Great British Composers. Great Composers of the World

B. Britten is one of the most significant composers of the 20th century. His work represents almost all musical genres: from piano pieces and vocal works to opera.

He actually revived English music, which, after Handel's death, had not had a composer of such stature for almost two hundred years.

Biography

Initial period of creativity

Edward Benjamin Britten, British composer, conductor and pianist , born in 1913 in Lowestoft (Suffolk) in the family of a dentist. His musical abilities manifested themselves early: at the age of 6, he already began composing music. His first piano teacher was his mother, then the boy learned to play the viola.

Royal College of Music

At the Royal College of Music in London, he took piano classes and also studied composition. His early works immediately attracted the attention of the musical world - these were “Hymn to the Virgin” and chorale variations “A Child is Born”. Britten is invited to a documentary film company with which he has collaborated for 5 years. He considers this period a good school, where he had to learn a lot and compose even when inspiration leaves and only conscientious work remains.

During this period, he also worked on the radio: he wrote music for radio shows, then began concert activities.

World War II period

In the 1930s, he was already a composer whose works gained worldwide fame: his music was heard in Italy, Spain, Austria and the USA, but the Second World War began, and Britten left England, going to the USA and Canada. The composer returned to his homeland only in 1942. His performances around the country immediately began: in small villages, bomb shelters, hospitals and even in prisons. And when the war ended, he immediately visited Germany, Belgium, Holland, Switzerland and the Scandinavian countries with concerts.

Post-war creativity

In 1948, he organized the Annual International Music Festival in Aldborough, where he settled, to which he devoted a lot of time, effort and money. At the first festival in 1948, his cantata “Saint Nicholas” was performed.

In the early 1950s, Britten participated in the activities of the Organization of Musicians - Supporters of Peace, wrote operas, and in 1956 traveled to India, Ceylon, Indonesia, and Japan. The impressions from the trip were reflected in the score of the ballet “Prince of the Pagodas”. This fairy tale extravaganza becomes the first national “grand” ballet; before that, only one-act ballets existed in England. After this, Britten returned to his favorite opera: Noah's Ark appeared in 1958, and A Midsummer Night's Dream appeared in 1960.

In 1961, Britten created the "War Requiem", which becomes a monument to the victims of the war. It was written for the consecration ceremony of the cathedral in the city of Coventry, completely destroyed by German bombing. “War Requiem” was first performed in 1962. The success was deafening: “Requiem” sold 200 thousand records in the first two months, which indicated the real success of the work.

Ruins of Coventry Cathedral

At the same time, Britten wrote works of a new genre: parable operas. Based on a Japanese story, “Curlew River” was written in 1964. “The Cave Act” (1966) is based on an episode from the Old Testament, and “The Prodigal Son” (1968) is based on a Gospel parable. Britten wrote the “Cantata of Mercy” for the 100th anniversary of the founding of the Red Cross; the cantata is based on the parable of the Good Samaritan. It was solemnly performed in Geneva on September 1, 1963.

Britten and Russia

Having heard M. Rostropovich play for the first time in London, Britten decides to write a Sonata for him in five movements, each of which demonstrates the cellist’s special skill. In March 1963, a festival of English music was held in Moscow and Leningrad, where this sonata was performed by Britten himself and M. Rostropovich. At the same time, Britten’s one-act operas were performed for the first time in Russia by the Small Troupe of the Covent Garden Theatre. In 1964, Britten visited our country again, he established friendly relations with D. Shostakovich, M. Rostropovich and G. Vishnevskaya, even Britten celebrated the New Year 1965 with Shostakovich at his dacha.

M. Rostropovich and B. Britten

Shostakovich's music has a noticeable influence on Britten's work. He writes a Cello Concerto and dedicates it to Mstislav Rostropovich, and a cycle of songs based on Pushkin’s poems to Galina Vishnevskaya. Shostakovich dedicates his Fourteenth Symphony to Britten.

The last time B. Britten visited Russia was in 1971. D. Shostakovich died in 1975, and Britten died in 1976.

The works of B. Britten

Britten is considered the founder of the revival of opera in England. Working in various musical genres, Britten loved opera most of all. He completed his first opera, Peter Grimes, in 1945, and its production marked the revival of the national musical theater. The libretto of the opera is based on the tragic story of fisherman Peter Grimes, who is haunted by fate. The music of his opera is diverse in style: he uses the style of many composers depending on the content of the scene: he draws images of loneliness and despair in the style of G. Mahler, A. Berg, D. Shostakovich; realistic genre scenes are in the style of D. Verdi, and seascapes are in the style of C. Debussy. And all these styles are ingeniously united by one thing - the Britten style and flavor of Britain.

The composer spent his entire subsequent life composing operas. He created chamber operas: “The Desecration of Lucretia” (1946), “Albert Herring” (1947) based on the story by G. Maupassant. In the 50-60s. creates the operas “Billy Budd” (1951), “Gloriana” (1953), “The Turn of the Screw” (1954), “Noah’s Ark” (1958), “A Midsummer Night’s Dream” (1960) based on the comedy of W. Shakespeare, a chamber opera “Carlew River” (1964), the opera “Prodigal Son” (1968), dedicated to Shostakovich, and “Death in Venice” (1970) by T. Mann.

Music for children

Britten also writes for children, and conceives the music for educational purposes. For example, in the play “Let's Do an Opera” (1949), he introduces the audience to the process of its performance. Back in 1945, he wrote a variation and fugue on a theme by Purcell, “A Young Listener's Guide to the Orchestra,” in which he introduces listeners to the timbres of various instruments. S. Prokofiev has a similar children's opera - “Peter and the Wolf”.

In 1949, Britten created an opera for children, The Little Chimney Sweep, and in 1958, the opera Noah's Ark.

B. Britten performed a lot as a pianist and conductor, touring around the world.

No matter how ironic it may sound, we must admit the truth of the statement that England is a country where the public is very musical, but there are no musicians!

This problem is all the more interesting because we know well how high the musical culture of England was in the era of Queen Elizabeth. Where did the musicians and composers disappear to in England in the 18th and 19th centuries?

It is not difficult to give a superficial answer. Great Britain was engaged in trade, acquired colonies, carried out gigantic financial transactions, created industry, fought for a constitution, played a game of chess on the huge board of the globe - and she did not have time to bother with music.

The answer is tempting, but not true. After all, this same England gave humanity great poets: Byron, Shelley, Burns, Coleridge, Browning, Crabbe, Keats, Tennyson, but can you name everyone on this list of fame; Merchant England gave birth to wonderful artists: Hogarth, Constable and Turner. The size of the chapter does not allow us to list here the names of all the masters of prose in England in the 18th-19th centuries. Let us mention only Defoe, Fielding, Sterne, Goldsmith, Walter Scott, Dickens, Thackeray, Stevenson, Meredith, Hardy, Lamb, Ruskin, Carlyle.

So, the above argument is untenable. It turns out that merchant England stood at its best in all forms of art with the exception of music.

Perhaps we will come closer to the truth if we follow the train of thought of the musicologist Goddard. In the book “Music of Britain in Our Time” he writes: “English music lives first with admiration for Handel, then for Haydn; in the Victorian era this admiration gave way to adoration for Mendelssohn, and this adoration made Mendelssohn’s works not only the criterion, but the only breeding ground for music. There simply was no organization, association or class that was inclined to support English music.”

