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The meaning of the word honor
honor in the crossword dictionary
honour
Glossary of financial terms
Explanatory Dictionary of the Living Great Russian Language, Vladimir Dal
honour
and. the inner moral dignity of a person, valor, honesty, nobility of soul and a clear conscience. A man of honour, unsullied honour. By honor, I assure you with honor, an assurance, an affirmation. An act inconsistent with honor. Honor cannot be sewn to the skin, if not. If you knew honor, you would be ashamed.
Conditional, secular, worldly nobility, often false, imaginary. My honor is offended by this. Field of honor, battlefield, battle. My honor requires blood. It is possible not to pay debts, but honor requires the payment of gambling debts.
High rank, rank, rank, position. And he is a temporary worker, but he stands high, in honor. They will add honor, and give a lot of salaries, Kotoshikhin. In honor, that in wool is warm. In honor, the Siberian princes of the boyars are higher, but they don’t sit in any thought, Kotoshikhin. Not on a caftan, honor, but under a caftan. Honor is put on - you can throw it off.
External proof of difference; honor, honor, reverence, honour, expression of respect, recognition of one's superiority. There is no prophet without honor, except in his own country, Matt. Honor us with many honors, Acts. A feast, a feast in honor of someone. Salute, military: make a guard, bow a sword, banner, break through a shot, march, kiss a visor, etc., bow to the elder honorably, as established. The Academy has done me the honor of being elected. I have already had the honor of appearing to the chief. I have the honor to be yours, etc. the usual signature. Lomonosov did honor to his age. Great honor, but there is nothing to eat. There are many honors, but there is only one honor. He gave it to me out of honor, out of honor, not forced, of his own free will. I honored him, honorably asked, did not force him. Honor honor and believe in the word. Honor is firm, in the word stand. The mind gives birth to honor (and dishonor takes away the last). Honor is honor, and business is business. Merit honor. Honor and place, and we will send for beer! And honor is not in honor, if there is nothing to eat. A bad honor if there is nothing to eat. What is honor if there is nothing to eat? Dislike and honor (disappear and honor), as there is nothing to eat. The honor of goodness: the whole back is even. The honor of kindness, but you can’t sit down (eat). The honor is greater, but there is not found. Whoever loves honor should sit in the front corner; and hungry, even beyond the threshold, just give me a pie. Honor is honor, but there is no glory. Honor is honor, but glory is not good. There is bread and salt, but not about your honor. Our honor from morning to evening. Today in honor, tomorrow go and feed the pigs. There was also an honor, but he did not know how to take it down, he was disgraced. Ordinary honor, and even that he did not know how to demolish. God bless the one who knows how to take it down. They will give the fool honor, so he does not know where to sit. You can’t save enough for a fool of honor (honor). Lost honor with wine. There would be money, but we will find honor (honor). Honor will come (came) to sour wool. Honor has been added, and God has spared the loss. Attach honor (invite to visit). Not to people in honor, but to God in glory. It's time (must) and honor to know. It's time for the guests and the honor to know. Live live, but know the honor: do not seize someone else's century. Not in our honor - not for us. The honor has come - that the head is off the shoulders. For the honor of the head ginet. Honor is protected by the head. The nobleman will not leave honor, even though the little head will perish. A rogue and a thief - honor by parsing, called for honor, and put him on the stove (son-in-law). Whom honor does not take, the stick will understand. The pig knows no honor. One honor to the pig: slop. Even if you flog with whips, just do not deprive of honor (said the ordinary cornet, who was threatened to be demoted to the Cossacks)! Honor someone, honor, honor, honor, respect with the soul. Everyone honors God in their own way. Honor your father and your mother. Honor the law.
Show respect or honor, honor, show respect or pay due, decent honors. As your brother Izyaslav honored Vyacheslav, so do you honor, chronicle. Honor everyone according to dignity and custom. Lutherans do not honor icons. The prince was honored with the counter bread and salt.
Treat, regale, offer, take with bread and salt. Do not honor me with beer, honor me (almost) with green wine. And how were you honored at your godfather? In sem. dialect and honor, sowing. and honor, southern. zap.; honored with a gift, a gift. It would be something to honor (treat), but we will get honor.
* Honor, honor someone, scold, scold, vilify, blaspheme. From to honor, to honor, to honor with what, it was composed to regale, and not to sing. -sya, to be honored;
boast, be proud of something, set yourself something in honor, glory, merit;
honor each other. Church feasts are especially honored in parishes. Everyone is honored according to merit. The guests were honored by the hostess herself, surrounded everyone, with bows. By what they reproach me, I, in conscience, honor myself. We peregashivaemsya and honored to glory! An hour to be honored, but a year to puff. Reading a shrine (also read). Honoring and honoring guests. Solemn honoring the winner.
Church. object of reverence, shrine. Looking at your honors, I also found a temple, on which it was written: To the Unknown God, Acts. Chestka, honor and regale, refreshments;
* scolding, psk. Chestunin. Honest, pious, devout, God-fearing; meek, meek. Honest and snobby (to honor and honor), polite, courteous, courteous, respectful. Honest, in whom or in what there is honor, dignity, nobility, valor and truth. - a man, direct, truthful, unswerving in his conscience and duty; reliable in word, who can be trusted in everything. Honest performer, conscientious. I give honestly. Honest is not hidden. Honest death, noble, valiant.
