Features of historical development

The 17th century stands out as one of the most important stages in the development of the history of the Russian state. In the 17th century major changes and transformations are taking place in Russian social life and culture. These transformations were caused by the end of the development of medieval Rus' and the beginning of a new era associated with Western European culture, which led to a clash of two different systems of thinking and subsequent conflicts. Changes affected all aspects of life in Russia in the 17th century, including culture and art. The path of development of Russian culture in the 17th century. crossed paths with Western Europe. In Russian art, which developed in isolation throughout the Middle Ages until the second half of the 17th century, new forms of Western European art appeared. The way of Russian life is gradually changing.

Processes of historical development in the 17th century. characterized by social conflicts. In the middle of the 17th century. The Russian state is strengthening and expanding, but at the same time, the enslavement of the peasants is gradually taking place, as a result of which serfdom is being established, which for many years has placed a heavy burden on the Russian peasantry. This caused discontent, riots, and peasant wars.

XVII century became one of the most dramatic pages of Russian history. Its beginning was accompanied by unfavorable foreign policy events 1 - the “time of troubles” - years of hard times, which were accompanied by continuous wars that led the country to ruin. Hunger and crop failures, internal contradictions, uprisings of the urban lower classes, the peasant war led by Ivan Bolotnikov (1606), and the fight against Polish intervention characterize the situation at the beginning of the century.

No less dramatic events are associated with the second half of the 17th century, marked by the split of the Russian Church and the movement of the Old Believers, the peasant war led by Stepan Razin, and the Streltsy riots.

The reforms of Peter I introduced major changes to the usual way of Russian life. Successful wars strengthened the Russian state, contributed to the rise of the national self-awareness of the Russian people and led in the middle of the 17th century. to strengthen the power of Russia. At this time, Russia included Ukraine, the Volga region, a significant part of Siberia and the Far East. Many events of the 17th century. were reflected in folk art, in historical songs - songs of freemen, composed in memory of the peasant leader Stepan Razin, many songs were about Ermak, Grishka Otrepyev and the murdered Tsarevich Dimitri, about Peter I.

Russia XVII century experienced long wars, devastation and serious government transformations. A similar situation is developing everywhere at this time. In the 17th century The fight against the counter-reformation is underway, and in many European countries a popular movement is growing in the struggle for national liberation. It acquired a special scope in Ukraine, ending with the reunification of Ukraine with Russia in 1654.

Musical life in the 17th century

The musical life of this time is multifaceted and contradictory. In it, new and old phenomena intertwine and struggle, medieval dogmatic ideas with new European ones. So, in 1648, Tsar Alexei Mikhailovich issued a decree on the expulsion of buffoons and even the destruction of their musical instruments: “Burn the vessels of fortune!” (Such instructions were not given by the princes even in the deep Middle Ages.) But soon, by order of the same Alexei Mikhailovich, the first court theater opened in Moscow, which existed for four years (1672-1676).

Musical instruments are brought to Russia from the West. Not only at court, but also the boyars started playing music in the “German style”; enlightened Westerners began to have organs, clavichords, flutes, and cellos. In the 17th century In Muscovite Rus', non-cult forms of home music playing began to develop - psalms and cants.

From the beginning of the 17th century. The creativity of Russian singers is intensified, many original chants and chants of the local tradition appear, northern tunes are spreading: Solovetsky, Tikhvin, Novgorod, Usolsky and southern ones - Kiev, Bulgarian, Greek. Further development in the 17th century. finds the theory of znamenny notation, which led to reforms undertaken first by Ivan Shaidur and then by Alexander Mezents. Both of them worked to clarify the pitch level of signs: Shaidur introduced cinnabar marks, Mezenets introduced signs that made it possible to decipher Znamenny notation in our time.

History of music of the 17th century. divided into two halves; the first is still associated with the traditions of the Middle Ages, but at this time elements corresponding to the new spirit of the times are already being introduced. From the second half of the 17th century. (with the arrival of Ukrainian singers in Moscow in 1652), a new stage in the development of Russian music began, marked by the appearance of five-linear (Kyiv) notation and polyphony of the harmonic European type.