Although this explanation sounds somewhat crude and unlikely, nevertheless, if you think about it carefully, it is quite acceptable. The English aristocracy, as is well known, solely out of snobbery demanded Italian conductors and singers, French dancers, German composers, since it did not consider listening to its musicians a sufficiently secular thing, just as it did not go to Scotland or Ireland, but to Italy or Spain. , to the African jungle or to the icy world of fiords. Thus, national English music could be heard only when the rising and victorious bourgeoisie felt strong enough not to imitate the “high society” in the field of theater, music, opera, but to go where its mind, heart and taste. But why was the English bourgeoisie able to find literature and poetry to their liking, and why did this not happen with music?

Yes, because the rising bourgeois brought with him the ideals of the Puritans, and with pious horror rejected the splendor of the opera stage, as a phenomenon born at the instigation of the devil. The 19th century had to come with its rationalism, freer thinking, more distant from religion, a more secular and, one might say, high-society outlook on life, for the English bourgeois to turn to music, for the era to come that ensures the right to a life full of lively dancing , sparkling with cheerful laughter in the opera buffa of Arthur Sullivan (1842-1900), in order to awaken an understanding of the cantatas of Hubert Parry (1848-1924), they discovered Edward Elgar (1857-1934), who, still looking askance at biblical traditions, gifted the English public with a number of oratorio: “The Apostles”, “The Light of Christ”, “King Olaf”, “Dreams of Gerontius”. Elgar is already enjoying popularity and recognition. He is the king's court musician. He alone is showered with as many awards as have not been received by all English musicians famous in the history of music from the Renaissance to the present day.

But the influence of the continent's music still remains strong. Thus, following in the footsteps of Elgar Frederick Delius(1863-1934) studies in Leipzig and Paris frees him from the influence of Mendelssohn, where he meets Strindberg and Gauguin and what, perhaps, meant even more to him than the meeting with these great people, was the meeting with the city itself on the banks of the Seine , with the French people, with Gallic wit.

Delius wrote the following operas: Koanga (1904), Rustic Romeo and Juliet (1907), Fennimore and Gerda (1909).

Delius lived in a French environment and, despite a respectable desire for creative freedom, could not completely free himself from the influence of the music of the continent.

The first real English composer of the 19th century was Ralph Vaughan Williams(1872), singer of English nature, English people, expert in English folklore songs. He turns to the ancient poet Banayen and the 16th century composer Tellis. He writes a symphony about the sea and London. He paints a musical portrait of the Tudors, but most readily makes English folk songs sound.

In the camp of English composers of the 19th century, he has a special place, not only because of his excellent technique, amazing taste and fruitfulness, but also because he has qualities that were given only to Dickens or Mark Twain: he knows how to smile indulgently, somewhat ironically, with narrowed eyes, but in a human way, as the above-mentioned great writers did.

He wrote the following works for the stage:

Lovely Shepherdesses, The Mountains (1922), Hugh the Rider (1924), Sir John in Love (1929), Service (1930), The Poisoned Kiss (1936), Sea Robbers (1937), Pilgrim's Success (1951).

Vaughan-Williams' contemporaries, innovative English musicians, are trying to develop the style of a new English opera. There is no shortage of traditions: composers of this era revive the traditions of ancient opera-ballads, resurrect the spirit of Gay and Pepusha: they mix sublime feelings with burlesque, pathos with irony; but most of all, English poetry inspires - a treasury of poetic beauty, a world of thoughts.

Among the English composers of the late 19th and early 20th centuries, we will mention only those who contributed to the formation of modern stage music.

Arnold Bax (1883-1953) became famous as a ballet author.
William Walton (1902) achieved great success with the opera Troilus and Cressida (1954).
Arthur Bliss (1891) attracted attention with his opera “The Olympians” (1949) based on Priestley’s libretto.
Eugene Goossens (1893-1963) appeared on the English opera stage with Judith (1929) and Don Giovanni de Manara (1937).

But the works of Benjamin Britten brought world success to English opera.

The origins of A. m. go back to the muses. the culture of the Celtic tribes that inhabited the British Isles from the 4th century. Samples of the ancient oral folk song tradition have been preserved, the bearers of which were bards - singers, performers and creators of epic songs. and heroic. songs. Surviving pictorial, lit. and folklore sources indicate that music has occupied an important place in everyday life and societies since ancient times. English life people. Among peasants, artisans, sailors, and warriors, songs of various genres have long existed: labor songs, related to farming. works, hunting, fishing, romantic sea songs, as well as lyrical, love, comic, and humorous songs. The most ancient genres include "carols" - originally unison religions. chorus hymns, the content of which over time took on a more secular character. Large group in English folklore consists of “songs-ballads” of an epic nature, glorifying the exploits of the national people. heroes, the people's struggle against feudal oppression. During the period of the peasant uprising, led by Wat Tyler (1381), freedom-loving songs arose, calling the people to resist the feudal lords and kings. mercenaries Mn. lyrical ballads are dedicated to people. hero, friend of the poor Robin Hood. Folk A. m. fed from plural. sources. Along with the British they created their own music. art-Scots, Irish, Welsh. Under national originality of music. language in the songs and dances of the peoples inhabiting Briton. islands, common features are preserved, manifested in the mode and intonation. and rhythmic melodic structure. For intonation building people A. m. is characterized by the use of ch. arr. Ionian, Dorian and Mixolydian modes. In ancient English music folklore is dominated by songs built on pentatonic scales; elements of polyphony are often present. As a rule, amusement (especially dance melodies) is subordinated to a clear metrical pattern. structure. Ch. are used. arr. simple sizes: 4/4, 6/8, 3/4; complex ones - 5/4, 7/8 - are relatively rare. The tool is widespread among the people. music that arose from shepherd's tunes, hunting signals, but ch. its source was dances and processions. Among the popular people. dances - giga, country dance, hornpipe. They were accompanied by playing the pipe (pipe), flute (recorder), primitive violin, drum (tabor), etc.

With adoption in the 6th century. Christianity is being developed by the church. music. Over the course of many centuries, the formation of prof. in England is associated with it. music lawsuit Bas-reliefs depicting angels and monks singing and playing music have been preserved. music instruments (primitive harps, lyres, zithers, pipes). Church ritual of the early Middle Ages, which developed under the influence of Catholicism. Rome and strictly regulated the forms of muses. everyday life, allowed only unison singing without regular meter - the so-called. plainsong. This tradition was introduced in the beginning. 6th century the first Archbishop of Canterbury monastery, Augustine, who arrived in England from Rome. In the 9th century Anglo-Saxon scientist A. Alcuin (nicknamed Flaccus) outlined in music theory. fragment of the theory of the 8th church. frets From the 10th century The unison chant of Gregorian chant is enriched with two-voice techniques with a predominance of parallel fourth-fifth movement of voices. The choir is developing. polyphony. About the character of the Middle Ages. chorus Polyphony is illustrated by non-neutral records (see Neums), the earliest of which date back to the 11th century. More recent data allows us to draw a conclusion about the intonation-modal nature of English. cult music. It was based on ancient churches. okay, ch. arr. Ionian, Mixolydian and Aeolian. To the choir. polyphony, along with the parallel movement of voices in a fourth-fifth ratio, freer forms of wok combinations are also becoming widespread. parts - Gimel, Faubourdon, allowing parallel movement of thirds and sixths (especially in cadences), crossing voices, melodic. ornaments. Judging by the handicraft. sources kept in Winchester Cathedral, in the beginning. 12th century in Catholic Liturgy there are 3- and 4-voice chants, using imitations. and harmonious means different from plainsong metric. melodic orderliness movements.

