MOSCOW STATE CONSERVATORY them. P.I. TCHAIKOVSKY

INSTRUMENT DEPARTMENT

As a manuscript

BAYAKHUNOVA Leyla Bakirovna

THE IMAGE OF SPAIN IN THE MUSICAL CULTURE OF RUSSIA AND FRANCE XIX - FIRST THIRD OF XX CENTURIES.

Specialty 17.00.02 - Musical art

MOSCOW, 1998

The work was performed at the Department of Instrumentation of the Moscow State Conservatory named after P.I. Tchaikovsky.

Academic Supervisor - Official opponents -

Leading organization -

Doctor of Arts, Professor I.A. Barsova

Doctor of Arts, Professor Tsareva E.M.

Doctor of art history Shakhnazarova N.G.

Nizhny Novgorod State Conservatory named after M. Glinka.

The defense will take place "....." ......... 1998 at ........ hours on

meeting of the specialized council D. 092. 08. 01 on the award) of academic degrees at the Moscow State Tchaikovsky Conservatory (103871, Moscow, B. Nikitskaya st., 13).

The dissertation can be found in the library of the Moscow State Conservatory. P.I. Tchaikovsky.

Scientific secretary of the specialized council

Moscow Yu.V.

general description of work

Relevance of the topic.

The problem of intercultural interactions, one of the most important in the humanities, is solved in the dissertation on the example of a Spanish theme implemented in the musical art of Russia and France in the 19th - first third of the 20th centuries. The available scientific literature deals mainly with the moments associated with the musical style of this or that composer, who turned to foreign material. However, the aspect we have chosen allows us to see the role of the Spanish theme from a different - cultural perspective, which is increasingly strengthening its position in modern musicology.

Goals and objectives of the study - to comprehend the nature of the reflection of the Spanish theme in the relationship of the aesthetic and artistic view and concrete implementation by means of composer technique; analyze selected samples from the point of view of the relationship between the Spanish element and the individual compositional style. Try to penetrate the creative laboratory of the composer, who turned to foreign material. Thus, focus on the "meeting" of composer and folklore consciousness in a piece of music.

Methodological work. A comparative research method is applied in the dissertation. The individuality of artistic solutions in each of the analyzed compositions, on the one hand, and the generality of the theme, on the other, allow our whole number of aspects to be compared. The author seeks not just a mechanical comparison of some phenomena with others, but to identify possible intersections, open influences that are revealed both in the direct rapprochement of Russia and France with the culture of Spain, and in the Russian and French cultures among themselves. The comparative method is used in the dissertation in two aspects:

a) Spanish folk music and its reflection in professional composing

b) various refractions of the Spanish theme in Russia and France (be it aesthetic perception, or the peculiarities of the musical language, or the lines of continuity).

Scientific novelty. A holistic view of the stated problem allows us to go beyond the statement of facts or questions related to a single work, to identify the features inherent in it as a whole, and finally - to carry through the entire study a number of cross-cutting ideas suggested by the study of artistic samples. The attention to Spanish music in its various aspects required a deeper understanding of Spanish folklore. The comparative method we use allows us to discover the mechanism of the penetration of Spanish folklore into the individual style of the composer.

Approbation. The practical value of the work. The thesis was discussed at a meeting of the instrumentation department of the Moscow Conservatory and recommended for defense (19.12.1997). This dissertation can be useful for courses in the history of Russian and foreign music, folklore, cultural studies, music of non-European countries, the history of orchestral styles, as well as for further scientific research.

Structure and scope of work. The dissertation consists of an introduction, four chapters and a conclusion, notes, bibliography and musical examples. The first chapter is devoted to the image of Spain in European culture. The second is entitled “Some features of Spanish folklore. His Perception in Russian and Western European Musical Culture ”. The third and fourth are devoted to the Spanish theme in Russian and French music and consist of several sections that consider this issue using the example of individual compositions.

The Introduction defines the tasks, tasks and material of the thesis. The research topic touches upon the problems of comparative literary studies. Among its main areas, the Romanian literary critic A. Dima singles out a category of topics related to geographical places that are most often found in world literature: Rome, Venice, Italy, the Pyrenees, etc. The image of the "dead city" of Venice appears, for example, in the tragedy T. Otuela "Rescued Venice or the Revealed Conspiracy", translated and revised by G. von Hoffmannsthal ("Rescued Venice"), in T. Mann's story "Death in Venice", A. Barres in the work "Amori et dolori sacrum", in which he told about I.V. Goethe, Chateaubriand, J.G. Byron, A. de Musset, J. Sand, R. Wagner. "We are far from thinking that the identity of the place provides a basis for the assertion of the identity of the topic. (...) The only common thing is the motive of the influence of the spiritual climate of the Italian city on the respective heroes or authors."

The image of Spain in European culture represents a well-known analogy to this category of themes. However, there are some peculiarities here. For Europeans, in particular for musicians, it was rather difficult to define what is Spanish. The folk art of Spain, with its many musical dialects, contains such a powerful uniqueness of the musical language that European art, born in other traditions, is often unable to penetrate into it to the end, or to repeat it in all its authenticity. The reason for this is the depth of the subject, which does not admit a person with European consciousness and upbringing, often replaced by cliches of particular features.

The essence of the issue lies in the existence and meeting in each of these works of "two consciousnesses". Expressed in relation to literature, this idea of ​​M. Bakhtin, in our opinion, can be applied more broadly to creativity in general, including to music. If the popular consciousness did not flatter itself at the same time with the hope of understanding the professional, then the second (professional, composer), on the contrary, actively seeks to master the folk in the genres and forms available to it, discovering many solutions, individual

nal "break-ins" ("the inexhaustibility of the second consciousness, that is, the consciousness of the one who understands and responds; it contains the potential infinity of answers, languages, codes. Infinity versus infinity" - according to Bakhtin). The result is an objectively existing insoluble contradiction, the ways out of which are different in each case. A certain "third" entity arises - the image of Spain in the auditory experience of a European.

The first chapter examines the image of Spain - a special ethnographic and cultural area of ​​Europe that goes beyond the European cultural, including musical tradition. The attractiveness of this country, located in the extreme southwest of the European continent, is due to several reasons. Connected by many threads with Europe (religion, language, government, education), Spain at the same time has absorbed some of the features of Eastern cultures - Arab, Jewish, Gypsy: "All European countries differ from each other less than this country lying on the very edge of our continent and already bordering on Africa ", - wrote I. Stravinsky. Spain was a mystery within Europe, a country of civilized exoticism - European in location, but completely different in essence and spirit.

The perception of Spain in the culture of Europe had its own characteristics. The culture of southern Spain, Andalusia, with its exotic appearance, a kind of culture that has absorbed the influences of different cultural traditions, turned out to be the most attractive for European artists. This is exactly what the culture of Spain appears in most cases in the works of French writers - Mérimée and Gault-tier, Dumas and Musset, Hugo and Chateaubriand.

The image of Spain, shaped by French literature, influenced the perception of it in Russia. The dichotomous, at first glance, division in the assimilation of Spanish culture: Russia -> Spain or France -> Spain - often turned out to be a triangle, thanks to the constantly existing connection Russia -> France. Over the course of time, French culture has more than once proved to be, for example, a mediator in the perception and assimilation of the Spanish image, defining, in particular, the features of Pushkin's Spain.

