Professional musical art of the 19th century. Features of Russian music of the XIX century

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historyIRussian musical culture XIX centuryA

Historical features of Russian musical culture of the XIX century

In the history of Russian musical culture, the 19th century entered as a period of its complete and comprehensive development. During this period, M.I. created his immortal works. Glinka, A.S. Dargomyzhsky, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov, M.A. Balakirev, P.I. Tchaikovsky. Further development of the Russian musical classics associated with the names of A.K. Glazunov, A.K. Lyadova, S.I. Taneeva, A.N. Scriabin and S.V. Rachmaninov, a significant part of whose work falls already in the 20th century.

The process of establishing Russian musical culture was carried out rapidly and violently. He went simultaneously in different directions: in the field of new creative achievements in various genres, active enrichment of expressive means, in the development of musical-critical and aesthetic thought.

The achievements of the first half of the 19th century were prepared by the previous period, but many were completely new, brought about by changes in life itself. The content and ideological and aesthetic direction of the development of art was determined by the tense and complex socio-political situation that developed not only in Russia, but also in Western Europe. The economic and political development of a number of European countries was hampered by the aggressive policy of Napoleon I, who became Emperor of France after the defeat of the French Revolution. late XVIII century. The military campaign against Russia ended in defeat for Napoleon. In the Patriotic War of 1812, the entire Russian people stood up to defend the Motherland. These events gave rise to a great upsurge in society, caused the manifestation of the people's ardent patriotism, the growth of their civil, self-awareness. At the same time, the victory over Napoleon forced a fresh look at the situation of the masses. Popular discontent is growing, peasant unrest is intensifying, opposition moods are arising among the best representatives nobility who understand the terrible contradiction between the mighty heroic power of the people and their powerless, oppressed position in the country. These events gave strongest push Decembrist movement, which was brutally suppressed in 1825.

In the history of Russian art, the Decembrist uprising marked a deep milestone. The ideology of the Decembrists served as the soil on which A.S. Pushkin. On the eve of the December uprising, Pushkin wrote the first realistic folk tragedy "Boris Godunov", Griboedov wrote the accusatory comedy "Woe from Wit", the Decembrist years caused an unprecedented flourishing of poetic genres.

Decisive changes were also made in the field of music. Composers early XIX centuries work a lot in the field of theatrical genres. To early theatrical genres belong to the fabulous operas "The Invisible Prince" and "Ilya the Bogatyr", the patriotic opera "Ivan Susanin" by Kavos, Kozlovsky's music for the tragedies of V.A. Ozerov “Oedipus in Athens and Fingal”, “Deborah” by Shakhovsky, oratorio by S.A. Degtyarev "Minin and Pozharsky" or "Liberation of Moscow".

Vaudeville became widespread light comedy with musical numbers. The first Russian vaudeville is considered to be Shakhovsky's play "The Cossack Poet" with music by Kavos.

The instrumental creativity of Russian composers was mainly associated with home music-making. From works large form the concert overture, the one-movement symphony by A.A. Alyabyeva. As the author of various genre and character piano pieces, A.L. Gurilev. The most significant sonata, "24 preludes and fugues." The genre of variations was very developed. Quartets and other works for instrumental ensembles are also created. The guitar gained particular popularity, the founder of the guitar school was A.O. Sychra.

Composers A.N. Verstovsky, A.A. Alyabiev, A.E. Varlamov, A.L. Gurilev.

Verstovsky entered the history of music as a theater composer, author romantic operas. It was Verstovsky who revived Russian opera. For 10 years, not a single significant work in this genre was created. In his best opera "Askold's Grave" he introduced new themes, images and means of musical and dramatic expression.

In the period of the 1920s, M.I. Glinka. The period under consideration can be called the Glinka period. Mighty creative person Glinka raised Russian music to a new level of development, overshadowing almost everything created by her predecessors. Creator of Russian classical opera and classical romance, he also laid the foundations of classical Russian symphony. The main qualities that elevate him among other composers are the breadth of his view of the world, a deep connection with his time and the life of his people.

In the second half of the 1930s, a new name was put forward in Russian music - Dargomyzhsky. The beginning of the 19th century in Russia was marked by the rapid development of a new trend that swept all the countries of Europe - romanticism. Romanticism had a huge impact on the fate of world art. It expressed dissatisfaction with the new younger generation surrounding reality, a protest against the unjust social structure peace. Dreams of the freedom of the human person, the free manifestation of the spiritual forces of man with extraordinary force were reflected in Byron's work. The largest figures of art - Chopin and Mickiewicz, Hugo, Berlioz and Liszt - connected their names with the ideology of "militant romanticism".

Of particular importance for the development of Russian art was an important trend of romanticism - the struggle for national identity art forms, style and means of expression. Romantics came out in defense of everything individual, original, characteristic. They tried to arouse interest in the life of their native people, in its historical past, in folk songs, tales and legends. It was these aspects of romantic aesthetics that primarily affected the work of composers. Pushkin era and helped them significantly enrich the language and style of Russian music.

IN the best works era of romanticism, in the romances of Glinka, Alyabyev, in the operas of Verstovsky, in the temperamental lyrics of Varlamov, we find a vivid reflection of folk life, characters and types, the desire to penetrate deep into human soul. Overcoming the extremes of romantic aesthetics - subjectivism, exaggeration of feelings, striving for the "exceptional" - Russian composers, like their contemporaries - poets, are moving on to a more real and comprehensive reproduction of reality.

Pushkin had a decisive influence on the entire path of development of Russian music. Pushkin's concept of historical drama prepared Glinka's path for the folk-heroic opera Ivan Susanin. Pushkin's Ruslan and Lyudmila and Rusalka, deeply folk in spirit and style, determined the further development of Russian classical opera by Glinka and Dargomyzhsky. His lyrical poems became the basis of the Russian classical romance.

Already in mid-nineteenth century, Russian musical classics provide an example of the unity of deep content and perfect artistic form. The genre of opera has changed significantly. This is no longer a network of separate musical numbers united by one plot, but a complete musical and dramatic work with a single thematic concept and a monolithic form. The core of dramatic development is conflict. In his operas, Glinka unfolded the paintings national history(“Ivan Susanin”, 1836), epic epic (“Ruslan and Lyudmila”, 1842). His contemporary Dargomyzhsky showed in the opera Rusalka a drama of social inequality, a drama of a common man.

Glinka's symphonic music, his "Kamarinskaya" and "Spanish Overture" laid the foundations of program music. The same principles of symphonic development were implemented by his student Balakirev, Tchaikovsky and the composers of The Mighty Handful.

The development of musical culture in the 19th century was complex and full of contradictions. The beginning of the 19th century is the period of development of the romance genre. The Russian romance was influenced by Russian poetry, especially the work of A.S. Pushkin. musical culture Russian

Russian everyday romance of that time became, as it were, a laboratory for creative re-intonation, the creation of a new musical style. Russian and Ukrainian melody, Russian and Western European dance rhythms, speech and declamatory intonations in vocal music, separate "Italianisms" and common turns of German, French music - all this can be found in the genre of everyday romance.

The main features of the music of everyday romance: the leading role in the melody belongs to the sixth intonation: a jump by a sixth up and a jump by a sect down to a harmonic introductory tone with subsequent resolution; widespread use of melodic retention techniques; frequent use of a low register, which gives the music a special, pathetic character; the inclusion of recitative and declamatory turns as means of dramatization; predominance of the harmonic minor; frequent deviation in the nearest keys, juxtaposition of major and minor to show a change of mood, frequent use of the fourth raised degree; the use of rhythms of everyday dances, especially waltz, mazurka, polonaise, serenade; connection with everyday instrumental music, expressed in the use of guitar-like and harp-like figurations; the form of the romance is most often couplet; the spread of the gypsy style of performance.

Romantic trends manifested themselves in the ballad genre. Remarkable ballads by Verstovsky, Alyabyev, Varlamov appear. Constructed in the free form of an extended dramatic monologue, the ballad was distinguished by the complexity of the composition.

Verstovsky is considered to be the creator of the ballad. Widely known are his ballads "Black Shawl" to the words of A.S. Pushkin, "Three Songs of a Skald", "Poor Singer" to the words of Zhukovsky. One of the most widespread genres in the music of the first half of the 19th century is the “Russian song”, which arose as an imitation of folk music. These are folk songs. This genre received great importance from Alyabyev, Gurilev, Varlamov. Their "Russian songs" are rich and varied in content.

In the Pushkin era, elegy becomes a favorite type of creativity for both poets and musicians - a special kind of romance, in which contemplation, reflection, deep reflection prevail. Pushkin's elegies, rich in philosophical, civic content, attracted many composers. The elegy of Genishta to the words of Pushkin "The daylight has gone out" is well known. Remarkable is the elegy of the young Glinka "Do not tempt" to the words of Baratynsky. A special place in Russian vocal art is occupied by drinking and marching songs, in which the heroic-patriotic theme is touched upon.

Evidence of the growth of Russian musical culture in the second quarter of the 19th century was the work of Alyabyev, Varlamov and Gurilev.

