German composers 1920 centuries. German composers: James Last, Johann Sebastian Bach and others

Ludwig van Beethoven

Ludwig van Beethoven - The greatest composer of the early 19th century. Requiem and lunar sonata immediately recognizable by any person. The immortal works of the composer have always been and will be popular due to the unique style of Beethoven.

- German composer of the 18th century. No doubt the founder of modern music. His works were based on the multifaceted consonance of various tools. He created the rhythm of music, on this its works are easily amenable to modern tool processing.

- The most popular and understandable Austrian composer of the end of the 18th century. All his works are simple and ingenious. They are very melodious and pleasant. Little serenade, thunderstorm and many other compositions in rock processing will stand in a special place in your collection.

- Austrian composer of the end of the 18th, early 19th century. True classic composer. Violin for Haidna was in a special place. In almost all works of the composer, it solorates. Very beautiful and fascinating music.

- Italian composer of the first half of the 18th century No. 1. The national temperament and the new approach to the arrangement literally blew up Europe in the middle of the 18th century. Symphonies "Seasons" are a business card of the composer.

- Polish composer of the 19th century. According to some information, the investigator of the combined genre of concert and folk music. Its polones and the musicals are smoothly combined with orchestral music. The only minus in the work of the composer considered too soft style (lack of strong and incendiary motives).

- German composer of the late 19th century. He was responding about him as a great romance of their time, and his "German Requiem" eclipsed with its popularity of contemporaries. The style in the music of Brahms is qualitatively different from the styles of other classics.

- Austrian composer of the early 19th century. One of the unrecognized in the lifetime of the greatest composers. A very early death at 31 years old did not allow to fully develop the potential of Schubert. Written songs were the main source of income when the greatest symphonies dust on the shelves. Only after the death of the composer, the works were highly appreciated by critics.

- Austrian composer of the late 19th century. Investigator Waltz and Marsh. We say Strauss - I mean Waltz, we say Waltz - I mean Strauss. Johann Jr. grew up in the Father's family - composer. Strauss senior belonged to the works of the Son with disgrave. He believed that the Son was engaged in nonsense and so much humiliated him in the world. But Johann junior with persistence continued to engage in his favorite business, and the revolution and written by Strauss March in her honor, proved the genius of the Son in the eyes of the European Supreme Society.

- One of the greatest composers of the 19th century. Master of Opera Art. "Aida" and "Othello" Verdi is extremely popular today thanks to the true talent of the Italian composer. The tragic family loss at the age of 27 sucking the composer, but he did not lower his hands and deepened into creativity, writing several operas at once in a short time. Higher society highly appreciated the talent of Verdi and his operas were put in the most prestigious theaters of Europe.

- In 18 years of age, this talented Italian composer wrote several operas, which became very popular. The crown of his creation was the recycled play "Seville Barber". After presenting it to the public, Joakino literally wore on her hands. Success was intoxicating. After that, Rossini became a welcome guest in the highest light and acquired a solid reputation.

- German composer of early 18th century. One of the founders of the Opera Art and Tool Music. In addition to writing Opero Handel wrote music and for the "people", which was very popular in those times. Hundreds of songs and dance melodies of the composer thundered on the streets and squares in those distant times.

- Polish prince and composer - self-taught. Having no musical education became the famous composer. His famous polonais is known worldwide. At the time of the composer, a revolution took place in Poland, and the marches written by them became the anthems of the rebels.

- Jewish composer born in Germany. His wedding march and "Sleeping Night" are popular not one hundred years. The symphonies and written symphones are successfully perceived worldwide.

- German composer of the 19th century. His mystically - the anti-Semitic idea of \u200b\u200bthe superiority of the race "Ariyev" over other races was adopted by fascists. Wagner's music is very different from the music of his predecessors. It is aimed primarily on the connection of man and nature with an admixture of mysticism. His famous opera "Nibelung Rings" and "Tristan and Isolde" - confirm the revolutionary spirit of the composer.

- French composer of the mid-19th century. Creator "Carmen". From birth was a brilliant child and in 10 years already entered the conservatory. For a brief life (he died without surviving up to 37 years) wrote dozens of operas and operetta, various orchestral works and one-symphony.

- Norwegian composer - Lirik. His works are simply saturated with melodiousness. For his life, he wrote a large number of songs, romances, suite and etudes. His composition "The Cave of the Mountain King" is very often used in cinema and modern stage.

- American composer of the beginning of the 20th century - the author of "Rhapsodia in blues tones", which is especially popular and to today. At the age of 26, he was already the first composer Broadway. The popularity of Gershwin was very quickly scattered throughout America, thanks to numerous songs and a popular show.

- Russian composer. His opera "Boris Godunov" is a business card of many theaters of the world. The composer relied on the folk folklore in his works, considering folk music - the music of the soul. "Night on Bald Mount" Modest Petrovich is among the top ten most popular symphonic sketches in the world.

The most popular and greatest composer of Russia is certainly. "Swan Lake" and "Sleeping Beauty", "Slavic Marsh" and "Nutcracker", "Evgeny Onegin" and "Peak Lady". These and many more masterpieces of musical art were created by our Russian composer. Tchaikovsky is the pride of Russia. All over the world know "Balalaika", "Matrushka", "Tchaikovsky" ...

