Introduction
1. Song culture of Russia in the 19th century
2. Russian school of composition
2.1 Mikhail Ivanovich Glinka
2.2 Alexander Sergeevich Dargomyzhsky
2.3 "The Mighty Handful"
2.4 Pyotr Ilyich Tchaikovsky
3. Russian musical culture of the early 20th century.
Conclusion
Bibliography
Introduction
Russia in the 19th century made a huge leap in the development of culture and made an invaluable contribution to world culture. This was predetermined by a number of reasons. The cultural upsurge was due to the process of formation of the Russian nation during the transition to new capitalist relations and the growth of national self-awareness. Another factor that contributed to the intensive development of Russian culture is close interaction with the cultures of other countries and peoples. Western European social thought had a great influence on Russian culture. Russian society accepted the advanced achievements of the cultures of European countries, while maintaining the originality of its national culture. The intelligentsia begins to take an active part in the development of national culture. At the beginning, this layer of society was formed from among the nobles and clergy, but already in the 18th century. commoners appear, and at the beginning of the 19th century. - serf intelligentsia (actors, artists, architects, musicians, poets). In the 18th - first half of the 19th century, the main role in cultural development belonged to the noble intelligentsia, in the second half of the 19th century - to commoners. The commoners included educated representatives of the liberal and democratic bourgeoisie, officials, burghers, merchants and peasants. That is why in the 19th century. In Russia there is a process of democratization of culture. The number of writers, poets, artists, composers, scientists from unprivileged classes is increasing.
In this essay I will try to give a general description of the musical culture of Russia in the 19th and early 20th centuries, to trace the origins and continuity of Russian musical art. It is necessary to emphasize the importance of studying the history of culture, since the present is based on the past. Even the most revolutionary musical works of our time are influenced either directly or indirectly by the past. The purpose of the essay is to analyze the state of musical culture in Russia in the 19th and early 20th centuries, identify its features, talk about the composers of this time and their works, and also find out the significance of Russian music of that period for world culture.
1. Song culture of Russia in the 19th century
In the 19th century Russian composers paid great attention to the study of folklore and considered folk music a source of inspiration. They collected folk songs and often used them in their works. New musical genres appear, old forms (everyday songs, songs on the theme of wanderings, satirical songs) are transformed under the influence of new living conditions, the nature of images and intonation-expressive means changes. Major socio-political events of national importance are reflected in everyday folk songs. The Patriotic War of 1812 was widely reflected in folk songs. A cycle of songs about 1812 related to the oral folklore tradition has reached us. They are very diverse in their content and musical and poetic forms. This war became the reason for the appearance of lyrical songs that captured deep national grief, sadness, grief caused by the disasters of the Motherland, the ruin of their native land, and the death of loved ones.
Russian folk song gained great popularity and was distributed in many original arrangements - for choir, voice with accompaniment and individual instruments. In 1806 - 1815, Pracha's collection was republished several times. On its basis, song collections of a publicly accessible type were created.
Danila Kashin, who came from serfdom, gained great fame and created many adaptations of folk songs. In 1833-1834 His collection “Russian Folk Songs” was published in three parts. In the forties, the collection was reissued, which indicates its popularity.
Ivan Rupin also collected peasant songs and processed them; his work is characterized by a synthesis of folk songs and urban romance intonations. His surname was pronounced by his contemporaries with the Italian ending - Rupini, which indicates his fame. In 1831 his song collection was published. Simultaneously with everyday transcriptions of folk songs, a lyrical sentimental romance develops. In this genre, simplicity of means is combined with spontaneity and sincerity of expression. Composers Alyabyev, Varlamov, Gurilev, and Verstovsky were of great importance in the evolution of Russian romance of the 19th century.
Alexander Alexandrovich Alyabyev (1787-1851) was from the nobility. He served in the army and took part in the Patriotic War of 1812. After retiring, he devoted himself to creativity. Alyabyev is the author of popular romances: “I loved you”, “Winter Road” (both based on poems by A.S. Pushkin), “The Nightingale” and others. “The Nightingale” is one of Alyabyev’s most famous songs. Everything about it is simple and at the same time sincere. The song is preceded by a piano introduction. From the very first intonations of the vocal part, a captivatingly smooth, thoughtful melody unfolds. She immediately captivates with her spirituality.
Composer Alexander Egorovich Varlamov (1801-1848) - author of popular romances. He created more than a hundred works of this genre, mostly based on poems by Russian poets (“Red Sundress”, “A Blizzard is Sweeping Along the Street”, “At Dawn Don’t Wake Her Up”, “The Lonely Sail Is White”, etc.). Varlamov also distinguished himself as a singer, conductor, guitarist and teacher. He is the author of a textbook for singers - “The Complete School of Singing” (1840).
Alexander Lvovich Gurilev (1803-1858) was the son of a serf musician. Composer, pianist, violinist, violist and teacher, Gurilev is known as the author of songs and romances. His most famous songs are “Mother Dove”, “Bell”, “Sarafan”, “Swallow is Flying” and the romances “Separation”, “You Can’t Understand My Sadness”. In addition to vocal lyrics, the composer worked in the genres of piano music, collected and arranged folk songs.
The work of Alyabyev, Varlamov and Gurilev is an invaluable contribution to the treasury of Russian music. Their songs and romances are still included in the concert repertoire of singers, choirs and performed by ordinary people.
date « _____________ »
Lesson topic .
Goals and objectives:
Introduce students toclassics of world music
Rdevelop skills in expressive song performance.
To cultivate a sense of respect for the Kazakh national culture, the rich musical heritage of the Kazakh people.
Xlesson od:
1. Organizational moment . Greeting, Chanting
2. Chant.
3.New technologies “Vertical thematic”
4 . Formation of new knowledge .
Musical traditions of the Russian people
Whoever sings is not in trouble.
Russian proverb
The musical folklore of the Russian people is rich in melodic songs, cheerful ditties, playful teasers, majestic epics, catchy round dances and dances. Musicians and skomo rohi accompanied the singing by playing the restless balalaika, their favorite accordion.
And the shepherds the tunes were performed on a nasal, slightly sad pity and a ringing pipe.
The composer spent his childhood in a Russian village. Here he was surrounded by the love of loved ones and the singing of peasants, pictures and sounds of his native nature, and the ringing of church bells.
M.I. Glinka recalls: “...During dinner, Russian pianos usually played. I liked these sad-tender, but quite accessible sounds to me extremely. They were a source of the most lively delights. Maybe that’s why I began to develop Russian folk music. Music is my soul! Other words of the composer are also famous, in which he speaks about the great importance of folk music:
"Classical - translated from Latin - best, exemplary. “Music is created by the people, and we - composers - only arrange it 2 " He confirms this idea with his famous fantasy for symphony orchestra"Kamarinskaya". M.I. Glinka used two melodies of Russian folk songs in his fantasy for a symphony orchestra: “Because of the mountains, high mountains” and “Kamarinskaya” 3 . Both songs constantly change their appearance, like a person’s mood. The work begins with a short epic introduction, as if the composer is telling us: “Once upon a time...”
In “Kamarinskaya” the composer realized his musical dream, an invention. The music of the work is bizarre and unpredictable. Maybe this is a picture of rural life, nature, or the image of a Russian person who is sometimes sad and sometimes happy.