Genuine Spain opens to the eyes of Russian people a little later than in France - in the 1840s of the last century. Glinka's journey, carried out in one year with the trip there of the Russian writer V.P. Botkin or the choreographer M. Pstip seems natural against the background of the general enthusiasm for this country among the Russian intelligentsia. Equally characteristic is the way to Spain through Paris, which has become not just a convenient route, but a place where many Spanish travels were conceived and from where they were undertaken.

In the second half of the 19th century, the Spanish theme entered French painting (engravings by G. Dore, paintings by E. Manet) and became permanent in music.

Over time, European culture has developed stable themes and images, inspired by the culture of this country. A powerful echo in Russian culture received, for example, the image of Carmen, which appeared in the paintings of M. Vrubel, K. Korovin, poetry cycles of K. Balmont and A. Blok. Among the images that have become permanent in music - Ispashi through the prism of the holiday, carnival and mysterious cool nights.

The time spent in Spain has become for many travelers one of the happiest moments in life, a time of forgetfulness from adversity, immersion in the fullness of life and an eternal holiday. All this gave rise to the most stable image of Spain in music - the image of a holiday and a carnival1. Russian, and then Western European composers were especially attracted by this aspect of Spanish life, inseparable from music, singing, and dancing. The fiesta culture has a special place in Spain. Many of the festivals date back to religious festivals from the Middle Ages, Renaissance and Baroque times. The basis of the holidays is the departure of the church service. Almost every holiday in Spain was stoutly cheerful, accompanied by processions, the play of folk orchestras and ensembles.

The beginning laid by Glinka's Spanish Overtures was continued by Rimsky-Korsakov (Spanish Capriccio), in the colorful and temperamental dances of Tchaikovsky and Glazunov, and Stravinsky's orchestral play Madrid. The same line can be traced in "Carmen" Visa, "Spain" Chabrier, some parts of "Iberia" by Debussy and "Spanish Rhapsody" by Ravel.

Another popular image in music is closely related to the theme of the holiday - a southern summer night.

The second chapter “Some features of Spanish folklore. His Perception in Russian and Western European Musical Culture ”.

European musicians perceived the folklore of different provinces of Spain: Castile, Basque Country, Aragon, Asturias. The development of each of them was uneven and sometimes had a single character, in contrast to the folklore of Andalusia, which formed the basis of the "Spanish" musical style.

In the statements of musicians (from Glinka to Debussy and Stravinsky) about Spanish music, the definition of "Arabic" or "Moorish" is often found. Apparently, they should be understood not so much as Arab proper (Andalusian tradition), but simply South Spanish music, many samples of which have an oriental flavor that can be easily heard. Nevertheless, one of the episodes of the "Spanish Overtures" allows us to make an assumption about Glinka's recreation of the flavor of the Andalusian ensemble music-making. A. Glazunov, who traveled to Spain and North Africa, came into contact with the same music.

Another layer of folklore heard by European musicians is the cante jondo (deep singing) style. Deeply tragic, expressive images predominate in the figurative content of kange khovdo. Kange hondo is a solo art that is inseparable from the vocal manner of performance. This feature was noted in the statements of Glinka, Chabrier, Debussy.

Another folklore layer of Andalusia, flamenco, turned out to be more accessible and developed in European musical Spanishians. The flamenco style is inseparable from the dance based on the plastic movement of the arms, on the flexible rotation of the body and on the possession of complex leg techniques. In flamenco there is no usual division into performers and listeners, because all those present in one way or another participate in the performance.

Spanish musical folklore and its imaginative sphere, on the whole, turned out to be quite unapproachable for the European musical ear. Variant volatility and elusive wealth

rhythmic transformations, micro-tuning and specific harmonies of Andalusian music often came into conflict with the prevailing norms of professional composer's creativity. This led to the entry into European art of only certain elements of Spanish music, which were fixed over time in the minds of the European listener as auditory associations associated with this country. Among them - the use of the rhythm-formulas of individual dances, imitation of the guitar texture, the appeal to the mode "mi". The peculiarity of this mode is that, coinciding mainly with the Phrygian one, it has the obligatory major triad in the cadence and "oscillating" second and third steps in the melody - sometimes natural, sometimes heightened.

At the same time, in Spain there are enough other folk models, whose musical characteristics do not come into such sharp conflict with European musical thinking as cante jondo and flamenco examples. They are characterized by a diatonic melody and clear rhythm, symmetrical structure and harmonic character of the melody. Such is, for example, hota, based on tonshso-dominant harmonies.

The third chapter, "Spain in the Music of Russian Composers", opens with a section on Glinka's "Spanish Overtures". The attention to Glinka's Parisian impressions in it is explained by their significant role in defining the appearance of future Spanish Overtures. Contact with Berlioz's music, the great impression she made on Glinka, coupled with a careful study of the scores, not only expanded Glinka's understanding of the achievements of contemporary European creativity, but also became an incentive for his own experiments in the field of coloristic orchestration. The subtle detailing of texture characteristic of overtures, the search for original mixtures of different timbres, interest in "surround", spatial sound and color effects associated with niches, as well as a number of other features of overtures, for all their individuality, allow us to see in them the creative implementation of the achievements of the French master.

In the ode-symphony "The Desert" by Félicien David, Glinka could hear one of the first examples of French Orientalism. Ex-

the use of themes recorded during a trip to the Arab East, an attempt to convey a specific intonation in music of a pictorial nature, also met the interests of Glinka at that time. Observing the Parisian audience during concerts, the composer comes to the idea of ​​combining professionalism with showiness and accessibility, creating vivid "picturesque fantasies" on folk material.

The first overture, written in Spain under the direct impression of folk music, is dedicated to the Aragonese Jota. Gradually discovering the folklore of other regions of Spain, listening to the diversity of its musical dialects, Glinka gradually comes to the idea of ​​recreating her "musical portrait" by combining the music of different provinces of Spain (in this case, Aragon, Castile, Andalusia) in one composition.

Without strictly following the structure of the dance, the composer retains in the "Aragonese Jota" the alternation of vocal and instrumental principles characteristic of this genre. It is possible that Glinka uses not one theme, but several, giving a generalized portrait of this genre. The timbre effect achieved in the first performance of the Aragonese Jota allows one to hear in it a possible folklore prototype - the playing of an ensemble of bandurrias and guitars.

According to the composer, the main object of his study in Spain was "the music of the provinces under the rule of the Moors." Probably, Glinka was able to somehow hear samples of the Arab Andalusian musical tradition, having captured this in the “Moorish episode (“ RiSho togipo ”) of the second“ Spanish Overture ”. It is possible that Glinka's heterophony grows out of the monody nature of thinking in Arabic music and observations of ensemble music-making, the specific flavor of which he reproduces in this episode.

A distinctive feature of the form of the overture "Recollection of a Summer Night in Madrid" is the combination of external independence from classical architectonic principles with their original adaptation. New demands on the form that arose as a result of the Parisian impressions, attention to the sound impression and the unusual design of the composition lead to such properties as the unpredictability of the alternation of tunes, the emergence of a theme,

from the middle, mirror reprise, etc. The essence of this overture

In brevity, conciseness, subtle writing and thoughtfulness of every moment and detail.

Touching upon the issue of orchestration in the Spanish Overtures, the author focuses primarily on the moments that reveal the innovative features of these works. The scores of "Spanish Overtures" testify to the mastery of the techniques of both classical and contemporary orchestral writing. However, one of the notable qualities of "Spanish Overtures" is the desire to overcome the traditional techniques of European orchestration. The texture features in them are closely related to the author's aesthetic attitude to folklore.