In the second half of the 17th century. Russian musicians get acquainted with Western European musical culture, with its theory and practice, composition techniques, and new musical genres. A new aesthetics of art is being formed in heated debates. Polemical treatises by adherents of old and new art are born.

The formation of a new style took place within the framework of church music. His statement turned out to be directly related to the reforms of Patriarch Nikon. For supporters of the old rituals, the new Western-style art was an alien, foreign culture; it contradicted the original ancient Russian canon.

The 17th century is a turning point; like all turning points, it is conflict-ridden. New aesthetics of art in the 17th century. contrasts with the old one. This conflict is expressed in art and even in language. Theological, linguistic, linguistic problems - disputes over new translations of sacred books made under Patriarch Nikon - lay at the heart of the conflict between supporters of the old (Old Believers, Old Believers) and the new rite. They were accompanied by a conflict caused by the clash of old and new art. The champions of the old rite, who affirmed the old ideals, saw in Partes music the expansion of the ideological enemy - Catholicism - Catholic influence 2. Supporters of the new art affirm a new aesthetic standard. Western art also became a reference point for Russian musicians of the late 17th century. The West is beginning to be perceived in different ways: for the champions of new art (N. Diletsky, I. Korenev, S. Polotsky, I. Vladimirov) Western culture becomes the standard. They strive to use, repeat, copy the best Western examples. For supporters of the old culture, “zealots of ancient piety,” everything Western is alien, it becomes an object of denial and rejection (Archpriest Avvakum, Alexander Mezenets, etc.).

The principles of the Baroque style are developed in the aesthetics and belief system of Western musicians and theorists. Convicting their opponents of ignorance, rejecting Znamenny singing, its theory and notation, Diletsky and Korenev affirm a new value guideline. Fundamentally new in comparison with the medieval one was the concept of music (musicia), which was used equally in relation to both instrumental and vocal music. Diletsky and Korenev recognize the need to use the organ in the training of musicians, especially composers.

The opposition of these cultures and their open clash caused an irreconcilable conflict, which soon followed. This conflict of the era, reflected in the Old Believers, shook the entire Russian culture of the second half of the 17th century. The rupture that occurred in it manifested itself in music as well as in literature, fine arts, liturgics, and in the way of life.

New music was a symbol of a new religious consciousness, but the struggle took place not only in the sphere of ideology and theological disputes, it was substantively expressed in artistic creativity, in musical polemics. Partes music was associated with Western, Catholic culture. “In Moscow they sing songs, and not divine singing, in Latin, and their laws and regulations are Latin: they wave their hands and nod their heads, and trample with their feet, as is usual among Latin students on organs” 3 - this is how Archpriest Avvakum denounces the new singing of Latin, Western style, which spread in Moscow churches in the 17th century. “There’s nothing to listen to - the buffoon dancers sing in Latin,” he complains 4 .

The desire to preserve and preserve the culture of old times was generally characteristic of many figures of the 17th century who adhered to conservative and protective tendencies. D. S. Likhachev sees in this kind of “restoration” activity a sign of a new time. This type of “restoration” phenomena also includes the new systematization of znamenny notation signs in ABCs. For example, in the “Notice of Concordant Marks” by Elder Mezenets, not only marks were introduced, but also signs that simplified the reading of hooks. Correcting books and singing texts “for speech” and combating polyphony also belong to the same type of phenomena.

Features of the development of Russian art of the 17th century. and lies precisely in the dialogical development of culture. The old, without dying, coexists with the new. With the stabilization of artistic and historical processes, it further continues to develop along two paths: one is the path of broad contacts with Western European culture, going synchronously with the development of European art styles, the other is the path of conservation of the ancient tradition in the communities of Old Believers, who protected their art and old traditions from external ones. impacts over three centuries 5 . At this time, they found themselves in an exceptional position, being the bearers of the old faith and the old culture, surrounded by the rapidly developing new art, they were the guardians of antiquity.