The instruments of a symphony orchestra participate in the creation of musical images in M. Glinka’s symphonic fantasy. They imitate the timbres of Russian folk instruments. Woodwinds create a simple, sincere sound of a pity pipe, a pipe, a horn. String instruments reproduce the cheerful tune of balalaikas.
5. Listening: symphonic fantasy "Kamarinskaya"
6. Singing:
7. Lesson summary
8. Homework
Russian music of the 19th century. - This is a bright and brilliant era in the development of musical culture. It is associated with the formation of a national composition and performing school of global significance. Introducing the best musical achievements of Western Europe had a beneficial effect on the general nature of its development, and originality and originality largely determined the adherence to folk traditions. In the 19th century New genres of vocal and symphonic music emerged. Great strides have been made in the art of opera. The work of such wonderful Russian composers as M.I. Glinka, M.P. Mussorgsky, A.P. Borodin, N.A. Rimsky - Korsakov, P.I. Tchaikovsky, entered the treasury of world musical culture.
Romances “Do not tempt”; "Doubt"; “Don’t sing, beauty, in front of me”; “I remember a wonderful moment.” Symphonic music "Kamarinskaya"; "Aragonese jota"; "Night in Madrid"; Russian national opera “A Life for the Tsar” (“Ivan Susanin”). Opera-fairy tale “Ruslan and Lyudmila”.
M.A. Balakirev (1836 – 1910); Ts.A. Cui (1835 – 1918); A.P. Borodin (1833 – 1887); M.P. Mussorsky (1839 – 18810; N.A. Rimsky-Korsakov ().
The organizer and ideological inspirer of this friendly union, created at the end of the 1850s, was Mily Alekseevich Balakirev, a wonderful pianist and composer who managed to unite around himself not only music lovers, but also talented performers and composers. His extraordinary abilities, excellent performing and artistic abilities, versatile musical knowledge and sharp, insightful mind delighted him and provided him with unshakable authority.
M.A. Balakirev is the author of many wonderful works. He created music for the tragedy “King Lear”, symphonic poems “Tamara” based on poems by M.Yu. Lermontov, “Rus” and “In the Czech Republic”, “Spanish Overture”, “Overture on the Themes of Three Russian Songs”. For the piano, his favorite musical instrument, he created an oriental fantasy “Islamey”, inspired by his impressions of a trip to the Caucasus. Forty romances, sonatas, mazurkas, nocturnes and waltzes, collections of Russian songs are the best achievements of the composer.
The composer's creative heritage is quite extensive: 14 operas, including “The Son of a Mandarin” (1859), “William Ratcliffe” (after Heinrich Heine, 1869), “Angelo” (based on the drama of Victor Hugo, 1875), “Saracen” (after based on the plot of Alexander Dumas, father, 1898), “The Captain's Daughter” (after A. S. Pushkin, 1909), 4 children's operas; works for orchestra, chamber instrumental ensembles, piano, violin, cello; choirs, vocal ensembles, romances (more than 250), distinguished by lyrical expressiveness, grace, subtlety of vocal recitation. The Mandarin's Son 1859 William Ratcliffe to Heinrich Heine 1869 Angelo plot of the drama by Victor Hugo 1875 The Saracen by Alexandre Dumas - father 1898 The Captain's Daughter to A. S. Pushkin 1909 piano violin vio loncelli romances
Alexey Porfirievich Borodin, being a major scientist and chemist, devoted all his time to scientific research. By his own admission, he had to compose music only during periods of illness. The composer's musical creative heritage is small, but his contribution to the development of Russian musical culture is significant. Borodin's works constitute the glory and pride of Russian music. Three symphonies; 15 romances based on poems by Russian poets; The only opera "Prince Igor"
The creative heritage of Modest Petrovich Mussorgsky, one of the outstanding Russian composers of the 19th century, is immense and unique. His short life was marked by brilliant works in the field of symphonic and operatic music. After graduating from the school of guards ensigns, he abandoned his brilliant military career and retired in 1858 with the only thought - to devote himself entirely to music. One after another, he creates a whole series of musical masterpieces, marking a new era in the history of musical art.
A bright page of Russian musical culture of the 19th century. Associated with the work of Nikolai Andreevich Rimsky-Korsakov. The beginning of his musical career was brilliant. In 1867 he painted the symphonic painting “Sadko” based on the famous Novgorod epic. A year later, the composer wrote a symphonic picture “Antar” based on the plot of Arab folk tales. Later, in 1888, Rimsky-Korsakov again turned to oriental motifs in the suite “Scheherazade” based on medieval Arabic tales from the famous collection “A Thousand and One Nights”
Operas “The Pskov Woman”, “The Tsar’s Bride”, “The Tale of the Invisible City of Kitezh and the Maiden Fevronia”, “The Snow Maiden”, “The Tale of Tsar Saltan”, “The Golden Cockerel”, “Kashchei the Immortal”, “May Night”, “The Night Before Merry Christmas", "Mozart and Salieri"; About 80 romances (“The stormy day has gone out”, “Not the wind, blowing from the heights”, “The flying ridge of clouds is thinning”)
The life of the outstanding Russian composer Pyotr Ilyich Tchaikovsky (1840 - 1893) covered just 53 years, and the extensive list of works he created includes ten operas, three ballets, nine program symphonies, concerts, quartets, music for dramatic performances, more than a hundred romances and many others. essays. Tchaikovsky said: “Inspiration is a guest who does not like to visit the lazy; she appears to those who recognize her.”
Tchaikovsky managed to find his own unique and original style, which determined his special place in the history of world musical culture. In the field of symphonic music, he developed the genre of program symphonic poem (“fantasy”, or “overture - fantasy”). Operas occupy a significant place in Tchaikovsky's work. The composer's best operatic works are Eugene Onegin and The Queen of Spades. The ballet music of P.I. is illuminated with a fabulously romantic light. Tchaikovsky, in which he appears not only as a brilliant reformer, but also as a pioneer. Music critic G.A. Laroche wrote: “In terms of music, Swan Lake is the best ballet I have ever heard...”
Federal Agency for Education
Ufa State Academy of Economics and Service
Department of Tourism and Hospitality
COURSE WORK
in the discipline "World Culture and Art"
on the topic: Russian musical culture of the 19th century and its global significance
completed by: student gr. SD-21
Mikhailova I.V.
checked by: Ph.D., Associate Professor
Kotova T.P.
Introduction
Historical background
Development of Russian song culture in the 19th century
Russian school of composition
Mikhail Ivanovich Glinka
Alexander Sergeevich Dargomyzhsky
"The Mighty Handful"
·The genius Pyotr Ilyich Tchaikovsky
Conclusion
Bibliography
Applications
Introduction
Without musiclife would be a mistake. (Friedrich Nietzsche)
Music- this is intelligence embodied in beautiful sounds. (Ivan Sergeevich Turgenev)
Music- a mediator between the life of the mind and the life of feelings. (Ludwig van Beethoven)
The Russian word “music” is of Greek origin. Of all the arts, music has the most direct impact on human perception and “infects with emotions.” The language of the soul, this is how it is customary to talk about music precisely because it has a strong impact on the subconscious level on the area of a person’s feelings, but it cannot be ruled out that it also influences the area of the mind. It is impossible to give an exhaustively precise definition of the phenomenon (or substance) called “music”.
