What is the national musical culture of the 19th century. Russian musical culture of the 19th century and its world significance

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1 tr. 1 of: 04 Culture here and now SITE ABOUT THE GREAT RUSSIAN CULTURE I dedicate to my Teachers Russian music of the 19th century: periods, styles, genres, schools Posted by admin Russian music of the 19th century is usually divided into two periods: before the appearance of the great composer M.I. Glinka, that is, approximately until the years, and after. Before the era of early romanticism, or "before the Glinka", then the classical period begins in Russian music. I period. "Before the Glinka" era. At the beginning of the century, a mixture of two styles of classicism and romanticism reigned in Russian music. In the first half of the 19th century, such large-scale events for Russia took place as the Patriotic War, the Decembrist uprising; in society, the ideas of the Great French Revolution, which took place shortly before, were spread. All this could not but affect the culture of the country. M.Yu. Lermontov, V.F. Odoevsky, in the painting of O.A. Kiprensky and K.P. Bryullov. In the musical culture of Russia in the 19th century, echoes of romanticism are also heard, which will truly overwhelm the country with the arrival of M.I. Glinka.

2 tr. 2 of: 04 The most popular trends in Russian music of the 19th century were: "city" song. It was finally formed by the 19th century. Most often, such songs were born from a simple guitar improvisation of nameless amateurs to the poems of poets (for example, "Evening Bells", "How did I upset you"). recording and processing of folk tunes. At the end of the 18th century V. Trutovsky published a collection of Russian folk songs. Almost all the residents of the capital became interested in them, after which a lot of musical works in the folk style began to appear ("A gray-winged swallow is hovering"). chamber vocal music with a touch of Russian folklore, performed at musical home evenings. Under the influence of romanticism, a Russian romance appears (the romances of AA Alyabyev ("The Nightingale") and AE Varlamov ("Oh, you, time is time," it is based on a gypsy romance, which did not require a professional vocal voice and intricate accompaniment (for example: "Your eyes are green"). Also, such a musical genre as vaudeville, a light piece with couplets, was still alive. A.A.'s vaudeville was especially popular in the musical culture of Russia in the 19th century. Shakhovsky ("Love Potion", "A Runaway from His Bride") and F.V. Bulgarin ("A Conversation in the Kingdom of the Dead", "The Adventures of Mitrofanushka on the Moon"), however, every young nobleman considered it his duty to compose at least once in his life a vaudeville for the benefit performance of some actor.

3 tr. 3 of: 04 The theaters performed predominantly Italian and french operas... In Russian opera, epic motifs prevailed; however, the influence of romanticism was already noticeable (A.N. Verstovsky, for example, often used in his works romantic plots appeal to the epochal past). II period. The beginning of the classical period of Russian music. M.I. Glinka. With the appearance of Mikhail Ivanovich Glinka, the founder of the composer school in Russia, a real upswing began in Russian music of the 19th century. His musical works are saturated with folk motives, they contain the very Pushkin "Russian spirit". In addition to magnificent vocal works and symphonies, the composer created two operas (some of the most outstanding in the history of music): A Life for the Tsar (1836) and Ruslan and Lyudmila (1842). Both of these works are imbued with the strongest patriotic and Russian principle, because M.I. Glinka himself said: "The music should contain intonations and even the whole melodies of folk music of the nationality to which the author belongs." So, in the opera "Life for the Tsar" in the image of a simple peasant Ivan Susanin M.I. Glinka showed all the strength and might of the Russian people. The most important innovation of the opera was that a peasant, a serf, became the main character of a piece of music. No wonder the high society

4 tr. 4 out of 04 gave the opera a low rating, but many classics of literature (for example, N.V. Gogol, A.S. Pushkin) were its real fans. In the epic fairy tale with vivid romantic motives "Ruslan and Lyudmila" Glinka departed even further from the traditions of French and Italian operas, therefore this piece of music was not greeted with enthusiasm. Nevertheless, it was after these works that Russian music was recognized all over the world, and M.I. Glinka is rightfully recognized as the founder of musical classics in Russia. III period. Second half of the 19th century. In the second half of the 19th century, music becomes more accessible to different segments of the population. The Moscow and Petersburg branches of the Imperial Russian are opened musical society, constantly holding musical collections available to all, a free music school was created in St. Petersburg, conservatories were founded, first in the capitals (headed by the Rubinstein brothers), and at the end of the century in other cities. New musical genres, symphonic cycles and symphonies, are becoming popular (the first symphony (in F major) was created by A.G. Rubinstein in 1859, but it did not gain wide popularity; his symphony No. 2 in C major called "Ocean" is better known. This genre reached its peak in Russian music in the works of Rimsky-Korsakov and Tchaikovsky). Composer schools.

5 tr. 5 of: 04 Also in the 19th century, two major composing schools were formed. The first New Russian school in St. Petersburg, later V.V. Stasov will call her "The Mighty Heap". It included M.A. Balakirev, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov and Ts.A. Cui. They saw M.I. Glinka, and main goal the embodiment of the national principle in their musical works... At that time, revolutionary ideas were very strong; the entire intelligentsia reflected on the problems of the peasants, while the peasants themselves staged riots and uprisings. It was against this background that the "Mighty Handful" appeared with its ideas of national, spiritual, folk wealth. Carefully collecting Russian folklore, they tried to convey in the operas all the strength of the national spirit. Second Moscow School; it was headed by P.I. Tchaikovsky, and it included A.A. Alyabyev, S.I. Taneev, A.E. Varlamov and others. If St. Petersburg composer school stood for the epic in music, then the Moscow school of Russian composers was more characteristic of lyric works. For example, nature, landscape by P.I. Tchaikovsky is always portrayed through the prism of human feelings, the composers of The Mighty Handful have nature, rather, a strong, full-fledged hero who has nothing to do with man. There are many such differences, however, most importantly, they belonged to different time periods. The Moscow school represented a passing era, the "past century", while the Petersburg school (or "new Russian", as it was called) contained everything that was characteristic of the "present century." The antagonism of these two schools influenced the work of not only their adherents, but also those composers who did not

6 tr. 6 out of 04 identified themselves as being in neither school. Performing arts. As for the performing arts, a lot has changed in Russia during the 19th century. Before that, only amateur home music-making was widespread (this was already mentioned above), by the beginning of the 20th century, musical works began to be performed in huge halls of opera houses, domestic schools of playing and singing began to form, and higher educational institutions began to open. Musical instruments. One of the main inventions of the 19th century is the valve mechanism for wind instruments, with the help of which the possibilities of wind musical instruments have become much wider; new instruments such as tuba and flute piccolo appeared. In addition, the piano we play today was invented at the same time in America and immediately gained unprecedented popularity in Russia. Summarize. There was a real upsurge in the musical culture of Russia in the 19th century, a national music school was formed, and the whole world recognized and respected Russian composers. Did you like it? Do not hide your joy from the world -

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The origins of Russian music go back to the creativity of the East Slavic tribes that inhabited the territory of Ancient Rus before the emergence of the first Russian state in the 9th century. The most ancient types of East Slavic music can be judged hypothetically by individual historical evidence, materials from archaeological excavations, as well as by some survivals that have survived in later samples of song folklore. By the time of the formation of the ancient Russian state with its center in Kiev, folk song occupied an important place in family and social life, musical instruments of various types were known. Already in the 6th century, the gusli was one of the favorite instruments of the Slavs.

Ritual folklore associated with pagan religious beliefs and ritual actions that developed in the era of the communal-clan system became widespread. Many pagan rituals continued to live among the people after the introduction of Christianity in Russia (end of the 10th century), despite severe condemnation and persecution from the church. Until the 17th century church authorities decrees and letters were issued against the people's favorite "demonic" games and songs. Over time, paganism as an integral system of beliefs and ideas about the world died out and the pagan rite, losing its magical and cult significance, becomes an element of the game. But at the same time, the external forms of the rite and some moments that regulated its administration were preserved.