Respected, honorable, exalted, glorified. Honest life-giving cross. The teacher of the law is honest with all people, Acts. They have an honest society, honest guests were. Honest stones, precious, expensive, valuable, semi-precious, noble. A crown from a stone is honest, Psalter. Ring with an honest stone. Honest gentlemen! gracious sovereigns. Please, honest sir! And rekoh to the honest and to the governors, etc. Neh. He honestly did it, nobly, conscientiously, truthfully. He was honestly received and seen off, with honors, honorable, polite. You dishonestly ask, reluctantly give, not respectfully. Honest (honest) pl. arch. guests, bol. the groom's relatives visiting the bride on the eve of the wedding. Honest the honorary name of buttermilk, cheese, it is wide. Honest cf. perm. gift, gift, gift. An honest rejection is better than a puff. Honest greetings to the heart for joy. They received him dishonestly, disrespectfully, impolitely. Much satisfying, little honest. And a small conversation, but honestly. An honest husband is honest and bow. A good wife and an honest husband. The wife according to her husband is honest; simpler: a wife by her husband (nickname, receives a title, etc.). It’s sacred with a priest (deed), with a nobleman honestly (honorable), and with a Chuvash and a sin, but best of all (contractor’s testament). The dress is clean, and the speech is honest. Honest people, Volga residents (robbers). An honest feast, and for the wedding. Honestly magnify, so meet on the threshold. The wedding is honest with the guests, the funeral is tears, and drunkenness is a fight. Hello prince and princess, boyars, matchmakers, friends, and all honest travelers! Honesty, quality, property adj. Boyars and honorary dignitaries, old. ambition cf. search for external honor, respect, honor, honours. Praise and rewards incite only ambition, an outward and base impulse. Ambitious, ambitious m. ambitious and ambitious f. an ambitious and ambitious person, passionate for ranks, distinctions, glory, praise, and therefore acting not according to moral convictions, but according to these types. Honorer, honorer or honorer, honorer, respecter, admirer, guardian. Truth Reader.
My honorer, who honors me, scolds me behind the eyes.
Honorer of wanderers, indulgence, shelter. Honorer of antiquity, respecter. Reading center cf. any object of reverence, respect; shrine; idol sanctuary, joss-house, pagan temple. Chestokhval (chistokhval?) ver. boaster, boaster.
Explanatory dictionary of the Russian language. D.N. Ushakov
honour
honor, honor, nesov., that (old.).
honour
honor, about honor, in honor and in honor, pl. (obsolete) honors, honors, f.
greet someone. in a military way, putting a hand on a headdress (military);
to give (show) due respect, honor (honor) attention to someone. (joking). The guests saluted each dish in turn. Field of honor (rhetoric. obsolete) - war, theater of operations. We bless your return to your homeland from the field of honor. Zhukovsky. Listen or agree with honor - voluntarily, without expecting the use of threats, violence. If you don’t listen with honor, he will take you by the trousers from behind and knock you out of the tavern with one breath. A. N. Tolstoy. to ask with honor - to ask without threats, counting on obedience, voluntary consent. - Gentlemen, disperse! You are honored. Chekhov. Honor and place - see place.
only units Moral or social dignity, that which causes, maintains respect (for oneself or from others). And my honor was the first treasure, this treasure was taken away by torture. Pushkin. Go to the fire for the honor of the fatherland. Nekrasov. The most remarkable thing about competition is that it produces a radical change in people's views on labor, for it turns labor from a shameful and heavy burden, as it was considered before, into a matter of honor, a matter of glory, a matter of valor and heroism. Stalin. Debt of honor. Personal honor. A sense of honor. I swear on my honor. Hit someone with something. value, dignity, something to be proud of. Thinned, whitened curls, the honor of my head. Pushkin. This student is the honor of our institute.
Chastity, purity (women; obsolete). Encroach on the girl's honor.
only ed. Honor, respect. This is a great honor for me. We have been doing from time immemorial that honor is due to father and son. Griboyedov. What an honor for us, for all Russia! Pushkin. Find her a groom, so that he is good, smart, and in ribbons, and in honor. Krylov. here every syllable is noticed and honored, here every verse looks like a hero to itself. Pushkin.
only many. Honors, honorary titles, ranks (obsolete). - Honor, striving along the path of honor? Yes, what is in them. Goncharov. How to blaze a brilliant path to honor with honor? Vyazemsky. In honor of someone-something and someone-something (book) - as a sign of respect, respect for someone-something. There are even holidays in their honor established. Krylov. He named his son Vladimir in honor of Lenin. theatre square in Moscow renamed in honor of Comrade Sverdlov. To come out with honor from something - to cope with something, preserving, maintaining one's dignity. He ... came out with honor from all the brawls with which fate was pleased to reward him. Saltykov-Shchedrin. To do (make) honor to someone - to give (to give) to someone-something. great dignity, price, testify to someone. dignity. Lomonosov did honor to his age. Dal. It does honor to your heart. 2) to show (show) respect, reverence (colloquial obsolete). Do me the honor of dining at my place. Pushkin. 3) the same as Give (salute) honor in 2 meanings. (joking). To have honor (official and colloquial obsolete) - to be honored (formula of politeness or obsequious appeal to a superior person). I have the honor to propose a project. Nekrasov. I have already had the honor to turn to you for help many times. Chekhov. I had the honor to accompany you and receive you personally in the charitable establishments entrusted to my supervision. Gogol. To the honor (serves) of someone - is a sign of someone. dignity, positive qualities. To his credit, he immediately corrected his mistake. One thing does not serve her well: for an extra five hundred rubles a year, she allowed herself to be lured by others. Griboyedov. can be attributed to honor (colloquial obsolete) - can be considered an ornament, a sign of dignity. And what is your richest horse! that's certainly an honor to ascribe. Turgenev. it is necessary or time to know the honor (colloquial fam.) - enough, it's time to stop, finish something. They grieved - and it will be, it is necessary to know the honor! Chekhov. To salute (salute) honor to someone -
Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.