- Soviet composer. Pets of Stalin. Opera "Tale of this man" strongly recommended to listen to Mikhail Zadornov. But mostly Sergey Sergeych serious and deep work. "War and World", "Cinderella", "Romeo and Juliet", a lot of ingenious symphony and works for the orchestra.

- Russian composer who created his inimitable style in music. He was a deeply believer man and a special place in his work was given to writing religious music. Rachmaninov also wrote a lot of concert music and several symphony. His last work "Symphony Dances" is recognized as the greatest product of the composer.

German composers have made a great contribution to the development of world musical art. Among them are a huge number of those whom we call the great. Their masterpieces listens to the whole world. In musical educational institutions, the work of many of them includes the training program.

Music Germany

The flowering of music in this country began in the 18th century. Then they began to create such great German composers as Robert Schuman, Johann Sebastian Bach, Franz Schubert, Ludwig Van Beethoven. They were the first representatives of romanticism.

Great composers who lived in Austria: Ferrenz Leaf, Wolfgang Amadeus Mozart, Johann Strauss.

Later became famous Karl ORF, Richard Wagner, Max Reger. They wrote music, referring to national roots.

Famous German composers of the 20th century: Arnold Schönberg, Paul Hindemite, Carlhainz Shatokhausen.

James Last.

Famous German composer James Last was born in Bremen in 1929. Its real name Hans. He worked in jazz genre. For the first time, James jumped on stage in 1946 as part of the Bremen Radio Orchestra. After 2 years, he created his ensemble, who led him, and advocated. In the 50s of the 20th century, the Last was considered the best jazz bassist. In 1964, James created his own orchestra. He was engaged in the arrangement of the popular melodies at the time. The composer's first album released in 1965, after which it was another 50. They diverged by millions of circulations. Eighteen discs became platinum, 37 - gold. James Last created arrangements for authors and performers who worked in completely different musical genres from folk music to Hard Rock. The composer died in the USA in June 2015.

Johann Sebastian Bach

Great German Baroque Epoch Composers: Georg Beech, Nicaus Bruns, Dietrich Buxthehude, Georg Friedrich Handel and others. He heads this list of Johann Sebastian Bach. He was a great composer, a teacher and a virtuoso organist. I.S.Bach is the author of more than a thousand works. He wrote the music of different genres. Everything that was significantly during his life, except operas. The father of the composer was a musician, like many other relatives and ancestors.

Johann Sebastian loved music since childhood and never missed the opportunity to pour. The future composer sang in the choir, played the clasine and organ, studied the work of composers. Approximately 15 years old he wrote his first works. After graduation, the young man served as a court musician, then an organist in the church. Johanna Sebastian Bach had seven children, two of them became famous composers. The first spouse died, and he married again. The second wife was the young singer, who possessed magnificent soprano. In the old age I.S. Bach, the land, but continued to compose music, the notes recorded the son-in-law of the composer under dictation. Great Johann Sebastian is buried in the city of Leipzig. In Germany, his image is immortalized in a large number of monuments.

Ludwig van Beethoven

Many German composers were adherents of the Vienna Classical School. The brightest figure of them is Ludwig Van Beethoven. He wrote the music of all genres that existed at the time when he lived. He composed even works for dramatic theaters. L. Bethoven is a composer whose works are performed by all the musicians of the world. The most significant are the instrumental works of L. Bethoven.

The composer was born in 1770. He was the son of a singer of court chapel. The father wanted to raise his son second V. Mozart and taught him the game at once on several musical instruments. At the age of 8 years, Ludwig was first published on the scene. Contrary to the expectations of the Father, L. Bethoven did not become a miracle boy, which was Wolfgang Amadeus Mozart. When the future composer was 10 years old, the father stopped independently engaged in his training, the boy had a real teacher - composer and an organist - K.G.nef. The teacher immediately saw talent in L. Bethoven. He taught a little man, introduced him to the creativity of the Great at that time composers. L. Bethoven spoke before V.A. Motzart, and he highly appreciated his talent, expressing confidence that Ludwig is waiting for a big future, and he will still make the world talk about himself. At the age of 34, the composer became deaf, but continued to write music, because he had excellent inner hearing. L. Bethoven had disciples. One of them is the famous composer Karl Mobile. L. Bethoven died at the age of 57.

Kurt Wail

Many German composers of the 20th century are considered classics. For example, Kurt Weil. He was born in 1900 in Germany. His most famous work is "Trekhgroshova Opera". K. Väil was the son of Kantor in the synagogue. Education composer received in Leipzig. In many of their works, he made jazz elements. Kurt Vail collaborated with the playwright B.Brcht and wrote music to a large number of productions by his plays. Also, the composer composed 10 musicals. Kurt Wail died in 1950 in the United States.

Which since 1847 is justified in Germany; The versatile activity of the sheet is marked by a big sweep, ideological purposefulness.

There is a revival in theatrical and concert life. On opera scenes, in the fight against foreign dominance, the works of German authors are approved; Next, the principles of romantic opera extended by Weber are being developed. Concert practice is becoming increasingly democratic in nature; A number of cities are famous for orchestral or choral teams, at the head of which are prominent modern composers and conductors. Music amateur intensively manifests itself: the singing associations cover tens of thousands of chorists. The overall rise of artistic culture affects the revitalization of musical and theoretical and critical thought. In the press, especially in the "New Music Journal" (Generally accepted in Russian Name "New Music Gazette" gives inaccurate translation of the name of this magazine.), organized in 1834 by noise, the actual problems of the incarnation of the national national beginning and the heroic-epic topics, reflecting reality in music.

