In the first half of the 19th century, Russian classical music began to flourish. The work of Glinka and Dargomyzhsky opens a period of rapid rise of national musical art to the heights of world culture. The development of music was part of a general process - the rise of all Russian art in a significant period in the historical development of the Russian state. The Patriotic War of 1812 and the uprising of the Decembrists in 1825 caused a powerful explosion of patriotic feelings, a rise in the spiritual strength of the nation. “The twelfth year,” Belinsky wrote, “shaking all of Russia from end to end, awakened her dormant forces and discovered in her new, hitherto unknown sources of strength ...”
It was during this period that the formation of Russian classical literature, music and painting took place. The leading role belonged to literature. The sign of the era was the work of Pushkin, which was prepared by the works of Zhukovsky, Karamzin, Batyushkov, Krylov. Pushkin was the creator of the Russian literary language, thereby determining the further path of development of national literature. At the same time as Pushkin, Griboyedov, Ryleev, Vyazemsky, Delvig, Yazykov, Baratynsky composed their works; later, the creative life of Lermontov, Gogol, Koltsov, Belinsky begins. By the middle of the century, a new generation of writers would appear - Dostoevsky, Tolstoy, Nekrasov, Turgenev, Goncharov and others.
The first half of the 19th century marked the beginning of Russian classical painting (paintings by Kiprensky, Tropinin, Venetsianov, Shchedrin, Bryullov, Ivanov, Fedotov) and sculpture (Klodt and others), architecture (Voronikhin, Zakharov, Beauvais, Gilardi, Rossi).
Russian art in the first decades of the 19th century was strongly influenced by the new European artistic trend - romanticism. “Romanticism is the first word that announced the Pushkin period,” wrote Belinsky. The independence of the artist’s creativity and attention to the inner world of a person, his interest in the life of his native people, his history, songs, fairy tales and legends, the rebelliousness of the spirit and love of freedom, the passion and courage of expression, enthusiastic elation, characteristic of him, are embodied in the works of this time. Through romanticism, its heightened emotionality and subjectivity, Russian art moved towards the establishment of the principles of artistic realism.
The musical life of Russia from the beginning of the 19th century begins to acquire new features. Lyceums, boarding schools, universities, as well as literary and artistic circles are becoming important musical centers. Art lovers, writers, actors, painters, musicians united in these circles. New works were performed here, opera performances and concerts were discussed. Such meetings were held in St. Petersburg in the houses of Delvig, Odoevsky, Count Mikhail Vielgorsky, in Moscow - at Griboyedov, Princess Zinaida Volkonskaya.
Concert life revived: in 1802, the first Russian concert organization, the Philharmonic Society, was created in St. Petersburg, which organized public symphony concerts. Chamber music concerts are held in private homes, noble assemblies and various educational institutions, both Russian and foreign musicians take part in them. Choirs and symphony orchestras of serf musicians, which existed in many noble estates, continue to play a significant role.
One of the favorite genres of symphonic music at that time was program overtures to operas and dramatic performances composed by Kozlovsky, Davydov, Alyabyev, Verstovsky. The musical theater genre is also undergoing significant changes. The everyday comic opera, beloved in the 18th century, is gradually giving way to fairy-tale operas (The Invisible Prince and Ilya the Bogatyr by Kavos, Davydov's Dnieper Mermaid) and romantic operas (Askold's Grave by Verstovsky). Along with opera, vaudeville, music for dramatic performances (“tragedies on music”), as well as ballet, which flourished in Russia with the work of the great French choreographer Charles Didelot, are widely used.
The successful development of these genres was inseparable from the formation of Russian performing schools in opera (E. Sandunova, O. Petrov, A. Petrova-Vorobyeva), ballet (A. Istomina, E. Kolosova, A. Glushkovsky), drama (E. Semenova, P. Mochalov, M. Shchepkin).
Everyday domestic music-making is becoming widespread. Music lovers gathered in the evenings, played and sang to the accompaniment of a guitar, harp or piano. The repertoire included folk songs - peasant, city, soldier. Their arrangements were made by many composers, the most popular were the collections by Kashin and Rupin. They have been performed as solo songs, duets, and as instrumental variations and ensembles. In this environment, the favorite genre of the era was formed and developed - romance .
romance and song
Romance creativity of composers of the first half of the 19th century developed on the basis of folk peasant, urban and Russian songs. It was in the romance that the features of the Russian musical language, the national musical style, were formed. Its development was closely connected with the flourishing of Russian poetry in the Pushkin era and the work of Zhukovsky, Vyazemsky, Baratynsky, Delvig, Batyushkov, Yazykov, Pushkin himself and other poets. O. Kozlovsky wrote their romances on their poems,
A. Zhilin, Titov brothers, Mikh. Vielgorsky, A. Verstovsky, A. Alyabiev, A. Varlamov, A. Gurilev, P. Bulakhov, M. Glinka, A. Dargomyzhsky. In their work, the main genres of Russian romance have developed. This lyrical romance - the most common at this time; "Russian song" , which arose as an imitation of folk music; elegy - lyrical-philosophical reflection; romantic ballad , whose creator in Russia was Verstovsky; drinking song , born from marching marching songs and singing about freedom, enlightenment and patriotism; lyrical romances about "distant countries" , in which romantic images of Italy, Spain, the Caucasus, the East, as well as romances in dance rhythms (waltz, polka, mazurka, polonaise, bolero and others).
At the same time, a uniquely original Russian vocal style is being formed, in which the intonations and traditions of folk singing are combined with the features of the Italian bel canto vocal culture, which is so popular in Russia. Each romance creates its own individual, easy-to-remember image, touching the most sensitive strings in the heart of the listener. The sincerity of the Russian romance is its special feature, coming from the sincerity of the author's empathy for his lyrical hero, from the properties of the Russian soul.
A.A. Alyabiev
The fate of Alexander Alexandrovich Alyabyev (1787-1851) was dramatic, although the first half of his life did not portend severe trials. He was born in Tobolsk; his father served as governor, was considered an enlightened and liberal man, and was a great lover of music. The child received a serious home education, which included playing the piano as an obligatory part.
With the family moving to Moscow, Alexander began to seriously study music, and soon his first compositions appeared - romances and piano pieces.
In the early days of the Patriotic War of 1812, Alyabyev volunteered to join the army. He fought along with the legendary partisan poet Denis Davydov, was wounded, went with his hussar regiment all the way to Paris; Alyabyev was awarded orders and a medal for bravery and military merits.
At the end of the war, he continues his military service, lives in St. Petersburg, and after retiring, he settles in Moscow, where he becomes close to the artistic world, communicates with Griboedov, Krylov, Bestuzhev-Marlinsky, Odoevsky, Verstovsky, the Vielgorsky brothers. As a pianist and singer, he participates in amateur concerts, composes theatrical music (operas, vaudeville), chamber instrumental works, romances, which are very popular with listeners.
But this bright creative life was interrupted by a fatal accident. In 1825, a major quarrel took place in Alyabyev's house during a card game, after which one of its participants died suddenly. Alyabyev was arrested on suspicion of murder and after a lengthy trial, despite the fact that the crime was not proven, he was sentenced to the deprivation of all rights, the title of nobility and to exile in Siberia.
Alyabyev's long-term wanderings began. The link lasted over 15 years; he lived in Tobolsk, in the Caucasus, in Orenburg, Kolomna. But, despite the difficult trials and loneliness, the composer continues his active creative work. While still in prison, he composes romances (including the famous "Nightingale"), as well as instrumental plays, music for vaudeville and the ballet "Magic Drum". In Tobolsk exile, he organizes a military brass band and choir, conducts their performances, writes orchestral music and romances; such of them as "Irtysh", "Winter Road", "Evening Bells" are connected with the theme of exile and became the composer's lyrical confession.
During a trip to the Caucasus, allowed for treatment, Alyabyev was captivated by his nature, customs, music. He recorded Georgian, Armenian, Kabardian, Azerbaijani folk melodies, the rhythms and intonations of which were then reflected in works of various genres.
Only in 1843, Alyabyev, with great difficulty, received permission to live in Moscow, but under police supervision and "without the right to appear in public." He leads a solitary life, devoting all his time to writing. Life trials did not break the composer. His attention is drawn to the poems of the democratic poet N. Ogarev, dedicated to themes and plots from the life of the common people. The romances "Tavern", "Hut", "Village watchman" appear, as well as one of Alyabyev's masterpieces - "The Beggar Woman" (verses by Beranger), in which the theme of the "little man", the theme of social inequality, first sounded, anticipating the works of Dargomyzhsky and Mussorgsky. These works were the last in the life of the composer.
Alyabiev's work is diverse, it includes various genres - operas, ballet, vaudeville, works for orchestra, piano pieces, chamber ensembles (trios, quartets), choral compositions. But the most important place among his works is occupied by numerous romances (over 150). One of the most popular is created in 1825 on the verses of Delvig "Nightingale". The romance belongs to the genre of "Russian song" and is written in couplet form with a leisurely chorus and fast chorus. The gentle soulful melody is closely connected with the intonations of Russian lyrical songs, it is characterized by modal variability, coming from folk music (D minor - F major, C major - A minor). Her flowing, rounded four-bar phrases are supported by modest "guitar" accompaniment:
Slowly, with feeling
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At the same time, the bright and impetuous piano conclusions of the verses contrast sharply with the plastic vocal cantilena.
Subsequently, outstanding performers of the romance - Adeline Patti, Henriette Sontag, Polina Viardot, as well as many Russian singers - saturate the vocal part with virtuoso passages and cadences. The popularity of the work was facilitated by its piano arrangements - Glinka's variations and Liszt's transcription, as well as the violin fantasy of Henri Vietain.
