Cancer movement |

Racism movement, return, or reverse, movement (lat. cankering, cankering, by retrograde motion; ital riverso, alla riversa, rivoltato, al rovescio also denote the reversal of the theme, countermovement; German Krebsgang – shellfish) – a special type of melody transformation, polyphonic. themes or a whole piece of music. construction, which consists in the performance of this melody (building) from the end to the beginning. R. etc. akin to the ancient game form of verbal art – palindrome, but, in contrast to it as Ch. arr. visual form, R. etc. can be perceived by ear. Complex technique R. etc. found only in prof. suit; its speculation influences the character of the muses. images, but in the best examples this technique is subject to higher expressive goals, and many others. outstanding composers did not bypass it in their work. The first known example of R. etc. contained in one of the clauses of the times of the Paris School (Notre Dame). Later R. etc. was repeatedly used by the masters of polyphony, and in some cases, the appeal to it was determined by the meaning of the text. R. etc. often considered as a muse. a symbol of the concepts of eternity, infinity (for example, the three-part canon of S. Scheidt in “Tabulatura nova” with the words from the 30th psalm “non confundar in aeternum” – “let me not be put to shame forever”) or used it as a pictorial detail (for example, in Pierre de la Rue’s Missa Alleluia to illustrate the words from the Gospel of Mark “vade retro Satanas” – “depart from me, Satan”). One of the most famous and attractive music. the sound of examples – a three-part rondo by G. de Machaux “My end is my beginning, my beginning is my end”: here, on the whole, a strictly symmetrical pattern is formed. form, where the 2nd part (from measure 21) is a derivative of the 1st part (with a rearrangement of the upper voices). The relatively frequent use of the return movement technique by the old contrapuntalists (in particular, the composers of the Dutch school; see, for example, the isorhythmic motet “Balsamus et mundi” by Dufay) should be assessed as prof. research on various technical and express. the possibilities of polyphony during the formation of the foundations of this art (the canon in the 35th Magnificat of Palestrina convinces of perfect mastery of technique, for example). Composers con. 17th-18th centuries also used R. although it has become less common. Yes, I. C. Bach, apparently desiring to emphasize the special thoroughness of the development in his “Musical Offering” of the “royal theme”, introduces the two-part endless “Canon cancricans” of the 1st category at its beginning. In the minuet from Haydn’s sonata A-dur (Hob. XVI, No 26) each of the parts of a complex three-part form is a two-part one with the use of a return movement, and the distinctly audible R. etc. does not come into conflict with the elegance of music. Rakohodnaya imitation in the initial measures of the development of the 4th movement of the symphony C-dur (“Jupiter”) V. A. Mozart is, perhaps, an echo of the techniques of strict polyphony, the influence of which is generally noticeable in this Op.

In practice, the following cases of using R. d. are distinguished: 1) in c.-l. in one voice (like the mentioned imitations of W. A. ​​Mozart and L. Beethoven); 2) in all voices as a way of forming a derivative construction (similar to the examples given from the works of H. de Machaux and J. Haydn); 3) a canon canon (for example, in J.S. Bach). In addition, R. d. can form very complex combinations with other melodic methods. theme transformations. Thus, examples of the mirror-reverse canon are found in W. A. ​​Mozart (Four canons for two violins, K.-V. Anh. 284 dd), J. Haydn.

J. Haydn. Mirror canon.

In connection with the increased interest in early music in the 20th century. there is a renewed interest in the technique of R. d. In composer practice, there are examples both relatively simple (for example, Imitation of E. K. Golubev, in the collection “Polyphonic Pieces”, issue 1, M., 1968), and more complex (e.g., in No. 8 from Shchedrin’s “Polyphonic Notebook”, the reprise is a variant of the initial 14-bar construction; in the three-voice fugue in F, a symmetrical construction from bar 31 is formed from P. Hindemith’s neoclassical in general orientation of the piano cycle “Ludus tonalis” ), sometimes reaching sophistication (in the same op. Hindemith, the opening prelude cycle and the postlude ending it represent the initial and derivative combination of the mirror-cracker counterpoint; in No18 from Schoenberg’s Lunar Pierrot, the first 10 measures are the initial combination in the form of a double canon, then — a rakokhodny derivative, complicated by a fugue construction in the part of the fp.). The use of rhythmic music in serial music is extremely diverse. It may be inherent in the structure of the series itself (for example, in the f-e-c-agd-as-des-es-ges-bh series underlying Berg’s Lyric Suite, the 2nd half is a transposed variant of the first ); the occasional transformation of both a series (see Dodecaphony) and entire sections of a work is a common compositional device in dodecaphonic music. The variational finale of the symphony op. 21 Webern (see example below).

The upper voice of the theme (clarinet) is a 12-sound series, the 2nd half of which is a transposed version of the 1st; the form of the 1st variation is a rakohodny (see measure 7 in it) double canon in circulation; R. d. is contained in all variations of the finale of the symphony. The nature of the use of rhythmic composition is determined by the composer’s creative intent; the application of rhythmic composition within the framework of serial music can be very different. For example, in the finale of Karaev’s 3rd symphony, where the structure of the series depends on the characteristics of the Azerbaijani nar. frets, the initial construction is repeated (see number 4) in the form of a rakokhodny derivative compound.

In “Polyphonic Symphony” est. by the composer A. Pärt, the initial 40 measures from the code of the 1st part (number 24) are the canon going crescendo, then the canon in R. d. diminuendo; a strict sound construction in this case is perceived by the listener as a kind of conclusion, comprehension, logical generalization of the extremely tense previous music. actions. R. d. is found in late Op. I. F. Stravinsky; e.g., in Ricercar II from the Cantata to English texts. poets, the tenor part complicated by the canons is designated “Cantus cancri-zans” and consists of 4 variants of the series. In “Canticum sacrum” the 5th movement is a variant of the 1st, and such use of the R. d. (like much in the musical symbolism of this Op.) corresponds to the manner of the old contrapuntalists. Contrapuntal formations resulting from the use of R. d., modern. the theory of polyphony distinguishes itself. kind of complex counterpoint.

References: Riemann H., Handbuch der Musikgeschichte, Vol. 2, Part 1, Lpz., 1907, 1920; Feininger L.K. J., The early history of the canon up to Josquin des Prez, Emsdetten, 1937.

V. P. Frayonov