The best traditions of the ideas of enlightenment and humanism are renewed after a long period of reaction. Like Heine, Schumann (during the heyday of the creative forces), and after him, Wagner and the Sheet, the main pore in their activities will be considered the preparation of the new pore in art, freed from the social oppression, moral prejudice. This is the main direction of their artistic quest. And despite the fuzziness of the socio-political platform and the romantic vagueness of theoretical provisions, their progressive aspiration is undoubted.

Such a rise in the musical culture of Germany of the 40s is due to the historical processes of development by this backward in the socio-political attitude of the country, which still preserved traces of feudal fragmentation by the middle of the XIX century. Her task was the detection of ways to national association. By the 40s, as K. Marx indicated, the need for the implementation of this task aroused an active growth of progressive, democratic forces, and German budgets "reached that approximately the stage on which French bourgeoisie was in 1789." The center of the revolutionary movement in Europe moved to Germany. She became the birthplace of scientific socialism.

However, the betrayal of the bourgeoisie, who abandoned the democratic association of Germany, again longly delayed the development of progressive forces. The defeat of the revolution of 1848-1849 led to the primacy of reaction trends in the ideological life of the country. In the coming decades, their effect has become increasingly intensified.

"... 1848-1871. In Germany, V. I. Lenin wrote, - were the epoch of the revolutionary and counter-revolutionary struggle of two ways to combine (\u003d decisions national Problems of Bourgeois Development of Germany) through Great Burger and Way through Prussian monarchy. " The progressive camp struggled for the union of the country revolutionary, for the overthrow of the monarchy and the creation of a single democratic republic in Germany. But the capitulation of the German bourgeoisie before the feudal reaction contributed to the combination of Germany "from above", turning it into an imperialist, a Juncro-bourgeois state. Conventional milestones on the basis of the approval of Prussian Capitalism were war with Denmark (1864), Austria (1866) and France (1870- 1871).

K. Marx and F. Engels in his writings tirelessly beat ideological weakness, moral instability, limited and cowardice of the German bourgeoisie. They indicated that the petty interests of the Burgers were never able to develop before understanding the general national interests of the class, which throughout the XIX century, the German bourgeoisie changed the people and was compromised with noble absolutism. A failed revolution, interrupted and delayed by the reaction of the country's development spawned a sharply pronounced type of German mesh, which, as F. Engels wrote, "not at all the stage of normal historical development, but a caricature infuriated, a kind of degeneration ...". The spirit of the mesh was penetrated into all the pores of German culture, put a specific imprint on it, the creative forces of the people were shot.

This, in particular, affected the literature, not given in the second half of the XIX century after Heinrich Heine not a single writer of world importance. In the work of German authors, the image of the peasant or burghers, philistine life, resting on conservative stuff begins to prevail. This literature (its representatives - Bertold Auerbach, partly Friedrich Spielgagen and others) received the name "regional", as it is devoted to provincial topics, does not go beyond the local life, does not give an image of reality from the point of view of nationwide interests (Only Creativity Gottfried Keller (1819-1890) - Swiss, writing in German, - continued the traditions of critical realism, went beyond the national limitations, acquired wide recognition.).

With all its ideological limitations and eclecticism, representatives of the "regional" trends still appealed to democratic topics and plots, and some of them, such as Theodore Storm (1817-1888), put forward as large-mellist writers, masters of realistic sketches of modern life. At the same time, the flows associated with salon epicureism, aesthethy, a cult of pure form. The reactive-romantic essence of this direction with the greatest discordant was revealed in the literary and philosophical and aesthetic works of Friedrich Nietzsche - the Rodonarchist of the bourgeois-decadent literature, the apologist of the militant amoralism, with the aristocratic contempt of the people and democracy.

Despite the community of historical conditions, the German music of the same period, unlike the literature, entered important pages in the history of world artistic culture, put forward outstanding composers and performers whose creative activity has gained international importance.

Contradictions in the development of German music. Their manifestations in the enemy of the Weimar and Leipzig schools

By the middle of the century there were significant changes in the arrangement of creative forces. Mendelssohn died in 1847. The mental illness was inexorably fell by Shuman - after 1849 he moved away from musical and public life (died in 1856). Wagner looked in emigration and returned to Germany only in the 60s, although the influence of his aesthetic ideas and creativity has steadily increased. For a decade after the defeat of the revolution, 1848-1849, heroic times of the activity of the sheet in Weimar falls: it is completed by the organization in 1859 - in connection with the twenty-fiveth anniversary of the Shumanovsky "New Music Journal" - the associations of German musicians ("Serechertman Music Union"). Finally, since the beginning of the 1950s, the star of the first magnitude is put forward - Johannes Brahms, the ideological and artistic authority of which has strengthened in the 60s and 1970s.