A.E. Varlamov
Alexander Egorovich Varlamov (1801-1848) was born in Moscow in the family of a modest official. The boy's passion for music and his giftedness manifested itself early: picking up folk songs by ear, he himself learned to play the violin. Thanks to his outstanding abilities and beautiful voice, at the age of ten he was accepted as a chorister in the St. Petersburg Court Singing Chapel. Here Varlamov studied under the guidance of the director of the chapel, the outstanding composer D. S. Bortnyansky. Success in singing allowed him to soon become a soloist in the choir; he also learned to play the guitar, piano and cello.
After studying at the chapel, Varlamov is assigned to serve in Holland as a regent ( Regent - leader and vocal teacher of the chorus of singers) of the Russian embassy church in The Hague. The years spent abroad had a great influence on the musical development of the future composer: he often attends opera and concerts, he himself performs as a singer and guitarist.
Upon his return to St. Petersburg, Varlamov first taught at the Theater School, and then again entered the Court Singing Chapel as a chorister and singing teacher. In 1827 he met Glinka; communication with him was of great importance for the creative aspirations of the young musician.
The first romances and church choirs of Varlamov date back to the end of the 1820s, but the real heyday of composing activity begins after moving to Moscow in 1932, where he received the position of bandmaster, and then "composer of music" of the imperial theaters. Varlamov quickly became close to the Moscow artistic world, made friends with composers Gurilev and Verstovsky, writer M. Zagoskin, actors M. Shchepkin and P. Mochalov, poet-actor N. Tsyganov, on whose poems he created many romances. All of them were united by common artistic interests and love for Russian song.
Varlamov composes many vocal works that glorified him - these are “Oh, you, time, time”, “What kind of heart is this”, “Mountain peaks”, “A blizzard sweeps along the street”, “At dawn you don’t wake her up”, “What do I to live and grieve”, “I will saddle a horse” and others. Among them, one of the most famous was the "Red Sundress" (poems by N. Tsyganov), which, according to a contemporary, "was sung by all classes - both in the living room of a nobleman and in a peasant's chicken hut." By the nature of his service, Varlamov writes a lot of theatrical music for tragedies, melodramas, ballet, and also constantly performs in concerts as an orchestral and choir conductor, as well as a singer. He had a small but beautiful tenor, his singing was distinguished by excellent vocal technique and extraordinary sincerity. In 1840, Varlamov published The School of Singing, which became the first textbook on vocal art in Russia and played an important role in the education of many Russian singers.
The last years the composer spent in St. Petersburg, where his life was very difficult. Widespread fame did not help him again get service in the chapel, and Varlamov and his family were in a difficult financial situation. His health deteriorated and he died of consumption in 1848.
Varlamov entered the history of Russian music as the author of romances and songs, creating about 200 works. In choosing poems, he turned to Russian poets - Pushkin, Zhukovsky, Delvig, Lermontov, Pleshcheev, Fet, Koltsov, and to Goethe, Heine, Beranger. The main genres for the composer were "Russian song" and lyrical romance. In his writings, full of sincerity, pensive reverie, and impetuous romantic aspiration and elation coexist.
Varlamov was one of the first composers to turn to Lermontov's poetry, which was in tune with the spiritual atmosphere of the 1830s and 1840s and conveyed the acute dissatisfaction with the surrounding life and the "freedom-loving dreams" of Russian people. In romance "The lonely sail turns white" the composer managed to reflect these feelings and moods. In his music, one can hear the “thirst for the storm” of the Lermontov hero, his intransigence and rebelliousness. A wide energetic melody at the beginning of the verse immediately reaches its climax - the sound salt, which is the pinnacle of a bright expressive cantilena. The excitement of feeling in the romance is emphasized by the chord accompaniment with the chased rhythm of the polonaise-bolero:
moderately soon
A.L. Gurilev
Alexander Lvovich Gurilev (1803-1858) was born in Moscow into a musical family. His father L. S. Gurilev, a famous pianist, composer and conductor, was a serf musician of Count V. Orlov. The boy began to study music under the guidance of his father, and then took piano and music theory lessons from J. Field and I. I. Genishta, who taught in the count's family. From his youth, Gurilev played the violin and viola in the fortress orchestra, which was considered one of the best at the beginning of the 19th century.
In 1831, after the death of Count Orlov, the Gurilev family received freedom. From that time on, Gurilev's composing activity began. He also performs a lot in concerts as a pianist and teaches singing and piano.
A great influence on the formation of Gurilev's vocal style was his friendship with Varlamov; they were brought together by a common love for folk music and gypsy singing. Soon, the composer's works begin to gain popularity. Such romances as “In a difficult moment of life”, “A gray-winged swallow is winding”, “Tiny house”, “Separation”, “Bell”, “Sarafan”, “Sadness of a girl”, sounded in secular living rooms, and in the houses of officials, merchants, townspeople. Among Gurilev's piano works, dance miniatures and numerous variations on the themes of well-known romances and arias from operas enjoyed the greatest love.
But, despite the recognition, the composer was constantly pursued by need, although he sometimes took on any job for the sake of earning money. A difficult fate did not spare Gurilev: in the last years of his life, he suffered from a severe mental illness. The composer died in Moscow in 1858.
Gurilev's vocal work includes about 90 romances and a collection of "47 Russian Folk Songs" arranged for voice and piano. He, like Varlamov, preferred the genre of "Russian song" and lyrical romance. His music is characterized by gentle elegiacity, dreaminess and sincere sincerity of expression.
Song "Bell"(verses by I. Makarov) is characteristic of the composer for its thoughtful lyrical mood, associated with images of Russian nature and a long journey, so widely sung by Russian poetry. Here one of the main features of Gurilev's "Russian songs" manifested itself - the use of an elegant waltz rhythm in combination with a simple and restrained melody, its subtle poignant intonation: 
The repetition of the rhythmic figure of the accompaniment is occasionally colored by a thin sound-imaginative stroke - a gentle staccato octave in the upper register.
The romances and songs of Alyabyev, Varlamov, Gurilev had a great influence on the work of his contemporaries - Glinka and Dargomyzhsky. Later, the traditions of their lyrics, attention to the inner world of a person will be continued in the brilliant romances of Tchaikovsky.
Questions and tasks
1. What events influenced the social and cultural life of Russia in the first half of the 19th century?
2. Name the composers, writers, painters, architects and sculptors of this time.
3. What changes have taken place in the musical life of Russia since the beginning of the 19th century?
4. List the most popular musical genres of this era. What was the content of home music making?
5. Name the genres of Russian romance in the first half of the 19th century and their authors - composers and poets.
6. Tell us about the life and work of Alyabyev, Varlamov, Gurilev.
Mikhail Ivanovich Glinka
1804 - 1857
Glinka is the founder of Russian classical music and the first Russian composer of world significance. Glinka's work completed the formation of the national school of composers and at the same time opened up new paths for Russian music, which in the 19th century occupied one of the leading places in European culture. In the works of Glinka, the rise of Russian national culture, generated by the events of the Patriotic War of 1812, found its vivid expression. Like Pushkin, Glinka created beautiful and harmonious art, glorifying the beauty and joy of life, the triumph of reason, goodness and justice.
In his work, Glinka turned to various musical genres - opera, romance, symphonic works, chamber ensembles, piano pieces and other compositions. The most important qualities of Glinka's music were the expressiveness and plasticity of melodies, the subtlety of harmony and harmony of form, and the elegance of instrumentation. His musical language, having absorbed the peculiar features of Russian folk songs and Italian bel canto, the Viennese classical school and romantic art, became the basis of the national style of Russian classical music.
Biography
Childhood and youth. Glinka was born on May 20 (old style) 1804 in the village of Novospasskoye, Smolensk province. In the estate of his parents, he was surrounded by love and care, and his first childhood impressions associated with Russian nature, village life and folk songs influenced his entire future fate. "The liveliest poetic delight" filled his soul with the ringing of bells and church singing. The boy also got acquainted early with professional music when he listened to home concerts of a small orchestra of serf musicians that belonged to his uncle, and often played by ear with them. Much later, the composer recalled in his Notes:
“... Once they played the Kruzel quartet (B. Crusell - Finnish composer and virtuoso clarinetist, an older contemporary of Glinka) with clarinet; this music made an incomprehensible, new and delightful impression on me - I remained the whole day afterwards in some kind of feverish state, was immersed in an inexplicable, languishingly sweet state, and the next day during a drawing lesson I was distracted; In the next lesson, the absent-mindedness increased even more, and the teacher, noticing that I was already drawing too carelessly, repeatedly scolded me and, finally, however, having guessed what was the matter, once told me that he noticed that I was only thinking about music: what to do?- I answered, - music- my soul/»
At the same time, Glinka began to learn to play the piano, and then the violin. Home education, typical of noble families in the early 19th century, included a variety of subjects; young Glinka drew well, was passionately fond of geography and travel, studied literature, history and foreign languages (later he spoke eight languages).
The events of the Patriotic War of 1812 made an indelible impression on the boy. At the time of the Napoleonic invasion, the Glinka family was forced to leave the estate and move to Oryol. But upon returning home, the stories he heard about the heroism of the Russian people and the exploits of the partisans of the Smolensk region remained in his memory for life.
House in the village of Novospaskom, where Glinka was born
Since 1818, Glinka continued his education in one of the best educational institutions in St. Petersburg - the Noble Boarding School at the Main Pedagogical Institute. The boarding school was famous for its progressively thinking teachers and advanced scientists, among whom the outstanding Russian lawyer A.P. Kunitsyn, one of Pushkin's favorite teachers, stood out for his bold talent and originality. Glinka's tutor at the boarding school was V. K. Kuchelbecker, Pushkin's lyceum friend, poet and future Decembrist. Communication with him contributed to the development of Glinka's feelings of love for folk art and interest in poetry. At the same time, Glinka also met Pushkin, who often visited Kuchelbecker and his younger brother Leo in the boarding house.
