Siciliana Bach history of creation. Canonical form of Siciliana

Siciliana

(Italian siciliana, French sicilienne, lit. - Sicilian).
1) Wok. or instr. a play that apparently originates from the Sicilian people. dance or dance songs. It is characterized by a calm, smooth movement, usually at a moderate tempo, in 6/8 or 12/8. S. is rhythmically close to pastoral (as well as giguet and forlane): dotted rhythm is typical for both

However, S. has a less agile pace. Characteristics The styles are a minor scale, melodiousness, an almost complete absence of staccato, and a three-part da capo structure (there are also pieces in the ancient two-part and other forms). The first mention of a wok. The dances date back to the 14th century, but early examples, as well as a description of the dance, have not survived. Since the 16th century. Aryan-S appear. (for example, in the edition of Petrucci, 1505), not yet endowed with individual characteristics of the genre, which were determined only in the end. 17th century Samples of such S. are contained in many. oratorios, cantatas and operas of the 17th and 18th centuries. (A. Scarlatti, cantata for soprano, in the book: A. Schering, History of Music in Examples, No. 260; G. F. Handel, oratorio “Samson”, aria “Your charms to ruin led” No. 39, etc.) :

G. F. Handel. Oratorio "Samson", Samson's aria (No. 39).
S. appears as a slow part in the instrument. suites, sonatas and concertos by A. Corelli, G. B. Martini, W. F. Bach, G. F. Handel (for example, Concerto grosso c-moll op. 6 No. 8 by Handel), etc., as well as as stand-alone . piece (for example, S. for harpsichord by D. Scarlatti). Music S.'s texture comes in two types - simple, homophonic, sometimes with repeated chords accompanied (for example, in Vanella's Sicilian from the comedy "Brother in Love" by J. Pergolesne) and more complex, polyphonic, with developed voices. High samples of music (vocal and instrumental) belong to J. S. Bach (for example, the 2nd movement of the concerto in E major for harpsichord and strings, the 3rd movement of the sonata No. 1 in g-moll for solo violin or 2- I part of the Sonata in D major for viola da gamba and harpsichord, BWV 1028; see below).
Bach often uses the rhythmic rhythm typical of S. drawing (for example, in the famous viola aria "Erbarme dich" No. 48 from the "St. Matthew Passion"). A unique case is No. 4 from the cantata “Das neugeborne Kindelein” (BWV 122), where the rhythmic. S.'s turns are constantly present accompanied by the chorale.

J. S. Bach. Sonata for solo violin. BWV 1001. Siciliano.
As a result, a kind of “S. for chorale” is created. The rhythm of S. is reproduced in a variety of ways by W. A. ​​Mozart (sonata fp.: A-dur, K.-V. 331, part I; F-dur, K.-V. 280, part II; rondo a-moll, K. -V. 511; fp. concert A-dur, K.-V. 2nd part, etc. In the 19th century S. was much less common (for example, S. for the fp. G. Rossini, fast S. in the finale of the 1st movement of “Robert the Devil” by J. Meyerbeer, S. from “Album for the Youth” by R. Schumann, S. for cello and fp. op. 78 G. Fauré and others); it is found in classical guitar repertoire among op. F. Carulli, M. Carcassi and others. The S. genre often serves as the basis for romances and songs (for example, F. Schubert, “The Gondolier” and “The Virgin from a Foreign Land”); widely used in “Russian songs” of the 18th century. (G. N. Teplov, O. A. Kozlovsky, A. M. Dubyansky). S. is also used to create local flavor, for example. J. Wiese in the sound picture "Carillon" (middle part) in the 1st suite from "Arlesienne" or P. I. Tchaikovsky in the III movement of the symphony "Manfred" and "Italian Capriccio". Some Russians composers imitate S., recreating the romantic. images of the past (for example, M. P. Mussorgsky in “The Old Castle” from “Pictures at an Exhibition”, A. K. Glazunov in an episode from the finale of the violin concert, number 43). In music art 20th century appealing to S. is one of the means of giving nationality. certainty of production neoclassical direction (for example, in the 2nd part of Casella’s concerto for two violins, viola and cello or in the XI variation from the 2nd part of his own partita for piano and orchestra, number 25). An example of S.'s neoclassical interpretation is contained in Stravinsky's ballet "Pulcinella" (No. 2, "Serenade"), where the composer uses an excerpt from G. Pergolesi's opera "Flaminius". Sometimes S. becomes an object of stylization, in particular in FP. suites (X. Jelinek, suite in E, A. Roussel, suite op. 14). In modern music you can also find individual rhythmic. revolutions reminiscent of S., for example. in Marie's lullaby from the 1st movement of Berg's opera "Wozzeck", in the pastoral interlude before the fugue in F from Hindemith's "Ludus tonalis", in Myaskovsky's 22nd symphony (II movement, introduction), in the 3rd and 6th preludes from the 1st notebook of "Preludes and Fugues" by Shchedrin.
2) An eight-line stanza with 2 rhymes with their cross arrangement - abababab. Derived from Italian. adv. songs; did not gain distribution, giving way to the octave (abababcc).
Literature: Heuss A., Die Instrumental-Stücke des "Orfeo", "SIMG", IV, 1902/03; Dent E., A. Scarlatti, L., 1905, 1960; Springer H., Vilota und Nio, in the book: Festschrift... von Liliencron, Lpz., 1910; Kretzschmar H., Geschichte der Oper, Lpz., 1919; Wellesz E., Die Oper und Oratorium in Wien von 1660-1708, "Studien zur Musikwissenschaft", Beihefte der DTC, Heft 6, Bd 6, Lpz.-W., 1919; Lorenz A. O., A. Scarlatti's Jugendoper, v. 1-2, Augsburg, 1927; Flogel B., Die Arientechnik in den Opera Händeis, Lpz., 1929; Schering A., Geschichte der Musik in Beispielen, Lpz., 1931 ; Wolff H. Ch., Die venezianische Oper in der zweiten Hälfte des 17. Jahrhunderts, V., 1937; Tibu O., Il problema della "siciliana" dal Trecento al Settecento, "Bollettino del Centro di studi filologici e linguistici siciliani" , II, 1954. T. S. Kyuregyan.

