In 1904, the German critic Oscar Adolf Hermann Schmitz published a book about Great Britain, calling it (both the book and the country itself) "A Land Without Music" (Das Land Ohne Musik). Perhaps he was right. After Handel's death in 1759, Britain made negligible contributions to the development of classical music. True, Schmitz did not come out with his condemnation at the right time: the 20th century witnessed the revival of British music which manifested itself in the formation of a new national style. This era also gave the world four great British composers.
Edward Elgar
He did not formally study the art of composition anywhere, but he managed from a modest Worcester conductor and bandmaster of the Worcester psychiatric hospital to become the first British composer in two hundred years to achieve international recognition. His first major orchestral work, Enigma Variations (1899), brought fame to him - mysterious because each of the fourteen variations was written on a peculiar theme that no one had heard before. Elgar's greatness (or his English identity, some say) lies in his use of bold melodic themes that convey a mood of nostalgic melancholy. His the best essay called the oratorio "The Dream of Gerontius" (The Dream of Gerontius, 1900), and his First March from the cycle "Solemn and Ceremonial Marches" (Pomp and Circumstance March No. 1, 1901), also known as "The Land of Hope and Glory", invariably evokes stormy delight among listeners at the annual "promenade concerts".
Gustav Holst
An English-born Swede, Holst was an exceptionally outstanding composer. A master of orchestration, in his work he relied on such different traditions like English folk songs and madrigals, Hindu mysticism and the avant-gardism of Stravinsky and Schoenberg. He was also interested in astrology, and its study inspired Holst to create his most famous (though not the best) work - the seven-part symphonic suite"Planets" (The Planets, 1914-1916).
Ralph Vaughan Williams
Ralph Vaughan Williams is considered the most English of the British composers. He rejected foreign influences, saturating his music with the mood and rhythms of national folklore and the work of English composers of the 16th century. His rich, melancholy melodies conjure up images of rural life. Stravinsky even remarked that listening to him " Pastoral symphony” (Pastoral Symphony, 1921) is like “staring at a cow for a long time,” and he, admittedly, put it even softer in comparison with the composer Elizabeth Lutyens, who called the “Pastoral Symphony” “music for cows.” Vaughan Williams is best known as the author of A Sea Symphony (1910), A London Symphony (1913) and the delightful romance for violin and orchestra The Lark Ascending (1914).
Benjamin Britten
Britten was and remains to this day the last great British composer. His skill and ingenuity, especially as a composer writing for vocals, has earned him international recognition comparable to the glory of Elgar. Among his the best works the opera "Peter Grimes" (Peter Grimes, 1945), the orchestral work "The Young Person's Guide to the Orchestra", 1946) and the major orchestral and choral work "War Requiem" (War Requiem, 1961) to the verses of Wilfred Owen Britten was not a big fan of the "English traditionalism" characteristic of composers previous generation, although he arranged folk songs for his partner, tenor Peter Pierce. Even during his lifetime, Britten was known as a homosexual and pacifist, although few people knew about his passion, albeit innocent, for thirteen-year-old boys.
Literature
T. Livanova Musical Theatre in England. Henry Purcell. Chapter from the book "History of Western European Music until 1789: Textbook" in 2 vols. T. 1 M., Music, 1983 (p. 427-449)
Electronic application No. 1 - additional materials
Musical culture of England XVIII-XIX centuries.
The musical life of England at the turn of the 17th and 18th centuries is increasingly subject to the spirit of capitalist entrepreneurship, which influences various aspects of culture and art. Numerous music publishing firms spring up in London; the organizers of concerts and the patrons of musicians are the owners of theaters, clubs, owners of pleasure gardens, for whom music is primarily a source of income. Even during the life of Purcell in England began an influx of foreign musicians.
Among them are the French - R. Kamber, author of the opera Pomona (1671), L. Grabu, who from 1665 became the head of the Royal Chapel in London; Italians - violinist N. Matteis, composer J. Draghi, castrato singer F. D. Grossi; Germans - violinist T. Baltsar and composer J. Pepusch; Czech G. Finger. In 1705, a theater was opened in the center of London, on the stage of which an Italian opera troupe began to perform annually. Under contract with Italian composers - G. Bononchini, F. Amodei, A. Ariosti, F. Veracini, N. Porpora - the theater staged their new operas.
