The origins of F. m. go back to the folklore of the Celtic, Gallic and Frankish tribes who lived in ancient times on the territory of present-day France. Nar.-song art, as well as Gallo-Roman culture became the foundation for the development of F. m. Ancient lit. and depict. materials indicate that music, dance were assigned to beings. role in the life of the people, music was an important element family life, religion rituals. Reliable data about actually Nar. The song belongs to the 15th century. (her first surviving records date back to this time).
In the works of the French folklorists are considered numerous. folk genres. songs: lyric, love, complaint songs (complaintes), dance (rondes), satirical, craftsmen's songs (chansons de metiers), calendar, for example. Christmas (noel); labor, historical, military, etc. Folklore also includes songs associated with Gallic and Celtic beliefs - "songs about deeds" (chansons de geste). Among the lyrical, a special place is occupied by pastorals (idealization rural life). The themes of unrequited love and parting predominate in love stories. Many songs are dedicated to children - lullabies, games. Labor (songs of reapers, plowmen, winegrowers, etc.), soldiers' and recruit's songs are varied. A special group consists of ballads about the crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs "the poetic epic of the history of France").
For the French nar. the songs are characterized by an elegant and flexible melody, a close connection between music and words, a clear, often couplet form. The predominant modes are natural major and minor. 2- and 3-part sizes are typical, the most common meter is 6/8. Often syllables are repeated in choruses that have no semantic meaning: tin-ton-tena, ra-ta-plan, ron-ron, etc. Nar. the song is organically connected with the dance. Among the oldest nar dances are various round dances, group and pair dances, incl. jig, bourre, rigaudon, farandel, branle, paspier.
One of the creatures. French layers. music culture was church. music, which became widespread along with Christianity. Starting from the 4th c. to the church the music was more and more definitely affected by the local folks. influence. The church was forced to use folk-song material in worship, to adapt lat. texts to existing nar. melodies. In the Catholic church hymns also penetrate music (in Gaul, Illarius of Poitiers was famous among their authors). That. local forms of liturgy arose, and their own chants were formed. customs (Gallican tunes). The centers of Gallican cult music were concentrated in Lugdun, Narbo, Massilia. During several For centuries, they opposed the all-consuming policy of the Roman Church, which opposed local types of worship, for the uniformity of the church. services. In this struggle, Rome was supported by the Frankish kings.
In the 8th-9th centuries. the early Gallican forms of the Christian liturgy are supplanted by the Gregorian liturgy, which is finally approved by the 11th century. The spread of Gregorian chant during the reign of the Carolingian dynasty (751-987) is associated primarily with the activities of the Benedictine monasteries. Catholic the abbeys of Jumiège (on the Seine, near Rouen), Saint-Martial (in Limoges), Saint-Denis (near Paris), Cluny (in Burgundy), and also in Poitiers, Arles, Tours, Chartres, and other cities served as propaganda centers for the church. music, were the centers of prof. spiritual and partly secular music. culture. At many abbeys there were chanters. schools (metrises), where they taught the rules of Gregorian chant, playing music. tools. Here the principles of notation were worked out (with the advent of non-meaning notation in the middle of the 9th century, students mastered the basics of this notation; see Nevmas), composer creativity took shape.
In the 9th century in connection with the collapse of the empire of Charlemagne and the weakening of the position of the papacy in the church. more democratic, in essence "anti-Gregorian" tendencies appear in music, its new forms develop, in particular sequence (in France it is also called prose). The creation of this form was attributed to the monk of the St. Gallen monastery (in Switzerland) Notker, who, however, indicated in the preface to his "Book of Hymns" that he received information about sequences from a monk from the abbey of Jumièges. Subsequently, the authors of prose Adam from the Abbey of Saint-Victor (12th century) and P. Corbeil (beginning of the 13th century, creator of the famous "Donkey Prose") became especially famous in France.
Along with sequences, tropes became widespread. Initially, these inserts in the middle of the Gregorian chant did not differ from it in the nature of the music, complementing the main. chant. In the future, by tropization to the church. secular tunes penetrated the music. In the same period (beginning in the 10th century), a liturgical drama took shape in the depths of the divine service itself (in Limoges, Tours, and other cities), born from dialogized tropes with alternating "questions" and "answers" of two antiphonal groups of the choir. Gradually liturgical the drama was increasingly moving away from the cult (along with images from the Gospel, realistic characters were included).
Finally, in one. Gregorian chant begins to penetrate elements of polyphony, which was known in Nar. claim-ve from ancient times. To the first examples of written polyphony - organum, dating back to the 9th century. (they were found precisely on the territory of France), belongs to the entry given in the work of the monk from Saint-Aman (Flanders) Gukbald. In his treatises (late 9th - early 10th centuries) he outlined the principles of the organum. In prof. music was created polygonal. style that is different from music practices. Phenomena such as theatricalization of the church. rite, the introduction of sequences, tropes into worship, the emergence of liturgical dramas, sprouts of polyphony in Gregorian chant, testified to the influence of Nar. tastes, introduction to the Catholic. church lawsuit.
Along with the cult developed secular music, which sounded in Nar. life, at the courts of Frankish kings, in the castles of feudal lords. The carriers of Nar. music the traditions of the Middle Ages were Ch. arr. wandering musicians - jugglers, who were very popular among the people. They sang moralizing, humorous, satirical. songs, danced to the accompaniment of decomp. tools, incl. tambourine, drum, flute, plucked instrument such as the lute (this contributed to the development of instr. music). Jugglers performed at holidays in villages, at feudal courts and even in monasteries (they participated in certain rituals, theatrical processions dedicated to church holidays, called carole). They were persecuted by the Catholics. church as representatives of a hostile secular culture. In the 12th-13th centuries. among jugglers happened social stratification. Some of them settled in knight's castles, falling into complete dependence on the feudal knight, others settled in cities. Thus, jugglers, having lost their freedom of creativity, became settled minstrels in knightly castles and mountains. musicians. However, this process at the same time contributed to the penetration into the castles and cities of Nar. creativity, which becomes the basis of knightly and burgher musical and poetic. lawsuit. In the era of the late Middle Ages, in connection with the general rise of the French. culture begins to develop rapidly and music. claim. In feudal castles based on bunks. music flourishes secular muz.-poetic. suit of troubadours and trouveurs (11-14 centuries). To con. 11th c. in the south parts of the country, in Provence, which by that time had reached a higher economic level. and cultural level (in the south, earlier than in other regions of France and Europe in general, there was a turning point in knightly mores from rude barbarism to courtly behavior), there was a suit of troubadours, which was not just a knightly culture, but a new secular lyric poetry, which also absorbed and folk-song traditions. Famous among the troubadours were Marcabru, Guillaume IX - the Duke of Aquitaine, Bernart de Ventadorn, Jaufre Rudel (late 11th-12th centuries), Bertrand de Born, Giraut de Borneil, Giraut Riquiere (late 12th-13th centuries).
In the 2nd floor. 12th c. all in. regions of the country, a similar direction arose - the suit of trouvers, which was originally knightly, and later more and more came into contact with the bunk. creativity. Among the Trouvers, along with the kings, the highest aristocracy - Richard the Lionheart, Thibault of Champagne (King of Navarre), representatives of the democratic later gained fame. strata of society - Jean Bodel, Jacques Bretel, Pierre Moniot and others.
In his Op. troubadours and trouvers glorified the courage and nobility of warriors, sang love for the "beautiful lady". Knightly themes prevailed in their work, such genres as pasturels, albs (dawn songs), sirvents, epich. songs, dance estampides. Their art contributed to the development of a number of muses. genres and forms - ballads, virele, le, rondo; it anticipated certain arts. Renaissance tendencies.
In connection with the growth of cities (Arras, Limoges, Montpellier, Toulouse, etc.) in con. 12th-13th centuries mountains developed. music art, the creators of which were poets-singers from the mountains. estates (artisans, ordinary townspeople, as well as the bourgeois). They brought their own characteristics to the suit of troubadours and trouveurs, moving away from his sublimely chivalric music-poetic. images, having mastered folk-household topics, creating characteristic style, their genres. The largest master of mountains. music culture of the 13th century. was the poet and composer Adam de la Alle, the author of songs, motets, and also the play about Robin and Marion (c. 1283), popular at the time, full of mountains. songs, dances (the very idea of creating a secular theatrical performance permeated with music was already unusual). He interpreted the traditional one-headed in a new way. music-poetic. genres of troubadours, using polyphony (among his works there are 3-goal rondo).
Strengthening the economy And cultural significance cities, the creation of universities (including the University of Paris in the early 13th century), where music was given great attention (it was one of the compulsory subjects, it was part of the quadrivium), contributed to the enhancement of the role of music as an art. In the 12th century one of the centers of music. Paris became a culture, and above all its Singing School of the Notre Dame Cathedral (the so-called Paris School), which united the largest masters - singers-composers, scientists. The flourishing in the 12th-13th centuries is associated with this school. cult polyphony (see Ars antiqua), the emergence of new muses. genres, discoveries in the field of music. theories.
Ch. the centers of polyphony, which originated in the 9th century, were monasteries - in Chartres (the largest North French singing school was formed here), Saint-Martial in Limoges, and others. manuscripts of these monasteries, recreate the stages of the historical. development of the organum (see Diaphonia, Treble). Prominent figures of the school of the Notre Dame Cathedral - discantists Leonin (12th century) and Perotin (late 12th - 1st third of the 13th centuries) created high examples of polygols. church music. Leonin has a 2-goal. melismatic organums, in which he first used rhythmic recording (he established a clear rhythm of the moving upper voice - treble). Perotin developed the achievements of his predecessor: he wrote not only 2-, but also 3-, 4-goals. Prod., and Perotin complicated and enriched the polyphony rhythmically (he contrasted the lower voice - the tenor with a group of rhythmically organized (according to the modus principle), distinguished by a faster movement of the upper voices). The new style developed by the representatives of the Notre Dame Cathedral school denied the principles of Gregorian chant. In production these composers, the Gregorian chant itself has undergone changes: previously rhythmically free, flexible chant acquired a greater regularity, smoothness (hence the name of such a chant cantus planus), dictated by polygoals. warehouse. Polygonal complication. tissue and its rhythmic structures required an accurate designation of durations (representatives of the Parisian school from the doctrine of modes came to the doctrine of the scale), improvements in notation. In the 13th century mensural notation began to be used (among theorists who dealt with this problem - J. Garlandia).
Polyphony brought to life new genres of church and secular music, incl. conduct and motet. At the turn of the 12th-13th centuries. a conduct appeared - a freely composed tune in lat. text (of both spiritual and secular content), a kind of trope. He was filled with premier. during the festive church. services. This is a transitional genre: at first, the conducts were included in the liturgy, later they became purely secular, acquiring even an everyday connotation (they were sung at feasts, holidays, there were conducts with sharply satirical texts). Among the authors of the conducts - Perotin. Based on the conductor in con. 12th c. in France, the most important polygoal genre was formed. music - motet. Its early examples also belong to the masters of the Paris School (Perotin, Franco of Cologne, Pierre de la Croix). Motet allowed the freedom of combining li-turgich. and secular tunes, texts (each of the voices usually had its own text, and often the tenor was performed in Latin, the upper voices in French and its local dialects). From the union of the church. and song melodies was born popular in the 13th century. joke motet. The connection of polyphony with everyday forms gave great art. results.
The motet was widely used in the work of representatives of the ars nova, a progressive movement that arose in the 14th century in philosophic music. In this early secular prof. music in art, great importance was attached to the interaction of "everyday" and "scholarly" music (that is, songs and motets). In the 14th century the song took a leading position among the muses. genres. Everyone turned to her major composers, at the same time she had a great influence on the motet. In the beginning. 14th c. a cycle of songs by Jeannot de Lecurel appeared - the first collection of songs by one author in France. The ideologist of ars nova was the humanist poet, composer, music theorist and mathematician Philippe de Vitry (he is credited with the treatise "Ars nova", which gave the name to the movement), who substantiated the principles of the "new art". The innovations of Philippe de Vitry in the field of theory were connected, in particular, with the doctrine of consonances and dissonances (he declared thirds and sixths to be consonances). He also introduced new compositional patterns into his muses. cit., creating isometric. motet. This type of motet was embodied in the work of the greatest composer and poet ars nova Guillaume de Machaux. In his production as if combined arts. achievements of knightly music and poetry. lawsuit with his one-headed. songs and many goals. mountains music culture. He owns the songs of the people. warehouse (lays), virele, rondo, ballads (he first developed the genre of many-headed ballads). In motets, Machaux used (more consistently than his predecessors) muses. instruments (probably the lower voices were instrumental). He is the author of the first French polyphonic masses. warehouse (1364). In general, the French ars nova means. degree associated with the style of the Middle Ages. polyphony (polyphonically complex works by the masters of this direction - a typical phenomenon of the mature Middle Ages).
In the 15th century due to historical reasons (during the Hundred Years War, the feudal lords again dominated the position, large feudal courts turned out to be cultural centers; the traditions of the Middle Ages of scholasticism revived with renewed vigor) in F. m. No particularly striking phenomena were observed. Leading position in music. 15th century French culture occupied by representatives of the Franco-Flemish (Dutch) school. The Dutch school, which has developed as a creative. the direction of wide coverage based on the generalization of progressive trends in French, English, Italian. music, had a great influence on Europe. music culture, incl. and French. For two centuries, the largest composers of the Netherlands worked in France. polyphonic schools: in ser. 15th c. - J. Benchois, G. Dufay, in the 2nd floor. 15th c. - I. Okegem, J. Obrecht, in con. 15 - beg. 16th centuries - Josquin Despres, in the 2nd floor. 16th century - O. Lasso.
Benchois and Dufay proved themselves in the field of the so-called. Burgundy chanson (formed at the court of the Burgundian dukes in Dijon). Dufay, one of the founders of the Netherlands. schools, along with many-goal. songs and other secular op. (in particular, varieties of motet) created spiritual products. Of great interest are his masses, in which Nar is used as a cantus firmus. or a secular song (for example, the love song "Her face turned pale" in a 4-goal mass created around 1450).
The skilful contrapuntalist Okeghem was not only a musician (for several years he was the 1st chaplain and bandmaster of the French royal court), but also a mathematician and philosopher. Masterfully mastering the technique of imitation and canon. letters, used it in his masses, as well as Burgundy chanson. Refined and virtuoso style, bright emotionality and brilliance of music with relief of melody (folk melodies are widely used in cantus firmus and other voices of polyphonic op.), clarity of harmony, clarity of rhythm are distinguished by the production. Obrekhta - masses (including the so-called parody), motets, as well as chanson, instr. plays.
Josquin Despres (for some time he was court musician of Louis XII), relying on the achievements of Obrecht and other masters of the Netherlands. school, committed in his work qualities. leap, highlighting the aesthetic. the meaning of the claim. Being an outstanding polyphonist, he at the same time contributed to the "harmonious clarification" of the style (in his works, saturated with the most complex polyphonic techniques, there are detailed episodes of a purely chordal warehouse). Josquin Despres has achieved such technical freedom, when the skill is already becoming invisible and completely subordinated to the disclosure of art. intent. In their productions (masses, motets, secular songs, polyphonic instr. plays of pictorial character), each of which is brightly individual, Josquin Despres reflected deeper, more truthfully than his predecessors. the world of man. His songs are in French. the texts were prepared by the French polyphonic 16th century song This genre is widely represented in the works of the greatest niderl. 16th century polyphonist Lasso are masters of strict polyphony. His polygon. French songs ("About an old husband", "On the market in Arras", etc.) are witty, piquant, spontaneous; they are characterized by typically niderl. genre in the depiction of everyday scenes, good-natured, rude humor. His style was a step forward on the path to harmony. clarity, he is already using the techniques of homophonic writing. This applies primarily to secular productions. (songs, vilanellas, madrigals). In spiritual works (motets, masses, psalms) transparent polyphony prevails, in some of them the principles of fugue form are outlined. Lasso had a fruitful effect on F. m. In general, niderl. school 15th-16th centuries became one of the important sources that fed the French. prof. music claim.
In con. 15th c. in France, the culture of the Renaissance is established. (Some scientists saw Renaissance features in the ars nova art, considering the 14th century to be the early French Renaissance. However, the publications of secular musical works at the turn of the 14th-15th centuries that appeared in the 1950s testify to the fallacy of such a position. ) The revival was prepared by a number of historians. processes. On the development of the French culture was beneficially affected by such factors as the emergence of the bourgeoisie (15th century), the struggle for the unification of France (ended by the end of the 15th century) and the creation of a centralized state, military. trips to Italy - a country of higher cultural traditions, creatures. the incessant latent growth of the bunk was also important. creativity and activities of composers of the Franco-Flemish school.
The most important manifestation of the culture of the Renaissance was humanism. A person with his inner self comes to the fore. the world. In the 16th century the role of music in society has increased. life. Franz. kings created large chapels at their courts, arranged muses. festivities (for example, a magnificent festival organized in 1518 by King Francis I in the courtyard of the Bastille in honor of the ambassadors of the English king). In the 16th century king. courtyard (it is finally transferred to the Louvre) becomes Ch. hearth of music life, around which prof. claim. Strengthened the role of adv. chapels (see Paris). In 1581, Henry III approved the position of "Chief Intendant of Music" at court. The first "quartermaster" - Italian. violinist Balthazarini de Belgioso (Balthazar de Beaujoieux) post. in the small Burgundy Palace in Paris, composed by him jointly. with the poet Lachenet and musicians J. de Beaulieu and J. Salmon "Comedy Ballet of the Queen" - the first experience of combining music and dance with the stage. action that opened new genre- adv. ballet. Important centers of music. lawsuit along with the king. the courtyard and the church were also aristocratic. salons (for example, in Paris, the salon of the Countess de Retz, where the best musicians of that time performed), workshop muses. associations of artisans.
The heyday of the Renaissance, associated with the formation of the French. nat. culture, falls on the middle. 16th century A striking manifestation of the Renaissance was the secular polygon. the song is a chanson, which, without losing touch with everyday life, has become a genre of prof. lawsuit. Polyphonic style receives in French. song a new interpretation (compared to the song of the masters of the Dutch school), corresponding to other poetic. the ideas of the French humanism - to the ideas of Rabelais, K. Maro, P. Ronsard. Usually a chanson is a song with a secular text and folk-everyday melody. Her story will express. funds were associated with everyday democratic. life.
Outstanding French composer Renaissance was K. Zhaneken, who owns more than 200 polygoals. songs. With Zhanequin, the song turns into a detailed composition in a realistic way. plot (into a kind of fantasy song). These are his "Hunting", "Battle", "Birdsong", "Women's Chatter", "Street Shouts of Paris", etc. By the juiciness of genre sketches, his songs are rightly compared with the works. F. Rabelais. Janequin also wrote sacred music (masses, motets). However, he also introduced the characteristics of secular woks into cult genres. op. Among other authors chanson - comp. G. Kotle, K. Sermizi.
Chanson gained fame not only in France, but also beyond its borders. least thanks to musical notation, which also contributed to the strengthening of the muses. links between European countries. In 1528 in Paris, P. Attenyan jointly. with P. Oten, the music was founded. publishing house (existed until 1557); in the 2nd floor. 16th century The firm of R. Ballard and A. Le Roy acquired great importance (founded in Paris in 1551, later headed by Ballard's sons and grandsons; the firm occupied a leading position in music publishing until the middle of the 18th century). Already from con. 20s 16th century Attenyan began to publish collections of songs, pieces for the lute, and also printed tablature for the lute, organ, and later other instruments.
During the Renaissance, the role of instr. music. In the music Viola, lute, guitar, violin (as a folk instrument) were widely used in everyday life. Tool genres penetrated both everyday music (arrangements and arrangements of dances and songs) and professional, partly ecclesiastical music (arrangements of vocal polyphonic works, arrangements of choral melodies). Household dance. the music was intended for a lute or a small instrument. ensemble, polyphonic prod. performed on the organ. Lute dances. plays stood out among the dominant ones in the 16th century. polyphonic prod. rhythmic plasticity, clarity of melodies, homophonic warehouse, transparency of texture. Characteristic was the union of two or more. rhythmic dancing. contrast into peculiar cycles that became the basis of the future dance. suites, eg. dec. branly (in the collections published by Attenyan there are such cycles of 2, 3 dances).
More independent. org also gained importance. music. The emergence of org. schools in France (late 16th century) is associated with the work of the organist J. Titluz.
