Collection of cheerful urban romances of the 19th century. History of romance

Romance is chamber vocal piece, which is characterized by a poetic form and lyrical content of love themes. In other words, this poetic works for singing with instrumental accompaniment.

The form of a romance is close to a song, only with a limited theme of a love-lyrical nature. The romance is usually performed accompanied by one instrument, most often. The main emphasis in works of this kind is on melody and semantic load.

The birth of romance

The term “romance” itself originated in Spain, where it was used to name secular songs on Spanish, which had to be separated from the religious hymns sung in Latin. The Spanish word “romance” or the late Latin “romanice” is translated as “in Romance” or “in Spanish,” which is actually the same thing. The term “romance” has taken root in many languages ​​in parallel with the term “song,” although in German and English these two concepts are still not separated, denoting them with the same word (German Lied and English Song).

So, romance is a type of song that took shape in the period of the 15th-19th centuries.

Western European romance

From the middle of the 18th century, romance gained particular popularity in Germany and France and became a separate genre on the verge of music and poetry. The poetic basis for the romances of this era were poems by such great poets as Heine and Goethe.

Already in the 19th century, Germany, Austria, France and Russia formed national schools romance. During this period, they were created famous romances the Austrians Schumann, Brahms and Schubert, the French Berlioz, Bizet and Gounod.

It was also typical for European schools to combine romances into entire vocal cycles. The first such cycle, “To a Distant Beloved,” was created by Beethoven. His example was followed by Schubert (cycles of romances " winter journey" and "The Beautiful Miller's Wife"), Schumann, Brahms, Wolf... From the mid-19th century and in the 20th century, national romance schools were formed in the Czech Republic, Poland, Norway, Finland.

Gradually, in addition to the classical chamber form of romance, a genre such as everyday romance is developing. It was designed for non-professional singers and was widely popular in society.

Russian romance

The Russian school of romance arose under the influence of romantic sentiments in art and was finally formed by the mid-19th century. Its founders are considered to be Alyabyeva, Gurilev, Varlamova, who often turned to gypsy themes in their work.

Alexander Alyabyev

Later, separate trends were formed in the genre of Russian romance - salon romance, cruel romance... Russian romance experienced its apogee of development at the beginning of the 20th century, in the era of the creativity of Vertinsky and Vyaltseva, Plevitskaya and Panina. The traditions laid down by these brilliant musicians were successfully continued by Alla Bayanova and Pyotr Leshchenko, and already in the era of existence Soviet Union- Vadim Kozin, Tamara Tsereteli, Isabella Yurieva.

Unfortunately, in Soviet era The romance genre was not welcomed by the party leadership, since it was considered a non-proletarian genre, a relic of tsarism. and performers of romances were subjected to persecution and repression.

Only in the 70s. In the 20th century, romance experienced a revival when romances performed by Valentina Ponomareva and Nani Bregvadze, Nikolai Slichenko and Valentin Baglaenko gained popularity.

Romance is a very definite term. In Spain (the birthplace of this genre), this was the name for a special kind of composition, intended primarily for solo performance to the accompaniment of a viol or guitar. As a rule, a romance is based on a small lyric poem love genre.

Origins of Russian romance

This genre was brought to Russia from France by aristocrats of the second half of the XVIII century and was immediately accepted fertile soil Soviet poetry. However, Russian romances, the list of which is known today to every lover of classical song, began to emerge somewhat later, when the Spanish shell began to be filled with truly Russian feelings and melodies.

Into the fabric new song traditions were organically woven folk art, which has so far been presented exclusively anonymous authors. Romances were re-sung, passing from mouth to mouth, lines were altered and “polished.” TO early XIX centuries, the first collectors of songs began to appear, driven by the idea of ​​preserving ancient Russian romances (the list of them by that time was already quite large).

Often these enthusiasts added to the collected texts, giving the lines depth and poetic power. The collectors themselves were academically educated people, and therefore, when going on folklore expeditions, they pursued not only aesthetic, but also scientific goals.

