Musical foreign culture of the 19th century. Musical culture of Russia in the 19th century

The end of the 19th and beginning of the 20th centuries (before 1917) was a period no less rich, but more complex. It was in the 90s of the 19th century and at the beginning of the first decade of the 20th century that the best, peak works of P.I. Tchaikovsky and N.A. Rimsky-Korsakov were created. But M.P. Mussorgsky and A.P. Borodin did not live to see this time, and in 1893 P.I. Tchaikovsky also died. They are being replaced by students, heirs and continuers of their traditions: S. Taneev, A. Glazunov, S. Rachmaninov. But no matter how close they are to their teachers, new tastes are clearly felt in their work.
In the last quarter of the 19th century, the work of Russian composers was recognized throughout the civilized world. Among younger generation musicians who entered creative life at the end of the past - the beginning this century, there were composers of a different type. Such was Scriabin, somewhat later Stravinsky, and during the First World War - Prokofiev. The Belyaevsky circle also played a major role in the musical life of Russia at that time. This circle was the only one in the 80-90s music center, where the most active musicians united, looking for new ways to develop art.
Musical culture also developed in other countries, for example, in France, the Czech Republic, and Norway.
In France, the style of musical impressionism and symbolism emerged. Its creator is composer Claude Achille Debussy. The features of impressionism, as one of the leading musical movements of the early 20th century, found expression in the works of M. Ravel, F. Poulenc, O. Respighi and even in the works of Russian composers.
In the Czech Republic, music is flourishing. The founders of national classics in the Czech Republic are Bedrich Smetan and Antonin Dvorak.
Founder Norwegian classics is Edvard Grieg, who influenced the work of not only Scandinavian authors, but also European music.
The music of the 20th century is distinguished by an extraordinary diversity of styles and trends, but the main vector of its development is a departure from previous styles and the “decomposition” of the language of music into its constituent microstructures.
Musical culture of Russia at the end of the 19th – beginning of the 20th century
The end of the 19th - beginning of the 20th centuries was marked by a deep crisis that gripped the entire European culture, resulting from disappointment in previous ideals and a feeling of the approaching death of the existing socio-political system. But this same crisis gave birth to a great era - the era of the Russian cultural renaissance at the beginning of the century - one of “the most refined eras in the history of Russian culture. This was the era of the creative rise of poetry and philosophy after a period of decline. At the same time, it was an era of the emergence of new souls, new sensitivity. Souls opened up to all kinds of mystical trends, both positive and negative. At the same time, Russian souls were overcome by premonitions of impending catastrophes. The poets saw not only the coming dawns, but something terrible approaching Russia and the world...
During the era of cultural renaissance, there was a kind of “explosion” in all areas of culture: not only in poetry, but also in music; not only in fine arts, but also in the theater... Russia of that time gave the world great amount new names, ideas, masterpieces. Magazines were published, various circles and societies were created, debates and discussions were organized, new trends arose in all areas of culture.
In the 19th century Literature becomes the leading area of ​​Russian culture. Along with it, the brightest rises in the musical culture of Russia are observed, and music and literature are in interaction, which enriches certain artistic images. If, for example, Pushkin in his poem “Ruslan and Lyudmila” gave an organic solution to the idea of ​​national patriotism, finding appropriate national forms for its implementation, then M. Glinka discovered new, potential options in Pushkin’s magical fairy-tale heroic plot - his opera grows from within to multinational musical epic.
The work of Gogol, which is inextricably linked with the problem of nationality, had a significant influence on the development of the musical culture of Russia in the last century. Gogol's stories formed the basis of the operas "May Night" and "The Night Before Christmas" by Rimsky-Korsakov, " Sorochinskaya fair"Mussorgsky, "Blacksmith Vakula" ("Cherevichki") by Tchaikovsky, etc.
Rimsky-Korsakov created a whole “fairy-tale” world of operas: from “May Night” and “The Snow Maiden” to “Sadko”, for which the main thing is a certain ideal world in its harmony. The plot of "Sadko" is based on various options Novgorod epic - stories about the miraculous enrichment of a guslar, his wanderings and adventures. Rimsky-Korsakov defines “The Snow Maiden” as an opera-fairy tale, calling it “a picture from the Beginningless and Endless Chronicle of the Berendey kingdom.” In operas this kind Rimsky-Korsakov uses mythological and philosophical symbolism.
If opera occupied the main place in Russian music during the times of Mussorgsky, Borodin and Tchaikovsky, then by the end of the 19th century and the beginning of the 20th it faded into the background. And the need to make any changes has increased the role of ballet.
