Ballet theater of the 18th century. Themes of romanticism and realism

A student of Pisarev and Ponomarev, Ukhov graduated from the Leningrad Choreographic School in 1944. At the graduation performance he danced the part of Romeo in Romeo and Juliet, staged by Yakobson to music by Tchaikovsky. His independent creative life on the stage of the Kirov Theater began with the performance of variations and small solo parts. Soon the gifted dancer becomes the leading soloist, performing the main roles in both classical and Soviet ballets. Among the images he created are Siegfried, Jean de Brienne, Romeo, Phoebus. Ukhov emphasized lyricism, inner softness, and poetry in his characters. The crown role of Vsevolod Dmitrievich was the role of Eugene in The Bronze Horseman.

Subsequently, the actor switched to the performance of game, pantomime parties. Giray, Gert, Crassus, the Great Brahmin in La Bayadere, Peter in The Bronze Horseman appeared in the list of his roles.

Dmitry Bryantsev was born (1947) - Russian choreographer, choreographer, dancer, screenwriter.

Dmitry Bryantsev, after graduating from the Vaganova Leningrad Choreographic School, entered the State Institute theatrical art them. Lunacharsky to the choreographer's department. For 11 years he was a ballet dancer in the ensemble "Young Ballet" under the direction of Igor Moiseev, where he staged the first ballet miniatures. He worked at the Kirov Opera and Ballet Theatre, at the Operetta Theatre, in the Classical Ballet Ensemble, in the Choreographic Miniatures Ensemble, and at the Bolshoi Theatre. In 1985 he was appointed chief choreographer of the Moscow Academic Musical Theatre. Stanislavsky and Nemirovich-Danchenko.

Dmitry Bryantsev was distinguished by his choreographic fantasy and a wide range of genres. He always enriched classical technique elements of household and variety dance, freedom of plastic arts and folklore.

Marina Konstantinovna Leonova was born (1949) - Rector of the Moscow State Academy of Choreography, People's Artist of Russia.

“My mother gave me to a ballet club only because I, a post-war child, was very thin. Mom wanted me to build muscle by dancing,” Leonova said in an interview. She began dancing at the age of seven at the Moscow Palace of Pioneers. She graduated from the Moscow Art Academy, class of Professor S.N. Golovkina, then - the pedagogical department of the ballet master faculty of GITIS. For twenty years she was a soloist of the ballet troupe Bolshoi Theater, where she performed leading roles in classical productions.

Since 1991, she has taught classical dance at the Moscow Art Academy, since 1993 - Associate Professor of the Department of Choreography at the Moscow State Art Institute. She graduated more than 100 talented students, many of them are the leading ballerinas of the Bolshoi Theater, foreign and domestic ballet troupes. Her pupils: N. Osipova, S. Lunkina Ksenia Ryzhkova, Elvina Ibraimova, Teresa Beck.

She has given master classes in ballet schools in Italy, France, USA, Japan, Korea, Russia and other countries.

Leads a big scientific work. Since April 2002, Marina Leonova has been the permanent rector of the Moscow state academy choreography (MGAH).

Born Olga Sizykh - soloist of the ballet troupe of the Musical Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko

Choreographic education received at the Moscow Academy of Education Natalia Nesterova. In parallel with her studies, she worked at the Russian National Ballet under the direction of Sergei and Elena Radchenko and received higher education in Moscow state institute culture. Since 2004 - in the troupe of the theater. Stanislavsky and Nemirovich-Danchenko. He has an extensive repertoire of solo parts, from classical - "Giselle" and "La Bayadère", to modern - Frederick Ashton, Jerome Robbins, John Neumeier.

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dBFS: 20th January 2001 02:08

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Ballet appeared in the 16th-17th centuries at European royal courts. The residence of the French king Louis XIV was located in the luxurious Palace of Versailles, in the suburbs of Paris. In 1581, a grandiose performance of The Queen's Comedy Ballet took place in Paris. Historians say that it lasted five and a half hours. Both singers and readers participated in the performance, but the events of the plot were revealed primarily with the help of dance. So four hundred years ago, that type of theatrical performance appeared, which today we call the word “ballet”. He combines music, dance, art of scenery and thus creates a completely special kind stage spectacle. A dance in ballet is composed (or choreographed) by a choreographer, who is called a choreographer or director in programs and posters, and is performed by ballet dancers, or, as they say, dancers. Dance is the main means of expression in ballet. The dance reveals the content of the ballet, the characters of the characters, their thoughts, feelings. Music is of great importance in ballet - its dramatic, emotional power, richness and beauty of melodies and rhythms. An important role in the ballet belongs to the scenery, costumes, lighting.

Russian ballet is the emotional flavor of theatrical culture. The charm of the harmonious combination of music with dance, poetry and painting is limitless. The appearance of European choreographers in Russia is of great importance for the emergence of the Russian national ballet. By mixing foreign dance schools with Russian dance, the first prerequisites for the emergence of a Russian classical ballet school gradually began to form. Developing and changing, Russian ballet has reached world heights. This is one of its most attractive features.

Divertissement - (from French divertissement - entertainment, entertainment); in the theater, in the 17-18 centuries. an insert or final part of a dramatic performance (sometimes opera or ballet), consisting of singing, dancing, comic skits, parodies, and other entertainment numbers, usually not related to the plot of the performance. In the 70s. 19th century becomes an independent concert program of variety theaters and booths. D. received significant distribution in Russian ballet after Patriotic War 1812, turning into a special kind of ballet performance on patriotic and folk themes.

Ballet received its greatest development in the 17th century. At this time, ballet art comes to France, where, under the patronage of King Louis XIV, the most spectacular dance evenings and performances are held. The ruler himself was not opposed to dancing, therefore, entire ballet performances were often staged at his court. It is no coincidence that it was King Louis who organized the Royal Dance Academy, where not only the courtiers of the monarch could learn the basics of dance skills, but also trained professional dancers. Thus, more attention is paid to the technique of dance.

Ballroom dances, held at the court of monarchs, turn into performances where the dance was a clear geometric figure. The knowledge of ballet professionals was that any dancer could perform complex pirouettes and pas. For the first time, the main rules of ballet were clearly outlined by the teacher of the Royal Dance Academy, Pierre Beauchamp. This dancer singled out the leading movements of the actor, without which he simply could not imagine ballet. Pierre Beauchamp believed that if the role of all criteria is met, then it is realistic not only to achieve perfection in dance, but also to skillfully perform his ballet part on stage. In his rules, the choreographer of the Royal Academy considered the positions of the legs and arms, which have become key and especially the whole dance is based on them. Since that time, the court dance turned into a ballet dance and began to be shown on the big stage.

Ballet penetrates into Russia and begins to spread even under Peter I at the beginning. 18th century In 1738, at the request of the French dance master Jean-Baptiste Lande, the first ballet dance school in Russia was opened in St. Petersburg (now the Academy of Russian Ballet named after A. Ya. Vaganova).

The history of Russian ballet begins in 1738. It was then, thanks to the petition of Mr. Lande, that the first school of ballet art in Russia appeared - the St. Petersburg Academy of Dance named after Agrippina Yakovlevna Vaganova, now known to the whole world. The rulers of the Russian throne have always cared about development dance art. Mikhail Fedorovich was the first of the Russian tsars to introduce a new position of a dancer into the staff of his court. They became Ivan Lodygin. He had to not only dance himself, but also to teach this craft to others. Twenty-nine youths were placed at his disposal. The first theater appeared under Tsar Alexei Mikhailovich. Then it was customary to show a stage dance between the acts of the play, which was called ballet. Later, by special decree of Emperor Peter the Great, dancing became an integral part of court etiquette. In the 30s of the eighteenth century, the youth of the nobility was obliged to learn dancing. In Petersburg ballroom dance became a compulsory discipline in the gentry cadet corps. With the opening of the summer theater in the Summer Garden, the winter theater in the wing Winter Palace cadets begin to participate in ballet dances. The dance instructor in the building was Jean-Baptiste Landet. He was well aware that the nobles would not devote themselves to ballet in the future. Although they, along with professionals, danced in ballets. Lande, like no one else, saw the need for Russian ballet theater. In September 1737, he submitted a petition in which he managed to justify the need to create a new special school, where girls and boys of simple origin would study choreographic art. Soon such permission was given. Twelve girls and twelve slender young men were selected from the palace servants, whom Lande began to teach. Daily work brought results, the audience was delighted with what they saw. From 1743, former students of Lande began to be paid salaries as ballet dancers. The school very quickly managed to give the Russian stage excellent corps de ballet dancers and excellent soloists. The names of the best students of the first set remained in history: Aksinya Sergeeva, Avdotya Timofeeva, Elizaveta Zorina, Afanasy Toporkov, Andrey Nesterov.

Divertimento as a forerunner of ballet.

Divertissement - (from French divertissement - entertainment, entertainment) in the theater, in the 17-18 centuries. an insert or final part of a dramatic performance (sometimes opera or ballet), consisting of singing, dancing, comic skits, parodies, and other entertainment numbers, usually not related to the plot of the performance. In the 70s. 19th century D. becomes an independent concert program of variety theaters and booths. Dance became widely used in Russian ballet after the Patriotic War of 1812, becoming a special type of ballet performance on patriotic and folk themes.

D. in music, a kind of everyday music, the designation of instrumental works that served mainly entertainment purposes. D. consisted of several parts (usually 4-10) and were intended for various instrumental compositions (from one instrument to a chamber ensemble and orchestra). They combined the features of a sonata and a suite; in terms of the wide use of dance genres, they were close to the serenade, they are also related to cassation and nocturne. D. are found in the works of J. Haydn, W. A. ​​Mozart, and others. In the 19th century, with a few exceptions (Schubert's Hungarian Divertissement for pianoforte 4 hands), they turned into a genre of salon music, similar to potpourri. In the 20th century term "D." used as a designation for a suite composed of ballet numbers (D. from the ballet "Kiss of the Fairy" by Stravinsky); occasionally works are created that are a stylization of D. 18th century. (D. for Bartók's string orchestra).

act of the ballet P. I. Tchaikovsky "The Nutcracker".

Formation of ballet in France in the 17th-18th centuries.

Muses. theater 2nd floor. 17th-18th centuries was classicist, but in the ballet, due to its slow development, baroque features were preserved for a long time. The performances remained lush and cumbersome, devoid of stylistic unity.