Evolution of the genre

Since the turn of the 18th-19th centuries, artistic content romance lyrics became increasingly filled with deep personal feelings. The hero’s individual world was given the opportunity for vivid, sincere expression. The combination of a high syllable with simple and lively Russian vocabulary made the romance truly popular and accessible to both the nobleman and his peasant.

The vocal genre has finally been reborn and mid-19th century has become an integral part of a social evening within the framework of the “languid” home music playing, beloved by all young ladies. The first romances also appeared. The list that made up their song repertoire included more and more original works.

The most famous in the first half of the 19th century were such famous composers as A. Alyabyev and A. Gurilev, who played an invaluable role in the development of Russian romance and its popularization.

City and gypsy romances

Urban romance absorbed greatest number folklore motifs Russia XIX-XX centuries. Being an author's song, such a song, in its freedom of existence, resembled and was distinguished by its characteristic features:

• the magic of details;
• clearly defined images;
• step composition;
• powerful reflection of the main character;
• the image of ever-eluding love.

The characteristic features of urban romance from a musical point of view are the harmonic construction of the composition with minor tones, as well as its inherent sequence.

The gypsy romance was born as a tribute to Russian composers and poets in the manner of performance of the same name, beloved by many. Its basis was the ordinary lyrical song. However, its lyrics and melody included characteristic artistic expressions and techniques that were in use among the gypsies. It’s not surprising to recognize such a romance today. Its main theme, as a rule, is love experience in various gradations (from tenderness to carnal passion), and the most noticeable detail is “green eyes”.

Cruel and Cossack romances

There is no academic definition for these terms. However, their character traits described in the literature quite fully. The peculiarity of cruel romance is a very organic combination of the principles of ballad, lyrical song and romance. TO individual traits it is attributed to the abundance of main plots, differing only in the causes of the tragedy. The result of the whole story is usually death in the form of murder, suicide or from mental anguish.

The birthplace of the Cossack romance is the Don, which gave lovers of folk poetry legendary song unknown author“Spring will not come for me...” History also does not know the exact authorship of most highly artistic works that can be described as “classical Russian romances.” Their list includes songs such as: “Dear Long”, “Only Once”, “Eh, Friend Guitar”, “Come Back”, “We Only Acquaintances” and others, written in the first third of the 20th century.

Russian romances: list and their authors

According to one of the main versions, Russian romances, the list of which was given above, belong to the pen of the most popular at the beginning last century songwriters: Boris Fomin, Samuil Pokrass, Yuli Khait and others.

The most devoted connoisseur classic romance in the 20th century, Valery Agafonov became the first to announce high value cultural baggage leaving the Soviet listener. Russian romances, the list of which was compiled by Agafonov, owed their revival on new soil to the return to their homeland legendary performers- Alexander Vertinsky and Alla Bayanova.

Lesson – concert “Russian romance of the 19th century”

A small cozy room with drawn curtains on the windows and evening lighting. The chairs are arranged in a semicircle, on one side for the audience, on the other for the presenters and participants.

In front of the presenters there are tables, on them there are candlesticks with candles, a fan, gloves, open books in antique bindings. There is a guitar on one table. TV with DVD, discs, portraits of F.I. Tyutchev, A.A. Fet, I.S. Turgenev, A.K. Tolstoy, N.A. Nekrasov, Y. Polonsky, B. Pasternak.

The costumes of the presenters and participants are stylized with some details of the 19th century dress (scarves, capes, gloves, hats, Long Dresses, frock coats)

To the music “Open the gate slowly...” two presenters appear - a boy and a girl.

V. As soon as the evening turns blue,

As soon as the stars light up the skies,

And bird cherry silver frost

Remove the dew with pearls

Open the gate slowly

And go up into the quiet garden like a shadow,

Don't forget a darker cape,

Put lace on your head.

V. I dreamed of a garden in a wedding dress,

In this garden, you and I are alone.

Stars in the sky, stars on the sea,

The stars are in my heart too.

Are there whispers of leaves or gusts of wind?

With a sensitive soul I greedily catch.

The eyes are deep, the lips are silent:

Darling, oh darling, I love you.

