Musical fantasies. Fantasy musical Fantasy work of music
Musical fantasy. What does this mean?
The Greek word phantasia translates to imagination. We are accustomed to using it in the sense - a whim, a fiction. In music, fantasies began to refer to works that were peculiar in form, which did not fit into the framework of traditional forms. “He fantasizes,” they sometimes said about the improviser. So, in the works of J.S.Bach, fantasies were sometimes preceded by organ fugues. Fantasies were written by Mozart, Beethoven, Chopin.
L. van Beethoven
Sonata "In the Spirit of Fantasy" No. 14 in C sharp minor, Op. 27 No. 2
("Moonlight")
W. A. Mozart
Fantasia in D minor, KV 397
F. Chopin
Fantasia in F minor, Op. 49
In the 19th century, fantasies appeared in program music, where the logic of its development should correspond to the literary program.
P.I. Tchaikovsky
Overture-Fantasy "Francesca da Rimini"
Another common type of musical fantasy is a piece composed on themes borrowed by the composer; themes folk songs, opera excerpts, etc.
A. Arensky.
Fantasia for piano and orchestra on the themes of Ryabinin's epics.
F.List
Fantasy on Hungarian folk themes
A. Tsygankov
Russian fantasy
You can often hear fantasies on the themes of songs by one composer or another, on music from operettas and other similar orchestral compositions.
Fantasy on the themes of songs by T. Khrennikov
A. Rosenblat.
Concert fantasy based on the opera "Carmen" by J. Bizet.
Fantasy- (gr. phantasie - imagination, fiction)
1. Musical composition in a free form that does not coincide with the established forms of construction
2. An instrumental piece featuring whimsical, fantastic content and character of music
3. Free interpretation of various genres
4. A genre of instrumental or orchestral music, close to paraphrase, rhapsody or "montage" of themes and excerpts, similar to a medley
MULTIPLICATION
MUSICAL
FANTASY
"Fantasy"(English "Fantasia") is a classic full-length musical animated film created by the Walt Disney Company in 1940. The painting consists of nine numbers, the music for which was performed by the Philadelphia Orchestra under the direction of Leopold Stokowski.
"Fantasy" has become one of the most daring experiments of Walt Disney. In the cartoon, stereophonic sound was first used, and the style of the picture tends to abstraction and avant-garde.
The film consists of nine episodes, in which fragments serve as background music classical pieces... Each of the parts of the film is made in its own style and storyline independent, and as connecting links between them are small film inserts with the participation of the Philadelphia Orchestra under the direction of Leopold Stokowski.
Each episode begins with an orchestral introduction. The film begins as a performance: the curtain rises in the twilight, the silhouettes of the musicians appear against a blue background, accompanied by the noise of tuned instruments. The narrator greets the audience. While he tells the audience about the three types of music, the sound of the instruments gradually clears up and their sound merges into harmony. The three types of music are narrative, story-telling, illustrative (background), and absolute, self-contained.
J.S.Bach -Tokkata and Fugue in D minor, BWV 565
P. Tchaikovsky - Suite from the ballet "Nutcracker"
P. Duke - "The Sorcerer's Apprentice"
I. Stravinsky - "The Rite of Spring"
L. van Beethoven - Symphony No. 6
A. Ponchielli "Dance of the Hours" from the opera "La Gioconda"
M. Mussorgsky -Night on Lysaya Gora
F. Schubert - Ave Maria
K. Debussy "Moonlight"
A cartoon was released in 1999 "Fantasy 2000" using modern technologies.