Note. phenomenon of the French culture of the Renaissance was the Academy of Poetry and Music, founded in 1570 by a musician, poet, who was part of the creative. commonwealth of french humanist poets "Pleiades" by J. A. de Baif joint. with his associates (existed until 1584). The members of the academy sought to revive the ancient poetics and muses. metrics, defended the principle of the inseparable connection between music and poetry. They made a determination. contribution to the evolution of some musical dramas. forms. But their experiments in subordinating the rhythm to the melody of the metric. structure of the verse led to the creation of abstract muses. prod. On the "measured verses" of Baif, Ronsard (chapters of the "Pleiades"), music was written by C. Le Jeune, J. Maudui and others.
Means. layer in music. 16th century French culture was the music of the Huguenots - French. representatives of the Reformation (these were the chief arr. nobles, who sought to preserve the feudal order and weaken the interference in their affairs of the king's power, as well as part of the bourgeoisie, who defended their old city liberties). K ser. 16th century a Huguenot song arose: melodies of popular household and bunks. songs adapted to those translated into French. lang. liturgical texts. Somewhat later, Relig. the struggle in France gave rise to the Huguenot psalms with their characteristic transfer of the melody to the upper voice and the rejection of polyphonic. complexities. The largest Huguenot composers who composed psalms were K. Goudimel, Le Jeune. Being a master of polyphony, Gudimel played mean. role in the preparation of homophonic harmonic. warehouse, to-ry begins to prevail in the F. m. of the Renaissance. Disputes between Protestants and Catholics gave rise to controversy. songs. As a result of the widespread use of this mass democratic song genre in the religious period. wars grew nat. patriotic French song, which was a manifestation of the national. French identity.
17th-18th centuries marked by a decisive predominance of secular music over spiritual. In the 17th century, during the period of the establishment of an absolute monarchy in France, the court was of great importance. art, which determined the direction of development of the most important genres of F. m. of that time - opera and ballet as a synthetic. decorative spectacular performances subordinated to the idea of glorifying the monarchy.
Years of government Louis XIV marked by extraordinary pomp of the front. life, the desire of the court and the feudal nobility for luxury and sophisticated amusements. In this regard, a large role was assigned to the adv. ballet, performances to-rogo were given in the Louvre, Arsenal, t-re "Palais-Cardinal" (opened in 1641, since 1642 - "Palais-Royal"). All R. 17th century at the court intensified Italian. trends. Planting Italian. theater. Traditions were promoted by Cardinal Mazarin, who invited composers and singers from Rome, Venice, and Bologna to Paris. The Italians introduced the French. aristocracy with a new genre - opera (at the royal court there were post. several operas - "The imaginary madwoman" Sakrati, 1645; "Orpheus and Eurydice" L. Rossi, 1647, etc.). Acquaintance with Italian opera served as an incentive to create its own national. operas. The first experiments in this area belong to the musician E. Jacquet de la Guerre ("Triumph of Love", 1654), comp. R. Kamber and poet P. Perrin ("Pastoral", 1659). In 1661 the "King Academy of Dance" headed by the choreographer P. Beauchamp was established (it existed until 1780). In 1669, Camber and Perrin received a patent for the organization of a permanent opera house, which opened in 1671 under the name. "King. Academy of Music" (see "Grand Opera") with their opera "Pomona". From 1672, the theater was headed by J. B. Lully, who received a monopoly on opera performances in France.
The largest French composer, founder of the national opera school, Lully at the beginning of creative work. way he wrote ballet music for the court. festivities. He created a number of comedies-ballets ("Marriage involuntarily", 1664; "Love the Healer", 1665; "Monsieur de Poursonyac", 1669; "The Tradesman in the Nobility", 1672; created them together with J. B. Molière), from which opera-ballets were born. Lully was the ancestor of the genre of lyrical tragedy (a type of heroic-tragic opera). His lyric tragedies ("Cadmus and Hermione", 1673; "Alceste", 1674; "Theseus", 1675; "Atis", 1676; "Perseus", 1682, etc.) with their high heroics, strong passions, conflict between feeling and debt on their subject and DOS. stylistic the principles are close to the classic tragedies of P. Corneille and J. Racine.
On F. m. 17th century. Rationalism had a strong influence. the aesthetics of classicism, which put forward the requirements of taste, balance of beauty and truth, clarity of intention, harmony of composition. Classicism, which developed at the same time. with the Baroque style, received in France in the 17th century. complete expression, and prominent representative in music became Lully. At the same time, the work of this composer has features of baroque art, as evidenced by the abundance of spectacular effects (dances, processions, mysterious transformations, etc.).
Lully's contribution to instr. music. They created a type of French. opera overture (the term itself was established in the second half of the 17th century in France). Numerous dances from his works. large form(minuet, gavotte, sarabande, etc.) influenced the subsequent formation of ork. suites. Creativity Lully - an important stage in the evolution of music from the old polyphonic. forms to the sonata-symphony. genres of the 18th century.
In con. 17 - 1st floor. 18th century M. A. Charpentier wrote for the t-ra (opera Medea, 1693, and others; he was also the author of the first French cantata - Orpheus Descending into Hell, 1688), A. Campra (opera-ballet " Gallant Europe", 1697; "Venetian festivities", 1710; lyric tragedy "Tancred", 1702, etc.), M. R. Delaland (divertissement "Palace of Flora", 1689; "Melisert", 1698; "Country Marriage ", 1700, etc.), A. K. Detush (lyric tragedy "Amadis the Greek", 1699; "Omphala", 1701; "Telemachus and Calypso", 1714; opera-ballet "Carnival and Madness", 1704, and etc.). Among the successors of Lully, the conventionality of the advent became especially noticeable. theater. style. In production these composers who continued to create lyric. tragedies, decorative-ballet, pastoral-idyllic ones came to the fore. sides of this genre to the detriment of dramas. the foundations of opera, its heroics. content. Of particular importance is the divertissement beginning (see Divertissement, 3). Lyric. tragedy gives way to a new genre - opera-ballet.
In the 17th century in France were developed decomp. instr. schools - lute (D. Gauthier, who also influenced the harpsichord style of J. A. Anglebert, J. Ch. de Chambonnière), harpsichord (Chambonniere, L. Couperin), viol (gambo player M. Marin, to-ry for the first time in France introduced the double bass into the opera orchestra instead of the double bass viola). French gained the most importance. harpsichord school. The early harpsichord style took shape directly. the influence of the lute art. In production Chambonière was designated characteristic of the French. harpsichordists, the manner of ornamentation of the melody (see Ornamentation) The abundance of decorations gave the product. for the harpsichord, a certain sophistication, as well as greater coherence, "melodiousness", "length" to the jerky sound of this instrument. In instr. music was widely used as early as the 16th century. the union of paired dances (pavan, galliard, etc.), which led to the 17th century. to create a suite. The old folk dances (courante, branle) were joined by dances from different regions of France with pronounced local features(paspier, burre, rigaudon), to-rye, together with the minuet and gavotte, formed a stable basis for the French. instr. suites.
In the 20-30s. 18th century the harpsichord suite reaches its peak, distinguished by its sharpness of images, subtlety and elegance of style. Among the French harpsichordists, an outstanding role belongs to a representative of an extensive family of French. musicians F. Couperin ("great"), whose work is the pinnacle of the French. music claims of the period of classicism. In his early suites, he followed the pattern established by his predecessors, subsequently overcoming the norms of the old dance. suites, Couperin created free cycles based on the principle of similarity and contrast of pieces. A master of miniature, he excelled in the embodiment of diverse content within this genre, pioneered by the French. harpsichordists. Couperin's music is characterized by an inexhaustible melody. ingenuity. His instr. The plays are expressive. Most of the plays have program titles ("Reapers", "Reeds", "Cuckoo", "Florentine", "Flirty", etc.). With great psychological graceful female images are imprinted in them with subtlety, poeticized genre sketches are given. Along with Cooper, a great contribution to the development of the program-characteristic harpsichord suite was also made by J. F. Dandrieu and especially J. F. Rameau, who in his harpsichord op. often went beyond the bounds of intimacy, striving for more decorative writing using the dynamic development of the sonata type. Means. milestone in the formation of the French. skr. school, which developed in close connection with the Italian, was the work of J. M. Leclerc ("senior"), who created vivid examples of Skr. sonatas and concertos of the 18th century, and C. de Mondonville, who first introduced into Skr. part natural harmonics, and also in his "Pieces for harpsichord in the form of sonatas with violin accompaniment" (1734) he first developed the obligate (see Obligato, 1) part of the harpsichord.
In F. m. 18th century. the first place belonged to the musical theater. genres. In the 30-60s. leading position in the adv. opera - "The King of the Academy of Music" was occupied by Rameau, in the work of which the genre of lyric. tragedy reached its climax. development. He created a number of outstanding opera productions. - lyric. the tragedies Hippolytus and Arisia (1733), Castor and Pollux (1737, 2nd edition 1754), Dardanus (1739, 2nd edition 1744), Zoroaster (1749, 2nd edition . 1756), opera-ballets "Gallant India" (1735), etc. The largest musician of the 18th century, Rameau updated the musical expression. opera genre. His wok.-recitation. the style was enriched by the intensified melodic harmonic. expression and organically translated Italian. ariose forms. A more varied content was acquired from him by a 2-part overture of the lullist type, he also turned to a 3-part overture, close to Italian. opera symphony. In a number of operas, Rameau anticipated many later conquests in the field of music. drama, paving the way for the operatic reform of K. V. Gluck. But due to historical conditions, he was unable to fundamentally reform the outdated lyric. tragedy, to overcome it gallantly aristocratic. aesthetics. Great are the merits of Rameau in the field of music. theories. Outstanding music. theorist, he developed a harmonious scientific. system, a number of provisions of which served as the basis for the doctrine of harmony ("Treatise on Harmony", 1722; "The Origin of Harmony", 1750, etc.). Heroic-mythological. operas by Lully, Rameau and other authors to the middle. 18th century ceased to correspond to the aesthetic. requests of bourgeois audience. Popular were fair performances, sharply satirical in their orientation (Paris fair trade centers were widely known since the end of the 17th century), ridiculing the mores of the "higher" strata of society, as well as parodying the court. opera. The first authors of such comedies. operas were the playwrights A. R. Lesage and C. S. Favard, who skillfully selected music for their performances, consisting of couplet songs - "voix de ville" (lit. - "City voices"; see Vaudeville) and other popular types mountains folklore. In the bowels of the fair t-ra, a new French has matured. opera genre - opera comedian. Strengthening the position of the opera comedian was facilitated by the arrival in Paris in 1752 of the Italian. opera troupe, which staged a number of opera buffs, incl. "Servant-Mistress" Pergolesi, and the controversy on the issues of operatic art, which flared up between supporters (bourgeois-democratic circles) and opponents (representatives of the aristocracy) Italian. buffa operas, - the so-called. "war of the buffoons".
In heated political atmosphere of Paris, this controversy has become particularly acute, received a huge community. resonance. French figures took an active part in it. Enlightenment, which supported the democratic. the art of the "buffonists" - D. Diderot, J. J. Rousseau, F. M. Grimm and others. Their brilliant sharp-polemical. pamphlets and scientific treatises (Rousseau - articles on music in the "Encyclopedia, or Explanatory Dictionary of Sciences, Arts and Crafts"; "Musical Dictionary", 1768; "Letters on French Music ...", 1753; Grimm - "Letters on Omphale", 1752; "The Little Prophet from Bömisch-Brod", 1758; Diderot - "Conversations about the "bad son"", 1757, etc.) were directed against the conventions of the French. adv. t-ra. The slogan proclaimed by them "imitation of nature" had a great influence on the formation of the French. operatic style of the 18th century. These works also contain valuable aesthetic. and music-theoretical. generalizations.
In their activities, the encyclopedists were not limited to lit. controversy. An important role in the approval of a new type of music. The performance was played by Rousseau's pastoral "The Village Sorcerer" (1752), which was the first French. comic opera. Since that time, the opera comedian began to flourish, it became the leading genre of the F. m. (performances were given in the theater of the Comic Opera; see "Opera comedian"). Among the first authors of the French comic operas - E. Dunya, F. A. Philidor. Italian the composer Dunya, who worked in Paris from 1757, created more than 20 works in this genre. ("Two hunters and a milkmaid", 1763; "Reapers", 1768, etc.).
Comic. Philidor's operas are primarily everyday operas, many of them contain colorful genre paintings (The Blacksmith, 1761; The Woodcutter, 1763; Tom Jones, 1765, etc.). Developing, expanding the range of its plots (gradually melodramatic and heroic themes are included), the opera comedian went on independently. way, without being influenced by the lyric. tragedy. Enriched and complicated by her muses. language, but it remains democratic. lawsuit. In the 1760s comic the opera approaches the "serious comedy", as Diderot thought of it. A characteristic representative of this trend was P. A. Monsigny, whose work is close to the sentimentalism of that time ("Deserter", 1769; "Felix, or Foundling", 1777, etc.). His production. testify to the enlightenment humanism of the comic. opera, about its social trend, typical of the pre-revolutionary. decades. Figurative art. the sphere of comic The opera was significantly pushed apart by A. E. M. Gretry, who introduced the features of the lyric into it. poeticization and pre-romantic. color ("Lucille", 1769; "Richard the Lionheart", 1784; "Raoul Bluebeard", 1789, etc.). French ideas. Enlightenment played creatures. role in the preparation of Gluck's operatic reform. Starting his reform in the 1760s. in Vienna ("Orpheus and Eurydice", 1762; "Alceste", 1767), he completed it in Paris. The staging in Paris of the operas Iphigenia in Aulis (1774), Armida (1777), Iphigenia in Tauris (1779), which embodied the ideas of heroism and civil prowess put forward by the advanced circles of the pre-revolutionary. France, became the cause of a fierce struggle of directions in F. m. Against Gluck were also adherents of the old French. operas (recognizing only the operas of Lully, Rameau), and fans of the Italian. operas, in a swarm of pure music. side prevailed over drama. Gluck's operatic style (he was supported by progressive art figures) was aristocratic. circles, supporters of the old hedonistic. Opera aesthetics (J. F. Marmontel, J. F. La Harpe, etc.) opposed the operatic work of Italian. comp. N. Piccinni. The struggle between the "glukists" and the "picchinnists" (the former won) reflected the deep ideological shifts that took place in France in the 2nd half. 18th century
In connection with the growing influence of the bourgeoisie in the 18th century. new forms of musical societies are emerging. life. Gradually, the concerts go beyond the palace halls and aristocratic. salons. In 1725, A. Philidor (Danikan) organized regular public "Spiritual Concerts" in Paris, and in 1770 F. J. Gossec founded the "Amateur Concerts" society. Academic evenings were of a more closed character. Society "Friends of Apollo" (founded in 1741), on which professionals and amateur aristocrats played music. Annual cycles of concerts were organized by the "King's Academy of Music". Great French. The revolution brought enormous changes to all areas of music. lawsuit-va, to-roe under the influence of the creativity of the revolution. the masses acquired civil-democratic. character. Music becomes an integral part of all means. revolutionary events. time - military. victories, revolutionary celebrations. festivities, mourning ceremonies (the Bastille fell to the sound of music, the people composed songs about the overthrow of the monarchy, about the adopted constitution, the funeral of heroes turned into mass processions, accompanied by spirit. orchestras, etc.).
This new social function of muses. art-va (it turned into an active means of civic education, into a social force that served the interests of the state) contributed to the establishment of mass genres - songs, hymns, marches, etc. In the first French. revolutionary The songs used the music of popular tunes that already existed among the people: for example, the song of the French. sans-culottes "Za ira" - this is a kind of re-intonation of the melody of "National Carillon" Bekur. Songs that summed up the characteristic intonations of nars were also widely used. music, - "Carmagnola" and others. High, the most striking example of the revolution. The song of France is the Marseillaise, created by C. J. Rouget de Lisle (1792; from 1795, with a break, the National Anthem of France). Renaissance in heroic music. images, appeal to the mass audience brought to life the art of the revolution. classicism. The ideas of the fight against tyranny, the freedom of the human person, which nourished the muses. lawsuit, contributed to the search for new music. funds. For wok. and instr. music ( different authors) oratorical intonations, a melody that is distinguished by "large contours" (often containing fanfare intonations), chased rhythms, marching, severe lapidarity of modal harmonics become typical. warehouse. The largest composers of that time - Gossec, E. Megul, J. F. Lesueur, L. Cherubini, turned to writing songs, hymns, marches ("Song of July 14", choir "Awake, people!", "Mournful March" for the spirit orchestra and other works by Gossek, "Song of the March", "Song of Victory" by Megul, "Song of the Triumphs of the French Republic", "Hymn of the 9th Thermidor" by Lesueur; "Hymn to the Brotherhood", "Songs of the Tenth of August" by Cherubini). These composers were the most prominent muses. leaders of the Great French revolution, in particular, they led the organization of grandiose mass muses. festivities (they conducted choirs, orchestras in the squares of Paris). One of the creators of music. the style of the revolution is Gossec, whose work laid the foundation for new genres, incl. revolutionary patriotic. mass song, heroic funeral march, agitation opera of the revolution. He was also the founder of the French symphonies (1st symphony, 1754). Based on the achievements of the French operas (primarily Rameau), Gossec updated and expanded the composition of the symphony. orchestra (introduced clarinets and horns into the score). Societies. the atmosphere of the era rendered mean. influence on music. t-r. Revolutionary. ideology contributed to the emergence of new genres - apotheosis, agitation. performances using large choirs. masses (Gosseck - the apotheosis "The Gift of Freedom", 1792; the opera "The Triumph of the Republic, or the Camp at the Grand Pre", 1793; Gretry - propaganda operas "The Republican Chosen One, or the Feast of Virtue", "The Tyrant Dionysius", both 1794, etc. ).
During the years of the revolution, the "opera of salvation" (it took shape even before the revolution) was especially developed, raising the themes of the fight against tyranny, exposing the clergy, glorifying loyalty and devotion. This new heroic genre synthesizes sublime heroism and everyday realism, features of the comic. operas and heroic tragedy of Gluck. Vivid examples of the "opera of salvation" were created by Cherubini ("Lodoiska", 1791; "Eliza", 1794; "Water Carrier", 1800), Breton ("The Horrors of the Monastery", 1790), Lesueur ("The Cave", 1793). Composers of the era of the Great French. The revolutions have contributed a lot of value to the development of the operatic genre: they have enriched its expression. means (Cherubini used the principles of melodrama in climaxes), characterization techniques (the formation of leitmotivism by Gretry, Lesueur, Cherubini, Megul; see Leitmotif), gave a new interpretation to some operatic forms. A number of Gretry's operas ("Richard the Lionheart", "Raoul Bluebeard") and Cherubini (including "Medea", 1797), in which the authors seek to show the inside. human experiences contain romantic. trends. These works paved the way for romantic opera in the 19th century.
In the 80s. 18th century unfolded conc. activities of G. B. Viotti - the largest representative of the heroic era. classicism in Skr. claim-ve, which influenced the formation of the French. skr. 19th century schools During the years of the revolution, due to its special significance, it acquired a military spirit. music (sounded during festivities, celebrations, ceremonies, funeral processions), the National Orchestra was organized. Guards (1789, founder B. Sarret). Revolutionary. The system of music also underwent transformations. education. Metrics were abolished; in 1792 the Muses opened. school of the National guards for military training. musicians. On the basis of this school and the King. schools of singing and recitation (founded by the Secretary of State, 1784) in 1793 the Nat. music in-t (since 1795 - the Paris Conservatory). A great merit in the organization of the conservatory belongs to Sarret, among its first inspectors and teachers - Gossec, Gretry, Cherubini, Lesuer, Megul.
During the period of the Napoleonic dictatorship (1799-1814) and the Restoration (1814-15, 1815-30), the ideological decline of F. m. Semiramide" Katel, 1802, etc.). These years have not given (with a few exceptions) means. compositions. Against the backdrop of lush, falsely heroic. prod. the operas "Ossian, or Bards" by Lesueur (post. 1804), "Joseph" by Megul (1807) stand out.
G. Spontini was a typical representative of an outwardly spectacular operatic style, whose work most fully reflected the requirements and tastes of the time. In his operas ("The Vestal Virgin", 1805; "Fernand Cortes, or the Conquest of Mexico", 1809, etc.), he continued the heroic. a tradition coming from Gluck. Muses. dramaturgy of the "Vestals" rendered creatures. influence on the formation of the grand opera genre.