The wealth of Russian music is immeasurable. For over ten centuries, its traditions have been formed and developed in close contact with the musical culture of other countries and in constant interaction with other types of artistic creativity.
Russian music is the most important part of Russian culture. Like Russian literature, poetry, painting, theater, it vividly reflects all stages of social life, the formation of Russian philosophical and aesthetic thought. In its diverse genres and forms, the history of the people, their liberation struggle, the character of the Russian person, the originality of Russian nature and life were embodied.
In my course work, I decided to show the musical development of Russia in the 19th century, which took place against the background of the most important historical events - the Patriotic War, the Decembrist uprising, the abolition of serfdom, etc.
The objective of the work is to analyze the state of musical culture in Russia in the 19th century, identify its features, talk about the composers of this century and their works, and also identify the significance of Russian music of the 19th century for world culture.
Your course work will involve such research methods as study and analysis of literature and documents, generalization, analysis of products of activity, description.
When studying this topic, I will use literature: Encyclopedia “Around the World”, Russian musical literature by E. Smirnova, Nikitina L.D. History of Russian music, etc.
Historical background
musical song culture composer
The 19th century in Russia is associated with major political and social changes, and the War of 1812 and the abolition of serfdom played a large role in this. In literature, poetry, music, and painting, the theme of social inequality has become more acute.
Already in the first half of the 19th century, Russian culture reached a brilliant, dazzlingly bright flowering. Freeing itself from elements of imitation, it finds original and original forms of expression for the most diverse, broadest content and creates great enduring values of universal significance. The work of such brilliant representatives as Pushkin, Lermontov, Gogol in literature, Glinka in music constitutes one of the highest peaks of not only Russian, but also world art.
The Patriotic War of 1812 gave a strong impetus to the rise of public initiative. The patriotism of the Russian people is manifested in an increasing concern for the common good, in a broad awareness of the common interests of the nation, in the desire to raise the level of national culture and well-being.
The Decembrist uprising had a significant influence on the development of Russian culture in the 19th century. All emotions, thoughts, experiences were reflected in many musical works of that time. The era of the Decembrists marked the beginning of the development of revolutionary song in Russia. Great merit in this regard belongs to the figures of the Decembrist movement - Ryleev and Bestuzhev. The traditions of revolutionary song, laid down by the Decembrist poets, were picked up and developed by their contemporaries. The themes of love of freedom and protest, the fight against social oppression, penetrated deeply into everyday songs.
As liberation ideas grew and spread, the government's opposition to them intensified. Already in the second half of the reign of Alexander I, this reactionary course was determined, expressed in the destruction of universities and strengthening of censorship. A long period of unprecedentedly cruel, deaf and merciless reaction reigned in Russian life after the suppression of the Decembrist uprising, together with the accession to the throne of Nicholas I. The existence of democratic journalism, and even more so of political organizations conducting practical revolutionary activities, was impossible in Russia.
Under these conditions, literature becomes especially important; the works of Pushkin, Gogol, and Lermontov become the main mouthpiece of liberation thought.
All of the above creates the prerequisites for the formation of classical schools of Russian national literature and art.
In the development of Russian music, Glinka played a role in many ways similar to the one that belongs to Pushkin in the development of Russian literature. Like Pushkin, Glinka widely accepted and implemented various elements of contemporary artistic culture. Assimilating everything valuable and viable from the heritage of his predecessors, Glinka overcomes their limitations and achieves enormous wealth, completeness of content and perfection of artistic expression. In terms of its internal balance, ideal harmonious integrity and completeness, Glinka’s work turned out to be as indisputable a model and classical norm for subsequent generations as Pushkin’s poetry. Glinka laid the foundation for its worldwide influence with his work. Dargomyzhsky follows Glinka's path in his work. He introduces elements of greater social acuity, everyday and psychological characterization, satire and humor into Russian music, preparing much of what will receive clear expression in the work of the young national school of the 60s. Glinka laid the foundation for its worldwide influence with his work.
From this time on, reports about Russian music began to appear more and more often in the foreign press. A few months before Berlioz's articles about Glinka appeared, the famous French musicologist Fetis wrote about the still young Dargomyzhsky as an original, promising musical talent in Russia.
Historical period 60-80. The 19th century is usually called post-reform - in 1861, by royal decree, serfdom was abolished, which entailed the liberalization of Russian social life. This stage is marked by the high blossoming of artistic culture as an integral and original phenomenon. It was then that a certain system of spiritual and aesthetic values was formed in art, which were embodied in literature and theater, painting and music.
Development of Russian song culture in the 19th century
“It was an age of songs” - this is what the poet G.R. said about the Age of Enlightenment. Derzhavin. The appearance of the song culture of that time was unusually diverse and even multilingual. In everyday life, Russian and French, gypsy and German, peasant and urban, amateur and professional songs are intricately intertwined. The song sounded from the pages of literary works and was published in special collections “to the pleasure of many lovers”, and was performed in the homes of aristocrats.
In the 19th century continued to pay great attention to the study of folklore. Russian composers considered folk music a source of inspiration. They collected folk songs and often used them in their works, without losing the originality of their own musical language.
Some new genres are emerging, old forms (everyday songs, songs on the theme of wanderings, satirical songs) are evolving under the influence of new life content, the nature of images and intonation-expressive means are changing. Everyday folk song responds to major political and social events of national significance.
The Patriotic War of 1812 is widely reflected in it. A whole cycle of songs about the twelfth year, associated with oral folklore tradition, has reached us. They are very diverse in their content and musical and poetic forms. Sometimes they use techniques from old traditional types of folk songs.
The Patriotic War also caused the emergence of expressive lyrical
songs that capture the people's deep sorrow, sadness and grief caused by the grave disasters of their homeland, the devastation of their native land, and the loss of loved ones.
Russian folk song began to enjoy exceptionally wide popularity, spreading in many different arrangements - for choir, voice with accompaniment and individual instruments. From 1806 to 1815, Pracha's collection was published in its second and third editions. On its basis, song collections of a publicly accessible type were created.
The talented Russian musician, who came from serfdom, Danila Kashin, was widely known for his adaptations of folk songs. In 1833-1834 His collection “Russian Folk Songs” was published in three parts. It is as characteristic of its time as Prač’s “Collection” was for the turn of the 18th and 19th centuries. In the early 40s, the second edition of the Kashin collection appeared, which testified to its popularity and great demand for it. In Kashin’s processing techniques, a desire for emphasized sensitivity, sometimes of a somewhat hysterical nature, is clearly noticeable.
Along the same path as Kashin, the interpenetration of folk songs and urban romance intonations was followed by another famous song collector, a serf by origin, Ivan Rupin, who was also a talented singer-performer (his last name was pronounced by his contemporaries with the Italian ending - Rupini) and the compiler of a popular song collection, published in 1831
Along with various everyday refractions of Russian folk song, a lyrical sentimental romance developed, which also enjoyed extremely wide popularity in the most diverse strata of society. Like the “Russian song” of the 18th century, the predominant part of Russian romance was associated with the sphere of home music-making. In the musical language of everyday romance, the simplicity of the means is combined with sincere spontaneity and sincerity of expression. Composers Alyabyev, Varlamov, Gurilev, Verstovsky played an important role in the development of Russian romance of the 19th century (see Appendix 1).