Q. You, of course, recognized both these lines and this melody.

V. Isn’t it true, what a beautiful melody! This is romance! And today we will dedicate the Russian romance of the second half of the 19th century.

B. We will get acquainted with the history of the emergence and formation of this musical genre in Russia, let's enjoy the wonderful sounds of Russian romances.

V. Romance is a short poem set to music for solo performance, always accompanied by a musical instrument - most often a guitar or piano.

Q. The word itself came from Spain and literally means “in Romanesque”, i.e. "in Spanish", but it has both French and German roots.

V. In the first half of the 19th century, romance turns into the most popular “Russian song” about betrayal, passion, and love.

V. Russian romance is songs that touch something in our soul. These are feelings set to music. This is poetry that makes you cry and laugh.

V. The mysterious Russian soul found a way to express its passions precisely in romances. main topic Russian romance is love. Whatever the lines of poetry are about, the connecting thread has always been and continues to be love.

V. Russian poets in the 19th century had enough sad thoughts about love. All that remained was to put them to music, which is what they did outstanding composers of that time: A.E. Varlamov, P.Yu. Tchaikovsky, S.V. Rachmaninov, A.A. Alyabyev, M.A. Balakirev and many others. And the authors of the words were such poets as A.S. Pushkin, N.A.

Tolstoy, I.S. Turgenev, A.K. Tolstoy, A.A. Fet, F.I. Tyutchev and others.

IN. The best samples in the romance genre were presented in the second half of the 19th century.

V. In November 1843, I.S. Turgenev, under the impression of a break with Tatyana Bakunina, whom he loved very much, wrote his most famous poems. The poet writes to her goodbye, “I want to forget everything,

everything, except for your gaze, which I now see so vividly, so clearly.” and parting with his beloved will forever remain in his heart and in his poems. Later, an officer of the Life Guards Hussar Regiment, Erast Abaza, a gifted amateur musician who played the guitar beautifully, would compose music to these wonderful poems. Erast Abaza died on Crimean War in besieged Sevastopol in 1855.

(recording of the romance “Foggy Morning” by St. I. Turgenev, music by E. Abaza is played)

V. Romances have beautiful, smooth melodies, lyrical, heartfelt words, well and easily remembered. They talk about friendship, love, unrequited feelings, jealousy, separation, beauty native nature, longing for the Motherland - in a word, about the most important, most cherished thing that is in the soul of each of us.

V. July 1822. The young diplomat F. Tyutchev arrived in Germany on a mission. Court balls, musical and literary salons... And at one of the social events Tyutchev meets Her... .

Tyutchev: ...for me this look is a blessing;

Like the key to life, in the depths of your soul

Your gaze lives and will live in me:

She needs him like heaven and breath...

Amalia Krudener: I, Amalia Maximilianovna Krudener, nee Countess von Lerchenfeld. In Bavaria I met Fyodor Tyutchev, it was a “golden time”... The passion was mutual. We were very young. But...I married (at the insistence of my parents) his colleague at the Russian diplomatic mission in Munich, Baron Krudener...

Tyutchev: I remembered her all my life:

I remember the golden time

I remember the dear land to my heart.

The day was getting dark; there were two of us;

Below, in the shadows, the Danube rustled.

Q. Years have passed. Old age has arrived. Bliss gave way to hopelessness. And suddenly, after so many years - new meeting with Her, with Amalia!

(the background music is the romance “I Met You...” by F. Tyutchev, music by L.D. Malashkin performed by I.S. Kozlovsky)

Amalia (continues after the romance)

Like after a century of separation,

I look at you as if in a dream, -

And then the sounds became louder,

Not silent in me...

There is more than one memory here,

Here life spoke again -

And we have the same charm,

And the same love is in my soul!...

V. In the poet’s life there was one more woman - Elena Alexandrovna Denisyeva, about whom we cannot help but say.

Tyutchev: Lelya, Elena Alexandrovna, died a few months ago. It was I who ruined her by the ambiguous position in which I put her, not having the strength to break with the family where I was loved, and the spiritual attachment to which turned out to be no less strong than my heartfelt attraction.