At the beginning of the 18th century there were signs of stagnation in the ideological and figurative content of the ballet with further enrichment of the dance technique. The general trend in the development of ballet theater in the 18th century. - the desire for self-determination, the creation of an integral performance, the content of which would be expressed by pantomime and dance. However, the old forms persisted throughout the 18th century, especially on the stage of the Royal Academy of Music, causing criticism from the enlighteners (D. Diderot and others). In the beginning. 18th century these were gallant pastorals, from the 30s. - opera-ballet comp. J. F. Rameau ("Gallant India", 1735), where the dance still figured in the form of exits loosely connected with the plot. In these performances, virtuoso performers became famous: dancer M. Camargo, dancer L. Dupre, brother and sister Lani. Attempts to convey the dramatic dance. content was outlined in the art of the dancer F. Prevost (pantomime on the plot of an episode from P. Corneille's Horatii to the music of J. J. Mouret, 1714; Characters of the Dance to the music of J. F. Rebel, 1715) and especially M. Salle, who, working along with the Royal Academy of Music also in London, staged "dramatic actions" there in antich. themes ("Pygmalion", 1734).

Under the influence of the ideas of the Enlightenment, in the work of the most progressive figures of the ballet theater, spectacularity gave way to "imitation of nature", which assumed the naturalness of characters and the truth of feelings. These experiments, however, hardly penetrated the stage of the Royal Academy of Music. The activities of the great reformer of the ballet theater, J. J. Nover, proceeded outside this theater and partly outside France (Stuttgart, Vienna, London). The principles of the reform of the ballet theater were outlined by Nover in the theoretical. work "Letters on Dance and Ballets" (1st ed., 1760). The ballets, created by him under the influence of the ideas of the Enlightenment, were not an entertaining spectacle, but a serious theater. performance, often on the plots of classic tragedies. They possessed integrity, the actions and experiences of the characters were described by means of choreography (ch. arr. pantomime), without the participation of the word. In the Royal Academy of Music in 1776-78 his "Medea and Jason" and "Appeles and Campaspe" by Rodolphe, "Horace" by Granier and "Trinkets" by Mozart were staged. In the 2nd floor. 18th century a number of choreographers carried out their experiments in the Parisian theater of the Italian Comedy and in the theaters of Lyon and Bordeaux. A follower of Nover worked in Bordeaux - J. Dauberval, the creator of a new type of ballet comedy ("Vain Precaution", 1789). In con. 18th century dancers M. Guimard, M. Allard, A. Heinel, Theodore, dancers G. Vestris, M. and P. Gardel, Dauberval gained fame.

Russian ballet school.

Ballet in Russia, as well as in Europe, arose as a court art under Tsar Alexei Mikhailovich. The first Russian ballet is considered to be the Ballet of Orpheus and Eurydice (1673, music by G. Schutz, choreographer N. Lim, Comedy Khoromina in the village of Preobrazhensky, Moscow). In 1738 the St. Petersburg Ballet School (now the A. Ya. Vaganova Academy of Choreography) was opened. Choreographers of the school of Zh.B. Lande and A. Rinaldi staged at the court of Anna Ioannovna in the Hermitage Theater a ballet divertissement in the opera The Power of Love and Hate (1736). In the future, both served as court choreographers. Since the 1760s, Russian ballet has been developing in the mainstream of the European theater of classicism. Austrians and Italians served as choreographers, composers and set designers.

In 1759-1764, the famous choreographers F. Hilferding (1710-1768) and G. Angiolini (1731-1803) worked in Russia, who staged ballets for mythological subjects(Semira after the tragedy by A.P. Sumarokov, 1772). In 1773, a ballet school was opened and in Moscow a ballet department at the Moscow Educational House, the basis of the future Moscow Academy of Choreography. The Moscow troupe, created as a public one, enjoyed greater independence than the official St. Petersburg troupe. The art of the St. Petersburg troupe was more courtly, strict and academic, while the Moscow ballet was more democratic and poetic, committed to comedy and genre ballets (Fun about Christmas time, G. Angiolini, 1767). Differences persisted even later: the Leningrad ballet is still distinguished by classical rigor, academicism, cantileverness of the dance, while the Moscow ballet is distinguished by bravura, a powerful leap, and athleticism. The playwright Sumarokov sought the right to create his own state theater in Moscow, but Catherine II in the same year gave the monopoly on the organization of the theater to Prince P.V. Urusov and his English companion M.G. Maddox. From the entreprise organized in 1776 by Maddox and Urusov (Petrovsky Theater), the Moscow Bolshoi Theater leads the pedigree. The Maddox troupe was created on the basis of the pre-existing troupe of N.S. Titov (1766–1769), theater of Moscow University. On the opening day of the Petrovsky Theater on December 30, 1780, the Austrian choreographer L. Paradise, who came to Russia with the Hilferding troupe, staged the pantomime ballet The Magic Shop. In the 1780s, the choreographers F. Morelli, P. Pinyuchi, J. Solomoni arrived from Italy to Russia. staged at the Petrovsky Theater, as well as in the serf troupes of N.P. Sheremetiev and N.B. Yusupov, luxurious divertissements, performed as an addition to an opera or drama. Ballets on national themes were popular: Rural Simplicity, Rural Picture, Gypsy Ballet, The Capture of Ochakov (all from the 1st third of the 19th century). Among the productions of Solomonini, the most famous choreographer who worked in Vienna with Noverre, the ballet the last Medea and Jason, 1800, Petrovsky Theatre, American Ballet or Defeated Cannibals, 1790, Kuskovo, then Petrovsky Theatre. From 1800 Solomonini served as the chief choreographer of the Petrovsky Theatre. In 1800 he staged the Vain Precaution choreographed by J. Dauberval under the title The Deceived Old Woman.

In St. Petersburg, the first public Bolshoi Theater (Stone), later the Imperial Mariinsky Theatre, opened in 1783. In 1803 its ballet troupe separated from the opera, occupying a privileged position among other theater genres. The ballet enjoyed state subsidies and was subordinate to the directorate of the imperial theaters.

At the turn of the 18-19 centuries. the time has come for the establishment of Russian ballet. Domestic composers A.N. Titov, S.I. Davydov, K.A. Cavos, F.E. Scholz, as well as the first Russian choreographer I.I. Walberg (1766–1819). He combined the traditions of Russian folk dance with dramatic pantomime and the virtuosic technique of Italian ballet. Working in line with sentimentalism, Walberg staged the first ballet on a national theme - the melodrama New Werther Titov, 1799. During the war of 1812, popular patriotic divertissements spread, and Walberg staged the ballet Love for the Fatherland by Cavos in St. Petersburg, the basis of which was Russian folk dance. In 1812, the genre of divertissement experienced a rise, thanks to which the dancers A.I. Kolosov (1780–1869), T.I. Glushkovskaya (1800–1857), A.I. Voronin (1806–1850).

The most important event for Russian ballet was the arrival in Russia of a prominent choreographer of the era of pre-romanticism Sh.L. Didlo (worked in St. Petersburg in 1800-1809, 1816-1829). He staged the Anacreontic ballets Zephyr and Flora (1808), Cupid and Psyche (1809), Acis and Galatea (1816), as well as ballets for historical, comedic, everyday topics: Young Thrush (1817), Return from India or Wooden Leg (1821). Didlo became the founder of the genre of anacreontic ballet, named after the ancient poet Anacreon, the creator of the genre of love lyrics. M.I. became famous in Didelot's ballets. Danilova (1793–1810), E.A. Teleshova (1804–1857), A.S. Novitskaya (1790–1822). Under his leadership, the Russian ballet school began to form, he staged more than 40 ballets, gradually making the transition from mythological themes to modern ones. literary subjects. In 1823 he set Prisoner of the Caucasus based on the poem by A.S. Pushkin, collaborated with the composer Kavos. A.I. shone in his performances. Istomin (1799–1848), whose dance was sung by Pushkin, who described it as “a flight filled with soul”. Istomina's art foreshadowed the beginning of Russian romantic ballet and embodied the originality of the Russian school, focused on emotional expressiveness.

After the expulsion of the French in 1812, the Russian ballet school was headed by A.P. Glushkovsky (1793–1870), follower of Walberg and Didlo. His activities constituted an epoch in the history of Russian ballet. During the war of 1812, he staged 18 ballets and a large number of divertissements (melodramas, anacreontic ballets, Scholz's ballets Ruslan and Lyudmila based on Pushkin's poem, 1812, and The Three Belts, or the Russian Sandrillon, 1826 based on the ballad by V.A. Zhukovsky). He successfully combined the possibilities of pantomime and dance, became the first theorist and historian of Russian ballet, brought up a galaxy of students: D.S. Lopukhin (1806–1855), I.K. Lobanov (1797–1840) and others. Great importance for the Moscow ballet, the choreographer and teacher F. Gullen-Sor (Richard) (1805–1860), a French ballerina who arrived in Moscow in 1823 (Zephyr and Flora, 1815, Sandrillon F. Sor, 1825, Triumph of the Muses, 1825) had the activity. She had a great influence on the formation of E.A. Sankovskaya (1816–1878), T.S. Karpakova (1812–1842).

First third of the 19th century - the time it took shape national school ballet. At the Bolshoi Theater in Moscow, the magnificent extravaganzas of A. Blanc and A. Tityus dominated the well-equipped stage. Performance of ballet scenes in M.I. Glinka prepared the Russian ballet for the symphonic development of images. Of great importance were the tours of M. Taglioni in 1834-1842 and F. Elsler in 1848-1851. The 1830s–1840s are the time of romanticism in Russian ballet. In St. Petersburg, E.A. became the best romantic dancer. Andreyanova (1819-1857), in Moscow - E. Sankovskaya, who is considered the first among the great Russian ballerinas. She took drama lessons from M.S. Shchepkina, her best roles: Sylphide, Esmeralda, Ondine (Maid of the Danube), Elena Wardek (Katarina, daughter of a robber). Contemporaries called her the soul of the Moscow ballet. Petersburg Ballet in 1848–1859 was headed by the leader of romanticism J. Perrot. Romanticism lasted longer in Russia than in the West; Russian ballet enjoyed the patronage of the court for many years and remained a court art. When realism came to other forms of art in the 1860s, Russian ballet retained its already conservative romantic orientation. Petipa began in the style of romanticism (the act of shadows in La Bayadère by A. Minkus, 1877, the ballets Tsar Kandavl by C. Pugni, 1868, Don Quixote by Minkus, 1869, The Pharaoh's Daughter by C. Pugni, Magic Mirror by A. Koreshchenko), in which he continued the process of symphonizing the dance . The greatest choreographer of that period was A. Saint-Leon (1821–1870). In 1859–1869 he served in St. Petersburg (Coppelia L. Delibes, The Little Humpbacked Horse Ts. Pugni). These were the years of dominance of divertissement and staging effects, but at the same time C. Blazis worked in St. Petersburg, improving the technique and vocabulary of Russian ballet. Under him, the dance was finally divided into classical and characteristic. Of the ballerinas who danced in those years, M.N. Muravyova (1838–1879), dancer V.F. Geltzer (1840–1908).