Alexander Alexandrovich Alyabyev(1787-1851) was born into an old noble family. In his youth he served in the army and took part in the Patriotic War of 1812. Subsequently, he left military service and devoted himself to creative activities. Alyabyev is the author of famous romances: “I loved you”, “Winter Road” (both based on poems by Alexander Sergeevich Pushkin), “The Nightingale” and others. " Nightingale"is one of Alyabyev’s favorite and most widespread songs. Everything about it is modest and simple. The song is preceded by a lively piano introduction in the spirit of guitar strumming. From the very first intonations of the vocal part, a captivatingly soft, thoughtful melody unfolds. Wide and smoothly rounded, it immediately captures and captivates with its austere beauty.
Composer Alexander Egorovich Varlamov(1801-1848) - author of popular romances. In total, he created about two hundred works of this genre, mainly based on poems by Russian poets (“Red Sundress”, “A Blizzard is Sweeping Along the Street”, “At Dawn You Don’t Wake Her”, “The Lonely Sail Is White”, etc.). Varlamov was also known as a singer, guitarist, conductor and teacher. He wrote one of the first Russian textbooks for vocalists - “The Complete School of Singing” (1840).
Alexander Lvovich Gurilev(1803-1858) was the son of a serf musician (in 1831, he and his father were freed). Composer, pianist, violinist, violist and teacher, Gurilev became famous as a writer of songs and romances. His most famous songs are “Mother Dove”, “Bell”, “Sarafan”, “Swallow is Flying” and the romances “Separation”, “You Can’t Understand My Sadness”. In addition to vocal lyrics, the composer worked in the genres of piano music, collected and arranged folk songs.
The work of Alyabyev, Varlamov and Gurilev is a valuable contribution to the treasury of Russian music. Their best songs and romances are included in the concert repertoire of singers and choirs; they are sung with love among the people in our time.
Russian school of composition of the 19th century
Mikhail Ivanovich Glinka
Without a doubt, the most prominent representative of the school of composers of the first half of the 19th century is Mikhail Ivanovich Glinka(1804-1857). The work of Mikhail Ivanovich Glinka stands at the origins of the Russian school of composition, and his works, methods of work, attitude to musical genres and traditions were perceived as exemplary in the 19th century. Having received a serious musical education in Europe, Glinka was the first to deeply understand the peculiarities of Russian national music, and largely thanks to this master, European genres received an original interpretation in Russia. Glinka's childhood impressions were reflected in his work. The first years of his life were spent on his father's estate among the rural nature of the Smolensk region. There he learned and fell in love with folk songs and listened to them. The tales of the serf nanny Avdotya Ivanovna, who loved him tenderly and devotedly, deeply sank into the impressionable childish soul of little Glinka.
The events of 1812 made a huge impression on Glinka. Fleeing from the invasion of Napoleonic army, Glinka's family left the estate. The boy heard many stories about the heroism of the partisans and was forever imbued with love and respect for the Russian people, their mighty strength and spiritual beauty.
Music was often played in Glinka’s family’s home life. An uncle who lived nearby had a good orchestra consisting of serf musicians. The music made an amazing impression on the boy; after the concerts he walked around absent-minded. “Music is my soul,” he once said. My uncle’s serf orchestra performed various works, including folk songs. Recalling his childhood impressions, Glinka wrote: “...Perhaps these songs, which I heard as a child, were the first reason that I subsequently began to develop predominantly Russian folk music.”
Glinka’s compositional skills were most clearly demonstrated in two operas - “ Life for the Tsar"("Ivan Susanin") and " Ruslan and Ludmila" He created examples of national Russian opera - heroic-epic opera and fairy tale opera. The subsequent development of these genres is connected with the principles that Glinka laid down.
The opera “Life for the Tsar” (in the USSR in the 30-80s the name “Ivan Susanin” was adopted; 1836) was written on a historical and patriotic plot. The composer turned to the events of the early 17th century. - the struggle of the Russian people against the Polish conquerors. The plot of the work - the feat of Ivan Susanin - was suggested to Glinka by the poet Vasily Andreevich Zhukovsky.
"A Life for the Tsar" is the first Russian opera without spoken dialogue; it is based on continuous musical development. The musical fabric of the work is permeated by choral scenes. In particular, they open (the chorus “My Motherland”) and complete the work (the final jubilant, victorious chorus “Glory”).
At the center of the opera is the image of the Russian peasant Ivan Susanin. The composer emphasizes the moral strength of the hero. For its musical characteristics, the intonations of folk melodies are used. Antonida, Susanin's daughter, is a bright and poetic (“tenderly graceful”, according to Glinka himself) image of a Russian girl. Sobinin, Antonida’s fiancé, is a militia soldier, a daring, fearless man, Vanya is Susanin’s adopted son, “a simple-hearted,” according to Glinka, a boy of thirteen years old. The images of the young members of the Susanin family - Vanya, Antonida, Sobinin - are drawn in the traditions and intonations of an everyday romance song.
Russian images are opposed by a hostile camp of Poles. The detailed choreographic picture represents the “Polish act” of the opera - a magnificent ball in an ancient castle. This symphonic composition conveys the brilliance, grace and pride of the gentry - the Polish nobility. The melodies and rhythms of polonaise, mazurka, and krakowiak sound. The beauty of the music is mesmerizing, but in general the simplicity and sincerity of the “Russian” scenes is contrasted with the ostentatious pomp of the “Polish Act”.
Finally, the two camps collide directly - a Polish detachment comes to the village of Domnino to Susanin and demands that he lead them to the place where Tsar Mikhail Romanov is located. Susanin's scene with the Poles in the thicket of the forest, where he led them to their death, is the climax of the opera. The ending is tragic - the main character gives his life for Russia. At night, in the forest, Susanin performs his dying monologue, the recitative “They sense the truth,” which turns into the aria prayer “You rise, my dawn,” in which the hero asks God for strength to meet the last hour. It conveys both deep sorrow and hope. The music is slow in tempo, strict and focused in mood - reminiscent of church hymns.
The opera “A Life for the Tsar” was performed with great success on November 27, 1836 on the stage of the Bolshoi Theater in St. Petersburg. Leading people of Russian society highly appreciated her.
The consciousness of creative victory inspired the composer to new ideas, and a few years later the opera “Fairy Tale” appeared. Ruslan and Ludmila"(1842). It is written on the plot of the poem of the same name by A. S. Pushkin. The slow development of the musical action is reminiscent of ancient epics and legends. The opera contains folk ritual scenes, colorful pictures of nature, and fantastic images. The world of Russian heroes (Ruslan, Ratmir), the singer Boyan, Prince Vladimir is opposed by the fairy-tale world of wizards - Chernomor and Naina. The heroes are shown with epic seriousness and epic majesty. Chernomor and Naina (as well as Ruslan’s unlucky rival Farlaf) are drawn with an undoubted amount of humor; the author seems to be telling the listener: these are just fairy-tale characters, more comic than evil. The main characteristic of Chernomor, the lord of the magic castle, is a half-joking march. The orchestra plays a big role in creating images. Depicting the kingdom of Chernomor, the composer uses the intonations of Eastern music. Turkish and Arabic dances and Lezginka are performed in front of the listener. The opera “Ruslan and Lyudmila” ends, like any fairy tale, with the victory of good over evil and the triumph of love.
