A. Dargomyzhsky - biography

Alexander Dargomyzhsky is the author of four operas and many other works. He became a harbinger of realism in Russian academic music. His works were staged on the European stage at a time when almost all future Russian classics of The Mighty Handful were just beginning their careers. Dargomyzhsky's influence on composers lasted for decades. His "Mermaid" and "The Stone Guest" became an integral part of Russian art of the 19th century.

Roots

Alexander Dargomyzhsky was born on February 14, 1813 in the small village of Voskresensky, located in the Chernsky district of the Tula province. The boy's father, Sergei Nikolaevich, was the illegitimate son of a wealthy landowner Alexei Ladyzhensky. Mother Maria Kozlovskaya was a nee princess.

The Dargomyzhskys owned the Tverdunov family estate, in which little Sasha spent the first three years of his life. It was located in the Smolensk province - the composer returned there more than once already in adulthood. In the estate of his parents, Dargomyzhsky, whose biography was mainly associated with the capital, was looking for inspiration. The composer used motives of folk songs of the Smolensk region in his opera "Mermaid".

Music lessons

As a child, Dargomyzhsky spoke late (at the age of five). This affected the voice, which remained hoarse and high-pitched. However, such traits did not prevent the musician from mastering vocal technique. In 1817 his family moved to St. Petersburg. My father began to work in the office of the bank. The child, from early childhood, began to receive a musical education. His first instrument was the piano.

Alexander changed several teachers. One of them was the outstanding pianist Franz Schoberlechner. Under his leadership, Dargomyzhsky, whose biography as a musician began from an early age, began performing at various events. These were private gatherings or charity concerts.

At the age of nine, the boy began to master the violin and string quartets. His main love still remained the piano, for which he had already written several romances and compositions of other genres. Some of them were even later published when the composer had already gained wide popularity.

The influence of Glinka and Hugo

In 1835 Dargomyzhsky, whose biography was closely connected with colleagues in the creative workshop, met Mikhail Glinka. An experienced composer greatly influenced the budding comrade. Dargomyzhsky argued with Glinka about Mendelssohn and Beethoven, took from him reference materials, which he used to study musical theory. Mikhail Ivanovich's opera "A Life for the Tsar" inspired Alexander to create his own large-scale stage work.

In the 19th century, French fiction was extremely popular in Russia. Dargomyzhsky was also interested in her. The biography and work of Victor Hugo fascinated him especially strongly. The composer used the French drama Lucrezia Borgia as the basis for his future opera. Dargomyzhsky worked hard on the idea. Much did not work out, and the result was late. Then he (on the recommendation of the poet Vasily Zhukovsky) turned to another work of Hugo - "Notre Dame Cathedral".

Esmeralda

Dargomyzhsky loved the libretto written by the author of the historical novel himself for the production of Louise Bertin. For his opera, the Russian composer took the same name "Esmeralda". He translated from French independently. In 1841, his score was ready. The completed work was accepted by the Directorate of the Imperial Theaters.

If French novels were in demand in literature in Russia, then the audience preferred exclusively Italian opera. For this reason, "Esmeralda" has been waiting for its appearance on the stage for an unusually long time. The premiere took place only in 1847 at the Bolshoi Theater in Moscow. The opera did not last long on stage.

Romances and orchestral works

During the period when Esmeralda's future remained in limbo, Dargomyzhsky earned his living by singing lessons. He did not give up his writing job, but reoriented to romances. In the 1840s, dozens of such works were written, the most popular of which were Lileta, Sixteen Years, and Night Marshmallows. Dargomyzhsky also composed the second opera, The Triumph of Bacchus.

Vocal and chamber works of the composer have enjoyed and are enjoying particular success. His early romances are lyrical. Their inherent folklore will later become a popular technique, which will be used, for example, by Pyotr Tchaikovsky. Laughter is another emotion that Alexander Sergeevich Dargomyzhsky tried to provoke. A short biography shows: he collaborated with prominent satirical writers. Therefore, it is not surprising that the composer's works contain a lot of humor. Vivid examples of the author's wit were the works "Titular Counselor", "Worm" and others.

For the orchestra, Alexander Dargomyzhsky, whose brief biography is rich in various genres, wrote Babu Yaga, Kazachka, Bolero and Chukhonskaya Fantasy. Here the author continued the traditions laid down by his mentor Glinka.

Overseas travel

All Russian intellectuals of the 19th century strove to visit Europe in order to get to know better the life of the Old World. The composer Dargomyzhsky was no exception. The musician's biography changed a lot when he left Petersburg in 1843 and spent several months in major European cities.

Alexander Sergeevich visited Vienna, Paris, Brussels, Berlin. He met the Belgian violin virtuoso Henri Vietant, the French critic François-Joseph Feti and many outstanding composers: Donizetti, Aubert, Meyerbeer, Halévy.

Dargomyzhsky, whose biography, creativity and social circle were still much more connected with Russia, returned to his homeland in 1845. At a new stage in his life, he became interested in national folklore. Its elements began to appear more and more often in the works of the master. Examples of this influence can be considered songs and romances "Likhoradushka", "Darling Maiden", "Melnik" and others.

"Mermaid"

In 1848, Alexander Sergeevich began to create one of his main works - the opera "Mermaid". It was written on the subject of Pushkin's poetic tragedy. Dargomyzhsky worked on the opera for seven years. Pushkin did not finish his work. The composer completed the plot for the writer.

"Mermaid" first appeared on the stage in 1856 in St. Petersburg. Dargomyzhsky, whose short biography was already known to every music critic, received a lot of detailed praise and positive reviews for the opera. All leading Russian theaters tried to keep it in their repertoire as long as possible. The success of The Mermaid, which was strikingly different from the reaction to Esmeralda, spurred the composer. A period of prosperity began in his creative life.

Today "Rusalka" is considered the first Russian opera in the genre of psychological everyday drama. What plot did Dargomyzhsky suggest in this work? The composer, whose short biography is able to acquaint with a variety of subjects, created his own variation of the popular legend, in the center of which is a girl turned into a mermaid.

Iskra and the Russian Musical Community

Although the composer's business was music, he was also fond of literature. The biography of Alexander Sergeevich Dargomyzhsky was closely connected with the biographies of various writers. He became close and communicated with the authors of liberal views. With them Dargomyzhsky published the satirical magazine Iskra. Alexander Sergeevich wrote the music to the verses of the poet and translator Vasily Kurochkin.

In 1859, the Russian Musical Society was created. Dargomyzhsky was among its leaders. A short biography of the composer cannot do without mentioning this organization. It was thanks to her that Alexander Sergeevich met many young colleagues, including Mily Balakirev. Later, this new generation will create the famous Mighty Handful. Dargomyzhsky will become a link between them and composers of the past era, such as Glinka.

"Stone Guest"

After "Mermaid" Dargomyzhsky did not return to composing operas for a long time. In the 1860s. he created sketches for works inspired by the legends of Rogdan and Pushkin's "Poltava". This work stalled at its infancy.

The biography of Dargomyzhsky, a summary of which shows how difficult the master's creative research sometimes went, later became associated with the "Stone Guest". This was the title of Pushkin's third "Little Tragedy". It was on her motives that the composer decided to compose his next opera.

Work on "The Stone Guest" lasted for several years. During this period, Dargomyzhsky set off on his second major trip to Europe. Dargomyzhsky went abroad shortly after the death of his father Sergei Nikolaevich. The composer never married, he did not have his own family. Therefore, all his life, his father remained for Alexander Sergeevich the main adviser and support. It was the parent who managed the son's financial affairs and watched over the estate that remained after the death of Maria Borisovna's mother in 1851.