By the end of the Restoration period in the setting of the beginning of society. After the upsurge that led to the July Revolution of 1830, a revival was also observed in the field of culture. In the fight against acad. the lawsuit of the Napoleonic empire was formed by the French. romantic opera, to-paradise in the 20-30s. occupied a dominant position. Romantic. tendencies manifested themselves in the desire for ideological saturation, lyric. immediacy of expression, democratization and colorfulness of muses. language. The operatic genre, the opera comedian, which was the most widespread in these years, was also subjected to romanticization. To the best comedian. Operas of this direction belong to the works. A. Boildieu, whose highest achievement was the opera The White Lady (1825) with its patriarchal idyllic. everyday scenes and romantic. fantasy. Further romanticization of the comic. opera caused an increase in her lyric. beginning, wider use of nar. melodies, and also enriched her style. A new type of comic operas with poignant plots, rapidly developing action, music. the language of which is saturated with the intonations of everyday songs and dances, was created by F. Ober ("Fra Diavolo", 1830; "The Bronze Horse", 1835; "Black Domino", 1837, etc.). In the comedy genre. other composers also worked in operas - F. Herold ("Tsampa, or the Marble Bride", 1831), F. Halevi ("Lightning", 1835), A. Adam ("The Postman from Longjumeau", 1836), who later approved also romantic. direction in ballet ("Giselle, or Willis", 1841; "Corsair", 1856).
In the same years, the genre of grand opera on the historical and patriotic was formed. and heroic stories. In 1828 there was a post. the opera "Mute from Portici" ("Fenella") by Aubert, the plot of which corresponded to the society. moods on the eve of the July Revolution of 1830. This was the first big opera where ordinary people acted instead of ancient heroes. The music itself differed from the solemnity of the old heroics. genres. "Mute from Portichi" stimulated the further development of the folk-heroic. and romantic. operas. In the Grand Opera, certain dramaturgists have been realized. techniques used by G. Rossini in the opera "William Tell" (1829), written by him for Paris. Working in France, Rossini took a lot from her culture, at the same time having an impact on the work of the French. musicians, in particular J. Meyerbeer.
In the French the grand opera of the 1830s and 1840s, generated by the era of romanticism, heroic. pathos, elation of feelings were combined with heaps of stage performances. effects, external decorative effect. In this regard, the work of Meyerbeer, the most prominent representative of the great historical and romanticism, is especially indicative. opera, for many years associated with the French. culture. For his production typical are carefully written, convex characteristics of the characters, a catchy manner of writing, a clear music. dramaturgy (singling out the general climax and key moments in the development of the action). With the well-known eclecticism of music. style (his musical language was formed under the influence of various national cultures), Meyerbeer created operas that capture action with intense drama, spectacular theater. showiness. Characteristic for the entire history of F. m. connection is theater. and music. art-va manifested itself in the work of Meyerbeer, who was influenced by the romantic. dramas, especially V. Hugo. (A significant role in the formation of Meyerbeer's operatic style belongs to the great playwright of that time, E. Scribe, who became his permanent librettist.) Meyerbeer's Parisian operas - "Robert the Devil" (1830), where the structure of the great French was formed. opera, his best work. "Huguenots" (1835), which became the brightest example of the French. romantic operas, The Prophet (1849) and The African Woman (1864), in which there are already signs of the decline of this genre, - for all their merits, they testify to the inconsistency of creative work. Meyerbeer's method and the very genre of grand opera with its external effects to the detriment of veracity. The great opera is associated with the work of a number of French. composers, incl. Halevi ("Zhidovka", 1835; "Queen of Cyprus", 1841; "Karl VI", 1843).
Progressive French. music romanticism found its most striking and complete expression in the work of G. Berlioz, one of the greatest composers of the 19th century. Berlioz was the creator of the software romantic. symphony - "Fantastic Symphony" (1830), which became a kind of manifesto for the French. music romanticism, "Harold in Italy" (1834). The peculiarity of the symphony Berlioz's creativity is due to the refraction in his music of lit. images of Virgil, W. Shakespeare, J. Byron, J. W. Goethe, the convergence of symph. genres with theater. The problem of theatricalization is solved in each of his productions. individually: dram. the symphony "Romeo and Juliet" (1839) is akin to the oratorio (due to the introduction of soloists and a choir) and contains elements of an opera action; dram. the legend "The Condemnation of Faust" (for soloists, choir and orchestra, 1846) is a complex opera-oratorio-symphony. genre. To a certain extent, the principle of monothematism widely used by Berlioz in symphonies, which in this case comes from the leitmotif characteristics in the opera, is connected to a certain extent. With his programmatic symphonism, Berlioz outlined one of the most important paths for the development of Europe. symp. music (see Program music). In his music, along with intimate lyrics, fantastic. and genre images are persistently embodied civil-revolutionary. subject; he revived the traditions of mass and democratic. claims of the Great French. Revolution (Requiem, 1837; Funeral-Triumphal Symphony, 1840) A great innovator, Berlioz created a new type of nat. melodics (his melodies are distinguished by their inclination to old modes, a peculiar rhythm, which was affected by the influence of the peculiarities of French speech; some of his melodies resemble elevated oratorical speech). He made great innovations in the field of music. form, made a revolution in the field of instrumentation ( important role in creating the image, it performs an orchestral-timbre element, to which other components of music are subordinate. language - rhythm, harmony, form, texture). A somewhat special position in French. music t-re occupied the operas of Berlioz: his opera "Benvenuto Cellini" (1837) continues the tradition of comic. operas, the dilogy "Trojans" (1859) - Gluck's heroics, painted in romantic tones.
The largest conductor and outstanding music. critic, Berlioz, along with Wagner, was the founder of a new school of conducting, wrote a number of striking works, incl. dedicated to L. Beethoven, Gluck, questions of conducting art (among them - the treatise "The Conductor of the Orchestra", 1856) and orchestration ("The Great Treatise on Instrumentation", 1844).
The work of Berlioz overshadowed the activities of a number of French. composers ser. 19th century, working in the field of symphony. genre. However, some of them, incl. F. David, made a determination. contribution to music claim in France. The author of the one-symphonies The Desert (1844), Christopher Columbus (1847), and other works, he laid the foundations of Orientalism in the F. m.
In the 30-40s. 19th century Paris becomes one of the centers of world music. culture, which attracted musicians from other countries. Here creativity unfolded, the pianism of F. Chopin and F. Liszt matured, the art of the singers P. Viardo-Garcia, M. Malibran flourished, N. Paganini and other outstanding performers gave concerts.
From the beginning 19th century European fame gained French. violin, so-called. Parisian school - P. Rode, P. M. Baio, R. Kreutzer; a galaxy of singers associated with the romantic came to the fore. opera, among them - singers L. Damoro-Chinti, D. Arto, singers A. Nurri, J. L. Dupre. A number of first-class muses appeared. teams. In 1828 dir. F. Habenek founded in Paris "The Society of Concerts of the Paris Conservatory", symphony. whose concerts played a big role in promoting Beethoven's work in France (in 1828-31 a cycle was held in Paris that included all Beethoven's symphonies), as well as Berlioz (the Fantastic Symphony, Romeo and Juliet were first performed in the concerts of the Society ", "Harold in Italy"). Berlioz led a wide conductor's activity, to-ry he organized the symphony. concerts-festivals (later he was a conductor of the Grand Parisian Philharmonic Society, created on his initiative, 1850-51). Means. the choir also developed. performance, which gradually moved from churches to conc. halls. A huge number of choir lovers. singing was united by the Orpheon Society. For music. The life of France during the years of the Second Empire (1852-70) is characterized by a passion for cafe-concerts, theater. revue, lawsuit chansonnier. During these years, numerous t-ry of light genres, where vaudevilles and farces were staged. Everywhere it sounded entertaining, amusing. music. However, the experience gained by the comic. opera in outline Everyday life, in creating real images, contributed to the formation of new theater. genres - operettas and lyric opera.
The Parisian operetta is a typical product of the Second Empire. It grew out of performances-reviews (reviews), created on the topics of today. The operetta was distinguished primarily by the saturation of modern. content and current music. intonations. It was based on spicy couplets and dances. divertissements interspersed with conversational dialogues. Among the creators of the Parisian operetta are J. Offenbach, P. Herve. Operettas of the largest master of this genre, Offenbach, varied in plot ("Orpheus in Hell", 1858; "Genevieve of Brabant", 1859; "Beautiful Helena", 1864; "Bluebeard" and "Paris Life", 1866; "Pericola", 1868, etc.) are subordinated to Ch. theme - the image of modernity. Offenbach expanded the ideological art. genre range; his operetta acquired an acute topicality, a social orientation (in a number of works the morals of bourgeois-aristocratic society are ridiculed). Music in Offenbach's operettas becomes the most important dramaturgy. factor.
Subsequently (in the 70s, under the conditions of the Third Republic), the operetta lost its satire, parody, and topicality, and historical-everyday and lyrical-romantic ones became predominant. plots, in music the lyric came to the fore. the beginning ("Madame Favard", 1878, and "The Daughter of the Tambour Major", 1879, Offenbach; "Mademoiselle Nitouche" Herve, 1889, etc.); it is clearly expressed in the operettas of C. Lecoq ("Madame Ango's Daughter", 1872; "Girofle-Giroflya", 1874), R. Plunket ("Corneville Bells", 1877). Several opera houses were opened for operetta performances in Paris. t-ditch - "Buff-Parisien" (1855, founder - Offenbach), "Foli Dramatic" (1862), "Foli Bergère" (1872; later - a music hall), etc.
By the 50s. 19th century in French claim-ve amplified realistic. trends. In the opera, this manifested itself in the desire for ordinary plots, for the image of not exceptional, romantic. heroes, but ordinary people with their intimate experiences. In con. 50s - 60s the lyric genre is emerging. operas. Its best samples are characterized by in-depth psychologism, a subtle disclosure of the inner. of the human world, a true image of the situation, against the background of which the action develops. However, the lyric the opera lacked the breadth of ideological art. generalizations. Often lit. the basis of the operas were the works. world classics, but accentuated in them preim. lyric drama, plots were interpreted in everyday terms, the ideological problems were narrowed, the philosophical content of lit. original source. Lyric. opera is distinguished by poetic. scene sketch. images, simple intelligible music, attractiveness, grace of melody, democratization of muses. language, which approached everyday lyrics (widely used are urban folklore, various genres of everyday life, including romance, waltz).
Lyric. the opera received the most integral and artistically perfect embodiment in the work of Ch. Gounod. The opera Faust (1859, 2nd edition 1869), which marked the birth of a new genre, serves as its classic. sample. Gounod created 2 more bright lyric. operas - "Mireil" (1863, 2nd edition 1864) and "Romeo and Juliet" (1865, 2nd edition 1888). Among the composers who wrote in this genre, lyric stands out for its original. talent, grace of music. style J. Massenet, author of the popular operas "Manon" (1884), "Werther" (1886). Widely known such lyric. operas such as "Mignon" (1866) and "Hamlet" (1868) by Thomas, "Pearl Diggers" (1863), "Beauty of Perth" (1866) and "Jamile" (1871) by Bizet, "Lakme" by Delibes (1883). Named operas by J. Bizet and L. Delibes on exotic. "Oriental" subjects, as well as "Samson and Delilah" by Saint-Saens (1876) are among the best French. lyric-oriental works. Many lyric operas were staged at the Lyric Theater (founded in 1851).
In the 70s. 19th century realistic. trends also appeared in the genre of ballet. Delibes was an innovator in this area, to-ry in the ballets Coppelia, or the Girl with Enamel Eyes (1870), Sylvia, or the Nymph of Diana (1876) strengthened the drama. beginning in dance, expanded the scope of lyrical-psychological. expressiveness of tradition. ballet forms, used the through development of music.-xopeografich. actions, reaching the symphonization of ballet music. The recess is realistic. lyrical principles. opera is associated with the work of Bizet. His best creations - the music for A. Daudet's drama "The Arlesian" (1872) and the opera "Carmen" (1874) are distinguished by realism. disclosure of the drama of people from the people, the power of depicting life conflicts, the truth of human passions, the dynamism of images, dramas. expressiveness of music, vivid recreation of nat. color, melodic richness, originality of muses. language, a combination of intensity symf. development from tradition. French forms. comic operas ("Carmen" is formally written in this genre). "Carmen" - the pinnacle of realism in French. opera, one of the greatest works. world opera art. In the last third of the 19th century creatures. place in the music the life of France was occupied by the work of R. Wagner, which had a meaning. influence on a number of French composers. A heated debate ensued between the Wagnerians and their opponents. Paris became one of the centers of Wagnerism. A special was even published here. magazine "Revue Wagnerrienne" (1885-88), in which prominent writers, musicians, philosophers, and artists collaborated. The impact of music Wagner's dramaturgy was reflected in the operas Fervaal d'Andy (1895), Chabrier's Gwendoline (1886). Wagner's influences also affected instrumental genres (search in the field of harmony, orchestration) - some works by A. Duparc, E. Chausson, etc. However, in the 90s there was a reaction against the dominance of Wagnerian ideas.There is a desire for greater national character, for the truth of life in music.In this regard, in the French opera, they found the implementation of a trend similar to Italian verismo, in significant degrees associated with the literary movement headed by E. Zola. They are clearly embodied in the work of A. Bruno, the most prominent representative of naturalism in the operatic art of France. In his operas (most of them - on plots, and partly on the libretto of Zola ) he first brought to the stage modern peasants, workers - "The Siege of the Mill" (1893), "Messidor" (1897), "Hurricane" (1901).However, to the detriment of realism in Bruno's works, often truthful life conflicts are combined with mysterious symbolism. The work of G. Charpentier, the author of the opera Louise (1900), which was popular, especially among democratic audiences, adjoins the naturalistic trend, in which images of ordinary people and pictures of everyday Parisian life are captured.
In the 2nd floor. 19th century the song tradition, represented by the work of the chansonnier, became widespread. Subsequently, V. I. Lenin spoke with great sympathy about their claim. V. I. Lenin especially liked the popular in the 90s. singer chansonnier G. Montegus - the son of a Communard. Prod. chansonniers were often distinguished by their bright publicism. Many songs contributed to the awakening of the class consciousness of the workers. Among them is the "Internationale" - a vivid response to the heroic. the events of the Paris Commune (the words were written by the pop songwriter E. Pottier in June 1871, the music by the worker, amateur composer P. Degeyter in 1888, first performed in 1888 at a working holiday in Lille), which became the anthem of the revolution. the proletariat.
The Paris Commune marked a major turning point in the social-political. and cultural life of France. Politics of the Commune in the Arts. area was based on the slogan proclaimed by her "Art - to the masses." Grandiose concerts were organized for the people, mass spectacles in the Tuileries Palace, in decomp. districts of Paris, music sounded on the streets, squares. Designed by the Paris Commune of Arts. events were ideologically broad. The working people were given the opportunity to attend theatres, concerts and museums. A major figure in the revolution. Paris was the composer and folklorist R. Salvador-Daniel, who fought on the barricades, headed the conservatory during the days of the Paris Commune (he was captured by the Versailles and shot). The ideas of the Paris Commune found directly. reflected in the songs created by working poets and composers, they also contributed to the democratization of prof. realistic. lawsuit. After the events of 1870-71 in France, the movement for the establishment of national traditions in music was expanding. There comes a salutary change in the field instr. music - high arts. results were achieved by French composers in symphony, chamber-instr. genres. This "renewal" is associated primarily with the activities of S. Frank and C. Saint-Saens.
The largest French composer and organist Frank in his work combined the classical. clarity of style with a bright romantic. imagery. He paid great attention to the problem of art. unity instr. cycle, based on the principle of cross-cutting thematics: the union of completed, relatively independent. parts of the cycle with common themes (tradition coming from Beethoven's 5th symphony). To the high examples of French. symphony belong to such works. Franca, as a symphony in d-moll (1888), symphony. the poems The Damned Hunter (1882), Genies (for piano and orchestra, 1884), Psyche (for choir and orchestra, 1888), Symphonic Variations (for piano and orchestra, 1885). The principle of cyclicality, characteristic of the symphony. Frank's work is also inherent in his chamber-instr. essays. He was the author of organ, fp. works, oratorios, romances, sacred music. The classicist tendencies in Frank's work (the appeal to strict classical forms, the widespread use of polyphony) partly prepared neoclassicism in the music of the 20th century. At the same time, his findings in the field of harmony anticipated the impressionistic. writing methods. An outstanding teacher, Frank was the founder of the school (among his students were V. d "Andy, A. Duparc, E. Chausson). His work had a beneficial effect on the R. m. end. 19 - early 20 centuries.
Creative. the individuality of Saint-Saens, the author of numerous. prod. various genres, most clearly manifested in instrumental, primarily concert-virtuoso, music - a symphony with an organ (3rd symphony, 1886), symphony. the poem "Dance of Death" (1874), "Introduction and Rondo Capriccioso" and the 3rd concerto for violin and orchestra (1863, 1880), 2nd, 4th, 5th concertos for piano. with orchestra (1868, 1875, 1896), the 2nd concerto for cello and orchestra (1902) and others. Classical tendencies can be traced in his romantic music. Creativity Saint-Saens is characterized by fidelity nat. traditions (his creative principles were formed to a large extent under the influence of harpsichordists, Berlioz, grand and lyric opera). In his Op. he widely uses folklore intonations and genres, dances. rhythms (also showed interest in folk music of other countries: "Algiers Suite" for orchestra, 1880; fantasy for piano with orchestra "Africa", 1891; "Persian Melodies" for voice with piano, 1870, etc.) . National definiteness and democracy of muses. Saint-Saens also defended the lawsuit as a musician. critic. All his multifaceted activities as a composer, concert virtuoso pianist, organist, conductor, music. criticism was aimed at promoting F. m. This is also evidenced by the publication on the initiative and under the editorship of. Saint-Saens Full. coll. op. Rameau (1895-1918, not completed).
Significant contribution to the French music horse culture. 19 - beg. 20th century comp. E. Lalo (master of orchestral and chamber instrumental music, author of the popular "Spanish Symphony" for violin and orchestra, 1875, which marked the beginning of the French musicians' passion for Spanish folklore), E. Chabrier (artist who showed the gift of wit, deep lyricism and creative inventiveness, who opposed the canonization of the art, among the works of which are the brightly national comic opera The King involuntarily, 1887, piano pieces), A. Duparc (the author of romances that anticipated the works of this genre G Fauré, C. Debussy), Chausson (subtle lyricist, creator of heartfelt symphonic works, including "Poems" for violin and orchestra, 1896, as well as romances).
In this galaxy, d "Andy stands out. A devoted student of Frank, he developed his traditions in his work. d" Andy's music is distinguished by polyphony. inventiveness, brilliance of harmony, transparency of orchestration, scale of compositions. An admirer and propagandist of Wagner's ideas, he followed his principles of music. dramaturgy, leitmotivism. In a number of productions d "Andy found the embodiment of French musical folklore - "Symphony on the theme of the song of the French mountaineer" for piano and orchestra (1886), "Fantasy on the themes of French folk songs" for oboe and orchestra (1888), symphony suite "Summer Day in the mountains "(1905). The activities of d" Andy contributed to raising interest in the bunk. French music (he collected and processed folk songs, released several collections of songs), as well as contrapuntal. the art of the old masters, to the revival of early music (a manifestation of neoclassical tendencies). The merits of d "Andy are also great in the rise of music education in France.
Increased in the last third of the 19th century. interest in instr. music caused a revival of the conc. life. First-class symphonies appeared. and chamber instruments. teams. In 1861, on the basis of the dir. J. Padlu "Society of Young Artists of the Conservatory" arose "Popular concerts of classical music" (existed until 1884, renewed by Padlu in 1886-87; from 1920 revived by director Rene-Baton as the "Padlu Concert Association"). In 1873, on the initiative of the publisher J. Hartman, the conc. Society "National Concerts" headed by dir. E. Column (since 1874 - "Chatelet Concerts", later - "Column Concerts"). In the concerts of this society, F. m. was widely performed, especially the production. Berlioz, Frank. In the same 1873, on the initiative of dir. S. Lamoureux main. "The Society of Sacred Harmony" ("Société de I" Harmonie sacré "), in concerts to which for the first time in France some works by J. S. Bach, G. F. Handel were performed (in 1881 it was transformed into "On - in new concerts", since 1897, after merging with the Opera Concerts led by C. Chevillard, - in the Lamoureux Concertos). A special role in the promotion of F. m. on the initiative of Saint-Saens and R. Bussin with the participation of S. Frank, which arose as a response to the nationwide patriotic upsurge, the role of choir performance increased. , Padlou) were created: the Concordia Society (1879), whose repertoire was dominated by the works of Bach and Handel, the Saint-Gervaise Singers Association (1892, founder Ch. Bord), which performed music of the Renaissance, Bakhovsky (1904), Gendelevsky (1908) ob-va.