Musical encyclopedia. - M.: Soviet encyclopedia, Soviet composer. Ed. Yu. V. Keldysh. 1973-1982 .

Synonyms:

See what "Siciliana" is in other dictionaries:

Type of octave (see), one of the special so-called. "solid forms" of lyric poetry of Italian origin. Distinctive feature S. is that it consists of 8 verses, built on only two rhymes (usually masculine and feminine) in ... ... Literary encyclopedia

- (Italian siciliana, literally Sicilian), vocal or instrumental piece (measures 68, 128). From the 16th century in opera, oratorio (Siciliana aria), in instrumental sonatas, concerts... Modern encyclopedia

Siciliana- SICILIAN. The beautiful, very melodious octave, which has penetrated into many literatures, did not immediately take hold in the form as we know it. One of the achievements on this path is Sicilian’s stanza, which now has no living significance. Eight verses, like... ... Dictionary of literary terms

Siciliana- (Italian siciliana, literally Sicilian), vocal or instrumental piece (measures 68, 128). From the 16th century – in opera, oratorio (Siciliana aria), in instrumental sonatas, concerts. ... Illustrated Encyclopedic Dictionary

- (Italian siciliana lit. Sicilian), vocal or instrumental piece of music, akin to pastoral, usually in a minor key, musical size 6/8 or 12/8 ... Big encyclopedic Dictionary

Noun, number of synonyms: 1 dance (264) ASIS Dictionary of Synonyms. V.N. Trishin. 2013… Synonym dictionary

This term has other meanings, see Siciliana (meanings). Siciliana (or siciliano) (Italian siciliano Sicilian) is an ancient Italian dance of a pastoral nature. Usually at a moderate pace. In the XVII XVIII centuries... ... Wikipedia

- (Italian siciliana, literally Sicilian), a vocal or instrumental piece of music akin to the pastoral, usually in a minor key, in meter 6/8 or 12/8. * * * SICILIAN SICILIAN (Italian siciliana, lit. Sicilian), vocal or... ... encyclopedic Dictionary

- (Italian siciliana, literally Sicilian) became widespread from the end of the 17th century. related to the pastoral (See Pastoral), an instrumental or vocal piece in 6/8 or 12/8 time, frequent with Gigue rhythm). Slow S. were more common, like... ... Great Soviet Encyclopedia

Italian siciliana, French sicilienne, lit. - Sicilian

\1) A vocal or instrumental piece, apparently derived from a Sicilian folk dance or dance song. It is characterized by a calm, smooth movement, usually at a moderate tempo, in 6/8 or 12/8. S. is rhythmically close to the pastoral (as well as the gigue, forlane): for both, a dotted rhythm is typical