The years of study were spent in an atmosphere of heated literary and political disputes with friends, which reflected the unsettling spirit of the times. In the Noble Boarding School, as in the Tsarskoye Selo Lyceum, the personalities of the future "rebels" - direct participants in the tragic events of December 14, 1825 - were formed.
During his stay at the boarding house, the development of Glinka's musical talent continued. He takes piano and violin lessons, as well as music theory lessons from the best Petersburg teachers (including several piano lessons from J. Field), constantly attends chamber and symphony concerts, opera and ballet, takes part in amateur performances and, finally, taking the first steps in writing.
Early period of creativity. After graduating from the boarding school in 1822, Glinka spends some time in Novospasskoye, where he tries his hand as a conductor with his uncle's home orchestra, learning the art of orchestral writing. In the summer of next year, he makes a trip to the Caucasus for treatment, which brought many vivid impressions. Then for several years Glinka lives in St. Petersburg. After serving for a short time as an official in the office of the Council of Railways, he soon resigns in order to devote himself entirely to his main and favorite pastime - music.
Of great importance for the artistic formation of the composer was his acquaintance and constant communication with the largest poets and writers - Pushkin, Delvig, Griboedov, Zhukovsky, Mickiewicz, Odoevsky, as well as with the best musicians of that time: Glinka often meets and plays music with Varlamov, the Vielgorsky brothers.
Anna Petrovna Kern, in whose house Glinka often visited, spoke in her memoirs about the composer's performing arts:
“Glinka ... bowed in his expressive, respectful manner and sat down at the piano. One can imagine, but it is difficult to describe my surprise and delight when the wonderful sounds of brilliant improvisation rang out ... Glinka's keys sang at the touch of his small hand. He mastered the instrument so skillfully that he could express exactly what he wanted; it was impossible not to understand what the keys sang under his miniature fingers... In the sounds of improvisation, one could hear both a folk melody, and tenderness peculiar only to Glinka, and playful gaiety, and a thoughtful feeling. We listened to it, afraid to move, and after the end we remained for a long time in a wonderful oblivion.
When he used to sing ... romances, he took so much for the soul that he did with us what he wanted: we both cried and laughed at his will. He had a very small voice, but he knew how to give it extraordinary expressiveness and accompanied it with such an accompaniment that we were heard. In his romances, one could hear a close skillful imitation of the sounds of nature, and the voice of tender passion, and melancholy, and sadness, and sweet, elusive, inexplicable, but understandable to the heart.
Along with this, the novice composer devotes a lot of time to the independent study of opera and symphonic literature. After the first imperfect experiments, such vivid compositions appeared as the romances “Do not tempt” (words by E. Baratynsky), “Poor singer” and “Do not sing, beauty, in front of me” (both to words by Pushkin), sonata for viola with piano and others instrumental works. Wanting to develop and improve his skills, Glinka went abroad in 1830.
The path to mastery. For four years, Glinka visited Italy, Austria and Germany. Being by nature a kind, sociable and enthusiastic person, he easily converged with people. In Italy, Glinka became close to such luminaries of Italian operatic art as Bellini and Donizetti, met Mendelssohn and Berlioz. Eagerly absorbing various impressions, carried away by the beauty of the Italian romantic opera, the composer studies inquisitively and seriously. In communication with first-class singers, he enthusiastically comprehends the great art of bel canto in practice.
In Italy, Glinka continues to compose a lot. Works of various genres appear from his pen: the Pathetic Trio, the sextet for piano and string instruments, the romances Venetian Night and The Winner, as well as a number of piano variations on the themes of popular Italian operas. But soon other aspirations arise in the composer’s soul, as evidenced in the “Notes”: “All the plays I wrote to please the inhabitants of Milan ... convinced me only that I was not going my own way and that I sincerely could not be an Italian . Longing for the fatherland led me gradually to the idea of writing in Russian.
Leaving Italy in the summer of 1833, Glinka first visited Vienna, then moved to Berlin, where in the winter of 1833-1834 he improved his knowledge under the guidance of the famous German music theorist Siegfried Dehn.
Central period of creativity. In the spring of 1834, Glinka returned to Russia and began to implement his cherished plan, which had arisen abroad, - the creation of a national opera based on a domestic plot. This opera was Ivan Susanin, which premiered in St. Petersburg on November 27, 1836. The music writer and critic V. F. Odoevsky highly appreciated this event in Russian music: “With Glinka’s opera, something that has long been sought and not found in Europe is a new element in art - and a new period begins in its history: the period of Russian music. Such a feat, let's say, in all honesty, is a matter not only of talent, but of genius!
Success inspired the composer, and immediately after the premiere of Ivan Susanin, he began working on a new opera, Ruslan and Lyudmila. Glinka learned Pushkin's poem in his youth and was now burning with the desire to embody bright fairy-tale images in music. The composer dreamed that the poet himself would write the libretto, but fate decreed otherwise. The death of Pushkin destroyed Glinka's original plans, and the creation of the opera dragged on for almost six years. Other life circumstances also did not favor the creative process. In 1837, Nicholas I, as an encouragement, appointed Glinka to the post of Kapellmeister of the Court Choir. This service, which first attracted the composer with its creative side, gradually began to burden him with numerous bureaucratic duties, and he resigned. Glinka's marriage, which ended in divorce proceedings, turned out to be unsuccessful. All these events made the life of the composer more and more difficult. Glinka breaks off her former acquaintances in secular society and seeks refuge in the artistic world. The famous writer and playwright N. Kukolnik becomes his closest friend. In his house, Glinka communicates with artists, poets, journalists and finds deliverance from the attacks and gossip of his high society ill-wishers.
Composer and music critic A. N. Serov in his memoirs left an expressive portrait of Glinka dating back to this time:
“... A brunette with a pale swarthy, very serious, thoughtful face, bordered by narrow, jet-black sideburns; the black tailcoat is buttoned up to the top; White gloves; posture dignified, proud ...
Like all true artists, Glinka had a nervous temperament. The slightest irritation, the shadow of something unpleasant, suddenly made him completely out of sorts; in the midst of a society that was not for him, he, even to the extent of himself, was resolutely unable to play music. On the contrary, in the circle of people who sincerely love music, who ardently sympathize with it ... more distant from the conventional, cold etiquette and empty ceremony of high-society living rooms, Glinka breathed freely, freely devoted himself entirely to art, captivated everyone, because he himself was carried away, and the farther, the more he was carried away, because he attracted others.
At the same time, during these difficult years, while working on Ruslan, the composer created many other compositions; among them are romances based on Pushkin's words "I remember a wonderful moment" and "Night marshmallow", the vocal cycle "Farewell to Petersburg" and the romance "Doubt" (both to the words of the Dollmaker), as well as music for the tragedy of the Dollmaker "Prince Kholmsky", the first version (for piano) "Waltz Fantasy". The activity of Glinka as a singer and vocal teacher dates back to the same time: singers D. Leonova, S. Gulak-Artemovsky learned the secrets of mastery on his etudes and exercises and with his participation; O. Petrov and A. Petrova-Vorobyeva (the first performers of the roles of Susanin and Vanya) used his advice.
Finally, the opera Ruslan and Lyudmila was completed and on November 27, 1842, exactly six years after the premiere of Ivan Susanin, it was staged in St. Petersburg. This premiere brought Glinka a lot of hard feelings. The emperor and his retinue left the hall before the end of the performance, which determined the "opinion" of the aristocratic public. A heated debate broke out in the press around the new opera. An excellent response to Glinka's ill-wishers was an article by V. F. Odoevsky and a line from it: “Oh, believe me! A luxurious flower has grown on Russian musical soil - it is your joy, your glory. Let the worms try to crawl onto its stem and stain it, the worms will fall to the ground, but the flower will remain. Take care of him: he is a delicate flower and blooms only once in a century.
"Ruslan and Lyudmila" - "a big magic opera" (by definition of the author) - became the first Russian fairy-tale-epic opera. It intricately intertwined a variety of musical images - lyrical and epic, fantastic and oriental. The opera, imbued with sunny optimism, expresses the eternal ideas of the victory of good over evil, fidelity to duty, the triumph of love and nobility. Glinka, according to the scientist and critic B. Asafiev, “sang Pushkin’s poem in an epic way,” in which the unhurried, as in a fairy tale, epic, unfolding of events is built on the contrast of colorful paintings replacing each other. The traditions of Glinka's "Ruslan and Ludmila" were subsequently diversified by Russian composers. Epicness and picturesqueness came to life in a new way in the opera "Prince Igor" and "Bogatyr Symphony" by Borodin, and fabulousness found its continuation in many works by Rimsky-Korsakov.
The stage life of "Ruslan and Lyudmila" was not happy. The opera began to be staged less and less due to the sharply growing enthusiasm of the aristocratic public for Italian opera, and after a few years it disappeared from the repertoire for a long time.
Late period of life and creativity. In 1844 Glinka left for Paris, where he spent about a year. The artistic life of the French capital makes a great impression on him; he meets with the French composers Giacomo Meyerbeer, as well as Hector Berlioz, who successfully performed fragments from Glinka's operas in his concerts and published a laudatory article about the Russian composer. Glinka was proud of the reception given to him in Paris: “... I am the first Russian composer who introduced the Parisian public to my name and my works written in Russia and for Russia,” he wrote in a letter to his mother.
