Лист - Прелюды - текст песни, слова, перевод, видео

The musical composition of the "Preludes" is based on the freely interpreted principles of sonata allegro with monothemical ties between the most important topics. In the most general plan, the form can be defined as a sonata-confentric (sonata ALLEGRO with an entry, episode in the development and mirror reprise of a dynamized nature).

The beginning of the poem is very characteristic of a sheet, which usually refuses solemn introduction and many works begins quietly, as if hidden. In the "prelude", the jerky, quiet sounds of the first tactes give the impression of mystery, mystery. Then there is a typically romantic motive of the question-pre-si (M.2 down-h. 4 Up), expressing the “key” initial phrase of the program: “Our life is not a number of preludes to an unknown hymn, whose first solemn note will take death ? "), That is, the question of the meaning of life. This motive plays the role of a thematic nucleus for the whole subsequent music of the composition.

Having grown out of the motive of the issue, but acquiring certainty of self-affirmation, the heroic main theme (C-dur) sounds powerful and solemn in thrombones, basins and low string. The binding and side topics contrast the main one, drawing the image of the hero with another third -party dream of happiness, about love. At the same time, the connecting is a “lyricized” version of the main topic, stated by cello in a very melting manner. In the future, she receives through significance in the poem, arising on the faces of important sections and, in turn, subjected to variant transformations.

Side (e-dur), according to the software plan, is the theme of love. Its connection with the main motive is more indirect. With the main topic, the side effect is in a colorful, “romantic” terrestrial ratio. Of particular warmth and sincereness gives the side sound of Valtorn, doubled by Divizi Altas.

The love idyll of the side party in development is replaced by life storms, battal scenes and, finally, a large episode of pastoral nature: the “hero” is looking for a rest of life in the bosom of nature from anxiety (one of the typical ideological and surveillance motifs of romantic art). In all these sections there are transformations of the main motive. In an episode of the storm (the first section of development) it becomes more unstable, due to the appearance in it of the mind. 4. All harmony, based mainly on reduced septacords, their parallel movements according to the tones of the chromatic gamut, also becomes unstable. All this causes associations with violent gusts of wind. The episode of the storm, reminding many features of sonata, is characterized by bright picture visualization. He continues the long -standing tradition of “musical thunderstorms” (Vivaldi, Haydn, Beethoven, Rossini) and has a clear resemblance to the stormy, dramatic scherz of the symphonic cycle.

The next section - pastoral - resembles a slow part. His topic, alternately performed by various wind instruments, is generally new (this is the “episode” in development). However, here, in the transparent sound of pastoral tunes, the “intonation of the question” flashes, as if in the bosom of nature, the hero cannot abandon his doubts. Later, after the echoes of the connecting topic, the development includes a side topic, very naturally continuing the music of the lyrical episode. Here, the mirror reprise of the poem begins formally, but the tonality is new-as-dur.

The subsequent development of the side topic is aimed at its heroization: it becomes more and more active, energetic and in dynamic reprise turns into a victorious march in dashed rhythm. This marhe -shaped version of the side topic is again preceded by a connecting theme, which also loses a dreamy character and turns into a jubilant call. The heroization of lyrical images logically leads to the top of the whole work - a powerful conduct of the main topic, which becomes the heroic apotheosis of the poem.