In Ancient Russia, there were no developed forms of professional secular music, which determined the especially large role of folklore in the life of society. The folk song was common not only among the toiling masses, but also in the highest feudal circles up to the prince's court. The main bearers of secular artistic culture were buffoons, a type of medieval syncretic actor and musician. They differed in social status and the nature of their art. Wandering buffoons who spoke to the common people in the streets and squares were outside the social hierarchy of feudal society and were deprived of all rights. The "service" buffoons who arrived in the service of the feudal lords and princes were better off and enjoyed the protection of their patron. Among the buffoons, there were guslars, gudoshniks, "svirtsy" (performers on primitive wind instruments). Their repertoire consisted mainly of folk songs and dances. Only in the 17th century, under the influence of general cultural shifts, buffoonery lost its importance and was pushed back from the central regions of Russia to the northern outskirts.

With the adoption of Christianity as a state religion at the end of the 10th century, church music began to develop. The forms of Old Russian church singing, and to a large extent, probably, its very tunes, were borrowed from Byzantium. From there, the system of fixing them was adopted with the help of a special kind of conventional signs, which were a kind of deranged writing.

As a result of the rethinking of the borrowed Byzantine forms, a completely original type of ancient Russian singing art arose - znamenny chant or znamenny chant. It is not possible to trace the stages of this process, since the early forms of Znamenny writing have not been deciphered.

The first known monuments of Old Russian musical writing date back to the late 11th - early 12th centuries. At the same time, there was an oral tradition in the practice of church singing. Only in the 15th - 17th centuries. all types of church chants were "laid on the banner" and singing "on the hooks" (the hook is the most common signs of the znamenny writing) entered into general use.

The most important features of the ancient Russian singing art were - strictly sustained monophony, without instrumental accompaniment, smoothness of melodic movement, the absence of leaps at large intervals, the close connection of the melody with the verbal text consisting of lines of unequal length, as a consequence of this - the freedom of the metro-rhythmic organization, the asymmetry of the structure of the melodies, the construction of a melody based on ready-made canonized formulas by means of their concatenation and variant transformation. The sum of the formulas-chants that make up the melodic fund of the znamenny chant was covered by the system of osmoglasia.

In Kievan Rus, along with the usual znamenny chant, there was a special kind of kondakar singing, distinguished by an abundance of melodic decorations, long chants of syllables.

After the collapse of Kievan Rus, a number of singing schools arose, among which the Novgorod one was especially prominent. During the period of feudal fragmentation, Novgorod was the main keeper of the ancient Russian singing traditions. Since the end of the XIV century, Moscow has been promoted as an all-Russian center of singing art, combining and synthesizing the achievements of local schools.

In the 16th century, an exemplary choir of sovereign singing clerks was created, which, in addition to participating in royal services, performed the functions of inspecting and monitoring the state of church singing in the country.

In the middle of the 16th century, a school of Moscow singers and chanters was formed, which played an important role in the development of church singing art. Its founder is considered Savva Rogov, among his students and followers Fyodor Krestyanin, Ivan Nos, Stefan Golysh were famous.

During this period, the znamenny chant reached its peak, many melodic variants arose. Special varieties of monodic choral singing branched off from the znamenny chant - the demestny chant and the track chant.

The 17th century was a turning point in the history of Russian music, completing the ancient and at the same time preparing new periods of its development. The crisis of the medieval worldview, the breakdown of the usual structure of concepts and views, reflected the disputes over the issues of church singing, in which two directions collided. One of them sought through partial reforms to strengthen the old tradition, the other put forward and defended new forms associated with a different system of aesthetic views, a different understanding of art in life.

In the middle of the 17th century, cinnabar marks were introduced (letter designations that were affixed over the main row of singing signs and indicated the exact pitch). This system is based on the so-called everyday scale of twelve diatonic degrees, divided into four "accords". Along with the development and systematization of the theoretical foundations of the znamenny chant in the 17th century, its further melodic enrichment took place, new chants and their variants, singing styles or, as they were called then, chants - Kiev chant, Bulgarian chant, Greek chant appeared.

In the second half of the 17th century, the new style choral polyphony - part singing, which originally developed in Ukraine and Belarus (N. Diletsky, I. Korenev). The simplest types of partisan singing were based on the melodies of the znamenny chant. The highest form of part singing was a choir concert a cappella for 8-12 or more voices.

In the 17th century, a harpsichord, organ and other European instruments appeared at the court and in the houses of the enlightened Russian boyars, and home instrumental chapels were created. Music played an important role in the court theater (1672-1676).

Some of the stylistic forms and genres of Russian music that developed in the 17th century continued to live in the next century. Thus, the part-performance concert remained the most important type of work of Russian composers until the middle of the 18th century. Among its many masters are N. Kalashnikov, N. Bavykin, F. Redrikov.

Under the direct influence of progressive democratic trends in Russian social thought and literature, a national school of composition was formed in the last third of the 18th century. Its representatives strove to combine in their work the stylistic principles and forms of early European classicism with themes and images from Russian life, with the melodic warehouse of Russian folk songs. The first printed collections of folk songs appeared - Trutovsky, Lvov and Prach. Many of the recordings of folk melodies included in them have been used by composers.

The most important place in the work of 18th century composers was occupied by the operatic genre. The most prominent composers of this time are V.A. Pashkevich, E.I.Fomin, D.S. Bortnyansky, M. Berezovsky, I. Khandoshkin and others.

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HistoryI amRussian musical culture XIX centurya

Historical features of Russian musical culture of the 19th century

The 19th century entered the history of Russian musical culture as a period of its full and all-round development. During this period, their immortal works created by M.I. Glinka, A.S. Dargomyzhsky, A.P. Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov, M.A. Balakirev, P.I. Tchaikovsky. The further development of Russian musical classics is associated with the names of A.K. Glazunov, A.K. Lyadova, S.I. Taneeva, A.N. Scriabin and S.V. Rachmaninov, a significant part of whose work falls already in the XX century.

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

The achievements of the first half of the 19th century were prepared by the previous period, but a lot of completely new ones, caused by changes in life itself. The content and ideological and aesthetic direction of the development of art was determined by the tense and complex socio-political situation that developed not only in Russia, but also in Western Europe. Economic and political development a number of European countries was hampered by the aggressive policy of Napoleon I, who became emperor of France after the defeat French revolution the end of the 18th century. The military campaign against Russia ended in defeat for Napoleon. In the Patriotic War of 1812, the entire Russian people stood up to defend the Motherland. These events gave rise to a great upsurge in society, caused the manifestation of ardent patriotism of the people, the growth of its civic, self-consciousness. At the same time, the victory over Napoleon forced a new look at the position of the masses. Popular discontent is growing, peasant unrest intensifies, opposition sentiments arise among the best representatives of the nobility, who understand the terrible contradiction between the mighty heroic force of the people and their disenfranchised, oppressed position in the country. It was these events that gave the strongest impetus to the Decembrist movement, which was brutally suppressed in 1825.

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

Decisive advances have taken place in the field of music. Composers of the early 19th century work a lot in the field of theatrical genres. Early theatrical genres include the fabulous operas The Invisible Prince and Ilya the Bogatyr, the patriotic opera Ivan Susanin by Kavos, Kozlovsky's music to the tragedies of V.A. Ozerov “Oedipus in Athens and“ Fingal ”,“ Deborah ”by Shakhovsky, oratorio by S.A. Degtyarev "Minin and Pozharsky" or "Liberation of Moscow".

Vaudeville, a light comedy with musical numbers, has become widespread. The first Russian vaudeville is considered to be Shakhovsky's play "The Cossack the Poet" with the music of Kavos.

The instrumental work of Russian composers was mainly associated with home music making. The concert overture, the one-movement symphony by A.A. Alyabyeva. As the author of piano pieces of various genre and character, A.L. Gurilev. The most significant are the Sonata, 24 Preludes and Fugues. The genre of variations was very developed. Quartets and other works for instrumental ensembles are also created. The guitar gained particular popularity, the founder of the guitar school was A.O. Sykhra.

The composers A.N. Verstovsky, A.A. Alyabyev, A.E. Varlamov, A.L. Gurilev.

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

During the 1920s, M.I. Glinka. The period under consideration can be called the Glinka period. The powerful creative personality of Glinka raised Russian music to new step development, overshadowing almost everything created by predecessors. Creator of Russian classical opera and classical romance, he also laid the foundations for classical Russian symphonism. The main qualities that elevate him among other composers are his broad outlook on the world, a deep connection with his time and the life of his people.