In the spring of 1845, having specially learned Spanish, Glinka went to Spain. He stayed there for two years: he visited many cities and regions, studied the customs and culture of this country, recorded Spanish melodies from folk singers and guitarists, and even learned folk dances. The trip resulted in two symphonic overtures: Jota of Aragon and Night in Madrid. Simultaneously with them, in 1848, the famous "Kamarinskaya" appeared - an orchestral fantasy on the themes of two Russian songs. Russian symphonic music originates from these works.
For the last decade, Glinka lived alternately in Russia (Novospasskoe, St. Petersburg, Smolensk), then abroad (Warsaw, Paris, Berlin). During these years, new trends in Russian art were born, associated with the flourishing, according to V. Belinsky, of the “natural” (realistic) school in literature. They permeate the work of Turgenev, Dostoevsky, Ostrovsky, Saltykov-Shchedrin, Tolstoy and other writers. This trend did not pass by the attention of the composer - it determined the direction of his further artistic searches.
M.I. Glinka with her sister L.I. Shestakova (1852)
Federal Agency for Education
Ufa State Academy of Economics and Service
Department of Tourism and Hospitality
COURSE WORK
in the discipline "World Culture and Art"
on the topic: Russian musical culture of the 19th century and its global significance
completed: student gr. SD-21
Mikhailova I.V.
checked: candidate of historical sciences, associate professor
Kotova T.P.
Introduction
historical background
The development of Russian song culture in the 19th century
Russian Composer School
Mikhail Ivanovich Glinka
Alexander Sergeevich Dargomyzhsky
"Mighty bunch"
Brilliant Pyotr Ilyich Tchaikovsky
Conclusion
Bibliography
Applications
Introduction
Without musiclife would be a mistake. (Friedrich Nietzsche)
Musicis the mind embodied in beautiful sounds. (Ivan Sergeyevich Turgenev)
Musicmediator between the life of the mind and the life of the senses. (Ludwig van Beethoven)
The Russian word "music" is of Greek origin. Of all the arts, music most directly affects the perception of a person, “infects with emotions”. The language of the soul, as it is customary to talk about music, precisely because it has a strong influence on the subconscious level on the area of \u200b\u200bthe feelings of a person, but one cannot exclude the impact on the area of \u200b\u200bthe mind. It is impossible to give an exhaustively precise definition of the phenomenon (or substance) called "music".
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.
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.
In my term paper, I decided to show the musical development of Russia in the 19th century, which took place against the background of the most important historical events - the Patriotic War, the Decembrist uprising, the abolition of serfdom, etc.
The task of the work is to analyze the state of the musical culture of Russia in the 19th century, to identify its features, to tell about the composers of this century and their works, and also to identify the significance of Russian music of the 19th century for world culture.
In their term paper, such research methods as the study and analysis of literature and documents, generalization, analysis of products of activity, description will be involved.
When studying this topic, I will use the literature: Encyclopedia "Round the World", Russian musical literature by E. Smirnova, Nikitina L.D. History of Russian music, etc.
historical background
musical song culture composer
The 19th century in Russia is associated with major political and social changes, and the war of 1812 and the abolition of serfdom played a large role in this. In literature, poetry, music, and painting, the theme of social inequality became more acute.
Already in the first half of the 19th century, Russian culture reached a brilliant, dazzlingly bright flowering. Freed from the elements of imitation, it finds original and original forms of expression for the most diverse, widest in scope content and creates great enduring values of universal human significance. The work of such brilliant representatives as Pushkin, Lermontov, Gogol in literature, Glinka in music is one of the highest peaks not only in Russian, but also in world art.
The Patriotic War of 1812 gave a strong impetus to the rise of public initiative. The patriotism of the Russian people is manifested in the growing anxiety about the common good, in a broad awareness of the common interests of the nation, in the desire to raise the level of national culture and well-being.
The Decembrist uprising had a significant impact on the development of Russian culture in the 19th century. All emotions, thoughts, experiences are reflected in many musical works of that time. The era of the Decembrists marked the beginning of the development of revolutionary song in Russia. Great merit in this regard belongs to the figures 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.
As liberation ideas grew and spread, so did the government's opposition to them. Already in the second half of the reign of Alexander I, this reactionary course was determined, expressed in the destruction of universities, the strengthening of censorship. A long streak of unprecedentedly cruel, dull and merciless reaction reigns in Russian life after the suppression of the Decembrist uprising, along with the accession to the throne of Nicholas I. The existence of democratic journalism, and even more so of political organizations conducting practical revolutionary activities, was impossible in Russia.
Under these conditions, literature is especially important, the works of Pushkin, Gogol, Lermontov become the main mouthpiece of emancipatory thought.
All of the above creates the prerequisites for the formation of classical schools of Russian national literature and art.
Glinka played a role in the development of Russian music, in many respects similar to that which belongs to Pushkin in the development of Russian literature. Like Pushkin, Glinka broadly accepted and implemented various elements of contemporary artistic culture. Assimilated everything valuable and viable from the heritage of his predecessors, Glinka overcomes their limitations and achieves enormous wealth, completeness of content and perfection of artistic expression. In terms of its inner balance, ideal harmonic integrity and completeness, Glinka's work turned out to be the same undeniable model and classical norm for subsequent generations, like Pushkin's poetry. Glinka marked the beginning of her world influence with his work. Dargomyzhsky follows the path of Glinka in his work. He introduces elements of greater social sharpness, everyday and psychological characterization, satire and humor into Russian music, preparing much of what will receive a clear form in the work of the young national school of the 60s. Glinka marked the beginning of her world influence with his work.
Messages about Russian music began to appear more and more often from that time in the foreign press. A few months before the appearance of Berlioz's articles on Glinka, the famous French musicologist Fetis wrote about the still young Dargomyzhsky as an original promising musical talent in Russia.
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.
The development of Russian song culture in the 19th century
“The age was of songs” - this is how the poet G.R. Derzhavin. The image of the song culture of that time was unusually diverse and even multilingual. Russian and French songs, gypsy and German, peasant and urban, amateur and professional songs are intricately intertwined in everyday life. The song sounded from the pages of literary works and was published in special collections "to the pleasure of many lovers", performed in the homes of aristocrats.
In the 19th century great attention continued to be paid to the study of folklore. Russian composers considered folk music as a source of inspiration. They collected folk songs and often used them in their works, without losing the originality of their own musical language.
Some new genres arise, old forms (everyday songs, songs on the theme of wandering, satirical songs) evolve under the influence of new life content, the nature of images and intonation-expressive means changes. Everyday folk song responds to major political and social events of national importance.
The Patriotic War of 1812 is widely reflected in it. A whole cycle of songs about the twelfth year, connected with the oral folk tradition, has come down to us. In terms of their content and musical and poetic forms, they are very diverse. Sometimes they use the techniques of old traditional types of folk songwriting.
The Patriotic War also caused the appearance of expressive lyrical
songs that capture the deep national sorrow, sadness and grief caused by the grave disasters of the motherland, the devastation of the native land, the loss of loved ones.
Russian folk song began to enjoy exceptionally wide popularity, spreading in many different arrangements - for the choir, voice with accompaniment and individual instruments. From 1806 to 1815, Prach's collection was published in the second and third editions. On its basis, song collections of a public type were created.
Danila Kashin, a talented Russian musician who came from serfs, was widely known for his arrangements of folk songs. In 1833-1834. his collection "Russian Folk Songs" was published in three parts. For its time, it is as characteristic as Prach's "Collection" for the turn of the 18th and 19th centuries. In the early 40s, the second edition of the Kashin collection appeared, which testified to its popularity and great demand for it. In Kashin's processing techniques, one can clearly see the desire for emphasized sensitivity, sometimes somewhat hysterically.
Along the same path with Kashin, the interpenetration of folk song and urban romance intonations was followed by another well-known collector of songs, a serf by origin, Ivan Rupin, who was also a talented singer-performer (his surname was pronounced by his contemporaries with an Italian ending - Rupini) and the compiler of a popular song collection, published in 1831
Along with various everyday refractions of the Russian folk song, a lyrical sentimental romance develops, which also enjoyed exceptionally wide popularity in the most diverse strata of society. Like the “Russian song” of the 18th century, the Russian romance in its predominant part was associated with the sphere of home music-making. In the musical language of everyday romance, simplicity of means is combined with sincere immediacy and sincerity of expression. Composers Alyabyev, Varlamov, Gurilev, Verstovsky played an important role in the development of Russian romance in the 19th century (see Appendix 1).
Alexander Alexandrovich Alyabiev(1787-1851) was born into an old noble family. In his youth, he served in the army, participated in the Patriotic War of 1812. Subsequently, he left military service and devoted himself to creative activity. Alyabyev is the author of well-known romances: “I loved you”, “Winter road” (both to poems by Alexander Sergeevich Pushkin), “Nightingale” and others. " Nightingale"- one of Alyabyev's favorite and most common songs. Everything in it is modest and simple. The song is preceded by a lively piano introduction in the spirit of a guitar melody. From the very first intonations of the vocal part, a captivatingly soft, thoughtful melody unfolds. Wide and smoothly rounded, it immediately captures and conquers with its strict beauty.
Composer Alexander Egorovich Varlamov(1801-1848) - author of popular romances. In total, he created about two hundred works of this genre, mainly based on poems by Russian poets (“The Red Sundress”, “A blizzard sweeps along the street”, “At dawn you don’t wake her”, “The lonely sail turns white”, etc.). Varlamov was also known as a singer, guitarist, conductor and teacher. He wrote one of the first Russian textbooks for vocalists - "The Complete School of Singing" (1840).