Gained worldwide fame. French 2nd floor performers 19 - beg. 20th centuries, incl. singer S. Galli-Marieux, singers J. L. Lassalle, V. Morel, J. M. Reshke, J. F. Delmas, pianists A. F. Marmontel, L. Diemer, organists Ch. M. Widor, Frank, L. Viern, G. Pierne, A. Gilman and others. Throughout the 19th century. French developed rapidly. musical research thought. Numerous theoretical and pedagogical. the works were created by a Czech living in Paris. composer and theorist A. Reich; The Historical Dictionary of Musicians (vols. 1-2, 1810-11) and the Musical Encyclopedia (vols. 1-8, 1834-36, not completed) were published by A. E. Shoron, the author of works on music theory (he connected the theory with general and musical aesthetics); about franco-flam. church music and middle-century. music E. A. Kusmaker wrote to theorists, whose works paved the way for the study of music of the Middle Ages; compiled a collection of songs, prepared and published claviers of forgotten operas and ballets, wrote a work on the history of instrumentation (1883) by J. B. T. Vekerlen; great contribution to the study of Nar. music was introduced by L. A. Burgot-Ducudray, who published numerous. collections of folk melodies; capital works in the field of lexicography and music history, incl. "General biography of musicians and bibliographic musical vocabulary"(vols. 1-8, 1837-44, additional ed. 1860-65), belong to F. J. Fetis; an anthology of works of ancient sacred music was compiled by Bord; an anthology of organ music of the 16-18 centuries was published by Gilman and A. Pirro (vols. 1-10, 1898-1914).
In the 19th century music the Paris Conservatory continued to train personnel (Cherubini, Aubert, Salvador-Daniel, Thomas, and T. F. C. Dubois were its directors until the 20th century, following Sarret). There were also new muses. uch. institutions, among which the Niedermeier school, which trained bandmasters and organists, stands out (opened in 1853 on the basis of the reorganized Institute of Church Music, created in 1817 by Shoron), and the Schola Cantorum (founded in 1894 on the initiative of d'Andy, Borda, Gilman, official opening took place in 1896, its director in 1900-1931 was d "Andy), which became the center of study and propaganda (concerts, school publications) of the old secular and church. music, works of French composers of the 17th-18th centuries, as well as Frank. In con. 80s - 90s 19th century in France, a new trend arose, which became widespread in the 20th century - impressionism (it arose in the 70s in French painting, then manifested itself in music, etc.). Muses. impressionism revived some nat. arts. traditions - the desire for concreteness, programmatic, elegance of style, transparent texture. The main thing in the music of the Impressionists is the transmission of changeable moods, fleeting impressions, and subtle mental states. Hence the attraction to the poetic. landscape, as well as refined fantasy.
Impressionism found its fullest expression in the music of C. Debussy, manifested itself in the work of M. Ravel, P. Duke, J. J. E. Roger-Ducas, and others. Debussy, summarizing the achievements of his predecessors, expanded his expressions. and colorist. the possibilities of music. He created the production high art. values that are distinguished by the boundless variability of sound images. His flexible, fragile melodies seem to be woven from incessant "transitions-overflows". Rhythmich. the drawing is also changeable, unsteady. In harmony, for the composer, first of all, the coloristic is important. effect (modal freedom, the use of bold parallelisms, the stringing of unresolved colorful harmonies). Harmonic complexity. means led to polytonal elements in his music. In orc. the palette is dominated by pure, watercolor paints. Debussy also created a new pianist. style, finding the countless timbre nuances of the piano sound.
Impressionism also introduced innovations in the field of music. genres. In the work of Debussy, symph. cycles give way to symph. sketches; in fp. music is dominated by program miniatures. Vivid examples of pictorial impressionistic sound painting are his "Prelude to the Afternoon of a Faun" (1894), orc. triptych "Nocturnes" (1899), 3 symphons. sketch "Sea" (1905) for orchestra, a number of piano. prod.
Debussy was the creator of the impressionist opera. His "Pelléas et Mélisande" (1902) is essentially oneness. an example of this type of opera (for musical impressionism in general, it is not typical to turn to dramatic genres). It also showed the author's penchant for symbolist images. With all the depth of psychological expressiveness, the subtle transfer by means of music of various nuances in the mood of the characters, the opera suffers from some static dramaturgy. The innovative work of Debussy had a huge impact on the subsequent development of all world music in the 20th century.
Major artist of the 20th century Ravel was also influenced by the aesthetics of impressionism. In his work intertwined diff. aesthetic and stylistic tendencies - classicist, romantic impressionist (in later works - also neoclassical). The sparkling, temperamental music of Ravel is distinguished by a sense of proportion, restraint of expression. Greater freedom of transmission of music. thought is combined with the fidelity of the classic. forms (prefers sonata form). With an amazing rhythmic diversity and richness of Ravel's music is subject to strict meter. A great master of instrumentation, he achieved sophistication, orc brilliance. colors, while maintaining timbre certainty. A characteristic feature of his work is an interest in folklore (French, Spanish, etc.) and everyday life, primarily dance. genres. One of the peaks of the French symphony was his "Bolero" (1928), other orcs are of undoubted value. op. - "Spanish Rhapsody" (1907), choreographic. poem "Waltz" (1920). Bright examples were created by Ravel in the opera (The Spanish Hour, 1907, the prototype of this opera was Mussorgsky's The Marriage; the opera-ballet The Child and the Magic, 1925) and ballet (including Daphnis and Chloe, 1912) genres, in the area of fp. music (2 concertos for piano and orchestra, 1935, piano pieces, cycles). Using in his work the techniques of polytonality, polyrhythm, linearity, elements of jazz, Ravel paved the way for new stylistic. trends in music in the 20th century. Along with the impressionist tendencies in F. m. at the turn of the 19th and 20th centuries. the traditions of Saint-Saens and Franck continued to develop. G. Fore acted as the custodian of these traditions. An older contemporary of Debussy, Ravel's teacher, he was far from the new trends of the times in his work. With excellent melodic for nothing, Fauré created music imbued with sincere lyricism - such are his poetic vocal (romances to verses by P. Verlaine and others), piano (ballad for piano with orchestra, 1881; a number of nocturnes, preludes), chamber-instr. (2nd sonata for violin with piano, 2 sonatas for cello with piano, string quartet, piano trio, 2 piano quintets) works. He also owns the opera "Penelope" (1913), which was later highly appreciated by A. Honegger. The largest teacher, Fore brought up many. composers, among his students - J. J. E. Roger-Ducas, C. Keklen, F. Schmitt, L. Ober.
The impressionistic style of writing was to a certain extent characteristic of Duke. This, for example, manifested itself in the brilliance of harmonica. and orc. the language of his opera "Ariana and Bluebeard" (1907). An admirer of Debussy's talent, Dukas, however, was not a supporter of impressionist aesthetics. His production. distinguished by clarity of composition, clarity of form, classic. musical balance. development (symphonic scherzo "Sorcerer's Apprentice", 1897). The scores of this master of orchestration abound in color. finds (choreographic poem for orchestra "Peri", 1912). Means. interest is his critical. heritage. Duke was also a renowned teacher.
Debussy, Ravel, Duke and others. French. composers showed a keen interest in Russian. music, studied the work of M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin and others. track in music life of France left the concerts of Russian. music during the World Exhibition in Paris (1889; Rimsky-Korsakov and A. K. Glazunov participated as conductors in concerts), Istorich. Russian concerts organized by S. P. Diaghilev (1907, conducted by Rimsky-Korsakov, Glazunov, S. V. Rachmaninov and others) and in particular the "Russian Seasons" (held since 1908 at the initiative of Diaghilev), in opera and ballet performances to - ryh participated the largest Russian. artists - F. I. Chaliapin, A. P. Pavlova, V. F. Nizhinsky and others. "Russian Seasons" not only introduced the French to Russian. music, but brought to life a number of products, incl. I. F. Stravinsky - "The Firebird" (1910), "Petrushka" (1911), "The Rite of Spring" (1913), as well as "The Wedding" (1923), "Apollo Musaget" (1928), where from the picturesque stylizations in the spirit of the World of Art, he came to ballets based on the symphonization of music and dance. By order of Diaghilev, a number of Op. E. Satie, J. Orica, F. Poulenc, D. Millau and others.
The process of formation of many composers was not easy. the path to-rykh covers a historically difficult period of con. 19 - 1st floor. 20th century A. Roussel belonged to their number. Having paid tribute to the passion for the music of Wagner, Frank, having experienced the influence of impressionism (opera-ballet "Padmavati", 1918; ballet-pantomime "Spider's Feast", 1913), he turned to neoclassicism (ballet "Bacchus and Ariadne", 1931; 3rd and 4th symphonies, 1930 and 1934, etc.). The activity of the composer and muses belongs to the same period. theorist Keklen - one of the largest teachers (among his students - F. Poulenc, A. Coge), composer and pianist Roger-Ducas, who adjoined the late Romantic. the current in musical music, the composer and organist Vidor, the composer and pianist D. to Severak, the composers A. Manyar, L. Aubert, G. Roparz, and others.
The 1st World War of 1914-18 caused fundamental changes in people's views on life, in their tastes, and in their attitude to art. Among young cultural figures there is a protest against the bourgeoisie. morality, philistinism. In the first decades of the 20th century special attention was attracted by its rebellious-anti-bourgeois. position, the negation of all muses. computer authorities. Sati. Together with the poet, librettist, artist and critic J. Cocteau, he led the movement of young French. musicians who spoke for the aesthetics of urbanism, for the art of "today", that is, modern. the city with its noise of cars, music hall, jazz. Sati influenced young composers rather as a spiritual mentor, and not with his work, which, for all its originality (in his work, unusual sounds arise, reproducing a car siren, the chirp of a typewriter, then clear, sometimes restrained-severe melodies are stated; the techniques of Dobach's polyphony are combined with sharply grotesque elements) did not go beyond the scope of its time. A public scandal accompanied the staging of Satie's ballet "Parade" (screenwriter Cocteau, artist P. Picasso, 1917), caused both by unusual music that embodied the spirit of the music hall, recreating street noises, and by the staging itself (the convergence of choreography with the stage, eccentricity and cubo-futuristic principles of stage design). Composer's youth enthusiastically greeted the ballet. Under the auspices of Sati and Cocteau, creativity arose. the commonwealth of composers, known in history under the name. "Six" (this name was given to the group by the critic A. Collet in the article "Five Russians and Six Frenchmen", published in 1920). "Six", which included very different in their creativity. aspirations composers - D. Milhaud, A. Honegger, F. Poulenc, J. Auric, L. Duray, J. Taillefer - was not stylistically a single school, did not adhere to common ideological and aesthetic. views. Its participants were united by love for the French. culture, commitment to nat. traditions (assertion of true French in music), the desire for novelty and at the same time simplicity, passion for Stravinsky, as well as Amer. jazz. Having paid a certain tribute to urbanism ("Pacific-231" and "Rugby" for Honegger's orchestra, 1923, 1928; vocal cycle "Agricultural Machinery" Millau, 1919, etc.), each of the members of this group retained a bright individuality; their innovative quests often went in diametrically opposite directions. "Six" as a commonwealth did not last long, in the middle. 20s it broke up (the good relations of its participants were preserved for many years). After the break with the Six, Sati formed a new group of young composers - the so-called. The Arkey school, which, like the "Six", did not have a creative. unity. It included A. Coge, R. Desormière, M. Jacob, A. Cliquet-Pleyel. The largest representatives of F. m. in the middle. 20th century were Honegger and Milhaud. Composer of big dramas. talent, one of the leading modern. masters, Honegger embodied high ethical ideals in his work. Hence its attraction to the ancient, biblical, Middle Ages. subject as a source of universal moral values. In an effort to generalize the images, he came to the convergence of the genres of opera and oratorio. Synthetic opera and oratorio works. belong to the highest achievements of the composer: the opera-oratorio "King David" (1921, 3rd edition 1924), "Judith" (1925), drama. the oratorio "Joan of Arc at the stake" (1935) is the most significant of his creations. Vivid examples of symphony are his symphonies - the 3rd "Liturgical" (1946), the 5th "Symphony of three D" (1950). Honegger refracts in his work, various tendencies of modern art, including neoclassicist, expressionist, remain a brightly original artist.
Diversity characterizes the work of Milhaud, covering almost all the muses. genres, varied in subject matter and even style. Among his 16 operas there are works. on ancient and biblical subjects, distinguished by the severity of color, epic ("Eumenides", 1922; "Medea", 1938; "David", 1953), here Op. on freely modernized antique themes ("The Misfortunes of Orpheus", 1924), as well as in the spirit of veristic drama ("Poor Sailor", 1926), and finally traditionally romantic. performance like a grand opera, but based on the modern. means of music. expressions (triptych "Christopher Columbus", "Maximilian", "Bolivar", 1928, 1930, 1943). He also owns opera miniatures (a parody refraction of a mythological plot) - "The Abduction of Europe", "Abandoned Ariadne", "The Liberation of Theseus" (1927).
Milhaud is a master of chamber instruments. music (primarily strings of a quartet), choir. recitation (both melodious and recitative, and in the spirit of Schoenberg's Sprechgesang). In chamber instr. genres, the connection with the French is especially noticeable. music classics. At the same time, Milhaud is a consistent supporter of polytonality, which arises in him as a result of combining multi-tonal melodies. lines, a tendency to polyphonic. development methods (elements of polytonality are also found in Honegger, but their basis is different - they are the result of harmonic overlays).
Significant contribution to opera art and chamber wok. genres of Poulenc - a composer with great melodic. for nothing. His music is purely French. ease. In three operas - the buffoon "Breast of Tiresias" (1944), the tragic "Dialogues of the Carmelites" (1956), lyric-psychological. mono-opera" human voice"(1958) focused all the best features of Poulenc's work. During the years of the fascist occupation, this progressive artist created the patriotic cantata "The Human Face" (lyrics by P. Eluard, 1943). Melodic richness, a penchant for jokes, irony distinguish Orik's music. Most the composer's individuality manifested itself vividly in the 1920s (it is no coincidence that of all the members of the "Six" Cocteau dedicated the pamphlet "Rooster and Harlequin" to him. A humanist artist, he embodied in his work the tragedy of the war years ("Four songs of suffering France", to lyrics by L. Aragon, J. Superville, P. Eluard, 1947; a cycle of 6 poems to lyrics by Eluard, 1948). One of his best works is the ballet "Phaedra" (1950).
In the 30s. 20th century in the work of some French. composers intensified modernist tendencies. At the same time, many musicians defended realism. art-in, ideologically close to the democratic Nar. front. To the movement of the anti-fascist Nar. the front was joined by former members of the "Six" and other muses. figures. With their music, they responded to the pressing issues of our time (oratorios "Voices of the World", 1931, "Dances of the Dead", 1938, Honegger; choirs to the texts of revolutionary poets, cantata "On the World" for choir, etc. op. Milhaud; "Song of the Fighters For Freedom" and "On the Wings of a Dove" for the Durey choir; a number of popular songs, including Orik's "Sing, girls"; the song "Freedom for Telman" for the choir and orchestra of Keklen, 1934, etc.). There was also a great interest in Nar. music ("Suite Provence" for the Millau orchestra, 1936; arrangement of folk songs by Honegger, Poulenc's choirs), to the heroic. the past ("Joan of Arc at the stake" by Honegger, etc.). Composers Honegger, Auric, Milhaud, Roussel, Kequelin, J. Ibert, D. Lazarus participated in creating music for the revolutionary play by R. Rolland "July 14" ( 1936).
In 1935, the People's Musical Federation was created, which included progressive figures, incl. Roussel, Keklen (later also one of the founders of the "France-USSR" society), Durey, Milhaud, Honegger, A. Prunier, A. Radiguet, writers L. Aragon, L. Moussinac and others.
Along with the leaders of the "Six", the Arkey school, many others contributed to the development of F. m. composers, incl. J. Hiber, C. Delvencourt, E. Bondeville, J. Wiener, J. Migot.
In 1935, a new creativity arose. association - "Young France" (manifesto published in 1936). The composers O. Messiaen, A. Jolivet, Daniel-Lesur, I. Baudrier, who were members of this group, saw their task in creating "live" music imbued with humanism, in the revival of the national. traditions. They are characterized by a special interest in the spiritual world of man. They sought to "awaken music in a person" and "express a person in music", considered themselves the forerunners of a new humanism.
Among the greatest masters of music. culture of the 20th century belongs to the composer and organist Messiaen - one of the brightest and at the same time controversial phenomena in musical music. Often his composer's ideas are refracted through the prism of religions. representations. Messian is characterized by an attraction to ideal, unearthly images. His work is permeated with theological and mystical. ideas (suite "Christmas" for organ, 1935; piano cycle "Twenty Views of the Baby Jesus", 1944; oratorio "The Transfiguration of Our Lord", 1969, etc.). Messiaen's music is based on complex modal structures, chord-sonor constructions, rhythmic. schemes, at which there are diff. types of polyrhythm and polymetry, on the use of seriality. He attached great importance to outside Europe. cultures (Arabic, Indian, Japanese, Polynesian). Justifying your creativity. searching theoretically, Messiaen introduces new concepts, music. terms (eg, polymodality). A talented teacher, he includes the study of the classics, music of Asian countries, and composers of the 20th century in his curricula. (in particular, Stravinsky, A. Schoenberg), seeks to instill in his students (among them - P. Boulez, S. Nig, who also studied composition theory with E. Leibovitz) an interest in the search. During the fascist occupation during the 2nd World War 1939-45 muses. French life was paralyzed. Advanced musicians fought with the enemy with their creativity: songs of the Resistance were created, productions were born. (including Poulenc, Orik, Honegger), reflecting the horrors of war, the aspirations of liberation, heroic. the spirit of the unconquered.
After the end of the war, the revival of muses began. culture. Theaters resumed productions of operas and ballets by the French. authors, in conc. the music of the fatherlands sounded in the halls. composers, which was banned during the years of occupation. In the post-war years, active creativity continued. the activity of composers who came to art in the first decades of the 20th century, the work of J. Francais, A. Dutilleux, J. L. Martinet, and M. Landowski flourished.
From con. 40s and especially in the 50s. dodecaphonic, serial (see dodecaphony, seriality), electronic music, aleatorica, and other avant-garde movements became widespread. A prominent representative of the French music the avant-garde was the composer and conductor Boulez, who, developing the principles of A. Webern, widely uses such methods of composition as pointillism and seriality. Boulez stands for total seriality. He also uses sonoristics (see Sonorism), elements of which are present in one of his famous Op. "Hammer without a master" for voice with instr. ensemble (1954, 2nd ed. 1957). In 1954, he organized concerts of new music "Domaine musicale", which became the center of the French. avant-garde (since 1967 they were headed by the composer and conductor J. Ami, in 1974 they stopped). Since 1975 (in 1966-75 he worked in Great Britain, the USA), Boulez has been at the head of the Institute of Research and Coordination of Music and Acoustics, created on his initiative. problems (IRCAM).
Some composers came to use the principles of aleatorics - Ami, A. Bukureshliev, P. Mefano, J. K. Elua. Searches are underway in the field of electronic and so-called. concrete music - P. Schaeffer, I. Henri, F. Bayle, F. B. Mash, B. Parmegiani, and others. To this end, Schaeffer created in 1948 a group of muses. research (GRM - Groupe de recherches musicales) under Franz. radio and television, which is engaged in musical-acoustic. problems. A special "stochastic" system of composition (based on mathematical calculations, probability theory, and even the actions of electronic computers) is used by the Greek composer. Origin J. Xenakis. At the same time, a number of composers are in favor of a reasonable renewal of music, striving to combine the latest tools music expressiveness with nat. traditions. To the national certainty in modern music calls Nig, author of the oratorio "The Unknown Executed" (1949), symphony. poems "To the Captive Poet" (dedicated to Nazim Hikmet, 1950), 2 concertos for piano. with orchestra (1954, 1971). Comp. C. Baif, J. Bondon, R. Butry, J. Gillou, J. Cosma, M. Michalovichi, C. Pascal, and others. made by representatives of the musical performing arts: conductors - P. Monteux, P. Pare, A. Kluytens, S. Bruck, I. Markevich, P. Drevo, J. Martinon, L. Forestier, J. Pretre, P. Boulez, S. Bodo; pianists - A. Cortot, M. Long, E. Riesler, R. Casadesus, Yves Nat, S. Francois, J. B. Pommier; violinists - J. Thibault, Z. Francescatti, J. Neveu; cellists - M. Marechal, P. Fournier, P. Tortellier; organists - Ch. Tournemire, M. Dupre, O. Messiaen, J. Alain; singers - E. Blanc, R. Crespin, J. Giraudeau, M. Gerard, D. Duval; chansonnier - A. Bruant, E. Piaf, S. Gainsbourg, J. Brassens, Ch. Aznavour, M. Mathieu, M. Chevalier, J. Dassin and others. The history of musical music, its modernity, as well as questions of music theory devoted to numerous French works. musicologists, incl. J. Combarieux, A. Lavignac, J. Tierso, L. de La Laurencie, P. Landormi, R. Rolland, A. Prunier, E. Viyermoz, R. Dumesnil, N. Dufourc, B. Gavoti, R. M. Hoffmann, A. Golea, F. Lesiura.