However, it is impossible to forget that the edge atmosphere of Filiuterism did not allow to completely reveal to the reformist places of the sheet - he was forced to flee from Germany, who was defeated in the fight against German mesh. Many had a lot of hard to experience in this struggle and wagneru, which manifested the striking will in the propaganda of his writings, and Brahms, who did not possess such energy and therefore left the homeland in the 60s to Vienna, where he lived over thirty years. At the same time, in Germany, representatives of the moderate, "united" romanticism, ideological and artistic aspirations, have gained great influence with the "regional" trends in literature.

The complexity of the socio-political situation gave rise to the tension of the struggle of creative directions in German music, ideological intelligence among its leaders. In the 50s, this struggle focused around two music schools. The first led the sheet, the Wagner was adjacent to it; At the place of residence, she was called "Weimar" (or "Novonesec"). At the head of the second school - she was called "Leipzig" - they stood the figures of the famous conservatory created by Mendelssohn with the participation of Shuman, in fact - representatives of the "moderate" romanticism.

The sheet, insulation the philistine "Inability" and "moderation" in art, put forward the principles of programming and ideological, philosophical depths and the meaningability of musical creativity. But these questions were often interpreted by the adherents of his school (such critics as Franz Brendel, Richard Paul and others) in the detachment from the aesthetic requirements of democratism and the national form, which led to the underestimation of the role of folk art and classical heritage, to falsely understood innovation. On the other hand, with representatives of the Leipzig School, the artistic criteria of the general accessibility and national definiteness were interpreted by the epigons of Mendelssohn (among them the composers of Karl Reinek, Robert Folkman, Franz Abt, Cornellius Gurlit and others) depletedly, dogmatically, for the requirements of ideas and the content of art ignored.

Yet should not exaggerate the meaning of the two schools in the history of German music. This is one of the private episodes inherent in the struggle of groupings and trends. Soon the struggle accepted other forms: the warring lags were formed around the creative figures of the two largest musicians of Germany - Wagner and Brahms.

Back in the years of the existence of the Weimar school (she broke up in the early 60s due to leaf departure), its representatives considered their main task to promote the creativity of Wagner ("Wagner's support is our main goal," wrote in 1852 the "New Music Journal", which passed into the hands of "Weimarians." At the same time, about the sheet as a composer, this magician did not write anything.).

In the 70s, "Wagner Society" was organized. Supporters of "Music of the Future" ("Music of the Future" Wagner called his creations) They were sharply attacked on all those composers who did not consider themselves to the Sheet Wagnerous direction. First, the epigal of Mendelssohn, associated with the Leipzig school, served as the object of attacks, - by the way, was very evil ridiculed the sheet. But then, without the participation of the sheet, the fire of the controversy was directed against Brahms - fiercely, Vagner was launched irreconcilable. All those who believed in his genius were shared with him to host to Brahms.

In addition to his will, Brahms, who personally did not participate in the controversy, became a banner for those who argued with Wagner in the field of musical drama and with a sheet in the field of software symophonism. The questions were widespread: the traditions of folk music, the national classics and the achievements of musical romanticism, the expressive means of music, the possibilities of preserving and developing established musical forms, etc. For all these issues, Wagner and Brahms had fundamental discrepancies. But the "Vagneerians", on the one hand, and "Bramsians" (they ironically dubbed the nickname "Brahmins") - on the other hand, unimportantly exaggerated these discrepancies and, worshiping one of the antipodes, lowered everything related to the other.

The environment of Wagner and Brahms not only contributed to the disputes unnecessarily acute subjective tones, but also distinguished the essence of the ideological search for these two largest artists in Germany. Representatives of the Wagner Society tried to transfer the reactionary features of Wagner's worldview for his work - the Vagneryans in their practical activities were closed with the terry National-chauvinistic circles of Prussian Junkers, became conductors of the Pangerman ideas of German imperialism. At the same time, Brahsians, especially from the number of Viennese critics (first of all, Edward Ganslik), having fallen on Sheet and Wagner (and at the same time on Anton Brookner, Hugo Wolf, who bowed to Wagner), represented Brahms as an allegedly "clean" musician, far from modern reality that created some "abstract" music (As far as Wagner was active in his polemical attacks, so Brahms closed and silent. He did not provide active support to his apologists - Viennese critics, but he was publicly and did not dissuade them. Nevertheless, he did not sympathize with "Hanslikians", because, struggling Realistic content of art, denied the possibility of the existence of "abstract" music.).

Thus, both of these environments brought the undisputed harm to the development of German music: the warlike fervor of the warrant camps aggravated the ideological diversity in the ranks of musicians, did not give the opportunity to recognize the general enemy. For Wagner and Brahms, there was a German philistinery, stale provincialism; Everyone in its own way, they defended the principles of high ideological and humanism. They were reflected in their work different sides of the German reality, they developed various The methods of its display, wrote in different genres of musical art. But one composer did not exclude the other, but, on the contrary, supplemented, enriched with his individuality to the domestic culture. This became clear by the end of the century, after the death of Wagner, when the polemical dust was cooled and the works of both masters were received by universal recognition.