Italian opera soon conquered the English audience, pushing back interest in national opera and to the work of English composers, who have lost their most talented representative in the person of Purcell. Thus ended the heyday of English music, and the period of its long crisis began, which lasted until the end of the 19th century.
In English musical culture in the first half of the 18th century. the activity of G. F. Handel played a major role. Handel lived in London for about 50 years (1710-59). He easily adapted to the tastes and artistic demands of the English public, creating over 40 operas in the Italian style (performed by a London troupe on Italian). The German composer stood in the center musical life England. This was facilitated not only by the bright creative individuality Handel, his performing skills, but also the energy of the organizer, the democratic orientation of his quest. Handel's influence was especially evident in choral music. In his oratorios, based on ancient, historical and biblical heroic stories ("Judas Maccabee", "Samson", "Israel in Egypt", etc.), for the first time in musical images the struggle for the freedom-loving ideals of mankind was embodied. the main role in them entrusted to the choirs depicting the people. Handel's oratorios summarized the traditions of English choral culture. However, in these oratorios important role play elements of operatic dramaturgy. Handel strove for the approval of people's democratic ideals in art, set himself ideological and moral tasks.
A strong blow to the dominance of Italian opera was dealt by The Beggar's Opera (London, 1728) by the English poet and playwright J. Gay and the German composer J. Pepusch, who lived in England. "The Beggar's Opera" is a parody of Italian opera and a vicious satire on the mores of English bourgeois society - was an expression of the democratic opposition.It was a sensational success with a democratic audience (63 performances in the first season) and remained in the repertoire for many years English theater, undergoing various stage and musical arrangements. "The Beggar's Opera" spawned new genre so-called "ballad opera", revived the traditions folk performances minstrels 15th c.
Among the most significant English composers of the 18th century are T. Arne, W. Boyce, and C. Dibdin. These composers who created music for drama theater and pleasure gardens of London, were gifted musicians, but their art lagged far behind the achievements of their contemporary great composers in Germany, Austria, Italy and France; therefore, foreign musicians were invited to England, they ordered operas, oratorios, symphonies. Among foreign composers of the 2nd half of the 18th century. a significant contribution to English musical culture was made by J. K. Bach ("London Bach", son of J. S. Bach, who worked in England in 1762-82). From 1767, the Italian pianist and composer M. Clementi, who is considered the head of the English clavier school, lived in London. important event in English musical life there were visits by J. Haydn (1791-92 and 1794-95), who wrote 12 symphonies in England (" London symphonies") and made 187 arrangements of Scottish songs. The only English composer who left England to work on the European continent is J. Field (Irish by nationality), who lived in Russia from the age of 20. A pianist and author of piano pieces and piano concertos, Field is considered creator romantic genre nocturne for piano.
Musical life in England in the 18th century. manifested itself mainly in the organization of large choral festivals, which brought together many amateur and professional singers to perform Handel's oratorios (since 1715). Since 1724, the so-called "Three Choir Festivals" (church) have been held in succession in Gloucester, Worcester, and Hereford. In 1784, the first Handel Festival took place in London (in Westminster Abbey, where the composer is buried).
There are concert and musical societies that influenced further development English music:
- Academy early music(since 1770) - the first concert society in London;
- The "Catch Club" (since 1761), uniting lovers choral singing;
- The largest "Royal musical society"(since 1762);
- · "Concerts of ancient music" (since 1776).
In connection with the increased interest in playing the harpsichord and (later) the piano (concerts by J.K. Bach, W.A. Mozart, M. Clementi), the production of keyboard instruments. In 1728, the J. Broadwood firm (the oldest in the world) was founded, which at first produced harpsichords, and from 1773, grand pianos; in 1760, J. Hill founded a company that manufactured stringed instruments and bows (later - "Hill and Sons").
In the 1st half of the 19th century. England has not nominated any major composer. Even the best of English musicians could not rise above the imitation of the music of other composers. European countries, mostly being followers of their German and Italian teachers. None of them could express in their work the original features of the richest national culture England. Characteristically, prominent musical works on the plots of English masterpieces fiction were created by foreign composers: Oberon by Weber, Otello by Rossini, Dream in midsummer night"Mendelssohn were written based on the works of Shakespeare; "Harold in Italy" by Berlioz, "Manfred" and "The Bride of Messina" by Schumann - by Byron; "Lucia di Lammermoor" by Donizetti - by V. Scott.
The repertoire of the London theater "Covent Garden" (founded in 1732) consisted mainly of works foreign authors, like concert programs Philharmonic Society (founded in 1813), which mainly popularized symphonic music Beethoven and other Western European composers.