In 1882, the monopoly of the imperial theaters was abolished, as a result, virtuoso Italian ballerinas entered the Russian ballet - Virginia Zucchi (1847-1930), Pierina Legnani (1863-1923), Carlotta Brianza (1867-1930), Antonietta Del Era. They played big role in the approval of academic ballet and performed the main roles in ballets staged by Petipa. Arriving in 1847 from France and becoming the chief choreographer of the Mariinsky Theater in 1862, Petipa created classical dance ensembles, approved its canonical forms (adagio, pas de deux, dance suites, grand pas, final coda), developed the principle of symmetry in the construction of a corps de ballet, contrast comparison of mass and solo dance. Petipa continued the process of symphonizing the dance and came to collaborate with symphonic composers Tchaikovsky and Glazunov (previously, the choreographers worked with full-time court composers invited from abroad - the Czech L. Minkus and the Italian C. Pugni, who still thought in terms of divertissement ballet). The fruitful collaboration resulted in masterpieces of choreographic art that still form the basis of the repertoire of any ballet theater: The Sleeping Beauty (1890), The Nutcracker (1892), Swan Lake (1895) by Tchaikovsky, Raymond (1898), The Seasons and The Servant Madam Glazunova, 1900. All these are the pinnacles of ballet symphonism. The first production of Swan Lake by the Czech choreographer V. Reisinger in 1877 was unsuccessful. In the process of preparing these multi-act ballets, a type of large (academic) ballet developed. L. Ivanov, the second choreographer of the Mariinsky stage, went even further, already beyond the limits of academicism, composing poetic scenes of swans (the second and fourth acts of Swan Lake, 1895) and the dance of snow flakes in the Nutcracker, 1892). Having developed the corps de ballet dance, Ivanov turned the fairy tale ballet into a philosophical parable. His choreography continued the traditions of the "white" romantic ballet of the early 19th century. and foreshadowed the style of the ballet of the 20th century, its impressionistic and metaphorical imagery. Under Petipa and Ivanov, the performing talent of E.O. Vazem (1848–1937), brothers N.G. and S.G. Legat (1869–1937), (1875–1905), M. Kshesinskaya, O.I. Preobrazhenskaya (1870–1962), who broke the monopoly of visiting Italian ballerinas and mastered the Italian virtuoso technique. The Spanish choreographer J. Mendez (1843–1905) worked in the Moscow school. He raised the level of the troupe and brought up the individualities of L.A. Juri (1872–1963), E.V. Geltser and her permanent partner V.D. Tikhomirov (1876–1956).

By the beginning of the 20th century the Russian school of dance was established, absorbing elements french school Didlo, the Italian Blazis, Cecchetti and the Danish school of H. Ioganson. As a result, the Russian ballet school became the best in the world, and the success of the Russian Seasons and Diaghilev's Russian Ballet troupe was proof of this.

At the turn of the 19th-20th centuries. in Russian art, the era of modernity reigned, a director's theater appeared. The type of spectacular multi-act performance with pantomime scenes and canonical forms of classical dance is outdated. In order to comply with the aesthetic concept of the Silver Age, the ballet needed reforms, the beginning of which was laid by the choreographer of the Bolshoi Theater A.A. Gorsky, who worked in the theater in 1902-1924. In contrast to the outdated academicism, he put forward a choreographic drama in which the stage action was expressed by dance (Daughter of Gudula A.Yu. Simona, 1902, Salambo A.F. Arends, 1910). In the spirit of choreodrama, Gorsky repeatedly reworked Swan Lake, Giselle. Under Gorsky, the individualities of V.A. Karalli (at the same time - the stars of silent films, 1886-1972), S.V. Fedorova (1879–1963), A.M. Balashova (1887–1979), O.V. Fedorova (1882–1942), M.M. Mordkin (1880–1944).

The experiments of M.M. Fokin. He fought against obsolete academicism by introducing elements of free and folklore vocabulary into classical dance. He composed a new type of performance - a one-act ballet with through action, stylistic unity of music, choreography and scenography and focused on fixing the moment with choreographic methods. The monumental performance was replaced by a one-act miniature ballet. For the Mariinsky stage, Fokine created the ballets Evnika, the Egyptian Nights scene of Polovtsian dances in A. Borodin's opera Prince Igor, the ballet Pavilion of Armida N.N. Tcherepnin (1907); Chopinin (Sylphides) by F. Chopin (1908), later for the "Russian Seasons" - Carnival (1910) and Butterflies, (1912) to the music of R. Schumann, a symphonic poem by M.N. Rimsky-Korsakov Scheherazade (1910), K.M. Weber (1911), Daphnis and Chloe M. Ravel (1912). Fokin attached great importance to scenography. The artists of the association "World of Art" (L.S. Bakst, A.N. Benois, N.K. Roerich, K.A. Korovin, A.Ya. Golovin), who designed the productions of Fokine, became their full co-authors. The success of his ballets was facilitated by the work of dancers: A. Pavlova, T. Karsavina, Nijinsky, Mordkin, A.R. Bolma (1884–1951). The concert number The Swan by K. Saint-Saens (1907), composed by Fokine for Pavlova, became a symbol of impressionism choreography. Despite its huge success, ballet impressionism turned out to be a historically limited style: trying to convey the subtlest shades of mood in movement, it lost its content. Fokine's collaboration with Pavlova and Karsavina turned out to be short-lived. In 1909, Pavlova created her own troupe, Karsavina, the “Queen Colombine,” returned to classical ballet.

9. Symphony. The origin of the symphony The formation of classical symphony in the work of I. Haydn, V.A. Mozart, L. Beethoven. Construction of a classical symphony. Symphonic works of Russian composers. Outstanding symphony conductors.

A symphony is a piece of music for orchestra, usually in three or four movements, sometimes including voices. At the end of the Baroque era, a number of composers, such as Giuseppe Torelli (1658–1709), created works for string orchestra and basso continuo in three parts, with a fast-slow-fast tempo sequence. Although similar writings usually called "concerts", they were no different from works called "symphony"; for example, dance themes were used in the finales of both concertos and symphonies. The difference concerned mainly the structure of the first part of the cycle: in symphonies it was simpler - it is, as a rule, a binary two-part form of a baroque overture, sonata and suite (AA BB). The very word "symphony" from the 10th century. meant harmonious consonance; towards the end of the 16th century. authors such as J. Gabrieli applied this concept to the consonance of voices and instruments. Later, in the music of composers such as Adriano Banchieri (1568–1634) and Salomone Rossi (c. 1570–c. 1630), the word "symphony" came to mean the joint sounding of instruments without voices. Italian composers of the 17th century often denoted by the word "symphony" (sinfonia) instrumental introductions to an opera, oratorio or cantata, and the term in meaning came close to the concepts of "prelude" or "overture". Around 1680, in the operatic work of A. Scarlatti, the type of symphony was established as an instrumental composition in three sections (or parts), built on the principle of “fast - slow - fast”.

Haydn is rightly considered the father of the symphony and quartet, the great founder of classical instrumental music, and the founder of the modern orchestra. Haydn wrote 104 symphonies, the first of which was created in 1759 for the Count Morzin's Chapel, and the last in 1795 in connection with a London tour. The rich and complex world of Haydn's symphonies possesses remarkable qualities of openness, sociability, and focus on the listener. Their main source musical language- genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they discover new figurative, dynamic possibilities. In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion).

Along with I. Haydn, W. A. ​​Mozart is the creator of the style of the Viennese classical symphony. Mozart wrote about fifty symphonies (many manuscripts were lost after his death). It is believed that fifteen or sixteen of them were composed by a composer under the age of sixteen. The most famous are six mature symphonies, which include three masterpieces of 1788.

Beethoven's symphonies arose on the ground prepared by the entire course of the development of instrumental music in the 18th century, especially by his immediate predecessors - Haydn and Mozart. The sonata-symphonic cycle that finally took shape in their work, its reasonable slender constructions, turned out to be a solid foundation for the massive architecture of Beethoven's symphonies. Any symphonic work by Beethoven is the fruit of a long, sometimes many years of work: the Heroic was created within a year and a half, Beethoven began the Fifth in 1805 and finished in 1808, and the work on the Ninth symphony lasted almost ten years. It should be added that most of the symphonies, from the Third to the Eighth, not to mention the Ninth, fall on the heyday and the highest rise of Beethoven's creativity. Beginning with the Third Symphony, the heroic theme inspires Beethoven to create the most outstanding symphonic works - the Fifth Symphony, the Egmont Overtures, Coriolanus, Leonore No. 3. Already at the end of his life, this theme is revived with unattainable artistic perfection and scope in the Ninth Symphony.

A symphony usually consists of 4 movements. The classical type of symphony developed in the late 18th and early 19th centuries. (J. Haydn, W. A. ​​Mozart, L. van Beethoven). The lyrical symphony (F. Schubert, F. Mendelssohn) and the program symphony (G. Berlioz, F. Liszt) acquired great importance among Romantic composers.

The beginning of the creative path of Tchaikovsky as a composer is connected precisely with the symphonic sphere. Tchaikovsky's first symphony "Winter Dreams" was his first major work after graduating from the St. Petersburg Conservatory. The six symphonies of Tchaikovsky and the program symphony "Manfred" are artistic worlds unlike each other, these are buildings built "according to an individual" project each.

Conductors who performed with the State Symphony Orchestra in different years: Natan Rakhlin (1905 - 1979); Ravil Martynov (1946 - 2004); Renat Salavatov (born 1949); Almaz Monasypov (1925 - 2008); Vladimir Ziva (born 1957); Yuri Simonov (born 1941); Vitaly Kataev (1925 - 1999); Vladimir Andropov (born 1946); Nikolai Alekseev (born 1956); Veronika Dudarova (1916 - 2009); Anatoly Shevel and many others.

Classical symphony structure.

Like the sonata, the classical symphony has four movements. the 1st part, at a fast pace, is written in sonata form, the 2nd, in slow motion, is written in the form of a rondo, less often in the form of a sonata or variational form; 3rd - scherzo or minuet - in the form of a song (couplet form) 4th part, at a fast pace - in sonata form or in a large rondo form. If the 1st part is written at a moderate pace, then, on the contrary, it can be followed by a fast friend and a slow third part (for example, Beethoven's 9th symphony).

Considering that the symphony is designed for the large forces of the orchestra, each movement in it is written in a wider and more detailed way, since the richness means of expression symphony orchestra provide for a louder presentation of musical thought.

A program symphony is one that is associated with a specific content set forth in the program. For example, Beethoven's Pastoral Symphony, Berlioz's "Fantastic Symphony" and others. The first to introduce the program into the symphony were Karl Ditters von Dittersdorf, Antonio Rosetti and Joseph Haydn.