With the conquest of England by the Normans, the process of feudalization of the country intensified. The influence of Norman (French) culture is increasing, manifested in architecture, literature and music. In the 11th-12th centuries. a fief is being built. castles, cathedrals, liturgical development is being developed. music. At the same time, new forms of people penetrate into A. m. music creativity, in particular the art of minstrels. These traveling musicians were not only performers of popular songs and epic and romantic ballads. and satirical. content, but often also by their authors. The products they created. passed down through oral tradition. Minstrels contributed to the spread of playing instruments (harp, lyre, lute, primitive violin, bagpipes, trumpet, various types of woodwinds, percussion), as well as their improvement. While in the service of large feudal lords, they participated in the execution of people. religious mysteries, and acted out scenes from gospel tales. The Anglican Church prohibited playing music. instruments and brutally persecuted the minstrels. The minstrels made fun of priests and monks, and certain churches. establishments. In the treatise of the Bishop of Salisbury (1303), directed against the people. musicians, it is said that there is a direct threat that minstrels could pose to the strength of the foundations of the church and the state. However, as historians testify, there were exceptions. Thus, Bishop Oldham of Shernborne himself played the “pagan” harp to attract worshipers, and Bishop Dunstan for the same purpose constructed an Aeolian harp and placed it in the wall of the cathedral. Gradually, throughout the 12th-13th centuries, the attitude of the church. authorities to instr. music is changing. As the feud strengthened. building, the emergence of new crafts and the development of mountains. life in people everyday life begins to spread. forms of free voc.-instrument playing music. There is tolerance towards secular music and its carriers - bards, minstrels. Contrary to the harsh papal and episcopal edicts, the church was forced to allow instr. music into religious use. Playing the organ is introduced into the liturgy. One of the first large organs (400 pipes) built in the 10th century was the instrument installed in Winchester Cathedral. The British Museum contains records of two org. plays belonging to an anonymous author of the 13th century. Along with the organ in the church. stringed (harp, psalterium, dulcimer) and wind (trumpets, flutes) instruments began to be used in music. As the strict tutelage of the church weakens, all types of folk art, and especially poetry, are widely developed. The bearers of secular artistic culture were often the clergy, who at that time represented the most educated segments of the population. Heroic poetry is developing significantly. and lyrical. content, the original forms of people are born. t-ra. Formation of national culture took place in the process of struggle against the pro-French tastes of the Norman nobility, who implanted the French in the conquered country. language and literature. At the same time, the expansion of cultural ties between England and France increased the mutual influence of muses. cultures of both countries. In Worcester Cathedral, Losminster Monastery, etc., muses have been preserved. manuscripts 13 - beginning 14th centuries, containing works borrowed from music. everyday life of the Notre Dame Cathedral in Paris. An excellent example of a choir. polyphony of the Middle Ages - the famous 6-voice “Summer Canon” (“Summer is icumen in”), the earliest (c. 1280) of the samples of folk music that have come down to us. polyphony; it testifies to the high professionalism of the unknown master. In this play of a lyrical-pastoral nature, according to the English. music historians, the influence of the French can be traced. polyphonists. In the 13th century Polyphonic is also developing. the form of a motet, usually in the form of a 3-voice chorale, in which Ch. The part is led by the middle voice (tenor). Non-nominal notation gives way to mensural notation.

The beginning of a new movement in society. and cultural life of England, marked by an anti-feud. uprisings and a wave of heretical religions. teachings that swept the country in the 14th century were reflected in all types of people. creativity and literature. In production forerunner of early English The revival of the outstanding writer and poet J. Chaucer contains references to modern times. to him music, musicians, muses. instruments. The Renaissance is associated with the process of professionalization of musicians and the legalization of their civil rights. In 1469, a guild of minstrels was founded in London, which enjoyed the support of the mountains. authorities. With the king a wok is organized in the yard. and instr. chapels. Music creativity ceases to be anonymous. A school of prof. is being formed. composers, polyphonists, who rely in their work on the experience of people. polyphony and european masters of counterpoint. Amazing music is enriched with a variety of rhythms and music. forms that overcome the limitations of the cantus firmus style.

It means moving forward. composer, one of the first English masters of polyphony J. Dunstable, also known outside England (his works were in the libraries of Rome, Bologna, Modena). According to the few surviving works. Dunstable can be judged by the richness of his imagination and high contrapuntalism. the composer's skill. His work is an example of the bold development of expressive melodicism. style, full-sounding polyphony, contrasting forms using variations. music development material. Dunstable's work was appreciated by his contemporaries; he worked during the reign of Henry VI (1422-61), who not only patronized the muses. art, but also composed sacred music. The composers L. Power and G. Abingdon, who headed the king from 1455, worked at his court. chapel. Following the example of the king. courtyard, noble feudal lords created their own instruments. chapels, often attracting composers and performers from Italy, France and the Netherlands.

With the growth of national self-awareness, interest in people arises. creativity, national literature, which contributes to the gradual weakening of French. influence. Creativity is strengthened. English positions composers winning the sympathy of the middle strata by appealing to the national traditions, developed by prof. music of folklore motives. Vocal lyrics refer to living images and characters of people, glorify the free human personality, the joy of life. Tools are beginning to occupy an important place in the everyday life of city residents. music, new instruments are being developed. genres, church modes give way to the major-minor system, and a homophonic-harmonic system is formed. letter warehouse. At the same time, the development of polyphonics continues. art, enriched with new poetic. images, more juicy and at the same time refined means of muses. expressions. Outstanding musician a monument of this era is the handicraft. wok meeting prod. English composers of the 15th century, so-called "Old hall manuscript", which also includes Dunstable's works. Although not all plays in this collection are free from French influences. style of motet writing, it signified. A.M.'s achievements began to find recognition abroad. This was noted in French and German. and Italian music theorists of the time. In particular, J. Tinctoris associates with the name of Dunstable the emergence of ars nova, the aesthetic and ethical principles of which are based on humanistic principles. ideals of Renaissance art.

The era of the Reformation (16th century) put an end to the secular rule of the Catholics. churches. Mn. monasteries were abolished, churches. lands and property were confiscated in favor of the court, the new nobility and the bourgeoisie. The emerging new living conditions, morals and customs are reflected in the mountains. music folklore (songs of weavers, spinners, street vendors, etc.), as well as in all types of secular music, literature and theater. In the salons of the bourgeoisie and nobility, keyboard instruments appeared - small organ (portable), virginel, harpsichord. At Oxford and Cambridge high fur boots, the foundations of the theoretical are laid. musicology. High level of development of English. music life and music education attracts students from Europe to London. continent. In turn, some English. musicians improve their education in France, Italy, and Germany.