The flourishing of musical life at the end of the XIX century

By this time, the educational activities of Mendelssohn and Shumanan, Sheet, Wagner and Bramsa brought their fruits: a number of new composer names were moved (Among them the most prominent - Richard Strauss (1864-1949), who spoke with his brightly colorful, shiny on orchestral skill with symphonic works in the 90s (the best - Til Unelenshpigel, Don Juan). But in general, the work of R. Strauss, later partially reflected the aesthetic influences, belongs to a new time, as well as the creativity of another major German composer of the late XIX - early XX century Max Rehea (1873-1916).) ; The theater and concert life of Germany reached a high level; Another wider was the practice of amateur choral associations, and since the 90s, the working "Pewing Union" acquired great importance. V.I. Lenin in the article "Development of workers in Germany", written in 1913, gave a high assessment of the socio-political role of these choirs in the German revolutionary and proletarian movement.

A number of German cities compete in propaganda of musical art. Along with Berlin, Leipzig, Dresden, Cool acquire the importance of the major Music centers Weimar (at the time when the sheet worked there), Munich, where Wagner operas are put, and others. The Orchestra "Gevandhauz" (existed since 1781) in Leipzig and there - "Tomuna Servors" are used, that is, a cantor's church in the Church of St. Thomas, who once led I. S. Bach; In Berlin - Sing Academy (from 1790), Philharmonic Orchestra (from 1881).

The glorious Pleiad of Least Pages, and the first among them is an outstanding conductor and a pianist, the propaganda of Wagner and Brahms, a fan of Russian music, and above all the opera creativity of Glinka, Hans Bulley (1830-1894). In general, the German conductor, headed by Richard Wagner, grows into a phenomenon of an international scale. Among her best representatives Arthur Nikish (Hungarian by origin, 1855-1922), Felix Waingartner (1863-1942), Richard Strauss (1864-1949).

A number of large vocalists are put forward, in particular, the performers of the Wagner repertoire Joseph Alois Tikhachek (by origin of Czech, 1807-1886), Albert Nyman. (1831-1917). Among singers - Wilhelmina Shredder-Devrient (1804-1860; famous as a performer Leonora in the Beethoven Opera "Fidelio"), Henrietta Zontag. (1806-1854), Lily Lehman. (1848-1929). Wonderful violinists also work in Germany Ferdinand David. (1810-1873), Joseph Joachim (Right from Hungary, 1831-1907), pianists (mainly sheet disciples) Eugen D "Albert (1864- 1932), Sophia Menter (1846-1918), Frederick London. (1868-1948) and others.

All this is the indicators of a large, versatile heyday of the German musical culture, which it reached the efforts of several generations of their best, progressive figures of the XIX century.

Richard Wagner had a significant impact on the development of not only the music of the European tradition, but also the world artistic culture as a whole. Wagner did not receive a systematic musical education and in its formation as a music master in a decisive extent owes himself. Comparely marked the interests of the composer, fully focused on the Opera genre.

In much greater than all European composers of the XIX century, Wagner considered their art as a synthesis and as a way of expressing a certain philosophical concept. Its essence is clothed in the form of aphorism in the next passage from the Wagner article "Artwork of the Future": "As a person, until then, will not be released, until he adopt a joy, connecting it with nature and art will not be free until it disappears The reasons to be as follows with life. " From this concept, there are two fundamental ideas: art should be done by the community of people and belong to this community; The highest form of art is a musical drama, understood as the organic unity of the word and sound. Baireit became the embodiment of the first idea, where the opera house first began to be interpreted as a temple of art, and not as an entertainment establishment; The embodiment of the second idea is the new opera form "Music drama" created by Wagner. It was its creation and became the goal of the creative life of Wagner. Separate elements were embodied in the early operators of the composer of 1840-C- "Future Dutchman", "Tangayizer" and "Lojengrin".

The most complete embodiment of the theory of the musical drama was obtained in the Swiss articles of Wagner ("Opera and Drama", "Art and Revolution", "Music and Drama", "Artwork of the Future"), and in practice - in his later operations: "Tristan and Isolde ", Nibelung's ring" Ring Nibelung "and Mystery" Parsifal ". According to Vagneur, the musical drama is a work in which the romantic idea of \u200b\u200bthe synthesis of arts (music and drama) is carried out, the expression of the program in the opera. To implement this design, Wagner abandoned the traditions of the opera forms that existed at that time - first of all, Italian and French. He first criticized for the excesses, the second - for puff. With fierce criticism, he collapsed on the work of leading representatives of the classic opera (Rossini, Meyerber, Verdi, Ober), calling their music by "candy boredom." Trying to bring the opera to life, he came to the idea of \u200b\u200bthrough dramaturgical development - from beginning to end not only one act, but also the whole work and even the cycle of works (all four opera "Ring Nibelung" cycle).

In the classic opera Verdi and Rossini, individual rooms (arias, duets, ensembles with choir) divide a single musical movement on fragments. Wagner completely abandoned them in favor of large through vocal symphonic scenes, flowing alone to another, and the arias and duets replaced with dramatic monologues and dialogues. Overtures Wagner replaced preludes - short musical entry into each act, in the semantic level inextricably linked with action. Moreover, starting with the Opera "Loangrin", these preludes were performed not until the curtain was discovered, but already with the open stage. External action in late Wagner Operators (especially in Tristan and Isolde) minimized, it was transferred to the psychological side, in the area of \u200b\u200bsense of characters. Wagner believed that the word was not able to express the entire depth and meaning of the internal experiences, therefore, the leading role in the musical drama is the orchestra, and not the Vocal Party. The latter is completely subordinate to orchestra and is considered by Wagner as one of the tools of the symphony orchestra. At the same time, the vocal party in the musical drama represents the equivalent of theatrical dramatic speech. It almost lacks a song, aryozyality. Due to the specifics of vocals in the opera music of Wagner (exceptional length, the mandatory requirement of dramatic skills, the unreacted exploitation of the marginal registers of votes) in solo executive practice new stereotypes of singing votes were established - Wagner Tenor, Wagner soprano.