L. van Beethoven "Fifth Symphony"
O.Respigi "Pines of Rome"
D. Gershwin "Rhapsody in Blue"
D. Shostakovich "Concerto for Piano and Orchestra No. 2, Allegro, Opus 102"
C. Saint-Saens "Carnival of the Animals", finale
P. Duke "The Sorcerer's Apprentice"
E. Elgar “Pomp and Circumstance, Marches 1, 2, 3, 4
I. Stravinsky Suite from the ballet "The Firebird"
text from multiple sources
Musical fantasy Fantasy is a musical form deviating in its construction from the established musical forms rondo and sonata. F.'s form is free and depends on the wishes of the composer. Nevertheless, F.'s construction must have a certain consistency. Although Liszt's symphonic poems belong to F., nevertheless, their musical architecture is distinguished by great harmony. F. wrote Bach (chromatic F. for piano), Liszt (Hungarian F. for piano and orchestra), Beethoven (F. for piano, chorus and orchestra, op. 80), Dargomyzhsky (Chukhonskaya F.). F. are written for orchestra and programs; in this case, F.'s planning depends on the plot. The field of physics includes improvisation, in which the form is formed impromptu.
encyclopedic Dictionary F. Brockhaus and I.A. Efron. - S.-Pb .: Brockhaus-Efron. 1890-1907 .
See what "Musical Fantasy" is in other dictionaries:
FANTASY (from the Greek phantasia imagination), a free-form piece of music, including themes from operas, ballets, melodies of folk songs, etc., often of a virtuoso improvisational nature ... encyclopedic Dictionary
A musical form receding in its construction from the established musical forms of rondo and sonata. F.'s form is free and depends on the wishes of the composer. Nevertheless, the construction of F. must have a certain consistency. Though… … Encyclopedia of Brockhaus and Efron
Fantasy (from the Greek. Phantasm - imagination), an instrumental piece of music, in which the improvisational beginning, the free development of musical thought, becomes important. In the 16th century. F. for guitar, lute and keyboard instruments… … Great Soviet Encyclopedia
- (from the Greek phantasia imagination) a free-form piece of music, including on themes from operas, ballets, on melodies of folk songs, etc., often of a virtuoso improvisational nature ... Big Encyclopedic Dictionary
- "FANTASY ON THE THEME OF LOVE", USSR, MOSFILM, 1980, color, 85 min. Musical comedy. A musician from the vocal instrumental ensemble "Focus" unexpectedly becomes the "groom" of the country's champion in sport dancing on ice. This playful ... ... Encyclopedia of Cinema
A musical form deviating in its construction from the established musical forms of rondo and sonata. F.'s form is free and depends on the wishes of the composer. Nevertheless, F.'s construction must have a certain consistency. Though… … Encyclopedic Dictionary of F.A. Brockhaus and I.A. Efron
- (Italian improvisazione, from Latin improvisus unexpected, sudden) historically the most ancient type of music-making, in which the process of composing music occurs directly during its performance. Originally ... ... Wikipedia
Form in music means the organization of a musical whole, ways of development musical material, as well as genre designations that authors give to their works. A composer in the process of creativity inevitably comes to a certain ... ... Collier's Encyclopedia
This term has other meanings, see Fantasy (disambiguation). Fantasy English. Fantasia Cartoon poster Type of cartoon ... Wikipedia
Contents 1 Name 2 Names 3 General meanings 4 In psychology ... Wikipedia
Books
- Musical literacy for the smallest in fairy tales, poems and pictures. Study guide, Zhakovich Valentina Vladimirovna. One of the features of the thinking of a modern child is that he is guided not by a word, but by a visual image or symbol. Modern children are very difficult to perceive and remember ...
FANTASY AS GENRE OF INSTRUMENTAL MUSIC
Olga Elkan
candidate of culturology,assistant professor of theCrimean University of Culture, Arts, and Tourism,
Russia, Simferopol
ANNOTATION
The purpose of the article is to trace the history of the origin and evolution of fantasy, an ancient genre instrumental music, which arose in Western European musical culture and occurs in the analysis and generalization of scientific sources. Fantasia was interesting to composers in those historical periods when the heyday of the genre in musical art falls on the Baroque era, and the next, most striking one - on Romanticism. In the era of classicism, the fantasy genre loses its ground somewhat, but acquires new individual stylistic features: it is included in cycles, fused with other genres and forms. Currently, the genre is gaining popularity in new styles - in jazz music, the original guitar repertoire.