honour
And, about honor, in honor and in honor, f.
characterize well. Such an act does honor to his mind and heart,
show respect. Do honor with your visit. I have the honor (to ask, offer, inform) (obsolete) - a politeness formula in a speech addressed to a superior person. I have the honor to introduce my friend to you. To whose credit - characterizes someone well, does honor to someone. A lot of honor to whom (colloquially disapproved) - did not deserve, someone is not worthy. something Should I apologize to him? Lots of honor. Salute -
to whom, to greet, putting a hand to a headdress. salute an officer;
to what, to give due attention to che-mu-n. (joking). Salute the meal. Field of honor (obsolete high) - battlefield. It's time (or should) and honor to know
Worthy of respect and pride moral qualities of a person; its respective principles. Debt of honor. A matter of honor (concerns someone's honor). Hit someone. h. Court of honor (officer).
Good, spotless reputation good name. H. family. Take care of hours from an early age (ate). H. brand name. Black uniform (about someone's official authority, reputation; ironic).
Chastity, innocence. Maiden h.
Honor, respect. Ch. for work. Give hours to someone. Ch. and glory to the heroes! * It would be an honor to be offered (colloquial) - it is said in response to a refusal, as you wish, do not want and do not need to. Your (your, his, her, their) honor (obsolete) - in Russia before the revolution: the same as your (your, etc.) mercy. There is, but not about your honor (proverb: yes, but not for you). In honor who (colloquial) - is held in high esteem. in honor of someone or something preposition with genus n. - especially for the sake of someone, as a sign of respect for someone-something. Reception in honor of the delegation. With honor to get out (from some kind of position) - to find a worthy way out. Do honor to someone -
New explanatory and derivational dictionary of the Russian language, T. F. Efremova.
honour
-
Honor, respect.
Signs of attention given to smb.
Moral, professional, social, etc. dignity, causing respect for oneself or from others.
That which lends to someone, to something. value, dignity; what they are proud of.
obsolete Chastity, virginity of a woman.
nesov. transition obsolete
Encyclopedic Dictionary, 1998
honour
DIGNITY, BUSINESS REPUTATION (legal protection), under Russian law, a citizen or legal entity has the right to demand in court a refutation of information discrediting his honor, dignity or business reputation, as well as compensation for damages and moral damage caused by their spread. If it is impossible to identify the person who disseminated the said information, the citizen or legal entity shall have the right to apply to the court for recognition of the said information as untrue.
Big Law Dictionary
honour
a category that means a moral assessment of a person by society, as well as self-esteem. One of the intangible benefits (Article 150 of the Civil Code of the Russian Federation) belonging to a person from birth; inalienable and intransferrable. A citizen has the right to demand in court a refutation of Ch.'s discrediting information, if the person who disseminated such information does not prove that it is true, as well as compensation for losses and moral damage caused by their dissemination. , dignity .
Honour can be perceived as a relative concept, brought to life by certain cultural or social traditions, material reasons or personal ambitions. On the other hand, honour is interpreted as a feeling originally inherent in a person, an integral part of his personality. In the traditional system of values of the cultures of many peoples, the category honor is more important than human life.
The dictionary of V. I. Dahl, reflecting this division, defines honour and as "the inner moral dignity of a person, valor, honesty, nobility of soul and a clear conscience", and as "conditional, secular, worldly nobility, often false, imaginary."
Examples of the use of the word honor in literature.
It is known that Abu Salama is the head of propaganda in Kufa, a man of exceptional nobility, honor and justice, - on the eve of the uprising, he intended to convene a council of the descendants of Ali and Abbas so that they themselves would elect a caliph.
Upon learning of this, Agesilaus announced that the Argives themselves had convicted themselves of cowardice, because, believing the management of the games to be something big and important, they did not dare to fight him for this. honour.
Although del Aqua set off immediately after receiving the letter, with mandates hastily prepared from the viceroy of Goa, it took several months to sail to Macau and learn there honor da Kunha is dead and all holy fathers are forbidden from entering Japan on pain of death.
Entering the shore, the captain called the island Alekseevsky, in honour Russian navigator Alexei Khimkov, who lived on it for six years.
But the traitor did not know that he was entering into negotiations with the traitor: fearing Tissaphernes and seeing in what honor he had Alcibiades, Astyoch told both about the message of Phrynichus.
It seems that they figured it out themselves and are no longer squeezing the last strength out of the horses - they just do not slow down the gait in order to get out with honor from a lost hunt.
She and I tried to get to the Diamond and Wooden Swords, but your Cair Laeda got there first, honour and praise to him.
The thin little Jewess, Absalom's mother, called from Albert's apartment in Lisbon, in Mexico City, called all the shipping lines, without letting go of little Wilhelm Billig, so named in honour Kaiser Wilhelm.
When the applause died down, the captain took off his hat and announced, first in Korean and then in perfect English, that Japanese dance school Kyoto can no longer be considered the best in the world: -- From now on, this honour will be owned by the Honorable Alaskan School at.
Cyril spent hours with him, as with an equal, interpreting Greek books, discussing the deeds of Alexander the Great, Omir's legends, honoring aloud the chronicle of Amartol and the Russian chronicles, according to which the recent and already departed Kyiv antiquity looked majestic and glorious, and the princes of Kyiv - Yaroslav, Svyatoslav, Oleg, Vladimir, the baptist of Russia, great and formidable.
Pavlin Petrovich is an ambitious man, he said, he provides it from honor, and the payment can unbearably offend him.