Haydn Franz Joseph- Austrian composer. One of the founders of the Viennese classical school. Along with K.V. Gluck and W.A. Mozart, he determined character traits of this school - an optimistic affirmation of life - a reflection of reality in development - a dialectical correlation of figurative versatility and integrity of content. All this contributed to the flourishing of the symphony, sonata, quartet, sonata. These genres occupy a central place in Haydn's work. He wrote 104 symphonies, 52 piano sonatas, a large number of concerts and chamber ensembles for various compositions. Haydn made an outstanding contribution with his vocal and symphonic works, including the oratorios The Creation of the World (1798) and The Seasons (1801). In them, Haydn continued the line of lyric-epic oratorio, outlined by G.F. Handel. Acquaintance with the work of Handel was one of the most strong impressions taken from Haydn's trips to London (1791-92, 1794-95). Haydn has in common with Handel the desire to reproduce pictures of nature in music. Haydn's inherent bright coloring, susceptibility to genre and everyday impressions gave his oratorios an unusual for that time juiciness, relief, and national character. This is especially clearly manifested in the oratorio "The Seasons", written on the basis of an everyday plot. Idealization folk life somewhat smoothes the dynamism of Haydn's statement, but does not reduce the overall artistic level, especially since in a number of sections of the oratorio Haydn gravitates towards a philosophical interpretation of the content. Such a subtext is present in the last part of the oratorio “The Seasons”, which outlines a parallel between the change of seasons and the course of human life, in orchestral episodes and in the introduction to the oratorio “Creation of the World“.

Mozart Wolfgang Amadeus- Austrian composer. Born January 27, 1756 in Salzburg. Great influence on musical development M. had his father Leopold Mozart, who taught his son to play musical instruments and composition. At the age of 4, M. played the harpsichord, from the age of 5-6 he began to compose (the 1st symphony was performed in 1764 in London). A virtuoso harpsichordist, M. also performed as a violinist, singer, organist and conductor, brilliantly improvised, striking with a phenomenal ear for music and memory. From the age of 6 he toured triumphantly in Germany, Austria, France, England, Switzerland, Italy. At the age of 11, he performed as a theater composer (1st part of the stage oratorio “The Duty of the First Commandment”, the school opera “Apollo and Hyacinth”).

By the age of 19, M. was the author of 10 musical stage works of various genres (among them the opera “The Imaginary Gardener”, staged in Munich, “The Dream of Scipio” and “The Shepherd King” - both in Salzburg), 2 cantatas, numerous symphonies, concerts , quartets, sonatas, ensemble-orchestral suites, church compositions, arias and other works. But the more the child prodigy turned into a master, the less aristocratic society was interested in him.

Among the great musicians of the past, M. was the first who preferred the unsecured life of a free artist to the semi-serf service of a sovereign nobleman. M. did not want to sacrifice his ideals to the prevailing tastes, courageously defended creative freedom and personal independence. M. settled in Vienna. He had a family (out of six children, only two sons survived his father; the youngest became a musician, Mozart F.K.V.). Efforts about the service remained unsuccessful.

There are many legends around the name of M.. One of them - about the poisoning of him by A. Salieri - was reflected in the "little tragedy" by A. S. Pushkin "Mozart and Salieri". Another version - about the poisoning of M. by Masons - has become widespread in German nationalist literature. The source of some implausible anecdotes from the life of M. were the messages of his widow, which served as material for the first biographies of the composer.

Ludwig van Beethoven“First he conquered Vienna as a pianist. Ventsev was struck by the young musician's stormy improvisations and the richness of his imagination. The harpsichord, with its sonorous but quickly fading sound, no longer satisfied Beethoven. He began to play the then new instrument - the piano. Invented at the beginning of the 18th century by the Italian Cristofori, the new percussion instrument began to supplant its modest predecessor in these years. Only the piano, capable of making loud, bright and melodious sounds, was able to express the grandiose ideas of Beethoven's music, to convey the extraordinary nature of his performance. The young virtuoso, who perfectly mastered the technique of his art, captivated the audience, leaving far behind him all contemporary pianists.

No less striking for Vienna, accustomed to the clear and cheerful music of Haydn, to the graceful and contagious music of Mozart, were the works of Beethoven. The stormy, impetuous and impulsive music of the “Pathetic” and “Moonlight” sonatas, the grandiose strength and power of the “Heroic Symphony” spoke of some new feelings, new ideas, which at times remained incomprehensible, but shocked and captivated the listeners. The name of Beethoven is put on a par with the Viennese classics Haydn and Mozart.

Accustomed to work since childhood, the composer was firmly convinced that the mind and diligence are higher than nobility and wealth. Once, while at a resort near Vienna, he rushed past the Empress, barely touching her hat. The court society was forced to part and give way to him. Meanwhile, Goethe, the famous German poet, author of Faust, stood on the edge of the road without a hat, with his head bowed low. This meeting was captured in his painting by the German artist Romling.

Symphonic works of Russian composers.

Tchaikovsky is a great Russian composer, conductor, public figure, teacher.

The figurative world of music: pictures of Russian nature, bright dreams of happiness. The embodiment of different states of the human spirit, the acuteness of contradictions and tragic conflicts in the works of the composer.

The innovation of Tchaikovsky's creativity. Genre diversity, creation of masterpieces in all genres of musical art. The place of symphonic music in the work of Tchaikovsky. Programming of most compositions. The evolution of the symphony genre in the composer's work. Creation of Russian classical concerto.

Life and creative path

Opera "Eugene Onegin". The author's genre definition is "lyrical scenes". Comparison with the novel by A. Pushkin. Features of the lyrical-psychological opera: the internal development of images, the display of heroes in conflict situations. The role of aria-monologues and extended scenes in the characterization of the main characters. Characterization of secondary heroes through portrait arias. Features of the musical language of the main characters. The intonational basis of lyrical scenes is a Russian everyday romance, everyday scenes are a peasant song. The role of the latet.

^ The overture-fantasy "Romeo and Juliet" is the biggest achievement in the field of program symphonism. Features of the embodiment of the idea of ​​the work. Form characteristic. The role of contrasting comparison of the main musical themes-images. Significance of Tchaikovsky's symphonic music in the history of Russian and world classics.

^ Piano Music. The development of Western European and Russian traditions in the genre of piano miniatures. Piano cycles « children's album”and“ The Seasons ”(acquaintance).

S.V.Rakhmaninov, I.F.Stravinsky

Socio-historical situation. Democratic traditions in the work of progressive artists (V. Serov, I. Levitan) and realist writers (L. Tolstoy, F. Dostoevsky, A. Chekhov). The significance of the activities of patrons P. Tretyakov, S. Mamontov in the field of culture. Belyaevsky circle. A new generation of Russian composers: A. Lyadov, A. Glazunov, A. Arensky, S. Taneyev, V. Kalinnikov, A. Skryabin, S. Rachmaninoff. The colorfulness and originality of the embodiment of the images of Russians folk tales in symphonic miniatures by A. Lyadov ("Kikimora").

S.V.Rakhmaninov(1873-1943) - an outstanding Russian composer, pianist, conductor of the late 19th - first half of the 20th century. The influence of the music of P. Tchaikovsky, the composers of the "Mighty Handful" on the work of Rachmaninov. The range of characteristic images, romantic elation, sincerity, vivid emotionality of expression in the composer's music. The leading significance of the lyrical and heroic-dramatic principles in Rachmaninov's music. The theme of the Motherland and its significance in the composer's work ("bells" as one of the manifestations of the theme of the Motherland). Russian landscape in the works of Rachmaninoff. The origins of the musical language (Russian folk song, znamenny chant, song-romance intonations of urban household music). Rachmaninov's creation of romances - outstanding examples of Russian vocal lyrics.

Rimsky-Korsakov was born in the small town of Tikhvin. The composer's father - Andrey Petrovich Rimsky-Korsakov (1784-1862) - served for some time as the Novgorod vice-governor, and then the governor in Volyn, his mother - Sofya Vasilievna - the daughter of a serf peasant woman and a wealthy landowner Skaryatin, a fairly educated woman. A strong influence on the future composer was also exerted by his elder brother Voin Andreevich, rear admiral, reorganizer of the naval education system. The Rimsky-Korsakov family home was located on the banks of the Tikhvinka River, opposite the Tikhvin Bolshoy Bogoroditsky Monastery.

The composer learned to play the piano at home, and then at a boarding school, where music lessons were among other general educational disciplines. It is known that from childhood the composer was passionate about music, got acquainted with the works of Rossini, Beethoven, Meyerbeer, Mendelssohn, however greatest impression it was produced by the music of M. I. Glinka - his "Kamarinskaya", "Spanish Overtures", the operas "Life for the Tsar" and "Ruslan and Lyudmila". In 1859-1869, feeling the need to acquire more professional musical skills, Rimsky-Korsakov took lessons from the pianist F. A. Canille.

In 1856, his father took young Nikolai to the Naval Cadet Corps, from which he graduated with honors in the spring of 1862 (at that time the educational institution changed its name to the Naval School). By that time, the composer's father had died (in 1861) and the Rimsky-Korsakov family moved to St. Petersburg.

Outstanding symphony conductors.

Alexander Alexandrovich Alyabiev- Russian amateur composer. Born August 4, 1787 in Moscow. He died on February 22, 1851 in the same place. He came from an old noble family. Alyabiev's father gave his son a good home education. Alyabyev completed his education at the Moscow University Boarding School.

Mily Alekseevich Balakirev- Russian composer, pianist, conductor and musical and public figure. Chapter " mighty handful", one of the founders (in 1862) and leader (in 1868-1873 and 1881-1908) of the Free Music School. Conductor of the Russian Musical Society (1867-1869), director of the Court Choir (1883-94). "Overture on the themes of three Russian songs" (1858; 2nd edition 1881), symphonic poems "Tamara" (1882), "Rus" (1887), "In the Czech Republic" (1905), oriental fantasy for piano "Islamey" ( 1869), romances, adaptations of Russian folk songs.

Hector Berlioz(December 11, 1803 - March 8, 1869) - French composer, conductor, music writer. Member of the Institute of France (1856).

Born in the town of Côte-Saint-Andre in the south-east of France in the family of a doctor. In 1821 Hector Berlioz was a medical student, but soon, despite the resistance of his parents, he left medicine, deciding to devote himself to music. The first public performance of his work "The Solemn Mass" took place in Paris in 1825, without, however, having any success. In 1826-30, Hector Berlioz studied at the Paris Conservatory with JF Lesueur and A. Reicha. In 1828-30. several works by Berlioz were again performed - the overture "Waverley", "Francs-juges" and "Fantastic Symphony" (an episode from the artist's life). Although these works also did not meet with special sympathy, nevertheless they drew the attention of the public to the young composer. Beginning in 1828, Berlioz began, not without success, to act in the field of music criticism.

Leonard Bernstein(Bernstein) (1918-1990) - American conductor, pianist and composer. He conducted many orchestras, and from 1958-1969 he was chief conductor of the New York Philharmonic. The first performer of many works by contemporary American composers, including his own music. Ballets, symphonies, musicals (West Side Story, 1957, etc.), film music, etc.