AlyabievA.A.(1787-1851)

Alexander Alexandrovich Alyabyev was born in Tobolsk. Like many of his great contemporaries, he came from a well-born noble family, received an excellent and versatile education in childhood. From a young age, he showed creative talent. In 1812 volunteered for the hussar regiment, participated in many battles, was wounded and awarded with orders for military merit. From 1823 he lived in Moscow. Together with A.N. Verstovsky and F.Ch. Scholz wrote the music for the prologue "The Triumph of the Muses" for the opening Bolshoi Theater. In 1825 he was falsely accused of murder and exiled to Siberia with the deprivation of all rights and the title of nobility. The reason for the harsh sentence, apparently, was his closeness to the Decembrist circles. In 1828 Alyabyev was sent to Tobolsk. Here he led a symphony orchestra and a choir, performed as a conductor and pianist. He writes a lot, despite his failing health. With him, the themes of patriotism and love of freedom entered the Russian romance. Communication with A.S. was important for him. Griboyedov, poets - Decembrists, Dargomyzhsky.

Alyabyev made a significant contribution to chamber instrumental music. He wrote 3 string quartets, 2 piano trios, a piano quintet, quartets and quintets for wind instruments, pieces and cycles of variations for different instruments, music for dramatic performances, operas Moonlit Night or Brownies, The Tempest, Edwin and Oscar, The Fisherman and the Mermaid, Amalat-bek.

A contemporary of Glinka and Dargomyzhsky, Alyabyev in his best works approaches creative method these composers. Many of his operas were not staged and remained in manuscript. A special place in Alyabyev's work is occupied by "Russian songs" and romances-monologues. The author of the famous "Nightingale" to the words of Delvig, Alyabyev introduced a romantic stream into Russian vocal music.

He is one of the first composers who wrote a large number of romances to the words of Pushkin ("I loved you", "Awakening", "Winter Road", etc.). A special place is occupied by romances-monologues related to the theme of loneliness, exile, heavy wanderings: "Irtysh", "Evening Bells". In the works of the 1940s, he turns to subjects of social significance: "Tavern", "Hut", "Village watchman" to the words of N.P. Ogarev, "Beggar" to the words of Beranger, in which images of the destitute are shown. These songs prepared the innovative works of Dargomyzhsky ("Fever") and Mussorgsky ("Kalistrat", "Gopak", "Trepak").

Alyabiev sought to update the means of expression. He developed the declamatory elements of vocal melody, increased the expressive meaning of harmony and texture, gave independent meaning piano part of the romance.

VarlamovA.E.(1801-1848)

Alexander Egorovich Varlamov is a Russian composer, singer, teacher-vocalist and conductor. Musical education received at the St. Petersburg Court Chapel, where he was a chorister and studied with the director of the chapel D.S. Bortnyansky.

In 1819 was appointed teacher of choristers of the Russian court chapel in Holland. This is where his work began. choral conductor, chamber singer and guitarist. In 1823 returned to St. Petersburg, worked as a singing teacher in theater school. In 1843 he received the position of "composer of music" and assistant conductor of the imperial theatres.

In 1833 he published the first collection of romances and songs and the first Russian methodological guide to vocal pedagogy "The Complete School of Singing". He himself was a talented singer, master of the cantilena, a subtle and thoughtful interpreter.

Varlamov entered the history of Russian music as a master of romance. His romances reflect the figurative structure of the Russian folk song, its intonational and modal features. Subtle knowledge of vocal art helped him create bright patterns Russian cantilena, freely flowing melodies of wide breathing. Varlamov's style was greatly influenced by the manner of performance of gypsy singers.

Varlamov created about 200 romances and songs based on poems by Russian poets M.Yu. Lermontov, A.N. Pleshcheeva, A.A. Feta, A.V. Koltsova and others.

Among Varlamov's "Russian songs", 2 genres predominate - lyrical lingering and fast dance. In drawn-out songs - melodic generosity, plasticity of vocal melody, the use of Russian folk song techniques - variant-singing development, intra-syllable chants ("Oh, you time, time", "What are you early, grass"). The second type includes songs of an active rhythm: “A blizzard is sweeping along the street”, “Nightingale stray”.

The impact of urban folklore with its typical dance rhythms was reflected in the romances “Don’t wake her up at dawn”, “Don’t sing, nightingale”, “Don’t sew me, mother, red sarasran” (words by Tsyganov). Along with Gurilev's "The Bell" and Alyabyev's "The Nightingale", the romance "Don't sew me, mother, a red sundress" became public property.

Close to the elegiac lyrics of M.I. Glinka and A.S. Dargomyzhsky, Varlamov’s romances “Loneliness”, “Mountain Peaks”. The dramatic monologue “Reminder”, “Sadness”, the ballad “I will saddle a horse”, the temperamental romance to the words of Lermontov “The lonely sail turns white” created their own tradition in Russian lyrics and found a response in the work of A.S. Dargomyzhsky, P.I. Tchaikovsky, S.V. Rakhmaninov.

Main works: Ballets "Fun of the Sultan or the Slave Seller", "The Cunning Boy and the Cannibal", 200 romances and songs, vocal ensembles, choirs, music for dramatic performances.

GurilevA.L.(1803-1858)

Alexander Lvovich Gurilev - Russian composer, violinist, pianist teacher. The son of a serf musician, was born in Moscow. He studied music under the guidance of his father. From a young age he played violin and viola in the fortress orchestra. In 1831, together with his father, he received his freedom. Becomes famous as a composer, pianist and teacher. Difficult material conditions and severe mental illness in the last years of his life made it difficult for him to creative activity. But despite this, they wrote a large number of works.

The coverage of genres in Gurilev's piano legacy is wide - small pieces, concert fantasies on themes from Donizetti's opera "Lucrezia Borgia", fantasy on the themes of Glinka's opera "Ivan Susanin", variations on the themes of Alyabyev's romances "Nightingale, my nightingale", Varlamov "At the dawn of you don't wake her up", variations on the themes of Russian folk songs, polonaise, 2 waltzes, 5 mazurkas, etc. A wide variety of harmonic techniques, fluency in piano writing technique, virtuoso scope give reason to speak of Gurilev as a gifted composer, and as a subtle musician a performer with excellent piano skills. He wrote many romances to the words of Y. Lermontov, A.N. Koltsov, I. Makarov, N. P. Grekov and other poets: The songs “The Bell”, “The Swallow Winds” are imbued with elegiac moods. Charming images of girls are given in the songs "Mother Dove", "Girl's Sadness", "Sarafan". All of them are distinguished by their genre specificity, the smoothness of the three-part movement in the rhythm of the waltz.

Gurilev's best romances resonate with the lyrics of Glinka and Dargomyzhsky. We find the influence of Glinka in intonation turns, typical methods of an upward jump and its filling, singing of the central sound by figures such as groupetto, etc.

But in the best romances, Gurilev reveals the most attractive aspects of his lyrical talent. Such are his romances “You do not understand my sadness”, “Inner music”, “Separation”. Rapprochement with Dargomyzhsky can be seen in the romance to the words of Lermontov "Both boring and sad." The declamatory warehouse of the melody, its compressed range, expressive speech accents give the music the character of a conversation with oneself. Alyabyev, Varlamov, Gurilev largely foresaw, prepared the future path of the Russian romance.

