Endless melody |
nope «Infinite Melody»
The term introduced into use by R. Wagner and associated with the peculiarities of his muses. style. About the need to search for a new type of melody that differs from the melody of traditional operas, Wagner wrote in An Appeal to Friends (1851). The idea of B. m.” he substantiated in the work “Music of the Future” (in the form of an open letter to his Parisian admirer F. Villot, 1860). Principle B. m.” was put forward by him in opposition to tradition. operatic melody, in which Wagner saw excessive periodicity and roundness, dependence on dance forms. music (meaning primarily opera arias). As examples of a more intense and continuous development of the melody, Wagner singled out the wok. works by J.S. Bach, and in instr. music – the symphonies of L. Beethoven (Wagner considers the significance of a new type of melody in Beethoven in the book Beethoven, 1870). In an effort to reflect the continuity of life processes in music, Wagner in his reformist works. (by the 60s of the 19th century, part of the “Ring of the Nibelungen” and “Tristan and Isolde” were written) refuses internal. division of action into separate closed rooms and seeks end-to-end development. At the same time, the main melodic carrier. the beginning is usually the orchestra. “B. m.” in the music Wagner’s dramas are a chain of successive leitmotifs (one of the typical examples is the Funeral March from The Death of the Gods). In vocal parts, the principle of “B. m.” comes to light in freely constructed and osn. to the music recitations monologues and dialogic. scenes that replaced the usual arias and ensembles and imperceptibly passing into each other – without clear endings characteristic of opera “numbers”. In fact, under “B. m.” Wagner means “infinity” (continuity) throughout the music. fabrics, incl. in harmony – the impression of continuous deployment is also achieved through the use of interrupted cadences and interrupted harmonies. revolutions. Among the followers of Wagner, one can come across a phenomenon similar to “B. m.” (in particular, in some operas by R. Strauss). However, Wagner’s straightforward desire for the continuity of muses. development was criticized by “B. m. ”, in particular from the side of N. A. Rimsky-Korsakov.
References: Wagner R., Letters. Diaries. Appeal to friends, trans. from German., M., 1911, p. 414-418; his own, Beethoven, trans. with him. V. Kolomiytseva, M. – St. Petersburg, 1912, p. 84-92; Rimsky-Korsakov HA, Wagner. A combined work of two arts or a musical drama, Poln. coll. cit., Lit. prod. and correspondence, vol. II, M., 1963, p. 51-53; Druskin M.S., History of foreign music of the second half of the 4th century, vol. 1963, M., 41, p. XNUMX.
G. V. Krauklis