Wagner attached the exceptional value of orchestra and wider - Simphonism. The Wagner orchestra is compared with an antique choir, which commented on what was happening and passed the "hidden" meaning. Reforming the orchestra, the composer created the quartet of the tube, introduced the bass tube, the double bass trombone, expanded the string group, used six HDPs. In the entire history of the opera, before Wagner, no composer used the orchestra of this scale (for example, the "Ring of Nibelung" performs the quadruple composition of the orchestra with eight horn). Generally accepted innovation of Wagner and in the field of harmony. The tonality that was inherited by him from the Viennese Classics and Early Romantics, he extremely expanded the intensification of chromatism and lade alterations. Oslabiv (straightforward among the classics) The uniqueness of the ties of the center (tonic) and the periphery, intentionally avoiding the direct resolution of the dissonance in Connce, he gave modulation intensity, dynamism and continuity. Tristan-Accord is considered the visiting card of the Wagner harmony (from the prelude to the opera Tristan and Isolde) and the leitmotif of fate from the "Ring of Nibelung". Wagner has introduced a developed system of leitmotifs. Each such leitmotif (short music characteristic) is the designation of something: a specific character or living being (for example, the Litting of the Rhine in the "Gold Rhine"), items that are often as character characters (ring, sword and gold in "Ring" , love drink in Tristan and Isolde), the place of action (graveyla leitmotifs in Loengrine and Valhalla in the "Golden Rhine") and even an abstract idea (numerous leitmotifs of fate and rock in the "Ring of Nibelung", Tomny, Love View in "Tristan and Isolde").

The most complete development of the Wagner system of the leitmotifs was obtained in the "Ring" - accumulating from the opera to the opera, intertwining each other, getting new development options every time, all the leitmotifs of this cycle as a result are combined and interact in the complex musical texture of the final opera "death of gods". Understanding music as an impersonation of continuous movement, the development of feelings led Wagner to the idea of \u200b\u200bthe merger of these leitmotifs into a single stream of symphonic development, in the "endless melody" (Unendliche Melodie). The absence of a tonic support (throughout the Opera "Tristan and Isold"), the incompleteness of each topic (in the whole cycle "Nibelung Ring", with the exception of the climbing mourning march in the "death of the gods" opera) contribute to the continuous increase in emotions that does not receive permission, which allows Keep a listener in constant tension (as in Preludes to Tristan and Isolde Opera and Lojengrin). The philosophical and aesthetic basis of Wagner creativity A. F. Losev determines as a "mystical symbolism".

The key to understanding the ontological concept of Wagner is the tetraldogy "Ring of Nibelung" and the Opera Tristan and Isolde. First, in the "Ring" completely embodied the dream of Wagner about musical universalism. "In the" Ring ", this theory was embodied by using leitmotifs when each idea and every poetic image is immediately organized with the help of a musical motive," writes loses. In addition, in the "Ring" fascination with the ideas of Schopenhauer fully affected. However, it should be remembered that the acquaintance with them occurred when the text of the tetralogy was ready and began working on music. Like Schopenhauer, Wagner feels the unfavorable and even meaninglessness of the foundation of the universe. The only meaning of the existence is thinking to renounce this worldwide and, immersed in the puchin of pure intelligence and inaction, find a genuine aesthetic pleasure in music. However, Wagner, unlike Schopenhauer, believes possible and even a predetermined world, in which people will not live in the name of a constant chase for gold, which in Wagner mythology and symbolizes the world will. Nothing is known about this world, but in his occurrence after the world catastrophe there is no doubt. The theme of the world catastrophe is very important for the ontology of "Rings" and, apparently, is a new rethinking of the revolution, which is no longer understood as a change in the social system, but a cosmological action, changing the very essence of the universe.

As for Tristan and Isolde, then the ideas embraced in it significantly influenced Buddhism's shortstream and at the same time a dramatic history of love for Matilde Wendonk. Here is a long-desired Wagner merge the divided human nature. This compound occurs with the departure of tristan and isold in non-existence. Throwing as quite a Buddhist merger with an eternal and incredit world, it permits, according to Losev, a contradiction between the subject and the object on which European culture is based. The most important is the topic of love and death, which for Wagner is inextricably linked. Love is inherently peculiar to a person, completely subordinating himself, just as death is the inevitable end of his life. It is in that sense that the Wagner love drink should be understood. "Freedom, bliss, pleasure, death and fatalistic predestination - that's what a love drink is, so brilliantly depicted from Wagner," writes Losev. The opera reform of Wagner had a significant impact on European and Russian music, denoting the highest stage of musical romanticism and at the same time laying the foundation for future modernist trends. Direct or mediated by the assimilation of the Wagner Operating Aesthetics (especially innovative "through" musical drama) a significant part of the subsequent opera works is marked. The use of the leitmotive system in operations after Wagner has become trivial and universal. No less significant was the influence of the innovative musical language of Wagner, especially his harmony, in which the composer revised the "old" (previously considered unshakable) canons of the tonality.