ABSTRACT
The purpose of the article is to trace the history of the origin and evolution of fantasy, an ancient genre of instrumental music, which arose in Western European musical culture and met in the works of composers of different eras and styles. Research methods - analysis and generalization of scientific sources. Fantasy was interesting to composers in those historical periods when improvisation and emotionality prevailed in musical art. The first heyday of the genre falls on the Baroque era, and the next, the most striking - on Romanticism. In the classical era the genre of fantasy partially lost it’s positions, but gained a new individual-stylistic features being included in the cycles, fused with other genres and forms. Currently, the genre is gaining popularity with new styles in jazz music, original guitar repertoire.
Keywords: instrumental music; genre; fantasy.
Keywords: instrumental music; genre; fantasy.
Fantasy is one of the oldest genres of instrumental music that arose in Western European musical culture and is found in the work of composers of different eras and styles. Y. Chernyavskaya calls fantasy one of the most mysterious genres in music, which has more than four hundred years of history, but at the same time does not have clear genre boundaries. In various historical periods V. Medushevsky mentions that Ovid connected the concept of “fantasy” with the name of the god of sleep Fantasy, Plato's fantasy is an obsession, inspiration, in the Middle Ages fantasy was identified with sinful “daydreaming”, and in the Renaissance the genre of musical fantasy itself was born ... Thus, on this moment there are discrepancies in the understanding of the term "fantasy".
T. Kyureghian offers several definitions of this musical concept: firstly, “fantasy (from the Greek φαντασία - imagination) is a genre of instrumental (occasionally vocal) music, individual traits which are expressed in a deviation from the construction norms usual for their time, less often in an unusual image. In this sense, this term is the most common. Secondly, the word “fantasy” can be “an auxiliary definition indicating a certain freedom of interpretation of various genre-fantasy” by F. Chopin). Thirdly, the term “fantasy” is often called “widespread in the XIX-XX centuries. a genre of instrumental or orchestral music based on the free use of themes borrowed from own compositions or works by other composers, as well as from folklore "(for example," Serbian Fantasy "by N. Rimsky-Korsakov).
In the 16th-18th centuries, “fantasies” were used to describe works for keyboard instruments (clavier, organ), which were distinguished by considerable freedom of form, lack of connection with any traditional type of composition, emphasized by the improvisation of presentation. Musicologists attribute the emergence of fantasy to the beginning of the 16th century. One of its sources was instrumental improvisation. Most of the early fantasies are intended for plucked instruments: numerous fantasies for the lute and vihuela were created in Italy, Spain, Germany, France, England. Usually they were distinguished by counterpoint or imitation presentation. These fantasies have not yet been clearly defined as a genre, since they were close to capriccio, toccata, canzone, richercar, as a result of which it is not always even possible to determine why a particular play is called a fantasy.
The flowering of fantasy in the 17th century is associated with organ music. Fantal and temperamental improvisation. Often, fantasy embodies the masterful polyphonic technique of the composers of that time, for example, "Chromatic Fantasy" by J. Sweelink, which combines features of fugue, richercar and polyphonic variations. In this era, fantasies are composed in variational forms (I. Froberger), rondo (I. Krieger), or consist of several contrasting sections (J. Cooper, W. Bird). In the 17th century, fantasies became very popular in England, for example, G. Purcell refers to them ("Fantasy for one sound"). Virginian composers J. Bull, W. Bird, A. Gibbons and others bring fantasy closer to the traditional English form called "ground" (). In England, there are also examples of programmed and non-programmed fantasy suites (K. Simpson, J. Cooper, J. Jenkins, etc.).
In the days of J.S. Bach, a certain freedom of development and alternation of its sections is fixed for fantasy, an improvisational element becomes mandatory, and the content is more often directed towards Bach's splendid and clavier music, fantasies are distinguished by the predominance of spontaneous play and imagination over a thoughtful compositional plan. Often, his fantasy is combined into a cycle with a fugue (like a toccata or a prelude) and serves to prepare and shade the next piece, or is used as an introductory part in a suite, partita. Fantasy usually introduces the listener into the tonal, emotionally-figurative, thematic sphere of the fugue, and in other cases, on the contrary, it contrasts and artistically sets off its qualities. I. Bach's fantasies are close to the toccata genre, however, as a rule, they do not include developed polyphonic constructions. Bach's greatest creation in this genre is the famous Chromatic Fantasy and Fugue in D minor.