RussianmusicXVIIIAndfirsthalfXIXcentury

Russian music has traveled a long and glorious path in its development. How many great composers: Glinka, Dargomyzhsky, Borodin, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Scriabin, Rachmaninov, Glazunov and many others! Their art glorified our Motherland. Their music sounds in all countries of the globe and awakens bright, kind and pure feelings in the hearts of people. The flourishing of musical culture in the 19th century was prepared by the entire course of its development in Russia. For centuries, precious springs of musical art have accumulated among the people. Folk poetic and musical creativity existed in ancient times, and it reflected the whole life and history of the people: their customs and rituals, their work and struggle for freedom, their hopes and dreams of a better life. Many harsh, courageous songs were created among the people about Stepan Razin, Emelyan Pugachev and other leaders of peasant uprisings and wars. The great Russian poet A.S. Pushkin highly appreciated the songs about Razin and Pugachev. In his story "The Captain's Daughter" Pushkin cites the song "Don't make noise, mother green oak forest" and speaks of it as Pugachev's favorite song. Our Russian classical composers carefully collected and studied their native song. Some of them - Balakirev, Rimsky-Korsakov, Lyadov - compiled collections of Russian songs for voice accompanied by piano. In their works, they often used Russian melodies. And when composing their own melodies, they introduced into them the intonations, chants and melodic turns characteristic of Russian songs. The music of Glinka and Tchaikovsky, Borodin and Mussorgsky is understandable and accessible to a wide audience precisely because it is rich in beautiful melodies and songlike. In the 18th century, household urban song, with chord harmonic accompaniment, new in its expressive character. The city song, which is simpler in its structure, arose on the melodic basis of an old folk song, which is often called "peasant song". And in almost every urban song, to some extent, chants, modal and rhythmic features of an old song are used. The work of Russian poets had a noticeable influence on the development of urban song. An example of this is the song “How did I upset you”, composed folk singers to slightly modified words of the famous Russian poet of the 18th century A. Sumarokov. In the 18th century there are sheet music records Russian folk songs. The first collection of folk songs was released by the singer-guslist V. Trutovsky; it was followed by an extensive collection compiled by the famous Russian poet N. Lvov in collaboration with I. Prach. These collections included not only the most popular and loved by the people old songs, but also newer city songs. The collections introduced music lovers to beautiful Russian melodies. Many of the songs were subsequently used by composers in operas and in instrumental works. Throughout the 18th century, the usual tunes of folk songs are increasingly heard in various instrumental pieces, in music for theater plays and in operas. Of course, interest in folk melodies did not arise immediately. At first, the inhabitants of both Russian capitals were content with the works of foreign composers. At the court in St. Petersburg, magnificent opera performances were often staged for a narrow circle of listeners. But much more important was the activity of small opera troupes, which often visited St. Petersburg and Moscow, starting from the 30s. Reasonable prices contributed to the general availability of performances. These were Italian and French funny comic operas based on everyday scenes, in which singing often alternated with conversational dialogues. Following the model of spoken operas, over time, created and first Russians operas. At first it was unpretentious household comedies with musical inserts based on melodies of Russian songs. Some of them ridiculed the life and customs of various classes - merchants, officials ("St. Petersburg Gostiny Dvor" by the serf musician M. Matinsky). And this, undoubtedly, manifested the connection of the first Russian operas with advanced Russian literature (in particular, with the work of Fonvizin). In those years, the publicly accessible "Russian Theater" was very famous in St. Petersburg. Talented Russian artists, such as, for example, E. Sandunova, performed on St. Petersburg and Moscow stages. The adornment of the Sheremetyev's home theater was the wonderful serf actress Parasha Zhemchugova (the song “Late Evening from the Woods” was formed among the people about her extraordinary fate). However, the fate of talented Russian actors and musicians in the conditions of feudal Russia often turned out to be tragic, many of the musicians died untimely. Despite the difficult, disenfranchised position of the musicians, in the last quarter XVIII century, Russia has already formed its own school of composition. Young composers create expressive romances and adaptations of Russian songs, piano and violin pieces, symphonic overtures, music for performances and, finally, operas. Among them were Dubyansky, Berezovsky, Bortnyansky, Fomin, Khandoshkin and others.

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For Russia The 19th century was the era of the formation of the Russian national music school. The traditions of opera, chamber vocal and symphonic music developed in this century. The process was influenced on the one hand by Western European culture, and on the other, by Russian folklore.

I HALF OF THE XIX CENTURY

Historical background. The reign of Alexander I, the war with Napoleon, the Decembrist uprising and almost 30 years of reaction, Nicholas I. Thus, the era of social upsurge is replaced by an era of reaction. This is reflected in all types of art, classical trends are gradually replaced by romantic ones.

In music, the first 20 years are in the traditions of the 18th century. In an era of national upsurge, the role of the opera is always enhanced. Musical Theatre this period is gradually developing, and by the 20s there are already different genres:

1) Drama, or tragedy with music (Kozlovsky, Titov, Davydov).

2) Vaudeville (from the time of the French Revolution) is a light comedy with couplets (Alyabyev, Varlamov, Verstkovsky).

3) Historical opera (Italian Caterino Cavos wrote the opera "Ivan Susanin", which ran until the mid-30s).

4) Fairy-tale-fantastic opera ("Lesta - Dnieper Mermaid", Davydov, Kavos).

5) Ballet. Mostly with foreign artists. Titov, Kavos, Davydov wrote.

The culmination of the first half of the 19th century was the work of Glinka, who laid the foundations of Russian musical classics. The golden combination of this era is Pushkin's poetry and Glinka's music.

The last period (40s-50s): the late work of Glinka. The heyday of Dargomyzhsky's creativity is the first pinnacle of realism in Russian music. Glinka and Dargomyzhsky expressed the romanticism of their time in their own way.

public musical life.

1) This is the heyday of private music salons in the homes of Russian aristocrats (for example, the salon of Odoevsky, who was an enlightened musician and a deep music critic; outstanding European touring musicians, including Liszt, also visited his salon).

2) Serf orchestras and theaters continue to exist; the music of Mozart, Haydn, Rossini, etc. is popular.

3) A galaxy of Russian performing musicians is growing.

4) In 1802, the first concert organization in Russia was opened - the Philharmonic Society. The first period of the flourishing of the RMK begins, when the formation of the Russian classical musical style is completed. The culmination of this period is the work of Glinka.

Russian classical musical style has absorbed various origins:

1) Russian and Ukrainian folklore;

2) spiritual traditions choral singing;

3) Russian city song and everyday romance (the influence of the gypsy performing style is very important);

4) traditional interest in the musical cultures of other peoples: Eastern (Orientalism), as well as Polish and Spanish music;

5) traditions of the Viennese symphony school;

6) the experience of Italian opera.

E-70S OF THE XIX CENTURY

1) Historical setting: Alexander II, defeat in the Crimean War, criticism of the autocracy, national rise and the abolition of serfdom (1861). The leading role of the democratically minded intelligentsia.

6) Outstanding performers: the Rubinstein brothers; G. Venyavsky, L. Auer - violin-chi. K. Yu. Davydov - conductor and cellist. E.F. Napravnik is a composer and conductor. Osip Petrov, Yu. F. Platonova and others.

7) Public musical life: from private salons to mass and democratic forms. Philharmonic Society. The Court Singing Chapel continues to work. In 1859, in St. Petersburg, and a year later in Moscow, the RMS opens. It was founded by Anton Rubinstein. On the basis of the RMO, conservatories were opened: in 1862 - in St. Petersburg, in 1866 - in Moscow. For the first time in Russia, musicians receive higher professional education. On the other hand, Balakirev opens (with the help of Stasov and Lomakin) a free music school for the masses and holding concerts. These 2 schools are in opposition (the conservatories are supported by the emperor). Balakirev conducts a lot, including in the countries of Eastern Europe, which strengthens Slavic ties. The largest musicians of Europe come to Russia: Schumann, Liszt, Wagner, Berlioz. Composers of this period studied RNP with great interest, processed and published collections (Balakirev, Rimsky-Korsakov, Tchaikovsky).

8) The main musical associations and major composers:

Balakirev circle (New Russian School of Music- "Mighty bunch"). In Europe it is called "Five". Continuation of the traditions of Glinka and Dargomyzhsky + interest in Russian history, folklore, as well as democratic ideas. The main members of the Mighty Handful: Balakirev, Mussorgsky, Cui Rimsky-Korsakov, Borodin (temporarily Gussakovsky, Ladyzhensky, Shcherbachev also adjoined). Stasov is an ideological inspirer, an outstanding art critic. He helped the work of the circle, supported young composers, supplied them with literary and historical materials for work on operas.

· Circle of Anton Rubinstein - RMS, conservatories and professors. They sought to bring Russian music closer to Western European traditions.

· Serov - composer, publicist, analyst.

· Artistic circle headed by N. Rubinshtein, playwright Ostrovsky, critic Odoevsky + artists of the Maly Theater. Young Tchaikovsky joined them. He wrote music for the performances "Thunderstorm", "Snow Maiden" (Moscow).

9) Main musical genres: 1. The song and romance develop, psychologism deepens, the musical language becomes more complicated, the social theme occupies a large place (Mussorgsky). 2. Opera: 3 main directions prevail - historical, lyrical-psychological and comic. 3. Ballet is experiencing a rebirth in the work of Tchaikovsky. 4) Symphonic music - "The Mighty Handful" develops folk-genre and epic symphonism.

Ticket 2

1. The eighteenth century is not only a time of brilliant victories of Russian weapons, the construction of luxurious palaces and parks, the creation of a Russian theater, the flourishing of literature and art. It was at this time that the tasks of enlightening the fatherland were set in full breadth. The ideology of Russian enlighteners - Kantemir, Trediakovsky, Lomonosov and others - was based on the experience of the enlightened monarch Peter I and his "scientific team". At this time, the humanistic ideals of the triumph of reason, the social value of a person, the importance of his civic duty are promoted. Russian classicism, as the main literary trend of the era, proclaimed the ideas of patriotism and service to the motherland. It was at this time that the words patriot and patriotism came into use.

2. One of the first architects to work in the Art Nouveau style was the Belgian Victor Horta. In his projects, he actively used new materials, primarily metal and glass. He gave unusual shapes to supporting structures made of iron, reminiscent of some fantastic plants. The stair railings, the lights hanging from the ceiling, even the doorknobs, were all meticulously designed in the same style. In France, the ideas of Art Nouveau were developed by Hector Guimard, who created, among other things, the entrance pavilions of the Paris Metro.

Having first appeared in Belgium, this style in Germany was called Jugendstil (more correctly, Jugendstil, German jugendstil), in Austria it was called Secession, in France - Art Nouveau, etc. (see Modern). The term "secession" comes from the name of associations of artists and architects that appeared in Europe at the end of the 19th century, secessions. In translation - "split". The first such secession arose in Munich in 1892, on the initiative of Franz von Stuck, Wilhelm Trudner and Fritz von Youde. In 1893 the Berlin Secession was established, and in 1894 the Vienna Secession, the most famous.