The main texture types in the orchestration of these compositions

Monophonic, octave and multi-octave ushgeons, two-part, represented by a theme with harmonic voices, pedal or counterpoint. Departure from the traditional techniques of European orchestral writing and in an effort to get closer to the techniques of performing on folk instruments. So in the hote from the second "Spanish Overture" you can hear the effect of sliding your thumb on the neck of the guitar (bariolage technique). In the reprise, the pulsating violin pedal is built on the alternation of sounds on the open and held strings, imitating the fingering on the guitar with a brighter sound when moving the finger downward and less saturated when moving upward.

Unfortunately, no autographs, drafts or sketches of the Spanish Overtures have survived. There are only a number of handwritten copies of unidentified persons. Three of them are kept in the Glyn-ha fund! at the Russian National Library in St. Petersburg. This is the score of "Jota Aragonese" (f.190, no. 6) and two copies of "Memories of Castile" 1. One of them has a dedication from Glinka to A. Lvov (f. 190, no. 27), the other is a manuscript of an unidentified person with notes by the author, V. Stasov and V. Engelhardt (f. 190, no. 26). Both manuscripts date back to 1852. Co-

1 Having once named in a letter to V. Engelhardt his essay "Remembrance of a Summer Note in Madrid", Glinka in all known manuscripts exposes with his own hand the title that coincides with the first edition ("Remembrance of Castile").

there was also kept a handwritten copy (score and orchestral voices) of the first edition of this overture, found at one time by V., Shebalin in the archives of the Glinka State Museum of Musical Culture (f. 49; No. 4,) and published by him in the second volume of the composer's complete works ...

The author of this work also possesses photocopies of the Spanish Overtures from the music department of the National Library of Paris (М8.2029, Mb.2030). We are talking about handwritten copies donated by Glinka to her Spanish friend Doiu Pedro in 1855 in St. Petersburg before the latter left for Paris. Dating from 1855, the manuscripts are valuable in revealing the ultimate creative intentions of the author.

The original text in all its details does not sound and was not published. An exception is the publication of overtures with comments by V. Shebalin in the Complete Collected Works (v. 2, Moscow, 1956). Modern musicians have an idea of ​​them mainly from the editions: M. Balakirev and N. Rimsky-Korsakov (Yurgenson's edition, Moscow, 1879); N. Rimsky-Korsakov and A. Glazunov (edition of Belyaev, Leipzig, 1901; M. Balakirev and S. Lyapunov (edition of Yur-genson, Moscow, 1904).

All editors treated the original text with great care and their changes, at first glance, may seem insignificant, touching mainly on strokes, tempos, dynamics. One of the open questions of the second overture is the problem of using castanets in it. Having written out the name of the instrument on the first page of the score at the accordion in "Memories of a Summer Night in Madrid", Glinka never actually used them. Nevertheless, all editors include castanets in the score, considering them an obligatory "attribute" of Spanish. However, the departure from open genre, the refinement of the concept in this overture makes it natural for Glinka to abandon this instrument, the function of which is performed by the triangle with its light, "silvery" sonority.

An appeal to the manuscripts reveals a difference in the nature of articulation between different orchestral parts in unison

and heterophonic episodes 1. Each of the unison voices in the "Moorish episode" of the second "Spanish Overture", thanks to different, non-coinciding leagues, has its own articulation. The likely source of this articulation is Spanish music itself. This gives the unison a roughness, some roughness, which involuntarily arises in the process of folk music-making. The unison of the second segidilla also has different touches. In all editions, the Glinka strokes are smoothed and brought to uniformity.

Both "Spanish Overtures" combined a careful study of Spanish music, a sense of nature, space, color, refined composing skills and the uniqueness of the author's vision of the Spanish theme.

Rimsky-Korsakov's Spanish Capriccio (second section of the chapter) is based on the melodies he borrowed from the collection Ecos de España by the Spanish composer Jose Insenga. A rare copy of the collection with notes by Rimsky-Korsakov is in the Institute of Art History in St. Petersburg (f. 28; G-273) 2.

Unlike Glinka, Rimsky-Korsakov did not attach importance to local differences in Spanish folklore. It is possible that Spain seemed to him to be something unified. Choosing a number of contrasting themes after Glinka, he did not seek to recreate the folklore of different provinces of Spain, guided by other considerations: melodic brightness, imagery, potential for orchestral development, etc. Therefore, he probably easily combines in Capriccio three melodies from the section of Asturian songs (Alborada, Dansa prima and Fandango asturiano) and one Andalusian (Canto gitano).

Summarizing the principles of the composer's work with folk themes, the following conclusions can be drawn: Rimsky-Korsakov preserved

1 The absence of genuine autographs of works forces one to speak about Glinka's innovations with great caution, taking into account such moments as, for example, the scribal's inaccuracy.

2 The find of the collection and its first description belongs to E. Gordeeva (coll. "Folklore sources" Antara "and" Spanish capriccio ", CM., 1958 No. 6).

It has such features as the non-squareness of some themes (Alborada), or long stops on the last sound (canto gitano), actively uses Insengi's processing techniques. At the same time, he strengthens the national element with his own methods. So the tonal plan of "Capriccio" is due to the structure and expressive possibilities of the mode "mi" (from the sound "la"), which lies at the basis of the fourth movement and projects the fall of possibilities on the entire work (the return of "Alborada" (Zch.) In the key of B-dur, for example, it forms in relation to the main key of Capriccio A-dur one of the combinations I-Ilb characteristic of this mode).

The first two trips of I. Stravinsky to Spain (1916, 1921) (the third section of the chapter) are associated with the creative collaboration of the composer with the troupe of Sergei Diaghilev. Later, the composer visited Spain many times ..

For Stravinsky, an appeal to Spanish themes became a continuation of the established tradition: "Probably, in order to keep up with his predecessors, who, returning from Spain, consolidated their impressions in works devoted to Spanish music, this applies most of all to Glinka, with his incomparable" Aragonese Hoti "and" A Night in Madrid "- I gave myself pleasure and paid tribute to this tradition. The result was" Española "from 1915" Five Easy Pieces for Piano "in four hands (published in 1917), later orchestrated and included in the First Suite (1917 - 1925), Etude "Madrid" (1917), created especially for the piano and released as a commercial by the Eolian firm in London.In 1929 Stravinsky orchestrated it as one of the Four Etudes for a symphony orchestra.

The play "Madrid", according to the author, was inspired by "funny and unusual combinations of melodies that were played on mechanical pianos and jukeboxes and sounded on the streets of Madrid, its little night taverns." The original concept determined the general spirit of the play, in which the author is far from a romantically enthusiastic attitude towards the observed. The image of Spain is rather objective, urbanized. At the same time, certain moments allow us to recall the predecessors, whose tradition he continued.

The first theme reproduces, heard by Stravinsky in Spain, "the rich grace of a drawn-out Arabic melody, sung by a singer with a low chest voice and endless breathing." This example, however, deserves special attention, because it allows us to make an assumption about the influence in some episodes of the composition of "Spanish Overtures" by M. Glinka. It is likely that in these works of Glinka, about which Stravinsky speaks with admiration, they could have appreciated the boldness and novelty of texture and, in particular, the heterophonic presentation of thematism. In this case, we are talking about the coincidence of the objects of composer's interest - the Arabic or, as Glinka sometimes says, - the "Moorish" layer in Spanish music. By creating a contrast between voices, Stravinsky, like Glinka, enhances it by using different strokes.

In Andalusian music, Stravinsky heard a phenomenon approaching in its essence an irregular accent rhythm. Episodes using this feature are present in Stravinsky's Madrid and his play Española.