I knew the eyes - oh, those eyes!

How I loved them - God knows!

From their magical, passionate night

I couldn't tear my soul away.

Lelya is dead! Elena!

Here I am wandering along high road

IN quiet light fading day...

It’s hard for me, my legs are freezing...

My dear friend, do you see me?

(the romance “Oh, how murderously we love” sounds)

Denisyeva: Don’t say: he loves me, as before,

As before, he values ​​me...

…………………………………………………

Oh, I’m still breathing painfully and difficultly,

I can breathe, but I can’t live.

Q. But wasn't he kind to them, to his loved ones, and didn't he love them? No matter how good feelings he may have, real life everything often turned against him sincere wishes and intentions to harm those he loved….

V. Many romances were written to the poems of others, no less famous poet, A.A. Feta. This is one of the most subtle lyricists of the 19th century. Music was the source of his creativity.

Q. Now we invite you to listen to the romance “At dawn, don’t wake her up,” lyrics by A.A. Fet, and the author of the music is Alexander Egorovich Varlamov, a man who went down in history as a master of Russian romance. Some of his romances were influenced by urban folklore with typical dance rhythms. Such is the romance “Don’t wake her up at dawn,” permeated with waltz rhythms.

(the romance “At dawn don’t wake her up” sounds, lyrics by A.A. Fet, music by A.E. Varlamov)

V. Once A. Fet, having heard the sister of L. Tolstoy’s wife Tatyana Kuzminskaya sing, was shocked by her singing and soon the poem “The Night Shined.” The garden was full of moonlight. They were lying..." Soon N. Shiryaev composed music for these poems, and this romance still disturbs our hearts.

(recording of a romance performed by I. Yuryeva is heard)

V. (like an echo) As soon as you believe in the sobbing sounds,

To love you, hug you and cry over you.

Yes, romance in Russia developed under the influence of Russian poetry. The world of personal feelings receives more and more vivid and truthful expression in the romance. Russian society for the first time I found out that he, this

society, there is a soul and heart capable of tender feelings.

V. Count A.K. Tolstoy was very handsome, and therefore, probably, not a single ball was complete without his participation. Once upon a time at a masquerade in Bolshoi Theater I met a mysterious stranger whose beauty I was captivated by...

Sophia Miller:

I was the wife of another man, but Alexei fell madly in love with me, and I responded to his confession. But several more years passed before we could be together.

(to the sounds of the romance “Among the Noisy Ball,” the student playing the role of Count A. Tolstoy writes a letter)

A. Tolstoy: “20 years have already passed. I am a poet, novelist, playwright, writing to my beloved wife Sophia from distant Dresden: “I have just arrived, and at three o’clock in the morning I cannot lie down without telling you what I have been saying for 20 years, that I cannot to live without you, that you are my only treasure on earth...”

A. Tolstoy (standing up and speaking):

20 years ago I saw her for the first time “in the middle of a noisy ball, by chance...”. And love turned out to be omnipotent.

Q. Another author of Russian romances is worth telling about. This is Pyotr Petrovich Bulakhov, a talented Russian composer of the 19th century, who wrote many beautiful romances. He had a difficult life, he was sick, he was in great need. Out of mercy, Count Sheremetyev sheltered the composer in his Moscow estate Kuskovo. More than 100 years have passed since then, but P. Bulakhov’s melodies still live, helping people survive adversity, find solace, and feel joy. We will listen to the romance by Pyotr Bulakhov based on the poems of A. Fet “Kroshka” now.

(the romance “Kroshka” sounds)

(on the screen there is a video recording of a troika with bells rushing, to the music of A.N. Verstovsky “Troika” a girl in peasant clothes, with a red ribbon in her hair, appears on the stage)

Why are you looking greedily at the road?

Away from your cheerful friends?

You know, my heart sounded alarmed -

Your whole face suddenly flushed.

And why are you running hastily?

Following the rushing troika?...

At you, beautifully akimbo,

A passing cornet looked up.