Art Nouveau architecture is diverse. This style has incorporated elements of all previous styles. Art Nouveau buildings can resemble Moorish palaces, castles, and factory buildings. However, in contrast to the eclecticism that preceded modernity, its authors refused to directly copy the forms of the Renaissance and Baroque. At the end of the XIX century. Louis Sullivan in Chicago, Henrik Petrus Berlage in Amsterdam, Henri van de Velde in Belgium, and Otto Wagner in Vienna simultaneously raised their demands against imitation, and their protest against historicism did not go unheeded.

The style evolved, and over time, several directions emerged:

1. neo-romanticism where elements are used Romanesque style, gothic, renaissance and other styles. An example is the Catholic Cathedral of the French Embassy in St. Petersburg (L. N. Benois and M. M. Peretyatkovich), a building with elements of the Romanesque style. Within neo-romanticism, Gothic, Byzantine and a number of other traditions are distinguished.

2. Neoclassicism, an example is the Theater on the Champs Elysees in Paris (O. Perret), the Piccadilly Hotel in London (N. Shaw), the Azov-Don Bank on Bolshaya Morskaya Street. in Petersburg, etc.

3. Rationalism, a direction dominated by simpler forms. It should be noted that in Russia the term rationalism (architecture) is usually applied not to Art Nouveau, but to the later avant-garde.

4. Irrationalism, an example is the Samariten store in Paris (F. Jourdain).

5. The so-called brick style, when architects abandoned plaster, and all the decorative details of the building were made of brick (its founder in Russia was V. A. Schroeter).

6. In some large cities and regions, Art Nouveau had its own distinctive features. This is how the terms appeared: Art Nouveau Viennese, Berlin, Parisian, in Russia - Moscow, St. Petersburg, Riga, provincial, etc. In Scandinavia, an architectural trend has developed, called “national romanticism” there. In Russia, this style is known as northern modern, or Finnish, and houses in this style can be seen in the small town of Vyborg.

The period of architecture of the late XIX - early XX century was estimated in different ways. Some generally delete it from the history of architecture, others consider it a period of decline, others see it as a preparatory period in the development of further architecture. However, Art Nouveau has taken its place in the world.

TICKET 3

1. Age of Enlightenment- (fr. siècle des lumières, German Aufklärung) is one of the key eras in the history of European culture, associated with the development of scientific, philosophical and social thought. This intellectual movement was based on rationalism and freethinking. Starting in England, this movement spread to France, Germany, Russia and other European countries. Especially influential were the French Enlightenment, who became the "rulers of thoughts." The principles of the Enlightenment were the basis of the American Declaration of Independence and the French Declaration of the Rights of Man and Citizen. The intellectual and philosophical movement of this era had a great influence on subsequent changes in ethics and social life Europe and America, the struggle for the national independence of the American colonies of European countries, the abolition of slavery, the formation of human rights. In addition, it shook the authority of the aristocracy and the influence of the church on social, intellectual and cultural life.

fr. postimpressionisme, from lat. post - after and impressionism), a set of trends that arose during french art in the second half of the 1980s and replaced impressionism. The beginning of post-impressionism is considered to be the mid-1880s, when the last exhibition of the Impressionists took place and the Manifesto of Symbolism (1886) by the poet Jean Moreas was published. New trends declared the rejection of the aesthetics of impressionism and realism. They were united by the willingness to convey in the pictures not momentary, but long-term, essential states of life, both material and spiritual. The search went in different ways: this is pointillism (Georges Seurat, Paul Signac), and the symbolism of Paul Gauguin and the Nabis group (Maurice Denis, Paul Serusier, Edouard Vuillard, Pierre Bonnard, etc.), and the creation of a linear-pictorial system of the Art Nouveau style (Henri de Toulouse-Lautrec and others), and penetration into the constructive basis of the subject (Paul Cezanne), and even the painting of Vincent van Gogh, which foreshadowed the experiments of expressionism.
The general direction, denoting artistic currents that appeared after impressionism. Artists refused to depict only the visible reality, but sought to depict its basic, regular elements. A wide range of post-impressionism contains the emergence of views on the objective laws of painting (Cezanne), the depiction of imaginary processes (Redon), surrealism (Van Gogh), the primitive sources of our society (Gauguin) or the poetic nature of reality (Rousseau). The principles of artistic trends and pictorial elements of post-impressionism became the basis of trends in modern painting.

TICKET 4

1. Romanticism - (French romantisme), an ideological and artistic direction in European and American spiritual culture of the late 18th - 1st floor. 19th centuries Reflecting disappointment in the results of the French Revolution of the late 18th century, in the ideology of the Enlightenment and social progress. Romanticism contrasted utilitarianism and the leveling of the individual with the aspiration for unlimited freedom and the "infinite", the thirst for perfection and renewal, the pathos of personal and civil independence. The painful discord between the ideal and social reality is the basis of the romantic worldview and art. Affirmation of the intrinsic value of the spiritual and creative life of the individual, image strong passions, the image of strong passions, spiritualized and healing nature, for many romantics - the heroics of protest or struggle coexist with the motifs of "world sorrow", "world evil", the "night" side of the soul, dressed in the forms of irony, grotesque poetics of two worlds. Interest in the national past (often its idealization), traditions of folklore and culture of one’s own and other peoples, the desire to create a universal picture of the world (primarily history and literature), the idea of ​​art synthesis found expression in the ideology and practice of Romanticism.

In Russia, romanticism manifested itself to varying degrees in the work of many masters - in the painting and graphics of A. O. Orlovsky, who moved to St. Petersburg, in the portraits of O. A. Kiprensky, and, to some extent, V. A. Tropinin. Romanticism had a significant influence on the formation of the Russian landscape (the works of Sylv. F. Shchedrin, Vorobyov M. N., M. I. Lebedev; works of the young I. K. Aivazovsky). Features of romanticism were inconsistently combined with classicism in the works of K. P. Bryullov, F. A. Bruni, F. P. Tolstoy; at the same time, Bryullov's portraits give one of the most vivid expressions of the principles of romanticism in Russian art. To a certain extent, romanticism affected the painting of P. A. Fedotov and A. A. Ivanov.

Jonathan Swift (1667-1745).

Anglo-Irish satirist, publicist, poet and public figure. He is best known as the author of the fantastic tetralogy Gulliver's Travels, in which he wittily ridiculed human and social vices. He lived in Dublin (Ireland), where he served as dean (rector) of St. Patrick's Cathedral. Despite his English origin, Swift vigorously defended the rights of ordinary Irish people and earned sincere respect from them.

For example, in the description of Lilliput Swift proceeds from the premise that the growth of Lilliputians is twelve times less height Gulliver. Therefore, in this country, the surface measures are reduced by 144 times, respectively, and the volume - by 1728 times. In the country of the giants, where Gulliver himself becomes a midget, we find inverse relationships. Hence - a lot of funny episodes. The author tells in detail what incredible work it took for the Lilliputian tailors to sew a new suit for Gulliver, how much matter went into him, how expensive it was to maintain the captive (he ate almost 2000 servings at a time), how difficult it was to find a suitable home for him, etc. By the way, the relativity of quantities in an infinitely diverse world, the limited ideas about big and small are the subject of Swift's thoughts in other works, in particular, in the satirical treatise On Poetry (1723):

From the first to the fourth part satire is constantly growing, becoming more and more caustic and comprehensive.

The ship's doctor Lemuel Gulliver finds himself in the country of Lilliput, in which small, twelve times smaller than people, men live. They capture Gulliver, later the local king takes a vassal oath from him with a promise of obedience and releases him.

In this part of the tetralogy, Swift sarcastically describes the exorbitant conceit of the Lilliputians and their manners, caricaturally copying human ones. Many episodes here, as in other parts of the book, satirically allude to Swift's contemporary events.

In the second part of the novel, which describes the adventures of Gulliver in the country of giants, Swift no longer castigates individual shortcomings of the political and public life England and not individual rulers, but the entire system of government and government as a whole. The central place in the second part of the Travels is occupied by Gulliver's conversation with the king of giants, to whom Gulliver tells in detail about English laws and customs.

The same thoughts, but in an even sharper form we find in the third part of the novel, which describes Gulliver's travels to other fictional countries.

In the fourth part of the novel the hero finds himself in the fantastic state of the Houyhnhnms. Describing Gulliver's stay in the country of horses, Swift tries to prove to his compatriots that their life is inhuman and ugly, unreasonable and cruel.

Faculty: "Automobiles and automotive industry"

ABSTRACT ON CULTUROLOGY
BY THEME: "The heyday of the musical classics of Russia in the 19th century"

Performed by a student of the group 21-A / 10 Valiev A.A.

Lecturer: Makeev A.I.