Ludwig van Beethoven(December 17, 1770, Bonn, Germany - March 26, 1827, Vienna, Austria) - German composer, conductor and pianist, one of the three so-called. "Viennese classics" - a key figure in Western classical music in the period between classicism and romanticism, one of the most respected and performed composers in the world. He wrote in all the genres that existed in his time, including opera, ballet, music for dramatic performances, choral compositions. But instrumental works are considered the most significant in his legacy: piano, violin and cello sonatas, concertos for piano, violin, quartets, overtures, symphonies.

Wilhelm Richard Wagner- (1813-1883), German composer, conductor, music writer. Opera reformer. In the opera-drama, he carried out a synthesis of philosophical, poetic and musical principles. In his works, this found expression in a developed system of leitmotifs, a vocal-symphonic style of thinking. An innovator in the field of harmony and orchestration.

Edvard Grieg(Norwegian Edvard Hagerup Grieg; June 15, 1843, Bergen (Norway) - September 4, 1907, ibid) - the great Norwegian composer of the romantic period, musical figure, pianist, conductor. Grieg's work was formed under the influence of Norwegian folk culture.

Edvard Grieg was born and spent his youth in Bergen. The city was famous for its national creative traditions, especially in the field of theater: Henrik Ibsen and Bjornstjerne Bjornson began their activities here. Ole Bull was born and lived in Bergen for a long time, who was the first to notice Edward's musical gift (who composed from the age of 12) and advised his parents to assign him to the Leipzig Conservatory, which took place in the summer of 1858.

Sergei Vasilyevich Rahmaninov- Russian composer, pianist and conductor. In 1904-1906 he was a conductor at the Bolshoi Theatre. Since December 1917 he lived abroad (since 1918 in the USA).

The theme of the homeland is embodied with particular force in the work of Sergei Rachmaninov. Romantic pathos is combined in his music with lyrical-contemplative moods, inexhaustible melodic richness, breadth and freedom of breathing - with rhythmic energy.

10. Instrumental concert. Concerts andconcertogrosso A. Vivaldi. Instrumental concertos by J. S. Bach. Concert in the works of the Viennese classics. Concerts P.I. Tchaikovsky, E. Grieg, S. V. Rachmaninov.

Instrumental Concerto - Concerto (Italian concerto, lat. concertus) a musical composition written for one or more instruments, with the accompaniment of an orchestra, in order to enable soloists to show virtuosity of performance.

Antonio Lucio Vivaldi (ital. Antonio Lucio Vivaldi) - composer, violinist, teacher, conductor. Born March 4, 1678 in Venice, died July 28, 1741 in Vienna. Vivaldi is considered one of the largest representatives of the Italian violin art of the 18th century, during his lifetime he received wide recognition throughout Europe. Master of the ensemble and orchestral concert - concerto grosso, author of 40 operas. Vivaldi is mainly known for his instrumental concertos, especially for the violin. His most famous work is the series of 4 violin concertos "The Seasons".

Historians consider the 70s of the 17th century to be the time of birth of the instrumental concerto grosso.

Concerts P.I. Tchaikovsky:

– Concerto No. 1 for piano and orchestra

- Scene from the opera "Eugene Onegin"

– Suite from the ballet “The Nutcracker”

- Italian Capriccio.

E. Grieg's piano concerto is well-known.

Concerts by S.V. Rachmaninoff: Piano Concerto No. 1, Piano Concerto No. 2, Piano Concerto No. 3, Piano Concerto No. 4, Rhapsody on a Theme of Paganini.

concerto grosso(Italian concerto grosso - a big concert) - an instrumental genre in music that originated in the Baroque era, is based on the alternation and opposition of the sound of the entire composition of performers (ripieno, Italian ripieno) and a group of soloists (concertino, Italian concertino). It originated in Italy in the second half of the 17th century.

J. S. Bach (1685 - 1750) – largest figure world musical culture. His work is one of the pinnacles of philosophical thought about music. The art of the great creator introduces to the universally significant, timeless and to what is inherent in the secrets of the human soul and evokes an immediate response from the listeners, awakening in them moral forces unknown to them until then. "Bach almost makes me believe in God," said Roger Fry.

Bach was deeply religious. The Bible has always been his reference book. At the beginning of his writings, he usually put down the appeal - "Jesus, help", and at the end - "Glory to the Almighty alone."

Bach's vocal and instrumental work consists of cantatas, oratorios, masses, and passions. Close to work on vocal and instrumental works, Bach began in Leipzig, where he held the position of cantor in the Church of St. Thomas.

Of the vocal works in terms of the number of creations, the first place belongs to the cantata. The earliest cantatas that have come down to us are Easter and Election (Arnstadt and Mühlhausen). Bach wrote about 300 spiritual cantatas, 199 have survived. Along with the spiritual, Bach wrote 24 secular cantatas, including "Hunting", "Coffee", "Peasant". It is noteworthy that he sometimes transferred numbers from spiritual works to secular ones and vice versa. Cantatas include arias, recitatives, ensembles, choirs with the participation of an instrumental ensemble or orchestra.

In Leipzig, Bach wrote large-scale vocal and instrumental works: the Christmas Oratorio, the Magnificat, the Mass in h-moll (High Mass), the Passion according to John, and the Passion according to Matthew stand out from them.

In The Matthew Passion, Bach turned to the Gospel of Matthew, and selected episodes from it that attracted many artists with great internal tension, sharp dramatic action, and rare psychological depth. This is the betrayal by the disciple of Jesus - Judas - his teacher, the prayer of Christ in the Garden of Gethsemane, the denial of Jesus Peter and his repentance, and, finally, the procession to Golgotha ​​- the place where Christ was crucified.

To realize the most complex artistic concept, Bach needed a huge cast of performers - two four-part choirs, two orchestras, two organs and soloists - vocalists and instrumentalists.

The Passion According to Matthew was first performed in 1729 in the Church of St. Thomas, where Bach served, but then, like many of his creations, they were forgotten for a long time. It is noteworthy that it was with this work that the revival of Bach's music began. 100 years after the premiere, in 1829, The St. Matthew Passion was performed under the direction of F. Mendelssohn, after which a real renaissance of the forgotten Bach's work began.

Concert in the works of the Viennese classics.

Concert(from Italian concerto - harmony, harmony and from Latin concertare - to compete) - a musical composition for one or more solo instruments with an orchestra. There are also concertos for one instrument - without an orchestra, concertos for an orchestra - without strictly defined solo parts, concertos for voice (or voices) with an orchestra, and concertos for choir a cappella (singing without instrumental accompaniment).

The concert appeared in Italy at the turn of the 16th-17th centuries. as a vocal polyphonic work of church music.

In concerts of the first half of the 18th century. fast parts were usually based on one, rarely two themes. In the second half of the XVIII century. in the work of the "Viennese classics" the sonata-symphonic form of the concerto was established.

11. Musical art of Belarus. Belarusian folk songs and dancing. Music in folk rituals and holidays. Belarusian folk musical instruments. Characteristic features of the Belarusian musical culture of the 16th-20th centuries. Today is the day of Belarusian culture.

Belarusian musical art is an integral part of the world cultural civilization. The deep commitment of indigenous Belarusians to the customs and traditions of their ancestors determined one of the most distinctive features of modern Belarusian musical culture - the preservation of its root layer and relevance in our time. Against the backdrop of the pan-European cultural landscape, Belarus can rightfully be considered a cultural reserve, since the oldest forms of folk heritage continue to exist in rural life.

The leading place in Belarusian folk music is occupied by song creativity, which is represented by calendar-agricultural and family-ritual songs. In the era of the formation of the Belarusian nationality and the times of peasant uprisings, male social lyrics, epic and songs of everyday content arose; in the 19th century laborers, workers, revolutionary songs, as well as ditties were composed, and in the Great Patriotic War a layer of modern Belarusian folklore was born - partisan songs.

Significant role in everyday life Belarusian village From time immemorial, instrumental music has also been played, which is distinguished by a wealth of genres and a variety of musical instruments: zhaleika, duda, pipes, horn, trumpet, violin, lyre, cymbals, harmonicas, tambourine, drum, etc.

Leading centers in which the problems of theory, history and practice of musical folklore and professional music- Institute of Art History, Ethnography and Folklore named after K. Krapiva of the National Academy of Sciences of Belarus, Belarusian State Academy of Music. Belarusian State University of Cultural Problems.

The buffoons were the bearers of the musical tradition. IN church music 10th-14th centuries a local type of znamenny chant was formed. 15th - 17th centuries - the heyday of the spiritual and singing Orthodox culture, the appearance of handwritten music collections. In everyday life there is a cant, a vocal-choral song-anthem and a psalm.

The music of Belarus is a musical art that stands out for its originality and national color, covering musical directions from folk music to modern music. Belarusian folk music originates from ancient culture Eastern Slavs. A feature of Belarusian folk music is the original folklore of ritual songs (carols, Shrovetide, Kupala, harvest, christening, wedding and other songs).

Belarusian folk songs: Belarusian folk song "Oh, rachanka, rachanka", Byaseda "Charka for a shepherd", Krupitsky music "Yak I go haў yes yae", Kupalinka "Kalina bloomed" , Kupalinka "Sheraya lashadka" , Palace "Oh, my God , my god", Svayaki "Fun" , Svayaki "Sivy horse" , Holy "Tsyache vada ў bright" , Holy "Chepurushechka" , Stary Olsa "Ruzha" , Stolinshchyna "Oh, behind the rampart" , Syabry "Belarusian Polka", Syabry "I'll lie down" and many others.

Features of the Belarusian dance art took shape in the process of formation and development of the Belarusian nationality and its culture (XIV-XVI centuries), rooted in the bowels of the ancient all-Russian culture. In the dance, in an artistic form, a sense of the beauty of life, emotionality, temperament and character of the people were manifested.

For a long time, the Belarusian dance was little known even at home and rarely went beyond the village. In the emergence and popularization of Belarusian folk dances on the stages not only in Belarus, but also abroad, the great merit of the troupe of Ignat Buinitsky, a talented nugget who created the Belarusian folk theater in 1907, in which Buinitsky himself took part as a director, actor and dancer. The concerts included folk songs, works of Belarusian poets and dances to the accompaniment of traditional "traistai" music - violins, cymbals and pipes. In the stage interpretation of folk dances, I. Buynitsky almost did not deviate from the folklore basis.

The Belarusian national choreography has preserved a rich creative legacy of the past. The most popular Belarusian folk dances are Lyavonikha, Kryzhachok, Yurachka, Polka-Yanka, Charot, Taukachyki, Chobaty, Lyanok, Kola, Bulba, Ruchniki ”, “Mlynok”, “Kassy”, “Kozachka”, “Myatselitsa”, “Mikita”, “Dudaryki”, “Bull”, “Kazyry”.

