlightened As-dur. “Oh, where are the flowers of old?” Reprise – 1st and 2nd theme.

5th song - "Linden". E-dur. E-moll creeps into the song. Verse-variation form. The piano part depicts the rustling of leaves. Verse 1 – “There is a linden tree at the entrance to the city.” Calm, peaceful melody. There are very important piano parts in this song. They are figurative and expressive in nature. The 2nd verse is already in e-moll. “And hasten on a long journey.” A new theme appears in the piano part, the theme of wanderings with triplets. In the 2nd half of the 2nd verse a major key appears. “The branches began to rustle.” The piano fragment depicts gusts of wind. Against this background, a dramatic recitative sounds between the 2nd and 3rd verses. “Wall, cold wind.” 3rd verse. “Now I am already wandering far away in a foreign country.” The features of the 1st and 2nd verses are combined. The piano part contains the theme of wanderings from the 2nd verse.

7th song - “By the stream.” An example of end-to-end dramatic development of form. It is based on a 3-part form with strong dynamization. E-moll. The music is frozen and sad. “Oh my stormy stream.” The composer strictly follows the text, modulations occur in cis-minor on the word “now”. Middle part. “On ice I’m like a sharp stone.” E-dur (talking about the beloved). There is a rhythmic revival. Acceleration of pulsation. Sixteenth note triplets appear. “I will leave the happiness of the first meeting here on the ice.” The reprise has been greatly modified. Strongly expanded - in 2 hands. The theme goes into the piano part. And in the vocal part there is the recitative “In a frozen stream I recognize myself.” Rhythmic changes appear further. 32nd durations appear. The dramatic climax towards the end of the play. Many deviations – e-moll, G-dur, dis-moll, gis-moll – fis-moll – g-moll.

11 song - “Spring Dream”. Semantic culmination. A major. Light. It seems to have 3 spheres:

memories, dream

sudden awakening

mockery of your dreams.

1st section. Waltz. Words: “I dreamed of a cheerful meadow.”

2nd section. Sharp contrast (e-moll). Words: “The rooster crowed suddenly.” The rooster and raven are a symbol of death. This song features a rooster and song #15 features a raven. A characteristic comparison of tonalities is e-moll – d-moll – g-moll – a-moll. The harmony of the second low stage sounds sharply at the tonic organ point. Sharp intonations (there are nones).

3rd section. Words: “But who decorated all my windows with flowers?” A minor dominant appears.

Verse form. 2 verses, each consisting of these 3 contrasting sections.

14 song - “Gray hairs.” Tragic character. C minor. A wave of hidden drama. Dissonant harmonies. There are similarities with the 1st song (“Sleep well”), but in a distorted, aggravated version. Words: “I decorated my forehead with frost...”.

15 song - "Crow". C minor. Tragic enlightenment due to

for figurations in triplets. Words: “The black raven set off on a long journey after me.” 3-part form. Middle part. Words: “Raven, strange black friend.” The melody is declamatory. Reprise. After it comes a piano conclusion in a low register.

20 song - “Waypost”. The rhythm of the step appears. Words: “Why did it become difficult for me to walk along the main roads?” Distant modulations – g-moll – b-moll – f-moll. Verse-variation form. Comparison of major and minor. 2nd verse – G major. 3rd verse – g minor. The code is important. The song conveys frozenness, numbness, the spirit of death. This manifests itself in the vocal line (constant repetition of one sound). Words: “I see a pillar - one of many...”. Distant modulations – g-moll – b-moll – cis-moll – g-moll.

24 song - “Organ grinder.” Very simple and deeply tragic. A minor. The hero meets the unfortunate organ grinder and invites him to endure grief together. The entire song is on the fifth tonic organ point. The quints represent a barrel organ. Words: “Here the organ grinder stands sadly outside the village.” Constant repetition of phrases. Verse form. 2 verses. There is a dramatic climax at the end. Dramatic recitative. It ends with the question: “Do you want us to endure grief together, do you want us to sing together under a barrel organ?” There are diminished seventh chords on the tonic organ point.

Symphonic creativity

Schubert wrote 9 symphonies. During his lifetime, not one of them was fulfilled. He is the founder of the lyric-romantic symphony (unfinished symphony) and the lyric-epic symphony (No. 9 - C major).