2011

CONTENT

INTRODUCTION
1. Russian musical culture of the first half of the nineteenth century
1.1 Development of musical genres
1.2 The creative genius of M.I. Glinka
2. Musical art of the post-reform era (second half of the 19th century)
2.1 Creativity of P.I. Tchaikovsky. Peaks of musical romanticism
3. Musical culture of the "Silver Age" (1890s - 1917)
3.1 A new direction in Russian sacred music
3.2 The path to the "mystery" A.N. Scriabin
CONCLUSION
LIST OF USED LITERATURE

INTRODUCTION

The flourishing of musical culture in the 19th century was prepared by the entire course of its development in Russia.
Folk poetic and musical creativity existed in ancient times, and it reflected the whole life and history of the people: their customs and rituals, labor and struggle for freedom, hopes and dreams of a better life.
Russian composers carefully collected and studied folk songs. Balakirev, Lyadov, Rimsky-Korsakov compiled collections of Russian songs for voice and piano.

The wealth of Russian music is immeasurable. For over ten centuries, its traditions have been formed and developed in close contact with the musical culture of other countries and in constant interaction with other types of artistic creativity. That is why, turning to the study of the history of Russian musical art of the imperial era, one inevitably has to combine several aspects of its consideration at the same time.
Russian music is the most important part of Russian culture. Like Russian literature, poetry, painting, theater, it vividly reflects all stages of social life, the formation of Russian philosophical and aesthetic thought. In its diverse genres and forms, the history of the people, their liberation struggle, the character of the Russian person, the originality of Russian nature and life have found their embodiment.
At the same time, Russian music is a great page of world culture, the most important link in the general chain of the historical development of musical thinking, in the birth and change of stylistic trends in European musical art. Not a single more or less significant achievement of Russian music has ever been nationally limited, but has always had deep international significance. And by the time of its classical heyday, the very breadth of international connections had become a striking national feature of Russian music, ensuring not only its worldwide recognition, but also its leading role in the worldwide progress of musical culture.
Russian music is one of the leading Slavic cultures. With the culture of other Slavic peoples, it is connected with the time of its origin, arising, like all of them, from the music of the ancient Slavs. Therefore, deep intonation interactions stand out here especially brightly, as evidenced, especially since the 17th century, by the widespread use of melodics of Ukrainian, Belarusian folklore, the folklore of the southern and western Slavs in the work of Russian composers, as well as the process of formation of various professional genres.
The concept of "history of music" is plural in terms of its terms. Its study cannot be limited to the works of composers and musical folklore. An important role is played by the social function of musical art in the life of the state, the degree of development of performing culture and scientific thought about music, the level of aesthetic perception of musical art by individual social groups, the state of musical enlightenment and education.

1. Russian musical culture of the first half of the 19th century

1.1 Development of musical genres

The first half of the 19th century was the heyday of urban everyday song and everyday romance. Along with the growth of cities and the development of the social structure of urban life, the Russian urban song was also enriched, absorbing a wide, versatile content. It had a profound effect on the work of Russian composers and found a kind of implementation in the lyrics of the masters of Russian romance - Glinka, Dargomyzhsky, Alyabyev, Varlamov, Gurilev. In the song-romance - the most common and accessible of all genres of music - the connection between the composer's and folk creativity was clearly realized. Composers of the first half of the 19th century abundantly drew material from everyday songs. At the same time, their own songs were firmly established in everyday life and became popular, such as, for example, Varlamov's "Red Sundress", Alyabyev's "Nightingale", Gurilev's "Bell".
The urban song of the early 19th century is rich in content and diverse in genre. Its creators sensitively responded to everything around them: not a single major event in Russian reality went unnoticed, not reflected in the song. The Patriotic War of 1812 gave rise to a number of new soldiers' songs - heroic, marching, comic, satirical. They expressed the deep, penetrating attitude of the people to the great events of our time. The recruit song becomes especially popular in the cruel age of the Arakcheev region. Songs about the hard life of a soldier, about separation from his family, about the unknown death of a warrior in a foreign land were in tune with the public mood of that time. They found an outlet for the heavy thoughts and moods of the Decembrist years, thoughts about the servitude of the people and the tragic fate of ordinary people.
The era of the Decembrists marked the beginning of the development of revolutionary song in Russia. Great merit in this regard belongs to the leaders of the Decembrist movement - Ryleev and Bestuzhev. The traditions of the revolutionary song, laid down by the Decembrist poets, were taken up and developed by their contemporaries. The themes of love of freedom and protest, the struggle against social oppression deeply penetrated into the everyday song.
On the basis of folk-everyday song lyrics, a rich and diverse romance creativity of composers of the first half of the 19th century was born and developed. As in the previous century, the vocal lyrics of the early 19th century were sensitive to the aesthetic needs and demands of various social groups. The romance of the “higher”, aristocratic circle (mainly French), the romance of the noble salon of the middle class, the romance in the circles of the literary intelligentsia, and, finally, the song-romance of a wide democratic milieu are far from homogeneous phenomena. Russian romance, like Russian poetry, developed under the influence of advanced ideas that fed Russian culture. Already in the first quarter of the 19th century, romance lyrics went a long way in development - from sentimental romance, which had not yet broken with the traditions of the 18th century (Kozlovsky, Zhilin, Kashin), to the deep, psychologically rich works of Alyabyev.
The development of the instrumental culture of the first third of the 19th century is characterized by a clear predominance of chamber tendencies, manifested both in creativity and in the forms of everyday music-making. The art of chamber performance found fruitful ground in the conditions of Russian life, when the passion for music began to capture ever wider sections of society. Amateur musical evenings, quartet meetings, concerts in educational institutions and private homes contributed to the growth and prosperity of chamber art to a large extent, while the performance of large symphonic works, of course, was at that time a more difficult task.
During the first half of the 19th century, many chamber ensembles of various genres appeared in Russian music. Among them are string quartets, sonatas for bowed string or wind instruments with piano accompaniment, ensembles for string and wind instruments of various composition (including, for example, such a rare type of ensemble as Alyabyev's quartet for four flutes, 1827). Not all of these works reach truly professional level, however, the best of them pave the way to the creation of Russian chamber classics, to the works of Glinka, Tchaikovsky, Borodin.
Piano music acquired another meaning in musical and social life. Closely related to the conditions of home life, accessible to the most broad circles lovers, it responded more flexibly to the new demands of the growing national culture. Tracing the evolution of Russian piano music during the first half of the 19th century, one cannot limit its achievements to the field of solo works. The development of piano culture was based on the interaction of all genres of chamber music, including romance and chamber ensemble. In close merging with the vocal, song tradition, such valuable qualities of the piano school as expressive melodiousness, softness and warmth of the lyrical tone, generous melodic richness of texture and thematics were formed. In the field of the chamber ensemble, traditions of a brilliant, virtuoso concert style developed. It should be noted that it was in the genre of the piano ensemble (where the leading role belonged, as a rule, to the pianist) that the chamber music of the Glinka period showed itself most clearly.
Symphonic music occupied a special place in the work of Glinka's older contemporaries. The development of major symphonic forms in the first decades of the 19th century is still closely connected with opera, a theatrical tradition. Under the conditions of a relatively poorly developed concert life, orchestral music, of course, has not yet had time to enter an independent path of development. However, in her own way she convincingly reflected the artistic evolution of Russian art of that time. In the genre of program overture to an opera or drama performance, Russian composers managed to realize interesting, bold ideas. The overtures of Kozlovsky, Davydov, Alyabyev and Verstovsky, brilliant in their orchestration and expressive in their themes, prepared Glinka's symphonic principles. They reflected big way, passed by Russian music from classicism of the 18th century through "frantic romance" to the realistic symphony of "Susanin", "Kamarinskaya" and "Ruslan".

1.2 The creative genius of M.I. Glinka

Glinka's work was of particular importance for the development of Russian national culture: Russian musical classics developed in his works. Glinka will forever remain in history the first Russian composer of world significance, and therefore - a unique, exceptional, inimitable phenomenon.
Glinka became the founder of a new era of Russian art. He acted not only as the finalist of the passed stage, but also as an opener of new paths. He not only summarized the best artistic traditions of the past, but also gave a new turn to the entire development of Russian music.
At the heart of all Glinka's activities lies that effective idea of ​​patriotism, which, under the conditions of the Decembrist period, was inextricably linked with the concept of true nationality. Glinka entered our consciousness, first of all, as a singer of the Russian people. Glinka's art was nourished by the origins of folk art, assimilated the most ancient traditions of Russian choral culture, and re-implemented artistic principles Russian composer school of the 18th and early 19th centuries. The Russian monumental choral a cappella style, early Russian opera, everyday song-romance, and folk song tradition in the genres of instrumental music of the 18th century lead to the art of Glinka. Of course, Glinka melted all these elements into a new quality of a more perfect, classical style. He was the first to give Russian professional music a wide scope, the power of ideological content and the perfection of artistic forms. The new content of Glinka's art is connected, first of all, with a new understanding of the most important principle of the Russian school of composers - the principle of nationality. The composer owns the wonderful words: "... the people create music, and we, the artists, only arrange it." Nationality for Glinka is a deep and versatile reflection of the life of the people, their worldview and character, their historical experience.
In his understanding of nationality, the composer was alien to national limitations. One of the most advanced, deeply thinking artists of the era of romanticism, he was keenly interested in the art of various peoples, their way of life and customs, their language. His music widely reflects the songs of the East, the grace of Polish dance, the temperamental Spanish dance, and the captivating bell canto of Italian melodies. Such a breadth of perception in Glinka's work is a typical feature of the Russian classical school.
The problem of nationality in the mind of Glinka was inseparably linked with the demand for a truthful reflection of life, with a realistic method of creativity. And here the composer rose a step above his predecessors. Overcoming everyday realism of the 18th century, he came to the aesthetic principles of high typification and poetic generalization of the phenomena of reality. Of particular importance in the creative method of Glinka is the problem of skill. None of his predecessors paid so much attention to the issues of artistic form, architectonics, and composition. Any work of Glinka attracts with its integrity and harmony of form, accuracy and clarity of musical expression.
Glinka's national art does not belong to either classicism or romanticism, and even more so it is not a simple sum of classic and romantic elements. Having absorbed the achievements of Western European musical culture. Having mastered high skill to perfection, he developed his own system of aesthetic views, based on the principles of Russian artistic realism of the Pushkin era. Glinka's style is subordinated to this system.
Glinka left behind a huge invaluable legacy to posterity - his works, which include the operas "Ivan Susanin" and "Ruslan and Lyudmila"; "Kamarinskaya", "Waltz-Fantasy" and other symphonic works; more than 70 romances; chamber instrumental ensembles and piano works.
The role of Glinka in Russian musical art is great. Only with his work did Russian music enter the path of broad, monumental, popular art.