It's no wonder to look at you,

Anyone wouldn't mind loving you:

The scarlet ribbon curls playfully

In your hair, black as night...

…………………………………….

You won't be able to catch up with the crazy three:

The horses are strong, and well-fed, and spirited, -

And the coachman was drunk, and to the other

A young cornet rushes like a whirlwind...

V. In the early 80s of the 19th century, A.A. Fet dedicated his prose story to the gypsies, including the soloist of the gypsy choir Stesha: “How much bliss, how much sadness and beauty there was in her singing! I looked greedily at her face, which reflected all the passion that gripped her!..."

V. And at that time the gypsy romance reached the peak of its popularity. At the same time, it was simplified, distorted, and even vulgarized; uncharacteristic sweetness, tearfulness, hysteria, and rollickingness appeared. The gypsy romance, as a powerful phenomenon of Russian culture, was really dying. Having originated in the luxurious palaces of Catherine’s favorites and nobles, the gypsy romance faded and fell silent.

Q. But that will happen later, later…. In the meantime, 1853... the wonderful verses of Ya. Polonsky were set to music by P.I. Tchaikovsky. And a new romance has appeared, which our participants will now perform.

(a girl in gypsy clothes and a young man with a guitar perform a romance

"Bonfire")

V. Yes, poems by Fet, and Tyutchev, and Polonsky, and many other of our geniuses poetic creativity talented. All that remains is to choose the right music... But the new poets are not inferior to them, because good romance You can't write without a soul. And how nice it is to hear it in our beloved feature film

(on the screen there are stills from E. Ryazanov’s film “The Irony of Fate...”, the romance “There will be no one in the house...” by B. Pasternak and M. Tariverdiev is heard)

V. It’s a pity that Russian romances in modern times lost their place in the hearts of people who stopped thinking about such eternal values like LOVE, FAITH, HOPE.

Q. Maybe it’s difficult for young people to understand and appreciate romances?

Maybe they have not yet experienced those deep feelings that are sung about in romances?

V. But... The unstoppable run of life.

The triumph of technical achievements,

But the man hears the song

And freezes for a moment.

And feels the beauty

Earth's pristine nature,

And he sees apple trees in bloom,

And the bright chestnut candles,

Night stars... Even... Odd...

Birches in a harmonious round dance.

The river flows and does not flow,

And the song enters our hearts.

Q. Our performance is coming to an end. Today we have become acquainted with only a small part of the huge heritage of works of the romance genre.

V. And the romance, written more than 140 years ago (1868) by P. Bulakhov, to the words of an unknown author and still touching our hearts - “Shine, burn, my star”, we will sing with you together. (the romance is performed by A .Herman, all spectators and participants see the words on the screen and sing together).

Q. And no one can drown out such songs with the cry of fashion...

If a song is a part of your soul, it will go with you through the years!

Q. There is a popular belief that a burning candle cleanses a person from everything bad and heavy, that while it burns, a person has hope. Let's take burning candles in our hands and express our wishes to each other.

(candles with wishes are passed on)

Q. I hope this meeting leaves you with Nice memories that every new meeting with Russian romance will be a real holiday, a huge event for you.

(the presenters thank the guests for participating in this evening)

What kind of music did you listen to at the beginning of the twentieth century? How much did the organizers earn for the concert and what songs made Nicholas II cry? Arzamas collected the music of that time and spoke briefly about the performers

Prepared by Ksenia Obukhovskaya

Singer Anastasia Dmitrievna Vyaltseva in the cabin of a personal railway carriage, equipped for tours around the Russian province. Saint Petersburg,
early 1910s St. Petersburg state museum theatrical and musical arts

Varya Panina. “How good”, 1905

Varvara Panina, a gypsy by birth, began her career in St. Petersburg and Moscow restaurants. In 1902 she first performed on the stage of the St. Petersburg Noble Assembly and since then she has never left the stage. Her voice, a strong low contralto, was admired by Leo Tolstoy, Kuprin, Chekhov and Blok, and the artist Konstantin Korovin compared Panina with Chaliapin.