This Ambon, apparently, in honor from Pavlidius, he will beg for ten guards from him.
As far as I remember, he was always judged by the court honor for immorality, while the rest - mainly for drinking and absenteeism.
Some say, however, that she became a mother by force - Amulius came to her armed, took her away and deprived honor.
At this moment honour and virtue reawakened the voice of conscience in me, and with a sigh I looked back at the past: at Amiens, at parental home, to the Seminary of Saint-Sulpice, to all the places where I lived blameless.
Biography
Christoph Willibald Gluck was born into the family of a forester, was passionate about music from childhood, and since his father did not want to see his eldest son as a musician, Gluck, after graduating from the Jesuit college in Kommotau, left home as a teenager. After a long wandering, he 1731 ended up in Prague and entered the Faculty of Philosophy of the University of Prague; at the same time took lessons from the famous Czech composer in those years Boguslav of Montenegro, sang in the choir of the Church of St. James, played the violin and cello in traveling ensembles.
Educated, Gluck's 1735 went to Vienna and was accepted into the chapel of Count Lobkowitz, and a little later received an invitation from the Italian philanthropist A. Melzi to become a chamber musician of the court chapel in Milan. In Italy, the birthplace of opera, Gluck had the opportunity to get acquainted with the work of the greatest masters of this genre; At the same time, he studied composition under the guidance of Giovanni Sammartini, a composer not so much of an opera as of a symphony.
In Vienna, gradually becoming disillusioned with the traditional Italian opera seria - "opera aria", in which the beauty of melody and singing acquired a self-sufficient character, and composers often became hostages to the whims of prima donnas, Gluck turned to French comic opera ("Merlin's Island", " Imaginary Slave”, “Reformed Drunkard”, “The Fooled Cadi”, etc.) and even for the ballet: created in collaboration with the choreographer G. Angiolini, the pantomime ballet “Don Giovanni” (based on the play J.-B. Molière), a real choreographic drama, was the first embodiment of Gluck's desire to turn the opera stage into a dramatic one.
In search of musical drama
K. V. Gluck. Lithograph by F. E. Feller
In his quest, Gluck found support from the chief intendant of the opera, Count Durazzo, and his compatriot poet and playwright Ranieri de Calzabidgi, who wrote the libretto of Don Giovanni. The next step in the direction of musical drama was their new collaboration - the opera " Orpheus and Eurydice", in the first edition staged in Vienna on October 5 1762. Under the pen of Calzabigi ancient greek myth turned into an ancient drama, in full accordance with the tastes of that time, however, neither in Vienna nor in other cities of Europe, the opera was not a success with the public.
By order of the court, Gluck continued to write operas in the traditional style, without parting, however, with his idea. A new and more perfect embodiment of his dream of a musical drama was created in collaboration with Calzabidgi in 1767 heroic opera Alcesta”, in the first edition presented in Vienna on December 26 of the same year. Dedicating an opera to the Grand Duke of Tuscany, the future Emperor Leopold II, Gluck wrote in his preface to Alceste:
| It seemed to me that music should play in relation to poetic work the same role played by the brightness of colors and correctly distributed chiaroscuro effects, enlivening the figures without changing their contours in relation to the drawing ... I tried to expel from music all the excesses against which they vainly protest common sense and justice. I believed that the overture should illuminate the action for the audience and serve as an introductory overview of the content: the instrumental part should be conditioned by the interest and tension of the situations ... All my work should have been reduced to the search for noble simplicity, freedom from the ostentatious accumulation of difficulties at the expense of clarity; the introduction of some new techniques seemed to me valuable insofar as it corresponded to the situation. And finally, there is no such rule that I would not break in order to achieve greater expressiveness. Those are my principles." |
Such a fundamental subordination of music to a poetic text was revolutionary for that time; in an effort to overcome the number structure characteristic of the then opera seria, Gluck combined the episodes of the opera into big scenes pierced by a single dramatic development, he tied the overture to the action of the opera, which at that time usually represented a separate concert number, increased the role of the choir and orchestra ... Neither "Alceste" nor the third reformist opera to the libretto of Calzabidgi - "Paris and Elena" () did not find support from either Viennese, nor the Italian public.
Gluck's duties as a court composer also included teaching music to the young Archduke Marie Antoinette; having become the wife of the heir to the French throne in April 1770, Marie Antoinette invited Gluck to Paris. However, other circumstances influenced the composer's decision to move his activities to the capital of France to a much greater extent.
Glitch in Paris
In Paris, meanwhile, a struggle was going on around the opera, which became the second act of the struggle between the adherents of the Italian opera (“buffonists”) and the French (“anti-buffonists”) that had died down back in the 50s. This confrontation split even the crowned family: the French king Louis XVI preferred Italian opera, while his Austrian wife Marie Antoinette supported the national French. The split also struck the famous Encyclopedia: its editor D'Alembert was one of the leaders of the "Italian Party", and many of its authors, led by Voltaire and Rousseau actively supported the French. The stranger Gluck very soon became the banner of the "French Party", and since the Italian troupe in Paris at the end 1776 headed by the famous and popular composer in those years Niccolo Piccini, the third act of this musical-public controversy went down in history as a struggle between the “glukists” and the “picchinists”. The dispute was not about styles, but about what an opera performance should be - just an opera, a luxurious spectacle with beautiful music and beautiful vocals, or something substantially larger.