The situation in the second half of the 17th century. close to the situation of the 11th century. Just like in Kievan Rus in the 10th-11th centuries. two different cultures collided - pagan and Byzantine, in the 17th century. old Russian medieval culture comes into conflict with Western European culture. In the 17th century the contradictions of these two cultures are exposed, an opposition arises - “old” and “new”. Associated with the “old” is the ancient, centuries-blessed medieval canonical musical tradition; with the “new” is the Baroque style, partes polyphony of the Western type. The old monodic, znamenny singing, like ancient icon painting - seemingly flat, one-dimensional, was contrasted with the volumetric, polyphonic art of the Baroque. It creates a new sense of space. Its texture, lush, multi-layered, airy, conveys a sense of movement typical of all types of art of the Baroque era.

Under the influence of all the shocks and changes in the 17th century. The foundations of the medieval worldview begin to shake. In the polemics between supporters of old and new art, a new aesthetics is gradually being formed. The replacement of one style direction with another took place in an intense struggle caused by a serious restructuring in worldview. The transition from the art of the Middle Ages to the art of the Baroque was associated with the strengthening of the secular principle, the active development of new musical genres and forms, and a new type of musical thinking.

The path of development of Russian polyphonic music in the Baroque era (from the mid-17th to the mid-18th centuries) is striking in its speed. What Western art has mastered in 700 years, Russia has mastered in a hundred. In Russia, the traditions of Western European Baroque are immediately instilled, but in the Russian version. Young, energetic, fresh Baroque art captivates with its beauty, richness, and full-blooded colors. Polychoral concerts, which spread first in Ukraine and then in Muscovite Rus', amazed listeners with unprecedented splendor.

Baroque art of the late 17th - first half of the 18th centuries. is associated with the appearance of partes concerts (from the Latin partis - party), so called because, unlike unison Russian singing, they were sung in parts. The Baroque era in Russia was associated with the rapid flowering of polyphony. After such a long reign of monody, which lasted almost 700 years, a period of dominance of polyphony begins. Partes polyphonic compositions with 4, 8, 12 - up to 48 voices are created, and works with 12 voices become the norm. Techniques of harmonic and polyphonic writing are being developed. From the middle of the 17th century. a new style of partes singing is being established, corresponding to the Baroque era, which is embodied in partes harmonizations of ancient chants, original compositions, cants, psalms and concerts.

Concert singing, brought to Muscovite Rus' from Ukraine, was a product of European culture. From Germany and Italy, through Poland, it penetrates to Ukraine, and then to Moscow. This path was natural for that period in the 17th century, when many Western influences in art came to Russia mainly from Poland through Ukraine.

Southwestern influence in Muscovite Rus'

In the middle of the 17th century. Russia's direct ties with Western Europe are significantly strengthened, 6 but the influence of the Ukrainian-Belarusian enlightenment, which intensified since the annexation of Ukraine to Russia (in 1654), turned out to be especially important at this time. The unification of Ukraine with Russia contributed to the transformation of Russian culture. Being a part of the Polish-Lithuanian Commonwealth, Ukraine has mastered many features of Catholic Polish culture. At the beginning of the 17th century. In Ukraine, under the influence of Polish culture, new forms of artistic thinking are being formed, which are directly related to Western European influence, especially Italian. Polish culture through Ukrainian musicians from the middle of the 17th century. begins to actively influence the culture of Moscow Rus'.

In the middle of the 17th century. Ukrainian and Belarusian scientists, singers, and scribes move to Moscow. Among them were the Ukrainian philologist, translator, teacher, and dictionary author Epifaniy Slavinetsky, and the Belarusian poet and playwright Simeon of Polotsk, who occupied a prominent position at the Moscow court as a teacher of the royal children.