2. Musical art of the post-reform era (second half of the 19th century)

Historical period 60-80 years. The 19th century is usually called post-reform - in 1861, serfdom was abolished by a royal decree, which led to the liberalization of Russian public life. This stage is marked by a high flourishing of artistic culture as an integral and original phenomenon. It was then that a certain system of spiritual and aesthetic values ​​was formed in art, which were embodied in literature and theater, in painting and music.
Musical art has not remained aloof from the burning issues of our time. Populist positions are characteristic of the worldview of many composers who believed in the messianic role of the Russian people, in the triumph of their historical spiritual feat. The music reflected the entire spectrum of intense moral quests of the Russian intelligentsia of those years, embodied the ideals inspired by time in musical images. Some masters idealized Russian history, the purity of folk life, others believed in the self-improvement of the individual on the basis of the laws of folk ethics, while others sought to embody in their work a certain prototype of folk culture, born from an ever-living source - primordial nature.
The genre originality of Russian music is closely connected with the "literary centrism" characteristic of the artistic culture of the post-reform era. Generated by the aesthetics of realism, it was expressed in the priority role of the word, artistic and journalistic. The leading genre of music at this time is opera - historical, epic, lyrical, dramatic. Other synthetic musical genres continue to develop - romance, song. Vocal music completes the "musical encyclopedia" of Russian poetry, enriching it with socially accusatory and lyric-psychological images.
The instrumental music of this era also gravitates towards a realistic plot, towards the specifics of a literary source. This was reflected, in particular, in special meaning which acquires software instrumental music from Russian composers. She draws from all world literature (from traditional Pushkin's texts to the works of Shakespeare), rethinking them from the standpoint of modernity.
The culmination in the development of instrumental music was the creation of the Russian multi-part symphony, which testifies to the high maturity of domestic symphony - lyrical-dramatic (by P.I. Tchaikovsky), epic (by A.P. Borodin). Other types of symphonic music also developed - instrumental concertos (A.G. Rubinshtein, P.I. Tchaikovsky, N.A. Rimsky-Korsakov), overtures, fantasies, symphonic paintings.
A sign of the multi-genre flourishing of music is the birth of classical Russian ballet, in which the dramatic essence of the plot is revealed by symphonic means.
The development of musical culture could not but reflect two main trends that are significant for the Russian national mentality. The first of these is related to the acceleration of the pace of Europeanization. musical life, with radical shifts in concert practice, performance, education. The Russian Musical Society (RMO) was organized, the first conservatories were opened in St. Petersburg and Moscow.
The second trend of the Russian musical culture of the post-reform era was closer to the "soil" public views. So, the circle of musicians headed by M.A. Balakirev became the center of the musical life of St. Petersburg. He went down in history as the New School of Music, or "The Mighty Handful". The circle was made up of novice composers who did not receive a professional education and found in M.A. Balakirev of his main mentor: Ts.A. Cui, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov. The aesthetic positions of the "Kuchkists" were formed on the basis of radical populist ideas, supported by the rich experience in the development of domestic music of previous years, the work of M.I. Glinka and A.S. Dargomyzhsky. Members of the "Mighty Handful" believed that national art grows out of folk art, and the path of the Russian composer is connected with the realization in music of the image of the people, their history, their moral ideals.

2.1 Creativity P.I. Tchaikovsky

Peaks of musical romanticism.
The work of P.I. Tchaikovsky absorbed and focused comprehensive information about a person, the psychology of his feelings, the dynamics of passions; it captured the dialectic of natural impulses for happiness and the impossibility of changing the tragic essence of earthly Being.
The genius of Tchaikovsky was formed in the post-reform era. He witnessed the high rise and fall of the populist movement in Russian culture, a contemporary of the composers of The Mighty Handful.
The style of Tchaikovsky's music developed in the context of the composer's unconventional ideas about the nature of national identity. In the interpretation of "national" and "people's" he followed a different path than the adherents of "Kuchkism". Russian folklore was not a universal source for him, the fundamental principle of the musical language. With the help of generalized, indirect folk-song intonations, Tchaikovsky embodied the national image of "Russianness", Russia, Russian reality in its modern versatility. Therefore, the composer did not set himself the task of using specific genres of genuine peasant folklore in music, but turned to the "intonation dictionary" of the urban musical life surrounding him. Habitual urban intonations, combined with emotional openness, sincerity and melodiousness, made Tchaikovsky's music understandable and accessible to the widest audience both in Russia and abroad. That is why the works of Tchaikovsky quickly won the sympathy of Europeans, contributed to the international recognition of Russian music throughout the world.
The phenomenon of Tchaikovsky's creativity as a deeply Russian phenomenon lies in the fact that the composer, embodying the personal, managed to express the generally significant, telling the language of music about his emotional experiences - to rise to the level of generalization of philosophical and moral ideas, which are key in the culture of Russia. Among them is a question written with pain in the hearts and minds of contemporaries, brilliantly formulated by F.M. Dostoevsky: is everything allowed to a person (?), as well as the eternal problems of life and death, good and evil, love and hate. Tchaikovsky's music is related to domestic cultural traditions by an unobtrusive "teaching", compassion for people coming from within, sympathy for their infirmities and sorrows, in other words, true humanism in its universal understanding.
No less organically, Tchaikovsky's works fit into the achievements of European art, into the style of romanticism. Tchaikovsky believed that "European music is a treasury into which every nationality contributes something of its own for the common good." The composer always considered it an important task to bring "his own", not alien to the "general", never taking special care of his own originality. Therefore, he spoke in an original, but at the same time universal musical language, perceiving romanticism precisely as a general artistic idea.
The romantic worldview opened up endless possibilities for the manifestation of the composer's lyrical gift. The best pages of his compositions are painted in emotional tones that give the music the character of a confessional utterance.
The range of the composer's creative interests is unusually wide. His legacy includes ten operas (Eugene Onegin, Ondine, The Blacksmith Vakula, The Queen of Spades, etc.), three ballets (Swan Lake, Sleeping Beauty, The Nutcracker), seven symphonies, more than ten orchestral compositions, instrumental concerts, choral and piano music, chamber and vocal works. In every field, Tchaikovsky was an innovator, although he never aspired to reformism. Using traditional genres, the composer found opportunities to update them. He created a lyrical-dramatic opera, a tragedy symphony, enriched the one-movement program overture and symphonic poem, and was also the founder of the Russian symphonized ballet, the symphony concerto.
The work of Tchaikovsky had a huge impact on his contemporaries. His name was already associated with the greatest representatives of Russian culture. In the decades that followed, none of the musicians escaped the influence of Tchaikovsky's powerful symphony and his operatic style. The artistic and humanistic significance of his music was especially actualized in the second half of the 20th century. Against the backdrop of global environmental catastrophes, wars, destruction and spiritual crises, the words of the composer come true more and more: “I wish with all my heart that my music spread, that the number of people who love it, find comfort and support in it” increases.