As Y. Chernyavskaya notes, in the post-Bach era, the lyrical and psychological coloring of the content, close interaction with other genres, developed. The genre of fantasy is always based on the proclamation of freedom of creative design, disobedience to any pre-established rules. This freedom is expressed in unexpected contrasts, the presence of open separate parts, the change of themes and images is avoided, while it must demonstrate the richness of the composer's creative imagination. V. Medushevsky defines the genre of fantasy as "the art of combining images."
The degree of creative freedom can range from complete improvisation (in old organ and clavier fantasies) to original, but clearly thought out forms. The concepts of improvisation and spontaneity are closely related to the principle of freedom in the fantasy genre. But this does not mean that fantasy was always improvised by the composer in the course of playing music: it could have been, and thought it connects the genre of fantasy with improvisation, which “was considered at that time something like a sacrament, a sign of a true divine gift... the performer is formerly characterized by uniqueness. Creative illumination of the XVIII-XIX centuries. we have the opportunity to observe numerous editions of collections of various preludes, cadenzas, capriccios, which were intended for students and amateurs who do not know the art of improvisation. "
In any case, in all musical and historical epochs for this genre, an emphasis on freedom of form and deviation from established canons and norms is important. Different eras interpreted "freedom" in their own way in the genre of fantasy. If in the first examples of the 16th century it was expressed in independence from the cantus firmus (the unchanging main voice in a strict polyphonic technique), then in the early Baroque era, fantasy was “free” from other genres - dance, song, spiritual. By the end of the Baroque century, freedom of fantasy manifested itself in the fact that it was almost always built as an alternation of contrasting, sharply different types of texture, character, manner of play, and its form was improvisational, whimsical and never depended on the verbal text. That is, the exclusively instrumental nature of the genre has become firmly established. Fantasia with her improvised solo instrument, and most of the fantasies are solo instrumental pieces. In addition, it was during this period that the tradition of writing fantasies for the instrument that the composer mastered perfectly and could masterly demonstrate all its capabilities was established. Therefore, another important feature of the fantasy genre is its virtuosity (virtuosity is understood as the highest degree of mastery of the performing arts).
In the era of the gallant style (beginning and middle of the 18th century), the genre of fantasy is practically not interesting to composers, it is supplanted by more clear and filigree forms. As a few examples, one can cite “Three dozen fantasies for the harpsichord” by G. Telemann, and the fantasies of WF Bach. They are characterized by complete metric freedom, the absence of bars, frequent change of tempos, changeable harmony and tonal plan.
During the period of Classicism, fantasies continued to develop in Western European music, although in general it can be noted that composers do not often turn to this genre. Yu. Chernyavskaya explains this by the desire for clarity and rigor of the canon in this era. A fantasy of character, but at the same time it was introduced into larger classical cycles. J. Haydn introduced fantasy into the quartet (Op.76, no. 6, part 2). The lyrical fantasies of W. Mozart testify to the romantic interpretation of the genre, they are close to the early classical style of F.E.Bach. W. Mozart introduces more developed melodic sections into the fantasy, which perform the function of the main themes-images, and his traditional improvisational sections have an introductory or connecting character. L. Beethoven combined the principles of construction of the sonata and the subtitle "Sonata quasi una Fantasia" (also in Sonata No. 13). He brought into this genre the idea of symphonic development, virtuosity.
It is interesting to note that during the period of Classicism, the form of fantasy deviated somewhat from improvisation and often resembled classical forms. So, for example, J. Haydn's fantasy C-dur No. 4 resembles a rondo sonata with elaboration and mirror reprise. W. Mozart's fantasy in c-moll op.11 is based on the alternation of stable and unstable sections and has features of a concentric shape. L. Beethoven's fantasy op. 80 was written in variation form... It was singled out in the era of Classicism, but almost never had features of any classical form - this is the cadenza of the soloist in an instrumental concert. K. Cerny was the first to note the similarity of these two forms - fantasy and cadence, although in fact the cadence does not have the status of a full-fledged independent form, since it cannot be performed separately from the work for which it was written. But virtuosity, improvisation and pianistic skill really bring these two forms closer together.