However, S. has a less agile pace. The characteristic features of the song are a minor scale, melodiousness, an almost complete absence of staccato, and a three-part da capo structure (there are also plays in the ancient two-part and other forms). The first mention of a wok. The dances date back to the 14th century, but early examples, as well as a description of the dance, have not survived. Since the 16th century. Aryan-S appear. (for example, in the edition of Petrucci, 1505), not yet endowed with individual characteristics of the genre, which were determined only in the end. 17th century Samples of such S. are contained in many. oratorios, cantatas and operas of the 17th and 18th centuries. (A. Scarlatti, cantata for soprano, in the book: A. Schering, History of Music in Examples, No. 260; G. F. Handel, oratorio “Samson”, aria “Your charms to ruin led” No. 39, etc.) :

G. F. Handel. Oratorio "Samson", Samson's aria (No. 39).

S. appears as a slow part in the instrument. suites, sonatas and concertos by A. Corelli, G. B. Martini, W. F. Bach, G. F. Handel (for example, Concerto grosso c-moll op. 6 No. 8 by Handel), etc., as well as as stand-alone . piece (for example, S. for harpsichord by D. Scarlatti). Music S.'s texture comes in two types - simple, homophonic, sometimes with repeated chords accompanied (for example, in Vanella's Sicilian from the comedy "Brother in Love" by J. Pergolesne) and more complex, polyphonic, with developed voices. High samples of music (vocal and instrumental) belong to J. S. Bach (for example, the 2nd movement of the concerto in E major for harpsichord and strings, the 3rd movement of the sonata No. 1 in g-moll for solo violin or 2- I part of the Sonata in D major for viola da gamba and harpsichord, BWV 1028; see below).

Bach often uses the rhythmic rhythm typical of S. drawing (for example, in the famous viola aria "Erbarme dich" No. 48 from the "St. Matthew Passion"). A unique case is No. 4 from the cantata “Das neugeborne Kindelein” (BWV 122), where the rhythmic. S.'s turns are constantly present accompanied by the chorale.

J. S. Bach. Sonata for solo violin. BWV 1001. Siciliano.

As a result, a kind of “S. for chorale” is created. The rhythm of S. is reproduced in a variety of ways by W. A. ​​Mozart (sonata fp.: A-dur, K.-V. 331, part I; F-dur, K.-V. 280, part II; rondo a-moll, K. -V. 511; fp. concert A-dur, K.-V. 2nd part, etc. In the 19th century S. was much less common (for example, S. for the fp. G. Rossini, fast S. in the finale of the 1st movement of “Robert the Devil” by J. Meyerbeer, S. from “Album for the Youth” by R. Schumann, S. for cello and fp. op. 78 G. Fauré and others); it is found in classical guitar repertoire among op. F. Carulli, M. Carcassi and others. The S. genre often serves as the basis for romances and songs (for example, F. Schubert, “The Gondolier” and “The Virgin from a Foreign Land”); widely used in “Russian songs” of the 18th century. (G. N. Teplov, O. A. Kozlovsky, A. M. Dubyansky). S. is also used to create local flavor, for example. J. Wiese in the sound picture "Carillon" (middle part) in the 1st suite from "Arlesienne" or P. I. Tchaikovsky in the III movement of the symphony "Manfred" and "Italian Capriccio". Some Russians composers imitate S., recreating the romantic. images of the past (for example, M. P. Mussorgsky in “The Old Castle” from “Pictures at an Exhibition”, A. K. Glazunov in an episode from the finale of the violin concert, number 43). In music art 20th century appealing to S. is one of the means of giving nationality. certainty of production neoclassical direction (for example, in the 2nd movement of Casella’s concerto for two violins, viola and cello, or in the 11th variation from the 2nd movement of his own partita for piano and orchestra, number 25). An example of S.'s neoclassical interpretation is contained in Stravinsky's ballet "Pulcinella" (No. 2, "Serenade"), where the composer uses an excerpt from G. Pergolesi's opera "Flaminius". Sometimes S. becomes an object of stylization, in particular in FP. suites (X. Jelinek, suite in E, A. Roussel, suite op. 14). In modern music you can also find individual rhythmic. revolutions reminiscent of S., for example. in Marie's lullaby from the 1st movement of Berg's opera "Wozzeck", in the pastoral interlude before the fugue in F from Hindemith's "Ludus tonalis", in Myaskovsky's 22nd symphony (II movement, introduction), in the 3rd and 6th preludes from the 1st notebook of "Preludes and Fugues" by Shchedrin.