3. "Silver Age" in Russian musical art (1890s - 1917)

The end of the 19th and the beginning of the 20th century were sometimes unusually fast, rapid development for Russian music and the emergence of new forces and trends, which is associated with a general reassessment of values, a revision of many ideas and criteria of aesthetic evaluation that had been established in the previous era. This process proceeded in sharp disputes and clashes of different, sometimes converging, sometimes antagonistic tendencies, which seemed irreconcilable and mutually exclusive. But it is precisely this diversity and intensity of searches that determine the special richness of this historical period - one of the most interesting and fruitful in Russian art. Outstanding achievements and discoveries in various fields of artistic creation, which marked the time, enriched it with new content, new forms and means of expression.
The tendencies of the culture of the "Silver Age" profoundly changed the face of musical art. Among the "traditionalists", whose movement towards the new was made without breaking with the accumulated experience, the names of the representatives of the St. Petersburg school, the closest followers of N.A. Rimsky-Korsakov, A.K. Glazunov and A.K. Lyadov, stand out. The Moscow school is adequately represented by S.I. Taneev, as well as less well-known but gifted authors - A.S. Arensky, V.S. Kalinnikov, M.M. Ippolitov-Ivanov.
But already in the 1900s. in Russian music, a brilliant generation of young composers is emerging, belonging to the great creators of the "Silver Age". Their art was affected by the renewal of the worldview, the drama and intensity of passions of the “era of the turn of the century”, free soaring in its stylistic polyphony. The music spoke with images of symbolism (A.N. Skryabin), neoclassicism (N.K. Medtner), neo-romanticism (S.V. Rachmaninov), neo-folklorism (I.F. Stravinsky), cubo-futurism (S.S. Prokofiev), freely combining language of all styles.
The musical art of the Silver Age was innovative in its essence. The discoveries of Scriabin, Rachmaninov, Stravinsky, Prokofiev in the field of mode, harmony, form contributed to the formation of new imagery and means of artistic expression in the music of the 20th century.

3.1 A new direction in Russian sacred music

The era of the turn of the 19th-20th centuries. was a genuine "spiritual renaissance" of Russian church music. Choral compositions, created in the period from about the mid-1890s to 1917, belong to the so-called New Direction in Russian liturgical musical art. This direction was represented by composers of different creative abilities and attitudes. Among them were musicians from St. Petersburg and Moscow composer schools. All of them were united by one common idea - the idealization of genuine church tunes, their transformation into a net musically sublime, strong in its expressiveness and close to the Russian heart with a typical nationality.
An appeal to the origins, to the practice of Znamenny singing of Ancient Rus' becomes the essence of the New Direction. At first glance, such church-singing "neoclassicism" is in complete harmony with the main line of the development of art of that time, with the desire to revive the models of past cultures. However, the music of the New Direction is a very special branch of artistic creativity of the "Silver Age", since it performed a kind of mediating function between liturgical practice with its strict canon and the secular art of concert purpose. The compositions of the adherents of this trend are associated not only with the liturgical text (which is often found in the music of the 20th century), but with a specific divine service, which made it possible to include many works in the church service. The new style in sacred music developed rapidly and fruitfully. Composers carefully studied the ancient chants, trying to highlight the principles of harmonization of church melodies on their basis.
The forerunners of the New Direction were N.A. Rimsky-Korsakov and P.I. Tchaikovsky, whose sacred music dates back to the post-reform period. Later, the most significant forces of musicians concentrated within the walls of the Moscow Synodal School, so the temple music of the "Silver Age" is often called the "school of the Synodal School". The largest representatives of this school were the director of the Synodal School S.V. Smolensky, Archpriest V.M. Metallov, and A.V. Preobrazhensky. Among the Moscow composers who belonged to the new direction are S.V. Rakhmaninov, A.T. Grechaninov, A.D. Kastalsky and others. In St. Petersburg, its largest representatives were N.N. Cherepnin and S.V. Panchenko.

3.2 The path to the "mystery" of A.N. Scriabin

One of the brightest representatives of the art of the "Silver Age" at the time of its rapid flowering is Alexander Nikolaevich Skryabin. For many decades, Russian musicology has been far from unambiguous in its assessment of his work - censorship considerations did not allow researchers to reveal the essential aspects of the music of the Russian genius, officially named "idealist-mystic".
etc.................

Russian music of the 19th century is usually divided into two periods: before the appearance of the great composer, that is, until about 1830-1840, and after.

• Before - era early romanticism, or "before - Glinka",
• after in Russian music comes classical period.

Russian music of the 19th century - "before - Glinka" era

At the beginning of the century, a mixture of two styles reigned in Russian music - classicism and romanticism. . In the first half of the 19th century, such large-scale events for Russia took place as Patriotic War, Decembrist revolt; the ideas of the French Revolution, which had taken place shortly before, were spreading in society. All this could not but affect the culture of the country. Appear in the literature, V.F. Odoevsky, in painting - Echoes are also heard in the musical culture of Russia in the 19th century, which will truly overwhelm the country with the advent of M.I. Glinka.

Main genres and directions

The most popular trends in Russian music of the 19th century were:

1. urban song. Finally formed by the 19th century. Most often, such songs were born from a simple guitar improvisation of nameless amateurs to poems by poets (for example, “Evening Ringing”, “How did I upset you”).
2. recording and processing of folk tunes. At the end of the 18th century, V. Trutovsky released a collection of Russian folk songs. Almost all residents of the capital became interested in them, after which many musical works in folk style (“The blue-winged swallow is winding”).
3. chamber vocal music with an admixture of Russian folklore performed at musical home evenings. Under the influence of romanticism, a Russian romance appears (romances by A.A. Alyabyev (“The Nightingale”) and A.E. Varlamov (“Oh, you, time is a little time”, “A blizzard sweeps along the street”) were especially popular) and created on it is based on a gypsy romance, which did not require a professional vocal voice and intricate accompaniment (for example: "Your eyes are green").

Also, such a musical genre as vaudeville was still alive - a light play with couplets. In the musical culture of Russia in the "pre-Glinsky" period, vaudeville was especially popular:

• A.A. Shakhovsky ("Love potion", "Fugitive from his bride")
• F.V. Bulgarin ("Conversation in the Kingdom of the Dead", "The Adventures of Mitrofanushka on the Moon"),

however, every young nobleman considered it his duty to compose at least once in his life a vaudeville play for the benefit of some actor.

The theaters performed mainly Italian and French operas. Epic motifs prevailed in Russian opera; however, the influence of romanticism was already noticeable (A.N. Verstovsky, for example, often used in his works romantic plots- an appeal to the epochal past).

The beginning of the classical period of Russian music - M.I. Glinka

With the advent of Mikhail Ivanovich Glinka, the founder of the composer school in Russia, a real upsurge began in Russian music of the 19th century. His musical works are imbued with folk motifs, they contain the same Pushkin's "Russian spirit". In addition to magnificent vocal works and symphonies, the composer created two operas (one of the most outstanding in the history of music): A Life for the Tsar (1836) and Ruslan and Lyudmila (1842). Both of these works are permeated with the strongest patriotic and Russian beginning, because M.I. Glinka himself said:

“Music should contain intonations and even whole melodies of folk music of the nationality to which the author belongs.”

So, in the opera "A Life for the Tsar" in the image simple peasant Ivan Susanin M.I. Glinka showed all the strength and power of the Russian people. The most important innovation of the opera was that the main character of the musical work was a peasant, a serf. It is not surprising that the high society did not appreciate the opera, but many classics of literature (for example,) were her real fans.

In the epic tale Ruslan and Lyudmila with bright romantic motifs, Glinka departed even further from the traditions of French and Italian operas, so this piece of music was not met with enthusiasm either. Nevertheless, it was after these works that Russian music was recognized all over the world, and M.I. Glinka is rightfully recognized as the founder of musical classics in Russia.

Russian music of the second half of the 19th century

In the second half of the 19th century, music became more accessible to different layers population.

• The Moscow and St. Petersburg branches of the Imperial Russian Musical Society are opened, constantly holding musical meetings accessible to all,
• A free music school is being created in St. Petersburg,
• Conservatories are founded – first in the capitals (headed by the Rubinstein brothers), and at the end of the century in other cities.

New genres of music are becoming popular symphonic cycles, symphonies (the first symphony (in F major) was created by A.G. Rubinshtein in 1859 but it did not gain wide popularity; better known is his Symphony No. 2 in C major, entitled "Ocean". This genre reached a real flowering in Russian music in the work of Rimsky-Korsakov and.

Composer schools of the 19th century in Russia

Also in the country in the 19th century, two major composer schools were formed:

• First - New Russian school in St. Petersburg, later V.V. Stasov will name her.

Music life This period was also distinguished by the turbulence of events and frequent changes in direction, an intense search for new means of expression in the art of music. Often these searches were connected with searches in other forms of art. Directions born in literature or fine arts gradually took over other forms of art, in particular music.

In music, a new period begins with advancement of the symbolic school, others call it Impressionist music because of the richness and whimsical shifting of midtones of close Impressionist painting. It originated in France, and its followers soon made themselves known throughout Europe. The Symbolists opposed the prevailing academicism and neo-romanticism in the spirit of Wagner. “We need to look for ways after Wagner, and not follow in the footsteps of Wagner,” argued Claude Debussy. The Symbolists turned to the undeveloped riches of the musical folklore of Spain, the Far East, and the Scandinavian peoples, refreshing music with original rhythms and extraordinary timbre coloring. In an effort to overcome the powerful influence of Wagner, they develop the traditions of the XVIII century. - Rameau and Mozart.

Symbolism(Impressionism) first of all declared itself in piano miniatures and romances of the 90s. Claude Debussy. And the prelude The Afternoon of a Faun (1894) is considered a manifesto of musical symbolism (Impressionism). This work is built on whimsical associations, is distinguished by bright exotic colors, richness of subtle shades, it is completely free from all academic conventions. Having arisen among artists, impressionism as a trend soon captured sculptors, and then composers, and was the most stable trend of the late 19th century.