At the early stage of the Reformation, the Anglican Church had not yet developed clear liturgical norms. the use of music, as was the case in Germany, where M. Luther and his followers created hymns and psalms on it. lyrics for choir performance by parishioners. In England after the Reformation, religious music was performed for a long time by Prof. choirs, in which the treble parts were sung by specially trained boys, and the remaining parts by men. Only in 1549 the first collection was published. monophonic psalms in English. language compiled by J. Merbeck; in 1552 - second Sat. (it is still used in the musical practice of the Anglican Church).

Among the English composers of the 16th century outside the country, K. Tai, J. Taverner, T. Tallis (“three big Ts,” as English music historians call them) and W. Bird became famous outside the country. Developing the achievements of their predecessors, they sought to expand their expression. means, widely used complex imitation techniques, bold dynamic. contrasts, elements of chromaticism. To the church large forms appear in music - the mass, the magnificat, developed antiphonal works. Characteristic music. a monument of this period is Taverner's mass “The West Wind”, highly valued in England (after the name of the folk song melody used in it).

The general flourishing of English culture and art. The Renaissance, which began during the reign of Queen Elizabeth (1558-1603), manifested itself in music to a lesser extent than in the theater, which produced such masters as C. Marlowe, W. Shakespeare and B. Johnson. The largest composer of the “golden age of Elizabeth” was W. Bird, who enjoyed the constant patronage of the court, despite his commitment to Catholicism; however, he also composed religious music for the Church of England. In the multifaceted creativity of Byrd, who clearly manifested himself in both sacred and secular music, the new trends of Renaissance art were most fully reflected - the rejection of the harsh asceticism of the Middle Ages, the establishment of the cult of beauty and pleasure. In the preface to the notebook "Psalmes, sonets and songs of sadnes and pietie" (1588), Bird expresses the desire that his music "happily bear a little tenderness, rest and amusement." Gravitation towards the emotional fullness of music. speech led Bird and his followers to the search for living expressive poetry. words. Along with numerous writings of the church. destination he created hundreds of woks. plays based on English poetry poets (songs, arias, sonnets). Bird is considered the founder of the school of English. madrigal. The publication of his first madrigals in London marked the beginning of a passion for English. public and composers with this new genre of secular music for England, which was later developed in the works of T. Morley (his collection of madrigals was published in 1594), T. Wilkes and J. Wilby (all of them are also known as the authors of music for plays by W. Shakespeare and K. Marlowe).

The desire for freedom lyrical. statements characteristic of Renaissance art find expression in chamber instruments. genres. The Anglican Church, which sought to simplify religious music, demanded the abandonment of contrapuntal music. complexities that can only be performed by a professional. chapels. This was an incentive to search for ways to develop polyphonics. style in secular art. Many instruments are being created. fantasies, motets, duets, trios, variations on nar. themes, dance plays for various instr. compositions (often without indicating the composition of the ensemble). These plays are gaining popularity among the aristocracy. and bourgeois homes, often among artisans. Playing the virginel, harpsichord, viol, and lute is widespread. Along with Bird and Morley, J. Baldwin, T. Whitehorn, W. Daman and others write for these instruments. Home music playing is becoming fashionable. (In “The True Gentleman,” G. Peacham’s set of rules of “good manners,” it is recommended “... not only to be able to sight-sing your part with confidence, but also to play it on the viol or lute just for yourself.”)

Queen Elizabeth's successor, James I, continued to maintain the king's prestige. courtyard as a center of music. culture of the country, patronizing literature and art. This was a period of high growth in the art of art. At the end of the 16th century. Following W. Bird, the computers are put forward. J. Dowland (author of lyrical songs with lute accompaniment), J. Bull (organist and virginalist, who wrote over 150 works for these instruments), P. Philips, K. Simpson and others.

At the turn of the 16th-17th centuries. in English music everyday life began to include the so-called consorts (a “commonwealth” of a group of players playing various instruments). The consorts consisted of various number of performers (up to 30-40). This is how the original ones arose. forms of orchestras at court and in the houses of wealthy nobles. Essays for advanced instruments appear. ensembles (polyphonic fantasies, variations, dance pieces). In 1599 T. Morley published “Consort lessons” - collection. instr. plays various authors. Major masters of tools are being promoted. genres using new performers. opportunities for large ensembles to create productions. developed form, with contrasting episodes, different. by the nature of the movement and pace. O. Gibbons in his instr. fantasies, distinguished by honed skill of presentation, contrasts dramatic images with humorous, everyday ones. This principle, close to Shakespearean dramaturgy, reflects a new trend in artistic music - a departure from the “conflict-free” content and uniformity of texture typical of the Middle Ages. motet. Significant contributions to consort literature were made by A. Ferrabosco, T. Lupo, W. Lowes, and J. Hilton (1st half of the 17th century).

To the beginning 17th century English is being formed. music t-r, leading its origin from the people. performances - mysteries. With the rise of English T. A. m. received a new incentive for development. Originally music in English. during this time it was of a subordinate nature, playing the role of a “revitalizing element” in Lent. extravaganza fairy tales or everyday comedies. Importance in the formation of English style. music t-ra had adv. performances - masks, along with dance and pantomime, included songs, and sometimes recitatives with instruments. accompaniment. Dramatic the functions of music in these representations were still extremely limited due to the underdevelopment of the homophonic principle. The authors of the texts and scripts for certain masks were J. Shirley, B. Johnson, T. Carew and other prominent writers and playwrights. Among the composers who wrote music for masks, A. Ferrabosco, N. Lanier, and the brothers G. and W. Laws stand out.

The development of the mask genre did not stop even after the establishment of the spiritual power of the Puritans (1640-60), which followed the English. bourgeois revolution 17th century In the fight against “sinful temptations,” the Puritans expelled music from the church. everyday life, destroyed organs, destroyed muses. instruments, burned notes. The profession of a musician itself was declared “pagan,” which forced some composers to publicly renounce music. Pursuing the church music, the Puritans, however, were tolerant of mask performances that were not intended for a mass audience. Thus, during the period of the Republic, in 1653, there was a fast in London. mask "Cupid and Death" by Shirley with music by M. Locke and K. Gibbons and others. In 1656 post. first English opera - "The Siege of Rhodes" by playwright W. Davenant and comp. G. Lowes, G. Cook, J. Hudson and C. Coleman (music not preserved). Although the influence of the Puritans had a negative impact on the development of AM, it could not stop the overall process of its development - the traditions of the national humanistic were too strong. culture. At the end of the 17th century. Music publishing expanded widely, and music became widespread. clubs that brought together music lovers. In 1672, violinist J. Banister, for the first time in Europe, organized a public concert in London. paid concerts. English the court again attracted the best masters, Charles II created, following the example of the French. string yard Orchestra "24 Violins of the King". Under hand Experienced musician G. Cook resumed the activities of the King. chapels. However, despite the king's attraction to the French. music culture, English were preserved in his chapel. national traditions.