In the 19th century London becomes one of the centers of European musical life. Here were: F. Chopin, F. Liszt, F. Mendelssohn, N. Paganini, G. Berlioz, R. Wagner, J. Verdi, C. Gounod, J. Meyerbeer, A. Dvorak, later - P. I. Tchaikovsky , A. K. Glazunov. An Italian troupe, famous for its bel canto masters, played at the Covent Garden Theatre. big development got a concert life. Since 1857, Handel festivals began to be held regularly in London (from 1859 - in crystal palace), in which the number of participants reached 4000. Brass band competitions are organized (the first was in Manchester, in 1853). From the middle of the 19th century there is a growing interest in the performance and study of classical music, as well as in ancient English music - the Handel (in 1843), Bach (in 1849) and Purcell (in 1861) societies are organized, a society for the study of medieval musical art(Plainsong and medieval society, 1888).
In the English musical life of this period, democratic tendencies appear. In 1878, the People's Concert Society was created, which organized popular concerts for residents of the poor quarters of London; in many cities in England, amateur choirs appear, performing in churches, clubs, and on open stages. The concerts of student choirs. Choirs united in numerous choral societies:
- Society of Sacred Harmony (since 1832),
- Association of choirs (since 1833),
- Royal Choral Society (since 1871),
- · Bach Choir (since 1875).
The expansion of the choral movement in England was facilitated by the system of simplified musical notation, the so-called "tonic - sol-fa", which was introduced in all general education schools. With the development of musical life, the need for educational institutions musical education has expanded significantly.
Opened in London:
- Royal Academy of Music (1822),
- Trinity College (1872)
- Royal College of Music (1883).
As ironic as it may sound, we must recognize the validity of the statement that England is a country where the audience is very musical, but there are no musicians!
This problem is all the more interesting because we know very well how high musical culture England in the era of Queen Elizabeth. Where did the musicians and composers disappear to in England of the 18th-19th centuries?
It is not difficult to give a superficial answer. Great Britain was engaged in trade, acquired colonies, carried out gigantic financial operations, created industry, fought for the constitution, played a chess game on a huge board the globe- and she didn't have time to mess around with the music.
The answer is tempting, but not true. After all, this same England gave mankind great poets: Byron, Shelley, Burns, Coleridge, Browning, Crabbe, Keats, Tennyson, but can you name all those on this list of fame; merchant England gave birth great artists: Hogarth, Constable and Turner. The size of the chapter does not allow us to give here the names of all the masters of prose in England of the 18th-19th centuries. Let us mention only Defoe, Fielding, Stern, Goldsmith, Walter Scott, Dickens, Thackeray, Stevenson, Meredith, Hardy, Lamb, Ruskin, Carlyle.
So the above argument is invalid. It turns out that merchant England was at its best in all forms of art, with the exception of music.
Perhaps we will come closer to the truth if we follow the train of thought of the musicologist Goddard. In The Music of Britain in Our Time, he writes: “English music lives first in admiration from Handel, then from Haydn, in Victorian era this admiration was replaced by the adoration of Mendelssohn, and this adoration made Mendelssohn's writings not only the criterion, but the only nutrient medium music. There simply was no organization, association or class that would be inclined to support English music.
Although this explanation sounds somewhat crude and improbable, nevertheless, if you think about it carefully, it is quite acceptable. The English aristocracy, as is well known, demanded, purely out of snobbery, Italian conductors and singers, French dancers, German composers, since she did not consider listening to her musicians a secular enough matter, just as she traveled not to Scotland or Ireland, but to Italy or Spain, to the African jungle or to the icy world of fiords. Thus, national English music could be heard only when the rising and victorious bourgeoisie felt strong enough not to imitate in the field of theater, music, opera. high society”, and go where her mind, heart and taste lead her. But why was the English bourgeoisie able to find literature and poetry to its liking, and why did this not happen with music?
Yes, because the rising bourgeois brought with him the ideals of the Puritans, and with pious horror denied the brilliance of the opera stage, as if it were a phenomenon born at the instigation of the devil. The 19th century had to come with its rationalism, freer thinking, more distant from religion, more secular and, one might say, high-society outlook on life, so that the English bourgeois would turn to music, so that an era would come that ensures the right to a life full of perky dances. , sparkling with cheerful laughter of the opera-buffa Arthur Sullivan (1842-1900), to awaken the understanding of the cantatas of Hubert Parry (1848-1924), opened Edward Elgar oratorios: "Apostles", "Light of Christ", "King Olaf", "Dreams of Gerontius". Elgar is already smiling popularity and recognition. He is the court musician of the king. As many awards are pouring on him alone, as many famous people in the history of music have not received. English musicians from the Renaissance to the present day.
