Romance(Spanish) romance, from late lat. romance, literally - “in Romance”, that is, “in Spanish”) - a vocal composition written on a small poem of lyrical content, mainly love; chamber musical and poetic work for voice with instrumental accompaniment.
The term "romance" originated in Spain during the Middle Ages, originally referring to a secular song in Spanish ("Romance") rather than a religious hymn in Latin. It soon came into use in other countries, although in some countries romance and song are still denoted by one word (German Lied, English Song).
The romance developed from the song. It appeared and took shape in the XV and XIX centuries. The heyday of the romance as a synthetic musical and poetic genre began in the 2nd half of the 18th century in Germany, France and Russia. The work of the greatest poets Goethe and Heine had a great influence on its development.
In the 19th century, bright national schools romance: German and Austrian (Schubert, Schumann, Brahms, Wolf), French (G. Berlioz, J. Bizet, Massenet, Gounod), and Russian. Composers often combined romances into vocal cycles: an early example is L. Beethoven (“To a Distant Beloved”, 1816), a mature one is Schubert (“The Beautiful Miller’s Woman” and “Winter Road”), later Schumann, Brahms, G Mahler, Wolf and many other composers, including Russians: Glinka, Mussorgsky, Rimsky-Korsakov.
In the 2nd half of the XIX - early XX centuries. samples of Czech, Polish, Finnish, Norwegian national schools become noticeable.
Along with the chamber-vocal classics, the household romance designed for amateur singers.
Romance penetrated into Russia through France in the second half of the 18th century, immediately falling on the fertile soil of the heyday of Russian poetry, the new vocal genre began to spread rapidly, absorbing character traits rich Russian culture. Originally a poetic text written in couplet form lyrical content in French, determined the title of the piece of music. In Russian, a work of the same nature was called Russian song th.
The emergence and formation of such a concept as “Russian romance” occurred much later, when truly folk melodies began to penetrate the minds of educated democratic artists. In general, the song heritage left by the 18th century played a special role in the history of Russian romance. It is in Russian folk songs that the origins of a new vocal genre in Russia are hidden. The song art of the middle of the 18th-19th centuries in Russia, which has survived to this day, is represented mainly by anonymous authors. Transmitted orally, the song-romance heritage was not frozen: the words changed, the melody varied. Years passed, people appeared who, at the call of their hearts, tried to collect and record what was scrupulously selected. It must be assumed that they themselves brought something of their own to the material they collected, since they were often musically educated people, they used to go on special folklore expeditions.
Many composers have turned to the romance genre and are turning to it. For some, this form vocal music was and is a kind of diary of vivid impressions, a spiritual confession. For others, romances serve as sketches for larger works. Still others see romance as a tribune for proclaiming philosophical ideas.
Of the Russian composers, remarkable examples were created by Alyabyev, Varlamov, Gurilev, Verstovsky, Glinka, Dargomyzhsky, Rubinstein, Cui, Tchaikovsky, Rimsky-Korsakov, Bulakhov, Rachmaninov, Sviridov, Medtner, B. Prozorovsky. The flexible form of the romance incorporates lyrical insight, a journalistic monologue, a satirical sketch, and an elegiac confession. Suffice it to recall such romances as “I remember a wonderful moment” (M. Glinka - A. Pushkin), “Voice from the choir” (G. Sviridov-A. Blok), “Titular adviser” (A. Dargomyzhsky-V. Kurochkin) , “For a distant coastal homeland” (A. Borodin-A. Pushkin).
AT modern Russia the existence and development of this musical genre is centrally supported by events such as the Moscow international competition young performers of Russian romance - Romansiada.
Types of Russian romance
|
Urban romance.
Authorial in the way of creation, but folklore in the way of being, a kind of romance that existed as folklore in Russia at the end of the 19th - the first half of the 20th century. Main hallmarks urban romance from a literary point of view are specifics in images, stepped composition, presentation lyrical hero about himself, as about an experienced person, the unattainability of the object of love. From a musical point of view, the urban romance is distinguished by the harmonic minor and its typical template cadenzas and sequences, including the “golden sequence”. |
|
Gypsy romance. The genre of gypsy romance was founded by Russian composers and poets, fans of the gypsy style of performance; an ordinary romance was taken as a basis, but specifically gypsy techniques and turns were added to the music and texts. Subsequently, the genre was developed and changed to the present state by the gypsies themselves. At the moment, gypsy romance is a type of song that has roots in both Russian classical and urban romance and urban lyric song, is recognizably gypsy in music and lyrics, and can have both gypsy and Russian text. The theme of the text is love experience, from tenderness to passion. A typical example of a gypsy romance is the song "Your eyes are green." Melodies for the gypsy romance belong to the genre of gypsy academic music; gypsy romances rarely have a "simple", non-professional origin. It is believed that the Russian chanson developed, among other things, under the influence of the gypsy romance, adopting high drama and some other performance features from it. |
|
Cruel romance.
In modern folklore there is no single definition of the genre of cruel romance. originality this genre and consists in a harmonious synthesis of the genre principles of a ballad, a lyrical song, a romance. But he also has his own special features, according to which a cruel romance can be isolated from a vast layer of Russian lyrical songs or ballads. In a cruel romance, a little more than a dozen main plots can be distinguished. They differ from each other mainly in the causes of the tragedy, and the choice of endings is not at all large: murder, suicide, death of the hero from grief, or mortal grief.