In the second half of the 30s, a new name was put forward in Russian music - Dargomyzhsky. The beginning of the 19th century in Russia was marked by the rapid development of a new trend that swept all the countries of Europe - romanticism. Romanticism has had a tremendous impact on the fate of world art. It expressed the dissatisfaction of the new young generation with the surrounding reality, a protest against the unfair social structure the world. Dreams about the freedom of the human person, the free manifestation of the spiritual forces of a person with extraordinary power were reflected in the work of Byron. The greatest figures of art - Chopin and Mickiewicz, Hugo, Berlioz and Liszt - linked their names to the ideology of "militant romanticism".

Of particular importance for the development of Russian art was an important tendency of romanticism - the struggle for the national originality of artistic forms, style and means of expression. Romantics defended everything that is individual, original, and characteristic. They tried to awaken interest in the life of their native people, in their historical past, in folk songs, tales and legends. It was these aspects of romantic aesthetics that first of all affected the work of the composers of the Pushkin era and helped them significantly enrich the language and style of Russian music.

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

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

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

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

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

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

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

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

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

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

The growth of Russian musical culture in the second quarter of the 19th century was evidenced by the works of Alyabyev, Varlamov and Gurilev.

AlyabyevA.A.(1787-1851)

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

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

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

He is one of the first composers to write big number romances to the words of Pushkin ("I loved you", "Awakening", " Winter road" and etc.). A special place is occupied by romances-monologues connected with the theme of loneliness, exile, difficult wanderings: "Irtysh", "Evening Bells". In the works of the 40s, he turns to plots social significance: "Kabak", "Izba", "Village watchman" in the words of NP Ogarev, "Beggar" in the words of Beranger, which shows the images of the disadvantaged. These songs were prepared by the innovative works of Dargomyzhsky ("Likhoradushka") and Mussorgsky ("Kalistrat", "Hopak", "Trepak").

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

VarlamovA.E.(1801-1848)

Alexander Yegorovich Varlamov is a Russian composer, singer, teacher-vocalist and conductor. He received his musical education in the Petersburg court chapel, where he was a singer and studied with the director of the chapel D.S. Bortnyansky.

In 1819. was appointed teacher of singers in the Russian court chapel in Holland. Here he began his career as a choral conductor, chamber singer and guitarist. In 1823. returned to Petersburg, worked as a singing teacher in theater school... In 1843. he was promoted to "composer of music" and assistant conductor of the imperial theaters.

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

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

Varlamov created about 200 romances and songs based on the verses of the Russian poets M.Yu. Lermontov, A. N. Plescheeva, A. A. Feta, A.V. Koltsova and others.

Among Varlamov's "Russian songs", 2 genres predominate - lyrical lingering and fast dance. In lingering songs - melodic generosity, plasticity of vocal melody, the use of techniques of Russian folk song - varietal development of singing, intrasyllabic chants ("Oh, time, time", "You're too early, grass"). Songs of an active rhythm belong to the second type: "Along the street a snowstorm is sweeping", "Nightingale is flying".

Exposure to urban folklore with typical dance rhythms affected in the romances "At dawn, you do not wake her", "You do not sing, nightingale," Along with "Bell" by Gurilev and "Nightingale" by Alyabyev, the romance "Do not tell me, mother, a red sundress" has become a national property.

Close to the elegiac lyrics of MI Glinka and AS Dargomyzhsky are Varlamov's romances "Loneliness", "Mountain Peaks". The dramatic monologue "Reminder", "Sadness", the ballad "Ride the Horse", the temperamental romance to the words of Lermontov "The Lonely Sail Glows White" created their own tradition in Russian lyrics and found a response in the works of A.S. Dargomyzhsky, P.I. Tchaikovsky, S.V. Rachmaninov.

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

GurilevA.L.(1803-1858)

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

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

Gurilev's best romances have something in common with the lyrics of Glinka and Dargomyzhsky. We find the influence of Glinka in intonation turns, typical techniques of an ascending leap and its filling, singing of a central sound with figures such as gruppetto, etc.

But in the best romances Gurilev reveals the most attractive aspects of his lyrical talent. Such are his romances "You cannot understand my sorrow", "Inner music", "Parting". The rapprochement with Dargomyzhsky can be seen in the romance to the words of Lermontov "Both boring and sad." The declamatory structure of the melody, its compressed range, expressive speech accents give the music the character of a conversation with oneself. Alyabyev, Varlamov, Gurilev foresaw in many ways, prepared the future path of the Russian romance.

RussianmusicXviiiandthe firsthalf ofXIXcentury

Russian music has traveled a long and glorious way in its development. How many great composers: Glinka, Dargomyzhsky, Borodin, Mussorgsky, Rimsky-Korsakov, Tchaikovsky, Scriabin, Rachmaninov, Glazunov and many others! Their art has glorified our Motherland. In all countries the globe their music sounds and awakens bright, kind and pure feelings in the hearts of people. The flourishing of musical culture in the 19th century was prepared by the entire course of its development in Russia. For centuries, precious springs of musical art have been accumulating among the people. Folk poetic and musical creativity existed in ancient times, and it reflected the whole life and history of the people: its customs and rituals, its work and struggle for freedom, its hopes and dreams of a better life. Many harsh, courageous songs were created by the people about Stepan Razin, Yemelyan Pugachev and other leaders of peasant uprisings and wars. The great Russian poet A.S. Pushkin highly appreciated the songs about Razin and Pugachev. In his story "The Captain's Daughter" Pushkin cites the song "Don't make a noise, mother green oak tree" and speaks of it as Pugachev's favorite song. Our Russian classical composers carefully collected and studied their native song. Some of them - Balakirev, Rimsky-Korsakov, Lyadov - compiled collections of Russian songs for voice and piano. In their works, they often used Russian tunes. And when composing their own melodies, they introduced intonations, melodic tunes and melodic turns characteristic of Russian songs into them. The music of Glinka and Tchaikovsky, Borodin and Mussorgsky is understandable and accessible to a wide audience precisely because it is rich in beautiful melodies and songs. In the 18th century, household urban song, with chordal harmonic accompaniment, new in its expressive character. The city song, simpler in its nature, arose on the melodic basis of an old folk song, which is often called "peasant". And in almost every city song, the melodies, modal and rhythmic features of the old song are used to some extent. The work of Russian poets had a noticeable influence on the development of urban song. An example of this is the song "Why have I upset you?" folk singers to slightly modified words of the famous Russian poet of the 18th century A. Sumarokov. In the 18th century, musical notation records Russian folk songs. The first collection of folk songs was released by the singer-songwriter V. Trutovsky; it was followed by an extensive collection compiled by the famous Russian poet N. Lvov in collaboration with I. Prach. These collections include not only the most popular and beloved by the people old songs, but also newer urban songs. The collections introduced music lovers to wonderful Russian melodies. Many of the songs have subsequently been used by composers in operas and instrumental works. Throughout the 18th century, the familiar melodies of folk songs are increasingly heard in various instrumental pieces, in music for theater plays and in operas. Of course, interest in folk melodies did not arise immediately. At first, the inhabitants of both Russian capitals were content with works foreign composers... At the court in St. Petersburg, magnificent opera performances were often staged for a narrow circle of listeners. But much more important was the activity of small opera troupes that had frequently visited St. Petersburg and Moscow since the 1930s. Reasonable prices contributed to the general availability of the performances. These were Italian and French funny comic operas based on everyday plots, in which singing was often alternated with spoken dialogues. Over the course of time, after the model of spoken operas, the first russians opera... At first they were unpretentious everyday comedies with musical inserts based on the melodies of Russian songs. Some of them ridiculed the way of life and customs of various classes - merchants, officials ("St. Petersburg Gostiny Dvor" by the serf musician M. Matinsky). And in this, undoubtedly, the connection between the first Russian operas and advanced Russian literature (in particular, with the work of Fonvizin) was manifested. In those years in St. Petersburg, the publicly available "Russian Theater" enjoyed great popularity. Talented Russian artists such as E. Sandunova performed on the stages of St. Petersburg and Moscow. The adornment of Sheremetyev's home theater was the wonderful serf actress Parasha Zhemchugova (the song “Evening late from the forest” was formed among the people about her extraordinary fate). However, the fate of talented Russian actors and musicians in the conditions of feudal Russia often turned out to be tragic, many of the musicians died untimely. Despite the difficult, disenfranchised position of musicians, in the last quarter of the 18th century Russia already developed its own school of composition. Young composers create expressive romances and arrangements of Russian songs, piano and violin pieces, symphonic overtures, music for performances and, finally, operas. Among them were Dubyansky, Berezovsky, Bortnyansky, Fomin, Khandoshkin and others.