Among the Russian musicians, his friend A. N. Serov was an expert and propagandist Wagner. N. A. Rimsky-Korsakov, who publicly criticized Wagner, however, experienced (especially in late creativity) the influence of Wagner in harmony, orchestral letter, musical drama. Valuable articles about Wagner left a large Russian music critic G. A. Laros. In general, "Wagnerovskoye" is more directly felt in the writings of the "pro-Western" composers of Russia of the XIX century (for example, A. G. Rubinstein) than among representatives of the National School. The influence of Wagner (musical and aesthetic) is noted in Russia and in the first decades of the 20th centuries, in the writings of A. N. Scriabin. In the West, the center of the wagner cult was the so-called Weimar School (self-talent - a new German school), which pretended around F. Sheet in Weimara. Her representatives (P. Cornelius, the city of Buloves, I. Raff, etc.) supported Wagner, first of all, in his desire to expand the framework of musical expressiveness (harmony, orchestral letters, opera dramaturgia).

Among the Western composers who experienced the influence of Wagner - Anton Bruckner, Gogo Wolf, Claude Debussy, Gustav Malener, Richard Strauss, Bela Bokok, Karol Shimanovsky, Arnold Schönberg (in early creativity). The reaction to the cult of Wagner was opposed to him "Anti-Vagner" the trend, the largest representatives of which were composer Johannes Brahms and musical aesthetics E. Ganslik, defending immuneity and self-sufficiency of music, unbound with external, extremiscal "stimuli"

In Russia, antivagner moods are characteristic of the national wing of composers, first of all, M. P. Mussorgsky and A. P. Borodin. Attitude towards the Vagneur of Nemizkants (which did not evaluate the music of Wagner, how many contradictory statements and its "aesthetizing" publications) ambiguously. So, Friedrich Nietzsche in the article "Casus Wagner" wrote:

"Was Wagner in general by a musician? In any case, he was more than another ... His place in some other region, and not in the history of music: with her great extreme representatives, it should not be mixed. Wagner and Beethoven are blasphemy ... "According to Thomas Mann, Wagner" saw a sacred saint secret in art, a panacea against all the ulcers of society ... ".

Wagner's musical creations in the XX-XXI centuries continue to live on the most prestigious opera scenes, not only Germany, but in the whole world (with the exception of Israel).Wagner wrote the "Ring of Nibelung", almost without hoping that the theater was deepened, able to put the wrong epic and convey to the listener of her idea. However, contemporaries managed to assess her spiritual necessity, and the epic found the way to the viewer. The role of "rings" in the formation of the German nationwide spirit can not be overestimated. In the middle of the XIX century, when the "Ring of Nibelung" was written, the nation remained divided; In memory, Germans had humiliation of Napoleonic campaigns and Viennese agreements; Recently, the revolution thundered, shook the thrones of the specific kings - when Wagner left the world, Germany was already united, became an empire, a carrier and a focus of all German culture. "Nibelung Ring" and the work of Wagner as a whole, although not it is one, appeared for the German people and for the German idea of \u200b\u200bthe mobilizing impetus, which enclosed politicians, intelligentsia, military and all society to rally.

In 1864, he, having achieved the favor of the Bavarian King Ludwig II, who paid his debts and supported him further, moved to Munich, where he wrote the comic opera Nuremberg Masonzinger and the last two parts of the Nibelung rings: "Siegfried" and "God's death". In 1872, the foundation of the foundation stone for the house of festivals was held in Bayreuth, which opened in 1876, where the premiere of the tetralogy Ring Nibelung was held on August 13-17, 1876. In 1882, Opera-Mystery "Parsifal" was delivered in Bayreyte. In the same year, Wagner left for health to Venice, where he died in 1883 from a heart attack. Wagner is buried in Bayreuth.

Germany - Motherland of the Great Composers

Creativity of German classic composers for many centuries is an integral part of the world musical heritage. Famous symphonic and choral groups perform their works at the highest level. An integral component of musical Germany is its concert halls and opera theaters, such as the Wagner Opera House in Bayreuth or the underground hall of the Cologne Philharmonic.
Fans of more modern musical movements can easily get into concerts of rock and pop groups that collect thousands of audiences, as well as various musicals, shows and root. German jazz clubs, another hyposta of musical Germany, carefully create an atmosphere where musicians and listeners are configured to each other, as if tuning. Tact in three quarters, waltz or techno-bit: music in Germany is heard everywhere!
In 1943-47, asking the Roman "Dr. Faustus" about the German spirit, Thomas Mann did not accidentally made the chief hero of the novel of the composer. Starting from the Baroque era, Germany is considered to be the "country of composers". Her natives were the great Bahh, Beethoven and Brahms - as well as many other outstanding writers and musicians.
Wrestler and worker from Felix Mendelssohn-Bartholdi(1809-1847) Born on February 3 in Hamburg.