As part of the boys' choir led by Cook under the King. The chapel was 9-year-old Henry Purcell, later a major composer. Purcell created a huge number of products. all genres, marked by an amazing wealth of melody, inexhaustible imagination, technicality. freedom, decades ahead of modern times. him English composers (his immediate predecessors and contemporaries - P. Humphrey, the author of many choruses of spiritual and secular content, and J. Jenkins - contributed little new to the country's musical culture). The most means. Purcell's achievements are associated with the theater. music. The opera "Dido and Aeneas" (1689) is the largest phenomenon in English history. music t-ra. Her music is clearly national. the character of the folk song intonations was implemented, the plot itself was reworked in the spirit of English. adv. poetry. Purcell's innovations in the field of wok. monody, recitative, bold expansion of the expressive means of choral polyphony, and finally his universal mastery of instrumental writing raised AM to a new level of development. Purcell's work completes the brilliant period of artistic history in the era of Shakespeare and subsequent decades. However, Purcell did not have worthy students or successors.

Music life in England at the turn of the 17th and 18th centuries. increasingly submits to the spirit of capitalism. entrepreneurship that influences various aspects of culture and art. Numerous emerge in London. music publishing companies; The organizers of concerts and patrons of musicians are the owners of theaters, clubs, and the owners of entertainment venues. gardens, for which music is primarily a source of income. Even during Purcell's lifetime, an influx of foreigners began to flow into England. musicians. Among them are the French - R. Camber, author of the opera "Pomona" (1671), L. Grabu, who became a 1665-handed. King chapels in London; Italians - violinist N. Matteis, comp. G. Draghi, castrato singer F. D. Grossi; Germans - violinist T. Baltsar and comp. J. Pepusch; Czech G. Finger. In 1705, a theater was opened in the center of London, and Italians began performing on stage every year. opera troupe. Under contract with Italy. composers - G. Bononcini, F. Amodei, A. Ariosti, F. Veracini, N. Porpora - the theater staged their new operas. Italian opera soon conquered English. audience, pushing aside interest in national opera and the works of English. composers who lost their most talented representative in Purcell. Thus ended the heyday of AM and began a period of its long crisis, which lasted until the end of the 19th century.

In English music culture of the 1st half. 18th century The activities of G. F. Handel played a major role. Handel lived in London c. 50 years (1710-59). He easily adapted to tastes and arts. English requirements public, creating St. 40 operas in Italian. style (performed by the London Italian troupe in Italian). German the composer became the center of musical life in England. This was facilitated not only by the bright creativity. Handel's individuality will perform it. skill, but also the energy of the organizer, democratic. the direction of his quest. Handel's influence was especially evident in the choir. music. In his oratorios, main. in antiquity, historical and biblical heroes. stories ("Judas Maccabee", "Samson", "Israel in Egypt", etc.), for the first time in music. The struggle for the freedom-loving ideals of humanity was embodied in the images. Ch. The role in them is assigned to choirs representing the people. Handel's oratorio work summarizes the traditions of English. choral culture. At the same time, elements of operatic dramaturgy play an important role in these oratorios. Handel strove to establish people's democratic ideals in art and set himself ideological and moral goals.

A strong blow to Italian dominance. The opera was created by "The Beggar's Opera", London, 1728) by the English poet and playwright J. Gay and the German composer J. Pepusch, who lived in England. "The Beggar's Opera" is a parody of Italian opera and a vicious satire on the mores of English bourgeois society - was an expression of the democratic opposition. It was a sensational success with the democratic audience (63 performances in the first season) and remained in the repertoire of the English theater for many years, being subject to various stage and musical adaptations. "The Beggar's Opera" gave birth to a new genre of the so-called "ballad opera", reviving the traditions of folk minstrel performances of the 15th century.

In number it means the most. English composers of the 18th century - T. Arn, who created many. prod. for music t-ra, incl. popular comic will conclude the opera "Thomas and Sally" and the music for the mask "Alfred". with the song "Rule, Britannia!" (“Rule Britannia”), which is widely popular in modern times. England; W. Boyce - the first English. composer who wrote the oratorio in English. text "David's lamentation over Saul and Jonathan", 1736); C. Dibdin - singer and composer, songwriter in the folk spirit; M. Arn, who wrote songs and music for the theater; T. Linley, who collaborated with the playwright R. Sheridan. These composers, who created music for the dramatic theater and pleasure gardens of London, were gifted musicians, but their art lagged significantly behind the achievements of the great composers of their time in Germany, Austria, Italy and France; therefore, foreign musicians were invited to England, operas, oratorios, and symphonies were commissioned for them. Among the foreign composers of the 2nd half of the 18th century, J. C. Bach ("London Bach", the son of J. S. Bach, who worked in England in 1762-82). Since 1767, the Italian pianist and composer M. Clementi, considered the head of the English keyboard school, lived in London. An important event in English musical life were the visits J. Haydn (1791-92 and 1794-95), who wrote 12 symphonies in England ("London Symphonies") and made 187 samples. songs. The only English composer who left England to work in Europe. continent, - J. Field (Irish by nationality), lived in Russia from the age of 20. Pianist and author plays and concerts for fp., Field is considered the creator of the romantic genre of nocturne for fp.

From ser. 18th century In parallel with the school of composition, English began to take shape. school of musicologists, among whom the most famous are C. Burney, the author of the major work “A general history of music” ("A general history of music", t. 1-4, 1776-89), J. Hawkins, who wrote "The General History of Music theory and practice" ("General history of the science and practice of music", t. l - 5, 1776), etc.

Music life in England in the 18th century. Ch. appeared arr. in organizing large choirs. festivals that brought together many amateurs and professionals singers to perform Handel's oratorios (since 1715). Since 1724, so-called events have been held alternately in Gloucester, Worcester and Hereford. "Festivals of three choirs" (church), from 1768 - in Birmingham, from 1770 - in Norwich, from 1772 - in Chester, from 1777 - in Manchester, from 1784 - in Liverpool, etc. In 1784 the first Handel Festival took place in London ( in Westminster Abbey, where the composer is buried). Many arise. conc. and other music. societies that influenced the further development of classical music: the Academy of Ancient Music (since 1770, the first concert society in London); "Catch Club" (since 1761), uniting amateur choirs. singing, the largest "Royal Musical Society" (since 1762), "Concerts of Ancient Music" (since 1776; since 1783 - "Royal Concerts") and many others. etc. Due to the increased interest in playing the harpsichord and (later) the fp. (concerts by J. K. Bach, W. A. ​​Mozart, M. Clementi) the production of keyboard instruments is developing. In 1728 it was founded. the J. Broadwood company (the oldest in the world), which initially produced harpsichords, and from 1773 - grand pianos; in 1760 J. Hill founded a company that manufactured strings. instruments and bows (later Hill and Sons). In the 1st half. 19th century England did not produce a single major composer. Even the best from English. musicians could not rise above imitation of the music samples of other European composers. countries, mainly being followers of their mutes. and Italian teachers. None of them were able to express in their creativity the original features of the richest nation. culture of England. It is characteristic that outstanding muses. prod. based on the plots of English masterpieces. arts literature were created by foreigners. composers: "Oberon" by Weber, "Othello" by Rossini, "A Midsummer Night's Dream" by Mendelssohn, written based on works. Shakespeare; "Harold in Italy" by Berlioz, "Manfred" and "The Bride of Messina" by Schumann - after Byron; "Lucia di Lammermoor" by Donizetti - after W. Scott and others.