Dargomyzhsky visited several foreign cities, where the premieres of his "Little Mermaid" and the orchestral play "Kazachok" were sold out. The works of the Russian master aroused genuine interest. The outstanding representative of romanticism, Franz Liszt, spoke favorably of them.

Death

At the age of six, Dargomyzhsky had already undermined his health, which had suffered from regular creative stress. He died on January 17, 1869 in St. Petersburg. In his will, the composer asked Caesar Cui to complete The Stone Guest, who was helped by Nikolai Rimsky-Korsakov, who completely orchestrated this posthumous work and wrote a small overture for it.

For a long time, the last opera remained Dargomyzhsky's most famous work. This popularity was due to the novelty of the composition. There are no ensembles and arias in his style. The opera is based on recitations and melodic recitations set to music, which has not yet happened on the Russian stage. Later, these principles were developed in "Boris Godunov" and "Khovanshchina" by Modest Mussorgsky.

Composer style

Dargomyzhsky turned out to be a harbinger of Russian musical realism. He took the first steps in this direction, abandoning the pretentiousness and bombast of romanticism and classicism. Together with Balakirev, Cui, Mussorgsky and Rimsky-Korsakov, he created a Russian opera that departed from the Italian tradition.

What did Alexander Dargomyzhsky consider the main thing in his works? The composer's biography is the story of the creative evolution of a person who carefully worked out each character in his works. With the help of musical techniques, the author tried to show the listener as clearly as possible the psychological portrait of the most diverse heroes. In the case of The Stone Guest, the main character was Don Juan. However, he is not the only one who plays a significant role in the opera. All the characters in the creative world of Alexander Sergeevich are not accidental and important.

Memory

Interest in Dargomyzhsky's work revived in the 20th century. The composer's works were extremely popular in the USSR. They were included in all sorts of anthologies and were performed at a variety of venues. Dargomyzhsky's legacy has become the subject of new academic research. The main experts in his work are Anatoly Drozdov and Mikhail Pekelis, who wrote many works about his works and their place in Russian art.

Russian composer Alexander Sergeevich Dargomyzhsky was born on February 14 (2nd according to the old style) February 1813 in the village of Troitskoye, Belevsky district, Tula province. Father - Sergei Nikolaevich served as an official in the Ministry of Finance, in a commercial bank.
Mother - Maria Borisovna, nee Princess Kozlovskaya, composed plays for stage performance. One of them - "Chimney sweep, or a good deed will not remain without a reward" was published in the magazine "Blagonamerenny". Petersburg writers, representatives of the Free Society of Lovers of Literature, Science and Art, were familiar with the composer's family.

In total, the family had six children: Erast, Alexander, Sophia, Lyudmila, Victor, Herminia.

Until the age of three, the Dargomyzhsky family lived on the Tverdunovo estate in the Smolensk province. A temporary move to the Tula province was associated with the invasion of Napoleon's army in 1812.

In 1817, the family moved to St. Petersburg, where Dargomyzhsky began to study music. His first teacher was Louise Wolgenborn. In 1821-1828 Dargomyzhsky studied with Adrian Danilevsky, who was an opponent of composing music by his student. In the same period, Dargomyzhsky began to master playing the violin together with the serf musician Vorontsov.

In 1827 Dargomyzhsky was enrolled as a clerk (without salary) in the staff of the Ministry of the Court.

From 1828 to 1831 Franz Schoberlechner became the composer's teacher. To develop vocal skills, Dargomyzhsky also works with teacher Benedict Tseibikh.

In the early period of his creative work, a number of pieces for piano were written ("March", "Contrdance", "Melancholic Waltz", "Kazachok") and some romances and songs ("The Moon Shines in the Cemetery", "Amber Cup", "I Loved You" , "Night Marshmallow", "Young Man and Maiden", "Vertograd", "Tear", "The fire of desire burns in the blood").

The composer takes an active part in charity concerts. At the same time, he met the writers Vasily Zhukovsky, Lev Pushkin (brother of the poet Alexander Pushkin), Pyotr Vyazemsky, Ivan Kozlov.

In 1835 Dargomyzhsky got acquainted with Mikhail Glinka, according to whose notebooks the composer began to study harmony, counterpoint and instrumentation.

In 1837 Dargomyzhsky began work on the opera Lucrezia Borgia, based on the drama of the same name by the French writer Victor Hugo. On the advice of Glinka, this work was abandoned and the composing of a new opera "Esmeralda", also based on the subject of Hugo, began. The opera was first staged in 1847 at the Bolshoi Theater in Moscow.

In 1844-1845 Dargomyzhsky went on a trip to Europe and visited Berlin, Frankfurt am Main, Brussels, Paris, Vienna, where he met many famous composers and performers (Charles Berio, Henri Vietan, Gaetano Donizetti).

In 1849, work began on the opera "Mermaid" based on the work of the same name by Alexander Pushkin. The premiere of the opera took place in 1856 at the St. Petersburg Circus Theater.

Dargomyzhsky during this period focused on the development of a natural recitation of the melody. The compositor's method of creativity is finally formed - "intonation realism". For Dargomyzhsky, the main means of creating an individual image was the reproduction of the living intonations of human speech. In the 40s-50s of the 19th century, Dargomyzhsky wrote romances and songs ("You will soon forget me," "I'm sad," quiet, quiet, ti "," I will light a candle "," Mad, no reason ", etc.)

Dargomyzhsky became close with composer Miliy Balakirev and critic Vladimir Stasov, who founded the creative association "The Mighty Handful".

From 1861 to 1867, Dargomyzhsky wrote successively three symphonic overtures-fantasies: "Baba-Yaga", "Ukrainian (Mal-Russian) Cossack" and "Fantasia on Finnish Themes" ("Chukhonskaya Fantasy"). During these years the composer worked on chamber-vocal compositions "I remember deeply", "How often I listen", "We parted proudly", "What is in my name", "I don't care". Oriental lyrics, presented earlier by the romances "Vertograd" and "Oriental Romance", were replenished with the aria "O maiden rose, I am in chains". A special place in the composer's work was taken by the songs of social and everyday content "Old Corporal", "Worm", "Titular Counselor".

In 1864-1865 Dargomyzhsky's second trip abroad took place, where he visited Berlin, Leipzig, Brussels, Paris, London. The composer's works were performed on the European stage ("Little Russian Cossack", overture to the opera "Mermaid").

In 1866 Dargomyzhsky began work on the opera The Stone Guest (based on the little tragedy of the same name by Alexander Pushkin), but did not manage to finish it. According to the author's will, the first picture was completed by Caesar Cui, the opera was orchestrated and an introduction to it was made by Nikolai Rimsky-Korsakov.

Since 1859, Dargomyzhsky was elected to the Russian Musical Society (RMO).

Since 1867, Dargomyzhsky was a member of the directorate of the St. Petersburg branch of the RMO.

On January 17 (5 according to the old style), January 1869, Alexander Dargomyzhsky died in St. Petersburg. The composer did not have a wife and children. He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra (Necropolis of Artists).

On the territory of the municipality Arsenyevsky district of the Tula region, the world's only monument to Dargomyzhsky, made by the sculptor Vyacheslav Klykov, has been erected.

The material was prepared on the basis of information from open sources

1. Fyodor Chaliapin performs "Melnik's Aria" from Dargomyzhsky's opera "Mermaid". Recorded 1931.

2. Fyodor Chaliapin in the scene "Aria of the Miller and the Prince" from Dargomyzhsky's opera "Mermaid". Recorded 1931.

3. Tamara Sinyavskaya performs Laura's song from Dargomyzhsky's opera "The Stone Guest". Orchestra of the State Academic Bolshoi Theater. Conductor - Mark Ermler. 1977 year.

