Humor in classical music

Music is a universal art, it is capable of displaying everything that exists in the world, including the phenomenon of humor that is difficult to define. Humor in music can be associated with a comic text - in an opera, operetta, romance, but any instrumental composition can be filled with it.

Little tricks of great composers

There are many techniques of musical expression to create a humorous effect:

• deliberately fake notes inserted into musical fabric;
• unjustified pausing;
• inappropriate amplification or attenuation of sonority;
• the inclusion in the musical fabric of a sharply contrasting material incompatible with the main material;
• imitation of easily recognizable sounds;
• sound effects and more.

In addition, musical works with a cheerful and cheerful, mischievous or playful nature, it is possible to fit into the category of humorous, if we consider that the concept of "humor" in a broad sense - this is all that causes a cheerful mood. Such, for example, "Little Night Serenade" by W. Mozart.

All genres of humor are submissive.

Humor in music has many faces. Harmless joke, irony, grotesque, sarcasm are subject to the pen of the composer. Richly genre variety of musical works related to humor: comic opera (opera buffa), comic ballet, "Humoresque", "Burlesque", "Joke", "Scherzo" etc. In almost every classical symphony, sonata, written since the time of L. Beethoven, there is a “scherzo” (usually the third part). Most often it is full of energy and movement, good humor and can lead the listener to a good mood.

Known examples of scherzo and as an independent play. Humor in music is presented very clearly in M. P. Mussorgsky's scherzino. The play is called "The Ballet of the Unstatched Chicks". Imitation of bird chirping, the fluttering of little wings are heard in the music, clumsy bouncing are depicted. An additional comic effect creates a smooth, clearly decorated dance melody (the middle part is a trio), which sounds against the background of trills shimmering in the upper register.

Humor in classical music of Russian composers is quite common. Suffice it to mention the genre of comic opera, known in Russian music since the XVIII century. For comedic heroes in the opera classics there are characteristic techniques of musical expressiveness:

• secco recitative ("dry");
• comic patter;
• the deliberate simplicity of the melodic pattern;
• repeated repetitions of melodic and harmonic revolutions.

All these features are contained in the magnificent Rondo Farlaf, written for buffalo bass (MI Glinka’s opera Ruslan and Lyudmila).

Unfading humor

Humor in classical music does not become scanty, and today it sounds especially fresh, framed in new musical and expressive means found by modern composers. R.K. Shchedrin wrote the play "Humoresque", built on a dialogue of cautious, sneaking intonations, "plotting" some kind of mischief, with strict and harsh. In the end, persistent grimacing and ridicule disappear to the sound of a sharp, “out of patience” final chord.

Wit, cheerfulness, optimism, irony, expressiveness peculiar to both nature and music S.S. Prokofiev. In his comic opera Love for Three Oranges, it seems that all existing types of humor are concentrated from innocent jokes to irony, grotesque and sarcasm.

Nothing can please the sad prince until he finds three oranges. It takes courage and will from the hero. After numerous amusing adventures that have happened to the Prince, the matured hero finds Princess Ninetta in one of the oranges, rescues her from the evil spell. A triumphant jubilant finale completes the opera.