Unfinished Symphony

Written in 1822 h minor. Written at the time of creative dawn. Lyrical-dramatic. For the first time, a personal lyrical theme became the basis of a symphony. Songliness pervades it. It permeates the entire symphony. It manifests itself in the character and presentation of themes - melody and accompaniment (as in a song), in form - a complete form (like a verse), in development - it is variational, the proximity of the sound of the melody to the voice. The symphony has 2 movements – H minor and E major. Schubert started writing the 3rd part, but gave up. It is characteristic that before this he had already written 2 piano 2-movement sonatas - Fis-dur and e-moll. In the era of romanticism, as a result of free lyrical expression, the structure of the symphony changes (a different number of parts). Liszt tends to compress the symphonic cycle (Faust Symphony in 3 movements, Dont's Symphony in 2 movements). Liszt created a one-movement symphonic poem. Berlioz has an expansion of the symphonic cycle (Symphony Fantastique - 5 parts, Symphony “Romeo and Juliet” - 7 parts). This happens under the influence of programming.

Romantic features are manifested not only in song and 2 parts, but also in tonal relationships. This is not a classic ratio. Schubert takes care of the colorful tonal relationship (G.P. - h-moll, P.P. - G-dur, and in the reprise of P.P. - in D-dur). The tertian ratio of tonalities is typical for romantics. In Part II of G.P. – E-dur, P.P. – cis-moll, and in the reprise P.P. – a-moll. Here, too, there is a tertiary tonal ratio. A romantic feature is also the variation of themes - not the fragmentation of themes into motives, but the variation of the whole theme. The symphony ends in E major, and it itself ends in B minor (this is also typical for romantics).

Part I – h-moll. The theme of the introduction is like a romantic question. It's in lower case.

G.P. – h-moll. A typical song with melody and accompaniment. Clarinet and oboe perform as soloists, and strings accompany. The form, like that of the verse, is complete.

P.P. – not contrasting. She is also a song, but she is also a dance. The theme goes to the cello. Dotted rhythm, syncopation. Rhythm is, as it were, a connection between the parts (because it is also in P.P. in the second part). In it there is a dramatic change in the middle, it is sharp in the fall (transition to c-moll). At this turning point, the GP theme intrudes. This is a classic feature.

Z.P. – built on the theme of P.P.. G-major. Canonical implementation of the theme in different instruments.

The exposition is repeated - like the classics.

Development. On the verge of exposition and development, the theme of the introduction arises. Here it is in e-mall. The development involves the introduction theme (but dramatized) and the syncopated rhythm from P.P.’s accompaniment. The role of polyphonic techniques is enormous here. There are 2 sections in development:

1st section. Introduction topic to e-moll. The ending has been changed. The theme comes to a climax. Enharmonic modulation from h-moll to cis-moll. Next comes the syncopated rhythm from P.P.. Tonal plan: cis-moll – d-moll – e-moll.

2nd section. This is a converted intro theme. It sounds menacing and commanding. E-moll, then h-moll. The theme is first in the brass, and then runs through the canon in all voices. A dramatic climax, built on the theme of the opening canon and on the syncopated rhythm of P.P.. Next to it is a major climax - D-dur. Before the reprise there is a roll call of woodwinds.

Reprise. G.P. – h-moll. P.P. – D-dur. In P.P. again there is a turning point in development. Z.P. – H-dur. Cross calls between different instruments. Canonical performance of P.P.. On the verge of reprise and coda, the introduction theme sounds in the same key as at the beginning - in B minor. All code is built on it. The theme sounds canonical and very mournful.

Part II. E-dur. Sonata form without development. There is landscape poetry here. In general, she is bright, but there are flashes of drama in her.

G.P.. Song. The theme is for the violins, and the bass is pizzicato (for the double basses). Colorful harmonic combinations – E-dur – e-moll – C-dur – G-dur. The theme has lullaby intonations. 3-part form. It (the form) is finished. The middle is dramatic. Reprise of G.P. abbreviated.

P.P.. The lyrics here are more personal. The theme is also a song. In it, just like in P.P. Part II, syncopated accompaniment. It connects these themes. Solo is also a romantic trait. Here the solo is first for the clarinet, then for the oboe. The tonalities are chosen very colorfully – cis-moll – fis-moll – D-dur – F-dur – d-moll – Cis-dur. 3-part form. The middle is variable. There is a reprise.

Reprise. E-dur. G.P. – 3-part. P.P. – a-moll.

Code. Here, all the topics in turn seem to dissolve. Elements of G.P. are heard.