Cossack romance.
|
SPRING WILL NOT COME FOR ME Spring is not for me |
|
|
Features of vocal romance
In form, a romance is similar to a song; like the last one, it is written in a knee pattern, but it does not necessarily have that quadrature, that parity of measures that are pursued in the song. In romance, deviations are allowed in the form of so-called extensions or inserts, transitions from one tribe to another. The vocal part of the romance should have a clear and embossed melodic outline and be distinguished by melodiousness. The refrain, or chorus, is most often absent in the romance. (Although there are exceptions, such as, for example, the work of A. S. Dargomyzhsky "The Old Corporal" - a romance with a chorus in the form of a couplet song). In a romance, attention should be paid more to conveying the general mood of the text than to a detailed illustration of its details. The interest should mainly lie in the melody and not in the accompaniment.
The romance is written for singing with the accompaniment of one instrument, mainly the piano, and belongs to the category of chamber music, although some romances are accompanied by an orchestra. "Instrumental accompaniment in a romance is important, often being an element of a single whole on an equal footing with the vocal part."
The main genre features of the romance
- The content of the romance does not go beyond the lyric. The text is dedicated to some experience, usually love.
- The romance is characterized by only one lyrical mood. However, the range of emotional states in the romance is so wide that each performer and listener has the opportunity to choose the one that is closest to him.
- In a romance, the melody is more closely connected with the verse than in the song, reflecting not only its general character and poetic structure, but also individual images, rhythmic and intonational particulars.
- Due to the fact that a romance usually expresses a love experience, it either has or implies an addressee, and therefore is initially dialogic in its very content.
- The presence of two heroes gives rise to one of the most important qualities of a romance - its intimacy, intimacy.
- Romance as a vocal and poetic genre is a three-sided structure in which the word, music and speech are equally significant.
Romance is also found in operas (for example, Raoul's romance in the first act of Les Huguenots).
The form of romance passed into instrumental music entitled "romance sans paroles"(= "song without words", "Lied ohne Worte", "song without words"): this is a knee piece with a predominant melodic meaning. Such romances are written for the piano (see Mendelssohn) or for some other solo instrument, with accompaniment.
Romance text
Genre varieties of romance - ballad, elegy, barcarolle, romance in dance rhythms etc. A romance poem is devoid of solid genre features - usually it is a small lyrical work, strophic, rhymed, with verses of medium length, with a melodious type of intonation.
Materials used:
"Romance Yesterday and Today" Galina Kovzel
Wikipedia articles
The word Romance came to us from Spain, where it originally meant a poem in Spanish ("Romance"), designed for musical performance with instrumental accompaniment. Romance was a folk song of lyrical or heroic content. Having spread in other countries, the musical term "Romance" began to denote a vocal genre. In some countries, romance and song are denoted by one word (German Lied, English Song).
The name romance came to Russia in the middle of the 18th century. Then a romance was called a poem in French, set to music. However, the romance as a genre of Russian vocal and poetic culture was called differently - the Russian song. This was an everyday romance, intended for solo monophonic performance with harpsichord, piano, harp, guitar. The romance differed from the song and is distinguished by the greater detail of the melody and its connection with the words, the significant expressive role of the instrumental accompaniment.
So, Russian romance originates in the so-called Russian songs. "The monophony of the Russian song is a fundamental phenomenon. The Russian song was preceded by the so-called cant - a chant in three voices, followed by the replacement of the third voice with flute and violin accompaniment, turning it into a duet: the path to a monophonic song-romance, a work that captures personal fate in its common eventfulness. The second and third voices went to the listeners, listening to the inner voice of the lyrical hero". In 1759, a collection of songs was published under the title "In the meantime, idleness, or a meeting different songs with attached tones for three voices. "It was compiled by G.N. Teplov, a prominent nobleman of the Elizabethan and Catherine's times, an enlightened music lover. The content of the songs of this collection is rather limited: these are the complaints of a lover who is "separated by a wicked passion", or a woman in love (" Am I captivated by you, so that, ardently loving to sigh all the time?"), etc. The lyrics belong to Russian poets - Sumarokov, Elagin, etc.
Composers F.M. Dubyansky and Y. Kozlovsky determined the musical image of the Russian song at the end of the 18th century. By the turn of the century, Russian song appeared in the following varieties: pastoral idyll, drinking song, elegiac song (close to classical romance), didactic chants, philosophical miniature. Observing the development of vocal lyrics of this period, one can notice how its content is gradually becoming more and more individualized. The world of personal feelings of a person receives in it an ever more vivid and truthful expression. The well-known conventionality and affectation, characteristic of many songs from Teplov's collection and characteristic of courtly aristocratic art, give way to sincere sincerity. The purely Russian features of the melody come through more and more clearly. The capacity for tender feelings was regarded as the most valuable of human qualities. In their desire to reveal the "life of the heart," sentimentalist artists liked to give their works the character of languid sadness, melancholy. Poets Y. Neledinsky-Meletsky, I. Dmitriev, N. Karamzin composed poems "on the voice", to widely known musical samples.