But other genres, such as symphonic and chamber music, began to develop widely. The piano work of Rachmaninov, who himself was a great pianist, is extremely popular. Rachmaninoff's piano concertos (like Tchaikovsky's and Glazunov's violin concertos) are among the pinnacles of world art. In the last quarter of the 19th century, the work of Russian composers was recognized throughout the civilized world. Among the younger generation of musicians who entered creative life at the end of the last - beginning of this century, there were composers of a different type. Already their first works were written in a very unique way: sharply, sometimes even daringly. This is Scriabin. Some listeners were captivated by Scriabin's music with its inspired power, while others were outraged by its unusualness. Somewhat later Stravinsky performed. His ballets, staged during the Russian Seasons in Paris, attracted the attention of all of Europe. And finally, already during the First World War, another star was rising in Russian - Prokofiev.
Gaining enormous popularity Russian theaters. Maly Theater in Moscow and Mariinsky Theater in St. Petersburg. A notable feature of the culture of this period was the search for a new theater.
Thanks to the activities of Diaghilev (philanthropist and exhibition organizer), the theater receives new life, A Russian art– wide international recognition. The performances of Russian ballet dancers organized by him “Russian Seasons” in Paris are among the landmark events in history national music, painting, opera and ballet art.
The troupe included M. M. Fokin, A. P. Pavlova, V. F. Nezhensky and others. Fokine was a choreographer and Artistic director. Designed performances famous artists A. Benois, N. Roerich. Performances of “La Sylphides” (music by Chopin), Polovtsian dances from the opera “Prince Igor” by Borodin, “Firebird” and “Petrushka” (music by Stravinsky) and so on were shown. The performances were a triumph of Russian choreographic art. The dancers proved that classical ballet can be modern and excite the viewer.
Fokine’s best productions were “Petrushka”, “The Firebird”, “Scheherazade”, “The Dying Swan”, in which music, painting and choreography were united.
Actor, director, theorist performing arts, together with V.I. Nemirovich-Danchenko in 1898 created and directed the Art Theater.
It is necessary to mention the “Russian Symphony Concerts” organized by Belyaev for many seasons, as well as the “Russian Chamber Evenings”. Their goal was to introduce the Russian public to works of national music. Concerts and evenings were led by N.A. Rimsky-Korsakov and his talented students A.K. Glazunov and A.K. Lyadov. They developed a plan for everyone upcoming season, compiled programs, invited performers... Only works of Russian music were performed: many of them, forgotten, previously rejected by Russian musical society, found their first performers here. For example, the symphonic fantasy of M.P. Mussorgsky’s “Night on Bald Mountain” was first performed in “The Russians” symphony concerts” almost twenty years after its creation, and then was repeated many times (“according to public demand,” as noted in the programs).
A very remarkable phenomenon in Russian musical life at the end of the 19th century was the so-called private opera of S. I. Mamontov in Moscow. Savva Ivanovich Mamontov himself, being a wealthy entrepreneur like Belyaev, organized an opera troupe in Russia. With her, he staged the first productions of Russian operas - “Rusalka” by A. S. Dargomyzhsky and “The Snow Maiden” by N. A. Rimsky-Korsakov - which enjoyed significant success among the Moscow public. He also staged the opera “The Pskov Woman” by N. A. Rimsky-Korsakov. With this opera, which was not performed anywhere, the theater went on tour to St. Petersburg.
On turn of XIX-XX century, interest in ancient music is being revived. Little by little, the construction of organs in Russia begins. At the beginning of the 20th century, they could literally be counted on one hand. Performers appear who introduce listeners to organ music of previous eras and centuries: A.K. Glazunov, Starokadomsky. This time is an important stage in the history of the violin. A group of virtuosos appears - composers and performers who reveal previously unknown possibilities of the violin as a solo instrument. New remarkable works appear, among which essays occupy a prominent place Soviet composers. Currently, the concerts, sonatas, and plays of Prokofiev and Khrennikov are known throughout the world. Their wonderful art helps us feel what an amazing instrument the violin is.
At the end of the 19th and beginning of the 20th centuries, and especially in the pre-October decade, throughout all Russian art, and in particular music, the theme of expectation of great changes that should sweep away the old, unjust social order. Not all composers realized the inevitability, the necessity of the revolution and sympathized with it, but all or almost all felt the pre-storm tension. Thus, the music of the twentieth century develops the traditions of domestic composers - romantics and composers of the “Mighty Handful”. At the same time, she continues her bold search in the field of form and content.