Alexander Sergeevich Dargomyzhsky was born on February 2, 1813 in a small estate in the Tula province. The early childhood years of the future composer were spent on the estate of his parents in the Smolensk province. In 1817 the family moved to St. Petersburg. Despite the modest income, the parents gave their children a good home upbringing and education. In addition to general education, children played various musical instruments and learned to sing. In addition, they composed poems and dramatic plays, which they themselves acted in front of the guests.

This cultural family was often visited by famous writers, musicians at that time, and children took an active part in literary and musical evenings. Young Dargomyzhsky began playing the piano at the age of 6. And at the age of 10-11 he already tried to compose music. But his first creative attempts were suppressed by the teacher.

After 1825, his father's position was shaken and Dargomyzhsky had to start serving in one of the departments of St. Petersburg. But official duties could not interfere with his main hobby - music. His studies with the outstanding musician F. Schoberlechner date back to this time. Since the beginning of the 30s, the young man has been visiting the best literary and art salons in St. Petersburg. And everywhere young Dargomyzhsky is a welcome guest. He plays a lot on the violin and piano, participates in various ensembles, performs his romances, the number of which is rapidly increasing. He is surrounded by interesting people of that time, he is accepted into their circle as an equal.

In 1834 Dargomyzhsky met with Glinka, who was working on his first opera. This acquaintance turned out to be decisive for Dargomyzhsky. If earlier he did not give serious importance to his musical hobbies, now in the person of Glinka he saw a living example of artistic feat. Before him was a man not only talented, but also devoted to his work. And the young composer reached out to him with all his heart. With gratitude he accepted everything that an older friend could give him: his knowledge of composition, notes on music theory. The communication of friends also consisted in joint music-making. They played and analyzed the best pieces of classical music.

In the mid-30s, Dargomyzhsky was already a well-known composer, author of many romances, songs, piano pieces, and the symphonic work "Bolero". His early romances are still close to the type of salon lyrics or urban song that existed in the democratic strata of Russian society. Glinka's influence is also noticeable in them. But gradually Dargomyzhsky realizes the growing need for a different self-expression. He has a particular interest in the clear contrasts of reality, the clash of its various sides. This was most clearly manifested in the romances "Night Marshmallow" and "I Loved You".

In the late 1930s, Dargomyzhsky planned to write an opera based on the plot of the novel by V. Hugo "Notre Dame Cathedral in Paris". Work on the opera lasted 3 years and was completed in 1841. At the same time, the composer composes the cantata "Triumph of Bacchus" on the verses of Pushkin, which he soon converted into an opera.

Gradually Dargomyzhsky is gaining more and more fame as a major, original musician. In the early 40s, he headed the St. Petersburg Society of Lovers of Instrumental and Vocal Music.

In 1844, Alexander Sergeevich went abroad, to large musical centers - Berlin, Brussels, Vienna, Paris. The main destination of the trip was Paris, a recognized center of European culture, where the young composer could satisfy his thirst for new artistic experiences. There he introduces his works to the European public. One of the best works of that time is the lyrical confession "Both boring and sad" on the verses of Lermontov. This romance conveys a deep sorrowful feeling. The trip abroad played a big role in the formation of Dargomyzhsky as an artist and a citizen. Upon his return from abroad, Dargomyzhsky conceived the opera "Mermaid". At the end of the 40s, the composer's work reached the greatest artistic maturity, especially in the field of romance.

At the end of the 1950s, great social changes were ripe in Russia. And Dargomyzhsky did not stay away from public life, which had a noticeable influence on his work. Elements of satire are reinforced in his art. They appear in the songs: "Worm", "Old Corporal", "Titular Counselor". Their heroes are humiliated and insulted people.

In the mid-60s, the composer undertook a new trip abroad - it brought him great creative satisfaction. There, in European capitals, he heard his works, which were accompanied by great success. His music, as noted by critics, contained "a lot of originality, great energy of thought, melodiousness, sharp harmony ...". Some concerts, composed entirely of works by Dargomyzhsky, caused a real triumph. It was a joy to return home - now, in the declining days of his life, Dargomyzhsky was recognized by a broad mass of music lovers. These were the new, democratic strata of the Russian intelligentsia, whose tastes were determined by love for everything Russian, national. Interest in the composer's work instilled in him new hopes, awakened new ideas. The best of these ideas was the opera The Stone Guest. Written to the text of one of Pushkin's "little tragedies", this opera was an unusually bold creative search. All of it is written in recitative, there is not a single aria in it, and only two songs - like islands among recitative monologues and ensembles. Dargomyzhsky did not finish the opera The Stone Guest. Anticipating his imminent death, the composer instructed his young friends Ts.A. Cui and N.A. Rimsky-Korsakov to finish it. They completed it and then staged it in 1872, after the death of the composer.

The role of Dargomyzhsky in the history of Russian music is very great. Continuing the assertion of the ideas of nationality and realism, begun by Glinka, in Russian music, his work anticipated the achievement of subsequent generations of Russian composers of the 19th century - members of the "Mighty Handful" and PI Tchaikovsky.

The main works of A.S. Dargomyzhsky:

Opera:

- Esmeralda. Opera in four acts on its own libretto based on the novel Notre Dame de Paris by Victor Hugo. Written in 1838-1841. First production: Moscow, Bolshoi Theater, 5 (17) December 1847;

- "Triumph of Bacchus". Opera-ballet based on the poem of the same name by Pushkin. Written in 1843-1848. First production: Moscow, Bolshoi Theater, 11 (23) January 1867;

- "Mermaid". Opera in four acts on its own libretto based on the unfinished play of the same name by Pushkin. Written in 1848-1855. First production: St. Petersburg, May 4 (16), 1856;

- "The Stone Guest". Opera in three acts on the text of Pushkin's "Little Tragedy" of the same name. Written in 1866-1869, completed by C.A. Cui, orchestrated by N. A. Rimsky-Korsakov. First production: St. Petersburg, Mariinsky Theater, 16 (28) February 1872;

- "Mazepa". Sketches, 1860;

- "Rogdan". Fragments, 1860-1867.

Works for orchestra:

- "Bolero". Late 1830s .;

- "Baba-Yaga" ("From the Volga to Riga"). Completed in 1862, first performed in 1870;

- "Kazachok". Fantasy. 1864

- "Chukhonskaya fantasy". Written in 1863-1867, first performed in 1869.

Chamber vocal works:

Songs and romances for one voice and piano to the verses of Russian and foreign poets: "Old Corporal" (words by V. Kurochkin), "Paladin" (words by L. Uhland, translated by V. Zhukovsky), "Worm" (words by P. Beranger in translation by V. Kurochkin), “Titular Counselor” (words by P. Weinberg), “I loved you ...” (words by A. Pushkin), “I'm sad” (words by M. Yu. Lermontov), ​​“I am sixteen years old "(Words by A. Delvig) and others to the words of Koltsov, Kurochkin, Pushkin, Lermontov and other poets, including two inserted romances of Laura from the opera" The Stone Guest ".

Works for piano:

Five Pieces (1820s): March, Contrdance, "Melancholic Waltz", Waltz, "Cossack";

- "Brilliant Waltz". Around 1830;

Variations on a Russian Theme. Early 1830s .;

- "Esmeralda's Dreams". Fantasy. 1838;

Two mazurkas. Late 1830s .;

Polka. 1844 year;

Scherzo. 1844 year;

- "Tobacco Waltz". 1845

- "Spiritedness and composure." Scherzo. 1847

Fantasy on themes from Glinka's opera A Life for the Tsar (mid-1850s);

Slavic tarantella (four hands, 1865);

Transcriptions of symphonic excerpts from the opera "Esmeralda" and others.