In such a language it was already possible to express the experiences of living, and not fictitious people. That is why everyone listened to these songs - both the noble intelligentsia, and the urban bourgeoisie, and the peasants. From here, the penetration of everyday romance into all layers can be traced, which explains the extraordinary popularity of the genre at the end. XVIII-early XIX centuries.
With the development of sentimentalism and especially romanticism in Russian literature, the songwriting of Russian poets becomes very diverse both in content and in genre features. The "Russian song" is being replaced by the genre of "Russian song" - a kind of song-romance, focusing on folklore tradition. The founder of this direction was A. Merzlyakov. Many of his songs are inspired by folk songs and some have become folklorized. Folklorization of author's works testifies that they go beyond the educated layer, that people of different social groups experience someone else's fate in it as their own. The most famous song Merzlyakova - "Among the flat valley ..." - went out to the people, like many other "Russian songs".
The genre of "Russian song" reached its peak in the work of two poets: A. Koltsov ("At the dawn of a foggy youth...", "Oh, my steppe...", etc.) and N. Tsyganova ("Don't sew me, mother, red sundress…”, “What kind of heart…”).
"Russian Song" is a peculiar, but not the only type of vocal lyrics of the first half of the 19th century. Already in the first decades, its other forms appear and then develop, especially in the mainstream of romantic poetry - ballads by V. Zhukovsky, M. Lermontov, A. Timofeev, elegiac romances by A. Pushkin, E. Baratynsky, F. Tyutchev, N. Pavlov , M. Yakovleva, freedom-loving songs of Decembrist poets (A. Bestuzhev-Marlinsky, K. Ryleev, F. Glinka, P. Katenin) and poets of the next generation (A. Polezhaev, N. Ogarev), hussar songs of Denis Davydov, student songs by N. Yazykov…
Along with chamber vocal classics in the 19th century. there is also an everyday romance, stylistically close to the song, designed for amateur singers. Home music making is ubiquitous. In the conditions of Russian reality, especially the provincial one, playing music was not so much a salon pastime as a sincere communication between people. Hence the colossal spread of domestic sentimental-elegiac romance and emotionally exciting song. What was needed was precisely and only music of direct sincere feeling, which would make it possible to "take the soul away" and would itself be a statement6 ". In the song-romance, a person (author and performer) could allegorically express his aspirations. The mystical moods of society were reflected in Zhukovsky's ballads, rebellious spirit - in the freedom-loving verses of the Decembrists, etc.
The romance-elegy becomes the artistic epicenter of Russian musical and poetic culture. Accuracy psychological drawing, the realistic gesture of the lyrical hero, the meaningful nature of the accompaniment, the intensity of verbal and musical expression, rhythmic and melodic regularity are the features of this type of romance. It is this form that is the romance in its classical character. Pushkin had a particularly profound impact on Russian music, both contemporary and later. His poetry gave a decisive impetus to the development of Russian romance lyrics, it raised the romance to the level of authenticity. classical art. Exactly at Pushkin era a number of talented composers-romancers are nominated: A. A. Alyabyev ("The Nightingale", "Ah! If only I had known before ..."), A. N. Varlamov ("What has become foggy, clear dawn", "Angel", "The sail is turning white lonely"), A. A. Gurilev "Sarafanchik", "They played with a poor will", "The bell rattles monotonously"), Verstovsky, Yakovlev, Genishta and the young Mikhail Glinka, in whose work Pushkin's poetry first received perfect expression. In the era of Pushkin and the Decembrists, romance becomes a truly major artistic phenomenon. Its content is deepened and enriched. The limitedness of sentimental moods gives way to a truthful expression of deep and multifaceted human feelings. Later, a socially accusatory theme penetrates into the vocal lyrics; in some works images of "small" people appear (example: Alyabyeva's "Beggar" to Beranger's verses, translated by D. Lensky). This line was most fully developed in the work of Dargomyzhsky, and even later - Mussorgsky.
The most valuable thing in the music of the Russian romance is its rich and expressive melody. Wide chant, flexibility and plasticity of the melodic line are inherited from folk song. Russian classical romance grew up on the basis of folk song art. It is important to note that even romances, at first glance, far removed from folk song origins, never lose touch with them. The interpreters, as a rule, were the authors of romances themselves, more often the authors of music (Alyabyev, Yakovlev, Vielgorsky, Glinka). Often Russian romances were performed by the gypsy choir, the amplification of melodramatic moments broke the natural structure of the "Russian song", exalted the melodic pattern. And then the Russian song-romance became a gypsy song-romance. Many of them are now considered "old gypsy", that is, they are forgotten Russian origin(example: "Black eyes" by E. Grebenka, "Oh, speak at least with me, seven-string friend!" A. Grigorieva).
The development of everyday romance lyrics played important role in the formation of the Russian national musical style. The intonations of everyday romance widely penetrated both opera and instrumental music in the first half of the 19th century.
Since the middle of the century, a noticeable evolution has taken place in romance creativity: the areas of "professional" romance and everyday romance are sharply separated. The first, created mainly by professional composers, was performed by masters of vocal art; the second, as a rule, arose in cooperation little-known poets and amateur musicians and became the property of mass music-making. Most of romances that have survived to this day are the result of a merger of these two areas, of mixed origin.