Thanks to the activities of these educators, new educational institutions are opened - schools, colleges 7. One of these institutions was the Slavic-Greek-Latin Academy (1687), which served as a higher educational institution in which much attention was paid to philology, languages, and poetry. The largest cultural center was the Resurrection New Jerusalem Monastery founded by Patriarch Nikon. As Yu. V. Keldysh notes, the role of this monastery was very significant; here “new trends in the field of poetry and church singing, new musical and poetic genres arose and found support” 8.

Singing in Ukraine has always been given the main place. Ukrainian people were very musical by nature in the 16th-17th centuries. quickly improved his singing skills, which was facilitated by the struggle between Orthodoxy and Catholicism. Ukrainian music was greatly influenced by Polish musical culture. Union 9 of 1596 made it easier for Latin singing to enter the choir. This had a particularly strong effect in the southwestern part of Ukraine, where the political dominance of Poland, the religious dependence of the Uniates on Rome and cultural ties with Poland provided the way for the spread of Western European music.

The penetration of Polish influence was greatly facilitated by numerous southern Russian brotherhoods, which competed with Catholic influence and with each other. The fight against Polish Catholic influence forced Ukrainian singers to learn new singing and use the weapons of their opponents. It is known, for example, that the Lviv brotherhood in the middle of the 16th century. sent clerks to Moldova to study Greek and Serbian chants, and Galician cities sent clerks to study church singing in Romania.

Polyphonic “organ-vocal” singing, that is, imitating the sound of an organ, singing was perceived in Rus' as a “Latin heresy”, a temptation 10. Instead of the previous spiritual poems, psalms and cants were sung, often in Polish. The performing aesthetics have changed. The stern and restrained melodies of the Znamenny chant were replaced by expressive “mellifluous” melodies. The difference between the styles of Ukrainian and Moscow singing was best demonstrated by the Arab writer Pavel Aleppo, who visited Ukraine and Moscow in 1654-1656: “The singing of the Cossacks pleases the soul and heals from sorrows, for their melody is pleasant, comes from the heart and is performed as if from only lips; they passionately love musical notes, tender sweet melodies." In the Moscow “irmoloin” - unison singing, P. Alepsky was surprised by the Russians’ predilection for low male voices: “Their best voice is rough, thick, bassy, ​​which does not give pleasure to the listener. Just as we consider it a disadvantage, so they have our high the tune is considered indecent. They mock the Cossacks for their tunes, saying that these are the tunes of the Franks and Poles" 11.

In Ukraine in the 17th century. A new style of expressive singing is emerging, new types of monodic chants are being created. Ukrainian singing manuscripts of the 17th century. - Irmologions are full of chants of local chants. Their names are most often associated with the place of their origin and distribution in Ukraine - Volyn, Lviv, Ostrog, Slutsk, Kremenets, Podgorsky. Sometimes their chants are associated with the local monastic tradition of singing, most often with large monasteries - Suprasl, Kiev-Pechersk, Mezhigorsky, Kuteinsky. But the most common, which became widely known in Moscow, were three - Kiev, Bulgarian and Greek. They were apparently brought with them by Ukrainian singers who came to Moscow in the 50s. XVII century, and in particular from the singing school of the Kiev Brotherhood Monastery, the founder of which was the famous Ukrainian educator and political figure Lazar Baranovich.

Kievan, Bulgarian and Greek chants were written in Kievan notation; they were associated with the osmoglas system and had some common stylistic features that distinguished them from Znamenny chant. These were stanzaic chants based on repeated repetition of the melodies of stanzas with different texts. In the new chants, a strictly defined meter and rhythmic periodicity appeared, which brought them closer to cants and psalms, which had features of European melodicism, lyrical songfulness and even danceability. This is how the aesthetics of ancient Russian singing culture is gradually changing. Instead of the strict znamenny chant with an endlessly developing, as if soaring melodic without meter, come metrical, simpler and songlike, melodic, easy-to-memorize tunes.