The peculiarity of the Belarusian dance is dynamism and cheerfulness, emotionality and the collective nature of the performance. At present, the Belarusian folk dance is represented by professional dance groups, the most famous of which are the State Dance Ensemble of Belarus, the Khoroshki and Lyavonikha ensembles.

In the life and culture of any people there are many phenomena that are complex in their historical origin and functions. One of the most striking and revealing phenomena of this kind are folk customs and traditions. On each of the holidays, certain ritual actions were performed and songs dedicated to this holiday were sung. The purpose of all rituals was the same - to promote the well-being of the peasants. Therefore, calendar songs are characterized not only by the triumph of meaning, but also by a certain unity of the musical tune. All important moments in a person's life, from birth to death, as well as many calendar dates in the old days, were accompanied by rituals, and songs were sung during almost all rituals.

Belarusian folk rituals and holidays:

Maslenitsa - ancient Slavic holiday, which came to us from pagan culture and survived after the adoption of Christianity. Maslenitsa is a mischievous and cheerful farewell to winter and a meeting of spring, bringing revival in nature and solar warmth. From time immemorial, people have perceived spring as the beginning of a new life and revered the Sun, which gives life and strength to all living things.

Since time immemorial, Trinity Day has been one of the favorite holidays of the Russian people. It is connected and still is a lot folk customs and rituals celebrated in addition to church celebrations.

In autumn, the Protection of the Most Holy Theotokos is celebrated - a holiday established in memory of an event that took place in Constantinople in the middle of the 10th century. A large enemy army was approaching the city, and during the divine service in the Blachernae Church, when all the people prayed for Heavenly help, Saint Andrew the Holy Fool and his disciple Epiphanius suddenly saw in the air above the praying Mother of God, Who spread Her cover (omophorion) over the people.

In the middle of winter in Rus' they celebrated Christmas, it is also called the "mother of all holidays." The significance of the holy Christmas night is so great that even the move new history and we are counting our chronology from the Nativity of Christ. Because Jesus Christ is the Spirit who was born in the flesh on Earth to take upon himself and atone for the sins of mankind.

Our ancient ancestors had the deity Kupalo, personifying summer fertility. In his honor, in the evenings they sang songs and jumped over the fire. This ritual action turned into an annual celebration of the summer solstice, mixing pagan and Christian traditions.

Ivan the deity Kupala began to be called after the baptism of Rus', when he was replaced by none other than John the Baptist (more precisely, his folk image), whose Christmas was celebrated on June 24.

Agrafena Kupalnitsa, Ivan Kupala following her, one of the most revered, most important, wildest holidays of the year, as well as Peter and Paul going a few days later, merged into one big holiday filled with great meaning for a Russian person and therefore including a lot of ritual actions, rules and prohibitions, songs, sentences, all kinds of signs, divination, legends, beliefs.

People also celebrate Easter and New Year.

Each musical culture of the world has its own unique sound. It is by the sound of certain folk instruments that we can distinguish these cultures from each other. And each of them is what makes the art of their country unique. The uniqueness of the musical culture of Belarus lies in the national instruments - zhaleika, dude, cymbals, lyre, violin, whistle and many others.

In the second half of the XVIII century. refined baroque gave way to neoclassicism and sentimentalism. But literary works at that time were written mainly in Polish. The only work in the Belarusian language that has come down to our time is a collection of jokes “A bag of laughter”. In the second half of the XVII-XVIII centuries. in Belarus, theatrical art was further developed. Developed at a particularly rapid pace school theater. Its origin was associated with the activities of the Jesuit order. In an effort to expand their influence, to catholicize the local population, the Jesuits widely used theatrical performances, influencing the visual and auditory emotions of people.

Theaters also operated at Orthodox fraternal schools, Uniate and other educational institutions. They used theatrical performances to ideologically influence the masses. The puppet theater - batleyka - continued to develop. The main hero of it was a Belarusian peasant - a merry fellow and joker Nesterka, ridiculing the fanaticism of the gentry, its ignorance and money-grubbing. A unique phenomenon of Belarusian art of the second half of the 18th century. became serf (court) theaters. They satisfied the needs of the magnates, but the actors in them were young serfs.

The first serf theater in Belarus was founded in the 40s of the 18th century. in Nesvizh. Drama, opera and ballet troupes acted in it. In the 70s of the XVIII century. The main center of theatrical and musical life in Belarus was the Slonim court of the great Lithuanian hetman M. Oginsky, uncle of the famous composer Mikhail Kleofos Oginsky. Serf theaters also existed at the courts of Tizengauz in Grodno, Sapieha in Ruzhany and Derechin, Radziwill in Slutsk, Zorich in Shklov, Chernyshev in Chechersk, Tyshkevich in Svisloch. Since the 70s of the XVIII century. in Grodno and Minsk, the Polish professional theaters of V. Boguslavsky, D. Moravsky and others regularly showed their performances.

The activities of serfs and school theaters intensified musical life. Good orchestras appeared in many cities. Their repertoire included works by Western European classics and local composers - M. Oginsky, J. Golond, E. Mikhalevich, R. Vordotsky, O. Bobrovsky, M. Kovalevsky and others.

Choral music in the school drama was also closely connected with the culture of the Kants. Belarusian chants and psalms often acquired the character and form of folk songs. Over time, the process of interpenetration and merging of religious and church poetry and folk melodies gave rise to the emergence of original spiritual poems, the performers of which were beggars and blind lyricists.

The theatrical culture of the Russian, Ukrainian and Polish peoples played an important role in the formation of the Belarusian professional theater.

Under the influence of the performances of professional theaters in Belarusian cities and towns, amateur theater groups were formed. In Minsk, on the stage of the Assembly of Nobility, professionals and amateurs staged works of Russian, Ukrainian and foreign dramaturgy. On June 5, 1890, a permanent theater was opened in the city (now the premises of the Yanka Kupala Theater). At the initial stage of their activities, the participants of the parties faced a shortage of Belarusian plays, so they staged dramatic works by Russian and Ukrainian authors. The repertoire of the parties also included the plays “Pavlinka” and “Primaki” by Y. Kupala, “Anton Lata” by Y. Kolas, “Fashionable nobleman” by K. Kaganets.

Today, Belarusian music is developing further, leaving its mark on history. It is popular, a large number of various evenings, competitive programs, etc. are organized.

Music in folk rituals and holidays.

Folk musical creativity

Folk musical creativity (folklore) is a reflection of the life and way of life of the Belarusian people, a pillar of the national style. The main branches of Belarusian folklore are vocal music (folk songs) and instrumental music (folk dances - polkas, round dances, etc.).

Folk songs.

Main features:

collectivity, word-of-mouth transmission, anonymity.

a small range of melody, no increase. and reduce intervals. diatonic modes - natural major or minor. Moderate pace. Variety of metric sizes (mixed, complex).

2 types of folk singing

- monophonic and polyphonic. The rites and customs of the Belarusian people are a reflection of the attitude of a person of that time, his desire to express a certain idea, feeling. According to their functions, they can be divided into calendar, family and public.

Calendar-ritual songs.

The classification of these songs is associated with the seasons, seasonal agricultural cycles, human labor activity.

Bypassing courtyards by carolers, carol divination, walking with a “star”, ritual images of a “goat”, carol games.

Music for greatness, chanting the industriousness of the owners of the house. Joyful character, elements of theatricalization. Single voice performance. Major mood, tightening the last syllables.

Maslenitsa

last week of February

The symbolic burning of an effigy of winter, swinging, from ice slides, burying the young in the snow.

Narrow volume of song intonations. It is based on short melodic phrases. Major predominance.

Invocation of spring

Baking "larks", pies, tossing them up. Burning on hillocks of old things. Inviting spring from the roofs, hills.

The basis of the songs is calls, repetitions of several short chants, monophonic performance. The presence of prolonged screams.

the end of May

A procession near the outskirts of the village, decorating houses with greenery and flowers. Collecting herbs, weaving wreaths.

Texts of songs with spells for the future harvest. Similarity with the manner of singing to the invocation of spring.

Ritual "cleansing" jumps over the fire, rolling the lit wheels into the water, bathing. Collecting herbs, searching for "paparats-kvetka", fortune-telling on wreaths. Characters of Kupala, Kupalinka, "old joda".

end of August - beginning of September

Zazhinki - worship of the first sheaf. Harvest. Dozhinki - Dozhinki wreath, cleanup.

3 groups of songs - “zazhinochnye”, labor; stubble (performed on the field during the harvest); ritual "dozhinochnye". The intensity of the sound, the development of one melodic grain, rhythmic freedom.

October November

Spring and oat stubble, harvesting flax, buckwheat, potatoes, picking autumn berries, mushrooms.

Bypassing the yards "to Miracles".

Reflection in the songs of the connection of the digger with the final stage of his activity. Lyrical, humorous songs. The predominance of minor modes.

STAGES OF DEVELOPMENT OF BELARUSIAN MUSICAL CULTURE

X – XIII Middle Ages

The emergence of a professional music XVI- 1st floor. XVI

Renaissance, Reformation

The appearance of court chapels on the European model, secular muses. genres, division of music into vocal and instrumental genres

2nd floor XVI - 1st floor. XVIII Baroque

theatrical art, the development of secular music

2nd floor XVIII Enlightenment:

classicism, sentimentalism

Genre Development

opera, ballet, orchestral and chamber music

XIX Romanticism

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folk culture of Belarus,

musical folklore.

Belarusian folk musical instruments.

Among Belarusians. nar. Instruments most common cymbals. In Nar. In everyday life, their sound range does not exceed 1.5 octaves; there is no established scale. Modern reconstructed cymbals - three-octave, chromatic - form the basis of the Belarusian orchestra. nar. tools. Bayans, harmonicas, and the violin are also common; from drums - a tambourine and a small drum; wind - a pipe and a pity. Popular people. instr. ensembles consisting of cymbals, harmonica, tambourine or violin; harmonica, tambourine or violin. These compositions are often joined by a fife and a clarinet. Traditional instrument in Nar. ensembles was nar. cello-basetl, present. time almost disappeared from performing practice. Already from con. 19th century the duda (bagpipe) and lira (lera), which were also exceptionally popular in the past, are also gradually falling out of use.

The heyday of the Belarusian musical culture.

In the XX century. there was a genuine flourishing of the Belarusian musical culture and education. In 1918-1919. music schools and folk conservatories were opened, later transformed into musical technical schools. The Minsk Music College (now the M. Glinka Music College) acquired special significance. On the basis of his opera and ballet classes, the Opera and Ballet Theater was opened in 1933. In 1932, a conservatory was opened, now the Belarusian State Academy of Music.