Romances and songs Glinka- the pride of Russian classics. The composer wrote them throughout his life. Glinka's lyrical romances are a kind of confession of his soul. Some of them depict pictures of Russian nature and life. In his romances, Glinka summarized and developed all the best that was created by his predecessors and contemporaries - the authors of everyday romance. Many famous romances, for example “I’m here, Inesilya”, “I remember a wonderful moment”, were written to poems by A. S. Pushkin. Glinka also turned to the works of V. A. Zhukovsky, A. A. Delvig and other Russian poets. Based on the words of the then popular poet Nestor Vasilyevich Kukolnik, the composer created a cycle of twelve romances “Farewell to Petersburg” (1838), as well as the famous romance “Doubt”, which the outstanding Russian singer Fyodor Ivanovich Chaliapin loved to perform.
For the orchestra, Glinka wrote one private symphonic fantasy overture. His best works in this genre are “Camarina” (1848), “Aragonese Jota” (1845) and “Night in Madrid” (1851). "Kamarinskaya", according to the general opinion of Russian composers, laid the foundation for Russian symphonic music. The “Spanish” overtures “Aragonese Jota” and “Night in Madrid” are a brilliant example of Glinka’s mastery of the intonations and style of Spanish music. The piece for orchestra “Waltz Fantasy” (1856) prepared for the emergence of symphonic waltzes by P. I. Tchaikovsky.
Thanks to the work of Mikhail Ivanovich Glinka, the Russian music school achieved recognition in Europe. Subsequent generations of composers, and simply music lovers, have always highly valued the master’s contribution to Russian culture.
Alexander Sergeevich Dargomyzhsky (1813-1869)
Dargomyzhsky is a younger contemporary and follower of Glinka. He entered the history of Russian music as a “great teacher of musical truth”, a brave innovator.
Dargomyzhsky's views were formed in the period of the 30-40s. XIX century, a time of rapid development of Russian culture. He sensitively responded to everything advanced and progressive in Russian art. In his work he was close to the democratic writers and artists of Russia. The connections between Dargomyzhsky’s vocal music and Pushkin, Gogol, and Lermontov are especially close. It is no coincidence that Dargomyzhsky’s best works are based on poems by Pushkin and Lermontov.
In the works of Dargomyzhsky romances and operas occupy a central place. The composer composed chamber vocal music throughout his life: he wrote over a hundred romances, songs, and vocal ensembles. These genres were a kind of creative laboratory for Dargomyzhsky - his musical language was formed in them. The most famous romances are “I Loved You” (based on the verses of A. S. Pushkin), “Both Bored and Sad,” “I’m Sad” (based on the verses of Mikhail Yuryevich Lermontov). They are imbued with subtle lyricism and a mood of loneliness.
A new genre of vocal lyrics appeared in the work of A. S. Dargomyzhsky - satirical song. Vivid examples of such works are the songs “Worm” and “Titular Advisor” (both 50s). Using recitative approaching natural speech, the composer painted expressive social portraits.
Dargomyzhsky's best works include opera "Rusalka"(1855). Based on the text of A. S. Pushkin’s unfinished play of the same name, the composer himself wrote the libretto. “Rusalka” is the first Russian opera in the nature of a psychological, everyday musical drama. The main task set by the composer is to reflect the spiritual world of the characters, their experiences and characters.
In the 60s Dargomyzhsky received wide public recognition. The premieres of his operas were a great success, the composer was elected a member of the committee of the St. Petersburg branch of the Russian Musical Society.
"The Mighty Handful"
The second half of the 19th century - post-reform times, the abolition of serfdom, the liberalization of public life, the flourishing of revolutionary sentiments in Russian society. This stage is marked by the high blossoming of artistic culture as an integral and original phenomenon. It was then that a certain system of spiritual and aesthetic values was formed in art, which were embodied in literature and theater, painting and music.
Musical art has not remained aloof from the burning issues of our time. Populist positions are characteristic of the worldview of many composers who believed in the messianic role of the Russian people, in the triumph of their historical spiritual feat. The music reflected the entire spectrum of intense moral quests of the Russian intelligentsia of those years and embodied ideals inspired by time in musical images. Some masters idealized Russian history and the purity of folk life, others believed in the self-improvement of the individual based on the laws of folk ethics, while others sought to embody in their work a certain prototype of folk culture, born from an ever-living source - pristine nature.
The genre uniqueness of Russian music is closely related to the “literary-centrism” characteristic of the artistic culture of the post-reform era. Generated by the aesthetics of realism, it expressed itself in the priority role of the word, artistic and journalistic. The leading genre of music at this time was opera - historical, epic, lyrical, dramatic. Other synthetic musical genres continue to develop - romance, song. Vocal music supplements the “musical encyclopedia” of Russian poetry, enriching it with social, accusatory and lyrical-psychological images.
The second half of the 19th century is the time of the emergence of the partnership, which received a light hand from the critic V.V. Stasova, name "The Mighty Handful". It included M.A. Balakirev, Ts.A. Cui, M.P. Mussorgsky, N.A. Rimsky-Korsakov, A.P. Borodin.
“The Mighty Handful” is an outstanding phenomenon of Russian art. She left a deep mark on many spheres of cultural life in Russia - and not only in Russia. In the next generations of musicians - right up to our time - there are many direct heirs of Mussorgsky, Borodin, Rimsky-Korsakov, Balakirev. The ideas that united them, their progressive views, became a model for leading artists for many years.
The head and leader of the “Mighty Handful” was Miliy Alekseevich Balakirev(1836/37-1910). He is one of the founders (1862) and director (1868-73 and 1881-1908) of the Free Music School. From 1867 to 1869 - conductor of the Russian Musical Society, and from 1883 to 1894 manager of the Court Singing Chapel. His most famous works are the “Overture on the Themes of Three Russian Songs” (1858), the symphonic poems “Tamara” (1882), “Rus” (1887), “In the Czech Republic” (1905), and the oriental fantasy for piano “Islamey” ( 1869), romances, arrangements of Russian folk songs, etc.
Among the composers of the “Mighty Handful” Modest Petrovich Mussorgsky(1839-1881) was the most prominent exponent in music revolutionary democratic ideas60s gg. XIX century. It was Mussorgsky, more than ever before, who was able to comprehensively, with great accusatory power, reveal in music the harsh truth of the life of the Russian people, to recreate, as V.V. Stasov said, “the whole ocean of Russian people, life, characters, relationships, misfortune, unbearable burden, humiliation.” . Whatever Mussorgsky wrote: operas, songs, choirs, everywhere he acts as an angry and passionate denouncer of social injustice.
In 1863, the composer began composing the opera “Salammbô” (based on the novel of the same name by the French writer Gustave Flaubert), and in 1868 - the opera “Marriage” (based on the unchanged text of N. V. Gogol’s comedy). Both works remained unfinished, but prepared Mussorgsky for the creation of the opera Boris Godunov (1869), which became a significant phenomenon in Russian music.