Muses. the center of the country is still Paris, although in many ways. cities of France (especially from the middle of the 60s) opera houses were created, symphonies. orchestras, music uch. institutions. Functioning in Paris (1980): the Grand Opera, the Paris Opera Studio (established in 1973 on the basis of the Opera Comic, which has lost its significance), the Theater of Nations (established in 1954, performances are held in various theatrical premises, including in the "Theater of the Champs-Elysées", "The Theater of Sarah Bernhardt"); among the symbols orchestras are distinguished by the Parisian Orchestra (founded in 1967), Nat. Franz Orchestra. radio and television; numerous perform. chamber orchestras and ensembles, incl. International ensemble of musicians at IRCAM (founded in 1976). In 1975, the Palais des Congrès opened in Paris, where symphonies are held. concerts, in the same year in Lyon - conc. Hall "Audience M. Ravel".
Among the special music uch. institutions - the Paris Conservatory, the Schola Cantorum, the Ecole Normal (founded in 1919 by A. Cortot and A. Manzho) in Paris, Amer. conservatory in Fontainebleau (founded in 1918 by the violinist F. Casadesus). The most important music n.-i. the center is the Institute of Musicology at the Paris University. Books, archival materials are stored in the Nat. b-ke (the department of music was created in 1935), B-ke and the Museum of Muses. instruments at the conservatory. In Paris there are the largest muses. associations and institutions of France, incl. National music committee, music Federation, Gramophone Academy named after Sh. Cro. Paris is the seat of the UNESCO International Music Council. In 1977, the National Union of Composers.
In France are held: International. competition of pianists and violinists. M. Long - J. Thibaut (organized in 1943 as a national, since 1946 - international), guitar competition (1959, since 1961 - international, since 1964 - International guitar competition of French radio and television), Intern. vocal competition in Toulouse (since 1954), Intern. competition for young conductors in Besançon (since 1951), Intern. harp competition in Paris, as well as numerous. festivals, incl. Autumn Festival in Paris classical music, Paris Music Festival of the 20th century. (founded in 1952), Festival of modern. music in Royan, "Music week of Orleans". Music is published in France. magazines, incl. "La Revue musicale" (since 1827, the publication was repeatedly interrupted, the magazine merged with other magazines), "Revue de musicologie" (since 1922, continuation of the magazine "Bulletin de la Société Française de musicologie", which was published since 1917), " Journal musical français" (1951-66), "Diapason" (since 1956), "Le Courrier musical de France" (since 1963), "Harmonie" (since 1964), "Musique en jeu" (since 1970). A number of encyclopedias have been published in Paris. publications, dedicated music, incl. "Encyclopédie de la musique et dictionnaire du conservatoire..." (partie I (v. 1-5), partie II (v. 1-2), 1913-26), "Larousse de la musique" (v. 1- 2, 1957), "Dictionnaire des musiciens français" (1961), "Dictionnaire de la musique. Les hommes et leurs oeuvres" (v. 1-2, 1970); "Dictionnaire de la musique. Science de la musique. Formes, technique, instruments" (v. 1-2, 1976); Tynot F., Carles Ph., "Le jazz" (1977).
Literature: Ivanov-Boretsky M.V., Materials and documents on the history of music, vol. 2, M., 1934; Alschwang A., French musical impressionism (Debussy and Ravel), M., 1935; French Music of the Second Half of the 19th Century (Sat. Art.), Intro. Art. and ed. M. S. Druskina, M., 1938; Livanova T. H., History of Western European music until 1789, M. - L., 1940; Gruber R., History of musical culture, vol. 1, part 1-2, M. - L., 1941; Schneerson G., Music of France, M., 1958; his, French music of the XX century, M., 1964, 1970; Alekseev A. D., French piano music late XIX - early XX century, M., 1961; Khokhlovkina A., Western European Opera. Late 18th - first half of the 19th century. Essays, M., 1962; Musical aesthetics of the Western European Middle Ages and the Renaissance, comp., entry. Art. V. P. Shestakova, M., 1966; Music of the French Revolution of the XVIII century Beethoven, M., 1967; Nestiev I., At the turn of two centuries, M., 1967; Konen V., Theater and Symphony, M., 1968, 1975; History of European art history. The second half of the 19th century - the beginning of the 20th century, M., 1969; Druskin M., On Western European music of the XX century, M., 1973; Musical aesthetics of France in the 19th century, comp. texts, intro. Art. and intro. essays by E. P. Bronfin, M., 1974; Auric J., French Music Has Survived, Letter from Paris, "CM", 1975, No 9; Krasovskaya V., Western European Ballet Theatre. History essays. From the origins to the middle of the XVIII century, L., 1979.
O. A. Vinogradova
French musical culture began to take shape on a rich layer folk song. Although the oldest reliable records of songs that have survived to this day date back to the 15th century, literary and artistic materials indicate that since the time of the Roman Empire, music and singing have occupied a prominent place in people's daily lives.
Church music came to French lands with Christianity. Originally Latin, it gradually changed under the influence of folk music. The church used material in worship that was understandable local residents. Between the 5th and 9th centuries, a peculiar type of liturgy developed in Gaul - the Gallican rite with Gallican singing. Among the authors of church hymns, Hilary of Poitiers was famous. The Gallican rite is known from historical sources, indicating that it differed significantly from the Roman one. It did not survive, because the French kings abolished it, seeking to receive the title of emperors from Rome, and the Roman church tried to achieve the unification of church services.
From the 9th-12th centuries. “songs about deeds” (chansons de geste) have been preserved.
folk music
In the works of French folklorists, numerous genres of folk songs are considered: lyrical, love, complaint songs (complaintes), dance (rondes), satirical, craftsmen's songs (chansons de metiers), calendar, for example Christmas (Noel); labor, historical, military, etc.. Folklore also includes songs associated with Gallic and Celtic beliefs. Among the lyrical genres, a special place is occupied by pastorals (the idealization of rural life). The themes of unrequited love and parting predominate in the works of love content. A lot of songs are dedicated to children - lullabies, games, counting rhymes (fr. comptines). Labor (songs of reapers, plowmen, winegrowers, etc.), soldiers' and recruit's songs are varied. A special group is made up of ballads about the crusades, songs exposing the cruelty of feudal lords, kings and courtiers, songs about peasant uprisings (researchers call this group of songs "the poetic epic of the history of France").
Middle Ages
church music
During the Middle Ages, the development of church music was best documented. The early Gallican forms of Christian liturgy were replaced by the Gregorian liturgy. The spread of Gregorian chant during the reign of the Carolingian dynasty (751-987) is associated primarily with the activities of the Benedictine monasteries. The Catholic abbeys of Jumiège (on the Seine, also in Poitiers, Arles, Tours, Chartres and other cities) became centers of church music, cells of professional spiritual and secular musical culture. To teach students to sing, special singing schools (metrisas) were created at many abbeys. They taught not only Gregorian chant, but also playing musical instruments, the ability to read music. In the middle of the 9th c. non-mandatory notation appeared, the gradual development of which, after many centuries, led to the formation of modern musical notation.
In the 9th century Gregorian chant was enriched with sequences, which in France are also called prose. The creation of this form was attributed to the monk Notker from the St. Gallen monastery (modern Switzerland). However, Notker indicated in the preface to his "Book of Hymns" that he received information about the sequence from a monk from Jumièges Abbey. Subsequently, the authors of prose Adam from the Abbey of Saint-Victor (12th century) and the creator of the famous "Donkey Prose" Pierre Corbeil (beginning of the 13th century) became especially famous in France. Another innovation was the tropes - inserts in the middle of the Gregorian chant. Through them, secular melodies began to penetrate church music.
From the 10th c. in Limoges, Tours and other cities, a liturgical drama appeared in the bowels of the divine service itself, born from dialogue tropes with alternate "questions" and "answers" of two antiphonal groups of the choir. Gradually, the liturgical drama moved more and more away from the cult (along with images from the Gospel, realistic characters were included).
Since ancient times, folk songs have been characterized by polyphony, while the Gregorian chant was formed as a monophonic one. In the 9th century, elements of polyphony also began to penetrate church music. In the 9th century manuals on organum polyphony were written. The monk Gukbald of Saint-Aman near Tournai in Flanders is considered to be the author of the oldest of them. The polyphonic style that has developed in church music, however, differs from folk musical practice.
secular music
Along with cult music, secular music developed, which sounded in folk life, at the courts of the Frankish kings, in the castles of feudal lords. The carriers of the folk musical traditions of the Middle Ages were mainly itinerant musicians - jugglers, who were very popular among the people. They sang moralizing, humorous, satirical songs, danced to the accompaniment of various instruments, including tambourine, drum, flute, lute-type plucked instrument (this contributed to the development of instrumental music). Jugglers performed at holidays in villages, at feudal courts and even in monasteries (they participated in some rituals, theatrical processions dedicated to church holidays, called carole). They were persecuted by the church as representatives of a secular culture hostile to it. In the 12th-13th centuries. among the jugglers there was a social stratification. Some of them settled in knight's castles, falling into complete dependence on the feudal knight, others stayed in cities. Thus, jugglers, having lost the freedom of creativity, became settled minstrels in knight's castles and city musicians. However, this process at the same time contributed to the penetration of folk art into castles and cities, which becomes the basis of knightly and burgher musical and poetic art.
In the era of the late Middle Ages, in connection with the general rise of French culture, the art of music began to develop intensively. In feudal castles, on the basis of folk music, the secular musical and poetic art of the troubadours and trouvers flourished (11th-14th centuries). Famous among the troubadours were Markabrun, Guillaume IX - the Duke of Aquitaine, Bernard de Ventadorne, Geoffre Rudel (late 11th-12th centuries), Bertrand de Born, Giraut de Borneil, Giraut Riquier (late 12th-13th centuries). In the 2nd floor. 12th c. in the northern regions of the country, a similar trend arose - the art of the trouveurs, which at first was chivalrous, and then more and more converged with folk art. Among the trouveurs, along with the kings, the aristocracy - Richard the Lionheart, Thibault of Champagne (King of Navarre), representatives of the democratic strata of society - Jean Bodel, Jacques Bretel, Pierre Mony and others - subsequently became famous.
In connection with the growth of such cities as Arras, Limoges, Montpellier, Toulouse, etc., urban musical art developed in the 12-13 centuries, the creators of which were poets-singers from the urban estates (artisans, ordinary citizens, and, in addition, the bourgeois) . They introduced their own characteristics into the art of troubadours and trouveurs, moving away from its sublimely chivalrous musical and poetic images, mastering folk and everyday themes, creating a characteristic style, their own genres. The most prominent master of urban musical culture of the 13th century was the poet and composer Adam de la Halle, the author of songs, motets, and, in addition, the popular play “The Game of Robin and Marion” (c. 1283), saturated with city songs, dances ( the very idea of creating a secular theatrical performance permeated with music was already unusual). He interpreted the traditional unanimous musical and poetic genres of the troubadours in a new way, using polyphony.
notre dame school
More: Notre Dame School
Strengthening the economic and cultural significance of cities, the creation of universities (including the University of Paris at the beginning of the 13th century), where music was one of the compulsory subjects (part of the quadrivium), contributed to the enhancement of the role of music as an art. In the 12th century, Paris became one of the centers of musical culture, and above all its Singing School of Notre Dame Cathedral, which brought together the greatest masters - singers-composers, scientists. The flourishing in the 12th-13th centuries is associated with this school. cult polyphony, the emergence of new musical genres, discoveries in the field of musical theory.
In the works of the composers of the Notre Dame School, the Gregorian chant has undergone changes: the previously rhythmically free, flexible chant has acquired greater regularity and smoothness (hence the name of such a chant cantus planus). Complications of the polyphonic fabric and its rhythmic structure required the exact designation of durations and the improvement of notation - as a result, representatives of the Parisian school gradually came to replace the doctrine of modes with mensural notation. The musicologist John de Garlandia made a significant contribution in this direction.
Polyphony brought to life new genres of church and secular music, including conduct and motet. The conduct was originally performed mainly during the festive church service, but at the same time later became a purely secular genre. Among the authors of the conduct is Perotin.
Based on the conductor at the end of the 12th century. in France, the most important genre of polyphonic music, the motet, was formed. Its early examples also belong to the masters of the Parisian school (Perotin, Franco of Cologne, Pierre de la Croix). Motet allowed the freedom to combine liturgical and secular tunes and texts, a combination that led to the birth in the 13th century. joking motet. The motet genre received a significant update in the 14th century under the conditions of the direction ars nova, whose ideologist was Philippe de Vitry.
In the art of ars nova, great importance was attached to the interaction of "everyday" and "scientific" music (that is, song and motet). Philippe de Vitry created a new type of motet - the iso-rhythmic motet. The innovations of Philippe de Vitry also affected the doctrine of consonance and dissonance (he announced consonances of thirds and sixths).
The ideas of ars nova and, in particular, the iso-rhythmic motet continued their development in the work of Guillaume de Machaux, who combined the artistic achievements of knightly musical and poetic art with its unanimous songs and polyphonic urban musical culture. He owns songs with a folk warehouse (lays), virele, rondo, he also first developed the genre of polyphonic ballads. In the motet, Machaux used musical instruments more consistently than his predecessors (probably, the lower voices were instrumental before). Macheud is also considered the author of the first French polyphonic Mass (1364).
Renaissance
Read more: French Renaissance
In the 15th century during the Hundred Years War, the leading position in the musical culture of France in the 15th century. occupied by representatives of the Franco-Flemish (Dutch) school. For two centuries, the most outstanding composers of the Dutch polyphonic school worked in France: in the middle. 15th c. - J. Benchois, G. Dufay, in the 2nd floor. 15th c. - J. Okegem, J. Obrecht, in con. 15 - beg. 16th centuries - Josquin Despres, in the 2nd floor. 16th century - Orlando di Lasso.
At the end of the 15th century in France, the culture of the Renaissance is established. The development of French culture was affected by such factors as the emergence of the bourgeoisie (15th century), the struggle for the unification of France (which was completed by the end of the 15th century), and the creation of a centralized state. The continuous development of folk art and the activities of composers of the Franco-Flemish school were also of significant importance.
The role of music in social life is growing. The French kings created large chapels at their courts, arranged musical festivals, the royal court became the center of professional art. The role of the court chapel was strengthened. In 1581, Henry III approved the position of "chief intendant of music" at court, the first to hold this post was the Italian violinist Baltazarini de Belgioso. Along with the royal court and the church, aristocratic salons were also important centers of musical art.
The heyday of the Renaissance, associated with the formation of French national culture, falls on the middle of the 16th century. At this time, secular polyphonic song - chanson - became an outstanding genre of professional art. Her polyphonic style receives a new interpretation, consonant with the ideas of the French humanists - Rabelais, Clement Marot, Pierre de Ronsard. The leading author of chansons of this era is considered to be Clement Janequin, who wrote more than 200 polyphonic songs. Chansons became famous not only in France, but also abroad, mostly due to musical notation and strengthening of ties between European countries.
During the Renaissance, the role of instrumental music increased. Viola, lute, guitar, violin (as folk instrument). Instrumental genres penetrated both everyday music and professional, partly church music. Lute dance pieces stood out among the dominant ones in the 16th century. polyphonic works by rhythmic plasticity, homophonic composition, transparency of texture. Characteristic was the combination of two or more dances according to the principle of rhythmic contrast into peculiar cycles, which became the basis of the future dance suite. Organ music also acquired more independent significance. The emergence of the organ school in France (late 16th century) is associated with the work of the organist J. Titluz.
In 1570 Jean-Antoine de Baif founded the Academy of Poetry and Music. The members of this academy sought to revive the ancient poetic-musical metrics and defended the principle of the inseparable connection between music and poetry.
A significant layer in the musical culture of France in the 16th century. was the music of the Huguenots. Huguenot songs used melodies of popular household and folk songs, adapting them to translated French liturgical texts. A little later, the religious struggle in France gave rise to the Huguenot psalms with their characteristic transfer of the melody to the upper voice and the rejection of polyphonic complexities. The largest Huguenot composers who composed the psalms were Claude Goudimel, Claude Lejeune.
Education
Read more: Age of Enlightenment
17th century
A strong influence on the French music of the 17th century was exerted by the rationalistic aesthetics of classicism, which put forward the requirements of taste, balance of beauty and truth, clarity of intention, harmony of composition. Classicism, which developed simultaneously with the Baroque style, received in France in the 17th century. complete expression.
At this time, secular music in France prevails over the spiritual. With the establishment of absolute monarchy, court art acquired great importance, which determined the direction of development of the most important genres of French music of that time - opera and ballet. The years of the reign of Louis XIV were marked by the extraordinary splendor of court life, the desire of the nobility for luxury and sophisticated amusements. In this regard, a large role was assigned to the court ballet. In the 17th century Italian trends intensified at court, which was especially facilitated by Cardinal Mazarin. Acquaintance with Italian opera provided the impetus for the creation of national opera, the first experience in this area belongs to Elizabeth Jacquet de la Guerre ("The Triumph of Love", 1654).
Opened in Paris in 1671 Opera theatre called the Royal Academy of Music. The head of this theater was J. B. Lully, who is now considered the founder of the national opera school. Lully created a number of comedies-ballets, which became the forerunner of the genre of lyrical tragedy, and later - opera-ballet. Lully's contribution to instrumental music is essential. He created a type of French opera overture (the term was established in the second half of the 17th century in France). Numerous dances from his works of large form (minuet, gavotte, sarabande, etc.) influenced the further formation of the orchestral suite.
At the end of the 17th - 1st half of the 18th century, such composers as N. A. Charpentier, A. Kampra, M. R. Delaland, A. K. Detouche wrote for the theater. With Lully's successors, the conventionality of the court theatrical style is intensified. In their lyrical tragedies, decorative-ballet, pastoral-idyllic sides come to the fore, and the dramatic beginning is weakened more and more. Lyrical tragedy gives way to opera-ballet.
In the 17th century various instrumental schools developed in France - the lute (D. Gauthier, who influenced the harpsichord style of J. A. Anglebert, J. Ch. de Chambonnière), the harpsichord (Chambonniere, L. Couperin), the viol (M. In France, he introduced the double bass into the opera orchestra instead of the double bass viola). has gained the greatest importance french school harpsichordists. The early harpsichord style developed under the direct influence of lute art. In the works of Chambonnière, the manner of melody ornamentation, characteristic of French harpsichordists, was reflected. The abundance of decorations gave the works for the harpsichord a certain sophistication, as well as greater coherence, "melodiousness", "length" and the jerky sound of this instrument. In instrumental music, the music used since the 16th century has been widely used. the union of paired dances (pavane, galliard, etc.), which led in the 17th century to the creation of an instrumental suite.
18th century
In the 18th century, with the growing influence of the bourgeoisie, new forms of musical and social life were taking shape. Gradually, the concerts go beyond the palace halls and aristocratic salons. In 1725, A. Philidor (Danikan) organized regular public "Spiritual Concerts" in Paris, and in 1770 Francois Gossec founded the "Amateur Concerts" society. The evenings of the Friends of Apollo academic society (founded in 1741) were of a more closed character, and the Royal Academy of Music arranged annual concert cycles.
In the 20-30s of the 18th century. the harpsichord suite reaches its peak. Among the French harpsichordists, the leading role belongs to F. Couperin, the author of free cycles based on the principles of similarity and contrast of pieces. Along with Couperin, a great contribution to the development of the program-characteristic harpsichord suite was also made by J. F. Dandre and especially J. F. Rameau.
In 1733, the successful premiere of Rameau's opera Hippolyte et Arisia secured a leading position for this composer in the court opera, the Royal Academy of Music. In the work of Rameau, the genre of lyrical tragedy reached its culmination. His vocal-declamatory style was enriched with melodic-harmonic expression. His two-part overtures are distinguished by a great variety, but at the same time, three-part overtures, close to the Italian opera "sinfonia", are also represented in his work. In a number of operas, Rameau anticipated many later achievements in the field of musical drama, paving the way for the operatic reform of K. V. Gluck. Rameau owns a scientific system, a number of provisions of which served as the basis for the modern doctrine of harmony ("Treatise on Harmony", 1722; "The Origin of Harmony", 1750, etc.).