The repertoire of the London theater "Covent Garden" (founded in 1732) consisted mainly of from production foreign authors, as well as concert programs of the Philharmonic. society (founded in 1813), ch. arr. popularized the symphony. music of Beethoven and other Western-European composers.

English creativity composers ser. 19th century it was eclectic (G. Bishop and M. Balfe created unoriginal operatic works, W. S. Bennett imitated Schumann and Mendelssohn). They did not bring in the national originality in A.M. and C. H. Parry is one of the founders of societies. movement for the revival of English. national music culture, nor C. Stanford, who raised MP. English composers. Both are highly educated and talented musicians, but are better known as teachers and researchers than as composers.

The most striking examples of AM from the late 19th century. - operettas “The Mikado” by Sullivan (1885, author of 14 operettas based on libr. Charles Gilbert) and “Geisha” by Jones (1896), which had great success in other countries.

In the 19th century London is becoming one of the centers of Europe. music life. The following performed here: F. Chopin, F. Liszt, F. Mendelssohn, N. Paganini, G. Berlioz, R. Wagner, G. Verdi, C. Gounod, J. Meyerbeer, A. Dvorak, and later - P. I. Tchaikovsky , A.K. Glazunov and others. Italian played at the Covent Garden theater. a troupe renowned for its masters of bel canto. Concentration has received great development. life. In 1852 the New Philharmonic was organized. society, in 1857 - "Hull Society" in Manchester. Since 1857, London began to regularly hold

Handel festivals (since 1859 - in the Crystal Palace), in which the number of participants reached 4000. Music. festivals were also held in Leeds (since 1874) and other cities. Spirit competitions are organized. orchestras (the first - in Manchester, in 1853). From ser. 19th century There is a growing interest in performing and studying classical music. music, as well as to ancient classical music - the Handel (in 1843), Bach (1849) and Purcell (1861) societies, the society for the study of the Middle Ages, were organized. music art (Plainsong and medieval society, 1888).

In English music The lives of this period appear democratic. trends. In 1878 Nar was created. a concert society that organized popular concerts for residents of poor areas of London; in plural the cities of England arise likes. choirs performing in churches, clubs, and on open stages. The student concerts were particularly successful. chorus teams. The choirs united in numerous numbers. chorus society - Society of Sacred Harmony (since 1832), Association of Choir Musicians (since 1833), King. choral society (since 1871), Bach Choir (since 1875) and many others. etc.

Expansion choir. The movement in England was facilitated by a system of simplified musical notation, the so-called. "tonic - sol-fa", which was introduced in all secondary schools. With the development of music. life, the need for educational institutions grew, which means. music expanded education. In London were opened: King. Academy of Music (1822), Trinity College (1872), King. music college (1883).

At the end of the 19th century. music is developing. science, incl. music lexicography: the 1st volume of "Grove's dictionary of music and musicians" is published, the works of classical music historian D. F. Tovey and theorist E. Prout.

Last decades of the 19th century. English Music historians consider it the beginning of the "English musical revival". A turning point in the history of musical performances was the performance of music for scenes from P. B. Shelley’s lyrical drama “Prometheus Unbound” (1880) by C. H. Parry for soloists, chorus and orchestra, in which he revives the traditions of English. chorus polyphony of the 17th century, and, ch. arr., E. Elgar's oratorio "The Dream of Gerontius", conductor G. Richter, Birmingham. Music the public of England proclaimed the latter the beginning of the formation of a new national. composer school. Elgar managed to overcome the “psychological barrier” of the British distrust of their fatherland. modern music. He created his own style and was recognized as the head of the new school. Elgar's works are marked by the freshness of his music. language and living imagination. Along with "The Dream of Gerontius" in the repertoire of many. orchestras and soloists entered his symphony. variations on the original. theme "Enigma", concertos for violin and cello, 2nd symphony.

In the beginning. 20th century Folklore motifs, which were neglected by English composers, were developed in American music. One of the first musicians to address the national sources, was F. Dilius - the opera “A village Romeo and Juliet” (1901) and rhapsodies for symphonies. orchestra "Brigg fair: an English rhapsody", 1907), "Dance rhapsody", 1908), etc. However, most of his colorful symphonies. poems of elegiac-pastoral content created under the influence of French. impressionists and E. Grieg.

Narrative elements were used more organically and creatively. A. m. in production G. Holst, orc master. letters. Study of folklore music gave him thematic. material for a number of vocals, symphony. and chamber-instrument. essays. Along with this, in his most famous work. - orc. suite (7 pieces) “The Planets” (1918) - the composer’s penchant for mysticism and passion for astrology emerged.

Negro themes. folklore developed in production. different genres S. Coleridge-Taylor, conductor and composer, author of “Song of Hiawatha” - a trilogy for soloists, choir and orchestra. G. Bantock showed interest in the East and Celtic themes.

Revival of the national music contributed to the appearance of works on music. folklore: J. Broadwood - recordings of melodies with lyrics of peasant songs, made by him in 1843 and published by L. Broadwood and J. A. Fuller-Maitland in folk collections. songs “English county songs” (1893) and “English traditional songs and carols” (1908), and ch. arr. works of S. Sharp, who recorded over 3,000 people during the period 1903-24. UK songs and 1600 English songs. settlers from the Appalachian Mountains (North America). These are different songs. genres - ritual, labor, lyrical, comic, fairy-tale or historical ballad songs. content. Music and poetic. the structure of these songs captured the character traits of the people, figurative and phonetic. features of English speech.

The research activities of S. Sharp and his followers (J. A. Fuller-Maitland, M. Karpeles and R. Vaughan-Williams), thanks to the cut, the ancient Scottish, Irish. and Welsh people. songs, aroused interest in music. traditions of the 15th-17th centuries. and to the ancient people. music lawsuit. In 1898, Sharpe founded the People's Society in London. songs, engaged in the study and promotion of English. music folklore (existing until the 70s of the 20th century). In 1911 the Society of English was created. adv. dance (in 1932 transformed into the Society of English Folk Dance and Song). Later interest in national music led to the formation of societies that popularized the creativity of their fatherland. composers (British Musical Society, 1918, etc.).

Creative English achievements early composers 20th century, associated with art. implementation of national music traditions, appealing to the people. music, testified to the approval of the new English. composer school. The most prominent representative of the “English musical revival” was R. Vaughan Williams. Study of folklore art helped Vaughan Williams find his own style and express the features of the people. song art in symphony. and opera music.

Along with Vaughan Williams, staunch advocates and successors of the ideas of the “English musical revival” were J. Ireland, A. Bax, and P. Warlock, who sought to update the content and style of musical music through the development of folk music. national traditions. In the symphony and fp. writings of Ireland national. music the basis is combined with the influence of M. Ravel, C. Debussy and I. F. Stravinsky. Bucks recreated the images of Irl. and English adv. art in program symphonies, symphonies. poems and chamber songs. production; Warlock combined in his person the muses. scientist, English expert music antiquity and songwriter based on English poetry. poets. Based on ancient English stories. legends and operas by R. Boughton (for their production he organized a small theater in Glastonbury). Composers of this generation include F. Bridge (Britten's teacher), but his exquisite music. the language of works, which played a certain role in the development of chamber music, are addressed to a narrow circle of listeners.