The chants of the Bulgarian chant are distinguished by their expressiveness and melody 12 . Its rhythm is symmetrical, it usually fits into a four-beat meter, the text is chanted moderately, although large intrasyllabic chants are also often found.

Greek chant 13 is characterized by laconicism and simplicity. The melodies of Greek chant are melodious and recitative, with a symmetrical rhythm. They are combined into musical compositions based on varied repetition of lines:

The Kyiv chant is a southern Russian branch of Znamenny chant. It is based on strophicity, line-by-line chanting of the text. In the melody of Kyiv chant there are both recitative and chanting structures; there are often repetitions of individual words and phrases of the text, which was not allowed in Znamenny singing. Kiev chant spread widely in Moscow from the second half of the 17th century. There are two known varieties of Kyiv chant - large and small (a shortened version of the large one).

Along with the Znamenny chant, the most important texts of the Daily Life, everyday chants of the All-Night Vigil and the Liturgy were chanted in Kyiv and Greek chants. There are many of them in the southern Russian Irmologion. With the introduction of partes singing in the second half of the 17th century. Partes polyphonic harmonizations of Kyiv, Bulgarian and Greek chants appeared.

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In the 3rd century BC, a special music and medical center was built in the Parthian kingdom. Here music was used to treat melancholy and emotional distress.

The Egyptians had sacred music, domestic and military. For concerts of sacred music, the lyre, harp and flute were used, for festivals - guitar, pipes, castanets; During their service, troops used trumpets, tambourines, and drums.
Pythagoras studied music in Egypt and made music a scientific subject in Italy. Having received intimate knowledge of the divine theory of music, Pythagoras founded the science of the harmony of the spheres, establishing music as an exact science. It is known that the Pythagoreans used special melodies against rage and anger. They conducted math classes with music because they noticed that it had a beneficial effect on the intellect.

Among the problems of today related to the musical education of youth and young adults, teachers are concerned about the problem of light, entertaining music and the place that this music occupies in the lives of young generations. What is this problem, what are the possible ways to solve it?

The interest of teenagers and young people in light, entertaining, especially dance music is a phenomenon in itself so natural that making a problem out of it is tantamount to turning youth itself into a problem. It is difficult to imagine a girl or boy who is not capable of having fun, who does not like to dance, who does not understand either the charm of a mischievous joke or the charm of lyrical sadness!

An analysis of the results of a sociological study showed that the introduction of young people to musical culture is carried out spontaneously and uncontrollably. Finding a craving for music, young people often imitate the fashionable styles of Western rock music, often without understanding the meaning of the work. Social disorganization occurs, that is, a state of society when cultural values, norms and social connections are absent.

To the sounds of modern pop music, cows lie down and refuse to eat, plants wither faster, and people clutter their living space with chaotic vibrations. Western doctors have introduced a new diagnosis into their lexicon - “music addict”. Swiss scientists have proven that after a rock concert, listeners who attended it react to natural stimuli 3-5 times worse than usual. Professor B. Rauch claims that listening to rock music causes the release of so-called stress hormones, which erase a significant part of the stored information in the brain. American doctors, led by scientist R. Larsen, claim that the repetitive rhythm and low-frequency vibrations of the bass guitar greatly affect the condition of the cerebrospinal fluid, and as a result, the functioning of the glands that regulate the secretions of hormones; the level of insulin in the blood changes significantly.

T.E. Tyutyunnikova says that in the modern world there is a great variety of different music, each has its own place and purpose, has its own listeners and performers, its own teachers and its own pedagogy. There is high music, the artistic value of which is universal - its works are majestic, like mountain peaks, towering above the world of people; there is a primitive one, it disappears before you have time to notice it. There is music that is highly spiritual and at the same time very simple. This is the oldest, primary musical element, elemental in nature.

The current situation in the life of our society differs significantly from that which was characteristic of the second half of the twentieth century. The foundations of culture were shaken. There has been a certain reassessment of values ​​in the minds of people, especially among young people, who, without stable ideological “accompaniment” as they grow up, lose their spiritual guidelines.