The "Russian song" is being replaced by the songwriting of poets who abandoned the external, formal imitation of folklore and created works, national identity and connection with folk poetry which acquired a more complex, realistic character (Nekrasov, Surikov, Nikitin). A special kind of genre is developing - urban romance. This is the culture of the poorly educated part of the urban population, which has moved away from the village folk lyrics and has urban folklore as its source, mainly melodramatic stories (example: "Like in the Mitrofanevsky cemetery ..."). Urban and urban violent romance become the most popular species vocal creativity in late XIX century.
A remarkable type of vocal lyrics of this era was the revolutionary song created by poets and composers of several generations - democrats, populists, social democracy. As a rule, these songs were written by poets who combined literary activity with participation in the liberation struggle: A. Pleshcheev (“Forward! Without fear and doubt ...”), P. Lavrov (“Let's renounce the old world ...”).
At the end of the 19th century, the classical romance undergoes significant changes: the means of expression, the musical and poetic connection become more complicated. The pinnacle of romance creativity are the works of P. I. Tchaikovsky ("Does the Day Reign", "I'll Tell You Nothing"), in which the general expressiveness of the music corresponds to the mood of the text, they are elegant. A little later, composers choose serious literary works, not only poetic, but also prosaic, the romance takes the form of melodeclamation (“How good, how fresh the roses were” performed by V. F. Komissarzhevskaya), the significance of musical accompaniment is enlarged. Romance goes beyond chamber genre, approaches a vocal-symphonic work, occasionally a romance is represented only by a musical play ("Vocalise" by Rachmaninov). But this form is more difficult both to perform and to perceive, these romances resonate with the elite, not the mass public. So, gradually the classical romance becomes intellectual, elite, while losing its lightness and innocence.
It should also be noted that the romance goes beyond concert halls and salons and enters the theater stage. (VF Komissarzhevskaya in the role of Larisa in the play "Dowry" performs the romance "No, he did not love").
The beginning of the 20th century was marked by growth technical advances, gramophones and records contribute to the popularization of the romance. The romance becomes more of a performing art than a compositional and poetic art and takes the place of the pop culture of those years. We can judge the various performing manners of that time thanks to the surviving records. Basically, these are recordings of the "stars" of urban romance - A. Vyaltseva, V. Panina, N. Plevitskaya, A. Davydov. In their best examples, the songs of Russian poets, sung in the manner inherent in gypsy performance, represented a great artistic value and enthusiastically perceived not only by the regulars of the restaurants where these "stars" performed, and ordinary visitors to concert halls, but also by outstanding artists. True, for many, these performers are associated precisely with the tavern culture, focused on a very undemanding taste. For the modern ear, the manner of the performers of the beginning of the century seems very specific, partly because of the shortcomings of recording, partly because of their belonging to a different era, a different culture, a different type of perception. But genuine masterpieces do not age over time. We should also not forget about symbolist and other trends, the influence of which also affected musical genres. Romances were written to the verses of V. Bryusov, A. Blok and other poets of the Silver Age.
In the 10s and 20s, many popular artists emigrated, but outside of Russia continued their concert activity. And, as often happens, the Russian performing style of that time has remained unchanged to this day precisely thanks to emigrants (Petr Leshchenko, Alla Bayanova). Abroad, the Russian romance almost did not develop, instead, all the features of the performance of the beginning of the century seemed to be concentrated in it: boldness, affectation, sensuality, passion and amazing innocence.
In the same years, a peculiar creative manner A. Vertinsky, which goes beyond the romance, but also interprets the romance differently, in a completely unexpected way. The romance in his performance is a whole performance. Basically, Vertinsky performed songs and romances own composition in a unique author's manner, but also endowed some of the public's favorite romances of other authors with his attitude, a special sad lyrical meaning (Pierrot's mask). ("Only once in a lifetime meeting"). For listeners of that time, Vertinsky's interpretation of the romance was a revelation: through the ostentatious irony and exaltation of the performance, an acute longing for a sincere human communication, selfless relationships and deep feelings.
In the 1930s, romance entered the rhythm of tango, which provoked its even greater popularity. With the help of radio and gramophone, romance-tango enters every home. Many of these romances were not works of art in themselves, but their inner space seemed to absorb the enormous energy and skill of the performers (Izabella Yuryeva, Vadim Kozin), as well as the spirit of the times, and thus these romances acquired artistic value. ("Our corner is never cramped for us", "I have a heart", "Inhaling the aroma of roses").
Since the 30s, romance traditions have also penetrated into the cinema (example: "How many good girls" and "I'm all on fire, I don't understand why" in the movie " Funny boys"). Subsequent years testify to the strong rooting of the romance in film music. It is used both as a stylization for any era (sometimes with an ironic overtone - Zmeyukina's romance in the film "Wedding"), and as an expression of the hero's sincere feelings ("What so the heart is disturbed", film "True Friends").
In creativity Soviet composers-professional song-romance appears around the mid-20s. The classical chamber vocal form is being developed in the music of Myaskovsky, Prokofiev, Shostakovich. Romances are written to the verses of A. S. Pushkin, A. A. Blok, M. I. Tsvetaeva, Michelangelo Buonarroti, as well as romances in the form piece of music. ("Romance" by Shostakovich in the film "The Gadfly").