He came from a rich and enlightened Jewish family. The grandson of Moses Mendelssohn (German enlightener, a philosopher-idealist; Popularizer of the school Leibniza - Christian Wolf, a guideline of violence). In 1816, his family moved to the Lutheran faith, adopting the second name Bartholdi. All life, Mendelssohn suffered from attacks anti-Semites. At the time of the Third Reich, the execution of his writings was prohibited - however, a decent substitute for a violin concert of the composer and his overtoo "Sleep in the Summer Night" National Socialists did not succeed.
Mendelssohn grew up in Berlin, where his mother's childhood and youth passed, who was also musically gifted. The musical abilities of the young Felix manifested themselves early, he became famous as a child as a Wunderkind. In this capacity, Mendelssohn even was represented by the Grand Goethe. At the age of seventeen, the composer created his first masterpiece - overture to the comedy Shakespeare "Sleeping in the Summer Night." Mendelssohn's family at that time occupied a huge mansion at the address Leipziger-Strasse 3, where the Upper Chamber of the Prussian Parliament later met, and today the Federal Council of the Federal Republic of Germany - Bundesrat is posted.
Pianist, composer and conductor, Mendelssohn gave numerous tour in Europe, including in London, Paris and Italy. He held the position of chief dropsuser in Berlin and Düsseldorf, conducted in the Gevandhaus Leipzig and in the Music society "Cecylienfence" in Frankfurt. The direction given by Mendelssone turned out to be key to German music of the XIX century: in 1829, under the leadership of the composer in Berlin, after an almost 90-year-old interruption, "Passion for Matthew" Bach was first fulfilled. In 1843, with the assistance of Mendelssohn in Leipzig, the first conservatory was founded in Germany.
Places telling about the life and creativity of the composer and his musically gifted sisters of Fanny are primarily in Berlin and Leipzig, as well as in the hometown of Mendelssohn Hamburg. In Leipzig, in the house where Mendelssohn lived in recent years and died, today the composer museum is open. Felix and Fanny Mendelssohn, who died in one year, were buried in Berlin.
Master of Baroque Opera: Georg Friedrich Handel
Writer 42 operas and 25 orals, including the ration "Messiah", Aliluya choir of which everyone knows: Georg Friedrich Handel (1685-1759). The most famous works of the composer also includes "Water Music" and "Music Firework", written by Ghendel for British monarchs of George I and George II.
Handel was born the same year as Johann Sebastian Bach, and only 150 km from Eisenach, in the city of Galle. Although at the age of 18, the composer left his hometown forever, today in Galle the reminders of Gandelee are found at every step.

Every year in June, Gellek festival is held in Galle. Concerts are held on various scenes, including in the Concert Hall of Handel, open in 1998. In the house where the future composer at one time was born, in 1948 opened his doors of the music museum. Of course, in the very center of Galle, on the Market Square of Marktplatz, a monument to Handel towers: the composer looks to the West, towards London, where he reached the vertices of glory.
The possibility of becoming a musician Gendel is obliged to the command of the Duke of Saxon-Weisenfels, which a seven-year-old musician played several plays on the body. About this significant concert resembles a memorial plaque in the Augustusburg Palace in the town of Weisenfels.
The first laurels at the composer board Handel reached in Hamburg. When Almira was put in the Hanseatic capital, the first opera of the composer, Handel was not fulfilled and twenty years old. However, the greatest popularity of his opera, as well as the writings of other genres used in England, where Handel spent almost 50 years. Along with Germany, England is rightly proud of Handema by George Fritron.
In Russia, Genendel rarely was rare. So, for example, only in 1979 the Russian premiere of one of the best compositions of the composer was held - Opera "Julius Caesar" (Bolshoy Theater).
Karl ORF, or the Great Bavarian Experimentator
World fame to composer Karl Orfu (1895-1982) brought Cantata "Carmina Burana".
The expressive work for the choir, created as a reminiscence of medieval music, is often used in the movies and found a response even in rock and pop music.

Orfa life is inextricably linked with Munich. Here he studied in the gymnasium, then at the Royal Academy of Music Arts and later took the post of Kammerswpil theater. On the facade of the house on Mailingerstras Street, where the composer lived and until 1939, a memorial plaque was established, and a concert hall was named in Hasteig's cultural and music center.
The famous scenic Cantata Orph "Carmina Burana" was first fulfilled in 1937 in Frankfurt am Main. This composition was based on poems from the poetic collection of the Middle Age, first detected and edited in the XIX century. The collection was found in Benedictobyern Monastery, so the name of Cantata in translation sounds like "Boiery Songs". In addition to the ORF composition, actively engaged in musical and pedagogical activities.
In 1955, the composer moved to the town of Dissen on the birch of Lake Ammesee, where he still had a child summer vacation. In 1991, the ORFA Museum was opened in the Dissenie. The composer is buried on the territory of the Andex Monastery, where the Music Academy is located today. Orfa and annually in his honor suggests the music festival.
The ideas of the Orph in Russia first appeared in the early 60s, when Oksana Timofeevna Leontiev released her first book about the composer, subsequently reworked in the monograph "Karl ORF" (ed. Music, 1984). This book has a big chapter on the pedagogical concept of the Orph. FROM. Leontiev 27 years old rewritten with the composer, who had dreamed of creating a shoot on the basis of Russian folklore on the slope of years.