Alexander Lvovich Gurilev(1803-1858) was the son of a serf musician (in 1831, together with his father, he received his freedom). Composer, pianist, violinist, violist and teacher, Gurilev became famous as the author of songs and romances. The most famous are his songs "Mother Dove", "Bell", "Sarafan", "The Swallow Curls" and the romances "Parting", "You do not understand my sadness". In addition to vocal lyrics, the composer worked in the genres of piano music, collected and processed folk songs.
The work of Alyabyev, Varlamov and Gurilev is a valuable contribution to the treasury of Russian music. Their best songs and romances are included in the concert repertoire of singers and choirs, they are sung with love among the people in our time.
Russian composer school of the 19th century
Mikhail Ivanovich Glinka
Without a doubt, the most prominent representative of the composer school of the first half of the 19th century is Mikhail Ivanovich Glinka(1804-1857). The work of Mikhail Ivanovich Glinka stands at the origins of the Russian composer school, and his works, methods of work, attitude to musical genres and traditions were perceived in the 19th century as exemplary. Having received a serious musical education in Europe, Glinka was the first to deeply understand the peculiarities of Russian national music, and it was largely thanks to this master that European genres received an original interpretation in Russia. Glinka's childhood impressions were reflected in his work. The first years of his life were spent on his father's estate among the rural nature of the Smolensk Territory. There he learned and fell in love with folk songs, listened to them. The tales of the serf nanny Avdotya Ivanovna, who tenderly and devotedly loved him, deeply sunk into the impressionable childish soul of little Glinka.
The events of 1812 made a huge impression on Glinka. Fleeing from the invasion of the Napoleonic army, the Glinka family left the estate. The boy heard many stories about the heroism of the partisans and was forever imbued with love and respect for the Russian people, their mighty strength and spiritual beauty.
In the home life of Glinka's relatives, music often sounded. My uncle, who lived nearby, had a good orchestra, consisting of serf musicians. The music made an amazing impression on the boy, after the concerts he walked absent-minded. “Music is my soul,” he once said. The uncle's fortress orchestra performed various works, among them were folk songs. Recalling his childhood impressions, Glinka wrote: "... Maybe these songs, which I heard in my childhood, were the first reason that later I began to develop mainly Russian folk music."
Glinka's composing skill was most clearly manifested in two operas - " Life for the king"("Ivan Susanin") and " Ruslan and Ludmila". He created samples of the national Russian opera - the heroic-epic opera and the fairy-tale opera. The subsequent development of these genres is connected with the principles laid down by Glinka.
The opera A Life for the Tsar (in the USSR in the 30-80s the name Ivan Susanin was adopted; 1836) was written on a historical and patriotic plot. The composer turned to the events of the early 17th century. - the struggle of the Russian people against the Polish conquerors. The plot of the work - the feat of Ivan Susanin - was suggested to Glinka by the poet Vasily Andreevich Zhukovsky.
A Life for the Tsar is the first Russian opera without spoken dialogue; it is based on continuous musical development. The musical fabric of the composition is permeated with choral scenes. In particular, they open (the choir "My Motherland") and complete the work (the final jubilant victorious choir "Glory").
In the center of the opera is the image of the Russian peasant Ivan Susanin. The composer emphasizes the moral strength of the hero. For its musical characteristics, the intonations of folk melodies are used. Antonida, Susanin's daughter, is a bright and poetic ("gentle-graceful", by Glinka's own definition) image of a Russian girl. Sobinin, the fiance of Antonida, is a militia, a daring, fearless man, Vanya is the adopted son of Susanin, a “simple-hearted”, according to Glinka, a boy of thirteen. The images of the young members of the Susanin family - Vanya, Antonida, Sobinin are drawn in the traditions and intonations of the everyday song of the romance.
Russian images are opposed by the hostile camp of the Poles. The detailed choreographic picture represents the "Polish act" of the opera - a magnificent ball in an old castle. This symphonic composition conveys the brilliance, grace and pride of the gentry - the Polish nobility. The melodies and rhythms of the Polonaise, Mazurka, Krakowiak sound. The beauty of the music fascinates, but on the whole the simplicity and sincerity of the "Russian" scenes are contrasted with the ostentatious splendor of the "Polish act".
Finally, the two camps collide directly - the Polish detachment comes to the village of Domnino to Susanin and demands that he lead them to the place where Tsar Mikhail Romanov is located. Susanin's scene with the Poles in the thicket, where he led them to their death, is the culmination of the opera. The denouement is tragic - the main character gives his life for Russia. At night, in the forest, Susanin performs his dying monologue recitative “They smell the truth”, turning into an aria prayer “You rise, my dawn”, in which the hero asks God for strength to meet the last hour. It contains both deep sorrow and hope. The music - slow in tempo, strict and concentrated in mood - is reminiscent of church hymns.
The opera A Life for the Tsar was performed with great success on November 27, 1836 at the Bolshoi Theater in St. Petersburg. The progressive people of Russian society highly appreciated her.
The consciousness of creative victory inspired the composer to new ideas, and a few years later the opera fairy tale " Ruslan and Ludmila» (1842). It was written on the plot of the poem of the same name by A. S. Pushkin. The unhurried development of musical action is reminiscent of ancient epics and legends. The opera contains folk ritual scenes, colorful pictures of nature, and fantastic images. The world of Russian heroes (Ruslan, Ratmir), the song-singer Boyan, Prince Vladimir is opposed by the fabulous world of magicians - Chernomor and Naina. The heroes are shown with epic seriousness and epic majesty. Chernomor and Naina (as well as Ruslan's unlucky rival - Farlaf) are drawn with an undoubted share of humor; the author, as it were, says to the listener: these are just fairy-tale characters, rather comic than evil. The main characteristic of Chernomor, the lord of the magic castle, is a half-joking march. The orchestra plays an important role in creating images. Drawing the kingdom of Chernomor, the composer uses the intonations of the music of the East. Before the listener are Turkish and Arabic dances, lezginka. The opera Ruslan and Lyudmila, like any fairy tale, ends with the victory of good over evil and the triumph of love.
Romances and songs Glinka- the pride of Russian classics. The composer wrote them throughout his life. Glinka's lyrical romances are a kind of confession of his soul. Some of them depict pictures of Russian nature and life. In romances, Glinka generalized and developed all the best that was created by his predecessors and contemporaries - the authors of everyday romance. Many well-known romances, for example, “I am here, Inezilla”, “I remember a wonderful moment”, were written to the verses of A. S. Pushkin. Glinka also turned to the work of V. A. Zhukovsky, A. A. Delvig and other Russian poets. To the words of the then popular poet Nestor Vasilievich Kukolnik, the composer created a cycle of twelve romances Farewell to St. Petersburg (1838), as well as the famous romance Doubt, which the outstanding Russian singer Fyodor Ivanovich Chaliapin liked to perform.
For the orchestra, Glinka wrote one private symphonic fantasy overture. His best works in this genre are "Kamarinskaya" (1848), "Jota of Aragon" (1845) and "Night in Madrid" (1851). "Kamarinskaya", according to the general opinion of Russian composers, laid the foundation for Russian symphonic music. The "Spanish" overtures "Jota of Aragon" and "A Night in Madrid" are a brilliant example of Glinka's mastering the intonations and style of Spanish music. The piece for orchestra "Waltz Fantasy" (1856) prepared the appearance of symphonic waltzes by P. I. Tchaikovsky.
Thanks to the work of Mikhail Ivanovich Glinka, the Russian musical school has achieved recognition in Europe. Subsequent generations of composers, and simply music lovers, have always highly appreciated the master's contribution to the culture of Russia.
Alexander Sergeevich Dargomyzhsky (1813-1869)
Dargomyzhsky is a younger contemporary and follower of Glinka. He entered the history of Russian music as a "great teacher of musical truth", a bold innovator.
Dargomyzhsky's views took shape during the 1930s and 1940s. XIX century, the time of rapid development of Russian culture. He sensitively responded to everything advanced, progressive in Russian art. In his work he was close to the democratic writers and artists of Russia. The links between Dargomyzhsky's vocal music and Pushkin, Gogol, and Lermontov are especially close. It is no coincidence that the best creations of Dargomyzhsky were written to the verses of Pushkin and Lermontov.
In the work of Dargomyzhsky central place is occupied by romances and operas. The composer composed chamber vocal music throughout his life: he wrote over a hundred romances, songs, vocal ensembles. These genres were a kind of creative laboratory for Dargomyzhsky - his musical language was formed in them. The most famous romances are “I loved you” (to poems by A.S. Pushkin), “It’s both boring and sad”, “I’m sad” (to poems by Mikhail Yuryevich Lermontov). They are imbued with subtle lyricism, a mood of loneliness.
A new genre of vocal lyrics appeared in the work of A. S. Dargomyzhsky - satirical song. Vivid examples of such works are the songs "Worm" and "Titular Advisor" (both 50s). Using recitative approaching natural speech, the composer painted expressive social portraits.
The best works of Dargomyzhsky include opera "Mermaid"(1855). Based on the text of the unfinished play of the same name by A. S. Pushkin, the composer himself wrote the libretto. Mermaid is the first Russian opera in the nature of a psychological everyday musical drama. The main task set by the composer is to reflect the spiritual world of the characters, their experiences and characters.
In the 60s. Dargomyzhsky received wide public recognition. The premieres of his operas were held with great success, the composer was elected a member of the committee of the St. Petersburg branch of the Russian Musical Society.
"Mighty bunch"
The second half of the XIX century - the post-reform period, the abolition of serfdom, the liberalization of public life, the flowering of revolutionary sentiment in Russian society. 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 second half of the 19th century is the time of the emergence of a partnership, which received a light hand from critic V.V. Stasova, name "Mighty bunch". It included M.A. Balakirev, Ts.A. Cui, M.P. Mussorgsky, N.A. Rimsky-Korsakov, A.P. Borodin.