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Federal Agency for Education

Ufa State Academy of Economics and Service

Department of Tourism and Hospitality

COURSE WORK

by discipline " World culture and art "

on the topic: Russian musical culture of the 19th century and its world significance

completed: student gr. SD-21

Mikhailova I.V.

checked by: Ph.D., Associate Professor

Kotova T.P.

Introduction

Historical background

The development of Russian song culture in the 19th century

Russian composer school

Mikhail Ivanovich Glinka

Alexander Sergeevich Dargomyzhsky

· "The Mighty Handful"

· The ingenious Peter Ilyich Tchaikovsky

Conclusion

Bibliography

Applications

Introduction

Without musiclife would be a mistake. (Friedrich Nietzsche)

Music- this is the mind, embodied in beautiful sounds. (Ivan Sergeevich Turgenev)

Music- the mediator between the life of the mind and the life of the senses. (Ludwig van Beethoven)

The Russian word "music" is of Greek origin. Of all the arts, music has the most direct effect on human perception, "infects with emotions." The language of the soul, so it is customary to talk about music precisely because it has a strong effect on the subconscious level on the area of ​​human feelings, but at the same time it is impossible to exclude the impact on the area of ​​mind. Give exhaustively precise definition the phenomenon (or substance) called "music" is impossible.

The wealth of Russian music is immeasurable. For over ten centuries, its traditions have been formed and developed in close contact with the musical culture of other countries and in constant interaction with other types of artistic creation.

Russian music is the most important part of Russian culture. Like Russian literature, poetry, painting, theater, it vividly reflects all stages of social life, the formation of Russian philosophical and aesthetic thought. The history of the people, their struggle for liberation, the character of the Russian people, the originality of Russian nature and life have found their embodiment in its diverse genres and forms.

In its term paper I decided to show the musical development of Russia in the 19th century, which took place against the background of the most important historical events - the Patriotic War, the Decembrist uprising, the abolition of serfdom, etc.

The task of the work is to analyze the state of the musical culture of Russia in the 19th century, to reveal its features, to tell about the composers of this century and their works, as well as to reveal the significance of Russian music of the 19th century for world culture.

In his course work, such research methods will be involved as the study and analysis of literature and documents, generalization, analysis of the products of activity, description.

When studying this topic, I will use the literature: Encyclopedia "Krugosvet", Russian musical literature E. E. Smirnova, Nikitina L. D. History of Russian music, etc.

Historical background

music song culture composer

The 19th century in Russia is associated with major political and social changes, and the war of 1812 and the abolition of serfdom played an important role in this. In literature, poetry, music, painting, the topic of social inequality has been sharply exacerbated.

Already in the first half of the 19th century, Russian culture reached a brilliant, dazzlingly bright flowering. Freed from the elements of imitation, it finds original and distinctive forms of expression for the most diverse, broadest in scope of content and creates great enduring values ​​of universal human significance. The work of such genius representatives as Pushkin, Lermontov, Gogol in literature, Glinka in music is one of the highest peaks of not only Russian, but also world art.

The Patriotic War of 1812 gave a strong impetus to the rise of public initiative. The patriotism of the Russian people is manifested in the growing concern about the common good, in a broad awareness of the common interests of the nation, in an effort to raise the level of national culture and prosperity.

The uprising of the Decembrists had a significant impact on the development of Russian culture in the 19th century. All emotions, thoughts, experiences were reflected in many musical works of that time. The era of the Decembrists marked the beginning of the development of revolutionary song in Russia. Great services in this respect belong to the leaders of the Decembrist movement - Ryleev and Bestuzhev. The traditions of revolutionary song, laid down by the Decembrist poets, were picked up and developed by their contemporaries. The themes of love of freedom and protest, the struggle against social oppression have deeply penetrated into everyday song.

As liberation ideas grew and spread, the government's opposition to them increased. Already in the second half of the reign of Alexander I, this reactionary course was determined, which was expressed in the defeat of universities and the strengthening of censorship. After the suppression of the Decembrist uprising, together with the accession to the throne of Nicholas I. The existence of democratic journalism, and even more so of political organizations conducting practical revolutionary activities, was impossible in Russia.

Under these conditions, literature becomes especially important, the works of Pushkin, Gogol, Lermontov become the main mouthpiece of liberation thought.

All of the above creates the preconditions for the formation of classical schools of Russian national literature and art.

Glinka played a role in the development of Russian music, in many respects analogous to that which belongs to Pushkin in the development of Russian literature. Like Pushkin, Glinka in the broadest way perceived and implemented various elements of contemporary artistic culture. By assimilating everything valuable and viable from the heritage of his predecessors, Glinka overcomes their limitations and achieves enormous wealth, completeness of content and perfection of artistic embodiment. In terms of its inner balance, ideal harmonious integrity and completeness, Glinka's work turned out for subsequent generations to be the same undeniable model and classical norm as Pushkin's poetry. Glinka laid the foundation for her world influence with his work. Dargomyzhsky follows Glinka's path in his work. He introduces into Russian music elements of greater social acuity, everyday and psychological characteristic, satire and humor, preparing much of what will receive a clear form in the work of the young national school of the 60s. Glinka laid the foundation for her world influence with his work.

From this time on, messages about Russian music began to appear more and more often in the foreign press. A few months before the appearance of Berlioz's articles about Glinka, the famous French musicologist Fetis wrote about the still young Dargomyzhsky as the original and promising musical talent of Russia.

Historical period 60-80 The 19th century is usually called post-reform - in 1861, the tsar's decree was canceled serfdom, which led to the liberalization of Russian public life. This stage was marked by the high flowering of artistic culture as an integral and distinctive phenomenon. It was then that a certain system of spiritual and aesthetic values ​​was formed in art, which were embodied in literature and theater, in painting and music.

The development of Russian song culture in the 19th century

“There was a century of songs” - this is how the poet G.R. Derzhavin. The appearance of the song culture of that time was unusually diverse and even multilingual. In everyday life, Russian and French, Gypsy and German, peasant and urban, amateur and professional songs are fancifully intertwined. The song sounded from the pages literary works and was published in special collections "for the pleasure of many amateurs", performed in the homes of aristocrats.

In the XIX century. they continued to pay great attention to the study of folklore. Russian composers considered folk music to be a source of inspiration. They collected folk songs and often used them in their works, while not losing the originality of their own musical language.

Some new genres appear, old forms (everyday songs, songs on the theme of wanderings, satirical songs) evolve under the influence of a new life content, the nature of images and intonation-expressive means changes. Everyday folk song responds to major political and social events of national importance.

The Patriotic War of 1812 is widely reflected in it.A whole cycle of songs about the twelfth year associated with oral folklore tradition... They are very diverse in their content and musical and poetic forms. Sometimes they use the techniques of the old traditional types. folk songs.

The Patriotic War also caused the emergence of expressive lyric

songs, which capture the deep national grief, grief and grief caused by the grave calamities of the motherland, devastation native land, the loss of loved ones.

Russian folk song began to enjoy extremely wide popularity, spreading in many different arrangements - for choir, voice with accompaniment and individual instruments. From 1806 to 1815 Prach's collection was published in the second and third editions. On its basis, song collections of the public type were created.

Danila Kashin, a talented Russian musician who came from the serfs, was widely known for his adaptations of folk songs. In 1833-1834. his collection "Russian folk songs" was published in three parts. For its time, it is as characteristic as Prach's Collection for the turn of the 18th and 19th centuries. In the early 40s, the second edition of the Kashin collection appeared, which testified to its popularity and great demand for it. In Kashin's methods of processing, a striving for emphasized sensitivity is clearly noticeable, sometimes of a somewhat hysterical nature.

Another well-known collector of songs, a serf by origin, Ivan Rupin, who was also a talented singer-performer (his surname was pronounced by his contemporaries with an Italian ending - Rupini) and the compiler of a popular song collection, walked along the same path as Kashin's interpenetration of folk song and urban romance intonations. published in 1831

Along with various everyday refractions of Russian folk song, a lyrical sentimental romance develops, which also enjoyed extremely wide popularity in the most diverse strata of society. Like the "Russian song" of the 18th century, Russian romance was mostly associated with the sphere of home music making. In the musical language of everyday romance, simplicity of means is combined with sincere spontaneity and sincerity of expression. Composers Alyabyev, Varlamov, Gurilev, Verstovsky played an important role in the development of Russian romance of the 19th century (see Appendix 1).