An outstanding role in the development of the musical life of the republic was played by the activities of V. Zolotarev.

In the pre-war years, the creative activity of E. Tikotsky, N. Churkin, G. Pukst was actively developing. The operas “Mikhas Podgorny” by E. Tikotsky, “In the Forests of Polesye” by A. Bogatyrev, the ballet “The Nightingale” by M. Kroshner became a highlight.

During the Great Patriotic War, the main theme of musical art was the struggle against the fascist occupation.

In the post-war period, the pedagogical activity of A. Bogatyrev was extremely important as the educator of the majority of Belarusian composers of subsequent generations. These are E. Glebov, who won special recognition in the genre of ballet: "Alpine Ballad", "The Chosen One", "The Little Prince"; V. Soltan, who created the romantic opera "The Wild Hunt of King Stakh" based on the plot of the story by V. Korotkevich.

V. Slovnikov, Yu. Semenyako, I. Luchenok, V. Ivanov, V. Budnik, E. Zaritsky and many others successfully worked in the song genre. In 1980-1990. works of sacred music appeared (L. Schleg, V. Kopytko, A. Bondarenko).

In Belarus there are: the National Academic Opera and Ballet Theatre, the State Musical Theater (since 1971), the I. Zhinovich State Academic Folk Orchestra (since 1930), the State Academic Symphony Orchestra (since 1928), the State Academic Choir G. Shirma Chapel (since 1939), G. Tsitovich State Academic Folk Choir (since 1952), Academic Choir of the Belarusian Radio and Television since 1987, Symphony Orchestra Belarusian Television and Radio (since 1958), State Orchestra of Symphonic and Variety Music (since 1987), State Dance Ensemble since 1959, Belarusian State Academy of Music since 1932, Belarusian Union of Composers (since 1932) , Belarusian State Philharmonic Society (since 1937), pop groups "Pesnyary", "Syabry"; folk rock is represented by the groups "Palace", "Krama"; ethnic rock - "Trinity".

In recent years, new creative teams have been created, including the Pure Voice male vocal quintet, the Apple Tea jazz ensemble, and more music festivals are held, which allow the general public to become familiar with the best examples of musical and choreographic art.

In addition to the traditional international music festivals "Belarusian Musical Autumn", "Minsk Spring", "Slavianski Bazaar in Vitebsk", the International Music Festival "Golden Hit", the jazz festival "Blues lives in Minsk" receive constant state support.

Such major cultural events are held as chamber music festivals "Muses of Nesvizh", modern choreography in Vitebsk, Belarusian poetry and songs in Molodechno, ancient and modern music in Polotsk. In total, more than 30 international, republican and regional festivals with an audience of more than 1 million people, not counting the television audience, have received a permanent residence permit in Belarus.

The first choreographic performance in Russia was "The Ballet of Orpheus", shown in the "comedy choir" of Tsar Alexei Mikhailovich in his fiefdom - the village of Preobrazhensky near Moscow (February 13, 1675?). From the 1st half of the 18th century. ballet was inculcated by choreographers and dance teachers from Italy and France. Possessing its rich dance folklore, Russia turned out to be a very fertile ground for the development of the ballet theater. Comprehending the science taught by foreigners, the Russians, in turn, introduced their own intonations into the foreign dance. In the 1730s in St. Petersburg, ballet scenes in court opera performances were staged by J.-B. Lande and A. Rinaldi (Fossano). The St. Petersburg Ballet School (now the A. Ya. Vaganova St. Petersburg Academy of Dance) opened in 1738, founded and directed by Lande. In 1773 in sinks. The Orphanage opened a ballet department - the forerunner and foundation of the Moscow Choreographic School. One of his first teachers and choreographers was L. Paradise. By the end of the 18th century serf troupes were developed in the estates of the Sheremetevs near Moscow (Kuskovo, Ostankino), etc. By that time, St. Petersburg and Moscow had court and public theaters. Major foreign composers, choreographers and many others worked in them. Russian performers A. S. Sergeeva, V. M. Mikhailova, T. S. Bublikov, G. I. Raikov, N. P. Berilova. Since the 1760s. Russian ballet developed in the general mainstream of the theater of classicism. The ideal of the aesthetics of classicism was "ennobled nature", and the norm of a work of art was strict proportion, expressed in the form of three unities - place, time and action. Within these normative requirements, the center of action became a person, his fate, his actions and experiences, dedicated to one goal, marked by a single all-consuming passion. The genre of heroic-tragedy ballet corresponded to the basic principles of classicism. The spokesman for the aesthetics of ballet classicism in the West was J. J. Nover, who considered the ballet performance as an independent artistic whole, with a strong plot intrigue, logically and consistently developed action, with heroes - masters strong passions. In the 2nd half of the 18th century. in St. Petersburg, ballets were staged by the Austrian F. Hilferding, the Italians G. Canziani, G. Angiolini, who sometimes used Russian subjects (for example, Semira based on the tragedy by A. P. Sumarokov staged by Angiolini and with his music, 1772) . These performances, with their sharp conflicts and extended action, were new on the Russian stage. Among others, the Italian J. Solomoni worked in Moscow, who promoted Nover's ballets, staged "Vain Precaution" in the choreography of J. Dauberval (it was called "The Deceived Old Woman", 1800).

The heyday of Russian ballet 18-19 centuries.

At the turn of the 18-19 centuries. Russian ballet entered its heyday. Domestic composers appeared - A. N. Titov, S. I. Davydov and Russified foreign composers - K. A. Kavos, F. E. Scholz. The Russian dancer and choreographer I. I. Valberkh outlined the path to the synthesis of the Russian performing style with the dramatic pantomime and virtuoso dance technique of the Italian ballet, as well as with the structural forms of the French school. The principles of sentimentalism were established in his art. Melodramatic ballet became the leading genre. The events of the Patriotic War of 1812 caused the flourishing of divertissement ballets: they were staged in St. Petersburg by Valberkh, and in Moscow by I. M. Ablets, I. K. Lobanov, and A. P. Glushkovsky. The soloists were: in St. Petersburg E. I. Kolosova, in Moscow - T. I. Glushkovskaya, A. I. Voronina-Ivanova. In the 1800s-20s. in St. Petersburg, the activities of the choreographer Sh. Didlo unfolded. A successor to the traditions of Nover and Dauberval, Didlot staged ballets on mythological subjects (Zephyr and Flora, 1808; Cupid and Psyche, 1809; Acis and Galatea, 1816) and heroic-historical themes (The Hungarian Hut, or Famous Exiles » F. Venyua, 1817 “Raul de Creki, or Return from the Crusades” by Cavos and T. V. Zhuchkovsky, 1819). In collaboration with Kavos, he put forward the principle of programming, based on the unity of the musical and choreographic dramaturgy of a ballet performance. In his pre-romantic ballets, ensembles of solo and corps de ballet dances interacted in a complex way. Didelot's heroic and tragic ballets revealed the action by means of psychological pantomime and abounded in contrasting dramatic situations. His comedic ballets (The Young Milkmaid, or Nisetta and Luca by F. Antonolini, 1817; The Return from India, or the Wooden Leg by Venois, 1821) possessed a variety of expressive means. In 1823, Didlo staged a ballet based on A. S. Pushkin's poem "The Prisoner of the Caucasus, or the Shadow of the Bride." E. I. Kolosova, M. I. Danilova, A. I. Istomin, E. A. Teleshova, A. S. Novitskaya, Auguste (A. Poirot), N. O. Goltz became famous in his performances.
In Moscow, since 1806, the ballet troupe of the private theater of M. Maddox came under the jurisdiction of the Directorate of the Imperial Theaters. Until 1812, minor choreographers were repeatedly replaced here. After the expulsion of the French from Moscow, the ballet school and troupe were headed by Didlo's student choreographer A.P. Glushkovsky. A follower of Valbergh and Didlo, Glushkovsky, in his version, transferred the St. Petersburg repertoire to the Moscow stage, primarily Didlo’s ballets, staged anacreontic ballets and melodrama ballets, used the plots of A. S. Pushkin (“Ruslan and Lyudmila, or the Overthrow of Chernomor, evil wizard"Sholz, 1821) and V. A. Zhukovsky ("Three Belts, or Russian Sandrilona" by Scholz, 1826). Glushkovsky prepared sinks. ballet troupe, in which Voronina-Ivanova, T. I. Glushkovskaya, V. S. and D. S. Lopukhins danced, to the creation of a romantic repertoire.
In the 1st third of the 19th century. Russian ballet art has reached creative maturity developed as a national school. A. S. Pushkin most precisely defined the peculiarity of the performing art of Russian dancers when he described the dance of his contemporary A. I. Istomina as “a flight filled with soul”. Ballet took a privileged position among other types of theatre. The authorities gave him close attention provided with government subsidies. In 1825, the Bolshoi Theater was opened in Moscow, and the ballet troupe received a technically equipped stage and at the same time a leading dancer, teacher, pre-romantic choreographer F. V. Gyullen-Sor. By the beginning of the 1830s. both the Moscow and St. Petersburg ballet companies performed in well-equipped theatres. Russian ballet was organically accepted by the born in the West. European romanticism. By the mid 30s. performances were remarkable for their magnificence and harmony, high school of skill and coherence of the ensemble.