Claude Debussy (1862-1918)

So, the French composer became the founder of impressionism in music Claude Debussy(1862-1918). The creative heritage of Debussy is not very extensive. He began with compositions in which the influence of the Russian school of Mussorgsky and Rimsky-Korsakov was felt. But in such works as The Afternoon of a Faun, Nocturnes (1899), Images, the opera Pelléas et Mélisande (1902), piano pieces, he acts as a bright innovator.

Three symphonic pieces under a common title "Nocturnes" for violin and orchestra were written for the famous Belgian violinist Eugene Ysaye, the symphonic version was completed in 1899. For the first performance, in 1900, the author wrote a commentary, where he emphasized that the nocturne does not mean the usual form, but impressions and sensations from the world. To the content of the first play from the Clouds cycle, the composer wrote: “This eternal image a sky with slowly and melancholy floating clouds, dying in a gray haze gently tinted with white light. (Charles Baudelaire has a prose poem of the same name, which is very close to Debussy's music.) The second piece - "Festivities" - is a movement, dancing rhythm of the atmosphere with sudden flashes bright light, here is also an episode of a procession (a dazzling and ghostly vision) passing through the holiday and merging with it; but the background remains all the time - this is a holiday, this is a mixture of music with luminous dust, which is part of the overall rhythm. The third piece - "Sirens" - is the sea and its infinitely diverse rhythm; among the waves silvered by the moon arises, crumbles with laughter and the mysterious singing of the sirens is removed. From these explanations of the composer, it can be seen that Debussy created music of refined images, which is characterized by semitones of moods, refinement of harmonies. The harmony of his music arose from a completely different sound perception than the harmony of former music.

Maurice Ravel (1875-1937)

The second remarkable representative of impressionist music was the French composer Maurice Ravel(1875-1937). His music is more energetic and dynamic than Debussy's. No wonder his achievements in the genre of ballet are so great. His "Bolero" and "Waltz" are called symphonic poems dance.

Two characteristic traits of Ravel's work affected in "Bolero": a love of dance and a deep interest in Spanish music. "Bolero" is one chain of continuous dynamic growth. S. Prokofiev called this ballet piece “a miracle of composer's skill”.

Coloring the theme with endlessly changing colors, presenting it in "Thousands of different outfits"(S. Prokofiev), Ravel masterfully used the possibilities of a modern orchestra, creating a dazzlingly instrumented work.

The grotesque beginning manifested itself in such things by Ravel as the buff opera The Spanish Hour (1907) and the choreographic poem Waltzes (1920). This brings Ravel closer to the expressionists.

Ravel was able to find his individual style utterances, further expand the sound-visual coloristic possibilities of music. The brilliance and picturesqueness of his music never obscured the content. From Debussy's dreamy-poetic music, his music was distinguished by the dazzling brightness and catchy colors of Spanish folklore. One of the peaks of his work was the ballet Daphnis and Chloe, written in 1909 by order of S. Diaghilev for performances in Paris by a Russian ballet troupe.

Modernism in music

The musical landscapes of the Impressionists remain unsurpassed in the subtlety and sophistication of colors, essentially just as characteristic of French artistic culture.

Generation French composers, speaking after the Impressionists (already after the First World War) - A. Honegger, D. Milhaud, J. Oik, F. Poulenc and others - turned away from their predecessors, their sophistication and sophistication turned out to be inappropriate for the new time. And in 1918 Jean Cocteau's book "The Rooster and the Harlequin" was published. Its author is a famous French poet, artist and musical critic- wrote: “... Enough clouds, fogs, aquariums and aromas of the night, we need earthly music, everyday music! ..” This year is considered by some to be the year of birth modernism in music.

The earliest modernist tendencies appeared in the work of German expressionist composers - representatives of the new Viennese school(more on that below). In many respects opposed the romantic tradition and the largest composer of that time Richard Strauss(1864-1949). In the music of Strauss, features of naturalism are noticeable. He was overly fond of lifelikeness and direct imitation, onomatopoeia. In his musical dramas Salome (1905) and Elektra (1909, based on a Hofwansthal plot), the impact of decadence is felt. But in 1911, the magnificent comic opera The Cavalier of the Roses appeared. Being director of the Berlin Opera until 1918, the composer did a lot to update its repertoire.

Classical traditions in music

Classical Beethoven traditions have found their development in the work of the Austrian symphonist Gustav Mahler(1860-1911), who was an outstanding conductor, and in 1897-1907. directed the Vienna Opera.

Between 1888 and 1909 Mahler creates 10 symphonies, each of which becomes an event in the musical life of Europe. He sharply raised the public sound of musical works, revived traditions on a new basis. philosophical symphony-confession. Mahler boldly used vocal and choral beginnings in symphonies, achieved a harmonious unity of the most complex musical themes with the simple melodies of folklore. Mahler came from the traditions of Beethoven and Schubert, symbolic and naturalistic hobbies were alien to him.

Naturalism in music

Naturalism also developed in Italian music under the name verism. His followers here were

• Giacomo Puccini (1858-1924),
• Pietro Mascagni (1863-1945),
• Reggero Leoncavallo (1857-1919).

As verist writers, they devoted their musical dramas to the lives of poor people, boldly introduced prose musical situations. In music, they abandoned vocal “percussion numbers” and gravitated towards recitation, the use of imitation of noises, birdsong, the sounds of the surf, etc. La bohème (1896) and Tosca (1900) Puccini laid the foundation for chamber lyrical drama at opera houses. scaffolding. This genre found its highest expression in Cio-Cio-San (1904).

Expressionism in music

The operatic reform carried out by the verists proved to be fruitful in the subsequent development musical and dramatic art in Europe.

The main disease of the XX century. was the loss of a positive ideal. As in art, so in music, images of evil and destruction are often shown more vividly than the forces of good and creation. This affected creativity and Gustav Mahler, which had a strong influence on the art of the XX century. One of his most remarkable works - the vocal-symphonic "Song of the Earth", is full of deep hopeless sadness, the sadness of farewell to life. The first phrase, which could become an epigraph, is indicative: "Life is dark, dark and death." At the beginning of the XX century. German composers were characterized by a passion for expressionism- the desire for heightened, exaggerated expressiveness. Arnold Schoenberg (1874-1951), Alban Berg (1885-1935), Anton von Webern (1883-1945) and other representatives of the new Viennese school searched in this area.

"Sadness becomes doom, depression, despair turns into hysteria, lyrics seem like a broken glass toy, humor becomes grotesque ... The main direction is extreme pain," - this is how he characterized the situation in music German composer Hans Eisler(student of Schoenberg), who devoted his talent to the German and international labor movement. Schoenberg and Berg created great artistic values ​​of a critical nature, having the meaning of a sentence over reality.

Schoenberg - the father of musical modernism - created a new musical technique that completely rejects the modal musical basis, which was called dodecaphony(from Greek dodeka - twelve and phone - sound) - method musical composition, in which modal connections (gravitation) between sounds are denied and each of the 12 tones of the chromatic scale (sounds within an octave) are considered equal without distinguishing between stable and unstable tones.

Creativity and teaching of Schoenberg revolutionized the centuries-old practice of composition. For the first time, the reform of the musical language rejected continuity with the music of the past. Schoenberg and his successors break completely with the tonal system. Composing music, according to Schoenberg, is a purely speculative construction, similar to solving problems of mathematical logic.

During the First World War, Berg created the opera "Wozzeck" about the fate of a young soldier (from bullying in the barracks comes to psychosis and crime). This work is considered pinnacle of expressionist creativity, it is on a par with the anti-war works of Remarque and Hemingway. After the 1st World War, composers will turn to the search for the lost ideal.

Avant-gardism in music

An even greater departure from the traditions of the classical musical heritage is marked by current of avant-garde based on the principles of the Novovenovo school with the introduction of other elements of the composition. Avant-gardists included in the sound fabric works of various kinds of noise, the sounds of electronic synthesizers, we note this, looking ahead.

One of the varieties of musical avant-garde was aleothoric(lat. alea - dice, chance) - a trend in modern music that arose in the 50s. 20th century in Germany and in France; is based solely on the application of the principle of chance both in the process of creating a work and in its performance. In the Chaotic sound combination, the avant-gardists used sonority principle(lat. sonorus - sonorous, sonorous, noisy) - a composing technique based on the use of colorful harmonies.

Neoclassicism in music

Representatives of neoclassicism are considered Russian Igor Stravinsky and German Paul Hindemith(1895-1963). Support for their creative quests, these major composers of the XX century. searched in the music of the pre-Bach and Bach times. Stravinsky's ballets and the opera The Painter Matisse (1938) by Hindemith are rightfully included in the gold fund of the music of the 20th century.

conclusions

In conclusion, we note that the music of the brightest innovator Schoenberg, who completely overturned the traditional idea of ​​the musical language, almost does not sound these days and is of interest as a historical milestone in the development of composer writing techniques, and the music of Rachmaninov, who wrote old-fashionedly, sounds today widely and is an integral part of art of today. Having arisen among artists, impressionism as a trend soon captured sculptors, and then composers, and was the most stable trend of the late 19th century.