The most important direction of school musical work is preparing teenage students for independent acquaintance with high music and for musical self-education. By helping the student change the circumstances under which he is introduced to music, to make these circumstances more “humane”, humanized, without which musical education simply will not take place, the teacher-musician, the leader of an extracurricular musical group contribute to the formation of beneficial internal changes in the spiritual culture of adolescents who acquire in the conditions of familiarization with music, the experience of effective, “practical” humanism.

In my work with students of the 8th grade, I proceed from the following assumption: in order to develop adolescents musically during their education, to introduce them to musical self-education and self-education, it is necessary to solve the following main tasks:

1. to reveal positive ideas about the connection of musical art with human life and society and with all available artistic and educational means to develop in adolescents a readiness for independent participation in the musical life of peers and adults;
2. equip teenagers with musical knowledge and skills that are aesthetically necessary, sensitive and relevant for self-educational activities;
3. form their value judgments about the place, significance and possibilities of musical art in the development of spiritual culture, in the design of humane relations between people;
4. to evoke in adolescents an emotional positive response to highly artistic samples of music, to develop their desire for an aesthetic analysis of musical works, thoughtful, emotional, rich, repeated and versatile education;
5. awaken their desire for musical self-education.

In the theme of the eighth grade, a red thread runs through the idea of ​​tradition and innovation in contemporary art. A convincing example of the synthesis of tradition and innovation is A. Rybnikov’s opera “Juno and Avos”. “Modern opera,” as the composer himself called it, is based on the deep traditions of classical music and uses all the new achievements of modern musical language.

Among the traditions we can include the interpretation of the role of the overture of an opera performance as a brief synopsis, the use of classical genres (aria, recitative, chorus), the division of the opera into musical scenes (prayer scene, ball scene), the leittheme system (Leittheme of Fate, Love, Blessed Virgin), polyphonic method of development - final.

Innovation lies in the interpretation of the opera genre - rock opera, which combines the features of classical opera, musicals and rock music.

What's different from a musical in a rock opera? .

1. Appeal to literary primary sources (A. Voznesensky), saving the plot from Banality.
2. Interweaving “eternal themes” with topical issues.
3. Interweaving of the romantic (the love of Count Rezanov and Conchitta) and the tragic (rock, fate).
4. A combination of modern and classical music (Russian sacred music).
5. Music is an active character.
6. Simplification of musical genres to songs, ballads (“The Ballad of the White Rosehip”).
7. Choir - as a characteristic of the environment, as a character - a “dancing choir” - as a result of which the choral part is significantly lighter.
8. A style of singing that is close to everyday performance, as if “by the way” (rhythmic inaccuracy, melodic inaccuracy - “not singing the melody”, wheezing, screaming).
9. Entertainment, picturesqueness, effectiveness of the production.

What does rock music bring to opera?

1. The dominant importance of rhythm.
2. Ultimate sound saturation.
3. Sharpness, nakedness of expression, which leads to an “anti-musical” manner of singing.
4. The composition of the orchestra is electronic musical instruments, synthesizers.

Now let's analyze the figurative structure of the opera.

In the rock opera “Juno and Avos” by Alexei Rybnikov, there are two destinies - two images. The fate of Count Nikolai Petrovich Rezanov is an image that personifies loyalty to duty and service to the Fatherland. The fate of the daughter of the governor of San Francisco, Conchita, is a bright image of a faithful lover. Their themes are uniquely presented in a laconic overture, which can traditionally be called a “short summary”, a prediction of the destinies of Conchita and Rezanov. The images are woven from sound-depicting intonations: the strikes of the ship's bell symbolize the ringing of the funeral bell for the death of Count Rezanov: who died for the glory of the Russian Fatherland; moaning, howling, crying sound - eternal tears and anticipation of Conchita.

