Trilogy |

Greek trilogia, from tri-, in compound words – three, thrice and logos – word, story, narration

Three plays connected by the development of one plot, a common idea, a single author’s intention. The concept of T. developed in other Greek. dramaturgy; from other Greek. T. fully preserved only “Oresteia” by Aeschida. In music, T. is, as a rule, a product. opera genre. Combining operas into a cycle was due to the desire of some romantic composers. directions (19th century) towards the realization of grandiose plans; known, for example, are the dilogy Les Troyens by Berlioz (1855-59), the tetralogy Der Ring des Nibelungen by Wagner (1848-76; Wagner himself considered this work a trilogy, since he considered The Gold of the Rhine as a prologue). Somewhat later, T. proper appeared in the work of a number of composers (F. Pedrell’s Pyrenees, 1890–91; Z. Fibich’s Hippodamia, 1890–91; A. Bungert’s Homeric World, 1896–1901; R. Leoncavallo’s unrealized plan under the name “Twilight”, associated with the Italian Renaissance). In Russia, S. I. Taneyev turned to the trilogy of Aeschylus in the opera Oresteia (1887-94), where parts of T. are essentially turned into separate. acts of a single performance. In the 20th century a cycle of three operas on the same subject was created by D. Milhaud (Agamemnon, 1914; Choephors, 1915; Eumenides, 1917-22). Modern composers often use the term “triptych” (O. V. Taktakishvili, “Three novels”, post. 1967, in the 2nd edition. “Three Lives”). Occasionally, the form of T. is used in other music. genres, although the term itself is not always used. The works of this kind include a cycle of three symphonies by J. Haydn – “Morning”, “Noon”, “Evening” (1761), as well as a program symphony. T. “Wallenstein” B. d’Andy (1874-81; based on the trilogy by F. Schiller). The “stage cantatas” of K. Orff are approaching T. – “Carmina Burana”, 1937, “Catulli carmina”, 1943, “Triumph of Aphrodite”, 1951.

G. V. Krauklis