By the middle of the 18th century, the heroic-mythological operas of Lully, Rameau and other authors no longer met the aesthetic demands of the bourgeois audience. In their popularity, they are inferior to the sharply satirical fair performances known since the end of the 17th century. These performances are aimed at ridiculing the morals of the "higher" strata of society, and also parody the court opera. The first authors of such comic operas were the playwrights A. R. Lesage and C. S. Favara. In the bowels of the fair theater, a new French operatic genre has matured - the opera comedian. Its position was strengthened by the arrival in Paris in 1752 of an Italian opera troupe, which staged a number of buff operas, including Pergolesi's The Servant-Mistress, and a controversy over opera art that flared up between supporters (bourgeois-democratic circles) and opponents (representatives of aristocracy) of the Italian opera buff, - the so-called. "War of the Buffoons".
In the tense atmosphere of Paris, this controversy acquired particular urgency and received a huge public outcry. The figures of the French Enlightenment took an active part in it, supporting the democratic art of the "buffonists", and Rousseau's pastoral "The Village Sorcerer" (1752) formed the basis of the first French comic opera. The slogan proclaimed by them "imitation of nature" had a great influence on the formation of the French operatic style of the 18th century. The works of the encyclopedists also contain valuable aesthetic and musical-theoretical generalizations.
Post-revolutionary time
One of the first publications of "La Marseillaise", the national anthem of France, 1792
The Great French Revolution brought enormous changes to all areas of musical art. Music becomes an integral part of all the events of the revolutionary time, acquiring social functions, which contributed to the establishment of mass genres - songs, hymns, marches and others. Influence french revolution The theater also suffered - such genres as apotheosis, propaganda performance with the use of large choral masses arose. During the years of the revolution, the “opera of salvation” received special development, raising the themes of the fight against tyranny, exposing the clergy, glorifying loyalty and devotion. Brass music acquired great importance, and the National Guard Band was founded.
The system of musical education has also undergone radical transformations. Metrics were abolished; but in 1792 the music school of the National Guard was opened to train military musicians, and in 1793 the National Music Institute (since 1795 the Paris Conservatory).
The period of the Napoleonic dictatorship (1799-1814) and the Restoration (1814-15, 1815-30) did not bring bright achievements to French music. By the end of the Restoration period, there is a revival in the field of culture. In the fight against academic art Napoleonic empire was formed by the French romantic opera, which in the 20-30s occupied a dominant position (F. Ober). In the same years, the genre of grand opera on historical, patriotic and heroic subjects was formed. French musical romanticism found its most vivid expression in the work of G. Berlioz, the creator of programmatic romantic symphonism. Berlioz, along with Wagner, is also considered the founder of a new school of conducting.
During the years of the Second Empire (1852-70), the musical culture of France was characterized by a passion for cafe-concerts, theatrical revues, and the art of chansonnier. During these years, numerous theaters of light genres arose, where vaudevilles and farces were staged. French operetta is developing, among its creators are J. Offenbach, F. Herve. From the 1870s, under the conditions of the Third Republic, the operetta lost its satire, parody, topicality, historical, everyday and lyrical-romantic plots became predominant, and lyric came to the fore in music.
Opera and ballet in the second half of the 19th century. there is an increase in realistic tendencies. In the opera, this tendency manifested itself in the desire for everyday plots, for the depiction of ordinary people with their intimate experiences. The most famous creator of the lyric opera is Ch. Gounod, the author of such operas as Faust (1859, 2nd edition 1869), Mireil and Romeo and Juliet. J. Massenet and J. Bizet also turned to the genre of lyric opera; in his opera Carmen, the realistic principle is more clearly manifested.
Maurice Ravel, 1912
In the late 80s - 90s of the 19th century, a new trend arose in France, which became widespread at the beginning of the 20th century - impressionism. Musical Impressionism revived certain national traditions- the desire for concreteness, programmatic, sophistication of style, transparency of texture. Impressionism found its fullest expression in the music of C. Debussy, affected the work of M. Ravel, P. Duke and others. Impressionism also introduced innovations in the field of musical genres. In Debussy's work, symphonic cycles give way to symphonic sketches; piano music is dominated by program miniatures. Maurice Ravel was also influenced by the aesthetics of Impressionism. In his work, various aesthetic and stylistic tendencies intertwined - romantic, impressionistic, and in his later works - neoclassical tendencies.
Along with impressionistic tendencies in French music at the turn of the 19th and 20th centuries. the traditions of Saint-Saens continued to develop, as well as Franck, whose work is characterized by a combination of classical clarity of style with vivid romantic imagery.
Composers of the "French Six".
After the First World War, French art tends to reject German influence, strive for novelty and, at the same time, for simplicity. At this time, under the influence of composer Eric Satie and critic Jean Cocteau, a creative association was formed, called the "French Six", whose members opposed themselves not only to Wagnerianism, but also to impressionist "vagueness". However, according to its author, Francis Poulenc, the group “had no other goals than a purely friendly, and not at all ideological association,” and since the 1920s, its members (among the most famous also Arthur Honegger and Darius Milhaud) have developed each in an individual way.
In 1935, a new creative association of composers emerged in France - "Young France", which included, among other things, such composers as O. Messiaen, A. Jolivet, who, like the "Six", put the revival of national traditions and humanistic ideas at the forefront. Rejecting academism and neoclassicism, they directed their efforts to updating the means musical expressiveness. The most influential were Messiaen's searches in the field of modal and rhythmic structures, which were embodied both in his musical works and in musicological treatises.
After the Second World War, avant-garde musical currents spread in French music. An outstanding representative of the French musical avant-garde was the composer and conductor Pierre Boulez, who, developing the principles of A. Webern, widely uses such methods of composition as pointillism and seriality. A special "stochastic" system of composition is used by the composer of Greek origin J. Xenakis.
France played a significant role in the development of electronic music - it was here that specific music appeared in the late 1940s, a computer with graphical input of information - UPI was developed under the leadership of Xenakis, and in the 1970s the direction of spectral music was born in France. Since 1977, IRCAM, a research institute founded by Pierre Boulez, has become the center of experimental music.
Learning to play a musical instrument is one of the coolest things you will ever do. Whether you're just out of school and have decided you'd like to play in a band, or decide to learn how to play music now that the kids are grown up, it's fun and rewarding and a must do. If you don't know what you want to play yet, you are in great shape - that means everything is possible for you! See Step 1 for helpful tips on choosing the right tool.
Steps
Choosing from variety
- Organ
- Accordion
- Synthesizer
- Harpsichord
- Harmonium
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Rock out on the guitar. From classical to metal, learning to play the guitar opens all doors to new styles of music. The guitar has had an impact on pop culture perhaps more than any other instrument, and has become the most popular choice for beginners around the world. Pick up an acoustic guitar to be mobile, or check out its electric version to start fooling around with your neighbors and playing heady phrases. Once you've mastered the basics of guitar playing, you can also add other instruments from the six-string company:
- Bas-guitar
- Mandolin
- Banjo
- Dulcimer
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Consider the use of classical tools. One of the most viable careers in music is playing classical string instruments in orchestras, string quartet or other compounds. Chamber orchestra instruments may appeal to you if you have an interest in classical music. While they may have a conservative reputation, they are still widely used in folk music and other genres throughout the world. Classical strings include:
- Violin. It is generally regarded as the "leading" instrument in the world of stringed instruments. It has a wide range, is comfortable to hold, and can be so sublimely expressive that no other instrument can even try to match it.
- Alto. Somewhat larger than a violin, deeper and softer in tone than a violin. If you have longer arms and larger hands, you might be able to play the viola instead of the violin.
- Cello. The cello is much larger than violins and violas, and you should play with the instrument between your knees. She has a rich, deep tone akin to male voice. Although it cannot reach the heights of the violin, it is a very lyrical instrument.
- Double bass. It is the lowest sounding member of the violin family. In classical or chamber orchestras, it is most often played with the bow, and sometimes with the fingers for effect. Jazz or folk music (where you'll often find the double bass) is mostly played with the fingers and sometimes with the bow for effect.
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Get to know brass instruments. Both simple and complex, instruments in the brass family are basically long metal tubes with valves and keys that change the pitch. To play them, you buzz your lips inside a metal mouthpiece to create a sound. They are used in all types of live bands and orchestras, jazz combos, orchestras and as an accompaniment in old school rhythm and blues and soul music. Brass instruments include:
- Pipe
- Trombone
- French horn
- Baritone
- Sousaphone
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Don't forget woodwinds. Like brass instruments, woodwinds are played by blowing into them. Unlike brass instruments, woodwinds have reeds that vibrate as you blow on them. They create many beautiful tones. These are extremely versatile instruments for jazz or classical music. Woodwind instruments include:
- Flute, piccolo or fife
- Saxophone
- Clarinet
- Oboe
- Bassoon
- Harmonic
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Create a rhythm by playing percussion instruments. Keeping the pace in most bands is a job for drummers. In some groups these are drum kits, in other orchestras they are represented by a wider range of instruments played with hammers, hands or sticks. Percussion instruments include:
- Drum kit
- Vibraphone, marimba and xylophone
- bells
- Bells and cymbals
- Congo and bongo
- timpani
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Consider new musical instruments. People are making music with more instruments than ever before. You may have seen the guy on the street corner playing the beat on 20-litre paint buckets and pot lids. Drums? May be. Percussion, of course. Consider the game:
- iPad. If you have one, you already know that there are some truly amazing musical instruments that defy classification. Click on the screen and the voice comes out of the blue puddle on the green background. Change the app and now you're playing a vintage 80's synth that cost $50,000 is now 99 cents and sounds better.
- Do you have a couple of turntables? It takes a lot of skill and a lot of practice to be a great DJ, and anyone who tells you it's not music is wrong.
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Check out this list. As you can see, there are more instruments than you can use for rhythm. Some of the difficult ones to categorize are listed below:
- Erhu (Chinese two-string violin)
- Guqin (Chinese string instrument)
- Sitar
- Dulcimer
- Koto (Japanese harp)
- Bagpipes
- Ukulele
- cor anglais
- Pan flute / flute
- Ocarina
- Block flute
- whistle
- Dudka
- Mellophone (travel version of the horn)
- Althorn
- piccolo trumpet
- Flugelhorn
Choosing the Right Tool
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Experiment with a lot of different tools before choosing. Pick up a trumpet, guitar, or trombone and play a few notes. It's not music yet, but it will give you some idea of whether it's fun to play and worth spending some time on.
Look at your options. If you're starting in a high school band, check and see what instruments the band includes. Most concert bands in schools have clarinets, flutes, saxophones, tubas, baritones, trombones, trumpets and percussion instruments to start with, and you can prepare for other instruments like the oboe, bassoon and flugelhorn.
- You can start to make a decision about choosing a tool from those that are available. You can also ask the manager what tools they are missing - he will be very grateful if you can fill in the empty space.
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Keep your options open. You can play baritone - saxophone, but the group already has three baritone players. You may need to play clarinet first, then move on to alto saxophone, and then move on to baritone when the opportunity arises.
Consider your dimensions. If you are starting in high school and you are shorter than the average student, a tuba or trombone is not Maybe be the right tool for you. You can try trumpet or cornet instead.
- If you are younger or still losing teeth, you may find it difficult to play some brass instruments because your teeth are not very strong.
- If you have small hands or fingers, the bassoon may not be comfortable for you, although there are bassoons made for beginners with keys for small hands.
Finding the Right Tool
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Play what you like. When you listen to the radio, Spotify, or your friend's favorite music, what instinctively brings you to life?
- Do you drum with your fingers along with the bass line, or do you get turned on by frenzied guitar solos? Maybe you should consider stringed instruments.
- Are you constantly shaking the air by pounding your fingers on the table? These are all great clues as to what your "natural tool" might be, and that includes hitting with sticks, hands, or both!
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Think about what will be practical for your situation. You may have a natural attraction to drums, but your parents said, "No way - it's too loud!" Be creative - either offer digital drums that you can only hear through headphones, or rethink your needs and start with something soft like a Kong drum kit. Play drums in the school band, but practice at home on rubber mats.
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Just choose one. While you can be very analytical about what to play, there is one more thing to try that has many benefits. Close your eyes (after reading this) and write down the first 5 tools that come to mind. Now look at what you wrote.
- One of these choices is your instrument. The first one is on the first line: it might be the instrument you really want to play, or it might just be the instrument you associate music learning with.
- With each successful choice, you pay more attention to what you wanted. By the fifth choice, you can find the answer. It's clear that all the tools you like, but what is the best choice? It all depends on who you are and how you are going to learn.
- If the instrument you want to play is expensive, try renting or borrowing it for a while.
- It's a good idea to choose instruments that will allow you to explore all kinds of music. Instruments such as the flute or the guitar have many possibilities. In addition, the choice of saxophone or trumpet will allow you to easily explore other instruments. For example, it is easier for a saxophonist to choose other reed instruments such as a clarinet, while for a trumpeter it is much easier to learn a French horn or other brass instrument.
- Consider your personality. Compare yourself to an actor. Do you have to be the main character? Choose an instrument that plays melodies and often plays solo like flute, trumpet, clarinet, violin. Support Executor? If you're in your element, working together as a group to create beautiful harmonies, then a bass instrument like the tuba, baritone, baritone saxophone, or string bass might be perfect.
- Before starting, learn as much as you can about your chosen instrument to make sure you want to learn it.
- Consider your local resources. Get in touch with local teachers and try to find a way to buy an instrument.
- If you're not sure if you really want to play the instrument you've chosen, rent it, and if you like it, you can buy it. If you don't, you can choose another tool.
- Choose a rare tool. Many people know how to play piano, guitar and drums, so to shine playing them you have to play really well, but if you choose weird, unusual instrument, even if you play poorly, you can find teaching jobs or gigs.
- Note that many schools consider "drums" to be one instrument, i.e. not tuned to just the snare or drum set. Therefore, you will have to learn and play all percussion instruments. This a good thing. The more you know, the better you will feel.
Warnings
- Don't think about gender stereotypes. Some amazing tuba players and drummers are girls, but the most brilliant flutists and clarinetists can be guys.
- Don't pick an instrument just because it's loud. A tuba player in an orchestra or a bass player in a rock band can be just as useful as a soloist. In any case, solo material exists for almost all instruments, so the chances of being stuck on a boring bass line forever on your instrument are low.
- Don't think of certain instruments as being "limited" in terms of what you can play on it. Any tool has literally endless possibilities. You can never stop improving and playing great music on it.
- Don't let people tell you which tools are "cool" or "trendy". Playing an instrument does not mean that you are only able to say that you can do it.
Start with the piano. The piano is a common starting instrument because it's easy to really see the music. Common to many cultures and styles of music, piano and keyboards are great choices if you want to learn an instrument no matter your age. Piano options that you can add to your repertoire later may include:
French music- one of the most interesting and influential European musical cultures, which draws its origins from the folklore of the Celtic and Germanic tribes who lived in ancient times on the territory of present-day France. With the formation of France during the Middle Ages, folk musical traditions of numerous regions of the country merged in French music. French musical culture developed, interacting also with the musical cultures of other European nations, in particular Italian and German. Since the second half of the 20th century, the French music scene has been enriched by the musical traditions of Africans. She does not stay away from the world musical culture, absorbing new musical trends and giving a special French flavor to jazz, rock, hip-hop and electronic music.
Story
origins
French musical culture began to take shape on a rich layer of folk song. Although the oldest reliable records of songs that have survived to this day date back to the 15th century, literary and artistic materials indicate that since the time of the Roman Empire, music and singing have occupied a prominent place in people's daily lives.
Church music came to French lands with Christianity. Originally Latin, it gradually changed under the influence of folk music. The church used material in worship that was understandable to the locals. Between the 5th and 9th centuries, a peculiar type of liturgy developed in Gaul - the Gallican rite with Gallican singing. Among the authors of church hymns, Hilary of Poitiers was famous. The Gallican rite is known from historical sources, indicating that it differed significantly from the Roman one. It did not survive, because the French kings abolished it, seeking to receive the title of emperors from Rome, and the Roman church tried to achieve the unification of church services.
Polyphony gave rise to new genres of church and secular music, including the conduct and motet. The conduct was originally performed mainly during the festive church service, but later became a purely secular genre. Among the authors of the conduct is Perotin.
Based on the conductor at the end of the 12th century. in France, the most important genre of polyphonic music was formed - motet. Its early examples also belong to the masters of the Parisian school (Perotin, Franco of Cologne, Pierre de la Croix). Motet allowed the freedom to combine liturgical and secular tunes and texts, a combination that led to the birth in the 13th century. joking motet. The motet genre received a significant update in the 14th century under the conditions of the direction ars nova, whose ideologist was Philippe de Vitry.
In the art of ars nova, great importance was attached to the interaction of "everyday" and "scientific" music (that is, song and motet). Philippe de Vitry created a new type of motet - the iso-rhythmic motet. The innovations of Philippe de Vitry also affected the doctrine of consonance and dissonance (he announced consonances of thirds and sixths).
The ideas of ars nova and, in particular, the isorhythmic motet continued their development in the work of Guillaume de Machaux, who combined the artistic achievements of chivalrous musical and poetic art with its unanimous songs and polyphonic urban musical culture. He owns songs with a folk warehouse (lays), virele, rondo, he also first developed the genre of polyphonic ballads. In the motet, Machaux used musical instruments more consistently than his predecessors (probably, the lower voices were instrumental before). Macheud is also considered the author of the first French polyphonic Mass (1364).
Renaissance
At the end of the 15th century in France, the culture of the Renaissance is established. The development of French culture was affected by such factors as the emergence of the bourgeoisie (15th century), the struggle for the unification of France (completed by the end of the 15th century), and the creation of a centralized state. The continuous development of folk art and the activities of composers of the Franco-Flemish school were also of significant importance.
The role of music in social life is growing. The French kings created large chapels at their courts, arranged musical festivals, the royal court became the center of professional art. The role of the court chapel was strengthened. In Henry III, he approved the position of "chief intendant of music" at court, the first to hold this post was the Italian violinist Baltazarini de Belgioso. Along with the royal court and the church, aristocratic salons were also important centers of musical art.
The heyday of the Renaissance, associated with the formation of French national culture, falls on the middle of the 16th century. At this time, secular polyphonic song - chanson - becomes an outstanding genre of professional art. Her polyphonic style receives a new interpretation, consonant with the ideas of the French humanists - Rabelais, Clement Marot, Pierre de Ronsard. The leading chanson author of this era is considered to be Clément Janequin, who wrote over 200 polyphonic songs. Chansons gained fame not only in France, but also abroad, largely due to musical notation and the strengthening of ties between European countries.
During the Renaissance, the role of instrumental music increased. Viola, lute, guitar, violin (as a folk instrument) were widely used in musical life. Instrumental genres penetrated both everyday music and professional, partly church music. Lute dance pieces stood out among the dominant ones in the 16th century. polyphonic works by rhythmic plasticity, homophonic composition, transparency of texture. Characteristic was the combination of two or more dances according to the principle of rhythmic contrast into peculiar cycles, which became the basis of the future dance suite. Organ music also acquired more independent significance. The emergence of the organ school in France (late 16th century) is associated with the work of the organist J. Titluz.
Education
17th century
The rationalistic aesthetics of classicism had a strong influence on the French music of the 17th century, which put forward the requirements of taste, balance of beauty and truth, clarity of intention, harmony of composition. Classicism, which developed simultaneously with the Baroque style, received in France in the 17th century. complete expression.
At this time, secular music in France prevails over the spiritual. With the establishment of absolute monarchy, court art acquired great importance, which determined the direction of development of the most important genres of French music of that time - opera and ballet. The years of the reign of Louis XIV were marked by the extraordinary splendor of court life, the desire of the nobility for luxury and sophisticated amusements. In this regard, a large role was assigned to the court ballet. In the 17th century Italian trends intensified at court, which was especially promoted by Cardinal Mazarin. Acquaintance with Italian opera served as an incentive to create his own national opera, the first experience in this area belongs to Elisabeth Jacquet de la Guerre ("Triumph of Love",).
At the end of the 17th - 1st half of the 18th century, such composers as N. A. Charpentier, A. Kampra, M. R. Delaland, A. K. Detouche wrote for the theater. With Lully's successors, the conventionality of the court theatrical style is intensified. In their lyrical tragedies, decorative-ballet, pastoral-idyllic sides come to the fore, and the dramatic beginning is weakened more and more. Lyrical tragedy gives way to opera-ballet.