In the 1940s and 1950s, romance gradually faded from big scene, its place is occupied by mass songs, military songs, however, some of them are based on romance traditions. But in the concerts of opera performers (I. Kozlovsky, S. Lemeshev, G. Ots) it continues to sound, but only in its classical form.
Throughout the second half of the 20th century, composers turned to romance traditions and intonations in different musical directions, such as: film music, theater music, lyrical pop music, art song, rock music. In cinema, romance serves not only as an element of stylization for any era ("Spanish" romances by G. Gladkov "A Dog in the Manger", etc.), a designation of a certain cultural layer and social moods ("Fragrant Clusters of White Acacia" by V. Basner, k / f "Days of the Turbins", but also expresses the lyrical state modern heroes("Romance Roshchin" N. Bogoslovsky in the movie " different fates", romances by M. Tariverdiev in the film "The Irony of Fate", etc.) Music for theatrical performances written for the same purpose. The theatrical romances most remembered by the public are "You Wake Me Up at Dawn" and "White Rosehip" by A. Rybnikov / the play "Juno and Avos".
In pop lyrical music, despite the fact that romance has ceased to be a popular entertainment genre, romance intonations and forms continue to be used to this day. Starting from the 60-70s, the heyday of the romance in the work of Soviet composers (I. Schwartz "Road" to the verses of B. Okudzhava, A. Petrov and his film romances firmly rooted on the stage from the movie "Cruel Romance", V. Gavrilin " I knew my eyes" to verses by F.I. Tyutchev, vocal cycles to verses by A. Shulgina, G. Sviridov, vocal cycles to verses by S. Yesenin, A. Blok), and ending last decade XX century (K. Meladze "Actress", "No, not a purple ruby"), works of this genre, performed with varying degrees of taste and skill, are always a success with listeners.
Romance can also be found in rock music, despite the contradiction of genres to each other. (example: "For you, love was, alas, a funny word" by S. Chigrakova, "Romance No. 4" by D. Arbenina). Turning to the romance, rock musicians even give up their aggression, erected in their work into a cult.
"The 20th century is rightly called the century of the great synthesis. His art is marked by the growth of synthetic art forms, the strengthening of the tendency towards the interpenetration of various artistic types11 ". Without dropping the romance "from the ship of modernity" art culture Russia of the 20th century managed to take from him the very essence and enrich many musical works.
Russian romances are compositions that touch something in the human soul, these are certain feelings that have been set to music, this is a kind of poetry that makes you laugh or cry. Romances are difficult to compare with something, they are located apart, among the rest of the music and songs. Romance is a primordially Russian variety of musical art, mysterious soul of the Russian people was able to find a unique way to express passion precisely in romances.
The main theme of this type of art is love, no matter what they say, love will certainly be the link. It is a pity that romances are now lost own positions in human hearts that have stopped thinking about such significant values as hope, faith and love. The constant haste of today's society is not able to contain all the passion and tenderness of the romance.
Despite the fact that some musicians do not refuse to perform such a variety of art as Russian romances, but on their concert performances it is almost impossible to observe young citizens, which is definitely upsetting. Indeed, at the present time, it is precisely these romances that could serve as a kind of barrier on the way of contempt for true love, which is not only definitely not believed by a large number of people, but which is simply ridiculed, it is worth someone to express their traditional beliefs on this issue.
Russian novels are a confession of the human soul about something hidden, something is trusted to the listeners and causes them to tremble. Romance with the finest strings touches the hidden corners of people's hearts, no matter what language or dialect it is performed in, and how all listeners understand it. In the restaurants of Europe, Russian novels make foreign citizens plunge into dreams that do not even understand the words.
For what reason do Russians themselves not appreciate one of the finest creations of their culture? Maybe because if you think about it and listen, it will become quite clear that in the desire to be like the West with its feminism, emancipations, chauvinism and other things, Russians are losing something that is much more important? That the Russian soul is constantly striving for the poetic, the beautiful ... for Russian romances, in which real sincere love lives ...
How few references to Russian romances on the Internet ... How few people who are interested in them ...
The traditions of choral musical works go back to ancient times. She appeared at the time when ancient humanity around the fire, having mastered ...
The question of what constitutes a classic is currently very relevant. If we talk from the evaluative side, then the classics are ...
Classical music consists of various genres: suites, symphonies, sonatas, etudes, nocturnes, fantasies, operas, fugues, sacred music. To the main...
Every art has its own language. Music is a peculiar language of intonations and sounds and is characterized by a special emotional fullness. ...
Work plan
Introduction. History of the Romance.
Main part.
2.1. A wonderful moment of the birth of the verse.
2.2.Romance is the language of the soul of a poet and composer.
2.3. “I remember a wonderful moment” - M. Glinka's romance, and Pushkin's poems.
2.4. Poem "I loved you" - top love lyrics poet.
2.5. "I loved you" - romances by A.A. Alyabyev and A.S. Dargomyzhsky.