Alexander Alexandrovich Alyabyev(1787-1851) was born into an old noble family. In his youth, he served in the army, took part in the Patriotic War of 1812. Subsequently, he left military service and devoted himself to creative activity. Alyabyev is the author of the famous romances: "I loved you", "Winter road" (both on the verses of Alexander Sergeevich Pushkin), "Nightingale" and others. " Nightingale"- one of the favorite and most widespread songs of Alyabyev. Everything about her is modest and simple. The song is preceded by a lively guitar-tune-style piano intro. From the very first intonations of the vocal part, a captivatingly soft, brooding melody unfolds. Wide and smoothly rounded, it immediately captures and conquers with its austere beauty.

Composer Alexander Egorovich Varlamov(1801-1848) - the author of popular romances. In total, he created about two hundred works of this genre, mainly on the verses of Russian poets ("Red Sarafan", "Blizzard Sweeps Along the Street", "Don't Wake It Up at Dawn", "Lonely Sail Whitens", etc.). Varlamov was also known as a singer, guitarist, conductor and teacher. He wrote one of the first Russian textbooks for vocalists - The Complete School of Singing (1840).

Alexander Lvovich Gurilyov(1803-1858) was the son of a serf musician (in 1831, together with his father, he received freedom). Composer, pianist, violinist, violist and teacher, Gurilyov became famous as the author of songs and romances. The most famous of his songs are "Mother Dear", "Bell", "Sarafanchik", "Swallow Is Curling" and the romances "Separation", "You will not understand my sadness." In addition to vocal lyrics, the composer worked in the genres of piano music, collected and processed folk songs.

The work of Alyabyev, Varlamov and Gurilev is a valuable contribution to the treasury of Russian music. Their best songs and romances are included in the concert repertoire of singers and choirs, they are sung with love among the people in our time.

Russian composer school XIX century

Mikhail Ivanovich Glinka

Without a doubt, the brightest representative of the school of composition in the first half of the 19th century is Mikhail Ivanovich Glinka(1804-1857). The work of Mikhail Ivanovich Glinka stands at the origins of the Russian school of composition, and his works, methods of work, attitude to musical genres and traditions were perceived in the 19th century as exemplary. Having received a serious musical education in Europe, Glinka was the first to deeply understand the features of the Russian national music, and largely thanks to this master, European genres received an original interpretation in Russia. Glinka's childhood impressions were reflected in his work. The first years of his life were spent on his father's estate among the rural nature of the Smolensk region. There he learned and fell in love with folk songs, listened to them. The tales of the serf nanny Avdotya Ivanovna, who tenderly and devotedly loved him, deeply sunk into the impressionable childish soul of little Glinka.

Glinka was greatly impressed by the events of 1812. Fleeing from the invasion of the Napoleonic army, Glinka's family left the estate. The boy heard many stories about the heroism of the partisans and was forever imbued with love and respect for the Russian people, their mighty strength and spiritual beauty.

At home, Glinka's relatives often played music. My uncle, who lived nearby, had a good orchestra of serf musicians. The music made an amazing impression on the boy, after the concerts he walked absent-mindedly. “Music is my soul,” he once said. Uncle's serf band performed different works, there were also folk songs among them. Recalling his childhood impressions, Glinka wrote: "... Perhaps these songs, which I heard as a child, were the first reason that later I began to develop mainly Russian folk music."

Glinka's composing skills were most clearly manifested in two operas - “ Life for the king"(" Ivan Susanin ") and" Ruslan and Ludmila". He created samples of the national Russian opera - a heroic-epic opera and a fairy-tale opera. The subsequent development of these genres is associated with the principles laid down by Glinka.

The opera “A Life for the Tsar” (in the USSR in the 30-80s the name “Ivan Susanin” was adopted; 1836) was written on a historical-patriotic plot. The composer turned to the events of the early 17th century. - the struggle of the Russian people against the Polish conquerors. The plot of the work - the feat of Ivan Susanin - was suggested to Glinka by the poet Vasily Andreevich Zhukovsky.

"A Life for the Tsar" - the first Russian opera without spoken dialogues; it is based on continuous musical development. The musical fabric of the composition is permeated by choral scenes. In particular, they open (the choir "My Motherland") and complete the piece (the final jubilant victorious choir "Glory").

In the center of the opera is the image of the Russian peasant Ivan Susanin. The composer emphasizes the hero's moral strength. For his musical characteristics used intonation of folk melodies. Antonida, the daughter of Susanin, is a light and poetic ("gentle-graceful", according to Glinka's own definition) image of a Russian girl. Sobinin, Antonida's fiancé, is a militia, a daring, fearless man, Vanya - Foster-son Susanina, - "simple-hearted", according to Glinka, a boy of thirteen years old. The images of young members of the Susanin family - Vanya, Antonida, Sobinin are drawn in the traditions and intonations of the everyday song of the romance.

The hostile camp of the Poles opposes the Russian images. The detailed choreographic picture represents the "Polish act" of the opera - a magnificent ball in an old castle. This symphonic composition conveys the brilliance, grace and pride of the gentry - the Polish nobility. The melodies and rhythms of the polonaise, mazurka, Krakowiak are heard. The beauty of the music is mesmerizing, but on the whole the simplicity and sincerity of the "Russian" scenes is contrasted with the ostentatious splendor of the "Polish act".

Finally, the two camps collide directly - a Polish detachment comes to the village of Domnino to Susanin and demands that he lead them to the place where Tsar Mikhail Romanov is. The scene of Susanin with the Poles in the forest thicket, where he led them to perish, is the culmination of the opera. The denouement is tragic - the main character gives his life for Russia. At night, in the forest, Susanin performs his dying monologue, the recitative “They feel the truth”, which turns into an aria with the prayer “You ascend, my dawn,” in which the hero asks God for strength to meet the last hour. It contains both deep sorrow and hope. The music - slow in tempo, strict and focused in mood - is reminiscent of church chants.

The opera "A Life for the Tsar" was performed with great success on November 27, 1836 on the stage of the Bolshoi Theater in St. Petersburg. The progressive people of Russian society highly appreciated her.

The awareness of the creative victory inspired the composer to new ideas, and a few years later the opera “ Ruslan and Ludmila"(1842). It is written on the plot of the poem of the same name by A.S. Pushkin. The unhurried development of musical action is reminiscent of ancient epics and legends. The opera contains folk ritual scenes, colorful pictures of nature, and fantastic images... The world of Russian heroes (Ruslan, Ratmir), the songwriter Boyan, Prince Vladimir is opposed by the fairy world of wizards - Chernomor and Naina. The heroes are shown with epic seriousness and epic majesty. Chernomor and Naina (as well as Ruslan's hapless rival - Farlaf) are drawn with an undoubted amount of humor; the author seems to be telling the listener: these are just fairy-tale characters, more comic than evil. The main characteristic of Chernomor, the lord of the magic castle, is a half-joking march. The orchestra plays an important role in the creation of images. Painting the kingdom of Chernomor, the composer uses the intonations of the music of the East. Turkish and arabic dancing, lezginka. The opera Ruslan and Lyudmila, like any fairy tale, ends with the victory of good over evil and the triumph of love.

Romances and songs Glinka- the pride of Russian classics. The composer wrote them throughout his life. Glinka's lyrical romances are a kind of confession of his soul. Some of them depict pictures of Russian nature and life. In romances, Glinka generalized and developed all the best that had been created by his predecessors and contemporaries - the authors of the everyday romance. Many well-known romances, for example "I am here, Inesilla", "I remember a wonderful moment", are written on the verses of Alexander Pushkin. Glinka also addressed the works of V. A. Zhukovsky, A. A. Delvig and other Russian poets. On the words of the then popular poet Nestor Vasilyevich Kukolnik, the composer created a cycle of twelve romances "Farewell to St. Petersburg" (1838), as well as the famous romance "Doubt", which the outstanding Russian singer Fyodor Ivanovich Chaliapin loved to perform.