\2) Eight-line stanza with 2 rhymes with their cross arrangement - abababab. Derived from Italian. adv. songs; did not gain distribution, giving way to the octave (abababcc).

Dance or dance-based musical form, originating from Southern Italy or Sicily. Rhythmically, the siciliana resembles a gigue; size 12/8 or 6/8. The name “Siciliana” is most often applied not to dance, but to arias da capo (with reprise). Among the most famous are the Sicilian from the violin suite in G minor by J. S. Bach, as well as the aria “Erbarme” d ich" from it St. Matthew Passion . Tango. Ballroom dance free character and moderate tempo, in bipartite meter, performed in pairs. Tango is characterized by a constant rhythmic pattern of accompaniment, against which a whimsically syncopated melody unfolds. Argentine tango originated ca. 1900 in the port taverns and other entertainment establishments of Buenos Aires and other settlements located at the mouth of La Plata. The population of these places consisted of immigrants from the West Indies and blacks from Central America; it follows that tango had as its predecessor earlier and more primitive dances of the West Indies, such as habanera and tangano (from the latter tango could have borrowed its name). Around 1910 tango became the favorite dance of the Argentine high society, a decade later it gained popularity in Europe, and also in to a lesser extent, V North America, despite the objections of church leaders and moral guardians who considered tango an indecent dance. In Europe, the melancholy melodies and leisurely elegance of tango, which came to the Old World already in an ennobled and stylized form, made this dance a favorite of all dance halls; in North America, however, tango retained its exotic flavor and was performed mainly by professionals. In the 1920s, European composers repeatedly used tango motifs. Spanish (gypsy) tango passionate solo dance of the flamenco type performed mainly by Spanish gypsies and, in fact, has little in common with the one described above Argentine tango, although it bears the same name.Tarantella. Very lively dance in 6/8 time; its name refers either to the city of Taranto in Southern Italy or to the tarantula spider, which is found in the area. Legend has it that anyone bitten by a tarantula develops a disease (“tarantism”), which can only be cured by unrestrained dancing. For tarantella music, which is in many ways similar to saltarello, movement in solid triplets is typical. Well-known examples of the tarantella in professional music can be found in F. Liszt, F. Chopin, K.M. von Weber, D. Ober; the finalItalian Symphony F. Mendelssohn also resembles a tarantella in style.Trepak. Russian single male dance in a fast tempo and bipartite meter. Wide famous example trepak fromNutcracker Tchaikovsky. Fandango. Spanish dance of the 18th century. in 3/8 time, with a characteristic rhythmic accompaniment of castanets and guitar, originated in southern Spain. Originally, fandango was a vocal and dance form, with love lyrics. Variants of this dance are known in Spain under different names(for example, in Malaga fandango is called malagueña). The earliest example of the use of dance in professional music Gluck's balletDon Juan ; this melody was quoted by W.A. Mozart inThe Marriage of Figaro . Fandango is found in the works of R. Schumann, N.A. Rimsky-Korsakov, I. Albeniz and E. Granados.Farandola. French dance in 6/8 time, originated in Provence. The dancers hold each other's hands, forming a chain, and, following the leader, move through the streets, performing a wide variety of movements to the accompaniment of the flute and tambourine. Examples of dance can be found in C. Gounod's operaMireille , by J. Bizet in the suite from music toArlesian . The Spanish farandula is also a folk dance, and its name was applied to the divertissements containing the dance, which were performed between the second and third acts of the Spanish traditional drama.

Siciliana, Sicilian octave is Italian stanza consisting of eight verses (octet); a type of octave.

Canonical form of Siciliana

The Sicilian octave, like the octave itself, consists of eight verses, or lines. The stanza has two adjacent rhymes, which are arranged according to the abababab scheme with alternating male and female clauses (alternance).

The traditional poetic meter of Siciliana is eleven-syllable or thirteen-syllable verse, in Russian syllabic-tonic versification it is iambic pentameter or hexameter.

Difference between Siciliana and Octave

Siciliana is the predecessor and variety of the octave, which explains its second name - “Sicilian octave”.