In the early 1970s Gluck's reformist operas were unknown in Paris; in August 1772 The attache of the French embassy in Vienna, François le Blanc du Roullet, drew the attention of the public to them on the pages of the Parisian magazine Mercure de France. The paths of Gluck and Calzabidgi diverged: with the reorientation to Paris, du Roullet became the main librettist of the reformer; in collaboration with him, the opera Iphigenia in Aulis was written for the French public (based on tragedy J. Racine), staged in Paris on 19 April 1774. The success was consolidated by the new, French edition of Orpheus and Eurydice.
Recognition in Paris did not go unnoticed in Vienna: on October 18, 1774, Gluck was awarded the title of "actual imperial and royal court composer" with an annual salary of 2,000 guilders. Thanking for the honor, Gluck returned to France, where at the beginning 1775 a new edition of his comic opera The Enchanted Tree, or the Deceived Guardian (written back in 1759) was staged, and in April, in Grand Opera, - a new edition of "Alcesta".
The Parisian period is considered by music historians to be the most significant in Gluck's work; the struggle between the “glukists” and the “picchinists”, which inevitably turned into personal rivalry between the composers (which, according to contemporaries, did not affect their relationship), went on with varying success; by the mid-70s, the “French Party” also split into adherents of traditional French opera ( J. B. Lully and J. F. Rameau), on the one hand, and Gluck's new French opera, on the other. Willingly or unwittingly, Gluck himself challenged the traditionalists, using for his heroic opera " Armida» libretto written by F. Kino (based on the poem T. Tasso Liberated Jerusalem) for opera of the same name Lully. Armida premiered at the Grand Opera on 23 September 1777, was, apparently, so differently perceived by representatives of various "parties" that even 200 years later, some spoke of a "huge success", others - of a "failure".
Nevertheless, this struggle ended with the victory of Gluck, when on May 18 1779 at the Paris Grand Opera, his opera Iphigenia in Tauris was presented (to the libretto by N. Gniyar and L. du Roullet based on the tragedy Euripides), which is still considered by many to be the composer's best opera. Niccolo Piccinni himself acknowledged Gluck's "musical revolution". At the same time J. A. Houdon sculpted a white marble bust of Gluck, later installed in the lobby of the Royal Academy of Music between the busts of Rameau and Lully.
Last years
On September 24, 1779, the premiere took place in Paris latest opera Gluck - "Echo and Narcissus"; however, even earlier, in July, the composer was struck by a serious illness that turned into partial paralysis. In the autumn of the same year, Gluck returned to Vienna, which he never left ( new attack illness happened in June 1781).
Monument to K. V. Gluck in Vienna
During this period, the composer continued his work, begun back in 1773, on odes and songs for voice and piano to poetry F. G. Klopstock(Klopstocks Oden und Lieder beim Clavier zu singen in Musik gesetzt), dreamed of creating a German national opera on the plot of Klopstock "The Battle of Arminius", but these plans were not destined to come true. Anticipating the imminent departure, 1782 Gluck wrote " De profundis » - short essay for four-part choir and orchestra on the text of the 129th psalm, which November 17 1787 at the composer's funeral was performed by his student and follower Antonio Salieri.
Creation
Christoph Willibald Gluck was a predominantly operatic composer; he owns 107 operas, of which to this day do not leave the stage " Orpheus and Eurydice"(), "Alceste" (), "Iphigenia in Aulis" (), "Armida" (), "Iphigenia in Tauris" (). Even more popular separate fragments from his operas, which have long acquired independent life on the concert stage: Shadow Dance (aka "Melody") and Dance of the Furies from "Orpheus and Eurydice", overtures to the operas "Alceste" and "Iphigenia in Aulis" and others.
Interest in the composer's work is growing, and over the past decades, the forgotten at one time "Paris and Elena" (, Vienna, libretto by Calzabigi), "Aetius", the comic opera "An Unforeseen Meeting" (, Vienna, libre. L. Dancourt) have been returned to listeners , the ballet "Don Juan" ... His "De profundis" is not forgotten either.
At the end of his life, Gluck said that "only the foreigner Salieri" adopted his manners from him, "because not a single German wanted to learn them"; Nevertheless, Gluck's reforms found many followers in different countries ah, of which each in his own way applied his principles in own creativity, - in addition to Antonio Salieri, it is first of all Luigi Cherubini , Gaspare Spontini and L. van Beethoven, and later - Hector Berlioz who named Gluck " Aeschylus music", and Richard Wagner, which half a century later faced on the opera stage with the same "costume concert" against which Gluck's reform was directed. In Russia, his admirer and follower was Mikhail Glinka. The influence of Gluck in many composers is also noticeable outside of operatic creativity; besides Beethoven and Berlioz, this also applies to Robert Schumann.
Gluck also wrote a number of works for orchestra - symphonies or overtures, concerto for flute and orchestra (G-dur), 6 trio sonata for 2 violins and general bass, written back in the 40s. In collaboration with G. Angiolini, in addition to Don Giovanni, Gluck created three more ballets: Alexander (), as well as Semiramide () and The Chinese Orphan - both based on the tragedies of Voltaire.
In astronomy
In honor of the characters in Gluck's opera Armida, they are named asteroids (514) Armida, opened in 1903 and 579 Sidonia, opened in 1905.
Notes
Literature
- Knights S. Christoph Willibald Gluck. - M.: Music, 1987.