The Mighty Handful is an outstanding phenomenon of Russian art. She left a deep mark in many areas of the cultural life of Russia - and not only Russia. In the next generations of musicians - up to our time - there are many direct heirs of Mussorgsky, Borodin, Rimsky-Korsakov, Balakirev. Uniting their ideas, their progressive views were a model for advanced artists for many years.
The head and leader of the "Mighty Handful" was Mily Alekseevich Balakirev(1836/37-1910). He is one of the founders (1862) and leader (1868-73 and 1881-1908) of the Free Music School. From 1867 to 1869 he was the conductor of the Russian Musical Society, and from 1883 to 1894 he was the manager of the Court Choir. His most famous works are "Overture on the themes of three Russian songs" (1858), symphonic poems "Tamara" (1882), "Rus" (1887), "In the Czech Republic" (1905), oriental fantasy for piano "Islamey" ( 1869), romances, arrangements of Russian folk songs, etc.
Among the composers of the "Mighty Handful" Modest Petrovich Mussorgsky(1839-1881) was the most prominent spokesman in music revolutionary democratic ideas60s. gg. XIX century. It was Mussorgsky who, like never before, was able to reveal in music the harsh truth of the life of the Russian people, with great accusatory power, to recreate, as V.V. Stasov said, “the whole ocean of Russian people, life, characters, relationships, misfortune, unbearable burden, humiliation” . Whatever Mussorgsky writes: operas, songs, choirs, everywhere he acts as an angry and passionate denouncer of social injustice.
In 1863, the composer began composing the opera Salammbault (based on the novel of the same name by the French writer Gustave Flaubert), and in 1868, the opera The Marriage (based on the unaltered text of N. V. Gogol's comedy). Both works remained unfinished, but prepared Mussorgsky for the creation of the opera Boris Godunov (1869), which became a significant phenomenon in Russian music.
The whole force of Mussorgsky's talent was revealed in opera "Boris Godunov"after the tragedy of Pushkin. In this tragedy, Mussorgsky was attracted by the opportunity to show in the opera the awakening of the strength of the people, which results in open discontent, and in the end - in a spontaneous uprising. The main idea of the opera is the conflict between the criminal Tsar Boris and the people, leading to an uprising. The composer's attention was focused on revealing the main idea: the clash of the king and the people. The people in Mussorgsky's opera are the main character. Despite the great importance of mass scenes, the main attention in the opera is given to the characterization of the inner world of the characters. In the foreground, of course, is the image of Boris, which is revealed through extended monologue scenes. Brilliantly mastering the technique of recitative, Mussorgsky conveys in music the state of mind of the hero - vague anxiety, sorrow and depression, tormenting conscience, fear and even hallucinations. The part of the orchestra is very difficult in the opera. He flexibly follows the voice, adding important psychological nuances to the vocal part. This opera is close in spirit to the revolutionary-democratic moods that were in Russian society in the 60-70s. XIX century.
In 1872, the composer began work on the opera "Khovanshchina", which he himself called "folk musical drama". At the same time, he wrote a work of a completely different plan - the lyric-comedy opera "Sorochinsky Fair" based on the novel by N.V. Gogol (remained unfinished).
According to contemporaries, Mussorgsky was an excellent pianist. As a tribute to his favorite instrument, he created a large piano suite of ten pieces. "Pictures at an Exhibition"(1874). The concept of the suite was inspired by the posthumous exhibition of works by his friend, artist and architect Viktor Alexandrovich Hartmann. The cycle begins with an introduction, which becomes the leitmotif of the work. The author called it "Walk" not by chance: it conveys the movement of the visitor through the halls of the exhibition. This is followed by separate “pictures”: “Gnome”, “Old Castle”, “Tuileries Garden”, “Cattle”, “Ballet of unhatched chicks, etc. The music of the introduction is periodically repeated, and thanks to this, the cycle acquires unity and is perceived as an integral composition.
Mussorgsky is the author of famous songs and romances. The first published song “Where are you, little star ...” (words by the poet and translator Nikolai Porfiryevich Grekov) gave rise to a lyrical theme in the composer’s vocal work, which reached its peak in the fantasy romance “Night” (lyrics by A. S. Pushkin). Funny sketches of Russian family life are presented in the romances “But if I could meet you” (lyrics by the poet Vasily Stepanovich Kurochkin) and “Svetik Savishna” and “Seminarist” (lyrics by the composer).
Mussorgsky is a truly folk composer who devoted all his work to the story of the life, sorrows and hopes of the Russian people. His work was so original and innovative, which still has a strong influence on composers from different countries.
Alexander Porfiryevich Borodin (1833-1887) -unique composer. In music, he continued in many respects the traditions of Glinka. In his music, Borodin embodied the greatness and power of the Russian people, the heroic character traits of the Russian people, the majestic images of the national epic epic. And along with this, in the work of Borodin there are images lyrical, sincere, full of passion and tenderness.
Borodin is one of the founders of the Russian classical symphony(2nd, " Bogatyrskaya", 1876, which opened the heroic-epic direction in Russian symphony; symphonic picture "In Central Asia", 1980), Russian classical string quartet. Master of vocal lyrics ("For the shores of the distant homeland"); introduced images of the heroic epic into the romance, embodied the liberation ideas of the 60s. 19th century ("Sleeping Princess", "Song of the Dark Forest").
A remarkable work of ancient Russian literature of the 12th century - "The Tale of Igor's Campaign" - captivated Borodin, captivated him and inspired him to create an opera. The Lay told about the unsuccessful campaign of the brave Prince Igor against the Polovtsians. The author called on the princes to unite, and in this patriotic orientation of the work was his progressive role. On this plot, Borodin created his grandiose opera "Prince Igor"(completed by Rimsky-Korsakov in 1890).
Prince Igor is a lyric-epic opera in 4 acts with a prologue. The music of the opera is largely based on the intonations of folk songs - Russian and Oriental. Folk scenes, both Russian and oriental, are painted in bright colors. In this, Borodin was a follower of Glinka, who also found an artistically convincing characterization for depicting the camp of enemies.
Nikolai Andreevich Rimsky-Korsakov (1844-1908).Among the composers of The Mighty Handful, Rimsky-Korsakov occupies a special place. With his work flourished in Russian music fairy tale. His whole life is a selfless and disinterested service to art, loyalty to his ideals.
The range of themes and plots embodied by Rimsky-Korsakov is wide and varied. Like all "Kuchkists", the composer turned to Russian history, pictures of folk life, images of the East, he also touched on the area of everyday drama and the lyrical and psychological sphere. But with the greatest completeness, Rimsky-Korsakov's talent was revealed in works related to the world of fantasy and various forms of Russian folk art. A fairy tale, a legend, an epic, a myth, a ritual determine not only the subject matter, but also the ideological meaning of most of his works. Revealing the philosophical subtext of folklore genres, Rimsky-Korsakov reveals the worldview of the people: their eternal dream of a better life, of happiness, embodied in the images of bright fairy tale countries and cities (Berendeevo kingdom in The Snow Maiden, the city of Ledenets in The Tale of Tsar Saltan); his moral and aesthetic ideals, which are embodied, on the one hand, by the captivatingly pure and gentle heroines of operas (the Princess in Kashchei the Immortal), on the other hand, by the legendary singers (Lel, Sadko), these symbols of the unfading folk art; his admiration for the life-giving power and eternal beauty of nature; finally, the indestructible faith of the people in the triumph of the forces of light, justice and goodness - the source of optimism inherent in the work of Rimsky-Korsakov.
The peculiarities of the composer's style and artistic method were most fully revealed in opera. Rimsky-Korsakov's 15 operas represent an extraordinary variety of genre, dramatic, compositional and stylistic solutions. Among them are compositions that gravitate towards a numbered structure (“May Night”, “The Snow Maiden”, “The Tsar's Bride”) and to continuous development (“Mozart and Salieri”, “Kashchei the Immortal”, “The Legend of the Invisible City of Kitezh”, “Golden cockerel"); operas with wide crowd scenes (The Maiden of Pskov, May Night, The Snow Maiden, Mlada, Sadko, Kitezh) and without them (Mozart and Salieri, Vera Sheloga, Kashchei Immortal) , with deployed complete ensembles ("The Tsar's Bride") and without ensembles ("Mozart and Salieri", "The Golden Cockerel") In each specific case (the choice of genre, the principles of dramatic and stylistic decisions are determined by the plot premises. I have never believed and do not believe, - emphasized Rimsky-Korsakov, - in one single true operatic form, believing that as many stories as there are in the world, there should be so many (almost as many) corresponding independent operatic forms.. Establishing the view of opera as primarily a musical work, Rimsky-Korsakov at the same time made high demands on its poetic basis, unity and consistency of literary style. He actively directed the work of librettists. A number of opera librettos were written by the composer himself.
The symphonic work of Rimsky-Korsakov is not so large-scale and diverse in comparison with the opera. However, he also made a striking and original contribution to this area. The figurative concreteness of the composer's musical thinking determined his inclination towards program (mainly pictorial, pictorial) and genre (associated with folk song and dance themes) symphonism. Hence the characteristic choice of genres and forms - an overture (fantasy), a symphonic picture, a suite and a certain direction of style - an inclination towards variation, ornamentation in the development of the material, special attention to the coloristic possibilities of harmony and orchestration.
Rimsky-Korsakov left a huge creative legacy in almost all musical genres. His works are diverse in content, but their main feature is a deep penetration into the life and life of the people, their thoughts and aspirations.