In the romantic period of history musical art fantasy is experiencing a true heyday, not one of the major composers ignores it. V. Medushevsky writes that fantasy "spreads over other genres" - that is, the very principle of freedom, improvisation, fantasy penetrates into all forms and genres of music. Early Romanticism essentially continued L. Beethoven's idea of "fantasy sonata", which combines the features of the sonata form with freedom of expression. In addition, it was at this time that interest in fantasies such as paraphrases increased - that is, those written on popular themes from operas. The most famous composer who wrote such fantasies is F. Liszt, thanks to whom this genre became not just a banal arrangement of a vocal theme for the piano, but began to contain serious thematic transformations and dramatic conflicts(for example, the fantasy "Don Juan" on themes by W. Mozart). Composers XIX centuries have enriched fantasy with many qualities of romantic thinking, deepening the programmatic features that were manifested in this genre before. Virtuosity comes to the fore as an obligatory quality of fantasy, largely because Romanticism is the era of virtuoso soloists.
In the 19th century, a separate branch in the development of the genre of fantasy can be distinguished - in Russian music, which by that time had formed its own professional school of composition. Domestic composers take fantasy beyond the instrumental sphere. In vocal music, M. Glinka writes several fantasies - these are romances "Venice Night", "Night Review". In addition, a new kind of genre has developed in the work of Russian composers - symphonic fantasy, in which national origins of thematic and fantastic images: S. Rachmaninov wrote the fantasy "Cliff", A. Glazunov - the fantasy "Forest" and "The Sea", A. Dargomyzhsky - the fantasy "Baba Yaga", M. Musorgsky - the famous "Night on Bald Mountain". Lyric-dramatic symphonic fantasies belong to P. Tchaikovsky: "The Tempest", "Francesca da Rimini", "Romeo and Juliet".
In the late romantic period, interest in fantasy in Western European music begins to fade, and in the culture of the first half of the twentieth century, this genre is rarely found at all. The music of the twentieth century is distinguished by special rationality, complexity, depth of concepts, therefore, the spontaneity and improvisation of fantasy has become irrelevant. Pieces with this name were usually written by composers working in the polyphonic style or dedicating their works to the great masters of the Baroque era. For example, the polyphonist M. Reger wrote Choral Fantasies for organ, P. Hindemith wrote Counterpoint Fantasy for piano, F. Fortner wrote Fantasy on the Bach monogram theme BACH.
By the end of the twentieth century, the genre began to gain popularity again, especially in new styles - for example, in jazz music, original guitar repertoire, etc. contemporary music there is complete freedom of expressive means and compositional forms - which means that the definition of fantasy as a violation of traditional norms has lost its meaning. Yu. Chernyavskaya connects this “with the tendency of refusing a large number traditional musical terms and genre designations. It is important to take into account that the relationship between the concepts of the canon and its violations (or the principle of fantasy) is ambiguous in the 20th century. Thus, the systematic deviation from the canon in many areas of the art of the century becomes a "new canon" ... Fantasy as an idea continues to exist in various forms of art of the 20th century. This idea was reflected in the "echo" in the field of science fiction, widespread in the art of the XX and XXI centuries: cinema, literature and painting. "
Bibliography:
- Kyureghian T.S. Fantasy / T.S. Kyureghian // Musical encyclopedia in 6 volumes / ed. Yu.V. Keldysh. - M .: Soviet encyclopedia, Soviet composer, 1981. - T. 5. - S. 767-771.
- Lyakhina T.V. Some features of works on borrowed themes in the works of virtuosos of the XIX century / T.V. Lyakhina // Bulletin of SPbGUKI, 2014. - No. 1 (18). - S. 133-137.
- Medushevsky V.V. Fantasy in culture and music / V.V. Medushevsky // Music, Culture, Man / Ed. M. Muginstein. - Sverdlovsk, 1991 .-- S. 44-51.