3. Conclusion. My perception of Pushkin's poems in music.
Once I heard the sounds of music coming from the hall: it was my mother who played the piano and sang the romance “I remember a wonderful moment”. But a few days ago I heard these same lines from the room of my elder sister, who was learning Pushkin's poem by heart. I realized that there is something in common between music and literature - this is a romance. I myself graduated from the Children's School of Arts and therefore became interested in the romances of A.S. Pushkin, although literary experience I have a small one.
Vocal music - music for the voice - the most ancient view musical art, the same age as human speech. When man learned to speak, the first primitive forms vocal music. Mothers lulled babies with lullabies, the song accompanied the games of children and the entertainment of adults. Since ancient times, humanity has come a long, centuries-old path. Music has changed, developed and become more complex. A vocal work for one voice with accompaniment is most often called not a song, but a "romance". The word romance is of Spanish origin. Initially, it denoted a secular song in Romance, that is, in Spanish, in contrast to chants in Latin.
This term came to Russia from France and originally denoted works in French text. Russian romance took shape as an independent musical genre only at the end of the 18th century. Works written in Russian text were called "Russian songs".
The birthplace of the romance is Spain. There, in the 12-14 centuries, a new song genre in the work of itinerant musicians, poets and singers. The songs of the troubadour singers were performed in their native Romance language. Hence the name “romance” was born, which determined not only a special genre of poetic work of the tradition of performance, but also characteristic type melodies of a vocal piece performed with the accompaniment of a musical instrument.
Over time, the word "romance" has expanded, and this term has come to mean a work for voice with accompaniment. The romance, like the song, is by its very nature associated with poetry. Good verses seem to "beg for music" themselves. The Russian romance essentially reflects the entire history of Russian poetry. In the romance we hear a close, detailed connection between music and poetic text. Music conveys not only general mood verse, but also individual poetic images.
Music has much in common with the art of the word—poetry, literature—because the works of these arts develop over time, and a person perceives both of these arts through hearing. Poetic speech is especially close to music, because in it not only thought matters,
Expressed in words and patterns, but also the very sound of the verse, the poetic rhythm.
The poetry of A. S. Pushkin was of particular importance for the Russian romance. Many examples can be given musical sound Pushkin's poems. Even when the great poet was a lyceum boy, his comrade - young musicians - shifted his poems to music. Wonderful romances to the words of Pushkin were written by his great contemporary M.I. Glinka, a composer very close to Pushkin in the spirit of creativity, Glinka's Pushkin romances and especially the romance "I Remember a Wonderful Moment" are among the most remarkable works of Russian music. Among the masterpieces of Pushkin's love lyrics, the poem "I remember a wonderful moment" is one of the most penetrating, variable and harmonious.
For Pushkin, love is one of the most human feelings. And the poem “I remember a wonderful moment” was written under the impression of meeting with A.P. Kern, a charming and beautiful woman: Pushkin was 20 years old when he first met 19-year-old Anna Petrovna, the wife of General Ermolai Fedorovich Kern. This happened in St. Petersburg, in the house of the President of the Academy of Arts A.N. Venison. She made a poet great impression. "Is it permissible to be so lovely?" - he asked his friend at the table: 6 years later, in June 1825, Anna, unexpectedly came to the poet's neighbors in Trigorskoye, to visit her cousin Anna Nikolaevna Vulf Pushkin was then exiled to Mikhailovskoye. One evening he read a wonderful poem "Gypsies": And Anna sang for him "Venetian Night" by I.I. Kozlov to the music of M.I. Glinka. Pushkin called this singing "heavenly". The following lines appeared in Kern's album:
If in the life of heaven,
There is a lovely spirit
He is like you...
He had not been seen so good-natured, cheerful, witty, amiable for a long time. He also remembered the first meeting with her at the Olenins'. They saw each other every day for a month, and when Anna left, the poet gave her the first chapter of Eugene Onegin, which was then published. Between the uncut pages lay a piece of paper with a poem written at night:
I remember a wonderful moment:
You appeared before me
Like a fleeting vision
Like a genius of pure beauty...
Anna was about to hide the precious gift, the poet looked at her for a long time, then snatched out the poems and did not want to return them. “Forcibly I begged them again,” recalled Anna Petrovna.
She left for Riga. Two days later, he writes to her: "My heart aches ... Every night I walk in the garden and tell myself: she was here: the stone she stumbled on lies on my table near the branch of withered heliotrope ..."
He wrote seven letters, seven enthusiastic messages, full of conflicting feelings, sparkling with love and jealousy at the same time, saturated with admiration for the beauty that struck him. He called her "wonderful".
Anna Petrovna lived to a ripe old age, survived Pushkin for forty-two years, until the end of her days she carried in her purse a poetic gift and letters to her from the one who immortalized her in the same way that Petrarch immortalized Laura, and Dante - Beatrice.