But the influence of the music of the continent is still strong. So, following in the footsteps of Elgar Frederick Delius(1863-1934) studies in Leipzig and is freed from the influence of Mendelssohn by Paris, where he meets Strindberg and Gauguin and, perhaps, meant even more for him than meeting these great people, this is a meeting with the city itself on the banks of the Seine , with the French people, with Gallic wit.
Delius wrote the following operas: Coanga (1904), Rural Romeo and Juliet (1907), Fennimore and Gerda (1909).
Delius lived in a French milieu and, despite a respectable desire for creative freedom, could not completely free himself from the influence of the music of the continent.
The first real English 19th composer century was Ralph Vaughan Williams(1872), singer English nature, English people, connoisseur of English song folklore. He addresses the ancient poet Banaien and the 16th-century composer Tellis. He writes a symphony about the sea and about London. draws musical portrait Tudors, but most willingly makes English folk songs sound.
In the camp of English composers of the 19th century, he has a special place, not only because of his excellent technique, amazing taste and fruitfulness, but also because he has such qualities that were given only to Dickens or Mark Twain: he knows how to smile condescendingly, somewhat ironically, squinting his eyes, but humanly, as the above-mentioned great writers did.
For the stage, he wrote the following works:
The Pretty Shepherds, The Mountains (1922), Hugh the Driver (1924), Sir John in Love (1929), The Service (1930), The Poisoned Kiss (1936), The Sea Robbers (1937), Pilgrim's Success (1951).
Contemporaries of Vaughan Williams, English musicians-innovators, are trying to develop the style of a new English opera. There is no shortage of traditions: composers of this era revive the traditions of old ballad operas, resurrect the spirit of Gay and Pepush: they mix lofty feelings with burlesque, pathos with irony; but most of all I am inspired by English poetry - a treasury of poetic beauties, the world of thoughts.
From among the English composers late XIX- the beginning of the 20th century, we will only mention those who contributed to the formation of modern stage music.
Arnold Bax (1883-1953) became famous as a composer of ballets.
William Walton (1902) conquers big success opera "Troilus and Cressida" (1954).
Arthur Bliss (1891) attracted attention with an opera based on a libretto by Priestley, The Olympians (1949).
Eugene Goossens (1893-1963) performed on the English opera stage with Judith (1929) and Don Juan de Manara (1937).
But worldwide success was brought to the English opera by the works of Benjamin Britten.
The concept of "composer" first appeared in the 16th century in Italy, and since then it has been used to refer to a person who composes music.
19th century composers
In the 19th century the Viennese music school represented such outstanding composer like Franz Peter Schubert. He continued the tradition of romanticism and influenced a whole generation of composers. Schubert created over 600 German romances, taking the genre to a new level.
Franz Peter Schubert
Another Austrian, Johann Strauss, became famous for his operettas and light musical forms dance character. It was he who made the waltz the most popular dance in Vienna, where balls are still held. In addition, his legacy includes polkas, quadrilles, ballets and operettas.
Johann Strauss
A prominent representative of modernism in the music of the late 19th century was the German Richard Wagner. His operas have not lost their relevance and popularity to this day.
Giuseppe Verdi
You can contrast Wagner with a majestic figure Italian composer Giuseppe Verdi, who remained true to opera traditions and gave Italian opera new breath.
Peter Ilyich Tchaikovsky
Among the Russian composers of the 19th century, the name of Pyotr Ilyich Tchaikovsky stands out. He is characterized by a unique style that combines European symphonic traditions with Glinka's Russian heritage.
Composers of the 20th century
Sergei Vasilyevich Rahmaninov
One of the brightest composers of the late 19th - early 20th centuries is rightfully considered Sergei Vasilyevich Rachmaninov. His musical style was based on the traditions of romanticism and existed in parallel with the avant-garde movements. It was for his individuality and the absence of analogues that his work was highly appreciated by critics around the world.