The use of "the most familiar, habitually erased song intonations" in "Madrid" recalls the mass scenes of "Petrushka", where the same principle is used. The gravitation towards variant lighting of this turn can be explained, probably, also by the coincidence of one of the main principles of Spanish folk music and variance as the fundamental compositional method of Stravinsky. Stravinsky reproduces the playing of a brass band in his play, giving its sound a grotesque character. The emergence of new contrasting images occurs without any preparation, a whimsical change of texture.

The fourth chapter is "Spain in the music of French composers". It opens with a section dedicated to the orchestral rhapsody "Spain" by E. Chabriet.

Among the compositions on the Spanish theme, “Spain” is, first of all, distinguished by the “tone” of the work itself - emphatically lightweight, slightly eccentric, on the verge of entertaining music. Chab-rie deliberately enhances that element of folk culture, which is associated with spontaneity, full-bloodedness, sometimes deliberate rudeness of images.

Such an unusual refraction of the Spanish image by Chabrier allows one to find an explanation in the artistic environment that surrounded the composer. Like E. Manet, Chabrier does not seek the romantic in Spain, does not poeticize it. Manet's clear delineation, accuracy of drawing, evokes associations with the enlargement of the melodic line, its relief in Chabrier. The spirit of "caféchantan", the entertaining nature of the music of "Spain" makes it possible to recall the role of the cafe, the meeting place of the Parisian bohemia and an inexhaustible source of observations of human faces and characters, through the prism of which the world appeared in the paintings of Manet and Cézanne, Degas and Toulouse-Lautrec.

The second section of the chapter is devoted to Iberia and other works by Debussy. Debussy saw in Spanish folklore a rich source of new ideas that delighted him with their freshness and originality - be it modes unconventional for European music, a variety of rhythms, unexpected timbre combinations, or a different temporary organization. Many of these features were not previously present in "academic", composer music.

Spain for Debussy is a synonym for Andalusia. According to Yu.A. Fortunatov, Spain attracted Debussy's attention precisely as a country with a strong oriental element in its culture. In this regard, the Spanish theme can be considered as one of the facets of the embodiment of the image of the East in his work.

Debussy is an artist who has managed to hear in different world cultures something more than just exotic or national flavor. In the folklore of different countries, he finds elements that attract him in search of his own style. Perhaps that is why the principle of the composer's attitude to the entire heterogeneous field of folklore in Debussy reveals a similarity.

Debussy's work is an original turn of the Spanish theme into European art. A new stage in the development of musical art, together with the artist's individual views on folklore, led to a different quality, the development of deeper layers of Spanish music. Debussy makes it possible to enter into the fabric of his compositions untouched, almost not mastered features of cante jondo. He frees Andalusian melody from the power of the bar line, reproduces its inherent progressive ornamental

development. The composer makes wider use of the expressive possibilities inherent in various modal structures of folk music and even seeks to go beyond the tempered system, creating a feeling of microtonality.

The organic penetration of folklore features into the composer's style became a natural reason for the appearance of some “Spanish” features in works written “without any Spanish intention). M. De Falla, who first noted this feature, pointed to Debussy's frequent use of some modes, cadences, chord sequences, rhythms and even melodic turns, in which a clear relationship with Spanish music is revealed. " This allows us to consider from this point of view such works of the composer as the suite "Pour piano", "Secular dance" for harp and string orchestra, the second rhapsody for saxophone and orchestra, named in one of the versions "Moorish", the second movement of the string quartet, romance "Mandolin", piano piece "Masks" and excerpts from some other works by Debussy.

In Debussy's modal system, the importance of "non-traditional" modes for European professional music is significantly increased, which become "ordinary" modes, intertwining with major and minor. This is a striking distinctive feature of the composer's style, who saw in these modal systems a rich world of possibilities undiscovered by professional music.

In "Iberia" Debussy creates a variety of versions of the rhythm of Sevillana. An important role in this is played by the recognition of Spanish rhythms, their expressiveness and energy. Debussy also reflected other features of Spanish rhythm, not so clearly lying on the surface. For example - the uncertainty between two- and three-part size. The use of the rhythmic variety of Spanish music has led to a multi-layered orchestral fabric, its special polyphonicity, different from the classical counterpoint and with a clear timbre selection of lines.

The novelty of Debussy's musical language was largely manifested in a different understanding of the orchestral texture. Having abandoned the usual division of orchestral functions into bass, melody, figuration, Debussy arrives at a multi-element and thematically rich texture. In "Iberia" this manifested itself, in particular, in one

the modern combination of different materials, contrasting lado, timbre, rhythmically. “One has only to look,” writes Myaskovsky, “how richly his (Debussy - LB) compositions are woven, how free, independent and interesting their voices, how, finally, different thematic elements are skillfully intertwined there, often up to three completely incompatible topics at once. Isn't this a counterpoint skill! "

The spaciousness of the sound is one of the characteristic features of "Iberia". The role of background figurations is invaluable in this. In the second part of "Iberia" Debussy uses the idea of ​​gradually filling the space: from the emptiness of unison sounds to glissanding sixth chords, and, finally, to the chord.

The third section of the chapter examines the influence of Spanish music on Ravel's work. The Spanish theme entered the composer's work through its two different branches - Basque and Andalusian. The first of them became a tribute to the origin of the composer, the second - to his passion for Andalusian culture in Europe. Images of Spain, Ravel's "second musical homeland", accompanied him throughout his entire career: from "Habanera" from "Auditory Landscapes" (1895-96) to "Three Songs of Don Quixote" (1931). In 1903, a quartet was written in which we see one of the first borrowings of Basque elements. Later, this line was continued by the Trio a-to11 (1914) and the Concert C-clig (1929 - 1931), which partially absorbed the material of the unfinished piano fantasy on Basque themes "Zagpyag-Bat" (1914). The compositions using the flavor of Andalusian music include Alborada from the Reflections cycle (1905) (later orchestrated), Spanish Rhapsody, the opera Spanish Hour and Vocalise in the form of habanera, written in the same 1907 ", the famous" Bolero "(1928), as well as" Three Songs of Don Quixote "(1931), in which, however, there are features of the style of both Aragonese and Basque music.

Situated on opposite points of the Iberian Peninsula, Basque Country and Andalusia are musically distinct regions of Spain. Unlike the Andalusian, the Basque element entered Ravel's works, which had no direct relation to Spain. The only one, completely

based on the idea of ​​Basque material, remained unfinished: realizing that he "was not able to subdue the proud, stubborn melodies", Ravel left work on the piano fantasy "Zagpyat Bat". The composer included some of the fantasy music in the Trio and the piano concerto G-dur.

Among the expressive means of Basque music that entered Ravel's music, in the first place is the peculiar rhythm of Basque songs, in which simple two- and three-beat sizes are adjacent to mixed ones: 5/8, 7/8, 7/4. In the second movement of the string quartet, the composer introduces "interruptions" of the meter, arising from the beat-to-beat alternation of bipartition, laid down in the 6/8 time signature and the three-part time in 3/4 time.

The finale of Ravel's string quartet has a 5/8 meter, which is characteristic, in particular, of the characteristic Basque genre of sortsico. The first movement of the a-moll trio has an unusual size of 8/8, which can be expanded into 3/8 + 2/8 + 3/8. Adding 3/8 to the traditional 5/8, Ravel creates his own sortsico - it is no coincidence that Ravel himself called this theme "Basque".