In the poem, feelings, as it were, "asked, lay down on the music. Several composers have written music for this poem. The name of Pushkin was also sacred to M.I. Glinka. And his personal fate was unexpectedly intertwined with the Kern family. The circle of acquaintances of the composer was wide. And the poet Zhukovsky, on whose verses Glinka wrote music, and Pushkin's comrade at the Lyceum, the author of famous Russian romances Mikhail Yakovlev, and the diplomat, author of the comedy "Woe from Wit" A.S. Griboyedov, who announced that he would come to visit , and even with him - Pushkin! On March 28, 1839, Glinka met Ekaterina Ermolaevna Kern, the daughter of Anna Petrovna, whose name was consecrated by A.S. Pushkin. "The face is pale, and there is something suffering in it ... But the eyes are clear, expressive, and an unusually slender figure." He was attracted by the "restraint" in every movement. "Kitty, Katrin, and in Russian - just Katenka: For the first time after a long quarrel with his wife, he had an illusory hope for happiness. "We must decide on an explanation with her," he said. “Does a person not have the right to happiness?” When Anna Petrovna found out about Mikhail Ivanovich’s intentions regarding her daughter, she immediately blessed, but did not hide the fact that “Katrin is sick.” “Doctors are afraid of consumption ...” Glinka gives all the money for treatment. Mother and daughter are leaving for the south. And he did not have enough money to come to them. The winter of 1840 was spent at work, he was often ill, except for "Ruslan", he worked on other works. Night. Can't sleep. He fits to the piano and runs his hands over the keys in the dark. Pushkin's words dedicated to Anna Petrovna Kern - "I remember a wonderful moment ...", and his music, Glinka. Let this sample of vocal lyrics be dedicated to the girl with whom he did not connect life : the wife did not give a divorce, and the separation cooled the feelings.But the lyrical play will remain - a perfect fusion high poetry feelings with his musical expression.
Since M.I. Glinka wrote his famous romance in 1840, in our minds these captivating verses are forever united with enchanting music. His melody is one of the most remarkable examples of Glinka's vocal style. Its outlines are soft, plastic and noble. In the musical theme, which is presented already in the piano introduction, the main poetic image of the text is summarized. This is both an image of a person, embraced by a deep and reverent feeling of love, and an image of the beloved herself, so beautiful that the poet calls her a “genius of pure beauty” (fragment of the introduction).
In Pushkin, this appearance is not a heavenly vision, but an image of an ideal, beautiful woman. The melody of romance enchants with its beauty, smoothness, and flexibility. She flows freely and naturally. gentle musical words in this poem and romance excite the human soul. Distinguished by harmony, completeness in general, the melody of the romance contains details of figurative meaning. For a moment, she fluttered up, then slid down and a “fleeting vision” flashed like a flash (fragment of verse 1).
Pushkin's poem is clearly divided into 3 parts: the birth of love, separation, happiness new meeting. So the path of the poet himself is consistently traced. From the first lines it is easy to recognize a long-standing meeting with Kern, and in the second stanza “in the languor of hopeless sadness, in the anxieties of noisy fuss” - the young Pushkin is guessed during the years of life in St. Petersburg.
The music of the romance is filled with dramatic tension. The vocal part acquires a declamatory character, accompanied by rare chords and formidable peals in the bass (a fragment of a verse).
The twice-repeated epithet “tender voice” sounds like a kind of musical refrain, the rhymes are outwardly unpretentious “gentle-rebellious”, “inspiration - imprisonment”, but they are also full of harmony, song, romance.
From the words “in the wilderness in the darkness of confinement, as if the return of a bright image begins. The melody slowly rises up with effort and “drawback” and leads to a climax, but the movement does not stop on it, reaching a dead end (“Without a deity, without inspiration ...”).
But suddenly - "the soul has come to awakening"
Harmony explodes. Quiet tenderness gives way to violent passion. The feeling in the soul of the poet is reborn again, again a surge of vitality.
The melody is still the same - bright, but it becomes joyfully excited, quiveringly victorious, emotionally energetic (a fragment of a verse).
In Pushkin's poem, the theme of fascination with beauty was combined with another - the poet's thoughts about his own destiny, about the joy of being. The mental world of the hero is distinguished by integrity and clarity.
In the music of the romance - the tenderness and passion of the flowering of love, the bitterness of separation and loneliness, the delight of a new hope. In one romance in a few lines - the whole story of love, which is repeated from century to century.
But no one will ever be able to express it the way Pushkin and Glinka did.
Every time the poet speaks of love, his soul is enlightened. The poem "I loved you ..." stands out for its unusual content. Here the feeling of the poet is disturbing, love has not yet cooled down, it still lives in him. Bright sadness is not caused by the arrival of love, but unrequited strong love. Until now, they are arguing about who the message is addressed to - to Olenina, to Natalya Goncharova? The exact addressee has not yet been found. He remained the secret of the poet. In the lines of this octave, the feeling is touched unrequited love, parting with a beloved woman. The gentle, musical words in this poem excite the human soul, and therefore many composers wrote romances to these verses.
A striking "coincidence" of the poetic mood of Pushkin's poem with its musical incarnation marked Alyabyev's romance "I loved you ...". Transmitting shades of “light sadness” by means of music, the composer uses the technique of juxtaposing major and minor, as if opposing two facets of one lyrical mood. On the one hand, the state of concentrated sadness "I loved you ...", on the other - lyrical excitement, fanned by the hope "love still, perhaps ..."
Alexander Sergeevich Dargomyzhsky, a contemporary of Pushkin, a friend of Glinka, also experienced the powerful influence of his great namesake. Following Mikhail Ivanovich, he writes romances: Spanish ("Night Zephyr"), oriental ("You were born to ignite"), elegy ("I loved you").