- Chernyavskaya Yu.G. Fantasy works of Robert Schumann on the history and theory of the fantasy genre: author. dis ... cand. claim .: 17.00.02 / Yu.G. Chernyavskaya. - M., 2017 .-- 24 p.
from the Greek. pantaoia - imagination; lat. and ital. fantasia, it. Fantasie, French. fantaisie, eng. fancy, fansy, phancy, fantasy
1) The genre of instrumental (occasionally vocal) music, the individual traits of which are expressed in deviation from the construction norms usual for their time, less often in an unusual figurative filling of traditions. composites. schemes. The ideas about F. were different in different muz.-historical. era, however at all times the boundaries of the genre remained indistinct: in the 16-17 centuries. F. merges with richercar, toccata, in the 2nd floor. 18th century - with a sonata, in the 19th century. - with a poem, etc. F. is always associated with genres and forms widespread at a given time. At the same time, the product called F. is an unusual combination of "terms" (structural, meaningful) common for a given epoch. The degree of distribution and freedom of the genre of Philosophy depend on the elaboration of the muses. forms in this era: periods of an ordered, in one way or another strict style (16th - early 17th centuries, baroque art of the 1st half of the 18th century), marked by the "lush flowering" of F.; on the contrary, the loosening of established "solid" forms (romanticism), and especially the emergence of new forms (20th century), are accompanied by a reduction in the number of F. and an increase in their structural organization. The evolution of the Philosophy genre is inseparable from the development of instrumentalism as a whole: the periodization of the history of Philosophy coincides with the general periodization of Western Europe. muses. lawsuit. F. is one of the oldest genres of instrumentation. music, but unlike most early instru. genres that have developed in connection with poetry. speech and dance. movements (canzona, suite), F. is based on the music proper. patterns. The emergence of F. dates back to the beginning. 16th century One of its origins was improvisation. B. ch. Early F. is intended for plucked instruments: numerous. F. for lute and vihuela were created in Italy (F. da Milano, 1547), Spain (L. Milan, 1535; M. de Fuenlana, 1554), Germany (S. Kargel), France (A. Rippe), England ( T. Morley). F. for clavier and organ were much less common (F. in "Organ Tablature" by H. Cotter, "Fantasia allegre" by A. Gabrieli). They are usually distinguished by counterpoint, often consistently imitating. presentation; these F. are so close to capriccio, toccate, tiento, canzone that it is not always possible to determine why the play is named precisely F. (for example, F. cited below resembles a richercar). The name in this case is explained by the custom of referring to F. as an improvised or freely constructed richerkar (this was also the name for arrangements of vocal motets, varied in instrumental spirit).
F. da Milano. Fantasy for the lute.
In the 16th century. Frequently also F., in which the free handling of voices (associated, in particular, with the peculiarities of voice-leading on plucked instruments) leads, in fact, to a chord structure with a passage-like presentation.
L. Milan. Fantasy for vihuela.
In the 17th century. F. is becoming very popular in England. G. Purcell addresses her (for example, "Fantasy for one sound"); J. Bull, W. Bird, O. Gibbons, and other virginelists bring F. closer to the tradition. English form - ground (it is indicative that the variant of its name - fancy - coincides with one of the names of F.). The flourishing of F. in the 17th century. associated with org. music. F. by G. Frescobaldi is an example of ardent, temperamental improvisation; The "chromatic fantasy" of the Amsterdam master J. Sweelink (combines features of a simple and complex fugue, richercar, polyphonic variations) testifies to the birth of a monumental instrumental. style; S. Scheidt worked in the same tradition, to-ry called F. counterpoint. chorale arrangements and chorale variations. The work of these organists and harpsichordists prepared the great achievements of J.S. Bach. At this time, the attitude towards F. was determined as to a work of uplifting, excited, or dramatic. character with the typical freedom of alternation and development or the whimsical changes of muses. images; it becomes almost mandatory to improvise. an element that creates the impression of a direct expression, the predominance of a spontaneous play of the imagination over a deliberate compositional plan. In the organ and clavier works of Bach F. is the most pathetic and most romantic. genre. F. in Bach (as in D. Buxtehude and G. F. Telemann, who uses the principle of da capo in F.) either combines in a cycle with a fugue, where, like a toccata or a prelude, it serves to prepare and shade the next piece (F. and a fugue for organ g-moll, BWV 542), or used as an entry. parts in a suite (for violin and clavier in A-major, BWV 1025), partita (for clavier in a-minor, BWV 827), or, finally, exist as their own. manuf. (F. for organ G-dur BWV 572). In Bach, the severity of organization does not contradict the principle of free F. For example, in Chromatic Fantasy and Fugue, freedom of expression is expressed in a bold combination of different genre features - org. improvisation. texture, recitative and figurative processing of the chorale. All sections are held together by the logic of the movement of keys from T to D, followed by stopping at S and returning to T (i.e., the principle of the old two-part form is extended to F.). A similar picture is characteristic of other fantasies of Bach; although they are often saturated with imitations, harmony is the main forming force in them. Ladogharmonic. the frame of the form can be revealed through giant org. items supporting the tonics of the leading keys.