Mikhail Vavich. “Sadness and hopeless melancholy”, 1912 Mikhail Vavich, a native of Odessa noble family, became known to the public after the role of Viscount Cascade in the operetta “The Merry Widow” by Ferenc Lehár. Subsequently, Vavich was noticed by the philanthropist Tumpakov, who persuaded him to move to Moscow. In 1907, the artist amazed record companies with his performance of the romance “Black Eyes”; records and sheet music with his portrait sold in huge quantities. Vavich’s bright appearance also did not go unnoticed - during the period of emigration he starred in Hollywood films, for example in "Two Arabian Knights".

Yuri Morfessi. “Marusya got poisoned”, 1913 Yuri Morfessi was born in Athens, but at the age of seven he moved with his family to Odessa. Started his career in Odessa opera house, and then in St. Petersburg, where he performed in operettas. There he meets Fyodor Chaliapin. In St. Petersburg, Morfessi became famous; in 1915 he performed in front of the imperial family on the yacht “Polar Star”. In 1917, returning to Petrograd from a tour of Far East, Morfessi, frightened by the revolution, leaves for Odessa and opens the House of Artists, in which such turn-of-the-century pop stars as Nadezhda Plevitskaya, Iza Kremer, Alexander Vertinsky and Leonid Utesov perform. In the 1920s, Morfessi emigrated to Paris. During World War II, he joined the Yugoslav Russian Corps A corps of Russian emigrants who fought on the side of the Third Reich against the People's Liberation Army of Yugoslavia during World War II. and gives concerts for participants in the anti-communist Russian liberation movement A right-wing movement that aimed to overthrow the Bolshevik regime in Russia..

Maria Emskaya. “White acacia fragrant clusters”, 1910 Maria Alexandrovna Emskaya was at one time a famous concert singer. Her repertoire included: opera arias, as well as gypsy romances and chansonnets. At the beginning of the century, Emskaya set records for the number of recordings: she had 405 of them.

Nadezhda Plevitskaya. "The Seagull", 1908 Nadezhda Plevitskaya, née Vinnikova, began her career in Kursk, in the Holy Trinity Choir convent, where she lived for two years as a novice. The peasant girl could not read, but had a surprisingly clear voice and perfect pitch, which ultimately led her to fame in Moscow. They say that Nadezhda Plevitskaya’s singing made even Emperor Nicholas II cry. After the revolution, Plevitskaya emigrated to France with her second husband, the white general Skoblin, and continued to perform and record. Skoblin was friendly with the EMRO Russian All-Military Union, created by Lieutenant General Baron Peter Wrangel. United white emigration in all countries of the world. and white emigration, which greatly worried the leaders of the OGPU. In the fall of 1930, an INO agent arrived in Paris Foreign department of the OGPU for the fight against counter-revolution. Created in 1920. Kovalsky, with the goal of recruiting Plevitskaya and Skoblin to work in the NKVD, which he successfully succeeded in doing - Kovalsky offered the impoverished spouses a monthly payment of $200. Basically, Plevitskaya and Skoblin obtained information about the plans of the EMRO in the event of war with the USSR. In 1937, the couple were tasked with kidnapping the head of the EMRO, Evgeniy Miller, who was in Paris at the time. The operation failed, and the news of Plevitskaya’s participation in the kidnapping shocked the entire emigrant world. A French court sentenced her to 20 years women's colony, Skoblin managed to escape to Spain.

Isa Kremer. "Madame Lulu", 1915 Isabella Kremer was born in Balti (modern Moldova) and from childhood began writing and performing songs in both Russian and Yiddish - Kremer became the first pop performer to sing in this language. Having collected the last of their money, the parents sent the still young Iza to study vocals in Milan. Two years later, the artist was invited to Odessa to perform the role of Mimi in Puccini’s opera La bohème. Success in Moscow and St. Petersburg was not long in coming. After the revolution, the artist emigrated to France and gave concerts around the world.