The brilliant Pyotr Ilyich Tchaikovsky (1840-1893)
Among the Russian classical composers, the name of Tchaikovsky stands out. It is dear to music lovers all over the world. His works equally capture and excite all people - professional musicians and the general public. Tchaikovsky devoted his work to man, his love for the Motherland and Russian nature, his aspirations for happiness, and his courageous struggle against the dark forces of evil. In the music of the composer - the whole life of a person with its joy, sorrow, hopes, struggle, despair. And no matter what Tchaikovsky says, he is always truthful and sincere.
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.
Tchaikovsky wrote in almost all genres, and in each of them he said his new word as a brilliant artist. But perhaps his favorite genre was opera.In it, Tchaikovsky was a true reformer. The composer imagined the opera as the most democratic genre. “Opera,” he wrote, “and it is only opera that brings you closer to people, makes your music related to the real audience…”. Opera action is based on strong human feelings and experiences. Tchaikovsky paid great attention to the content of his operas, always giving preference to a plot from Russian life, since he really knew and understood the Russian person well.
One of Tchaikovsky's best works opera Eugene Onegin.Long before the decision to write an opera based on the plot of Eugene Onegin, Tchaikovsky was passionately carried away by Pushkin's poems. One of his favorite places in the poetic novel was Tatyana's letter to Onegin, and the composer dreamed of composing music to these words. The first performance of the opera, at the request of the composer, took place by the students of the Moscow Conservatory under the direction of N. Rubinshtein on March 17, 1879.
Tchaikovsky called his opera "lyrical scenes". The composer focused all his attention on revealing the inner, spiritual world of his characters.
The opera "Eugene Onegin" is one of the highest achievements of Russian opera art. The truthful images of Pushkin's novel helped solve the problem of creating an "intimate but powerful drama", the characters of which were "real living people". The personal drama of the characters unfolds against the backdrop of everyday scenes. Diverse everyday scenes give the opera a special charm.
The innovation of "Swan Lake" - its unusualness and dissimilarity to everything that preceded it - if it was not fully understood immediately, it was immediately noted by the public and criticism, although sometimes it caused bewilderment of enlightened music lovers. Some reproached the composer for the poverty of creative imagination, the monotony of themes and melodies, and a certain monotony. Others believed that the music was beautiful, moreover, even too good for ballet. Nevertheless, the premiere of the ballet at the Moscow Bolshoi Theater (February 20, 1877) was a success, and the performance remained in the repertoire until 1883, when the scenery of this production fell into disrepair.
The first review in the press, where the creation of a new ballet was appreciated, belonged to G.A. Laroche: “In terms of music, Swan Lake is the best ballet I have ever heard ... Melodies, one another more plastic, melodious and more exciting, pour like from a cornucopia; the rhythm of the waltz, which prevails between the dance numbers, is embodied in such a variety of graceful and captivating drawings that the melodic image of a gifted and versatile composer has never stood a more brilliant test ... "
At the same time, symphonic music also occupies an important place in Tchaikovsky's work. He wrote 6 symphonies and the program symphony "Manfred", three concertos for piano and orchestra, one for violin and a number of orchestral suites. Of the symphonic single-movement pieces, the fantasy "Francesca da Rimini" and the program pieces based on Shakespeare's plots (the overture-fantasy "Romeo and Juliet", the fantasy "The Tempest") stand out.
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.
“I would wish with all the strength of my soul,” Tchaikovsky wrote, “that my music would spread, that the number of people who love it, find comfort and support in it” would increase.. The composer's wish came true.
The work of Tchaikovsky is the pinnacle of world musical culture of the 19th century, an ever-living and precious spring from which composers of the 20th century and our contemporaries never cease to draw inspiration.
Conclusion
The 19th century gave remarkable compositions to Russian and world music. "Ruslan and Lyudmila" and "Ivan Susanin", "Eugene Onegin" and "Swan Lake" are the pride of Russian culture. The golden fund of Russian music includes works by Borodin, romances by Balakirev, Rimsky-Korsakov, Borodin, Cui.
Russian composers began to travel abroad. There they communicated with prominent masters of musical art, and most importantly - received a European musical education. Russia aroused a reciprocal interest in Europe, and over the course of a century, many outstanding musicians toured Moscow and St. Petersburg. Introduction to European culture not only increased the intellectual and professional level of Russian composers and performers, but also helped them to better understand the traditions of national music, to know themselves better.
Who is the most beloved Russian composer in America these days? Of course, Tchaikovsky. Many Americans even consider Pyotr Ilyich an American composer. He conducted his compositions in America when he was invited to the opening of the famous Carnegie Hall in New York. His music is heard almost daily in America on the radio, especially the 4th and 6th symphonies and the 1st piano concerto. The Nutcracker is America's favorite ballet.
The work of classical composers Glinka, Dargomyzhsky, Borodin, Rimsky-Korsakov, Tchaikovsky is a true treasure of Russian culture of the 19th century. Their traditions were implemented and developed in the works of composers of the late 19th and early 20th centuries - Taneyev and Glazunov, Lyadov and Arensky, Kalinikov, Scriabin and Rachmaninov. All of them are worthy successors of their great predecessors.
In my term paper, I showed the musical development of Russia in the 19th century, analyzed the state of musical culture, identified its features, spoke about the composers of this century and their works, and also revealed the significance of Russian music of the 19th century for world culture.
Russian musical culture of the 19th century, through merging with European culture, through its transformation, acquired original special features and, in turn, began to exert a significant influence on it, developing to this day.
Bibliography
1. Great Soviet encyclopedia
2. Levashova O., Keldysh Yu. History of Russian music-M., 1980
Encyclopedia Around the World
Smirnova E. Russian musical literature - M., 2001
Nikitina L.D. History of Russian music-M., 1999
Rapatskaya L.A. History of Russian Music: From Ancient Rus' to the "Silver Age" - M., 2001
www.rimskykorsakov.ru
Annex 1
Gurilev, Varlamov, Alyabiev, Verstovsky
Fedor Ivanovich Glinka
Dawnlight costume design. Opera "Ruslan and Lyudmila"
Annex 2
Peter Ilyich Tchaikovsky
Ballet "The Nutcracker" with the participation of the actors of the Bolshoi Theater
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Introduction
For Russia, the 19th century became the era of the formation of a national music school
The traditions of opera, chamber-vocal and symphonic music developed in this century. This process was decisively influenced, on the one hand, by Western European culture, and, on the other hand, by Russian folklore.
Mikhail Ivanovich Glinka
Having received a serious musical education in Europe, he was the first to deeply understand the features of Russian national music. Glinka's composing skill was most clearly manifested in two operas - "A Life for the Tsar" ("Ivan Susanin") and "Ruslan and Lyudmila"
Scene from the opera Ivan Susanin» Glinka
"Ruslan and Lyudmila" Glinka
The opera-tale “Ruslan and Lyudmila” was written on the plot of the poem of the same name by A.S. Pushkin. The orchestra plays an important role in creating the image.
Tchaikovsky Pyotr Ilyich
Creativity P.I. Tchaikovsky is a bright page in the history of not only domestic, but also foreign musical art. The creative heritage of the composer includes 6 symphonies
The most famous works are the First Piano Concerto (1875), Violin Concerto (1878) and Variations on a Rococo Theme (1876).
Scene from the ballet Swan Lake" Chaikovsky. 1876
Scene from the ballet "The Nutcracker" by Tchaikovsky. 1892
Scene from the ballet The Sleeping Beauty by Tchaikovsky. 1889
Modest Petrovich Mussorgsky
(1839-1881)
The operas "Boris Godunov" (1869), "Khovanshchina" (1872), "Sorochinsky Fair" became a significant phenomenon in Russian music.
Scene from the opera "Boris Godunov" by Mussorgsky. 1869
Alexander Sergeevich Dargomyzhsky. (1813-1869)
Dargomyzhsky's best works include the opera Mermaid (1855) and the unfinished opera The Stone Guest (1866-1869). Romances occupy a central place in the composer's work. (Over 100 romances.). The most famous
- “I loved you (to poems by A.S. Pushkin), “And it’s boring and sad”, “I’m sad” (to poems
M.Yu. Lermontov).
Nikolai Andreevich Rimsky - Korsakov (1844 - 1908)
The basis of the creative heritage was made up of operas, many of which were written based on the works of Russian writers
"The Snow Maiden" (1881 based on the play by Ostrovsky)
The Snow Maiden (1881 based on the play by Ostrovsky) Rimsky-Korsakov
Scene from the opera Scheherazade Rimsky-Korsakov
WESTERN EUROPEAN MUSIC
19th century - the heyday of the musical culture of Western Europe. New ways of musical expression emerge, revealing the deep individuality of composers' potential
The works of romantic composers, conveying the richness of the world of spiritual experiences of a person, the shades of his personal feeling, form the basis of the modern concert repertoire. Romanticism is not just lyrics, but the dominance of feelings, passions, spiritual elements, which are known only in the corners of one's own soul.
Franz Peter Schubert
Austrian composer, one of the largest representatives of the Viennese classical music school and one of the founders of romanticism in music
Ave Maria. Schubert
Robert Schumann (1810-1856)
He, like Robert Schumann, is the creator of a new genre of German song Lied
Frederic Chopin (1810-1849)
Chopin was once asked what word could describe the basic mood of his music. The composer replied that there is such a word in his native Polish language - this<<жаль>> (zal)
Richard Wagner (1813 -1883)
One of the most outstanding German composers, a musician of genius talent, whose work left the deepest mark in the history of European musical art
Strauss, Johann (father)
(1804-1849
)
Austrian composer, violinist and conductor. He is rightfully considered the ancestor of the Strauss musical dynasty. Three of his sons - Johann, Joseph and Eduard - also became famous composers. The composer's heritage includes 251 creations (including 152 waltzes!)