The octave, unlike the Sicilian - stanzas with two rhymes, contains three rhymes alternating according to the abababcc scheme. The change of rhymes in the final two verses contributes to the completeness of the eight-line thought. The last couplet often contains an aphoristic conclusion.

Such a compositional construction of the octave with integrity and completeness of its form determined the use of the stanza in lyric-epic works. The extended and unframed form of siciliana prevailed in the lyrical genres.

Origin

The name Siciliana is associated with its place of origin: the stanza developed in the poetry of Sicily in the 13th century.
Initially, the ancient Italian pastoral dance was called siciliana, then the genre became entrenched in folk poetry as a lyrical eight-line poem about simple and peaceful rural life.

The Sicilian stanza, characterized by a detailed plot and flexibility of form, was developed in European lyric poetry. In the XIV century. from the Siciliana the octave developed and took on the leading role.

Sicilian reached particular popularity in the 17th-18th centuries. as a genre of instrumental and vocal music. Sicilian octaves were written by J. S. Bach, G. F. Handel, W. A. ​​Mozart and other world-famous composers.

Siciliana in Russian poetry

In Russian translations and original octaves, poets use iambic pentameter corresponding to the original Italian eleven-syllable. In the Sicilians, the canonical meter has not been preserved; instead of the iambic, trochee tetrameter or pentameter is used.

The poetic form of Siciliana was used by the great Russian poets - F. I. Tyutchev (“Hazy and Stormy Evening...”, 1836), A. A. Blok (“Cruel May with White Nights!..”, 1908), Igor Northerner (“The Punishment of Don Juan. A Tale in Sicilians”, 1922), etc.

Siciliana example:

May is cruel with white nights!
Eternal knocking on the gate: come out!
Blue haze behind my shoulders,
The unknown, death lies ahead!
Women with crazy eyes
With an eternally crumpled rose on your chest!-Wake up!
Pierce me with swords
Free me from my passions!
(A. A. Blok)

Modern meaning

The structural simplicity of Siciliana, which is reduced to just two cross rhymes and is divided into two quatrains, is inferior to more complex poetic forms, therefore in modern poetry This stanza is used extremely rarely.

The word siciliana comes from Italian siciliana, which means Sicilian.

siciliana - Sicilian) is an ancient Italian dance of a pastoral nature, possibly of Sicilian origin. It was especially common in instrumental and vocal music of the 17th-18th centuries.

Almost all composers of the Baroque era used Siciliana in their work - A. Scarlatti, J. Zelenka, J.-F. Rebel, G. F. Handel, J. S. Bach and others. This dance is less common in the music of the 19th century (G. Donizetti, D. Verdi, P. Mascagni). In the 20th century, Sicilian was remembered by composers who worked in the style of neoclassicism (O. Respighi, F. Poulenc, I. Stravinsky, A. Roussel, L. Dallapiccola, J. Rodrigo and others).

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Notes

Excerpt characterizing Sicilian

“Well, goodbye,” said the count, completely leaving the room.
- Why are you leaving? Why are you upset? Why?..” Natasha asked Pierre, looking defiantly into his eyes.
“Because I love you! - he wanted to say, but he didn’t say it, he blushed until he cried and lowered his eyes.
- Because it’s better for me to visit you less often... Because... no, I just have business.
- From what? no, tell me,” Natasha began decisively and suddenly fell silent. They both looked at each other in fear and confusion. He tried to grin, but could not: his smile expressed suffering, and he silently kissed her hand and left.
Pierre decided not to visit the Rostovs with himself anymore.

Petya, after receiving a decisive refusal, went to his room and there, locking himself away from everyone, wept bitterly. They did everything as if they had not noticed anything, when he came to tea, silent and gloomy, with tear-stained eyes.
The next day the sovereign arrived. Several of the Rostov courtyards asked to go and see the Tsar. That morning Petya took a long time to get dressed, comb his hair and arrange his collars like the big ones. He frowned in front of the mirror, made gestures, shrugged his shoulders and, finally, without telling anyone, put on his cap and left the house from the back porch, trying not to be noticed. Petya decided to go straight to the place where the sovereign was and directly explain to some chamberlain (it seemed to Petya that the sovereign was always surrounded by chamberlains) that he, Count Rostov, despite his youth, wanted to serve the fatherland, that youth could not be an obstacle for devotion and that he is ready... Petya, while he was getting ready, prepared a lot wonderful words which he will tell the chamberlain.