Music life in England at the turn of the 19th and 20th centuries. is developing intensively, including provincial cities where music is created. schools, orchestras, choirs. about-va; festivals are organized - in Cardiff (1892-1910), Sheffield (1896-1911), in London - Bach festivals (1895-1926), festivals dedicated to. Elgar (in 1904), F. Dilius (in 1929); competitions are held. The Association of Competitive Festivals was founded in 1905 (in 1921 it merged with the British Federation of Music Festivals). Great importance for the promotion of symphony. music had public “Promenade concerts” (held in London since 1838), which were headed by G. Wood in 1895-1944. Their program includes various types of music. schools, incl. contemporary works English composers. These concerts contributed to the development of the symphony. and oratorio A. m. beginning. 20th century

Along with the fruitful revival of the national movement for A. m. traditions in the music of certain composers of the 20s. The influences of expressionist aesthetics, constructivism, and neoclassicism were felt. A new stage in the development of English. music culture is characterized not only by the strengthening of national trends, but also the increase in prof. skill. The claim of A. Bliss, W. Walton, A. Bush, A. Benjamin, E. J. Moran, M. Tippett, C. Lambert, E. M. Maconkey, X. Ferguson, E. Rabra and others received recognition abroad. All of them continued to develop the traditions of the "English musical revival". Their experience, as well as the achievements of the composers, follows. generations - M. Arnold, J. Bush, J. Gardner, R. Arnell, A. Milner, P. Dickinson and others, confirm the presence of their own national in England. composer school.

A special place among modern English composers are occupied by B. Britten, who enjoys worldwide recognition as one of the greatest musicians of the 20th century. His operatic, oratorio and symphonic works are in the repertoire of the best theaters, orchestras and soloists in the world.

In the works of S. Scott and L. Berkeley, the influence of the French is noticeable. impressionists (the first studied in Germany, the second in France). Some composers of the younger generation (P.R. Fricker, H. Searle, R. Bennett, etc.) from the 2nd half. 40s show interest in the dodecaphonic school of A. Schoenberg (see Dodecaphony). These composers, and later A. Goehr, resorted to the technique of serial writing; their music the language is deprived of national originality. The desire for a compromise between the latest writing techniques and stylistics. features of ancient English. music is characteristic of the quest of P. M. Davis; D. Bedford is involved in experiments in the field of electronic music.

In the 20th century The circle of English has expanded. musicologists; Some of them specialized in a certain area of ​​music, others studied the work of one composer: R. Morris (problems of counterpoint of the 16th century), M. Scott (J. Haydn), S. B. Oldman (W. Mozart), E. Newman (R. Wagner and H. Wolf), C. S. Terry (J. S. Bach), M. A. E. Brown (F. Schubert). Among the authors of the monographic. works and scientific Research - E. Dent, E. Evans, E. Lockspacer, J. A. Westrup, A. Robertson, S. Goldar, J. Mitchell, D. Cook. Studying Russian music was studied by R. Newmarch and J. Abraham. The works of musicologists were published by the King. music association (since 1874), work on the study of ancient instruments - Society named after. Golpin (since 1946). Great contribution to English. musicology were the "Oxford History of Music" by G. K. Colles ("Oxford history of music", 1934), as well as the works of E. Blom, editor of the 3rd and 4th editions. Grove Dictionary.

High artist The level of performance differs. English culture orchestras, including the London Philharmonic Orchestra and the London Symphony Orchestra, as well as the Symphony. Orchestra of the British Radio Corporation (BBC) and Symph. Manchester Orchestra.

She did a lot to popularize ancient instruments. music family Dolmech and especially A. Dolmech; in 1925 he organized an early music festival in Haslemere (Surrey).

To the music theater life of England 1st half. 20th century The leading role still belongs to the Covent Garden opera house (it was closed during the 1st World War 1914-18 and only in 1925 it resumed its activities, again interrupted by the 2nd World War). Since the 20s 20th century his repertoire, as in the 19th century, consists of works. foreign (mainly Italian, French and German) composers, performed by foreigners. soloists. Only a few English the authors saw the post. his operas on the stage of this theater: R. Vaughan Williams - “Hugh the drover” (1924), “Sir John in love” (1930), etc.; G. Holst - "At the Boar's head", 1925); S. Scott - "The Alchemist", 1928), etc. However, none of them remained in the repertoire. New opera companies were created.In the 1930s, operas by English composers along with Western European and Russian classics in English began to be staged at Sadler's Wells in London (this was an important innovation). There were posts: "Dido and Aeneas" by Purcell (1931), "The devil take her" by Benjamin, "Macbeth" by Collingwood (1934), "Troilus and Cressida" by Walton (after Chaucer, 1954), " "The Traveling Companion" by C. Stanford (1935), opera by Vaughan Williams and Britten.

English interest composers to the ballet genre, caused by the tour of Russian. ballet ("Russian Seasons" under the direction of S. P. Diaghilev, held annually in London in 1911-29), contributed to the creation of a national ballet.

In 1931 N. de Valois founded the English. ballet troupe "Vic Wells Ballet", since 1942. "Sadler's Wells Ballet" (its artistic council includes composers A. Bliss and H. Searle). Here's the post. pl. ballets english composers - “Job” by Vaughan Williams (1931), “The Rake’s Progress”, based on the paintings of W. Hogarth, 1935) by G. Gordon, etc.

In 1934, at the expense of philanthropist J. Christie, a theater with 400 seats was built on his Glyndebourne (Sussex) estate, where opera festivals were held every summer with the participation of the best soloists. Originally ch. The conductor and director of the festival's performances were F. Busch and K. Ebert, who emigrated from Germany. Basic The repertoire consisted of operas by W. A. ​​Mozart, then K. Gluck, G. Verdi and other composers of the 19th century, and occasionally modern ones. authors. The Glyndebourne Festivals played a significant role in enhancing the operatic culture of England. Spiritual competitions are becoming increasingly popular. orchestras. In 1930, 200 spirits took part in the London competition. teams.

In the 30-40s. intensive development of music. life manifested itself in the creation of numerous. loves. and prof. music societies and associations: Association of Chamber Music (1934), National. Federation of Music Society (1935), Society of Performers Recording on Records (1937), Commission for the Promotion of New Music (1943), Society "Renaissance" (1944), Society of Viola da Gamba (1948) and many others. etc. Several people work in England. international music organizations: Int. society of modern music (since 1922), Int. Council on Folklore (since 1947).

Mass music Work among the working people of England is carried out by the Workers' Music. Association (Workers Music Association, created in 1936), uniting amateur choirs, orchestras, publishing special. repertoire of popular songs, often political. content. Chairman of the association (since 1941) and author of many others. mass choirs and songs - prof. King Academy of Music composer A. Bush.