Compared to "Andapus", Ravel's "Basque" themes are usually syllabic, of a small range, usually not exceeding an octave. The theme for the second movement of the quartet consists of short two-bar phrases and is based on the repetitive intonations of the fifth. The same interval gives a specific coloring to the initial theme of the G-dur concert.

However, most of Ravel's writings on Spanish themes date back to Andalusian folklore. Among them is Alborada del Gracioso. Written in 1905, it was orchestrated by Ravel in 1912. The sharp, grotesque character of this play, the idea of ​​a peculiar scene in the Spanish spirit, partly make it akin to Debussy's Interrupted Serenade.

Ravel, with a certain freedom, assimilated a special way of forming the chord vertical, born of the harmonic characteristics of the flamenco guitar. A notable feature of this music is the use of sharply dissonant chords with a large seventh and a diminished octave, containing two versions of one degree, freely refracting the specificity of the Spanish chord.

"Spanish Rhapsody" is one of the variants of the painting of a Spanish summer night, just like it was in Glinka and Debussy. In this four-part cycle, everything begins with the "Prelude of the Night", into which the dance "Malagena" bursts in "from afar." The third movement, "Habanera", introduces something new, but also continues the mood of the previous parts, partly prepared by them. The basis of the dynamics in all three parts is rrrr. Moments of the forte are isolated bursts or the only rise in Malaguenia (c.11-12), which suddenly ends, plunging into the atmosphere of Spanish-Arabic melos.

Let's single out "Habanera" here. Its peculiarity lies in the subtlety and sophistication of colors (and not the usual openness of feelings characteristic of this genre), a certain stiffness of intonations. Seemingly unique in its charm, "Habanera" is in this respect on a par with other works: the similarity of two habanera ("Evenings in Grenada" by Debussy and "Habanera" from Ravel's "Auditory Landscapes", included in "Spanish Rhapsody") , as you know, caused a dispute about priority in due time.

Ravel turned the typical pattern of the melodic line of folklore habanera into a pulsating orchestral pedal, and left the rhythm accompanying the dance in the form of ghostly, multi-tiered chords of strings with mutes (harmonics) and two harps. As a result, two main features of the habanera turn out to be almost elusive in Ravel's score.

A free author's vision of folklore, its rethinking through the prism of an individual concept is also inherent in "Bolero", in which constructive logic prevails, organizing all the principle of orchestral crescendo. At the same time, the signs of a genuine bolero turn out to be very conditional.

In the conclusion of the dissertation, the role of the comparative method is once again emphasized, which allows, in particular, to visualize the relationship of cultures and different forms of their interaction: direct contacts, influences, borrowings, to trace the similarities and specific processes of the development of national musical traditions.

The emergence and development of musical Spanishiana allows us to see the constantly existing mediating role of one tra-

diction for another, carried out, as noted, not only in the direct rapprochement of the cultures of Russia and France with the culture of Spain, but also Russian and French among themselves.

An important role in the evolution of Spanish music was played by composers' acquaintance with already known samples, which gave rise to the desire to look for new ways. Glinka's stay in Paris at one time enriched him with impressions and new creative ideas. Later, the concerts of the World Exhibitions allowed Debussy and the young Ravel to hear a number of works performed directly by the authors themselves (Rimsky-Korsakov conducts Glinka's Spanish Overtures, etc.). The influence of Russian music on the work of French musicians is certainly much broader than the actual Spanish compositions. At the same time, already on the example of the Spanish theme, one can see how fruitful the communication between Russian and French musicians was at different times. Recalling the importance of Rimsky-Korsakov's work for Debussy and Ravel, especially his orchestral style, it can be assumed that such a striking work as "Spanish Capriccio" did not go unnoticed by French musicians.

The predominant appeal to the South Spanish (Andalusian) style was another feature common to many works. The activity of the composer's consciousness, the search for the most acceptable ways for the author to enter the Spanish element into the general context of the work reveals a variety of ways: from an attempt to literally reproduce the features of the original to the language of allusions, hints. The nature of acquaintance with the primary source was also different.

In general, based on the examples of the analyzed compositions, three different methods can be distinguished in working with Spanish folklore. This is a) active study of Spanish music in its live sound; b) work with collections; c) reproduction of auditory impressions from Spanish folklore through the free use of its essential rhythmic and harmonic features. The issue of the degree of closeness to folklore material and the artistic persuasiveness of the work is elucidated by individual statements by composers M. de Falla and I. Stravinsky. Both musicians consider narrow ethnography unacceptable for modern

art, preferring the free reproduction of the essential elements of Spanish music. Ravel and Debussy loosely combine features of different Spanish styles. A new facet of understanding Spanish was manifested in the penetration of elements borrowed from Spanish music into works that are not related to Spain.

The emergence of a rhythm-ingonational vocabulary, including a number of clichéd techniques in European "Spanish" music, allowed Stravinsky to refer to them as a kind of conventional language. A new stage in the development of the Spanish theme was the work of C. Debussy. National origins, the specific flavor of Spanish music (for all the subtlety of reproducing its elements) are not in the foreground for Debussy, sometimes they are simply smoothed out, veiled. Returning to Bakhtin's idea of ​​the coexistence of "two consciousnesses", one can make the assumption that Debussy does not oppose two consciousnesses at all, but rather brings them closer together, makes this or that folk element part of his own style. Noting the discordant contradiction of Spanish folklore with the dogmas of the "academic" classics, Debussy, on the contrary, seeks to find other ways that would closely recreate the essence of the main elements of Spanish musical creativity. National flavor is not an end in itself for the artist. This is an attempt to create (supplement), on the basis of the auditory ideas acquired in one way or another, the image of the country that excites his imagination.

The evolution of composing technique allowed more complex elements of Spanish music to enter European art over time. The contradiction between the modes of Andalusian songs and their composer development at one time prompted Glinka to leave unfinished her sketches on folk themes. Debussy already freely uses the specific modes of Spanish music. The appearance of a heterophonic texture in Glinka is sporadic. For Stravinsky, this is an integral feature of his style.

Consequently, it can be considered that the composer's creativity, relying on a professionally conscious musical element and the rules of "classical" art, has created a fundamentally new musical consciousness, which is clearly expressed through folk-national origins. "Ethnographic" is subordinated in it to the value (axiological) level. That is, the folklore element is

used as a form that carries the content of consciousness of the new time. Understanding of belonging to a particular national culture always provides the basis for further cultural synthesis and development. This is enrichment due to the identification of "one's own and another's", expressed in other musical cultures by similar or opposite means.

The relationship between the cultures of Russia and Spain, located at the extreme, opposite points of the European continent, is notable for recognizing in another culture "one of our own" (especially from Russia), as well as an attempt to explain the secret similarity and closeness of such different countries. Hence, perhaps, - the desire to comprehend the inexplicable kinship of Russia and Spain, referring to history, features of economic development, mentality (especially - the similarity of characters, perception of the world) and other features. This thought is constantly passing through like. among the artists who have been to Spain and who have come into contact with this culture outside of it - K. Korovin, L. Tolstoy, M. Glinka, P. Dubrovsky, etc. In music, this similarity has acquired almost tangible contours: “Some Andalusian songs remind me of melodies our Russian regions and awaken in me atavistic memories, ”wrote Stravinsky.

Trying to find common points of contact between two different cultures, one can really hear the kinship between the "infinity" of the melody in the Russian lingering song or cante hondo, their sad, somewhat hysterical tone, richness of rhythm, constant variation of the melody and repetition of "obsession" of one sound , the use of microintervals. In Russian music, as in Spanish, there is an opposition of chanting, anguish and unrestrained gaiety. A possible explanation for this is the mutual attraction of the poles. One understanding of this closeness contributes to rapprochement, mutual attraction.