Opera "Mermaid"

Characters:

Miller (bass);

Natasha (soprano);

Prince (tenor);

Princess (mezzo-soprano);

Olga (soprano);

Swat (baritone);

Hunter (baritone);

Singer (tenor);

The Little Mermaid (no singing).

History of creation:

The idea of ​​"Mermaid" based on the plot of Pushkin's poem (1829-1832) arose in Dargomyzhsky's work in the late 1840s. The first musical sketches date back to 1848. In the spring of 1855, the opera was completed. A year later, on May 4 (16), 1856, the premiere took place on the stage of the Mariinsky Theater in St. Petersburg.

The production of "Mermaid" was carelessly, with large cuts, which reflected the hostile attitude of the theatrical management to the new, democratic direction in opera work. I ignored Dargomyzhsky's opera and "high society". Nevertheless, "Rusalka" has withstood many performances, gaining recognition from the general public. Leading musical criticism in the person of A. N. Serov and C. A. Cui welcomed her appearance. But real recognition came in 1865. Upon its resumption on the St. Petersburg stage, the opera met with an enthusiastic reception from the new audience - the democratically minded intelligentsia.

Dargomyzhsky left most of Pushkin's text intact. He introduced only the final scene of the death of the Prince. The changes also affected the interpretation of images. The composer freed the image of the Prince from the features of hypocrisy with which he is endowed in the literary source. Developed in the opera is the Princess's emotional drama, barely outlined by the poet. The image of Melnik was somewhat ennobled, in which the composer strove to emphasize not only greed, but also the power of love for his daughter. Following Pushkin, Dargomyzhsky shows profound changes in Natasha's character. He consistently displays her feelings: hidden sadness, thoughtfulness, stormy joy, vague anxiety, a presentiment of impending disaster, emotional shock and, finally, protest, anger, a decision to take revenge. Affectionate, loving girl turns into a formidable and vengeful Mermaid.

Opera characteristic:

The drama underlying "Mermaid" was recreated by the composer with great life truth, deep penetration into the spiritual world of the heroes. Dargomyzhsky shows characters in development, conveys the subtlest shades of experiences. The images of the main characters, their relationships are revealed in tense dialogical scenes. Because of this, ensembles, along with arias, occupy a significant place in opera. The events of the opera unfold against a simple and artless everyday background.

The opera opens with a dramatic overture. The music of the main (fast) section conveys the passion, impetuosity, determination of the heroine and, at the same time, her tenderness, femininity, purity of feelings.

A significant part of the first act consists of expanded ensemble scenes. Melnik's comedy aria "Oh, that's it, all of you young girls" is warmed by moments with a warm feeling of caring love. The music of terzet vividly conveys Natasha's joyful excitement and sadness, the Prince's soft, soothing speech, and Melnik's grumpy remarks. In the duet of Natasha and the Prince, bright feelings gradually give way to anxiety and growing excitement. The music achieves a high drama with Natasha's words "You are getting married!" The following episode of the duet is psychologically subtly resolved: short, as if unspoken melodic phrases in the orchestra depict the heroine's confusion. In the duet of Natasha and Melnik, confusion is replaced by bitterness, decisiveness: Natasha's speech becomes more abrupt, agitated. The act ends with a dramatic choral finale.

The second act is a colorful everyday scene; choirs and dances occupy a large place here. The first half of the act has a festive flavor; the second is filled with worry and anxiety. The majestic choir "As in the upper room, at an honest feast" sounds solemn and wide. The intimate aria of the Princess "Friends of the Childhood" is marked with sadness. Aria turns into a light, joyful duet of the Prince and the Princess. Dances follow: "Slavic", combining light elegiacity with sweep and daring, and "Gypsy", mobile and temperamental. Natasha's melancholy, sad song "Over the pebbles, over the yellow sand" is close to peasant lingering songs.

There are two pictures in the third act. In the first - the Princess's aria "Days of Past Pleasures", which creates the image of a lonely, deeply suffering woman, is imbued with sorrow and mental pain.

The prince's cavatina "Involuntarily to these sad shores", which opens the second picture, is distinguished by the beauty and plasticity of the melodic melody. The duet of the Prince and the Miller is one of the most dramatic pages of the opera; sadness and entreaty, rage and despair, caustic irony and unreasonable gaiety - comparing these contrasting states reveals the tragic image of the mad Miller.

In the fourth act, fantastic and real scenes alternate. The first picture is preceded by a small, colorfully pictorial orchestral introduction. Natasha's aria "The long-desired hour has come!" sounds majestic and menacing.

The Princess's aria in the second film "For Many Years Already in Heavy Suffering" is full of hot, sincere feelings. An enchantingly magical shade is given to the melody of the call of the Mermaid "My Prince". Terzet is imbued with anxiety, a presentiment of impending disaster. In the quartet, the tension reaches its highest limit. The opera ends with the enlightened sound of the Mermaid call melody.

Women's choir "Svatushka »

In it, the composer very colorfully conveyed the comic and everyday scene of the wedding ceremony. The girls sing a song in which they make fun of the hapless matchmaker.

Libretto by A. Dargomyzhsky based on the drama by A. Pushkin

Svatushka, svatushka, stupid svatushka;

They drove around the bride, drove into the garden,

We spilled a barrel of beer, watered all the cabbage.

They bowed to Tynu, prayed to faith;

Vereya l vereyushka, show the path,

Show the path for the bride yakhati.

Svatushka, guess, get down to the scrotum

The money moves in the bag, strives for red girls,

The money moves in the bag, strives for red girls,

Strives, strives for red girls, strives, strives for red

girls, strives.

The Svatushka choir is humorous. This wedding song is played in act 2.

Piece genre: comic wedding song, accompanied by accompaniment. The Svatushka choir is close to folk songs, as chants can be found here.

Musical theoretical analysis

The piece is performed with accompaniment.

Musical form:

The form of the piece is 2-part verse, the 2-nd part is 2 verses, between which there is a gap. The verses are exactly the same melodic.

1 part

1st verse - 12 tons; loss 2nd verse - 12 tons.

1 pound 2 tablespoons 1 pound 2 tablespoons

4 v. 8 v. 4 v. 8 v.

Part 2

12 vol. 10 vol. 12 vol.

The texture of the presentation of the work is homophonic-harmonic. The main theme is soprano, and the altos and accompaniment provide harmonic support.

The main key is B-dur. But in part 2 there is a deviation in g-minor, then E-dur, and then again a return to B-dur.

The harmony in the work is simple

The size in the product is 2/4. It does not change throughout the entire piece.

There are many short durations in the work, which gives a light and playful character.

The tempo is “Moderato” (moderately) constant throughout the piece.

The accompaniment plays a supporting role, it also emphasizes the liveliness of the stage, the girls' joke and the awkwardness of a drunk matchmaker. The dynamics of the accompaniment are very varied from p to f. Sometimes a pictorial moment is included in the accompaniment. So, for example, in the play between verses, the accompaniment resembles the playing of a flute, which accompanies a festivities (wind instruments are played in the orchestra). Independent accompaniment in the play recreates the mood, connects the parts, serves as a "thematic bridge".

Vocal and choral analysis.

The score "Svatushka" was written for a female 3-voice choir: soprano I and II and alto.

Choir type: homogeneous female.

The Svatushka choir is performed in a moderate manner, the method of sound science is non legato. The main type of attack is soft, non legato, it assumes clear diction, clear, close articulation.