During the 2nd World War 1939-45 music. activities in the country were not interrupted. On the initiative and with the participation of pianist M. Hess, concerts were organized in the basement of the National. arts galleries. After the best conc. was destroyed by a bomb in 1941. London's Queens Hall, symphony. concerts were moved to other premises. In 1951 a new large concentrator was opened in London. "Festival Hall" (refurbished in 1965). New conc. halls were also built in the provinces. cities in England. Means. revival in music The life of the country is brought about by annual music. festivals held in Cheltenham (since 1945, dedicated to modern music), Edinburgh (since 1947, International Festival of Music and Theater - a show of foreign opera troupes and symphony orchestras), in London (since 1947), in Aldborough (since 1948, organized by B. Britten and represented by modern A.M.), in Bath (I. Menuhin Festival, since 1948), in Oxford (since 1948), the Mystery Festival and the Art Festival in York (since 1951) , in Coventry (since 1958; in 1962 - festival in Coventry Cathedral), as well as international. music competitions in Leeds, etc.

Means. impact on the development of music. modern culture England is provided with music. radio and television programs. In the 60s pop vocal-instrument was popular. quartet of young singers, so-called the Beatles, who performed characteristic melodies (a combination of elements of black jazz and blues), which inspired imitation in other countries. In the field of entertainment music (musicals, musical revues, jazz), the influence of the USA is noticeable; Jazz music, which has become widespread, is displacing the muses. life of part of the British national. English songs and dances, which negatively affects the formation of their tastes. Creativity pl. modern composers are characterized by various hobbies. avant-garde movements, testifying to the ideological crisis of bourgeois culture in England.

The production of gramophone records in England is at a high level, the gramophone industry is united into large corporations, and the National Record Industry was organized in 1936. Federation of Gramophone Society

Among the English musicians of the 20th century: conductors - J. Barbirolli, T. Beecham, A. S. Boult, G. Wood, R. Kempe, A. Coates, M. Sargent, C. Halle; pianists - L. F. Kentner, F. A. Lamond, J. Moore, T. Mattei, B. Moiseevich, J. Ogdon, M. Hess, M. Limpani, X. Cohen; violinists - A. Campoli, G. Temyanka; violists - U. Primrose, L. Tertis; harpists - E. Parish-Alvars; guitarists - J. Williams; singers - J. Vivien, J. Hammond, K. Shacklock, K. Ferrier, K. A. Novello; singers - J. McCormack, P. Pierce; musicologists and musicians writers - E. Blom, E. Loxpeiser, M. Montagu-Nathan, E. Newman, H. F. Redlich and others.

Literature: Ivanov-Boretsky M.V., Materials and documents on the history of music, vol. 2, M., 1934; Gruber R.I., History of musical culture, vol. 1, part 2, M.-L., 1941; Shneerson G. M., Modern English music, M., 1945; Konen V.D., Ralph Vaughan Williams, M., 1958; Fuller-Maitland J. A., English music in the 19th century, L., 1902; Sharp C. J., English folk song, L., 1907; Warren Ch., The sources of keyboard music in England, L., 1913; Kidson F. and Neal M., English folk-song and dance, Camb., 1915; Davey N., History of English music, L., 1921; Walker E., History of music in England, N. Y., 1924, Oxf., 1952; Dent E. J., The foudations of English opera, Camb., 1928, L., 1949; Hadow H. English music, L., 1931; Scholes F. A., The puritans and music in England, L., 1934; his, The mirror of music. 1844-1944 A century of musical life in Britain... v. 1-2, L., 1947; Gagey E. M., Ballad opera, N Y., 1937: Mayer E. H., English chamber music, L., 1946; Vasharash A. L., (ed.), Britich music of our time, L., 1946; Blom E., Music in England, Harmondsworth, 1947, Feliоwes E. H., The English madrigal composers, L., 1948, Oxf., 1949; Westrup J. A., British music, L., 1949; his, Domestic music under the Stuarts, in the book: Proceedings of the musical associations, LXVII, 1953; Nettel R., Seven centuries popular song, L., 1956; same, The orchestra in England: a social history, L., 1962; Knepler G., Musikgeschichte des XIX. Jahrh., Bd 1, B, (DDR), 1961; Schafer M., British composers in interview, L., 1963; Mackernes E. D., A social history of English music, L., 1964; Austin W. W., Music in 20th century, N. Y., 1966; Mitchell D., The language of modern music, L., 1966; Howes F., Folk music in Britain and beyond, L., 1969; Lee E., Music of the people, L., (1970).

G. M. Shneerson

In 1904, the German critic Oscar Adolf Hermann Schmitz published a book about Great Britain, calling it (both the book and the country itself) “The Land Without Music” (Das Land Ohne Musik). Perhaps he was right. After Handel's death in 1759, Britain made negligible contributions to the development of classical music. True, Schmitz made his condemnation at the wrong time: the 20th century witnessed a revival of British music, which manifested itself in the formation of a new national style. This era also gave the world four great British composers.

Edward Elgar

He did not formally study the art of composition anywhere, but managed from a modest Worcester conductor and bandmaster of the Worcester mental hospital to become the first British composer in two hundred years to achieve international recognition. His first major orchestral work, “Variations on a Mysterious Theme” (Enigma Variations, 1899), brought him fame - mysterious because each of the fourteen variations was written on a unique theme that no one had ever heard. Elgar's greatness (or his Englishness, as some say) lies in his use of bold melodic themes that convey a mood of nostalgic melancholy. His best work is called the oratorio “The Dream of Gerontius” (1900), and his First March from the cycle “Solemn and Ceremonial Marches” (Pomp and Circumstance March No. 1, 1901), also known as “The Land of Hope and Glory” , invariably causes great delight among listeners at the annual “promenade concerts”.

Gustav Holst

A Swede born in England, Holst was an exceptionally exceptional composer. A master of orchestration, his work drew on traditions as diverse as English folk songs and madrigals, Hindu mysticism and the avant-gardeism of Stravinsky and Schoenberg. He was also interested in astrology, and its study inspired Holst to create his most famous (though not his best) work, the seven-movement symphonic suite “The Planets” (1914-1916).

Ralph Vaughan Williams

Ralph Vaughan Williams is considered the most English of British composers. He rejected foreign influences, imbuing his music with the mood and rhythms of national folklore and the work of English composers of the 16th century. Its rich, sad melodies conjure up pictures of rural life. Stravinsky even remarked that listening to his Pastoral Symphony (1921) was like “looking at a cow for a long time,” and he, admittedly, put it even mildly in comparison with the composer Elizabeth Lutyens, who called the “Pastoral Symphony” "music for cows" Vaughan Williams is best known as the author of A Sea Symphony (1910), A London Symphony (1913) and the delightful romance for violin and orchestra, The Lark Ascending (1914).

Benjamin Britten

Britten was, and remains to this day, the last great British composer. His skill and ingenuity, especially as a vocal composer, brought him international recognition comparable to that of Elgar. Among his best works are the opera Peter Grimes (1945), the orchestral work The Young Person's Guide to the Orchestra, 1946, and the major orchestral and choral work War Requiem ( War Requiem, 1961) with lyrics by Wilfred Owen. Britten was not a big fan of the “English traditionalism” characteristic of composers of the previous generation, although he arranged folk songs for his partner, tenor Peter Pears. During his lifetime, Britten was known as a homosexual and a pacifist, although few people knew about his passion, albeit innocent, for thirteen-year-old boys.