For Russia The 19th century became the era of the formation of the Russian national music school. The traditions of opera, chamber vocal and symphonic music developed in this century. The process was influenced on the one hand by Western European culture, and on the other by Russian folklore.

I HALF OF THE 19TH CENTURY

Historical background. The reign of Alexander I, the war with Napoleon, the Decembrist uprising and almost 30 years of reaction, Nicholas I. Thus, the era of social upsurge is replaced by the era of reaction. This is reflected in all types of art, classical trends are gradually being replaced by romantic ones.

In music, the first 20 years are in the traditions of the 18th century. In an era of national upsurge, the role of opera always increases. Musical Theatre of this period gradually develops, and by the 20s there already exist different genres:

1) Drama, or tragedy with music (Kozlovsky, Titov, Davydov).

2) Vaudeville (from the times of the French Revolution) is a light comedy with couplets (Alyabyev, Varlamov, Verstkovsky).

3) Historical opera (Italian Caterino Cavos wrote the opera “Ivan Susanin”, which ran until the mid-30s).

4) Fairytale-fantastic opera (“Lesta – the Dnieper mermaid”, Davydov, Kavos).

5) Ballet. Mainly with foreign artists. Titov, Kavos, Davydov wrote.

Climax 1st half of the 19th century century - the work of Glinka, who laid the foundations of Russian musical classics. The golden combination of this era is the poetry of Pushkin and the music of Glinka.

Last period(40s-50s): Glinka’s later work. The flowering of Dargomyzhsky’s creativity is the first peak of realism in Russian music. Glinka and Dargomyzhsky expressed the romanticism of their time in their own way.

Public music life.

1) This was the heyday of private music salons in the homes of Russian aristocrats (for example, the salon of Odoevsky, who was an enlightened musician and a profound music critic; his salon was also visited by outstanding European touring musicians, including Liszt).

2) Serf orchestras and theaters continue to exist; The music of Mozart, Haydn, Rossini, etc. is popular.

3) The galaxy of Russian performing musicians is growing.

4) In 1802, the first concert organization in Russia was opened - the Philharmonic Society. The first period of the RMK's heyday begins, when the formation of the Russian classical musical style is completed. The culmination of this period is the work of Glinka.

Russian classic musical style absorbed various sources:

1) Russian and Ukrainian folklore;

2) traditions of spiritual choral singing;

3) Russian city song and everyday romance (the influence of the gypsy performing style is very important);

4) traditional interest in the musical cultures of other peoples: oriental (orientalism), as well as Polish and Spanish music;

5) traditions of the Vienna Symphony School;

6) experience of Italian opera.

E-70S OF THE XIX CENTURY

1) Historical background: Alexander II, defeat in Crimean War, criticism of autocracy, national upsurge and abolition of serfdom (1861). The leading role of the democratically minded intelligentsia.

6) Notable performers: Rubinstein brothers; G. Wieniawski, L. Auer – violin. K. Yu. Davydov – conductor and cellist. E. F. Napravnik – composer and conductor. Osip Petrov, Yu. F. Platonova and others.

7) Public musical life: from private salons to mass and democratic forms. Philharmonic Society. The Court continues to work singing chapel. In 1859, the RMO was opened in St. Petersburg, and a year later in Moscow. It was founded by Anton Rubinstein. Conservatories were opened on the basis of the RMO: in 1862 - in St. Petersburg, in 1866 - in Moscow. For the first time in Russia, musicians receive higher education professional education. On the other hand, Balakirev opens (with the help of Stasov and Lomakin) a free music school for masses and holding concerts. These 2 schools are in opposition (the conservatories are supported by the emperor). Balakirev conducts a lot, including in Eastern European countries, which strengthens Slavic ties. The greatest musicians of Europe come to Russia: Schumann, Liszt, Wagner, Berlioz. Composers of this period from great interest study RNP, process and publish collections (Balakirev, Rimsky-Korsakov, Tchaikovsky).