The attraction to Spanish culture in Russia and France has its own characteristics. The immediate proximity of France and Spain has brought additional colors to the process of rapprochement between these countries. Ethnic ties have long existed between them. Spain at that time was included in the circle of exotic countries that were actively interested in French artists. This explains, for example, the predominant gravitation towards the culture of its south, and not others no less

peculiar provinces. In contrast to the eastern countries, Spain was a different, close exotic, but peculiar enough to be perceived as a part of the eastern world.

Thus, not only the similarity, but also the difference turned out to be fruitful in this respect. Attraction and repulsion, based on the similarity of historical destinies and cultures, has absorbed value positions (truth, goodness, beauty), asserted not only in their own language, but also in a foreign language.

Consequently, the Europeans sought and found in the Spanish folk musical culture those life-giving forces, that support for the tendencies traced in their national cultures, which they so needed. Through Spain there was a penetration into a different emotional essence (love of freedom, spiritual emancipation, humanity, etc.), other rhythmic, intonation, timbre features, ultimately expressing the internal structure of the national character.

Spanish music opened up new values ​​for European composers, enriching the musical language with unique rhythms, instrumental colors, and texture features.

The Spanish theme in music is only a part of the composer's work, inscribed in the context of his era. Therefore, it is difficult to imagine the creation of many essays on a Spanish theme outside of experiments with other national material. Also, the impact of these works is far from limited to the framework of the Spanish theme.

The cultural ties of Russia and France with Spain, marked by the emergence of a number of masterpieces of musical art, are included in the orbit of the global cultural process, testifying to the positive role of the openness of cultures, their interaction and exchange. l

The provisions and conclusions of the dissertation are reflected in the author's works:

1. "Spanish Overtures" by Glinka (on the problem "composer and folklore") // Collection of articles by young scientists of the conservatory. Alma-Ata 1993. (0.5 pp.)

2. Overcoming the boundaries of time (Russian-Spanish creative ties) And Russian culture beyond borders. M, 1996, "Informkultura", vol. 4. (0.8 pp.).

3. "Sounds and Colors of Spain" // Image of Russia in Spain. Image of Spain in Russia (in press). St. Petersburg (1 pp.).

Do not think that in Spain there were only specific directions of music. There were also general styles that were not tied to specific regions. In many cities of the country, romantic ballads were performed by troubadours. From the 15th century, heroic-epic legends (cantares de gesta) began to be performed to the accompaniment of vihuela. It is a 12-string plucked instrument.

Religious music has its roots deep in antiquity. The earliest form is considered to be a choral monody, which was a light chant that was performed in monasteries since the 7th century.

In the mid-1990s, all the chants and dull psalms were recorded on disk. And he gained popularity. Even modern music lovers like this album.

You can listen to Spanish instrumental music in this video:

Music in the Renaissance

Despite the fact that the Renaissance period coincided with the "golden age" of Spain, this did not affect music much. Only a few composers have earned fame and made their name.

1. Antonio de Cabezon. He wrote the first pieces for keyboard instruments, which are still performed today. He was also famous for his liturgical plays (tento).
2. Cristobal de Morales. In the middle of the 15th century, the composer was engaged in composing exclusively church melodies. It was he who first gained fame outside of Spain.
3. Thomas Luis de Victoria became another famous and popular Spanish composer. He wrote motets and masses.

Baroque music in Spain

Spain cannot boast of great composers. Naturally, in the period of Baroque and Classicism there were court composers, but they did not receive world fame. Most often, Spanish rulers subscribed to musicians from Italy. It quickly becomes clear that the Spaniards preferred songs over chamber tunes. A rare example of Spanish success can be considered the Catalan composer Antonio Soler. He led a modest life in a monastery, but at the same time he was constantly engaged in composing music.

In the 19th century, the Basque Juan Crisostomo Arriaga appeared, which is often called the "Spanish Mozart". Already at the age of 13 he wrote the opera The Happy Slaves (Los esclavos felices, 1820). The talented composer died very early at the age of 19 from tuberculosis.

You can listen to the opera The Happy Slaves in this video:

The flowering of classical Spanish music

The "golden age" of music in Spain began in the 19th and early 20th centuries. Composers of this period lived and worked in the period of late romanticism, but under the influence of national flamenco, the national component prevailed. Composers included in their works national motives based on European trends.

Isaac Albeniz

To become a pianist, he ran away from home at the age of 12. He made it to America and gave concerts a year later. In 1886, at the age of 25, he wrote "Suite Espanola", but the pinnacle of his work was the composition "Iberia". The composer died at the age of 48.

You can listen to the composition "Spanish Suite" right now:

Enrique Granados

The composer contributed to the development of the national school of music. In his works, he remained a patriot. The basis of his best works: two cycles for piano "Goyescas" (Goyescas, 1911) are based on paintings by the artist Goya. On the same material, he composed an opera of the same name, but during his return from the premiere, the talented composer died.

Manuel de Falla

The luminary of classical music. De Falla's work was greatly influenced by Debussy and Ravel. One of the best works is the suite "Nights in the Gardens of Spain" (Noches en los jardines de Espana, 1915). But even more attention to his person was attracted by two ballets "Love the Enchantress" (El amor brujo, 1915) and "Tricorne" (El sombrero de tres picos, 1917).

You can listen to the ballet "Love the Enchantress" in this video:

Joaquin of Turin

In his works, he also turned to national works, but at the same time he wrote more chamber music than the rest. His best works were such works as the symphonic poem "Procession dedicated to the sprinkling of holy water" (La procession del Rocio, 1913), as well as "Gypsy Dances" (Danzas Gitanas, 1930), which were written for the piano.

Joaquin Rodrigo

In his work, he used a mixture of impressionism and national traditions. He entered the history of Spanish music as a talented composer for guitar and orchestra. His "Aranjuez Concert" is known all over the world.

You can listen to the composition of Hokian Rodrigo now:

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The culture and traditions of Spain differ significantly from the cultural heritage, customs and spiritual values ​​of other European countries. Numerous tourists are attracted by the colorful atmosphere, temperament, friendliness and benevolence of the local population.

What are the features of the culture of Spain

Due to its special geographical position, the culture is endowed with a unique originality, wealth and beauty. The territorial location on the border between Africa and Europe, the shores washed by the warm Mediterranean Sea and the soft Atlantic Ocean - all this is reflected in the traditions and customs of hospitable Spain.

The long-term layering of cultural layers occurred due to the influence of various peoples and religions. The culture of Spain is a unique combination of the folklore heritage of the ancient Romans, Greeks, and Arabs. The Spanish style "Mudejar" is a symbiosis of architecture, painting, music, expressed through international cultural characteristics.

Spanish architecture

Historical buildings are distinguished by a variety, dictated by the fashion trends of different periods. The culture of Spain is widely represented in monumental buildings: Gothic cathedrals, medieval castles, luxurious palaces. In terms of the number of world famous monuments, Spain is in second place, behind Italy.

Curious tourists should definitely see the Arc de Triomphe and Casa Lleo Morera's house in Barcelona. Heading to Valencia, you cannot miss the Torres de Serrano fortress gate, built in the 14th century. The stepped pyramids of Guimar, located on the island of Tenerife, amaze the imagination with their scale and remain an age-old mystery for mankind. The Arab Giralda minaret with the Golden Tower is the symbol of Seville. The Cathedral of Santiago de Compostella houses the ancient relics of St. James, after whom the historic building is named.