Breathing in a work runs through phrases, and in a network of phrases - chain breathing, it is intended to get the continuous sounding of a phrase and to achieve development in phrases, and, consequently, to accurately convey the concept of the work, the population.

The tempo ensemble will depend on the conductor. He must clearly show with a conductor's gesture the removal and oversights, especially oversights to the second beat, as well as at the end of the piece, where the syncopated rhythm is used. The tempo ensemble is continuously linked to the rhythmic ensemble. Its difficulty is in the movement of rhythm. The tempo is moderate, but small durations visually accelerate it, you need to develop accurate intonation, the diction ensemble depends on this, you need to clearly pronounce and pronounce all the words, you can work on diction with the help of tongue twisters. You can also use the text of the work itself. The dynamics are mainly mf and f. The general climax, which is at the end of the piece, is expressed in ff. There are also private climaxes in the work. In a dynamic ensemble, it is important to show development, although it is narrow, there must be contrast.

The timbre ensemble assumes performance with a light, light sound. The low sounds of the alto should be sung in a high position without “loading” the sound. It should be noted that the tessitura of the piece is very convenient.

The melodic line of the parties is peculiar. The predominance of jumps brings their own difficulties in performance. There are jumps at ch.4, ch.5, m 6, b6, ch 8. And not only in the lead voice, but also in the soprano 2 and altos.

In addition to the horizontal melodic structure, it is necessary to create, build in the work a vertical harmonic structure, which is the correct intonation of consonances, chords in their sequential movement. The parties should listen, “adjust” to each other, align the chords, that is, create a harmonic ensemble. In order for the parts in the piece to work, you can sing with your mouth closed or to the syllable "lyu", so that all parts are well heard.

The creation of a unison ensemble is somewhat difficult. In the work "Svatushka" there are few such places and nevertheless one should not turn a blind eye to this. When all parts are singing in unison, try to remove the sound of all parts, because otherwise this sound will stand out from the general sound.

There are others in the parties vocal difficulties except those discussed above.

So, for example, a performer must remember that in a melody the same sound is repeated at the same pitch, it must be formed positionally higher than the previous one, as if intoned upwards. This helps maintain altitude.

Another vocal difficulty is chromaticism, which occurs in part 2. You need to pay attention to them. The semitones should be intoned as closely as possible. The difficulty lies in the fact that semitones are intoned next to whole tones, you need to switch your hearing in time.

A jump to ch8 in viola should be chanted actively, but in one position. The altos should not "fill up", sing low low sounds, they need to sing them in a high vocal position, then there will be no gap between the lower sound and the upper one, the jump will be smoothed out.

Diction: The Svatushka choir is light, playful; to emphasize this, a clear diction is needed. Good, understandable pronunciation of words, active articulation is required for all parties.

Singing correctly involves drawing out the vowels and pronouncing the consonants quickly. In the work "Svatushka" there are such words as "bowed down", "prayed", "get started", "move", "strive". Instead of the syllable "sya" it is necessary to sing the syllable "sa", and instead of the combination "tsya" - "tsa".

It is also necessary to exaggerate some consonants in the words "take", "red".

The work is performed in moderation, but the text should be pronounced clearly, although in character - softly.

It is necessary to focus the chorus's attention on the intonation of the consonants, they are pronounced in a high position, at the height of the vowels to which they are adjacent.

Dynamics: the complexity will represent the dynamic development in the work, since the dynamics in the work "Svatushka" is very flexible and varied from p to ff. The most striking dynamics in 2 parts. ffpfpf, this alternation makes the piece brighter. The culmination of the piece sounds in 2 movements on ff after the introduction to the 2nd beat. The conductor must lead the choir, clearly show the development in the phrases and towards the climax, the choir must simultaneously do cresc and dim, i.e. create a dynamic ensemble.

Conducting difficulties: The successful performance of this work depends mainly on the conductor, on how the chorus will understand his gesture.

The gesture should be light, nonlegato, in line with the character and mood of the piece. Particular attention should be paid to overrides and withdrawals. Outs and withdrawals are given in the character gently, calmly, at the climax with a more elastic gesture.

Output:

The end result of the work on this work is the disclosure of the ideological concept to the audience, the reflection of the mood of the work and the scene in the opera.

The work "Svatushka", in addition to being performed in the opera, can be performed at creative evenings, at thematic evenings dedicated to the opera or the works of composers. The performance of the "Svatushka" choir is within the power of both a highly professional choir and an amateur, amateur choir.

(1813-1869) Russian composer

A contemporary of Pushkin and Lermontov, a friend of Glinka and Varlamov, a senior colleague of Mussorgsky, Borodin, Rimsky-Korsakov, Alexander Dargomyzhsky was a brilliant pianist and violinist, worked as a singing teacher in difficult times, collaborated with the Iskra magazine, and was chairman of the St. Petersburg branch of the Russian Musical Society. But for us he is primarily a composer, one of the founders of classical Russian music.

A. Dargomyzhsky was born in a difficult time for Russia: the Patriotic War of 1812 was going on. Their family then lived in the Tula province with relatives. Returning home, Dargomyzhsky's father plunged into business. In May 1816, a commission was set up to investigate the abuses in the distribution of government benefits from the devastated Smolensk province. Participation in this commission brought S. Dargomyzhsky not only respect and gratitude from his fellow countrymen, but also the rank of collegiate secretary and the Order of St. Anne of the third degree. This was followed by an invitation to serve in St. Petersburg - in the State Commercial Bank. In the new place, Sergei Nikolaevich advanced to the rank of court councilor, but in 1826 he was dismissed without any explanation. After a long red tape, he got a job as an official at special assignment at the Ministry of the Imperial Court.

A modest salary, of course, was not enough to support a large family and educate children, but the income from the estates of his wife and her brother helped. Dargomyzhsky's mother came from a family of princes Kozlovsky. She was an intelligent woman, endowed with a lively and cheerful character, a kind and loving heart. She received the usual home education at that time, had a penchant for literature, wrote poems, which were even published in magazines and almanacs (one of them in 1825 was placed in A. Delvig's almanac "Northern Flowers").

Parents zealously cared about the fate of their children and strove to give them a versatile education. On the recommendation of friends, the best teachers were invited to the house, and my father never spared money on this. Much attention was paid to music in the Dargomyzhsky family. My brother played the violin, my sister played the harp. In 1819, Sasha began to learn to play the piano. Noticing the child's penchant for music, the parents invited a more experienced teacher.

In addition to the fact that the children of the Dargomyzhsky studied literature, history, foreign languages, their parents encouraged them to write poetry, to translate from French. Children's literary albums were full of fables, parables, epigrams. Mother wrote small plays, which were played by the whole family.

For three years, from 1828 to 1831, Sasha studied with the Austrian musician Schoberlechner. Already in the thirties, Dargomyzhsky was considered a very strong pianist in St. Petersburg. Although the father, not without reason, feared that his son's musical studies, even the most successful ones, would not be able to provide him financially. Therefore, he began to worry early about his career.

When Alexander was fourteen years old, he was assigned to civil service. In September 1827, the young official took up his duties in the chancellery, at first without monetary remuneration - his salary began to be paid only two years later. True, this service was not too burdensome for Dargomyzhsky. He served under the guidance of good friends of his father, besides, they were great lovers of music and did not interfere with Alexander's art. The service records noted the diligence of the young clerk, and he was regularly promoted: in 1829 Dargomyzhsky became a collegiate registrar, three years later - a provincial secretary, and then - a junior assistant to the controller. After that, he moved to the department of the Ministry of Finance as a clerical officer of the State Treasury. He finished his service in 1843, having retired with the rank of titular adviser.