8) Basic musical associations and major composers:

· Balakirevsky circle (New Russian music school – “ Mighty bunch"). In Europe they call it “Five”. Continuation of the traditions of Glinka and Dargomyzhsky + interest in Russian history, folklore, as well as democratic ideas. The main members of the Mighty Handful: Balakirev, Mussorgsky, Cui Rimsky-Korsakov, Borodin (Gussakovsky, Ladyzhensky, Shcherbachev also temporarily joined). Stasov is an ideological inspirer, an outstanding art critic. He helped the work of the circle, supported young composers, and supplied them with literary and historical materials for working on operas.

· Anton Rubinstein’s circle – RMS, conservatories and professors. They sought to bring Russian music closer to Western European traditions.

· Serov – composer, publicist, analyst.

· Artistic circle led by N. Rubinstein, playwright Ostrovsky, critic Odoevsky + artists of the Maly Theater. Young Tchaikovsky joined them. He wrote music for the plays “The Thunderstorm” and “The Snow Maiden” (Moscow).

9) Main music genres: 1. Song and romance develop, psychologism deepens, musical language becomes more complex, great place occupied by the social theme (Mussorgsky). 2. Opera: 3 main directions predominate - historical, lyrical-psychological and comic. 3. Ballet is experiencing a rebirth in the work of Tchaikovsky. 4) Symphonic music– “The Mighty Handful” develops folk-genre and epic symphonism.

Ticket 2

1. The eighteenth century is not only a time of brilliant victories for Russian weapons, the construction of luxurious palaces and parks, the creation of the Russian theater, and the flourishing of literature and art. It was at this time that the tasks of educating the fatherland were set in full breadth. The ideology of Russian enlighteners - Kantemir, Trediakovsky, Lomonosov and others - was based on the experience of the enlightened monarch Peter I and his “learned squad”. At this time, humanistic ideals of the triumph of reason are promoted, public value man, the importance of his civic duty. Russian classicism as the main literary direction era proclaimed the ideas of patriotism and service to the homeland. It was at this time that the words patriot and patriotism came into use.

2. One of the first architects to work in the Art Nouveau style was the Belgian Victor Horta. In his projects, he actively used new materials, primarily metal and glass. He gave the load-bearing structures made of iron unusual shapes, reminiscent of some kind of fantastic plants. Stair railings, lamps hanging from the ceiling, even door handles - everything was carefully designed in uniform style. In France, the ideas of Art Nouveau were developed by Hector Guimard, who, among other things, created the entrance pavilions of the Paris metro.

Having first appeared in Belgium, this style in Germany was called Art Nouveau (more correctly, Jugendstil, German jugendstil), in Austria it was called Secession, in France - Art Nouveau, etc. (see Art Nouveau). The term “secession” comes from the name of the associations of artists and architects that appeared in Europe at the end of the 19th century, the secessions. Translated - “schism”. The first such secession arose in Munich in 1892, on the initiative of Franz von Stuck, Wilhelm Trudner and Fritz von Youde. The Berlin Secession was created in 1893, and the Vienna Secession, the most famous, in 1894.

Modern architecture is diverse. This style absorbed elements of all previous styles. Buildings in the Art Nouveau style can resemble Moorish palaces, castles, and factory buildings. However, unlike the eclecticism that preceded modernism, its authors refused to directly copy the forms of the Renaissance and Baroque. At the end of the 19th century. Louis Sullivan in Chicago, Henrik Petrus Berlage in Amsterdam, Henri van de Velde in Belgium and Otto Wagner in Vienna simultaneously made their demands against imitation, and their protest against historicism did not go unheeded.

The style evolved, and over time several directions emerged:

1. Neo-romanticism, where the elements are used Romanesque style, Gothic, Renaissance and other styles. Example - Catholic Cathedral of the French Embassy in St. Petersburg (L. N. Benois and M. M. Peretyatkovich), a building with elements of the Romanesque style. Within neo-romanticism, Gothicism, Byzantineism and a number of other traditions are distinguished.

2. Neoclassicism, example - Theater on the Champs-Elysees in Paris (O. Perret), Hotel Piccadilly in London (N. Shaw), Azov-Don Bank on Bolshaya Morskaya Street. in St. Petersburg, etc.

3. Rationalism, direction with a predominance of more simple shapes. It should be noted that in Russia the term rationalism (architecture) is usually applied not to modernism, but to the later avant-garde.