The full power of Mussorgsky's talent was revealed in opera "Boris Godunov"based on Pushkin's tragedy. In this tragedy, Mussorgsky was attracted by the opportunity to show in the opera the awakening of the power of the people, which results in open discontent, and in the end - in a spontaneous uprising. The main idea of the opera is the conflict between the criminal Tsar Boris and the people, leading to an uprising. The composer's attention was focused on revealing the main idea: the clash between the king and the people. The people in Mussorgsky's opera are the main characters. Despite the great importance of crowd scenes, the main attention in the opera is paid to characterizing the inner world of the characters. In the foreground, of course, is the image of Boris, which is revealed through extensive monologue scenes. Brilliantly mastering the recitative technique, Mussorgsky conveys in music the hero’s state of mind - vague anxiety, grief and depression, painful torment of conscience, fear and even hallucinations. The orchestra part in opera is very complex. He flexibly follows the voice, adding important psychological nuances to the vocal part. This opera is close in spirit to the revolutionary-democratic sentiments that existed in Russian society in the 60-70s. XIX century.
In 1872, the composer began work on the opera “Khovanshchina,” which he himself called “folk musical drama.” At the same time, he wrote a work of a completely different type - the lyric-comedy opera “Sorochinskaya Fair” based on the story by N.V. Gogol (remained unfinished).
According to contemporaries, Mussorgsky was an excellent pianist. As a tribute to his favorite instrument, he created a large piano suite of ten pieces "Pictures at an Exhibition"(1874). The idea for the suite was inspired by the posthumous exhibition of the works of his friend, artist and architect Viktor Aleksandrovich Hartmann. The cycle begins with an introduction, which becomes the leitmotif of the work. The author called it “Walk” for a reason: it conveys the visitor’s movement through the exhibition halls. This is followed by individual “pictures”: “Gnome”, “Old Castle”, “Tuileries Garden”, “Cattle”, “Ballet of Unhatched Chicks”, etc. The introductory music is periodically repeated, and thanks to this the cycle acquires unity and is perceived as an integral composition.
Mussorgsky is the author of famous songs and romances. The first published song “Where are you, little star...” (words by the poet and translator Nikolai Porfiryevich Grekov) gave rise to a lyrical theme in the composer’s vocal work, which reached its peak in the fantasy romance “Night” (words by A. S. Pushkin). Funny sketches of Russian family life are presented in the romances “But if I could meet you” (words by the poet Vasily Stepanovich Kurochkin) and “Svetik Savishna” and “Seminarist” (words by the composer).
Mussorgsky is a truly folk composer, who devoted all his work to the story of the life, sorrows and hopes of the Russian people. His creativity was so original and innovative, which still has a strong impact on composers from different countries.
Alexander Porfirievich Borodin (1833-1887) -a uniquely unique composer. In music he continued in many ways the traditions of Glinka. In his music, Borodin embodied the greatness and power of the Russian people, the heroic character traits of the Russian people, the majestic images of the national epic. And along with this, in Borodin’s work there are lyrical, sincere images, full of passion and tenderness.
Borodin is one of the creators of Russian classical symphony(2nd, " Bogatyrskaya", 1876, which opened the heroic-epic direction in Russian symphonism; symphonic picture “In Central Asia”, 1980), Russian classical string quartet. Master of vocal lyricism (“For the shores of the distant fatherland”); introduced images of the heroic epic into romance, embodied the liberation ideas of the 60s. 19th century (“The Sleeping Princess”, “Song of the Dark Forest”).
A remarkable work of ancient Russian literature of the 12th century - “The Tale of Igor’s Campaign” - fascinated Borodin, fascinated him and inspired him to create an opera. The Lay told about the unsuccessful campaign of the brave Prince Igor against the Polovtsians. The author called on the princes to unite, and this patriotic orientation of the work contained its progressive role. Borodin created his grand opera based on this plot "Prince Igor"(completed by Rimsky-Korsakov in 1890).
“Prince Igor” is a lyric-epic opera in 4 acts with a prologue. The music of the opera is largely based on the intonations of folk songs - Russian and Eastern. Folk scenes, both Russian and oriental, are painted in bright colors. In this, Borodin was a follower of Glinka, who also found artistically convincing characteristics to depict the camp of enemies.
Nikolai Andreevich Rimsky-Korsakov (1844-1908).Among the composers of The Mighty Handful, Rimsky-Korsakov occupies a special place. With his work, Russian music blossomed in full bloom. fairy tale. His whole life is a selfless and disinterested service to art, loyalty to his ideals.
The range of themes and plots embodied by Rimsky-Korsakov is wide and varied. Like all the “Kuchkists,” the composer turned to Russian history, pictures of folk life, images of the East; he also touched upon the area of everyday drama and the lyrical-psychological sphere. But Rimsky-Korsakov’s talent was most fully revealed in works related to the world of fantasy and various forms of Russian folk art. A fairy tale, legend, epic, myth, ritual determine not only the theme, but also the ideological meaning of most of his works. Revealing the philosophical subtext of folklore genres, Rimsky-Korsakov reveals the worldview of the people: their eternal dream of a better life, of happiness, embodied in the images of bright fairy-tale countries and cities (the kingdom of Berendee in “The Snow Maiden”, the city of Lollipop in “The Tale of Tsar Saltan”); his moral and aesthetic ideals, personified, on the one hand, by the captivatingly pure and gentle heroines of operas (the Princess in “Kashchei the Immortal”), on the other, by legendary singers (Lel, Sadko), these symbols of unfading folk art; his admiration for the life-giving power and eternal beauty of nature; finally, the ineradicable faith of the people in the triumph of the forces of light, justice and goodness is the source of optimism inherent in the work of Rimsky-Korsakov.
The features of the composer's style and artistic method were most fully revealed in operatic creativity. Rimsky-Korsakov's 15 operas represent an extraordinary variety of genre, dramatic, compositional and stylistic solutions. Among them are works that gravitate towards a number structure (“May Night”, “The Snow Maiden”, “The Tsar’s Bride”) and continuous development (“Mozart and Salieri”, “Kashchei the Immortal”, “The Legend of the Invisible City of Kitezh”, “Golden cockerel"); operas with large crowd scenes (“Pskovite”, “May Night”, “Snow Maiden”, “Mlada”, “Sadko”, “Kitezh” and without them (“Mozart and Salieri”, “Vera Sheloga”, “Kashchei the Immortal”) , with expanded complete ensembles (“The Tsar’s Bride”) and without ensembles (“Mozart and Salieri”, “The Golden Cockerel”). In each specific case, the choice of genre, the principles of dramatic and stylistic solutions are determined by the plot prerequisites. “I have never believed and do not believe,” Rimsky-Korsakov emphasized, “in one single true operatic form, believing that as many plots as there are in the world, there should be as many (almost as many) corresponding independent operatic forms. While affirming the view of opera as a work primarily of music, Rimsky-Korsakov at the same time made high demands on its poetic basis, unity and consistency of literary style. He actively directed the work of librettists. The composer wrote a number of opera librettos himself.