In the thirties, trouble happened in the Dargomyzhsky family: two sons and a son-in-law died, a few years later a daughter and her child died. Because of these sad events, the Dargomyzhskys almost did not accept anyone, and therefore the matured Alexander, accustomed to home concerts from childhood, often visited literary and musical salons of his acquaintances. Observing life in the capital with interest, the young Dargomyzhsky drew closer and closer to the circle of the creative intelligentsia of St. Petersburg. He visited the houses of the poet I. Kozlov, V. Odoevsky, visited the literary salon of the writer and historian N. M. Karamzin, where his widow and daughters conducted brilliant meetings. Here he played the piano and sang his romances with Karamzin's daughter, accompanied. It is believed that here he could meet Lermontov, whose poetry he loved very much. A huge role in the creative life of Dargomyzhsky was played by the long-term friendship with M.I. Glinka.

Long conversations with Glinka and other composers strengthened Dargomyzhsky in his decision to write an honor, and he set to work. He wrote his first opera Esmeralda for about four years and completed work on it in 1842, but it was staged in Moscow at the Bolshoi Theater only five years later. I must say that the composer himself was not very happy with his music.

In 1844 Dargomyzhsky went abroad for the first time. He visited Berlin, then went to Brussels, to Paris, played here excerpts from his opera, romances, and piano works. Returning to his homeland, the musician plunged into work again. At this time, he wrote many romances, gave charity concerts in memory of his friend, composer A. Varlamov, in order to support his family. But the main thing for him was work on the new opera "Mermaid". In 1855 Dargomyzhsky finished writing the opera, and on May 4, 1856 its premiere took place. True, this time the composer was dissatisfied with the staging of his work and the sound of the orchestra.

In the late 50s - early 60s, he began to collaborate in the democratic magazine Iskra. He had the gift of a satirist, and he mainly wrote feuilletons in collaboration with one of the journalists. During these years Dargomyzhsky decided to write a satirical novel "Confessions of a Liberal". However, this work remained unfinished, only the opening page of the novel is known.

In 1864, another misfortune happened: Dargomyzhsky's father, his support and main adviser, died. Not having his own family, the composer spent his whole life side by side with his father, whom he loved and respected very much. The father was in charge of the economic and financial affairs of his son, he was also responsible for managing the estate of his deceased wife, from where the family received the main means of subsistence.

The last years of his life, the composer worked hard on the opera "The Stone Guest", fully preserving the text of A.S. Pushkin. But he already felt unwell and more than once told his friends that he would like to hand The Stone Guest to Cesar Antonovich Cui for completion and production. He asked Rimsky-Korsakov to instruct the opera.

Soberly assessing the patient's condition, the friends still did not lose hope that Dargomyzhsky would have time to complete the work. At some moments he felt better, and then they played and sang again in the composer's apartment, and not only the works of the owner of the house. Thus, in November 1868, Mussorgsky introduced his friends to fragments from the new opera Boris Godunov, which Dargomyzhsky received with keen interest and said that Mussorgsky went much further than him in this opera. He especially liked the scenes at the Novodevichy Convent and in the tavern.

The temporary improvement, however, was soon replaced by a new onset of the disease, which eventually confined the composer to bed. Now he wrote lying down, barely holding a naughty pencil with his weak hands, suffering from unbearable pain in his chest: as he himself said, every breath "cut with a knife." And yet he continued to write, hurrying to finish his last work.

The composer died at the very beginning of 1869. On January 9, a memorial service was held at the Semyonovskaya Church on Mokhovaya Street, at which the entire musical Petersburg gathered: composers, Dargomyzhsky's colleagues in the Russian Musical Society, his students - students of the conservatory, friends, artists and simply admirers of the composer's talent. They buried Dargomyzhsky in the Alexander Nevsky Lavra.

Fulfilling his will, composers C. Cui and N. Rimsky-Korsakov completed his opera "The Stone Guest" in September 1869. Then Cui proposed to the directorate of the Mariinsky Theater to stage the opera with the cast of performers as the author himself wanted to see it. This opera became the pinnacle of the talented composer's creativity, it clearly shows the author's desire to create a solid fusion of music and text, to look for new operatic forms, and above all a special, melodic recitative.

Evaluating all the work of the last year of Dargomyzhsky's life, the Russian music critic Stasov wrote: “This victory of the spirit over the body, this triumph of the spirit over the most unbearable sufferings, this boundless devotion to the cause, which alone is full of the soul - is this still greatness! Indeed, such colossal creatures as the "Stone Guest" can come from the head only of those for whom the creation of his creative spirit is everything, all life, all love, all of his existence. "

Since then, the music of Dargomyzhsky, whom Musorgsky called "the great teacher of musical truth", has been one of the best pages of Russian classical culture.

Alexander Sergeevich Dargomyzhsky (February 2/14 ( 18130214 ) , the village of Troitskoye, Belevsky district, Tula province - January 5 (17), St. Petersburg) - Russian composer, whose work had a significant impact on the development of Russian musical art of the 19th century. One of the most notable composers of the period between the work of Mikhail Glinka and The Mighty Handful, Dargomyzhsky is considered the founder of the realistic trend in Russian music, followed by many composers of subsequent generations.

Biography

Dargomyzhsky was born on February 2, 1813 in the village of Troitskoye, Tula province. His father, Sergei Nikolaevich, was the illegitimate son of a wealthy nobleman Vasily Alekseevich Ladyzhensky. Mother, nee Princess Maria Borisovna Kozlovskaya, married against the will of her parents; According to musicologist M.S.Pekelis, Princess M. B. Kozlovskaya inherited from her father (the composer's grandfather) the ancestral Smolensk estate of Tverdunovo, now in the Vyazemsky district of the Smolensk region, where the Dargomyzhsky family returned from the Tula province after the expulsion of the Napoleonic army in 1813. In the Smolensk estate of Tverdunovo, Alexander Dargomyzhsky spent the first 3 years of his life. Subsequently, he repeatedly came to this parental estate: in the late 1840s - mid 1850s to collect Smolensk folklore while working on the opera "Mermaid", in June 1861 to free his Smolensk peasants from serfdom.

The composer's mother, MB Kozlovskaya, was well educated, wrote poetry and small dramatic scenes that were published in almanacs and magazines in the 1820s - 1830s, and was keenly interested in French culture. The family had six children: Erast (), Alexander, Sophia (), Victor (), Lyudmila () and Herminia (1827). All of them were brought up at home, in the traditions of the nobility, received a good education and inherited from their mother a love of art. Dargomyzhsky's brother, Victor, played the violin, one of the sisters played the harp, and he himself was interested in music from an early age. Warm friendly relations between brothers and sisters have been preserved for many years, for example, Dargomyzhsky, who did not have his own family, subsequently lived for several years with the family of Sophia, who became the wife of the famous cartoonist Nikolai Stepanov.

Until the age of five, the boy did not speak, his late-formed voice remained forever high and slightly hoarse, which did not prevent him, however, later to touch to tears with the expressiveness and artistry of vocal performance. In 1817, the family moved to St. Petersburg, where Dargomyzhsky's father got a job as ruler of the chancellery in a commercial bank, and he himself began to receive a musical education. His first piano teacher was Louise Wolgeborn, then he began to study with Adrian Danilevsky. He was a good pianist, but did not share the young Dargomyzhsky's interest in composing music (his small piano pieces from this period have survived). Finally, for three years Dargomyzhsky's teacher was Franz Schoberlechner, a student of the famous composer Johann Gummel. Having achieved a certain skill, Dargomyzhsky began performing as a pianist at charity concerts and in private collections. At this time, he also studied with the famous singing teacher Benedict Zeibig, and from 1822 he mastered playing the violin, played in quartets, but soon lost interest in this instrument. By that time, he had already written a number of piano compositions, romances and other works, some of which were published.

