Программная музыка: история и примеры

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Program music is a term applied to any musical composition on the classical music tradition in which the piece is designed according to some preconceived narrative, or is designed to evoke a specific idea and atmosphere. This is distinct from the more traditional absolute music popular in the Baroque and Classical eras, in which the piece has no narrative program or ideas and is simply created for music's sake. Musical forms such as the symphonic poem, ballade, suite, overture and some compositions in freer forms are named as program music since they intended to bring out extra musical elements like sights and incidents. Opera, ballet, and Lieder could also trivially be considered program music since they are unintended to accompany vocal or stage performances. They will be excluded from this list except where they have been extensively popularised and played without the original vocals and/or stage performance. The orchestral program music tradition is also continued in some pieces for jazz orchestras. For narrative or evocative popular music, please see Concept Album. Any discussion of program music brings to mind Walt Disney's animated features Fantasia (1940) and Fantasia 2000 (1999), in which the Disney animators provided graphic visualisation of several famous pieces of program music. However, not all the pieces used in the films were particularly programmatic, and in most cases, the narratives illustrated by the animators were different from whatever programmatic narrative might have existed originally.

Coriolan Overture, Op. 62 (1807); based on the story of Coriolanus
Symphony No. 6, Pastoral, Op. 68 (1808); features titled movements, country dances, bird calls, and a storm. Leonore No. 3 Overture, Op. 72b (1806); one of a series of overtures composed for the opera Leonore, later renamed Fidelio. Leonore No. 3 is well known for portraying some of the major events of the plot in a condensed, purely orchestral form, most notably the distant trumpet fanfares of the finale. Next to the actual, finalized Fidelio overture, this is the most commonly performed version, and still sometimes replaces the Fidelio overture in some productions. Egmont Overture, Op. 84
Wellington's Victory, Op. 91 is also known as the Battle Symphony and describes the battle between the French and British armies outside the Spanish town of Vitoria and the subsequent British victory. The work features rifles and cannons as instruments. It also makes use of Rule Britannia, which is used to describe the British, whereas the French side is announced by the French song Marlbrouk s'en va t en guerre. Piano Sonata in A flat Op. 26 (3rd movement subtitled "Death of a hero", 4th movement manifestly "Life goes on" in intent)
Piano Sonata in D minor Op. 31 Nr. 2 ("Der Sturm", inspired by Shakespeare's The Tempest)
Piano Sonata in E flat major Op. 81a "Les Adieux"

Four Sea Interludes, (1945) — Britten extracted four of the six interludes from his opera Peter Grimes for performance as a stand alone orchestral piece. "I. Dawn," "II. Sunday Morning" (describing a seaside community gathering to worship), "III. Moonlight," and "IV. Storm" were all meant to describe these scenes and images through Britten's music literally.

Symphony No. 4 in E flat major, "Romantic" — The program, involving medieval castles and dawn and royal hunts, appears to have been an afterthought like it was with the other Symphonies, but the validity of it, in this case, is supported by the subtitle given to the work, the only one of Bruckner's Symphonies to have been given a subtitle by the composer himself.

Alexander Konstantinovich Glazunov was a prolific composer of symphonic poems, independent overtures and fantasias, who often drew his inspiration from history. To the Memory of a Hero, elegy for orchestra, Op. 8
Stenka Razin, Op. 13
The Forest, fantasy for orchestra, Op. 19
Slavonian Feast, symphonic sketches, Op. 26A
The Sea, fantasy for orchestra, Op. 28
Oriental Rhapsody, Op. 29
The Kremlin, symphonic picture in three parts, Op. 30
The Spring, symphonic picture, Op. 34
Carnaval, overture for large orchestra and organ, Op. 45
From Dark into Light, fantasy for orchestra, Op. 53
Solemn Overture, Op. 73
From the Middle Ages, suite for orchestra, Op. 79
The Song of Destiny, dramatic overture, Op. 84
Russian Fantasy for balalaika orchestra, Op. 86
To the Memory of Gogol, symphonic prologue, Op. 87
Finnish Fantasy for orchestra, Op. 88
Finnish Sketches for orchestra, Op. 89
Karelian Legend, Op. 99
Poème épique, Op. posth.

Grand Canyon Suite, (1931). Named sections illustrate "Sunrise," "The Painted Desert," "On the Trail," "Sunset" and "Cloudburst." "On the Trail" is the familiar section with a mule's braying and hoofbeats. "Cloudburst," another musical storm, was described by Toscanini as "vivid and terrifying."

Domination of Black op.23, for orchestra after a poem of Wallace Stevens
Europa & the Bull op.121, for solo tuba and orchestra after Ovid
Phaeton's Journey: Son of the Sun op.131, for solo trumpet and orchestra after Ovid

Helios Overture, Op. 17

Verklärte Nacht, Op. 4 ("Transfigured Night"), 1899 Romantic musical portrait of a moonlight forest walk, from Richard Dehmel's poem

Symphony No. 1 "Afro American"
Symphony No. 2 in G minor, "Song of a New Race"

A major developer of the tone poem as a musical form, Strauss displayed outstanding skill at musical description. He claimed that he was capable of "describing a knife and fork" in music, and said that a sensitive listener to Don Juan could discern the hair color of Don Juan's amorous partners. Don Juan, Op. 20 (1889)
Macbeth, Op. 23
Tod und Verklärung ("Death and Transfiguration") Op. 24 (1889)
Till Eulenspiegels lustige Streiche ("Till Eulenspiegel's merry pranks"), Op. 28
Also Sprach Zarathustra ("Thus Spoke Zarathustra"), Op. 30 (1896)
Don Quixote, Op. 35 (1897)
Ein Heldenleben ("A hero's life"), Op. 40
Symphonia Domestica ("Domestic Symphony"), Op. 53 (1903). A musical description of the composer's personal daily life, including an unflattering musical picture of Frau Strauss
Eine Alpensinfonie ("An Alpine Symphony"), Op. 64 (1915). A work with twenty two named narrative sections describing the ascent of an alpine mountain. A section of the work depicts a thunderstorm, with perhaps the most realistic thunder and lightning in orchestral music. Duett Concertino (1947), depicting a princess and a bear.