Anastasia Vyaltseva. "Everybody's Talking", 1905 Anastasia Vyaltseva went through a difficult journey from a hotel maid to the richest artist in Russia at the beginning of the century. The income of the organizers of her performances reached 20 thousand rubles per concert (for comparison: the monthly salary of a teacher at that time was 45 rubles). Vyaltseva’s first success came with the role of a young gypsy in the operetta-musical “Gypsy Songs in Faces” (1893). After resounding success Vyaltseva went on tour at the St. Petersburg Maly Theater. Soon all of Russia fell in love with the artist, and her records began to sell with unprecedented success.

Vladimir Sabinin. “Shine, burn, my star”, 1915 Vladimir Sabinin began singing in operetta early, but became famous as the author and performer of romances. His records were released by Gramophone and Ekstrafon and enjoyed extraordinary popularity in the 1910s. Sabinin is credited with reviving the old Russian romance by Pyotr Bulakhov, “Shine, Shine, My Star,” which was recorded in his interpretation in 1914. Since then, romance has not left the repertoire of Russian artists (in different time it was performed by Iza Kremer, Fyodor Chaliapin, Anna German, Boris Shtokolov). Sabinin was an extremely patriotic person - he volunteered for the First world war and refused to emigrate after the revolution. The artist's life ended tragically - according to one version, in 1930, playing the role of Herman in Tchaikovsky's opera " Queen of Spades“, in the scene of the hero’s suicide, Sabinin shot himself for real.

"I remember wonderful moment...»

“I remember a wonderful moment...” - one of the most famous poems Alexander Sergeevich Pushkin, written in 1825 and addressed to Anna Kern. A significant contribution to the popularization of these lines was made by the famous Russian composer Mikhail Ivanovich Glinka, who in 1840, inspired by the beauty of his beloved Catherine (ironically, who turned out to be the daughter of Anna Kern), wrote music to these poems, which gave the romance a new impetus and allowed it to gain fame in wide circles.

"Nightingale"

The romance “The Nightingale” was written in the 1820s by the famous Russian poet and publisher - Baron Anton Antonovich Delvig and the popular composer, pianist and conductor - Alexander Alexandrovich Alyabyev. The unprecedented popularity of the romance is determined primarily by the fact that the poems and music were written in the genre of Russian songs, which gave reason to perceive it as folk song. Nowadays, “The Nightingale” is one of the most famous Russian romances, occupying an honorable place in the collection of classics of Russian culture.

V. Chuevsky
"Burn, burn, my star"

The romance “Shine, Shine, My Star” was written in 1846 by Moscow State University student Vladimir Chuevsky and famous composer Petr Bulakhov ( on the picture) for the 700th anniversary of Moscow. The romance gained its greatest popularity during the First World War, but people did not have time to fully enjoy the patriotic motives, because after the revolution, the Bolsheviks, dubbing the romance White Guard, banned it from being performed, but by the end of the 1950s the ban was lifted, although they deprived Chuevsky and Bulakhov of authorship, crediting the people as the creators of the song, which in turn gave rise to many legends in the USSR about the true authors of the romance.

« evening call, evening Bell»

The romance “Evening Bells” was written in the mid-20s XIX century famous Russian poet and translator of the Romantic era Ivan Ivanovich Kozlov and composer Alexander Alexandrovich Alyabyev. Oddly enough, one of the most famous and widely loved romances among the people, considered Russian folk, is not actually such; the fact is that Ivan Kozlov simply translated into Russian the song of the Irish poet Thomas Moore - “Those evening Bells” . Over the entire period of its existence, the text of the romance has changed many musical accompaniments, but the most beloved and popular is still its classical version.

"Black eyes"

“Black Eyes” is one of the most famous Russian romances not only in Russia, but also in the world. Written in the first half of the 19th century Ukrainian poet and the writer - Evgeniy Pavlovich Grebenka, as a dedication to future wife- Rastenberg to Maria Vasilievna. As a romance, the poem “Black Eyes” became popular only in the 1880s. Originally performed to waltz music German composer Florian Hermann, but gained the greatest popularity thanks to music Italian composer- Ferrari. The most famous performer, so far, is legendary singer Fyodor Chaliapin, who, having included it in his repertoire, raised the romance to world fame.

On a separate line:

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