The cycle of vocal miniatures with piano accompaniment “Winter Retreat” represents a tragic peak in creativity Franz Schubert . Hopelessness, darkness and cold correspond to the mood of the music. Time seems frozen in ice, there is nothing else but the path alone.

History of creation "Winter Retreat" Schubert, the content of the work and many interesting facts read on our page.

History of creation

The composer's idea of ​​composing the cycle arose in 1827 after reading the collection of poems of the same name by the famous German author Wilhelm Müller. During this period of life, fate played a cruel joke on the romantic composer. He was on the threshold of a life of poverty, was actively looking for a permanent job, his works were not published either in Germany or in Switzerland. Franz was refused the position of court conductor at the Vienna Opera. He was also denied other jobs. I finally lost faith in myself and was in a depressed state.

He could not compose until he read a recently published collection of poems by his favorite author, Müller. Imbued with the content of the poems to the depths of his soul, Schubert began to actively work on the selection of poems. He tried for a long time to choose the most significant works of the author, but could not, so all 24 verses are included in the cycle. But Franz changed their order. First, the first part was composed, which included only 12 songs.

During the composition, Schubert was in a pronounced depressive state. People close to him recalled that he was deeply upset about something and was morally depressed. All of him appearance talked about fatigue. He answered all questions that soon you will be able to hear new works. When you hear them, my condition will become clear to you.

Afterwards, he invited close friends to Schober’s to listen to the “terrible” songs. There he performed the first part of the cycle. Listeners found themselves burdened by the hopelessness of the music. Everyone unanimously admitted that they only liked the song “Linden.” Schubert was offended and said that all these songs are a thousand times better than what he had previously written. Nevertheless, the songs were heard in many noble houses during the composer’s lifetime.

Schubert edited the second part of the cycle while he was already ill. The composer died without seeing the premiere of the cycle. A month after Franz's death, one of the publishing houses agreed to accept the collection for publication. The songs became popular. In January 1828, the entire cycle of miniatures was performed without interruption at the Vienna Society of Music Lovers. Its performer was a university professor with extraordinary vocal abilities.

Interesting Facts

• In December 2001, a ballet of the same name was staged based on the music and plot of “Winter Retreat.” The ballet version was created by John Neumeier. The rather expressive orchestration was created specifically for the ballet interpretation by Hans Zehnder. The premiere left mixed reviews from critics.
• The cycle is written for tenor, but there are a huge number of interpretations for other voices, both male and female.
• In Europe, the collection of works is the most performed and popular cycle; in Russia, “Winter Retreat” is quite rarely performed on the big stage.
• Franz was seriously interested in vocal music; he wanted to help the young and talented composer get on his feet. Unfortunately, Beethoven died soon after.

• The best performers were Dietrich Fischer-Dieskau and Gerald Moore. Still have them
• Over the course of his life, he wrote more than six hundred songs, including two cycles.
• Wilhelm Müller wrote Winterreise when he was only 19 years old.
• Schubert's only concert was given in 1828; it is noteworthy that it was dedicated to the presentation of the 1st part of the cycle, and also included many piano miniatures. The performance was a success, but it was quickly forgotten.

Content

"is a musical collection of 24 vocal miniatures. Home distinctive feature is pronounced story line, connecting all numbers.

Poverty lyrical hero makes him give up the idea of ​​marrying his beloved, because he cannot give her confidence in the future. He has nothing more to lose, he is broken by the situation. The hero does not seek compassion, because he knows that everyone only cares about their own future, and no one cares about him. He sets off on his journey completely alone. Along the way he will meet others characters, but they pass by. Loneliness in this world has become an unbearable burden for the romantic. But what is he looking for on a cold winter night? A wanderer in search of eternal peace for his soul, tormented by suffering and adversity. Escaping from problems, and not solving them, ruined him, turning him from a cheerful and cheerful person into a doomed traveler. He found what he was looking for. His tragedy was over.

It should be noted that Schubert showed innovation in Winterreise and gave a greater role not to the vocal part, but to the piano part. The accompaniment allows one to express the enormous emotional amplitude of the lyrical hero.

In many ways, we can consider that the cycle became a tragic denouement " The beautiful miller's wife " But the dramatic difference can be seen with the naked eye. Schubert tried to dramatize the composition, so it is built on many contrasting images. At the same time, contrasts are built both between the rooms and within them. The theme of loneliness of the lyrical hero, which can be seen in many numbers, can be considered a single thematic outline.