In the 17th century in France, various instrumental schools developed - lute (D. Gautier, who influenced the harpsichord style of J.-A. d "Anglebert, J. Ch. de Chambonnière), harpsichord (Chambonniere, L. Couperin), violin (M. Maren , who for the first time in France introduced the double bass instead of the double bass viol into the opera orchestra). The French school of harpsichordists acquired the greatest importance. The early harpsichord style was formed under the direct influence of lute art. The manner of ornamentation of the melody, characteristic of French harpsichordists, was reflected in the works of Chambonnière. The abundance of decorations gave works for the harpsichord a certain sophistication, as well as greater coherence, "melodiousness", "length" jerky sound of this instrument. In instrumental music, the combination of paired dances (pavane, galliard, etc.) used since the 16th century was widely used, which led in the 17th century to creating an instrumental suite.
18th century
In the 18th century, with the growing influence of the bourgeoisie, new forms of musical and social life were taking shape. Gradually, the concerts go beyond the palace halls and aristocratic salons. In A. Philidor (Danikan) he organized regular public “Spiritual Concerts” in Paris, in Francois Gossec he founded the “Amateur Concerts” society. The evenings of the Friends of Apollo academic society (founded in ) were of a more closed nature, the Royal Academy of Music arranged annual concert cycles.
In the 20-30s of the 18th century. the harpsichord suite reaches its peak. Among the French harpsichordists, the leading role belongs to F. Couperin, the author of free cycles based on the principles of similarity and contrast of pieces. Along with Couperin, a great contribution to the development of the program-characteristic harpsichord suite was also made by J. F. Dandre and especially J. F. Rameau.
The system of musical education has also undergone radical transformations. Metrics were abolished; but in the music school of the National Guard was opened to train military musicians, and in - the National Music Institute (with - the Paris Conservatory).
The period of the Napoleonic dictatorship (1799-1814) and the Restoration (1814-15, 1815-30) did not bring bright achievements to French music. By the end of the Restoration period, there is a revival in the field of culture. In the struggle against the academic art of the Napoleonic Empire, the French romantic opera took shape, which in the 1920s and 1930s occupied a dominant position (F. Aubert). In the same years, the genre of grand opera on historical, patriotic and heroic subjects was formed. French musical romanticism found its most striking expression in the work of G. Berlioz, the creator of programmatic romantic symphonism. Berlioz, along with Wagner, is also considered the founder of a new school of conducting.
An important event in the life of social France in the 1870s was the Paris Commune of 1870-1871. This period gave rise to many working songs, one of which - " The Internationale" (music by Pierre Degeyter to the words of Eugene Pottier) became the anthem of the communist parties, and in -1944 - the anthem of the USSR.
20th century
In the late 80s - 90s of the 19th century, a new trend arose in France, which became widespread at the beginning of the 20th century - impressionism. Musical impressionism revived certain national traditions - the desire for concreteness, programmatic, sophistication of style, transparency of texture. Impressionism found its most complete expression in the music of C. Debussy, affected the work of M. Ravel, P. Duke and others. Impressionism also introduced innovations in the field of musical genres. In Debussy's work, symphonic cycles give way to symphonic sketches; piano music is dominated by program miniatures. Maurice Ravel was also influenced by the aesthetics of Impressionism. In his work, various aesthetic and stylistic tendencies intertwined - romantic, impressionistic, and in his later works - neoclassical tendencies.
Along with impressionistic tendencies in French music at the turn of the 19th and 20th centuries. the traditions of Saint-Saens continued to develop, as well as Franck, whose work is characterized by a combination of classical clarity of style with vivid romantic imagery.
France played a significant role in the development of electronic music - it was here that specific music appeared in the late 1940s, under the leadership of Xenakis a computer with graphical input of information was developed - UPI, and in the 1970s the direction of spectral music was born in France. Since 1977, IRCAM, a research institute founded by Pierre Boulez, has become the center of experimental music.
Modernity
academic music
The musical center of France remains its capital - Paris. The Paris State Opera operates in Paris (gives performances at the Opera Garnier and Opera Bastille), concerts and opera performances are given at the Théâtre des Champs-Elysées, among the leading musical groups- National Orchestra of France, Philharmonic Orchestra of Radio France, Orchester de Paris, Orchestra Column and others.
Among specialized musical educational institutions- Paris Conservatoire, Scola Cantorum, Ecole Normal - in Paris. The most important musical research center is the Institute of Musicology at the University of Paris. Books, archival materials are stored in the National Library (the department of music was created in), the Library and the Museum of Musical Instruments at the Conservatory.
IN contemporary culture chanson is called popular French music, which retains a specific rhythm French, differing from songs written under the influence of English-language music. Among the prominent chanson performers are Georges Brassens, Edith Piaf, Joe Dassin, Jacques Brel, Charles Aznavour, Leo Ferre, Jean Ferrat, Georges Moustaki, Mireille Mathieu, Patricia Kaas and others. French chanson performers are usually referred to as chansonniers. In the 1960s, the direction and yé-yé (yé-yé, yéyé) was a popular variety of chanson, represented mainly by female performers, among them France Gall, Sylvie Vartan, Brigitte Bardot, Francoise Hardy, Dalida, Michel Torr.
France hosted the Eurovision Song Contest three times - in, and years. Five French musicians won the Eurovision Song Contest - Andre Clavier (), Jacqueline Boyer (), Isabelle Aubret (), Frida Boccara () and Marie Miriam (), after which the second place was the highest French achievement in years.
Jazz
A specific phenomenon was French house, characterized by an abundance of phaser effects and frequency cuts, inherent in Eurodisco of the 1970s. The founders of this direction are Daft Punk, Cassius and Etienne de Crécy. In the 2000s, house DJ David Guetta became one of the highest paid French musicians.
Rock and hip hop
Rock music in France has appeared since the late 1950s thanks to such performers as Johnny Hallyday, Richard Anthony, Dick Rivers and Claude Francois, who performed rock and roll in the spirit of Elvis Presley. In the 1970s, progressive rock was well developed in France. Among the patriarchs of French rock in the 1960s and 70s are the progressive rock bands Art Zoyd, Gong, Magma, similar in sound to German kraut rock. The 1970s also saw a thriving celtic rock scene, especially in the northwest of the country where Alan Stivell, Malicorne, Tri Yann and others come from. The key groups of the 80s are post-punks Noir Désir, metallers Shakin "Street and Mystery Blue. In the 1990s, an underground black metal movement was formed in France Les Légions Noires. The most successful groups of the last decade are metallers Anorexia Nervosa and performing rapcore Pleymo.
Pleymo are also associated with the French hip hop scene. This "street" style is very popular among non-indigenous people, Arab and African immigrants. Some performers from immigrant families have achieved mass fame, such as K. Maro, Diam's, MC Solaar, Stromae, Sexion d'Assaut.
France hosts such rock music festivals as Eurockéennes (since 1989), La Route du Rock (since 1991), Vieilles Charrues Festival (since 1992), Rock en Seine (since 2003), Main Square Festival (since 2004), Les Massiliades (since 2008).
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Literature
- O. A. Vinogradova.// Musical encyclopedia, M., 1973-82
- T. F. Gnativ. Musical culture of France at the turn of the nineteenth and twentieth centuries / Textbook for music universities. - K .: Musical Ukraine, 1993. - 10.92 p.
- French Music of the Second Half of the 19th Century (Sat. Art.), Intro. Art. and ed. M. S. Druskina, M., 1938
- Schneerson G., Music of France, M., 1958
- Edith Weber, Histoire de la musique française de 1500 to 1650, Regards sur l'histoire, 1999 (ISBN 978-2-7181-9301-4)
- marc robin, Ilétait une fois la chanson française, Paris, Fayard/Chorus, 2004, (ISBN 2-213-61910-7).
- Francois Porcile, La belle epoque de la musique française 1871-1940, Paris, Fayard, 1999, (Chemins de la musique) (ISBN 978-2-213-60322-3)
- Damien Ehrhardt, Les relations franco-allemandes et la musique à program, Lyon, Symétrie, 2009 (collection Perpetuum mobile) (ISBN 978-2-914373-43-2)
- Collectif (Auteur) Un Siècle de chansons françaises 1979-1989(Partition de musique), Csdem, 2009 (ISBN 979-0-231-31373-4)
- Henry, Blog: 2010.
- Paris A. Le nouveau dictionnaire des interpretes. Paris: R. Laffont, 2015. IX, 1364 p. ISBN 9782221145760.
- Dictionnaire des Musiciens: les Interpretes. : Encyclopaedia universalis France, 2016. ISBN 9782852295582.
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An excerpt characterizing the Music of France
All this news made me dizzy... But Veya, as usual, was surprisingly calm, and this gave me the strength to ask further.- And who do you call an adult? .. If there are such, of course.
- Well, of course! The girl laughed sincerely. - Want to see?
I just nodded, because my throat was suddenly completely seized with fright, and my “fluttering” conversational gift was lost somewhere ... I perfectly understood that right now I would see a real “star” creature! .. And, despite the fact that, as far as I could remember, I had been waiting for this all my conscious life, now all of a sudden all my courage for some reason quickly “went to the heels” ...
Veya waved her hand - the terrain has changed. Instead of golden mountains and a stream, we found ourselves in a marvelous, moving, transparent "city" (in any case, it looked like a city). And right towards us, along a wide, wet, silver-shiny “road”, an amazing man was slowly walking ... He was a tall, proud old man, who could not be called anything else but majestic! sometimes very correct and wise - and pure, like crystal, thoughts (which for some reason I heard very clearly); and long silvery hair covering him with a shimmering cloak; and the same, surprisingly kind, huge violet "Vaina" eyes ... And on his high forehead shining, wonderfully sparkling with gold, diamond "star".
“Rest to you, Father,” Veya said softly, touching her forehead with her fingers.
“And you, the departed one,” the old man answered sadly.
From him emanated endless kindness and affection. And I suddenly really wanted, like a small child, to bury my head in his knees and hide from everything for at least a few seconds, breathing in the deep peace emanating from him, and not think about the fact that I'm scared ... that I don't know where my house... and that I don't know at all - where I am, and what is really happening to me at the moment...
– Who are you, creature?.. – I mentally heard his gentle voice.
“I am human,” I replied. “Sorry to disturb your peace. My name is Svetlana.
The elder looked at me warmly and attentively with his wise eyes, and for some reason approval shone in them.
“You wanted to see the Wise One – you see him,” Veya said quietly. - Do you want to ask something?
- Please tell me, does evil exist in your wonderful world? – although ashamed of my question, I still decided to ask.
- What do you call "evil", Human-Svetlana? the sage asked.
- Lies, murder, betrayal ... Don't you have such words? ..
- It was a long time ago ... no one remembers anymore. Only me. But we know what it was. This is embedded in our "ancient memory" to never forget. Have you come from where evil lives?
I nodded sadly. I was very sorry for my native Earth, and for the fact that life on it was so wildly imperfect that it made me ask such questions ... But, at the same time, I really wanted Evil to leave our House forever, because that I loved this house with all my heart, and very often dreamed that someday such a wonderful day would come when:
a person will smile with joy, knowing that people can only bring him good ...
when a lonely girl is not afraid to walk through the darkest street in the evening, not being afraid that someone will offend her...
when you can open your heart with joy, without fear that your best friend will betray you...
when it will be possible to leave something very expensive right on the street, not being afraid that if you turn away - and it will be immediately stolen ...
And I sincerely, with all my heart, believed that somewhere there really was such a wonderful world, where there is no evil and fear, but there is a simple joy of life and beauty ... That is why, following my naive dream, I used the slightest opportunity to to learn at least something about how it is possible to destroy this very same, so tenacious and so indestructible, our earthly Evil... And one more thing - so that it would never be ashamed to tell someone somewhere that I am a Human. ..
Of course, these were naive childhood dreams ... But then I was still just a child.
– My name is Atis, Svetlana Man. I live here from the very beginning, I have seen Evil... A lot of evil...
– And how did you get rid of him, wise Hatis?! Did someone help you? .. - I asked hopefully. - Can you help us? .. Give at least advice?
– We found the reason... And killed it. But your evil is beyond our control. It is different... Just like others and you. And not always someone else's good may be good for you. You must find your own reason. And destroy it, - he gently put his hand on my head and a wonderful peace flowed into me ... - Farewell, Human Svetlana ... You will find the answer to your question. Rest to you...
I stood deep in thought, and did not pay attention to the fact that the reality surrounding me had changed a long time ago, and instead of a strange, transparent city, we now “floated” on dense purple “water” on some unusual, flat and transparent device, which there were no handles, no oars - nothing at all, as if we were standing on a large, thin, moving transparent glass. Although no movement or pitching was felt at all. It glided over the surface surprisingly smoothly and calmly, making you forget that it was moving at all ...
– What is it?.. Where are we sailing? I asked in surprise.
“To pick up your little friend,” Veya replied calmly.
- But how?!. She can't...
- Will be able. She has the same crystal as yours, was the answer. - We will meet her at the "bridge", - and without explaining anything else, she soon stopped our strange "boat".
Now we were already at the foot of some kind of brilliant “polished” black as night wall, which was sharply different from everything bright and sparkling around, and seemed artificially created and alien. Suddenly, the wall “parted”, as if in that place it consisted of dense fog, and in a golden “cocoon” appeared ... Stella. Fresh and healthy, as if she had just gone for a pleasant walk... And, of course, she was wildly pleased with what was happening... When she saw me, her pretty face beamed happily and, out of habit, she immediately chattered:
– Are you here too?!... Oh, how good!!! And I was so worried! .. So worried! .. I thought something must have happened to you. But how did you get here? .. - the baby stared dumbfounded at me.
“I think the same as you,” I smiled.
- And when I saw that you were carried away, I immediately tried to catch up with you! But I tried and tried and nothing worked ... until she came. Stella pointed at Wei with her pen. “I am very grateful to you for this, Wei girl! - according to her funny habit of addressing two people at once, she thanked sweetly.
- This "girl" is two million years old... - I whispered in my friend's ear.
Stella's eyes widened in surprise, and she herself remained standing in a quiet tetanus, slowly digesting the stunning news ...
“Ka-a-ak - two million? .. Why is she so small? ..” breathed Stella, stunned.
- Yes, she says that they live a long time ... Maybe your essence is from the same place? I joked. But Stella, apparently, did not like my joke at all, because she was immediately indignant:
- How can you?! .. I'm the same as you! I'm not purple at all!
I felt funny, and a little ashamed - the baby was a real patriot ...
As soon as Stella appeared here, I immediately felt happy and strong. Apparently, our common, sometimes dangerous, “floor walks” had a positive effect on my mood, and this immediately put everything in its place.
Stella looked around in delight, and it was clear that she was eager to bombard our “guide” with a thousand questions. But the little girl heroically restrained herself, trying to appear more serious and mature than she really was...
“Tell me please, Weya’s girl, where can we go?” Stella asked very politely. Apparently, she was never able to "put" in her head the idea that Veya could be so "old" ...
“Wherever you want, since you are here,” the “star” girl calmly replied.
We looked around - we were pulled in all directions at once! .. It was incredibly interesting and I wanted to see everything, but we perfectly understood that we could not stay here forever. Therefore, seeing how Stella fidgets in place with impatience, I invited her to choose where we would go.
- Oh, please, can we see what kind of "animal" you have here? – unexpectedly for me, asked Stella.
Of course, I would like to see something else, but there was nowhere to go - she herself suggested that she choose ...
We found ourselves in the likeness of a very bright forest, raging with colors. It was absolutely amazing! .. But for some reason I suddenly thought that I would not want to stay in such a forest for a long time ... It was, again, too beautiful and bright, a little oppressive, not at all the same as our soothing and fresh, green and light earthy forest.
Perhaps it is true that everyone should be where he truly belongs. And I immediately thought about our sweet "star" baby ... How she must have missed her home and her native and familiar environment! .. Only now I could at least understand a little how lonely she must have been on our imperfect and sometimes dangerous Earth...
- Please tell me, Veya, why did Atis call you gone? - I finally asked the question that was annoyingly spinning in my head.
“Oh, that’s because, a long time ago, my family volunteered to help other beings who needed our help. This happens to us often. And the departed never return to their home... This is the right of free choice, so they know what they are doing. That's why Atis took pity on me...
Who leaves if you can't come back? Stella was surprised.
“Very many... Sometimes even more than necessary,” Veya said sadly. – Once, our “wise ones” were even afraid that we would not have enough viilis left to normally inhabit our planet...
“What is a wiilis?” Stella asked.
- This is us. Just like you humans, we are viilis. And our planet is called Viilis. Wei replied.
And then I suddenly realized that for some reason we had not even thought of asking about it before!.. But this is the first thing we should have asked!
Have you changed, or have you always been like this? I asked again.
“They changed, but only inside, if that's what you meant,” Veya replied.
A huge, insanely bright, multi-colored bird flew over our heads ... A crown of brilliant orange “feathers” sparkled on its head, and its wings were long and fluffy, as if it was wearing a multi-colored cloud. The bird sat on a stone and stared very seriously in our direction ...
Why is she looking at us so closely? - Stella asked shivering, and it seemed to me that she had another question in her head - “has this “bird” already had dinner today?” ...
The bird cautiously jumped closer. Stella squeaked and jumped back. The bird took another step... It was three times larger than Stella, but did not seem aggressive, but rather curious.
“What, she liked me, didn’t she?” Stella pouted. Why doesn't she come to you? What does she want from me?
It was funny to watch how the little girl barely restrained herself so as not to shoot a bullet away from here. Apparently a beautiful bird did not cause much sympathy in her ...
Suddenly the bird unfolded its wings and a blinding radiance came from them. Slowly, slowly, a fog began to swirl over the wings, similar to the one that fluttered over Veya when we saw her for the first time. The fog swirled and thickened more and more, becoming like a dense curtain, and from this curtain huge, almost human eyes looked at us ...
- Oh, is she turning into someone?! .. - Stella squealed. - Look, look!
There really was something to look at, since the "bird" suddenly began to "deform", turning either into a beast, with human eyes, or into a man, with an animal body ...
- What is it? My girlfriend bulged her brown eyes in surprise. - What's going on with her?
And the “bird” had already slipped out of its wings, and a very unusual creature stood in front of us. It looked like a half-bird, half-human, with a large beak and a triangular human face, very flexible, like a cheetah, body and predatory, wild movements ... She was very beautiful and, at the same time, very scary.
This is Miard. – introduced being Weya. - If you want, he will show you "living creatures", as you say.
The creature, named Miard, again began to appear fairy wings. And he waved them invitingly in our direction.
- And why exactly him? Are you very busy, "star" Weya?
Stella had a very unhappy face, because she was clearly afraid of this strange "beautiful monster", but apparently she did not have the courage to admit it. I think she would rather go with him than be able to admit that she was simply scared ... Veya, clearly reading Stella's thoughts, immediately reassured:
He is very affectionate and kind, you will like him. After all, you wanted to see the living, and it is he who knows this best of all.
Miard cautiously approached, as if sensing that Stella was afraid of him... But this time, for some reason, I was not at all afraid, rather the opposite - he interested me wildly.
He came close to Stella, who at that moment was already almost squealing inside with horror, and gently touched her cheek with his soft, fluffy wing ... A purple mist swirled over Stella's red head.
- Oh, look - I have the same as Weya! .. - the surprised little girl exclaimed enthusiastically. – But how did it happen?.. Oh-oh, how beautiful!.. – this already referred to a new area with absolutely incredible animals that appeared before our eyes.
We stood on the hilly bank of a broad, mirror-like river, the water of which was strangely "frozen" and seemed to be easy to walk on - it did not move at all. Above the river surface, like a gentle transparent smoke, a sparkling mist swirled.
As I finally guessed, this “fog, which we saw everywhere here, somehow enhanced any actions of the creatures living here: it opened the brightness of their vision for them, served as a reliable means of teleportation, in general, helped in everything, no matter what at that moment these beings were not engaged. And I think it was used for something else, much, much more, which we still could not understand ...
The river meandered in a beautiful wide "snake" and, smoothly leaving into the distance, disappeared somewhere between the lush green hills. And amazing animals walked, lay and flew along both its banks... It was so beautiful that we literally froze, amazed by this amazing sight...
The animals were very similar to unprecedented royal dragons, very bright and proud, as if they knew how beautiful they were ... Their long, curved necks sparkled with orange gold, and spiked crowns shone on their heads with red teeth. The royal animals moved slowly and majestically, with each movement shining with their scaly, mother-of-pearl-blue bodies, which literally burst into flames, falling under the golden-blue sunbeams.