Johann Strauss (son)
(1825-1899)
Called the "king of the waltz". His work is thoroughly imbued with the spirit of Vienna with its long-standing tradition of love for dance. Inexhaustible inspiration combined with the highest skill made Strauss a true classic of dance music. Thanks to him, the Viennese waltz went beyond the 19th century. and became part of today's musical life.
Scene from the opera Die Fledermaus Strauss (son)
Gioacchino Antonio Rossini (1792-1868)
Rossini was mainly a composer of comic operas, the so-called buff operas, some of which are still performed on opera stages to this day.
marriage bill
strange case
silk ladder
stumbling block
Dance "Tarantella" Rossini
Giuseppe Verdi (1813-1901
The last great classic in the three-century history of Italian opera. There is no musical theater in the world in which Verdi's operas would not be staged.
Scene from Verdi's La Traviata
Conclusion
19th century - the age of the triumph of piano "literature". Not only the design of the piano is being improved, but also the technique of playing it, its ability to create a singing cantilena, expressive melodic lines is revealed. The rhythm of the composers was freed from the "fetters" of caesuras and the strict regularity of dance figures. Romantic compositions are filled with improvisational ease, when the melody follows the variability of the movements of feelings, as the author intended and as the performer is able to feel. The role of nuance and the role of musical performance is increasing
List of resources
http://www.richard-wagner.ru/
http://www.krugosvet.ru/articles/htm
http://ru.wikipedia.org/wiki/
http://fchopin.ru/
Thank you for your attention!
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. The musical theater of this period is gradually developing, and by the 1920s 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) traditions of spiritual 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's Circle (New Russian Musical School - "The Mighty Handful"). 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 of Romanesque, Gothic, Renaissance and other styles are used. 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 the ethics and social life of Europe and America, the struggle for the national independence of the American colonies of European countries, the abolition of slavery, and 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 emerged in 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 the artistic movements 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. The assertion of the inherent value of the spiritual and creative life of the individual, the image of strong passions, the image of strong passions, spiritualized and healing nature, for many romantics - heroes of protest or struggle are adjacent to the motives of "world sorrow", "world evil", "night" side of the soul, clothed in 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 height of Lilliputians is twelve times less than the height of 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 in the political and social life of 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.
The music of the first half of the 19th century was influenced by the general patriotic. rise in connection with the war of 1812. Composers began to turn more often to heroic-historical plots and folk melodies (opera Ivan Susanin). The emergence of the national school (M.I. Glinka) whose musical realism was prepared by decades of convergence of professional and folk music. Glinka "created national Russian opera, national instrumental music, Russian national romance." A.S.Dargomyzhsky created new genres - folk-everyday musical drama, satirical-comic song "Tituryarny adviser").
Public upsurge 1850s–60s - concert life becomes more intense, the foundations of professional music are being created. education. "Mighty bunch" : group leader M.A. Balakirev. The ideological and artistic aspirations of the Mighty Handful were formed under the influence of the aesthetic principles of the Russian revolutionary democrats. Developing the traditions of Glinka and Dargomyzhsky, the musicians found a source of inspiration in folk art and at the same time mastered the European system. thinking and expression. Fundamentals: realism and folk. The contribution of MK to the development of chamber and symphonic music is great.
Creativity of P.I. Tchaikovsky - 6 symphonies ("Manfred", "Romeo and Juliet", etc.), violin and piano concertos belong to world masterpieces; a ballet reformer who made music the leading component of ballet dramaturgy (Swan Lake; The Sleeping Beauty; The Nutcracker), he also created a new type of opera (Eugene Onegin, 18). A.N. Serov - Composer and music critic, champion of art close to folk origins. Brothers Rubinstein , outstanding pianists, conductors, were the founders of the first Russian conservatories in St. Petersburg and Moscow.
The theme of waiting for great changes- Scriabin, Rachmaninov. Ideas related to the revolutionary upsurge - Rimsky-Korsakov (operas "Kashchei the Immortal" and "The Golden Cockerel"). Change of accents: opera fades into the background, symphonic and chamber music comes to the fore.
4. Features of the "golden age" of Russian literature
19th century AD The "golden age" of Russian poetry and the age of Russian literature on a global scale. The 19th century is the time of the formation of Russian letters. language, cat. took shape largely thanks to A.S. Pushkin. But the 19th century began with the flourishing of sentimentalism and the formation of romanticism (in poetry - Zhukovsky, Fet). Creativity F.I. Tyutchev's "Golden Age" of Russian poetry was completed. The central figure of this time was A. S. Pushkin- the poem "Ruslan and Lyudmila", the novel in verse "Eugene Onegin" was called an encyclopedia of Russian life.
Poems by A.S. Pushkin's "The Bronze Horseman", "Gypsies" opened the era of Russian romanticism.
Pushkin's follower Lermontov(Mtsyri, lead the Demon). Russian poetry of the 19th century was closely connected with the social and political life of the country. Poets tried to comprehend the idea of their special purpose. The poet in Russia was considered a conductor of divine truth, a prophet. The development of Russian prose in the 19th century began with the prose works of A.S. Pushkin and N.V. Gogol. Pushkin, under the influence of English historical novels, creates the story "The Captain's Daughter", where the action takes place against the backdrop of grandiose historical events: during the Pugachev rebellion. A.S. Pushkin and N.V. Gogol identified the main artistic types that would be developed by writers throughout the 19th century: the type of "extra person" (Onegin) and the type of "little man" (the story of Gogol's Overcoat, Pushkin - The Stationmaster). Characteristics: publicism and satirical character (Dead Souls, Inspector General Gogol).
The tendency to depict the vices and shortcomings of Russian society is a characteristic feature of all Russian classical literature. Since the middle of the 19th century, the formation of Russian realistic literature has taken place, a cat. created against the backdrop of a tense social policy. the situation that developed in Russia during the reign of Nicholas I. A crisis of feudal society is brewing, contradictions between the government and the common people are strong. There is a need to create a realistic literature, acutely responsive to the general watered. the situation in the country. Literary critic V.G. Belinsky marks a new realistic trend in literature. His position is being developed by N.A. Dobrolyubov, N.G. Chernyshevsky. A dispute arises between Westernizers and Slavophiles about the paths of Russia's historical development. The end of the 19th century - Ostrovsky, Chekhov, Gorky. Completion of the 19th century - decadent literature, the distinguishing features of the cat. were mysticism, religiosity, as well as a premonition of changes in the general watered. the life of the country. Subsequently, decadence grew into symbolism.
5. Literature of the Russian Diaspora in the first half of the 20th century.
Lit-ra of the Russian diaspora is a branch of Russian literature that arose after the Bolshevik coup of 1917. There are three periods or three waves of Russian emigrant literature. 1 wave- from 1918 to early. World War II, the occupation of Paris - wore a massive character. wave 2- at the end of World War II.3 wave- after Khrushchev's "thaw" and brought the largest writers out of Russia (Solzhenitsyn, Brodsky). The greatest cult. and letters. What matters is the work of the writers of the first wave of Russian emigration. The first wave of emigration (1918-1940). The concept of "Russian abroad" arose after the October Revolution of 1917, when refugees began to leave Russia en masse (more than 2 million people), in Berlin, Paris, Harbin - "Russia in miniature": Russian newspapers and magazines were published, schools and universities were opened, the Russian Orthodox Church was operating , but the situation of the refugees was still tragic (loss of family, homeland, social status, understanding that it was impossible to return). Refugees: Reg. philosophers (Berdyaev, Bulgakov), F. Chaliapin, I. Repin, K. Korovin, ballet stars A. Pavlova, V. Nizhinsky, composers (S. Rachmaninov and I. Stravinsky), writers (Bunin, Z. Gippius, Kuprin, Severyanin, M. Tsvetaeva). Lit-ra found herself in emigration one of the spiritual strongholds of the nation, but at the same time there were unfavorable conditions: the absence of readers, the collapse of the social psycho. foundations, need. BUT, since 1927, the heyday of Russian foreign literature begins, the right to creative freedom. Lit-ra of the older generation : they professed the position of "preserving the covenants" - "We are not in exile, we are in messages", literature is represented by prose (Merezhkovsky, Bunin, Kuprin, Gippius); the main motive is the nostalgic memory of the lost homeland, many biographies of writers, works on a religious theme are published Lit-ra of the younger generation: did not have time to gain a strong reputation in Russia before the revolution, but many became popular in Europe and the world, the authors recognized the inherent value of the tragic experience of emigration, there appeared writers oriented to the Western tradition (V. Nabokov, Adamovich, Tsvetaeva, Gorky), portrayed reality in exile, many writers went unnoticed, a great contribution to memoirs
Eastern scattering centers- Harbin and Shanghai. Prague (Tsvetaeva) was the scientific center of the Russian emigration for a long time. In Prague, the Russian People's University was founded, 5 thousand Russian students were invited, a cat. could continue their education. Many professors and university lecturers also moved here. The Prague Linguistic Circle played an important role in the preservation of Slavic culture and the development of science. Russian dispersion also affected Latin America, Canada, Scandinavia, the USA (Grebenshchikov).
The main events in the life of the Russian literary emigration. Young poets of the Crossroads group united around Khodasevich: G. Raevsky, I. Golenishchev-Kutuzov, Yu. Mandelstam, V. Smolensky. Adamovich demanded from young poets not so much skill as simplicity and truthfulness of "human documents": "drafts, notebooks". Adamovich did not reject the decadent, mournful attitude, but reflected it. G. Adamovich is the inspirer of the literary school, which entered the history of Russian foreign literature under the name of "Parisian note".
Section 5 RELIGIOUS STUDIES