The development of images of the fate of the main characters continues in “Romance of Naval Officers” (A. Voznesensky’s poem “Saga”). The refrain of the romance is two phrases: “I will never forget you, I will never see you.” It is worth paying attention to the modification of these phrases in the romance:

You will never forget me
You'll Never See Me (Conchitta)

I will never forget you

Coming back is a bad omen.
I will never see you (Rezanov)

I will never forget you
I'll Never See You (Conchitta)

Verses 3 and 4 are the semantic climax - death will prevent the count from seeing his beloved, she will wait for the count for 35 years, after which she will take a vow of silence and go to a monastery. In the farewell scene this idea sounds definite, as the refrain is divided:

Count: I'll never see you.

Conchitta: I will never forget you.

But in the fate of N.P. Rezanov there is one mysterious premonition, which was instilled in him by the “look of the Kazan Mother of God.” In the prayer scene there are these words:

A terrible delirium drives me around the world.
I have been sick at heart since my adolescence,
When your eyes fell on me
Mother of God of Kazan!
I did not see the Virgin Almighty in her,
And a woman with cherry eyes.
I wanted to protect her, save her!

An important theme of the opera is man and the Fatherland: loyalty to duty, honest service to the Fatherland. This topic is unusually topical and modern: how many faithful sons does Rodina consider “outcasts”, “prodigal sons”, how many of them remained its “lost plans”! A. Solzhenitsyn, A. Sakharov, A. Galich, V. Vysotsky, A. Tarkovsky, Afghan guys...

A quick analysis of the content of the rock opera “Juno and Avos” by A. Rybnikov suggests a choice of fragments that allow you to get acquainted with the main themes of the work.

Theme of fate: overture, romance of naval officers, farewell scene.

Theme of love: ball scene (acquaintance), “waiting”, epilogue “Hallelujah”.

The versatility of the opera evokes associations with other works of art.

Music: S. Rachmaninov “All-Night Vigil”; P. Tchaikovsky Fantasy Overture “Romeo and Juliet”, E. Grieg “Solveig’s Song”; J. S. Bach - Marcello “Clavier Concerto” in D minor, 2nd movement.

Literature: Love Poems by R. Burns; V. Vysotsky “Ballad of Love”.

Fine arts: Russian icon painting (Our Lady and Child, “The Kazan Mother of God”), K. Vasiliev “Waiting”.

Students will be able to express their understanding and attitude towards Rybnikov’s rock opera “Juno and Avos” in their homework: an essay or a drawing, the topics of which they will choose in accordance with their interests and affiliations. Homework can become a kind of test in determining your life position, depth of feelings and seriousness of thoughts. V.A. Sukhomlinsky said: “Music is a powerful source of thought. Without musical education, a child’s full mental development is impossible.”

All my thoughts and efforts are aimed at raising creatively thinking music lovers, so that music becomes the most important spiritual need, so that a modern young man becomes a creator, a thinker, an active creator of a new life.

Literature:

1. Amonashvili Sh.A. Reflections on humane pedagogy. M., 1996.
2. Amonashvili Sh.A. Anthology of humane pedagogy.
Kabalevsky. M., 2005.
3. Bezborodova L.A., Aliev Yu.B. Methods of teaching music in educational institutions. M., "Academy", 2002.
4. Kabalevsky D.B. Education of the mind and heart. M., “Enlightenment”, 1981.
5. Sukhomlinsky V.A. I give my heart to children. Minsk, “Narodna Osveta”, 1981.

6. Tyutyunnikova T.E. Music is not a scientific discipline. //Elementary School. No. 1, 2000., p. 79.

Federal Agency for Education

Ufa State Academy of Economics and Service

Department of Tourism and Hospitality

COURSE WORK

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 for subsequent generations the same indisputable model and classical norm 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 flourishing 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. The best known are his songs “Mother Dove,” “Bell,” “Sarafan,” “Swallow Floats” and the romances “Separation” and “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 flourishing 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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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. The best known are his songs “Mother Dove,” “Bell,” “Sarafan,” “Swallow Floats” and the romances “Separation” and “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.

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 symphonic works, 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...”