The peculiarities of Spanish culture are reflected in modern buildings as well. The Agbar Tower, the fish-shaped building of the architect Frank Gehry, "Bin Laden's House" - this is a small list of world-famous architectural works worthy of representing their country.

Spanish fine arts

The art of Spain has left a wide mark on the world cultural history. The world-wide fame of painting was brought by the works of the Golden Age. These include the masterpieces of the religious genre created by the artist El Greco. No less famous are such creators as Francisco Ribalta, Diego Velazquez, Bartolomeo Murillo , Jusepe Ribera . The artistic traditions were subsequently continued by the brilliant work of Francisco Goya. Salvador Dali, Juan Miro, Pablo Picasso and Juan Gris made invaluable contributions to the modern art of painting.

Spanish literature

During the Golden Age, the culture of Spain is enriched with outstanding works of the literary genre. The author of the famous "Don Quixote" Miguel de Cervantes brought fame to his homeland. No less famous are the literary heroes of Felix Lope de Vega, Pedro Calderón de la Barca and Miguel de Unamuno. Modern literary fame was supported by the playwright and poet Federico Juan Goitisolo, Miguel Delibes and Camilo José Cela, who won the Nobel Prize. The art of drama was glorified mainly thanks to Ramon del Valle-Inclan.

The culture of Spain is marked by the success of the national cinema. The director is the author of the masterpiece "Andalusian Dog", for forty years of his film activity he has created a whole gallery of world famous works. Such authors as Pedro Almodovar and Carlos Saura have strengthened the fame of the master.

Spanish music

Spain is one of the oldest musical countries in Europe. The amazing originality of song genres, instrumental music, dance art is due to the historical characteristics of this land. In the initial period of its development, the musical culture of Spain included various directions characteristic of certain provinces. Over time, various cultures are increasingly intertwined with each other, forming a special Spanish style, markedly different from all others.

Since the beginning of the 13th century, Spanish music has been known for the art of playing the guitar. Today the traditional musical instrument is presented in two types: flamenco and acoustic guitar. Contemporary music is based on the origins of folklore, which distinguishes Spanish works by their originality and recognition.

Classical works developed in the sixteenth century, based on church melodies. At the beginning of the 20th century, composers Enrique Granados, Isaac Albeniz, Manuel de Falla brought pan-European fame to Spanish music. Contemporary classical singing is represented by the genius voices of Montserrat Caballe, Placido Domingo and José Carreras.

Flamenco

The temperamental and incendiary style of flamenco is traditional Spanish music, born in Andalusia. It is presented in three directions: song, dance and guitar playing. The style was based on ancient gypsy ritual dances, which were inherited, preserving their traditions and enriching themselves with new musical colors.

Today flamenco dances are presented in the form of musical performances filled with semantic content, with an expression of special sensuality and passion. Indispensable attributes of dance numbers (long dresses, colorful shawls, fans) help to better express feelings and emphasize the folk origin of the style. Flamenco dances are often accompanied by the rhythmic sounds of castanets, clapping of hands (palmas), and expressive playing of the cajon drum.

Flamenco dance culture combines several different musical patterns under one name. A characteristic feature of the Spanish style is the obligatory element of improvisation, which allows you to create completely unique works of dance art.

Festivals and holidays in Spain

The ancient origins and richness of cultural manifestations determine the striking beauty and originality of national holidays. The musical country annually hosts various festivals, carnivals and processions.

A nationwide carnival is held in February, especially on the island of Tenerife. The eve of Easter is not complete without many processions of the cross and religious processions, decorated with colorful and colorful paraphernalia.

The most famous festivals are held in summer and autumn: music, theater, dance. The category of original events can be attributed to Tomatina - the festival of tomatoes, where a grandiose tomato massacre is held.

Bullfight

The cultural heritage of Spain, undoubtedly, is the famous bullfighting - bullfighting. The spectacular event is presented by a vivid performance that includes age-old traditions of art based on respect for sacred animals, passion and mortal risk.

In ancient times, bullfighting was an obligatory element of national holidays. Today it is a whole art that embodies the Spanish spirit and national identity. The beauty of the bullfight is akin to ballet dance, where the bullfighter shows his skill, courage and talent.

Fine people, glorifying the history of their country for many centuries, have created and continue to maintain a national heritage, the name of which is the culture of Spain. Having briefly examined the creative directions of human activity, one cannot but imbued with deep respect for the Spanish people, who carefully preserve and enhance the cultural traditions of their homeland.

1.2 Characteristics of stage genres in Spain at the beginning of the XX century

At the beginning of the 20th century, Spanish drama and theater experienced a decline, although the number of theater buildings and troupes increased. Profitability considerations prevailed over everything. The premises of the theaters and the troupe were in the hands of various entrepreneurs; there were no permanently operating stationary theaters. Only the most powerful troupes have played several seasons in a row in the same theater; most of the troupes moved from city to city. The whole way of theatrical life was outdated. Directing practically did not exist, cliches prevailed in the acting. The repertoire was dominated by Spanish and translated pieces of light content, often vulgar. The theater was taken over by a small household plot. Plays by innovative playwrights rarely made their way onto the stage. Foreign classics were not staged. Spanish plays of the "golden convict" were performed quite rarely and almost (always in alterations, in many respects distorting these plays Balashov N.I. Spanish classical drama. M., 1975..

The tone in the theater was set by the aristocratic and bourgeois audience, who demanded only entertainment from him and instilled vulgar tastes (these are basically the same features that characterize the state of theater in Spain and under the rule of Francoists).

At the same time, a movement began in Spain for the revival of an artistic and distinctive national musical culture (the so-called Renasimiento), headed by the composer and musical public figure F. Pedrell. His musical op. (the opera trilogy "Pyrenees", etc.), theoretical works and pedagogical activity had a decisive influence on the formation of the modern Spanish school of composition. The founders of the new music are Pedrell's students I. Albéniz, E. Granados y Campigna and M. de Falla y Mateu. M. de Falla's work is the pinnacle of contemporary Spanish music, one of the highest achievements of Western European musical classics of the 20th century. It reached a high level in the XX century. performing arts: pianists J. Turin, R. Vignes, violinists P. Sarasate y Navasquez, J. Manen, cellists P. Casals, G. Casado, guitarists F. Tarrega, M. Llobet, A. Segovia, conductors E F. Arbos, H. Iturbi, singer M. Guy. E. Hidalgo, C. Supervia, V. de los Angeles, T. Berganza, P. Lorengar. Musicologists include R. Mithana-i-Gordon, F. Gascue, A. Salazar, H. Subira, E. L. Chavarri, E. M. Torner and others. Sarabyanov D. V. Modern style. Origins. History. Problems. - M .: Art, 1989. - P.108

During the Spanish Civil War, those theaters that were located in the territories controlled by the Republicans were taken over by the state. Theatrical life in these theaters noticeably revived and progressed significantly. In addition, these theaters formed mobile troupes that performed at the front.

After the victory of General Franco, all progressive reforms in the theatrical sphere, which were carried out by the republican government, were canceled. Theaters in Spain again went into private hands and became a commercial enterprise. In principle, it was not so bad, but there have been significant changes in the theatrical repertoire. Together with performances on a social theme, they again began to stage mainly light entertaining performances. The theater was losing its modernist tendencies and even national peculiarities, the center of drama shifted from Madrid to Barcelona, ​​the Spanish theater became more of a “Catalan” Ranx O.C. "Count Alarkos" H. Grau: puppet theater // Bulletin of VyatGUU. Volume 2. Philology and art history. No. 3 (2) 2011.S. 146-150. ...