In the fall of 1827, Dargomyzhsky, following in his father's footsteps, entered the civil service and, thanks to his diligence and conscientious attitude to work, quickly began to move up the career ladder. During this period, he often played music at home and visited the opera house, whose repertoire was based on the works of Italian composers. In the spring of 1835, he met Mikhail Glinka, with whom he played the piano in four hands, was engaged in the analysis of the works of Beethoven and Mendelssohn. Glinka also gave Dargomyzhsky the notes on music theory lessons he had received in Berlin from Siegfried Dehn. After attending rehearsals of Glinka's opera A Life for the Tsar, which was being prepared for the production, Dargomyzhsky decided to write a major stage work on his own. The choice of the plot fell on the drama Lucrezia Borgia by Victor Hugo, but the creation of the opera progressed slowly, and in 1837, on the advice of Vasily Zhukovsky, the composer turned to another work by the same author, which in the late 1830s was very popular in Russia - “ Notre Dame Cathedral ". Dargomyzhsky used an original French libretto written by Hugo himself for Louise Bertin, whose opera Esmeralda had been staged shortly before. By 1841 Dargomyzhsky completed the orchestration and translation of the opera, for which he also took the name "Esmeralda", and handed the score to the Directorate of the Imperial Theaters. The opera, written in the spirit of French composers, had been waiting for its premiere for several years, since Italian productions were much more popular with the public. Despite the good dramatic and musical decision of Esmeralda, this opera left the stage some time after the premiere and was practically never staged later. In his autobiography, published in the newspaper Music and Theater, published by A. N. Serov in 1867, Dargomyzhsky wrote:

Esmeralda had been in my briefcase for eight years. These eight years of vain waiting and in the most ebullient years of my life laid a heavy burden on my entire artistic activity.

Manuscript of the first page of one of Dargomyzhsky's romances

Dargomyzhsky's worries about the failure of Esmeralda were aggravated by the growing popularity of Glinka's works. The composer begins to give singing lessons (his students were exclusively women, while he did not charge them) and writes a number of romances for voice and piano, some of which were published and became very popular, for example, "The fire of desire burns in the blood ...", "I am in love, maiden-beauty ...", "Lileta", "Night marshmallow", "Sixteen years" and others.

"Mermaid" occupies a special place in the composer's work. Written on the plot of the tragedy of the same name in the poems of A.S. Pushkin, it was created in the period 1848-1855. Dargomyzhsky himself adapted Pushkin's poems into the libretto and composed the ending of the plot (Pushkin's work is not finished). The premiere of "Mermaid" took place on May 4 (16), 1856 in St. Petersburg. The largest Russian music critic of that time, Alexander Serov, responded to it with a large-scale positive review in the "Theatrical Musical Bulletin" (its volume was so large that it was published in parts in several numbers), which helped this opera to stay in the repertoire of leading Russian theaters for some time and added creative confidence to Dargomyzhsky himself.

After a while, Dargomyzhsky became close to the democratic circle of writers, took part in the publication of the satirical magazine Iskra, wrote several songs to the verses of one of its main participants, the poet Vasily Kurochkin.

Returning to Russia, inspired by the success of his works abroad, Dargomyzhsky with renewed vigor takes on the composition of The Stone Guest. The language he chose for this opera - almost entirely built on melodic recitatives with simple chord accompaniment - interested the composers of The Mighty Handful, and especially Caesar Cui, who was looking for a way to reform Russian opera at that time. However, the appointment of Dargomyzhsky to the post of head of the Russian Musical Society and the failure of the opera The Triumph of Bacchus, written by him back in 1848 and having not seen the stage for almost twenty years, weakened the composer's health, and on January 5 (17), 1869, he died, leaving the opera unfinished. According to his will, "The Stone Guest" was completed by Cui and orchestrated by Rimsky-Korsakov.

Dargomyzhsky's innovation was not shared by his younger colleagues, and was condescendingly considered an oversight. The harmonic vocabulary of the late Dargomyzhsky style, the individualized structure of consonances, their typical characteristic were, as on an ancient fresco, recorded by later layers, beyond recognition "ennobled" by the edition of Rimsky-Korsakov, brought in line with the requirements of his taste, like Mussorgsky's operas "Boris Godunov" and "Khovanshchina", also radically edited by Rimsky-Korsakov.

Dargomyzhsky was buried in the Necropolis of the Artists of the Tikhvin Cemetery, not far from Glinka's grave.

Addresses in St. Petersburg

• autumn 1832-1836 - Mamontov's house, Gryaznaya street, 14.
• 1836-1840 - Koenig's house, 8th line, 1.
• 1843 - September 1844 - apartment house of A.K. Esakova, Mokhovaya street, 30.
• April 1845 - January 5, 1869 - apartment house of A.K. Esakova, Mokhovaya street, 30, apt. 7.

Creation

For many years, the name of Dargomyzhsky was associated exclusively with the opera "The Stone Guest" as a work that had a great influence on the development of Russian opera. The opera was written in an innovative style for those times: there are no arias or ensembles (apart from Laura's two small inserted romances), it is entirely built on "melodic recitations" and recitations set to music. As the goal of choosing such a language, Dargomyzhsky set not only the reflection of the "dramatic truth", but also the artistic reproduction of human speech with all its shades and bends with the help of music. Later, the principles of Dargomyzhsky's operatic art were embodied in the operas by MP Mussorgsky - "Boris Godunov" and especially vividly in "Khovanshchina". Mussorgsky himself respected Dargomyzhsky and, in initiations of several of his romances, called him "a teacher of musical truth."

Its main advantage is a new, never used style of musical dialogue. All melodies are thematic, and the characters "speak the notes." This style was later developed by M.P. Mussorgsky. ...

The development of Russian musical culture cannot be imagined without The Stone Guest. It was three operas - "Ivan Susanin", "Ruslan and Lyudmila" and "The Stone Guest" that were created by Mussorgsky, Rimsky-Korsakov and Borodin. "Susanin" is an opera where the main character is the people, "Ruslan" is a mythical, deeply Russian plot, and "Guest", in which the drama surpasses the sweet beauty of the sound.

Another opera by Dargomyzhsky - "Mermaid" - also became a significant phenomenon in the history of Russian music - this is the first Russian opera in the genre of everyday psychological drama. In it, the author embodied one of the many versions of the legend about a deceived girl turned into a mermaid and taking revenge on her abuser.

Two operas from a relatively early period of Dargomyzhsky's work - "Esmeralda" and "Triumph of Bacchus" - had been waiting for their first performance for many years and were not very popular with the public.

The chamber-vocal compositions of Dargomyzhsky are very popular. His early romances are sustained in a lyrical spirit, composed in the 1840s - they are influenced by Russian musical folklore (later this style will be used in the romances of P.I. way, the forerunners of vocal works by M. P. Mussorgsky. In a number of works, the composer's comic talent was clearly manifested: "Worm", "Titular Counselor", etc.

Dargomyzhsky wrote four compositions for the orchestra: Bolero (late 1830s), Baba Yaga, Kazachok and Chukhonskaya Fantasy (all - early 1860s). Despite the originality of the orchestral writing and good orchestration, they are rarely performed. These works are a continuation of the traditions of Glinka's symphonic music and one of the foundations of the rich heritage of Russian orchestral music created by composers of later times.