- Kirillina L. Gluck's reformist operas. - M.: Classics-XXI, 2006. 384 p. ISBN 5-89817-152-5
Links
- Summary (synopsis) of the opera "Orpheus" on the site "100 operas"
- Glitch: sheet music of works on International Music Score Library Project
Categories:
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- Buried at Vienna Central Cemetery
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Gluck, Christoph Willibald (Gluck, Christoph Willibald) (1714-1787), German composer, operatic reformer, one of the greatest masters era of classicism. Born July 2, 1714 in Erasbach (Bavaria), in the family of a forester; Gluck's ancestors came from Northern Bohemia and lived on the lands of Prince Lobkowitz. Gluck was three years old when the family returned to their homeland; he studied at the schools of Kamnitz and Albersdorf. In 1732 he went to Prague, where, apparently, he attended lectures at the university, earning a living by singing in church choirs and playing the violin and cello. According to some reports, he took lessons from the Czech composer B. Chernogorsky (1684–1742).
In 1736, Gluck arrived in Vienna in the retinue of Prince Lobkowitz, but the very next year he moved to the chapel of the Italian Prince Melzi and followed him to Milan. Here Gluck studied composition for three years with the great master of chamber genres G. B. Sammartini (1698–1775), and at the end of 1741 Gluck's first opera Artaxerxes (Artaserse) was premiered in Milan. Further, he led the life usual for a successful Italian composer, i.e. continuously composed operas and pasticcios (opera performances in which the music is composed of fragments of various operas by one or more authors). In 1745 Gluck accompanied Prince Lobkowitz on his journey to London; their path lay through Paris, where Gluck first heard the operas of J.F. Rameau (1683–1764) and highly appreciated them. In London, Gluck met with Handel and T. Arn, staged two of his pasticcios (one of them, The Fall of the Giants, La Caduta dei Giganti, is a play on the topic of the day: we are talking about the suppression of the Jacobite uprising), gave a concert in which he played a glass harmonica of his own design, and published six trio sonatas. In the second half of 1746 the composer was already in Hamburg, as conductor and choirmaster of P. Mingotti's Italian opera troupe. Until 1750, Gluck traveled with this troupe to different cities and countries, composing and staging his operas. In 1750 he married and settled in Vienna.
None of Gluck's operas early period did not fully disclose the extent of his talent, but still his name by 1750 already enjoyed some fame. In 1752, the Neapolitan theater "San Carlo" commissioned him the opera La Clemenza di Tito, a libretto by Metastasio, a major playwright of that era. Gluck himself conducted, and aroused both keen interest and jealousy of local musicians and received praise from the venerable composer and teacher F. Durante (1684–1755). Upon his return to Vienna in 1753, he became Kapellmeister at the court of the Prince of Saxe-Hildburghausen and remained in this position until 1760. In 1757, Pope Benedict XIV awarded the composer the title of knight and awarded him the Order of the Golden Spur: since then, the musician signed - "Cavalier Gluck" ( Ritter von Gluck).
During this period, the composer entered the circle of the new manager of the Vienna theaters, Count Durazzo, and composed a lot both for the court and for the count himself; in 1754 Gluck was appointed conductor of the court opera. After 1758, he diligently worked on creating works on French librettos in the style of a French comic opera, which was planted in Vienna by the Austrian envoy in Paris (meaning such operas as Merlin's Island, L "Isle de Merlin; The Imaginary Slave, La fausse esclave; Fooled The dream of an "opera reform", the aim of which was to restore the drama, originated in northern Italy and dominated the minds of Gluck's contemporaries, and these tendencies were especially strong at the court of Parma, where big role French influence played. Durazzo came from Genoa; years creative development Gluck were held in Milan; they were joined by two more artists originally from Italy, but who had experience in theaters in different countries - the poet R. Calzabidgi and the choreographer G. Angioli. Thus, a “team” was formed of gifted, intelligent people, and influential enough to translate common ideas into practice. The first fruit of their collaboration was the ballet Don Juan (Don Juan, 1761), then Orpheus and Eurydice (Orfeo ed Euridice, 1762) and Alceste (Alceste, 1767) were born - Gluck's first reformist operas.
In the preface to the score of Alceste, Gluck formulates his operatic principles: the subordination of musical beauty to dramatic truth; the destruction of meaningless vocal virtuosity, all sorts of inorganic inserts in musical action; interpretation of the overture as an introduction to the drama. In fact, all this already existed in modern French opera, and since the Austrian princess Marie Antoinette, who had taken Gluck's singing lessons in the past, then became the wife of the French monarch, it is not surprising that Gluck soon ordered a number of operas for Paris. The premiere of the first, Iphigenia in Aulis (Iphignie en Aulide), was conducted by the author in 1774 and served as a pretext for a fierce struggle of opinions, a real battle between supporters of French and Italian opera, which lasted about five years. During this time, Gluck staged two more operas in Paris - Armide (Armide, 1777) and Iphigenia in Tauris (Iphignie en Tauride, 1779), and also reworked Orpheus and Alceste for the French stage. Fanatics of the Italian opera specially invited the composer N. Piccinni (1772–1800) to Paris, who was talented musician, but still could not withstand the rivalry with the genius of Gluck. At the end of 1779 Gluck returned to Vienna. Gluck died in Vienna on November 15, 1787.
Gluck's work is the highest expression of the aesthetics of classicism, which already during the life of the composer gave way to the emerging romanticism. The best of Gluck's operas still occupy a place of honor in the operatic repertoire, and his music captivates listeners with its noble simplicity and deep expressiveness.
Christoph Willibald Gluck
famous composer XVIII century Christoph Willibald Gluck, one of the reformers of classical opera, was born on July 2, 1714 in the city of Erasbach, located near the border of the Upper Palatinate and the Czech Republic.
The composer's father was a simple peasant who, after several years of military service, joined Count Lobkowitz as a forester. In 1717 the Gluck family moved to the Czech Republic. Years of life in this country could not but affect the work of the famous composer: in his music one can catch the motives of Czech song folklore.