A special kind of Bach's F. is made up of certain choral arrangements (for example, "Fantasia super: Komm, heiliger Geist, Herre Gott", BWV 651), the principles of development in which do not violate the traditions of the choral genre. Extremely free interpretation is characteristic of F.E.Bach's improvisational, often unaccompanied fantasies. According to his statements (in the book "Experience of the correct way of playing the clavier", 1753-62), "fantasy is called free when more tonalities are involved in it than in a piece composed or improvised in a strict meter ... Free fantasy contains various harmonic passages that can be performed with broken chords or with all kinds of different figurations ... Timeless free fantasy is great for expressing emotions. "
Confusedly lyric. the fantasies of W.A. Mozart (clavier F. d-moll, K.-V. 397) testify to the romantic. interpretation of the genre. In the new conditions they are fulfilling their long-standing function. pieces (but not to the fugue, but to the sonata: F. and sonata in c-moll, K.-V. 475, 457), recreate the principle of alternating homophonic and polyphonic. statements (org. F. f-moll, K.-V. 608; scheme: А В А1 С A2 B1 A3, where В - fugue sections, С - variations). I. Haydn introduced F. to the quartet (op. 76 No. 6, part 2). L. Beethoven consolidated the union of sonata and F. by creating the famous 14th sonata, op. 27 No 2 - "Sonata quasi una Fantasia" and the 13th sonata op. 27 No 1. He introduced the idea of symphony to F. development, virtuoso qualities of tools. concert, oratorio monumentality: in F. for piano, chorus and orchestra in c-moll op. 80 as a hymn to art-wu sounded (in C major "noah center. Movement, written in the form of variations) the theme, which was later used as a" theme of joy "in the finale of the 9th symphony.
Romantics, ex. F. Schubert (F. for php. In 2 and 4 hands, F. for violin and php. Op. 159), F. Mendelssohn (F. for php. Op. 28), F. Liszt ( F.) and others, enriched F. with many typical qualities, deepening the programmatic features that were manifested in this genre before (R. Schumann, F. for php. C-dur op. 17). It is significant, however, that the "romantic freedom" characteristic of 19th century forms is least concerned with F. It uses common forms - the sonata (A. N. Scriabin, F. for php. H-minor op. 28; S. Frank, org. F. A-dur), sonata cycle (Schumann, F. for php. C-dur op. 17). On the whole, for the 19th century F. characteristic, on the one hand, is the merging with free and mixed forms (including with poems), on the other - with rhapsodies. Mn. works that do not bear the name of F., in fact, are them (S. Frank, "Prelude, Chorale and Fugue", "Prelude, Aria and Finale"). Rus. composers introduce F. into the sphere of wok. (MI Glinka, "Venice Night", "Night Review") and symph. music: specificity has developed in their work. orc. a kind of genre - symphonic fantasy (S. V. Rachmaninov, "Cliff", op. 7; A. K. Glazunov, "Forest", op. 19, "Sea", op. 28, etc.). They give F. that distinctly Russian. character (M. P. Mussorgsky, "Night on Bald Mountain", the shape of the cut, according to the author, "Russian and original"), then the beloved oriental (M. A. Balakirev, eastern F. "Islamey" for fp. ), then fantastic (A. Dargomyzhsky, "Baba-Yaga" for orchestra) coloring; endow it with philosophically significant plots (PI Tchaikovsky, "The Tempest", F. for orchestra based on the drama of the same name by W. Shakespeare, op. 18; "Francesca da Rimini", F. for orchestra on the plot of the 1st song of Hell from " Divine Comedy"Dante, op. 32).