Essays

• Esmeralda. Opera in four acts on its own libretto based on the novel Notre Dame de Paris by Victor Hugo. Written in 1838-1841. First production: Moscow, Bolshoi Theater, 5 (17) December 1847.
• "Triumph of Bacchus". Opera-ballet based on the poem of the same name by Pushkin. Written in 1843-1848. First production: Moscow, Bolshoi Theater, 11 (23) January 1867.
• "Mermaid". Opera in four acts on its own libretto based on the unfinished play of the same name by Pushkin. Written in 1848-1855. First production: St. Petersburg, May 4 (16), 1856.
• "Mazepa". Sketches, 1860.
• "Rogdan". Fragments, 1860-1867.
• "The Stone Guest". Opera in three acts on the text of Pushkin's "Little Tragedy" of the same name. Written in 1866-1869, completed by C. A. Cui, orchestrated by N. A. Rimsky-Korsakov. First production: St. Petersburg, Mariinsky Theater, 16 (28) February 1872.

• "Bolero". End of the 1830s.
• "Baba-Yaga" ("From the Volga to Riga"). Completed in 1862, first performed in 1870.
• "Kazachok". Fantasy. 1864 year.
• "Chukhonskaya fantasy". Written in 1863-1867, first performed in 1869.

• Songs and romances for two voices and piano on verses by Russian and foreign poets, including "Petersburg Serenades", as well as fragments of unfinished operas "Mazepa" and "Rogdan".
• Songs and romances for one voice and piano to the verses of Russian and foreign poets: "Old Corporal" (words by V. Kurochkin), "Paladin" (words by L. Uland in V. Zhukovsky's translation, "Worm" (words by P. Beranger in translation Kurochkin), “Titular Counselor” (words by P. Weinberg), “I loved you ...” (words by A. Pushkin), “I'm sad” (words by M. Yu. Lermontov), ​​“I am sixteen years old” (words by A. Delvig) and others to the words of Koltsov, Kurochkin, Pushkin, Lermontov and other poets, including two inserted romances by Laura from the opera The Stone Guest.

• Five pieces (1820s): March, Contrdance, "Melancholic Waltz", Waltz, "Cossack".
• "Brilliant Waltz". Around 1830.
• Variations on a Russian Theme. Early 1830s.
• Esmeralda's Dreams. Fantasy. 1838
• Two mazurkas. End of the 1830s.
• Polka. 1844 year.
• Scherzo. 1844 year.
• "Snuffbox Waltz". 1845 year.
• "Ardor and composure." Scherzo. 1847 year.
• Song without Words (1851)
• Fantasy on themes from Glinka's opera "A Life for the Tsar" (mid-1850s)
• Slavic tarantella (four hands, 1865)
• Transcriptions of symphonic excerpts from the opera "Esmeralda" and others.

Tribute to the memory

• Monument on the grave of A.S.Dargomyzhsky, erected in 1961 in the Necropolis of Masters of Arts on the territory of the Alexander Nevsky Lavra in St. Petersburg. Sculptor A. I. Khaustov.
• The musical school located in Tula bears the name of A.S.Dargomyzhsky.
• Not far from the composer's homeland, in the village of Arsenyevo, Tula Region, his bronze bust was installed on a marble column (sculptor V.M.Klykov, architect V.I.Snegirev). This is the only monument to Dargomyzhsky in the world.
• The composer's museum is located in Arsenyev.
• The streets in Lipetsk, Kramatorsk, Kharkov, Nizhny Novgorod and Alma-Ata are named after Dargomyzhsky.
• A memorial plaque is installed at 30 Mokhovaya Street in St. Petersburg.
• The name of AS Dargomyzhsky is the Children's Art School in Vyazma. There is a memorial plaque on the facade of the school.
• Personal belongings of A.S.Dargomyzhsky are kept in the Vyazemsky Museum of History and Local Lore.
• The name "Composer Dargomyzhsky" was given to a motor ship of the same type as "Composer Kara Karaev".
• In 1963, a postage stamp of the USSR was issued, dedicated to Dargomyzhsky.
• By the decision of the Smolensk Regional Executive Committee No. 358 of June 11, 1974, the village of Tverdunovo in the Isakovsky village council of the Vyazemsky district was declared a historical and cultural monument of regional significance, as the place where the composer A.S.Dargomyzhsky spent his childhood.
• In 2003, in the former family estate of A.S.Dargomyzhsky - Tverdunovo, now a tract in the Vyazemsky district of the Smolensk region, a memorial sign was erected in his honor.
• In the village of Isakovo, Vyazemsky district of the Smolensk region, a street is named after A.S.Dargomyzhsky.
• On the highway Vyazma - Temkino, in front of the village of Isakovo, in 2007 a road sign was installed showing the way to the former estate of A.S.Dargomyzhsky - Tverdunovo.

Notes (edit)

Literature

• Karmalina L. I. Memoirs of L. I. Karmalina. Dargomyzhsky and Glinka // Russian antiquity, 1875. - T. 13. - No. 6. - P. 267-271.
• A.S.Dargomyzhsky (1813-1869). Autobiography. Letters. Memoirs of Contemporaries. Petrograd: 1921.
• Drozdov A. N. Alexander Sergeevich Dargomyzhsky. - M .: 1929.
• Pekelis M. S. A. S. Dargomyzhsky. - M .: 1932.
• Serov A.N. Rusalka. Opera by A.S.Dargomyzhsky // Izbr. articles. T. 1. - M.-L .: 1950.
• Pekelis M.S.Dargomyzhsky and folk song. On the problem of nationality in Russian classical music. - M.-L .: 1951.
• Shlifshtein S.I. Dargomyzhsky. - Ed. 3rd, rev. and add. - M .: Muzgiz, 1960 .-- 44, p. - (Music Lover's Library). - 32,000 copies
• Pekelis M.S.Dargomyzhsky and his entourage. T. 1-3. - M .: 1966-1983.
• Medvedeva I.A.Alexander Sergeevich Dargomyzhsky. (1813-1869). - M., Music, 1989 .-- 192 p., Incl. (Russian and Soviet composers). - ISBN 5-7140-0079-X.
• Ganzburg G. I. Pushkin's poem "October 19, 1827" and the interpretation of its meaning in the music of A. Dargomyzhsky. - Kharkov, 2007. ISBN 966-7950-32-8
• Samokhodkina N. V. Opera style of A. S. Dargomyzhsky: Textbook. - Rostov n / a: Publishing house RGK im. S.V. Rachmaninova, 2010 .-- 80 p. - (Library of methodological literature).
• Stepanov P.A. Glinka and Dargomyzhsky. Concerning the reviews of A.S. Dargomyzhsky // Russian antiquity, 1875. - T. 14. - No. 11. - P. 502-505.
• Dissinger B. Die Opern von Aleksandr Dargomyzskij. Frankfurt am Main: Lang, 2001.
• Budaev D.I. A page from the biography of the composer A.S.Dargomyzhsky // Smolensk region in the history of Russian culture.- Smolensk, 1973. Pp. 119 - 126.
• Pugachev A. N. Smolenshchina in the life and creative biography of A. S. Dargomyzhsky. Smolensk, 2008.
• Tarasov L. M. Dargomyzhsky in St. Petersburg. Lenizdat. 1988.240 pp.

Links

• Dargomyzhsky Alexander Sergeevich- article from the Great Soviet Encyclopedia
• // Encyclopedic Dictionary of Brockhaus and Efron: In 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
• Biography of Dargomyzhsky on the site Musical Directory
• Biography of the composer on the website of the Tula Regional Universal Scientific Library