Only in the middle of the 1950s, despite strong pressure from the Franco government, Spanish classics were again staged in theaters in Spain. Gradually, plays with sharp criticism of society began to be included in the repertoires of Spanish theaters. In addition, amateur student troupes became very popular in Spain in the 1950s and 1960s, which also staged performances that were mainly in opposition to the Franco regime. These theaters have undoubtedly had a positive impact on professional theater in Spain. In addition, they brought up a whole galaxy of talented actors and directors Silyunas, V. Yu. "Life is a dream" - a drama and a play // Problems of Iberoamerican Art: collection of articles. articles / [otv. ed. E. A. Kozlova]. - M .: Editorial URRS, 2008. Issue. 2. - P. 13.

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The historical and cultural heritage of Spain is rich and diverse, it was formed by many eras, peoples, religions, as well as the border position of Spain between Europe and Africa, the isolation of the Mediterranean and the vastness of the Atlantic Ocean. The culture of Spain has given the world flamenco and guitar, novella and gazpacho, as well as a huge number of intricate architectural structures. It is impossible not to notice that the Spaniards love to dress well and enjoy life. The color of this country inspired Picasso, Goya, Velazquez, Dali and other famous personalities. The influence of different religions, cultures and peoples, the border position between Africa and Europe, the vastness of the Atlantic Ocean - all this is reflected in the traditions and monuments of Spain.

Architecture
The architecture of Spain is the memory of the traditions of bygone civilizations. There are aqueducts and antique amphitheaters side by side; examples of Moorish architecture of the Caliphate era - the Nazareth Palace in Granada and the Alcazar in Seville - have been preserved. Spain has the largest number of cathedrals in the world. Among them: the Gothic temples of Burgas, Tarragona, Seville, Toledo, the Romanesque cathedral in Santiago de Compostela; the residence of the Spanish kings - El Escorial near Madrid; cathedrals of Murcia, Valencia, Granada, as well as in the city of Teruel. Also known creations: Antoni Gaudi - Sagrada Familia Cathedral and Park Guell in Barcelona; Ricarda Bofila (Barcelona), Santiago Calatrava (Valencia, Sevilla) and Rafael Moneo (Madrid).

Painting
It is difficult to imagine world fine art without painting in Spain. Its heyday began with the work of Domenico Teotokopouli, nicknamed El Greco, who became the founder and head of the Toledo school of painting. Spain was also glorified by those who followed him, José de Ribera, Francisco Zurbaran, B. E. Murillo and Velazquez, whose paintings are now kept in the best museums in the world.

Spanish painting is unthinkable even without the work of Francisco Goya (1746-1828), as well as the pioneer of surrealism Salvador Dali (1904-1989), the founder of Cubism Juan Gris (1887-1921), the abstract artist Juan Miro (1893-1983) and the brilliant versatile master Pablo Picasso (1881-1973).

Literature
Spanish literature has come a long way to become one of the most visible components of world literature today. It is difficult to overestimate her contribution if only because the two most famous common human types - Don Quixote and Don Juan - were created by Spanish writers.
The first Spanish literary work to become widely known is the epic poem "Song of my Side" (about 1140). The classics of Spanish literature are considered to be Felix Lope de Vega, Pedro Calderon de la Barco, Tirso de Molina, Miguel de Cervantes.

Starting from the end of the XIX century, called the period of spiritual renewal of Spain, new authors appeared in the country, whose works quickly find their readers around the world: Miguel de Unamuno, Ramon Maria del Valle Inclan, Federico Garcia Lorca. Among contemporary authors, it is worth mentioning the 1989 Nobel laureate Camilo José Cela, as well as Juan Goitisolo, Miguel Delibes, Manuel Vasquez Montalban.

Music
The treasures of the musical culture of Spain also include: the guitar, which appeared in the 1790s in Andalusia, when six strings were added to the Arab lute; and flamenco - which means "deep music", its most famous performer is Paco de Lucia.

Many festivals of various genres of art take place in Spain every year. For example, Granada hosts a music festival that brings together performers of flamenco and other types of dances; in San Javier - jazz; theater lovers can visit the festival in Merida; in Torrevieja you can take part in the Habaneras vocal festival; in Madrid there is a music festival, and for film lovers, in San Sebastian, an international film festival is held.

Cinematography
The history of Spanish cinema has a long tradition: already in the 1920s, the film “Andalusian Forest” by Luis Buñuel was released. Since then, Spanish directors, including Carlos Saura (Carmen), Pedro Almodovar (A Woman on the Verge of a Nervous Breakdown, Kica, etc.), Fernando Trueva (Belle Epoque), Julio Medel ( Red Squirrel "), contributed to the consolidation of the world fame of Spanish cinema.

Today, Spanish-made films account for only 10-20% of the film distribution in Spain, which speaks of the crisis of the national cinema. Contemporary Spanish cinema depends on the episodic successes and box office receipts of the so-called "comedia madrileña" of Fernando Colomo and Fernando Trueba, the refined melodramas of Pedro Almodovar, the black humor of Alex de la Iglesia and the rough humor (Santiago Segura) of Santiago Segura also works by Alejandro Amenabar to such an extent that, according to producer José Antonio Félez, in 2004, "50% of the box office was collected by 5 films, and 8-10 films generated 80% of the total." In 1987, the Goya Film Award was founded in Spain, a kind of counterbalance to the Oscars for Spanish cinema.

Bullfight
Bullfighting is a traditional Spanish entertainment that vividly characterizes the culture of Spain. In the Bronze Age, killing a bull was an important ritual, and by the end of the 6th century, bullfighting became entertainment for the upper class - a knight on horseback fought with a bull.

Bullfighting on foot becomes later, in the 18th century, in Andalusia. Then the famous bullfighter appeared. Juan Belmonte is considered a legendary bullfighter, who created a modern style and the image of a matador.
Only specially bred Iberian bulls participate in the bullfight.
Bullfighting ethics require a bullfighter to respect the bull as a worthy, strong and brave opponent. If the bull manages to survive, he never participates in the performance again.

The bull must be killed within 10 minutes after the entertainment part of the show. It is a shame for the bullfighter if the bull stays alive. The height of skill is the death of a bull from one sword on the first try.
If the bull shows exceptional courage, he can be forgiven. The main goal of the matador is to reveal the character and potential of the bull so that he can be forgiven. Cases of forgiveness of a bull are very rare, they are celebrated as a holiday.
All bull meat is sent to social and charitable purposes immediately after the performance.

Flamenco
Flamenco is a famous Spanish art, whose homeland is Andalusia. Flamenco is an amazing fusion of song (Cante), dance (Baile) and guitar playing (Guitarra), and also includes various forms from a mixture of these genres. The first written mention of flamenco dates back to 1774. Flamenco was formed under the influence of two cultures - the gypsy, from which flamenco took its dance part, and the Moorish, which brought deep meaning to flamenco music.

Flamenco styles (palos) differ in rhythmic pattern, there are more than 50 of them. The most popular styles are Tones, Fandango, Soleo and Segiriya. Songs and dances are usually accompanied by percussion (tapping with castanets, clapping hands) and guitar.

Andalusian gypsies are the keepers of flamenco traditions. In 2010, Flamenco was awarded the status of a World Heritage Site by UNESCO.

The culture of Spain is very multifaceted and varied, in different regions of the country it is different.
Such cultural trends as flamenco dance, bullfighting, Spanish guitar perfectly characterize the national characteristics of Spain, their passionate and changeable nature.