The childhood of Christoph Willibald Gluck cannot be called cloudless: the family often did not have enough money, and the boy was forced to help his father in everything. However, the difficulties did not break the composer, on the contrary, they contributed to the development of vitality and perseverance. These qualities of character turned out to be indispensable for Gluck in the implementation of reformist ideas.
In 1726, at the age of 12, Christoph Willibald began his studies at the Jesuit College of Komotau. The rules of this educational institution, imbued with blind faith in the dogmas of the church, provided for unconditional submission to the authorities, but it was difficult for the young talent to keep himself within the framework.
The positive aspects of Gluck's six-year study at the Jesuit college can be considered the development of vocal abilities, the mastery of such musical instruments as the clavier, organ and cello, Greek and in Latin, as well as a passion for ancient literature. In those days when the main theme operatic art were Greek and Roman antiquities, such knowledge and skills were simply necessary for an opera composer.
In 1732, Gluck entered the University of Prague and moved from Komotau to the capital of the Czech Republic, where he continued his musical education. With money at young man it was still tight. Sometimes, in search of work, he went to the surrounding villages and played the cello entertained local residents, quite often the future musical reformer was invited to weddings and folk holidays. Almost all the money earned in this way went to food.
The first real music teacher for Christoph Willibald Gluck was outstanding composer and organist Boguslav Chernogorsky. The young man's acquaintance with the "Czech Bach" took place in one of the Prague churches, where Gluck sang in the church choir. It was from Chernogorsky that the future reformer learned what general bass (harmony) and counterpoint are.
Many researchers of Gluck's work note 1736 as the beginning of his professional musical career. Count Lobkowitz, on whose estate the young man spent his childhood, showed genuine interest in the outstanding talent of Christoph Willibald. Soon an important event took place in the fate of Gluck: he received the position of chamber musician and chief chorister of the Viennese choir, Count Lobkowitz.
Swift music life Vienna completely absorbed the young composer. Acquaintance with the famous playwright and librettist of the 18th century, Pietro Metastasio, resulted in Gluck writing the first operatic works, which, however, did not receive special recognition.
The next stage in the work of the young composer was a trip to Italy, organized by the Italian philanthropist Count Melzi. For four years, from 1737 to 1741, Gluck continued his studies in Milan under the guidance of the famous Italian composer, organist and conductor Giovanni Battista Sammartini.
The result of the Italian trip was Gluck's passion for opera seria and writing musical works to texts by P. Metastasio ("Artaxerxes", "Demetrius", "Hypermnestra", etc.). none of early works Gluck has not been preserved to this day in its full version, nevertheless, individual fragments of his works allow us to judge that even then the future reformer noticed a number of shortcomings in traditional Italian opera and tried to overcome them.
Signs of things to come opera reform most manifested in the "Hypermnestra": this is the desire to overcome external vocal virtuosity, increase the dramatic expressiveness of recitatives, the organic connection of the overture with the content of the entire opera. However, the creative immaturity of the young composer, who has not yet fully realized the need to change the principles of writing opera, did not allow him to become a reformer in those years.
Nevertheless, there is no unbridgeable gulf between Gluck's early and later operas. In the compositions of the reform period, the composer often introduced melodic turns of early works, and sometimes used old arias with new text.
In 1746 Christoph Willibald Gluck moved to England. For high London society, he wrote the opera seria Artamena and The Fall of the Giants. The meeting with the famous Handel, in whose works there was a tendency to go beyond the standard scheme of a serious opera, became a new stage in creative life Gluck, who gradually realized the need for operatic reform.
To attract the metropolitan public to his concerts, Gluck resorted to external effects. So, in one of the London newspapers for March 31, 1746, an announcement was made as follows: “In the great hall of the city of Gickford, on Tuesday, April 14, 1746, Gluck, an opera composer, will give musical concert with the best artists operas. By the way, he will perform, accompanied by an orchestra, a concerto for 26 glasses tuned with spring water ... ".
From England, Gluck went to Germany, then to Denmark and the Czech Republic, where he wrote and staged seria operas, dramatic serenades, worked with opera singers and as a conductor.
In the mid-1750s, the composer returned to Vienna, where he received an invitation from the intendant of the court theaters, Giacomo Durazzo, to begin work in the French theater as a composer. Between 1758 and 1764, Gluck wrote a number of French comic operas: Merlin's Island (1758), The Corrected Drunkard (1760), The Cadi Fooled (1761), Unexpected meeting, or Pilgrims from Mecca" (1764), etc.
Work in this direction had a significant impact on the formation of Gluck's reformist views: an appeal to the true origins of folk song and the use of new everyday subjects in classical art led to the growth realistic elements in the composer's musical work.
Gluck's legacy includes not only operas. In 1761, on the stage of one of the Viennese theaters, the pantomime ballet "Don Giovanni" was staged - a joint work of Christoph Willibald Gluck and famous choreographer 18th century by Gasparo Angiolini. characteristic features This ballet was a dramatization of the action and expressive music that conveys human passions.
So ballet and comic operas became the next step on Gluck's path to the dramatization of operatic art, to the creation of a musical tragedy, the crown of all the creative activity of the famous composer-reformer.
Many researchers consider the beginning of Gluck's reformatory activity to be his rapprochement with the Italian poet, playwright and librettist Raniero da Calzabidgi, who opposed the court aesthetics of Metastasio's works, subject to standard canons, with the simplicity, naturalness and freedom of compositional construction, due to the development of the dramatic action itself. Choosing for their librettos antique stories, Calcabidgi filled them with high moral pathos and special civil and moral ideals.