Rimsky-Korsakov's symphonic work is not so large-scale and diverse in comparison with opera. However, he made a bright and original contribution to this area. The imaginative concreteness of the composer's musical thinking determined his penchant for programmatic (mainly pictorial, visual) and genre (associated with folk song and dance themes) symphonism. Hence the characteristic choice of genres and forms - overture (fantasy), symphonic picture, suite and a certain direction of style - a tendency towards variation, ornamentation in the development of material, special attention to the coloristic possibilities of harmony and orchestration.
Rimsky-Korsakov left a huge creative legacy in almost all musical genres. His works are varied in their content, but their main feature is a deep penetration into the life and way of life of the people, their thoughts and aspirations.
The genius Pyotr Ilyich Tchaikovsky (1840-1893)
Among Russian classical composers, the name of Tchaikovsky stands out. It is dear to music lovers all over the world. His works equally captivate and excite all people - professional musicians and the general public. Tchaikovsky dedicated his work to man, his love for the Motherland and Russian nature, his aspirations for happiness, and the courageous struggle against the dark forces of evil. The composer's music contains the whole life of a person with its joy, sorrow, hopes, struggle, despair. And no matter what Tchaikovsky talks about, he is always truthful and sincere.
Tchaikovsky's music style developed in the context of the composer's unconventional ideas about the nature of national identity. In his interpretation of the “national” and “folk,” he followed a different path than the adherents of “Kuchkism.” Russian folklore was not a universal source for him, the fundamental basis of musical language. With the help of generalized, mediated folk song intonations, Tchaikovsky embodied the national image of “Russianness”, Russia, Russian reality in its modern versatility. Therefore, the composer did not set out to use specific genres of authentic peasant folklore in music, but turned to the “intonation vocabulary” of the urban musical life surrounding him. Familiar urban intonations, combined with emotional openness, sincerity and melody, made Tchaikovsky’s music understandable and accessible to the widest audience both in Russia and abroad. That is why Tchaikovsky’s works quickly won the sympathy of Europeans and contributed to the international recognition of Russian music throughout the world.
Tchaikovsky wrote in almost all genres and in each of them he said his new word as a brilliant artist. But perhaps his favorite genre was opera.In it, Tchaikovsky emerged as a true reformer. The composer imagined opera as the most democratic genre. “Opera,” he wrote, “and it is only opera that brings you closer to people, makes your music closer to the real public...” Opera action is based on strong human feelings and experiences. Tchaikovsky paid great attention to the content of his operas, always giving preference to a plot from Russian life, since it was the Russian people that he truly knew and understood well.
One of Tchaikovsky's best works opera "Eugene Onegin".Long before deciding to write an opera based on the plot of “Eugene Onegin,” Tchaikovsky became passionately interested in Pushkin’s poems. One of his favorite parts of the poetic novel was Tatiana's letter to Onegin, and the composer dreamed of composing music to these words. The first performance of the opera, at the request of the composer, took place by students of the Moscow Conservatory under the direction of N. Rubinstein on March 17, 1879.
Tchaikovsky called his opera “lyrical scenes.” The composer focused all his attention on revealing the inner, spiritual world of his characters.
The opera “Eugene Onegin” is one of the highest achievements of Russian operatic art. The truthful images of Pushkin’s novel helped solve the problem of creating an “intimate but powerful drama”, the characters of which were “real living people”. The personal drama of the characters unfolds against the backdrop of everyday pictures. Various everyday scenes give the opera a special charm.
The innovation of “Swan Lake” - its unusualness and dissimilarity from everything that came before - even if it was not fully understood at once, was immediately noted by both the public and critics, although at times it caused bewilderment among enlightened music lovers. Some reproached the composer for the poverty of his creative imagination, the monotony of themes and melodies, and a certain monotony. Others thought that the music was beautiful, in fact, even too good for ballet. Nevertheless, the premiere of the ballet at the Moscow Bolshoi Theater (February 20, 1877) was a success, and the performance remained in the repertoire until 1883, when the scenery for this production fell into complete disrepair.
The first review in the press, where the creation of a new ballet was appreciated, belonged to G.A. Laroche: “In terms of music, “Swan Lake” is the best ballet I have ever heard... Melodies, one more plastic, more melodious and more captivating than the other, flow as if from a cornucopia; The waltz rhythm that prevails between the dance numbers is embodied in such a variety of graceful and captivating patterns that never has the melodic image of a gifted and versatile composer withstood a more brilliant test...”
At the same time, symphonic music also occupies an important place in Tchaikovsky’s work. He wrote 6 symphonies and the program symphony “Manfred”, three concertos for piano and orchestra, one for violin and a number of orchestral suites. Of the symphonic one-movement plays, the fantasy “Francesca da Rimini” and program plays based on Shakespeare’s plots (overture-fantasy “Romeo and Juliet”, fantasy “The Tempest”) stand out especially.
The range of the composer's creative interests is unusually wide. His legacy includes ten operas (Eugene Onegin, Ondine, Blacksmith Vakula, The Queen of Spades, etc.), three ballets (Swan Lake, Sleeping Beauty, The Nutcracker), seven symphonies, more than ten orchestral works, instrumental concerts, choral and piano music, chamber and vocal works. In every field, Tchaikovsky was an innovator, although he never sought to be a reformist. Using traditional genres, the composer found opportunities to update them.
“I would like with all the strength of my soul,” wrote Tchaikovsky, “for my music to spread, so that the number of people who love it, who find consolation and support in it, increases.”. The composer's wish came true.
Tchaikovsky's work is the pinnacle of world musical culture of the 19th century - an ever-living and precious spring from which composers of the 20th century and our contemporaries never cease to draw inspiration.
Conclusion
The 19th century gave Russian and world music wonderful works. “Ruslan and Lyudmila” and “Ivan Susanin”, “Eugene Onegin” and “Swan Lake” are the pride of Russian culture. The golden fund of Russian music includes works by Borodin, romances by Balakirev, Rimsky-Korsakov, Borodin, Cui.
Russian composers began to travel abroad. There they communicated with prominent masters of musical art, and most importantly, received a European musical education. Russia aroused reciprocal interest in Europe, and throughout the century many outstanding musicians toured Moscow and St. Petersburg. Introduction to European culture not only increased the intellectual and professional level of Russian composers and performers, but also helped them to better understand the traditions of national music and to get to know themselves better.
Who is America's favorite Russian composer these days? Of course, Tchaikovsky. Many Americans even consider Pyotr Ilyich an American composer. He was conducting his works in America when he was invited to the opening of the famous Carnegie Hall in New York. His music is heard almost daily on the radio in America, especially the 4th and 6th symphonies and the 1st piano concerto. America's favorite ballet is The Nutcracker.
The work of classical composers Glinka, Dargomyzhsky, Borodin, Rimsky-Korsakov, Tchaikovsky is a true treasure of Russian culture of the 19th century. Their traditions found implementation and development in the works of composers of the late 19th and early 20th centuries - Taneyev and Glazunov, Lyadov and Arensky, Kalinikov, Scriabin and Rachmaninov. All of them are worthy successors to their great predecessors.
In my course work, I showed the musical development of Russia in the 19th century, analyzed the state of musical culture, identified its features, talked about the composers of this century and their works, and also revealed the significance of Russian music of the 19th century for world culture.
Russian musical culture of the 19th century, through merging with European culture, through its transformation, acquired original special features and began, in turn, to have a significant influence on it, developing to this day.