More than 150 years ago, the romance "I loved you ..." was written by a composer. He subtly conveyed the originality of the poetic idea, gave the romance features of similarity with the elegy. Alexander Sergeevich Dargomyzhsky does not remain an imitator, but makes a bright and original contribution to the musical interpretation of Pushkin's lyrics. The composer's romance Pushkiniana is filled with new motives, and the elegy "I loved you" expresses not only a lyrical impulse, but also reflections on the meaning of life. As if in the tone of such an interpretation, the words of another contemporary of Pushkin, the great critic V.G. Belinsky: "We ask ourselves, what is love? .."
The composer answers the question with his music. A noble song melody slowly flows against the backdrop of a calm accompaniment. The pattern of each song is distinguished by its flexibility and plasticity, but the melody also has a declamatory beginning: it does not flow continuously, as it happens in a song, but grows out of the aggregate short phrases- singing. This gives the music the character of a special depth, concentration and restraint. In this work, both in poetry and in musical creation, the feeling of love is forced to obey another feeling - self-denial. The nobility of feelings, colored with light and subtle sadness, is expressed simply, directly, warmly, charmingly musically.
In my essay, I touched on only a small fraction of creativity, both poetic and musical. And how many in the work of poets and musicians there are brilliant masterpieces. It is worth noting the relationship between literature and music, although each art has its own, special laws of reflection of the surrounding world, its own expressive language. The material of literature is a word that has a clear, exact value, in the use of shades of this meaning, in the combination of words lies the skill of the writer.
And in music - musical images, intonation, combination of sounds cannot be translated into the language of concepts. But this does not impoverish music, does not narrow the range of images available to it, reflecting the phenomena of the surrounding world. That is why the same images often receive sound expression in music as in other arts.
Bibliography:
1. Altaev A.L. M.I. Glinka. M., 1955.
2. M.I. Glinka. Album. M., 1980.
3. Ch and w about in a I. B. "The soul is a magical luminary ...". L., 1988.
4. Tolmachev and NV "I loved you" (Pushkin and women). Omsk, 1996.
5. Khoprova T. et al. Essays on the history of Russian music of the 19th century. L., 1960.
6. Shlifshtein S. Dargomyzhsky. M., I960.
A romance is a chamber vocal work, which is characterized by a poetic form and lyrical content of a love theme. In other words, these are poetic works for singing to instrumental accompaniment.
The romance is similar in form to the song, only with a limited theme of a love-lyrical nature. A romance is usually performed to the accompaniment of a single instrument, most often. The main emphasis in works of this kind is on the melody and semantic load.
The origin of the romance
The term "romance" itself originated in Spain, where it was used to name secular songs in Spanish, which had to be separated from the religious hymns sung in Latin. The Spanish word "romance" or the late Latin "romanice" is translated in this way: "in Romance" or "in Spanish", which is actually the same thing. The term "romance" has taken root in many languages in parallel with the term "song", although in German and English these two concepts are still not separated, denoting them with the same word (German Lied and English Song).
So, romance is a type of song that took shape in the period of the 15th-19th centuries.
Western European romance
From the middle of the 18th century, the romance became especially popular in Germany and France and became a separate genre on the verge of music and poetry. The poetic basis for the romances of this era was the poems of such great poets as Heine and Goethe.
Already in the 19th century, national schools of romance were formed in Germany, Austria, France and Russia. During this period, the famous romances of the Austrians Schumann, Brahms and Schubert, the French Berlioz, Bizet and Gounod were created.
Characteristic for European schools was the combination of romances into whole vocal cycles. Beethoven created the first such cycle "To a Distant Beloved". His example was followed by Schubert (cycles of romances "The Winter Road" and "The Beautiful Miller's Woman"), Schumann, Brahms, Wolf ... From the middle of the 19th century and in the 20th century, national schools of romance were formed in the Czech Republic, Poland, Norway, Finland.
Gradually, in addition to the classical chamber form of romance, such a genre as everyday romance is also developing. It was designed for non-professional singers and was widely popular in society.
Russian romance
The Russian school of romance originated under the influence of romantic moods in art and was finally formed by the middle of the 19th century. Alyabyeva, Gurilev, Varlamova, who often turned to gypsy themes in their work, are considered its founders.
Alexander Alyabiev
Later, in the genre of Russian romance, separate currents- Salon romance, cruel romance... The apogee of development of the Russian romance is experienced at the beginning of the 20th century, in the era of creativity of Vertinsky and Vyaltseva, Plevitskaya and Panina. The traditions laid down by these brilliant musicians were successfully continued by Alla Bayanova and Petr Leshchenko, and already in the era of the existence of the Soviet Union - by Vadim Kozin, Tamara Tsereteli, Isabella Yuryeva.
Unfortunately, in the Soviet era, the romance genre was not welcomed by the party leadership, since it was considered a non-proletarian genre, a relic of tsarism. and performers of romances were persecuted and repressed.
Only in the 70s. In the 20th century, romance is experiencing a revival when romances performed by Valentina Ponomareva and Nani Bregvadze, Nikolai Slichenko and Valentin Baglaenko gain popularity.