For the orchestra, Glinka wrote one private symphonic fantasy overtures. His best works in this genre are "Camarino" (1848), "Aragonese Hota" (1845) and "Night in Madrid" (1851). "Kamarinskaya", according to the general opinion of Russian composers, laid the foundation for Russian symphonic music. The "Spanish" overtures "Aragonese Jota" and "Night in Madrid" are a brilliant example of Glinka's mastering the intonations and style of Spanish music. The piece for orchestra "Waltz Fantasy" (1856) prepared the appearance of Tchaikovsky's symphonic waltzes.

Thanks to the work of Mikhail Ivanovich Glinka, the Russian music school achieved recognition in Europe. Subsequent generations of composers, and just music lovers, have always highly appreciated the master's contribution to the culture of Russia.

Alexander Sergeevich Dargomyzhsky (1813-1869)

Dargomyzhsky is a younger contemporary and follower of Glinka. He entered the history of Russian music as a "great teacher of musical truth", a brave innovator.

Dargomyzhsky's views were formed in the period 30-40s. XIX century, the time of the rapid development of Russian culture. He was sensitive to everything that was advanced and progressive in Russian art. In his work, he was close to the democratic writers and artists of Russia. The ties between Dargomyzhsky's vocal music and Pushkin, Gogol, Lermontov are especially close. It is no coincidence that the best creations of Dargomyzhsky are written on the verses of Pushkin and Lermontov.

In the works of Dargomyzhsky romances and operas take center stage... The composer composed chamber vocal music throughout his life: he wrote over a hundred romances, songs, vocal ensembles. These genres were a kind of creative laboratory for Dargomyzhsky - in them his musical language was formed. The most famous romances are “I loved you” (to the poems of Alexander Pushkin), “Both boring and sad”, “I am sad” ”(to the verses by Mikhail Yuryevich Lermontov) They are imbued with subtle lyricism, the mood of loneliness.

A new genre of vocal lyrics appeared in the works of A.S.Dargomyzhsky - satirical song... Vivid examples of such works are the songs "Worm" and "Titular Counselor" (both 50s). Using a recitative approaching natural speech, the composer painted expressive social portraits.

Among the best works of Dargomyzhsky is opera "Mermaid"(1855). Based on the text of the unfinished play of the same name by A.S. Pushkin, the composer himself wrote the libretto. "Mermaid" is the first Russian opera in the character of a psychological everyday musical drama. The main task set by the composer is to reflect the spiritual world of the heroes, their experiences and characters.

In the 60s. Dargomyzhsky received wide public recognition. The premieres of his operas were a great success; the composer was elected a member of the committee of the Petersburg branch of the Russian Musical Society.

"The Mighty Bunch"

The second half of the 19th century - the post-reform period, the abolition of serfdom, the liberalization of public life, the flourishing of revolutionary sentiments in Russian society. This stage was marked by the high flowering of artistic culture as an integral and distinctive phenomenon. It was then that a certain system of spiritual and aesthetic values ​​was formed in art, which were embodied in literature and theater, in painting and music.

Musical art did not remain aloof from the burning issues of our time. Populist positions are characteristic of the worldview of many composers who believed in the messianic role of the Russian people, in the triumph of their historical spiritual deed. The music reflected the whole spectrum of tense moral quest of the Russian intelligentsia of those years, embodied the ideals inspired by the time in musical images. Some masters idealized Russian history, the purity of folk life, others believed in the self-improvement of the individual on the basis of the laws of folk ethics, while others sought to embody a certain prototype in their work. folk culture born from an eternally living source - primordial nature.

The genre originality of Russian music is closely related to the "literary centrism" characteristic of the artistic culture of the post-reform era. Generated by the aesthetics of realism, it expressed itself in the priority role of the word, artistic and journalistic. The leading genre of music at this time was opera - historical, epic, lyric, dramatic. Other synthetic musical genres continue to develop - romance, song. Vocal music replenishes the "musical encyclopedia" of Russian poetry, enriching it with socially-accusatory and lyric-psychological images.

The second half of the 19th century is the time of the emergence of the partnership, which received, with the light hand of the critic V.V. Stasova, name "The Mighty Bunch"... It included M.A. Balakirev, Ts.A. Cui, M.P. Mussorgsky, N.A. Rimsky-Korsakov, A.P. Borodin.

The Mighty Handful is an outstanding phenomenon of Russian art. She left a deep mark in many spheres of the cultural life of Russia - and not only in Russia. In the next generations of musicians - right up to our time - there are many direct heirs of Mussorgsky, Borodin, Rimsky-Korsakov, Balakirev. The ideas that united them, their progressive views were a model for leading artists for many years.

The head and leader of the "Mighty Handful" was Miliy Alekseevich Balakirev(1836 / 37-1910). He is one of the founders (1862) and director (1868-73 and 1881-1908) of the Free School of Music. From 1867 to 69 he was the conductor of the Russian Musical Society, and from 1883 to 1894 he was the manager of the Court Choir Choir. His most famous works are "Overture on Themes of Three Russian Songs" (1858), symphonic poems "Tamara" (1882), "Rus" (1887), "In the Czech Republic" (1905), oriental fantasy for piano "Islamey" ( 1869), romances, arrangements of Russian folk songs, etc.

Among the composers of The Mighty Handful Modest Petrovich Mussorgsky(1839-1881) was the most prominent exponent in music revolutionary democratic ideas60x. biennium XIX century. It was Mussorgsky who, more than ever before, was able to reveal in music the harsh truth of the life of the Russian people in many ways, with great accusatory power, to recreate, as V.V. Stasov said, "the entire ocean of Russian people, life, characters, relationships, misfortune, unbearable burden, humiliation" ... Whatever Mussorgsky writes: operas, songs, choirs, he appears everywhere as an angry and passionate denouncer of social injustice.

In 1863, the composer began composing the opera Salammbô (based on the novel of the same name French writer Gustave Flaubert), and in 1868 - to the opera "The Marriage" (to the unaltered text of the comedy by N. V. Gogol). Both works remained unfinished, but they prepared Mussorgsky for the creation of the opera Boris Godunov (1869), which became a significant phenomenon in Russian music.

All the power of Musorgsky's talent was revealed in opera "Boris Godunov"based on the tragedy of Pushkin. In this tragedy, Mussorgsky was attracted by the opportunity to show in the opera the awakening of the strength of the people, which translates into open discontent, and in the end - into a spontaneous uprising. The main idea of ​​the opera is a conflict between the criminal Tsar Boris and the people, leading to an uprising. The composer's attention was focused on revealing the main idea: the clash between the king and the people. The people in Mussorgsky's opera are the main character. Despite the great importance of the crowd scenes, the main attention in the opera is paid to the characterization of the inner world of the heroes. In the foreground, of course, is the image of Boris, which is revealed through unfolded monologue scenes. Brilliantly mastering the technique of recitative, Mussorgsky conveys in music the state of mind of the hero - vague anxiety, grief and depression, agonizing torments of conscience, fear and even hallucinations. The part of the orchestra is very difficult in the opera. He flexibly follows the voice, adding important psychological nuances to the vocal part. This opera is close in spirit to the revolutionary democratic sentiments that were in Russian society in the 60-70s. XIX century.

In 1872, the composer began work on the opera Khovanshchina, which he himself called a “folk musical drama”. At the same time, he wrote a work of a completely different plan - the lyric and comedy opera Sorochinskaya Yarmarka based on the story of N. V. Gogol (remained unfinished).

According to his contemporaries, Mussorgsky was an excellent pianist. As a tribute to his favorite instrument, he created a large piano suite of ten pieces Pictures at an Exhibition(1874). The idea of ​​the suite was inspired by the posthumous exhibition of works by his friend, artist and architect Viktor Alexandrovich Hartman. The cycle begins with an introduction, which becomes the leitmotif of the piece. The author called it "Walk" is not accidental: it conveys the movement of the visitor through the halls of the exhibition. This is followed by separate "pictures": "Gnome", " old lock"," Tuileries Garden "," Cattle "," Ballet of unhatched chicks, etc. The music of the introduction is periodically repeated, and thanks to this, the cycle gains unity and is perceived as a whole work.