- Beauty-and-and-sche!!! Stella breathed out in delight. - Are they very dangerous?
“The dangerous ones don’t live here, we haven’t had them for a long time. I don’t remember how long ago... – came the answer, and only then we noticed that Veya was not with us, but Miard was addressing us...
Stella looked around fearfully, apparently not feeling too comfortable with our new acquaintance...
“So you don’t have any danger at all?” I was surprised.
“Only external,” came the reply. - If they attack.
– Does this happen too?
“The last time it was before me,” Miard answered seriously.
His voice sounded soft and deep in our brains, like velvet, and it was very unusual to think that such a strange half-human being communicates with us in our own “language” ... But we are probably already too used to various, transcendent miracles, because after a minute they freely communicated with him, completely forgetting that this is not a person.
- And what - you never have any, no trouble ?!. The little girl shook her head in disbelief. “But then you’re not interested in living here at all!”
It spoke the real, unquenchable Earthly "thirst for adventure." And I understood it perfectly. But for Miard, I think it would be very difficult to explain this...
- Why is it not interesting? - our "guide" was surprised, and suddenly, interrupting himself, he pointed up. – Look – Savii!!!
We looked up and were dumbfounded.... In the light pink sky, fabulous creatures soared smoothly!.. They were completely transparent and, like everything else on this planet, incredibly colorful. It seemed that wonderful, sparkling flowers were flying across the sky, only they were incredibly large ... And each of them had a different, fantastically beautiful, unearthly face.
“Oh-oh.... Look-and-those... Oh, what a marvel...” Stella, completely stunned, said in a whisper for some reason.
I don't think I've ever seen her so shocked. But there really was something to be surprised... In no, even the most violent fantasy, it was impossible to imagine such creatures!.. They were so airy that it seemed that their bodies were woven from a shining mist... , spraying sparkling golden dust behind him ... Miard "whistled" something strange, and the fabulous creatures suddenly began to smoothly descend, forming a huge "umbrella" above us, flashing with all the colors of their crazy rainbow... It was so beautiful that was breathtaking!
Mother-of-pearl-blue, pink-winged Savia was the first to “land” to us, which, having folded her sparkling wings-petals into a “bouquet”, began to look at us with great curiosity, but without any fear ... It was impossible to calmly look at her bizarre beauty, which attracted like a magnet and wanted to admire it endlessly ...
– Do not look for a long time – the Savii are fascinating. You won't want to leave here. Their beauty is dangerous if you don't want to lose yourself,” Miard said quietly.
“But how did you say that there is nothing dangerous here?” So it's not true? Stella was immediately indignant.
“But this is not the kind of danger that needs to be feared or that needs to be fought. I thought that's what you meant when you asked, - Miard was upset.
- Come on! We seem to have different ideas about many things. It's normal, isn't it? - "nobly" reassured his baby. - Can I talk to them?
- Speak if you can hear. - Miard turned to the miracle Savia, who had come down to us, and showed something.
The marvelous creature smiled and came closer to us, while the rest of his (or her? ..) friends still soared easily right above us, sparkling and shimmering in the bright sunlight.
“I am Lilis…fox…is…” an amazing voice whispered. It was very soft, and at the same time very resonant (if such opposite concepts can be combined into one).
Hello beautiful Lilis. Stella greeted the creature joyfully. - I'm Stella. And here she is - Svetlana. We are people. And you, we know, Savia. Where did you fly from? And what is Savya? - questions again rained down like hail, but I didn’t even try to stop her, since it was completely useless ... Stella just “wanted to know everything!”. And it always has remained so.
Lilis came very close to her and began to examine Stella with her bizarre, huge eyes. They were bright crimson, with golden flecks inside, and sparkled like gems. The face of this miracle creature looked surprisingly delicate and fragile, and had the shape of a petal of our earth lily. She “spoke” without opening her mouth, at the same time smiling at us with her small, round lips... But, probably, the most amazing thing was their hair... They were very long, almost reaching the edge of the transparent wing, absolutely weightless and , not having a permanent color, all the time flashed with the most varied and most unexpected brilliant rainbows ... The transparent bodies of Savia were sexless (like the body of a small earthly child), and from the back they passed into “petals-wings”, which really made them look like big colorful flowers...
“We flew in from the mountains-or ...” the strange echo sounded again.
"Could you tell us sooner?" asked Miarda impatient Stella. - Who are they?
- They were brought from another world once. Their world was dying, and we wanted to save them. At first they thought that they could live with everyone, but they could not. They live very high in the mountains, no one can get there. But if you look into their eyes for a long time, they will take it with them... And you will live with them.
Stella shivered and slightly moved away from Lilis, who was standing next to her... - And what do they do when they take you away?
- Nothing. They just live with those who are taken away. Probably they had a different world in the world, but now they do it just out of habit. But for us they are very valuable - they "clean" the planet. Nobody ever got sick after they came.
– So, you saved them not because you felt sorry for them, but because you needed them?!.. Is it good to use them? - I was afraid that Miard would be offended (as they say - do not go into someone else's hut with boots ...) and strongly pushed Stella in the side, but she did not pay any attention to me, and now she turned to Savia. – Do you like living here? Are you sad for your planet?
- No, no ... It's beautiful-wild-willow ... - the same soft voice whispered. - And well, osho ...
Lilis unexpectedly raised one of her glittering "petals" and gently stroked Stella's cheek.
“Baby... Good-shay-ay... Stella-la-a...” and the mist sparkled over Stella’s head for the second time, but this time it was multi-colored...
Lilis smoothly flapped her transparent petal wings and slowly began to rise until she joined her own. The Savii became agitated, and suddenly, flashing very brightly, they disappeared ...
– Where do they go? the little girl was surprised.
- They are gone. Here, look... – and Miard pointed to already very far, in the direction of the mountains, floating smoothly in the pink sky, marvelous creatures lit by the sun. They went home...
Wei suddenly appeared...
“It’s time for you,” the “star” girl said sadly. “You can't stay here that long. It's hard.
“Oh, but we haven’t seen anything yet! Stella was upset. – Can we come back here, dear Veya? Farewell, dear Miard! You're good. I will definitely come back to you! - as always, addressing everyone at once, Stella said goodbye.
Veya waved her hand, and we again whirled in a frenzied whirlpool of sparkling matter, after a short (or maybe it just seemed short?) Moment "thrown" us to our usual Mental "floor"...
- Oh, how interesting it is! .. - Stella squeaked in delight.
It seemed that she was ready to endure the heaviest loads, if only to once again return to the colorful Weiying world she had loved so much. Suddenly, I thought that she really must have liked it, since it was very similar to her own, which she liked to create for herself here, on the “floors” ...
My enthusiasm decreased a little, because I had already seen this beautiful planet for myself, and now I wanted something else! .. I felt that dizzying “taste of the unknown”, and I really wanted to repeat it ... I already I knew that this "hunger" would poison my further existence, and that I would miss it all the time. Thus, wishing to remain at least a little happy person in the future, I had to find some way to “open” the door to other worlds for myself ... But then I still hardly understood that opening such a door was not so simply... And that many more winters will pass while I am free to "walk" wherever I want, and that someone else will open this door for me... And this other will be my amazing husband.
“Well, what are we going to do next?” Stella pulled me out of my dreams.
She was upset and sad that she could not see more. But I was very glad that she became herself again and now I was absolutely sure that from that day on she would definitely stop moping and be ready for any new “adventures” again.
“Forgive me, please, but I probably won’t do anything else today ...” I said apologetically. But thank you very much for helping.
Stella beamed. She loved to feel needed, so I always tried to show her how much she meant to me (which was absolutely true).
- OK. Let's go somewhere else, - she agreed complacently.
I think she, like me, was a little haggard, only, as always, she tried not to show it. I waved my hand to her... and ended up at home, on my favorite sofa, with a bunch of impressions that now I had to calmly comprehend, and slowly, without haste to "digest"...
By the time I was ten, I had become very attached to my father.
I have always adored him. But, unfortunately, in my early childhood he traveled a lot and was at home too rarely. Every day spent with him at that time was a holiday for me, which I then remembered for a long time, and I collected all the words spoken by dad, bit by bit, trying to keep them in my soul, like a precious gift.
From an early age, I always had the impression that I had to earn my father's attention. I don't know where it came from or why. No one has ever prevented me from seeing him or talking to him. On the contrary, my mother always tried not to disturb us if she saw us together. And dad was always happy to spend with me all his leftovers from work, free time. We went to the forest with him, planted strawberries in our garden, went to the river for a swim, or just talked under our favorite old apple tree, which is what I liked to do almost the most.
In the forest for the first mushrooms...
On the bank of the Nemunas River (Neman)
Dad was a great conversationalist, and I was ready to listen to him for hours if the opportunity came across ... Probably just his strict attitude to life, the alignment of life values, the never-changing habit of not getting anything for nothing, all this created for me the impression that I must deserve it too...
I remember very well how, as a very young child, I hung around his neck when he returned home from business trips, endlessly repeating how much I love him. And dad looked at me seriously and answered: “If you love me, you don’t have to tell me this, but you always have to show ...”
And it was precisely these words of his that remained an unwritten law for me for the rest of my life ... True, I probably didn’t always succeed very well in “showing”, but I always tried honestly.
And in general, for everything that I am now, I owe it to my father, who, step by step, sculpted my future “I”, never giving any concessions, despite how selflessly and sincerely he loved me. In the most difficult years of my life, my father was my “island of calm”, where I could return at any time, knowing that they were always waiting for me there.
Having lived a very difficult and stormy life himself, he wanted to be sure for sure that I would be able to stand up for myself in any circumstances that were unfavorable for me and would not break down from any troubles in life.
Actually, I can say with all my heart that I was very, very lucky with my parents. If they were a little different, who knows where I would be now, and whether I would be at all ...
I also think that fate brought my parents together for a reason. Because it seemed to be absolutely impossible to meet them ...
My dad was born in Siberia, in the distant city of Kurgan. Siberia was not the original place of residence of my father's family. This was the decision of the then "fair" Soviet government and, as was always the case, was not subject to discussion ...
So, my real grandparents, one fine morning, were rudely escorted out of their beloved and very beautiful, huge family estate, cut off from their usual life, and put into a completely creepy, dirty and cold car, following the frightening direction - Siberia ...
Everything that I will talk about further, I have collected bit by bit from the memoirs and letters of our relatives in France, England, as well as from the stories and memoirs of my relatives and friends in Russia and Lithuania.
To my great regret, I was able to do this only after my father's death, after many, many years ...
Their grandfather's sister Alexandra Obolenskaya (later - Alexis Obolensky) was also exiled with them, and Vasily and Anna Seryogin, who voluntarily went, followed grandfather by their own choice, since Vasily Nikandrovich for many years was grandfather's attorney in all his affairs and one of the most his close friends.
Alexandra (Alexis) Obolenskaya Vasily and Anna Seryogin
Probably, one had to be a truly FRIEND in order to find the strength in oneself to make such a choice and go of one's own free will to where one was going, as one goes only to one's own death. And this "death", unfortunately, was then called Siberia ...
I was always very sad and hurt for our, so proud, but so mercilessly trampled by Bolshevik boots, beautiful Siberia! ... And no words can tell how much suffering, pain, lives and tears this proud, but exhausted to the limit, land absorbed ... Is it because it was once the heart of our ancestral homeland, "far-sighted revolutionaries" decided to denigrate and destroy this land, choosing it for their diabolical purposes?... After all, for many people, even after many years, Siberia still remained a "cursed" land, where someone's father died, someone's brother, someone then the son ... or maybe even someone's whole family.
My grandmother, whom I, to my great chagrin, never knew, at that time was pregnant with my father and endured the road very hard. But, of course, there was no need to wait for help from anywhere ... So the young Princess Elena, instead of the quiet rustle of books in the family library or the usual sounds of the piano when she played her favorite works, this time listened only to the ominous sound of wheels, which, as it were menacingly they were counting the remaining hours of her life, so fragile and turned into a real nightmare... She was sitting on some sacks at the dirty car window and staring at the last pitiful traces of the "civilization" so familiar and familiar to her going farther and farther away...
Grandpa's sister, Alexandra, with the help of friends, managed to escape at one of the stops. By common agreement, she was supposed to get (if she was lucky) to France, where at the moment her whole family lived. True, none of those present could imagine how she could do this, but since this was their only, albeit small, but certainly the last hope, it was too much luxury to refuse it for their completely hopeless situation. At that moment, Alexandra's husband, Dmitry, was also in France, with the help of whom they hoped, already from there, to try to help the grandfather's family get out of that nightmare into which life had so ruthlessly thrown them, with the vile hands of brutalized people ...
Upon arrival in Kurgan, they were settled in a cold basement, without explaining anything and without answering any questions. Two days later, some people came for grandfather, and stated that they allegedly came to “escort” him to another “destination” ... They took him away like a criminal, not allowing him to take any things with him, and not deigning to explain where and for how long they are taking it. Nobody ever saw Grandpa again. After some time, an unknown military man brought grandfather's personal belongings to the grandmother in a dirty coal sack ... without explaining anything and leaving no hope of seeing him alive. On this, any information about grandfather's fate ceased, as if he had disappeared from the face of the earth without any traces and evidence ...
The tormented, tormented heart of poor Princess Elena did not want to accept such a terrible loss, and she literally bombarded the local staff officer with requests to clarify the circumstances of the death of her beloved Nikolai. But the "red" officers were blind and deaf to the requests of a lonely woman, as they called her - "from the noble", who was for them just one of the thousands and thousands of nameless "numbered" units that meant nothing in their cold and cruel world ... It was a real hell, from which there was no way out back to that familiar and kind world in which her home, her friends, and everything that she was accustomed to from an early age, and that she loved so much and sincerely, remained .. And there was no one who could help or even gave the slightest hope of surviving.
The Seryogins tried to keep their presence of mind for three, and tried by any means to cheer up Princess Elena, but she went deeper and deeper into an almost complete stupor, and sometimes sat for days on end in an indifferently frozen state, almost not reacting to the attempts of her friends to save her heart and mind from final depression. There were only two things that briefly brought her back to real world- if someone started talking about her unborn child, or if any, even the slightest, new details came about the alleged death of her beloved Nikolai. She desperately wanted to know (while she was still alive) what really happened, and where her husband was, or at least where his body was buried (or abandoned).
Unfortunately, there is almost no information left about the life of these two courageous and bright people, Elena and Nikolai de Rohan-Hesse-Obolensky, but even those few lines from the two remaining letters from Elena to her daughter-in-law, Alexandra, which somehow survived in family archives Alexandra in France show how deeply and tenderly the princess loved her missing husband. Only a few handwritten sheets have survived, some lines of which, unfortunately, cannot be made out at all. But even what has been achieved screams with deep pain about a great human misfortune, which, without having experienced it, is not easy to understand and impossible to accept.
April 12, 1927 From a letter from Princess Elena to Alexandra (Alix) Obolenskaya:
“I am very tired today. She returned from Sinyachikha completely broken. The wagons are packed with people, it would be a shame even to carry cattle in them………………………….. We stopped in the forest – it smelled so delicious of mushrooms and strawberries there… It’s hard to believe that these unfortunate people were killed there! Poor Ellochka (meaning the Grand Duchess Elizaveta Feodorovna, who was the relative of my grandfather along the line of Hesse) was killed nearby, in this terrible Staroselim mine ... what a horror! My soul cannot accept this. Remember, we said: “Let the earth be down”?.. Great God, how can such a land be down?!..
Oh, Alix, my dear Alix! How can you get used to such horror? ...................... ..................... I'm so tired of begging and humiliating myself... Everything will be completely useless if the Cheka does not agree to send a request to Alapaevsk ...... I will never know where to look for him, and I will never know what they did to him. Not an hour passes without me thinking about such a familiar face for me ... What a horror it is to imagine that he lies in some abandoned pit or at the bottom of a mine! .. How can you endure this everyday nightmare, knowing that already I will never see him?!.. Just as my poor Vasilek (the name that was given to my father at birth) will never see him... Where is the limit of cruelty? And why do they call themselves human?
My dear, kind Alix, how I miss you!.. If only I knew that everything is all right with you, and that Dmitry, dear to your soul, does not leave you in these difficult moments........... ................................... If I had even a drop of hope to find my dear Nikolai, I would seems to have taken it all. The soul seems to have gotten used to this terrible loss, but it still hurts very much ... Everything without him is different and so deserted.
May 18, 1927 An excerpt from a letter from Princess Elena to Alexandra (Alix) Obolenskaya:
“The same nice doctor came again. I can’t prove to him that I simply don’t have more strength. He says that I must live for the sake of little Vasilka ... Is it so? .. What will he find on this terrible land, my poor baby? .................................. Cough resumed, sometimes it becomes impossible to breathe. The doctor always leaves some drops, but I am ashamed that I cannot thank him in any way. .................................. Sometimes I dream about our favorite room. And my piano... God, how far away it all is! And was it all? ............................... and cherries in the garden, and our nanny, so affectionate and kind. Where is all this now? ................................ (out the window?) I don’t want to look, it’s all covered in soot and only dirty boots are visible … I hate damp.”
My poor grandmother, because of the dampness in the room, which was not heated even in summer, soon fell ill with tuberculosis. And, apparently weakened from the shocks, starvation and illness, she died during childbirth, never seeing her baby, and not finding (at least!) The grave of his father. Literally before her death, she took the word from the Seryogins that, no matter how difficult it was for them, they would take the newborn (if he, of course, survives) to France, to his grandfather's sister. Which, at that wild time, to promise, of course, was almost “wrong”, since the Seryogins, unfortunately, had no real opportunity to do this ... But they, nevertheless, promised her that at least somehow to ease the last minutes of her, so brutally ruined, still very young life, and so that her soul, tormented by pain, could, at least with little hope, leave this cruel world ... And even knowing that they will do everything possible to keep their word to Elena , The Seryogins still didn’t really believe in their hearts that they would ever be able to bring this whole crazy idea to life ...
A musician in any company, as a rule, is a unique and highly respected person. Especially if he does not strive at all costs to show class by playing the guitar gathering dust in the corner. Here is a selection of the easiest musical instruments to master. Down with scales and conservatory! Life is too short!
KAZU
Kazu is a wind instrument with a built-in membrane, which is a small pipe, no larger than a smoking one. The tool is, frankly, ingenious. It sounds almost like a trumpet or a saxophone, and it does not require you to have any musical instrument skills at all. You just sing or mumble a melody into the receiver with your voice, and the tissue paper membrane does the rest for you.
Even The Beatles and Pink Floyd did not hesitate to use the kazoo. And God told you to.
Price: from 150 rubles.
UKULELE
Or, as it used to be called, the ukulele. You can play all the same, learning is much easier than on a regular one. True, there is a risk that the girls will not see you as a rock star: the instrument is not the most courageous.
It so happened that representatives of the weaker sex are very often fond of playing the ukulele. An additional plus: the tool is inexpensive. If the game does not work out, you can still feel like a rock star for a while, smashing it against the wall (or the head of a real guitarist).
Price: from 1,500 rubles.
CAJON
percussion musical instrument from South America, namely Peru). Outwardly, it looks like a small nightstand. The musician (yes, this is about you in the near future!) plays while riding a cajon. Due to the tension inside the body of the strings from the guitar or the spring from the usual “working” drum, it is possible to extract sounds from the cajon that are very similar to the sound of a real drum kit.
If, in addition to a sense of rhythm (which you have no doubt about, but if you doubt it, then here you are) you have the skill of handling elementary tools such as a screwdriver and a hammer, you can even try to assemble a cajon with your own hands.
Price: from 5,000 rubles.
harmonica
You have mastered the basic rules for extracting sound from a harmonica (blow yourself back and forth), and now for those around you (but not very much versed in technology), you are practically Sergei Chigrakov. If you add to this an understanding of the sequence of notes and their combination, you can safely put together a blues band.
Price: from 900 rubles.
BONGO DRUMS
Another member of the percussion family. Consists of two drums, which are fastened together. Remarkably, one of the drums is called "male", the other - "female". When playing, the bongo is clamped between the legs, the sounds are extracted with the palms and fingertips.
This tool is easy to master even for children. Freely transportable, which is why they are so popular with street musicians (why not an additional source of income for you?).
Price: from 2,000 rubles.
SAXOPHONE
The representative of the wind family, which sounds incredible, looks stunning, and at the same time, by the end of the first lesson, you can start extracting something similar to a stumbling melody. (For comparison: if you tried to take up the pipe, you would have to spend several weeks.)