Gluck's first reformist opera, written to a text by a like-minded librettist, was Orpheus and Eurydice, staged at the Vienna opera house October 5, 1762. This work is known in two editions: in Vienna (in Italian) and Paris (in French), supplemented by ballet scenes, the aria of Orpheus concluding the first act, re-instrumentation of certain places, etc.
A. Golovin. Sketch of the scenery for the opera "Orpheus and Eurydice" by K. Gluck
The plot of the opera, borrowed from ancient literature, is as follows: the Thracian singer Orpheus, who had amazing voice Eurydice's wife died. Together with his friends, he mourns his beloved. At this time, Amur, who suddenly appeared, announces the will of the gods: Orpheus must descend to the kingdom of Hades, find Eurydice there and bring her to the surface of the earth. The main condition is that Orpheus should not look at his wife until they leave underworld otherwise it will stay there forever.
This is the first act of the work, in which the sad choirs of shepherds and shepherdesses form, together with recitatives and arias of Orpheus mourning his wife, a harmonious compositional number. Thanks to repetition (the music of the choir and the aria of the legendary singer are performed three times) and tonal unity, a dramatic scene with through action is created.
The second act, consisting of two scenes, begins with the entry of Orpheus into the world of shadows. Here, the singer's magical voice calms the wrath of formidable furies and spirits of the underworld, and he freely passes into Elysium - the habitat of blissful shadows. Finding his beloved and not looking at her, Orpheus brings her to the surface of the earth.
In this action, the dramatic and ominous nature of the music is intertwined with a gentle, full of passion melody, demonic choirs and frantic dances of the furies are replaced by a light, lyrical ballet of blissful shadows, accompanied by an inspired flute solo. The orchestral part in the aria of Orpheus conveys the beauty of the world around, filled with harmony.
The third action takes place in a gloomy gorge, along which the protagonist, without turning around, leads his beloved. Eurydice, not understanding her husband's behavior, asks him to look at her at least once. Orpheus assures her of his love, but Eurydice has doubts. The look thrown by Orpheus at his wife kills her. The singer's suffering is endless, the gods take pity on him and send Cupid to resurrect Eurydice. Happy married couple returns to the world of living people and, together with friends, glorifies the power of love.
Frequent change musical tempo contributes to the creation of an agitated character of the work. The aria of Orpheus, despite the major key, is an expression of grief over the loss of a loved one, and the preservation of this mood depends on the correct performance, tempo and nature of the sound. In addition, Orpheus's aria appears as a modified major reprise of the first chorus of the first act. Thus, the intonational “arch” thrown over the work preserves its integrity.
The musical and dramatic principles outlined in "Orpheus and Eurydice" were developed in subsequent operatic works by Christoph Willibald Gluck - "Alceste" (1767), "Paris and Helena" (1770), etc. The composer's work of the 1760s reflected the features the Viennese classical style emerging at that time, finally formed in the music of Haydn and Mozart.
In 1773, a new stage in Gluck's life began, marked by a move to Paris, the center of European opera. Vienna did not accept the composer's reformist ideas, outlined in the dedication to the score of Alceste, which envisaged the transformation of the opera into a musical tragedy imbued with noble simplicity, drama and heroism in the spirit of classicism.
Music was supposed to become only a means of emotional disclosure of the souls of the characters; arias, recitatives and choirs, while maintaining their independence, were combined into large dramatic scenes, and recitatives conveyed the dynamics of feelings and marked transitions from one state to another; the overture should reflect the dramatic idea of the whole work, and the use of ballet scenes was motivated by the course of the opera.
The introduction of civic motifs into ancient subjects contributed to the success of Gluck's works among progressive French society. In April 1774, the first production of the opera Iphigenia at Aulis was shown at the Royal Academy of Music in Paris, which fully reflected all of Gluck's innovations.
The continuation of the composer's reformatory activity in Paris was the production of the operas Orpheus and Alceste in a new edition, which brought the theatrical life of the French capital into great excitement. For a number of years, disputes between the supporters of the reformist Gluck and the Italian opera composer Niccolò Piccini, who stood in the old positions, did not subside.
The last reformist works of Christoph Willibald Gluck were Armida, written on a medieval plot (1777), and Iphigenia in Tauris (1779). The staging of Gluck's last mythological tale-opera Echo and Narcissus was not very successful.
The last years of the life of the famous composer-reformer were spent in Vienna, where he worked on writing songs to the texts of various composers, including Klapstock. A few months before his death, Gluck began to write the heroic opera The Battle of Arminius, but his plan was not destined to come true.
The famous composer died in Vienna on November 15, 1787. His work influenced the development of everything musical art, including opera.
From book encyclopedic Dictionary(Y-D) author Brockhaus F. A.Gluck Gluck (Christoph-Willibald Gluck), the famous German. composer (1714 - 1787). France considers him hers, because his most glorious activity is connected with the Parisian opera stage for which he wrote his the best works into French words. Numerous operas by him:
From the book Great Soviet Encyclopedia (GL) of the author TSB From the book Great Soviet Encyclopedia (GU) of the author TSB From the book Great Soviet Encyclopedia (YES) of the author TSB From the book Great Soviet Encyclopedia (PL) of the author TSB From the book Great Soviet Encyclopedia (SL) of the author TSB From the book Great Soviet Encyclopedia (SE) of the author TSB From the book Aphorisms author Ermishin OlegChristoph Willibald Gluck (1714-1787) composer, one of the 18th century opera reformers. Music should play the same role in relation to a poetic work that the brightness of colors plays in relation to an exact drawing. Simplicity, truth and naturalness are the three great
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