Mussorgsky is the author of famous songs and romances. The first published song "Where are you, little star ..." (words of the poet and translator Nikolai Porfirievich Grekov) gave rise to a lyric theme in the composer's vocal work, which reached its peak in the fantasy romance "Night" (words by A. Pushkin). Funny sketches of the Russian family life are presented in the romances "But if I could meet with you" (words by the poet Vasily Stepanovich Kurochkin) and "Svetik Savishna" and "Seminarist" (words of the composer).

Mussorgsky is a truly folk composer who devoted all his work to the story of the life, sorrows and hopes of the Russian people. His work was so distinctive and innovative, which still has a profound impact on composers from different countries.

Alexander Porfirevich Borodin (1833-1887) -a uniquely original composer. In music, he continued in many respects the traditions of Glinka. In his music, Borodin embodied the greatness and power of the Russian people, the heroic character traits of the Russian people, the stately images of the national epic epic. And along with this, in the work of Borodin, there are lyrical, soulful images, full of passion and tenderness.

Borodin is one of the founders of the Russian classical symphony(2nd, " Bogatyrskaya”, 1876, which opened the heroic-epic direction in Russian symphony; symphonic picture "In Central Asia", 1980), Russian classical string quartet. Master of vocal lyrics ("For the shores of the distant fatherland"); introduced into the romance the images of the heroic epic, embodied the liberation ideas of the 60s. 19th century ("The Sleeping Princess", "Song of the Dark Forest").

The remarkable work of ancient Russian literature of the XII century - "The Lay of Igor's Campaign" - carried away Borodin, carried away him and inspired him to create an opera. The "Lay" tells about the unsuccessful campaign of the brave Prince Igor against the Polovtsians. The author called upon the princes to unite, and this patriotic orientation of the work was his progressive role. Borodin created his grandiose opera on this subject. "Prince Igor"(completed by Rimsky-Korsakov in 1890).

"Prince Igor" is a lyric-epic opera in 4 acts with a prologue. The music of the opera is largely based on the intonations of folk songs - Russian and oriental. Folk scenes, both Russian and oriental, are painted in bright colors. In this, Borodin was a follower of Glinka, who also found an artistically convincing characterization to depict the camp of enemies.

Nikolai Andreevich Rimsky-Korsakov (1844-1908).Among the composers of The Mighty Handful, Rimsky-Korsakov occupies a special place. With his creativity blossomed in lush color in Russian music fairy tale... His whole life is a selfless and disinterested service to art, loyalty to his ideals.

The range of themes and plots embodied by Rimsky-Korsakov is wide and varied. Like all "Kuchkists", the composer turned to Russian history, pictures of folk life, images of the East, he also touched on the field of everyday drama and the lyric and psychological sphere. But the talent of Rimsky-Korsakov was most fully revealed in works related to the world of science fiction and various forms of Russian folk art. A fairy tale, legend, epic, myth, rite determine not only the theme, but also the ideological meaning of most of his works. Revealing the philosophical subtext of folklore genres, Rimsky-Korsakov reveals the world outlook of the people: his eternal dream of a better life, of happiness, embodied in the images of bright fairy countries and cities (Berendee's kingdom in "The Snow Maiden", the city of Ledenets in "The Tale of Tsar Saltan"); his moral and aesthetic ideals, which are embodied, on the one hand, by the captivatingly pure and gentle heroines of operas (Princess in Kashchee the Immortal), on the other - legendary singers(Lel, Sadko), these symbols of unfading folk art; his admiration for the life-giving power and eternal beauty of nature; finally, the ineradicable faith of the people in the triumph of light forces, justice and goodness is a source of optimism inherent in the work of Rimsky-Korsakov.

The peculiarities of the style and artistic method of the composer were most fully revealed in operatic creativity... 15 operas by Rimsky-Korsakov represent an extraordinary variety of genre, dramatic, compositional and stylistic solutions. Among them are compositions tending to the numbered structure ("May Night", "Snow Maiden", " Tsar's bride") And to continuous development (" Mozart and Salieri "," Kashchei the immortal "," The Legend of invisible city Kitezh "," The Golden Cockerel "); operas with large crowd scenes ("The Woman of Pskov", "May Night", "The Snow Maiden", "Mlada", "Sadko", "Kitezh" and without them ("Mozart and Salieri", "Vera Sheloga", "Kashchey Immortal") , with unfolded complete ensembles ("The Tsar's Bride") and without ensembles ("Mozart and Salieri", "The Golden Cockerel") .In each case (the choice of genre, the principles of dramatic and stylistic solutions are due to plot prerequisites. I have never believed and do not believe, - emphasized Rimsky-Korsakov, - in one single true operatic form, considering that as many plots as there are in the world, there should be as many (almost as many) corresponding independent operatic forms... While affirming the view of opera as a work primarily of music, Rimsky-Korsakov at the same time made high demands on its poetic basis, unity and consistency. literary style... He actively guided the work of the librettists. Row operatic librettos the composer wrote himself.

The symphonic work of Rimsky-Korsakov is not so large-scale and diverse in comparison with the opera one. However, in this area, he made a striking and original contribution. The figurative concreteness of the composer's musical thinking determined his inclination towards programmatic (mainly pictorial, pictorial) and genre (associated with folk song and dance themes) symphonism. Hence the characteristic choice of genres and forms - an overture (fantasy), a symphonic picture, a suite and a certain direction of the style - a tendency towards variation, ornamentation in the development of material, special attention to the coloristic possibilities of harmony and orchestration.

Rimsky-Korsakov left a huge artistic legacy in almost all musical genres. His works are diverse in their content, but their main feature is a deep penetration into the life and everyday life of the people, their thoughts and aspirations.

The ingenious Pyotr Ilyich Tchaikovsky (1840-1893)

Among Russian classical composers, the name of Tchaikovsky stands out. It is dear to music lovers all over the world. His works equally captivate and excite all people - professional musicians and a wide audience. Tchaikovsky dedicated his work to man, his love for the Motherland and Russian nature, his aspirations for happiness, a courageous struggle against the dark forces of evil. In the composer's music - the whole life of a person with its joy, sorrow, hopes, struggle, despair. And no matter what Tchaikovsky says, he is always truthful and sincere.

Tchaikovsky's style of music developed in the context of the composer's unconventional ideas about the nature of national identity. In the interpretation of "national" and "popular" he followed a different path than the adherents of "Kuchkism". Russian folklore was not a universal source for him, the fundamental principle of the musical language. With the help of generalized, mediated folk song intonations, Tchaikovsky embodied the national image of "Russianness", of Russia, Russian reality in its modern versatility. Therefore, the composer did not set himself the task of using specific genres of genuine peasant folklore in music, but turned to the “intonational dictionary” of the urban musical life that surrounded him. The usual urban intonations combined with emotional openness, sincerity and melody made Tchaikovsky's music comprehensible and accessible to the widest audience both in Russia and abroad. That is why Tchaikovsky's works quickly won the sympathy of Europeans and contributed to the international recognition of Russian music throughout the world.

Tchaikovsky wrote in almost all genres and in each of them he said his new word brilliant artist... But, perhaps, his favorite genre was opera.In it, Tchaikovsky was a true reformer. The composer envisioned opera as the most democratic genre. “Opera,” he wrote, “and it is only opera that brings you closer to people, makes your music akin to a real audience ...”. The operatic performance is based on strong human feelings and experiences. Tchaikovsky paid great attention to the content of his operas, always giving preference to a plot from Russian life, since it was the Russian person that he really knew and understood well.

One of best works Tchaikovsky opera "Eugene Onegin".Long before the decision to write an opera based on the plot of Eugene Onegin, Tchaikovsky was passionately carried away by Pushkin's poems. One of his favorite passages of the poetic novel was Tatyana's letter to Onegin, and the composer dreamed of composing music to these words. The first performance of the opera at the request of the composer took place by the students of the Moscow Conservatory under the direction of N. Rubinstein on March 17, 1879.

Tchaikovsky called his opera "lyrical scenes". The composer focused all his attention on revealing the inner, spiritual world of his heroes.

The opera "Eugene Onegin" is one of the highest achievements of Russian opera art. True images Pushkin's novel helped to solve the problem of creating an "intimate but strong drama", the characters of which were "real living people." The personal drama of the heroes unfolds against the background of everyday pictures. Diverse everyday scenes give the opera a special charm.