In the 20th century. F. as independent. the genre is rare (M. Reger, "Choral F." for organ; O. Respighi, F. for piano with orchestra, 1907; J. F. Malipiero, "Everyday's Fantasy" for orchestra, 1951; O. Messiaen, F. for violin and piano; M. Tedesco, F. for 6-string guitar and piano; A. Copeland, F. for piano; A. Hovaness, F. from suite for piano "Shalimar"; N I. Peiko, "Concert F." for French horn and chamber orchestra, etc.). Sometimes neoclassicist tendencies are manifested in F. (F. Busoni, "Counterpoint F."; P. Hindemith, sonatas for viola and piano - in F, 1st movement, in S., 3rd movement; K. Karaev, sonata for violin and piano, finale; J. Juzelyunas, organ concerto, 1st movement). In a number of cases, new compositions are used in physics. means of the 20th century. - dodecaphony (A. Schoenberg, F. for violin and piano; F. Fortner, F. on the theme "BACH" for 2 piano, 9 solo instruments and orchestra), sono-aleatoric. techniques (S. M. Slonimsky, "Coloristic F." for php.).
In the 2nd floor. 20th century one of the important genre features of philology - the creation of an individual, improvisationally direct (often with a tendency to through development) form - is characteristic of music of any genre, and in this sense, many of the newest works (for example, the 4th and 5th php. sonatas by B.I. Tishchenko) merge with F.
2) Help. definition indicating a certain freedom of interpretation decomp. genres: waltz-F. (M.I. Glinka), impromptu-F., Polonaise-F. (F. Chopin, op. 66.61), Sonata-F. (A. N. Scriabin, op. 19), overture-F. (PI Tchaikovsky, "Romeo and Juliet"), F.-quartet (B. Britten, "Fantasy quartet" for oboe and strings. Trio), recitative-F. (S. Frank, sonata for violin and fp., Part 3), F. burlesque (O. Messiaen), etc.
3) Widespread in the 19-20 centuries. genre of instr. or orc. music, based on the free use of themes borrowed from their own compositions or from the works of other composers, as well as from folklore (or written in the character of folk). Depending on the degree of creativity. reworking F. . "on the themes of the musical farce" Bull on the Roof "for violin and orchestra by Millau and others), or is a simple" montage "of themes and excerpts, similar to a medley (F. on themes of classical operettas, F. on themes of popular songs composers, etc.).
4) Creative fantasy (German Phantasie, Fantasie) - ability human consciousness to the representation (inner vision, hearing) of the phenomena of reality, the appearance of which is historically determined by societies. the experience and activities of mankind, and to the mental creation by combining and processing these ideas (at all levels of the psyche, including the rational and subconscious beginning) arts. images. Adopted in the Sov. science (psychology, aesthetics) understanding of nature creative. F. is based on the Marxist position on the historical. and societies. conditionality of human consciousness and on Lenin's theory of reflection. In the 20th century. there are other views on the nature of creative. F., to-rye are reflected in the teachings of Z. Freud, C.G. Jung and G. Marcuse.
Literature: 1) Kuznetsov K.A., Musical and historical portraits, M., 1937; Mazel L., Fantasia in f minor Chopin. The experience of analysis, M., 1937, the same, in his book: Research on Chopin, M., 1971; Berkov V.O., Y. Sweelink's chromatic fantasy. From the history of harmony, M., 1972; Miksheeva G., Symphonic fantasies of A. Dargomyzhsky, in the book: From the history of Russian and Soviet music, no. 3, M., 1978; Protopopov V.V., Essays from the history of instrumental forms of the 16th - early 19th centuries, M., 1979.
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