Igor Fyodorovich Stravinsky
The second most famous composer of the 20th century is Igor Fedorovich Stravinsky. Russian by origin, he emigrated to France, and then to the USA, where he showed his talent to the fullest. Stravinsky is an innovator, not afraid to experiment with rhythms and styles. In his work, the influence of Russian traditions, elements of various avant-garde movements and a unique individual style can be traced, for which he is called "Picasso in Music".
English composers, like many others, gave us something wonderful - music. Of course, many composers other than English ones have done this, but now we will talk about English ones. Their music has a certain charm, and each composer has his own special approach to works.
The beginning of the development of music in England
Until the 4th century, England, from the point of view of art historians, was considered one of the most "least musical" countries. Based on this fact, we can say that the works of English composers of classical music, and indeed of any other, did not seem to connoisseurs of beauty something noteworthy and reverence. But even despite the opinion of skeptics and art historians, England had and has great and talented composers, whose names are known to everyone, and melodies and works are valued not only in the country itself, but also abroad.
The first fame of composers of those times
Known English composers began to appear and become famous somewhere in X-XV centuries. Of course, music appeared there much earlier, but the works were not very famous, and the names of composers have not survived to this day, just like their works. English composers of classical music first appeared and became somewhat famous in the 11th century. The first works appeared almost in the same period as the European ones. English composers of classical music conveyed stories about Celtic or simply military campaigns in their works. The works described the life of ordinary, or not quite, people living or having any connection with the Celtic islands and tribes.
After the adoption of Christianity, at the end of the 6th century, English composers of classical music began to actively develop their skills in the field of music, using church themes for this, and a little later, at the beginning and middle of the 7th century, domestic and state ones. Thus, it becomes clear that English music was dedicated to religion and the various military merits of the country.
The popularity of English classical composers in modern times
As you can see, music composers were not very popular in the fifth and seventh centuries, but how much of such composers are preferred now? Of course, in our time, they do not pay due attention to such music and often the most recent musical novelties instead of the works of great composers. But the music of famous English composers can be heard in our time - in opera houses or simply by finding a wonderful musical phenomenon on the Internet. Today you will get acquainted with some of the most famous composers, whose works are known in many countries and on many continents. The music of English composers, of course, has distribution in England itself and abroad, but it does not have such a large number admirers, as then.
Who is Edward Benjamin Britten?
Benjamin Britten is a British composer of classical English music born in the 20th century. Benjamin was born in 1913 in Lowestoft. Benjamin is not only a composer, but also an excellent musician, namely a conductor and a professional pianist. He also tried many musical directions as a composer, his repertoire included vocal and piano pieces and opera performances. By the way, it was the third repertoire that became one of his most basic. Like any other famous composer, Edward Benjamin Britten has many different masterpieces behind him. opera music and plays.
The plays of Benjamin Britten and his popularity
The most famous play, which is staged in theaters in our time - "Noah's Ark". Judging by the title, and also by the plot of the play, it is easy to understand that the title itself confirms the fact that many works written before the 20th century and at its beginning often had a religious theme. Speaking of Benjamin, it is impossible not to mention his significance among composers of the mid-twentieth century. He was the most famous composer of the twentieth century, one can even say that it was he who exalted the significance and beauty of the English musical masterpieces"to heaven". After Edward's death for a long time England "did not see" such talents.
Who is Gustav Holst?
Gustav Holst is one of the most famous English composers of the nineteenth and twentieth centuries. Gustav was born in 1830 and to this day he has retained his popularity, and his creations are still famous for lovers of beauty. The symphonies and melodies of Gustav Holst are now not uncommon, they are very easy to get in our time: there are many works on the Internet in in electronic format, and to purchase a disc with a collection of works by the great master is as easy as shelling pears.
Plays and works of Gustav Holst, their role in cultural institutions
You will say: “He was great and talented, but is he popular and are his creations popular now?” It is impossible to give an unambiguous answer to your question, because, like any musician, and especially the famous English composer of those times, he did not remain a favorite of the public, and people preferred musical novelties to his works. And no matter how famous and beloved by the public Gustav may be, in our time, few will remember his name. But it is impossible not to include him in our list, because once his example was an ideal for beginning English composers who dream of world fame and fame.
In conclusion, I would like to say that although English classical composers and their music are not currently successful and almost no one prefers such a magnificent genre as classical, genres, works and their authors still have admirers, the number of which is incredibly great for beginners and Not only classical composers. And remember: the classic is eternal and unchanging, because what it has remained for many centuries is the same now.