The innovation of "Swan Lake" - its uniqueness and dissimilarity to everything that preceded it - if it was not immediately fully understood, it was immediately noted by both the public and critics, although at times it caused bewilderment of enlightened music lovers. Some reproached the composer for the poverty of creative imagination, the monotony of themes and melodies, in a certain monotony. Others believed that the music was beautiful, moreover, it was even too good for ballet. Nevertheless, the premiere of the ballet at the Moscow Bolshoi Theater (February 20, 1877) was a success, and the performance remained in the repertoire until 1883, when the scenery for this production became completely unusable.

The first comment in the press, where the creation of the new ballet was appreciated, belonged to G.A. Laroche: "For music" Swan Lake"- the best ballet that I have ever heard ... Melodies, each more plastic, melodious and captivating, flow like a cornucopia; the waltz rhythm prevailing between dance numbers is embodied in such a variety of graceful and captivating patterns that never melodic the image of a gifted and versatile composer could not stand a more brilliant test ... "

At the same time, symphonic music also occupies an important place in Tchaikovsky's work. He wrote 6 symphonies and program symphony Manfred, three concertos for piano and orchestra, one for violin and a number of orchestral suites. Of the symphonic one-movement pieces, the fantasy "Francesca da Rimini" and program pieces based on Shakespeare's plots (fantasy overture "Romeo and Juliet", fantasy "The Tempest") stand out.

The range of the composer's creative interests is unusually wide. In his legacy there are ten operas (Eugene Onegin, Ondine, Blacksmith Vakula, The Queen of Spades, etc.), three ballets (Swan Lake, The Sleeping Beauty, The Nutcracker), seven symphonies, more than ten orchestral works, instrumental concerts, choral and piano music, chamber vocal works. In every region, Tchaikovsky was an innovator, although he never aspired to reform. Using traditional genres, the composer found opportunities to renew them.

"I would like with all my soul," wrote Tchaikovsky, "for my music to spread, to increase the number of people who love it, find consolation and support in it."... The composer's wish came true.

Tchaikovsky's work is the pinnacle of world musical culture of the 19th century - an eternally living and precious spring from which composers of the 20th century and our contemporaries never cease to draw inspiration.

Conclusion

The 19th century gave wonderful compositions to Russian and world music. Ruslan and Lyudmila and Ivan Susanin, Eugene Onegin and Swan Lake are the pride of Russian culture. The golden fund of Russian music includes works by Borodin, romances by Balakirev, Rimsky-Korsakov, Borodin, Cui.

Russian composers began to travel abroad. There they communicated with prominent masters of the musical art, and most importantly, they received a European musical education. Russia aroused a reciprocal interest in Europe, and over the course of a century many outstanding musicians have toured in Moscow and St. Petersburg. Introduction to European culture not only increased the intellectual and professional level Russian composers and performers, but also helped them to better understand the traditions of national music, to get to know themselves better.

Who is the most beloved Russian composer in America these days? Of course, Tchaikovsky. Many Americans even consider Pyotr Ilyich to be an American composer. He conducted his works in America when he was invited to the opening of the famous Carnegie Hall in New York. His music is played on the radio almost daily in America, especially the 4th and 6th Symphonies and the 1st Concerto for Piano and Orchestra. America's favorite ballet is The Nutcracker.

The work of classical composers Glinka, Dargomyzhsky, Borodin, Rimsky-Korsakov, Tchaikovsky is a true treasure of Russian culture in the 19th century. Their traditions were embodied and developed in the works of composers of the late 19th and early 20th centuries - Taneyev and Glazunov, Lyadov and Arensky, Kalinikov, Scriabin and Rachmaninov. All of them are worthy successors of their great predecessors.

In my term paper, I showed the musical development of Russia in the 19th century, analyzed the state of musical culture, identified its features, talked about the composers of this century and their works, and also revealed the importance of Russian music of the 19th century for world culture.

Russian musical culture of the 19th century, through its merger with European culture, through its transformation, acquired distinctive features and, in turn, began to exert a significant influence on it, developing to this day.

Bibliography

1.The Great Soviet Encyclopedia

2.Levashova O., Keldysh Y. History of Russian Music-M., 1980

Encyclopedia Around the World

Smirnova E. Russian Musical Literature - M., 2001

Nikitina L. D. History of Russian Music-M., 1999

Rapatskaya L.A. History of Russian Music: From Ancient Rus to the "Silver Age" -M., 2001

7.www.rimskykorsakov.ru

Annex 1

Gurilev, Varlamov, Alyabyev, Verstovsky

Fyodor Ivanovich Glinka

Costume design for Svetozar. Opera "Ruslan and Lyudmila"

Appendix 2

Peter Ilyich Tchaikovsky

The Nutcracker ballet with the participation of the Bolshoi Theater actors

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The main artistic directions. Formation of the Russian classical composer school

The 19th century entered the history of Russian national culture as a period of great conquests of musical art, its full, all-round development. Already in the 1830s, Russian music reached the classical level in Glinka's work. And in the second half of the century, she rapidly rose to the heights of world culture, enriching the world with works of enduring artistic value. In the works of Glinka and his successors - Tchaikovsky, Musorsky, Rimsky-Korsakov, Borodin, music became a true expression of people's thoughts and aspirations, the result of centuries of experience accumulated in the people's minds.

In its historical development, the Russian school of composition in the 19th century passed not only a rapid, but also a difficult path. In the development of Russian culture in the first half of the 19th century, two stages clearly develop, sharply delimited by the events of December 14, 1825: the first quarter of a century - the years of the Patriotic War and the maturation of Decembrism. The entire subsequent period that followed the uprising of the Decembrists, up to 1855, marked by the end Crimean War... In the history of Russian art, the uprising of the Decembrists lived a deep milestone. The ideology of Decembrism served as the soil on which Pushkin's work grew. Here is the rich, diverse work of the poets of the Pushkin circle N.M. Yazykova, A.A. Delvig, E.A. Baratynsky, D.V. Venivitinova.

Decisive advances were also made in the field of the younger art of music. During the 1920s, Glinka began her career. There is a rise in Russian romance lyrics, fed by the creativity of Russian poets. Glinka's talented contemporaries - Alyabyev and Verstovsky - are nominated. On theater stage first appear and gain huge success romantic operas Verstovsky, and in the work of Alyabyev a new, psychologically rich genre of romance-monologue is being formed.

All these significant phenomena of Russian music arose in close connection with aesthetic searches, born in an atmosphere of turbulent, disturbing events. This applies primarily to the art of Pushkin, which had a decisive influence not only on Glinka, but also on the entire path of development of Russian music.

The realistic aesthetics of Pushkin, the "poet of reality", left a deep imprint on Russian music of the 19th century. Pushkin's concept of historical drama paved the way for Glinka's folk-heroic opera Ivan Susanin. The works of Pushkin, "Ruslan and Lyudmila" and "Rusalka", which are deeply folk in spirit and temperament, determined the further development of Russian classical opera in the works of Glinka and Dargomyzhsky. His lyric poems became the basis of the Russian classical romance.

The principles of realistic aesthetics, which fed musical thought, served as the most important basis for the creative activity of classical composers. In Russian classical music. As in the works of the great Russian writers, the versatility of the realistic method was manifested with particular completeness. Received a specific expression in each independent area art.

Considering complex picture development of the musical culture of the XIX century, one should not forget about the deep contradictions that accompanied this process. Russian composers asserted their art, their aesthetic principles in the struggle against the backward tastes of the court and the aristocracy, with the dominance of pale, imitative music that flourished in this environment with the banal tastes of an "educated" public, essentially not involved in high musical culture. An example is the stage history of the operas by Glinka and Dargomyzhsky, which drew sharp condemnation of reactionary criticism. The struggle for the Russian classics further intensified in connection with the revolutionary democratic movement of the 60s. The fate of Balakirev. Forced to retire from musical activity in the prime of life and talent, the premature death of Musorsky - these are the facts that testify to the exceptional complexity of the creative path of Russian classical composers.

The most prominent allies of these musicians were music critics, the creator of the Russian musicological science Odoevsky, Serov, Stasov. Their views were formed under the direct influence of Glinka. Odoevsky was a peer and friend of the great composer, Stasov and Serov were his younger contemporaries and admirers. They are credited with the theoretical substantiation of the creative principles of the Glinka school, the establishment of the most important principles of nationality and realism in Russian musical science and criticism.