Themes of romanticism and realism

The conflict of dreams and reality - the main one in romantic art - updated the theme and style artistic creativity. Two varieties of romantic art emerged in the ballet theater. The first asserted the incompatibility of dreams and reality on a generalized lyrical plane, where fantastic images predominated - sylphs, wilis, naiads. The other gravitated toward the tense life situations and sometimes contained motives for criticizing reality (in the center of various, often exotic events, there was a dreamer hero entering the fight against evil). Among the figures of the first branch are the choreographer F. Taglioni and the dancer M. Taglioni; the second is choreographer J. Perrot and dancer F. Elsler. Both directions were united by a new, aesthetically promising relationship between dance and pantomime. The dance came to the fore, became the culmination of the dramatic action. Romantic art was also clearly manifested in performance, especially by E. I. Andreyanova, E. A. Sankovskaya, T. Gerino. The repertoire of the Russian theater includes all the most famous romantic ballets Zap. Europe: "Sylphide", "Giselle", "Esmeralda", "Corsair", "Naiad and the Fisherman", "Katarina, the Robber's Daughter". In the 1860s, the romantic spectacle began to disintegrate in Russia. In the years when Russian literature and art acquired a realistic orientation, ballet remained a court theater with an abundance of extravaganza effects and divertissement numbers. At the same time, A. Saint-Leon enriched the vocabulary of both classical and characteristic dance, expanding the possibilities of extended dance ensembles, preparing the accomplishments of M. I. Peti-pa. At the same time, K. Blazis in the Moscow ballet school improved the technique of dancers. The poetic height of ballet art was preserved by M. N. Muravyova, P. P. Lebedeva, N. K. Bogdanova, V. F. Geltser.
Historically, it was the Russian ballet that had to revive ballet art in a new quality. The choreographer M. I. Petipa began his creative activity in the canons of the aesthetics of romanticism that had become obsolete. But he continued the process of enriching the dance, begun in this era. In his ballets to the music of the staff composers of the imperial theaters Ts. Pugni (Tsar Kandavl, 1868) and L. Minkus (La Bayadère, 1877), the substantive basis and culmination of the action were masterfully designed ensembles of classical dance, where the themes of corps de ballet were developed and contrasted and solo dance, dance motifs-characteristics clashed. Thanks to Petipa, the aesthetics of the “big”, or academic, ballet was formed - a monumental spectacle, built according to the norms of scenario and musical dramaturgy, and the external action was revealed in pantomime mise-en-scenes, and the internal one - in the canonical structures of classical dance. The search for Petipa was completed in his collaboration with P. I. Tchaikovsky (Sleeping Beauty, 1890; Swan Lake, 1895) and A. K. Glazunov (Raymonda, 1898; The Seasons, 1900), whose the scores became the pinnacles of 19th-century ballet symphonism. The work of choreographer L. I. Ivanov, assistant to Petipa (The Nutcracker, 1892; scenes of swans in Swan Lake, 1895), already foreshadowed a new imagery of dance at the beginning of the 20th century. E. O. Vazem, E. P. Sokolova, V. A. Nikitina, P. A. Gerdt, N. G. Legat, M. F. Kshesinskaya, A. I. Sobeshchenekaya, A. V. Shiryaev, O. I. Preobrazhenskaya, K. Brianza, P. Legnani, V. Zucchi.

By the beginning of the 20th century Russian ballet has taken a leading place in the world ballet theater. Ballet master-reformer M. M. Fokin updated the content and form of the ballet performance, creating new type performance - a one-act ballet, subject to a through action, where the content was revealed in the indissoluble unity of music, choreography, scenography (Chopiniana, Petrushka, Scheherazade). A. A. Gorsky (“The Daughter of Gudula” based on the novel “Notre Dame Cathedral” by V. Hugo, 1902; “Salambo” based on the novel by G. Flaubert, 1910) also spoke for the integrity of the ballet action, the historical authenticity of the style, and the naturalness of plasticity. The main co-authors of both choreographers were not composers, but artists (they were sometimes the authors of the script). Fokine's performances were designed by L. S. Bakst, A. N. Benois, A. Ya. Golovin, N. K. Roerich; Gorsky - K. A. Korovin. Reformist choreographers were influenced by art American dancer A. Duncan, propagandists of "free" dance. However, along with the obsolete, the valuable was rejected - the generalization of musical and choreographic images. But new things were also acquired - the ballet was included in the context artistic movements of his time. Since 1909, S. P. Diaghilev organized tours of the Russian ballet in Paris, known as the Russian Seasons. They opened the world to composer I. F. Stravinsky and choreographer Fokine (The Firebird, 1910; Petrushka, 1911), dancer and choreographer V. F. Nijinsky (Afternoon of a Faun, 1912; The Rite of Spring, 1913) and others, attracted famous musicians and artists to the ballet theater.

Russian seasons of Diaghilev abroad

With the beginning of the Russian Seasons Abroad, organized by Diaghilev, Russian ballet existed both in Russia and in Europe. After October 1917, when many artists emigrated, Russian ballet developed especially intensively abroad. During the 1920-40s. Russian artists (A. P. Pavlova with his troupe), choreographers (Fokine. L. F. Myasin, B. F. Nizhinskaya, J. Balanchine, B. G. Romanov, S. M. Lifar) headed the groups (Balle rus de Monte Carlo", "Original Balle rus", "Russian Romantic Theater" and many others), created schools and troupes in many countries of Europe and America, having a huge impact on world ballet. Long years while preserving the Russian repertoire, the traditions of the Russian school of dance, these groups simultaneously experienced the influence of the art of those regions where they worked, and gradually assimilated them.
In Russia after 1917 ballet remained a major center of national art. Despite the emigration of a number of outstanding figures of the ballet theater, the school of Russian ballet survived and put forward new performers. The pathos of the movement towards a new life, revolutionary themes, and most importantly, the scope for creative experiment inspired the ballet masters, allowed them to dare. At the same time, the traditions of the predecessors, the academicism of the performing culture were preserved. The head of the Bolshoi Theater troupe, Gorsky, reworked the ballets of the classical heritage, creating his own stage editions (Swan Lake, 1920; Giselle, 1922). Leading in the 1920s Petrograd troupe FV Lopukhov, a connoisseur of the classical heritage, talentedly restored the old repertoire. Lopukhov staged the first dance symphony "The Greatness of the Universe" (1922), allegorically depicted the revolution ("Red Whirlwind", 1924), turned to tradition folk genres("Pulcinella", 1926; "Tale about a fox ...", 1927).
intensive creative work, the search for new forms went as beyond academic theaters and within their walls. During these years, various areas of dance art were developed. The studios of Duncan, L. I. Lukin, V. V. Maya, I. S. Chernetskaya, L. N. Alekseeva, N. S. Poznyakov, the workshop of N. M. Foregger, "Heptakhor", "Young Ballet" G M. Balanchivadze, studio "Dramballet". Of particular importance was the activity of K. Ya. Goleizovsky, who innovatively developed the genre of pop-choreographic miniature and staged ballets both at the Moscow Chamber Ballet studio and at the Bolshoi Theater (Joseph the Beautiful, 1925, Experimental Theater - a branch of the Bolshoi Theater). By the mid-20s. the period of experiments in all Russian art, in particular choreographic art, ended with the closure of a number of studios, campaigns in the press for a return to the traditions of Russian culture of the 19th century.

Socialist realism and its ending

This was the beginning of the formation of the official method of socialist realism in the choreographic theater, where performances came to the fore in which the form " big ballet» 19th century combined with new content ("Red Poppy", 1927). The official requirements of realism, the general accessibility of art led to the predominance of performances created in the genre of the so-called drama ballet on the stage. Ballets of this type are multi-act, usually based on the plot of a famous literary work, were built according to the laws of a dramatic performance, the content of which was presented with the help of pantomime and fine dance. The most famous masters of this genre were R. V. Zakharov (“The Fountain of Bakhchisaray”, 1934; “Lost Illusions”, 1935) and L. M. Lavrovsky (“Prisoner of the Caucasus”, 1938; “Romeo and Juliet”, 1940). V. I. Vainonen (“The Flames of Paris”, 1932), V. M. Cha-bukiani (“Laurencia”, 1939) strove for greater danceability within the drama ballet. In the 1930s a new school of performance was formed, which was characterized, on the one hand, by lyricism and psychological depth (in the work of G. S. Ulanova, K. M. Sergeev, M. M. Gabovich), on the other hand, the heroic manner of dance, expression and dynamics (in the work of M. T. Semenova and many male dancers, in particular Chabukiani, A. N. Ermolaev). Among the leading artists of the late 20s - early 30s. also T. M. Vecheslova, N. M. Dudinskaya, O. V. Lepeshinskaya.
In the 1930s ballet theater in Russia developed intensively. New opera and ballet theaters with ballet companies were opened in Leningrad (Maly Opera theatre), Moscow (Moscow Art Ballet - later the Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko) and many other cities of Russia. However, despite the successes, the monopoly of one direction in the ballet theater led to an artificially cultivated uniformity. Many types of performances, in particular, one-act productions, including plotless and symphonic ballets, have left the theatrical use. Dance forms and dance language became impoverished, since the performances used exclusively classical dance and only in some cases - folk-characteristic. As a result of the fact that all searches outside the drama ballet were declared formalistic, Lopukhov, after devastating criticism of D. D. Shostakovich's ballet "The Bright Stream", Goleizovsky, L. V. Yakobson and some others lost the opportunity to stage ballets in leading ballet troupes or pushed back onto the stage. All representatives of non-academic movements, free, plastic, rhythmic-plastic dance stopped staging work. But in the late 1940s - early 1950s. came the crisis of the officially supported drama ballet. Choreographers committed to this direction, undertook futile attempts preserve it by enhancing the spectacle of performances with the help of stage effects (for example, the flood scenes in Zakharov's The Bronze Horseman, 1949). Nevertheless, the performing arts and its traditions were preserved. During these years, M. M. Plisetskaya, R. S. Struchkova, V. T. Bovt, N. B. Fadeechev appeared on the scene. The turning point came in the late 1950s, when a new generation of choreographers emerged. The first to embark on the path of innovation were the Leningrad choreographers Yu. N. Grigorovich (“The Stone Flower”, 1957; “The Legend of Love”, 1961; later “Spartak”, 1968) and I. D. Belsky (“Coast of Hope”, 1959; “ Leningrad Symphony", 1961), who built the performance on the basis of musical and dance drama, revealing its content in the dance. Choreographers N. D. Kasatkina and V. Yu. Vasilev, O. M. Vinogradov are close to this generation. In the same years, Lopukhov and Goleizovsky returned to creativity and created a number of new productions; previously forgotten genres were revived - one-act ballet, ballet-poster, satirical ballet, ballet symphony, choreographic miniature, the subject of a ballet performance was expanded, vocabulary was enriched. In this renewal process, L. V. Yakobson played a significant role. The choreographer tirelessly searched for new means of artistic expression, used the figurativeness of other arts in ballet. A new generation of performers entered the ballet scenes of Russia, which in the first years of their work became an ally of choreographers new wave: M. N. Baryshnikov, N. I. Bessmertnova, V. V. Vasiliev, I. A. Kolpakova, M. L. Lavrovsky, M.-R. E. Liepa, N. R. Makarova, E. S. Maksimova, R. Kh. Nureev, A. E. Osipenko, A. I. Sizova, Yu. Solovyov, N. I. Sorokina, N. V. Timofeeva. After an intensive rise in ballet art in the 1960s - early 1970s. there was a slowdown in its development, when little new, significant was created on the main stages, many productions were epigone. Nevertheless, experimental work did not stop even during these years, when performances were created by M. M. Plisetskaya, V. V. Vasiliev, N. N. Boyarchikov, G. D. Aleksidze, D. A. Bryantsev.
In the late 80s - early 90s. the number of tours abroad has significantly increased both for ballet troupes of the largest opera and ballet theaters and for small groups specially created for commercial purposes. Since the 1970s Russian artists, feeling their lack of demand in the outdated and poor repertoire of theaters, began to work more and more often abroad. Nureyev was the first to be forced to stay abroad, followed by Makarova, Baryshnikov; later, when this practice was legalized, they began to work abroad, sometimes staging performances and even leading ballet companies in the USA and Europe, Grigorovich, Vinogradov, as well as Plisetskaya, Vasiliev, and others. Russian dancers of the younger generation work in many foreign groups.