Bibliography
1. Great Soviet Encyclopedia
2. Levashova O., Keldysh Y. History of Russian music - M., 1980
Encyclopedia Around the World
Smirnova E. Russian musical literature - M., 2001
Nikitina L.D. History of Russian music-M., 1999
Rapatskaya L.A. History of Russian music: From Ancient Rus' to the “Silver Age” - M., 2001
7.www.rimskykorsakov.ru
Annex 1
Gurilev, Varlamov, Alyabyev, Verstovsky
Fedor Ivanovich Glinka
Sketch of Svetozar's costume. Opera "Ruslan and Lyudmila"
Appendix 2
Peter Ilyich Tchaikovsky
Ballet “The Nutcracker” with the participation of Bolshoi Theater actors
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The origins of Russian music go back to the creativity of the East Slavic tribes that inhabited the territory of Ancient Rus' before the emergence of the first Russian state in the 9th century. The oldest types of East Slavic music can be judged hypothetically from individual historical evidence, materials from archaeological excavations, as well as from some survival elements preserved in later examples of song folklore. By the time of the formation of the ancient Russian state with its center in Kyiv, folk song occupied an important place in family and social life, and musical instruments of various types were known. Already in the 6th century, the gusli was one of the favorite instruments of the Slavs.
Ritual folklore associated with pagan religious beliefs and ritual actions that developed during the era of the communal-tribal system became widespread. Many pagan rituals continued to live among the people even after the introduction of Christianity in Rus' (late 10th century), despite severe condemnation and persecution by the church. Until the 17th century, church authorities issued decrees and letters directed against the “demonic” games and songs beloved by the people. Over time, paganism as an integral system of beliefs and ideas about the world died out and the pagan ritual, losing its magical-cult meaning, became an element of the game. But at the same time, the external forms of the ritual and some aspects that regulated its performance were preserved.
In Ancient Rus' there were no developed forms of professional secular music, which determined a particularly large role of folklore in the life of society. The folk song existed not only among the working masses, but also in the highest feudal circles, right up to the princely court. The main carriers of secular artistic culture were buffoons, who were a type of medieval syncretic actor and musician. They differed in social status and the nature of their art. The wandering buffoons who performed in front of the common people on the streets and squares were outside the social hierarchy of feudal society and were deprived of all rights. “Servant” buffoons, who came in the service of feudal lords and princes, were more wealthy and enjoyed the protection of their patron. Among the buffoons there were guslars, gudoshniks, and “svirtsy” (performers on primitive wind instruments). Their repertoire consisted mainly of folk songs and dances. Only in the 17th century, under the influence of general cultural changes, buffoonery lost its significance and was pushed out of the central regions of Russia to the northern outskirts.
With the adoption of Christianity as the state religion at the end of the 10th century, church music began to develop. The forms of Old Russian church singing, and to a large extent, probably even its melodies, were borrowed from Byzantium. From there, the system of fixing them with the help of a special kind of conventional signs was adopted, which was a type of non-numerical writing.
As a result of the rethinking of borrowed Byzantine forms, a completely original type of ancient Russian singing art arose - znamenny singing or znamenny chant. It is not possible to trace the stages of this process, since the early forms of Znamenny writing have not been deciphered.
The first known monuments of ancient Russian musical writing date back to the end of the 11th – beginning of the 12th centuries. At the same time, there was an oral tradition in the practice of church singing. Only in the XV - XVII centuries. All types of church chants were “put on the banner” and singing “on the hooks” (the hook is the most common sign of the znamenny letter) came into general use.
The most important features of the ancient Russian singing art were: strictly consistent monophony, without instrumental accompaniment, smoothness of melodic movement, absence of leaps at large intervals, close connection of the melody with the verbal text, consisting of lines of unequal length, as a consequence of this - freedom of metro-rhythmic organization, asymmetry of the structure of the tunes, building a tune based on ready-made canonized formulas through their concatenation and variant transformation. The sum of the chant formulas that make up the melodic fund of the znamenny chant was covered by the osmoglas system.
In Kievan Rus, along with the usual znamenny, there was a special kind of kondakar singing, distinguished by an abundance of melodic decorations and long chants of syllables.
After the collapse of Kievan Rus, a number of singing schools arose, among which the Novgorod one especially stood out. During the period of feudal fragmentation, Novgorod was the main custodian of ancient Russian singing traditions. Since the end of the 14th century, Moscow has emerged as an all-Russian center of singing art, uniting and synthesizing the achievements of local schools.
In the 16th century, an exemplary choir of sovereign singing clerks was created, which, in addition to participating in royal services, performed the functions of inspecting the state of church singing in the country.
In the middle of the 16th century, a school of Moscow singers and singers emerged, which played an important role in the development of church singing art. Savva Rogov is considered its founder; Fyodor Krestyanin, Ivan Nos, and Stefan Golysh were famous among his students and followers.
During this period, the znamenny chant reached its peak, and many melodic variants arose. From the znamenny chant branched off special varieties of monodic choral singing - demesnic chant and travel chant.
The 17th century was a turning point in the history of Russian music, completing the ancient and at the same time preparing a new period of its development. The crisis of the medieval worldview, the breakdown of the usual structure of concepts and views, was reflected in disputes on issues of church singing, in which two directions collided. One of them sought to strengthen the old tradition through partial reforms, the other put forward and defended new forms associated with a different system of aesthetic views, a different understanding of art in life.
In the middle of the 17th century, cinnabar marks were introduced (letter marks that were placed above the main row of singing signs and indicated the exact pitch of the sound). This system is based on the so-called everyday scale of twelve diatonic steps, divided into four “concords”. Along with the development and systematization of the theoretical foundations of Znamenny chant in the 17th century, its further melodic enrichment took place, new chants and their variants, singing styles or as they were called then chants - Kievan chant, Bulgarian chant, Greek chant arose.
In the second half of the 17th century, a new style of choral polyphony was established - partes singing, which initially developed in Ukraine and Belarus (N. Diletsky, I. Korenev). The simplest types of partes singing were based on the melodies of znamenny chant. The highest form of partes singing was the a cappella choral concert for 8-12 or more voices.
In the 17th century, the harpsichord, organ and other European instruments appeared at the court and in the homes of the enlightened Russian boyars, and home instrumental chapels were created. Music occupied a large place in the court theater (1672 - 1676).
Some of the stylistic forms and genres of Russian music that developed in the 17th century continued to live in the next century. Thus, the partes concert remained the most important type of creativity of Russian composers until the middle of the 18th century. Among its many masters are N. Kalashnikov, N. Bavykin, F. Redrikov.
Under the direct influence of progressive democratic trends in Russian social thought and literature, a national school of composers was formed in the last third of the 18th century. Its representatives sought to combine in their work the stylistic principles and forms of early European classicism with themes and images from Russian life, with the melodic structure of Russian folk songs. The first printed collections of folk songs appeared - Trutovsky, Lvov and Prach. Many of the recordings of folk melodies contained in them were used by composers.
The opera genre occupied the most important place in the work of composers of the 18th century. The most prominent composers of this time were V.A. Pashkevich, E.I. Fomin, D.S. Bortnyansky, M. Berezovsky, I. Khandoshkin and others.