The composer is trying to compare two worlds: this is the world of dreams and a bright past, filled with memories of his beloved, of their cloudless happiness, and another world in which a deafening emptiness has settled. These two worlds divide the cycle into 12 issues.

In the first part The most vividly constructed numbers from the point of view of dramaturgy are “Sleep Well”, “Weather Vane”, “Daze”, “Linden Tree” and “Spring Dream”:

• #1 “Sleep Well” plays the opening role. Here the listener is introduced to past love, about unfulfilled dreams and hopes. The melodic pattern begins from the top of the source, which speaks of the serenity and calmness of the music. The key changes to a bright major when the lyrical hero remembers his beloved.
• No. 2 “Weather vane”. The changeability of wind direction symbolizes the variability of life. Today a warm south wind is blowing, and life seems like a fairy tale, but soon it will change to a cold winter one. Each phrase is built on contrast. Sound-visual accompaniment plays a special role.
• No. 4 “Daze” returns the theme of the stream from the cycle “The Beautiful Miller’s Wife”, this is evidenced by the uniform triplet rhythms. The key of C minor reminds us that the stream has begun to freeze. The gloomy melody will become a counterpoint in the further implementation of the theme.
• No. 5 “Linden” In the accompaniment, everyone will be able to hear the rustling of leaves, which is associated with anxiety. Soon all dreams will fade away, and there will be nothing left but pain and disappointment. Form: verse-variation allows you to express the sincerity and faith of the lyrical hero that everything could be truly good. Linden is a reminder of a past life.
• No. 11 “Spring Dream” is a vivid example of the dramatization of a work. Idyll, dreams, daydreams crumble into small fragments on reality. Instead of a sweet dream, the lyrical hero found himself in a world where everything is filled with a minor scale.

A final breakdown has occurred; if in the first part there was hope for a positive outcome, then the development of the second part completely confirms the tragic concept.

Second part becomes the embodiment of darkness. The theme of loneliness in the music is replaced by the image of imminent, inevitable death. The most striking numbers include:

• No. 15 "Raven". The title of the room no longer bodes well. The raven is a symbol of brokenness. He accompanies a tired traveler. In the key of C minor you can hear drooping intonations. The path is almost over, and there is no longer room for love and light. He chose this path himself because he did not want to change the situation.
• No. 24 “Organ Grinder” is the final number of the cycle, built on monotonous intonations. A street musician in this context is a reflection of art, merciless to geniuses. The means of expressiveness of music make one hear the intonations of a barrel organ, which include a perfect fifth in the bass, as well as the monotony of the melody in the refrain.

“Winter Retreat” is a real tragedy of a person’s life, a small musical novel in which there was no Happy Ending. But not a fictional lyrical hero, but Schubert. He had to go through a difficult and thorny path. But he left a huge wealth for humanity - his music.

Use of music in cinema

The music of the Winter Reise cycle is not popular enough for cinema. Nevertheless, some filmmakers were inspired by the theme of loneliness, visible in the numbers of the cycle, to create films. In the films below, Schubert's music is not just a background, it helps to reveal the director's intent.

• The Pianist is a French film that tells the story of the personal drama of Eric Kohut, a professor at the Vienna Conservatory. Her favorite composer is Franz Schubert; the music of Winterreise plays a formative role in the film and helps to better understand the content of the plot. The film was shot in 2001 in France and received several awards at the Cannes Film Festival.
• Winterreise is a domestic drama that tells the story of vocalist Eric. The name of the hero refers the viewer to the film “The Pianist,” emphasizing the similarity of the themes. The vocalist is actively rehearsing Schubert's songs; he is tired of the falsehood of the world of classical art. Fate pits him against Lekha, a desperate thief. Two different worlds- the same problems.

The films have a tragic ending and show another side of the lives of artistic people. The world of beauty is deceptive; it does not guarantee fame and recognition. The path of a genius is loneliness and misunderstanding. Schubert's biography is a vivid example of the life outcome of a creative personality. He managed to express his own disappointment through music and through the lyrical hero of the cycle.

The vocal cycle "" is the final chord in the work. The miniatures are filled with deep meaning, which can be understood through musical language. The cold and darkness of music is a reflection of the inner world of a musician who has lost hope and faith in a happy future.

Video: listen to Schubert's "Winter Reise"