4. Irrationalism, an example is the Samariten store in Paris (F. Jourdain).

5. So-called brick style, when architects abandoned plaster, and all the decorative details of the building were made of brick (its founder in Russia was V. A. Schröter).

6. In separate major cities and regions, Art Nouveau had its own distinctive features. This is how the terms appeared: Viennese Art Nouveau, Berlin Art Nouveau, Parisian Art Nouveau; in Russia, Moscow Art Nouveau, St. Petersburg Art Nouveau, Riga Art Nouveau, Provincial Art Nouveau, etc. architectural direction, called there " national romanticism" In Russia this style is known as northern modern, or Finnish, and houses in this style can be seen in the small town of Vyborg.

The period of architecture of the late 19th - early 20th centuries has been assessed in different ways. Some completely erase it from the history of architecture, others consider it as a period of decline, and others see it as a preparatory period in the development of further architecture. However, the Art Nouveau style has taken its place in the world.

TICKET 3

1. Age of Enlightenment-(fr. Siècle des lumières, German Aufklärung) - one of the key eras in the history of European culture, associated with the development of scientific, philosophical and social thought. This intellectual movement was based on rationalism and freethinking. Starting in England, this movement spread to France, Germany, Russia and covered other European countries. The French enlighteners were especially influential, becoming “masters of thought.” Enlightenment principles formed the basis of the American Declaration of Independence and the French Declaration of the Rights of Man and the Citizen. The intellectual and philosophical movement of this era had a great influence on subsequent changes in ethics and social life Europe and America, the struggle for national independence of the American colonies European countries, abolition of slavery, formation of human rights. In addition, it shook the authority of the aristocracy and the influence of the church on social, intellectual and cultural life.

fr. postimpressionisme, from lat. post - after and impressionism), a set of movements that emerged in French art in the second half of the 1980s and replaced impressionism. The beginning of post-impressionism is considered to be the mid-1880s, when the last exhibition of the impressionists took place and the Manifesto of Symbolism (1886) by the poet Jean Moreas was published. New movements declared their rejection of the aesthetics of impressionism and realism. They were united by their readiness to convey in their paintings not momentary, but long-term, essential states of life, both material and spiritual. The search went in different ways: this was pointelism (Georges Seurat, Paul Signac), and the symbolism of Paul Gauguin and the Nabi group (Maurice Denis, Paul Sérusier, Edouard Vuillard, Pierre Bonnard, etc.), and the creation of a linear-picturesque structure of the Art Nouveau style (Henri de Toulouse-Lautrec and others), and penetration into the constructive basis of the subject (Paul Cezanne), and even the painting of Vincent Van Gogh, which foreshadowed the experiments of expressionism.
General direction indicating artistic movements that appeared after impressionism. Artists refused to depict only visible reality, but sought to depict its basic, natural elements. The wide spectrum of post-impressionism contains the emergence of views on the objective laws of painting (Cezanne), the depiction of imaginary processes (Redon), surrealism (Van Gogh), the primitive sources of our society (Gauguin) or the poetry of reality (Rousseau). Principles artistic trends and visual elements of post-impressionism became the basis of trends in modern painting.

TICKET 4

1. Romanticism - (French romantisme), ideological and artistic direction in European and American spiritual culture of the late 18th - 1st half. 19th centuries Reflecting disappointment in the results French Revolution the end of the 18th century, in the ideology of the Enlightenment and social progress. Romanticism contrasted utilitarianism and the leveling of the individual with aspirations for boundless freedom and the “infinite,” a thirst for perfection and renewal, and the pathos of personal and civil independence. The painful discord between the ideal and social reality is the basis of the romantic worldview and art. Affirmation of the intrinsic value of the spiritual and creative life of the individual, the depiction of strong passions, the depiction of strong passions, spiritualized and healing nature, for many romantics - the heroics of protest or struggle coexist with the motives of “world sorrow”, “world evil”, the “night” side of the soul, clothed in forms of irony, grotesque, poetics of two worlds. Interest in the national past (often its idealization), the traditions of folklore and culture of one’s own and other peoples, the desire to create a universal picture of the world (primarily history and literature), the idea of ​​a synthesis of arts found expression in the ideology and practice of Romanticism.

In Russia, romanticism was manifested to varying degrees in the work of many masters - in the painting and graphics of A. O. Orlovsky, who moved to St. Petersburg, in the portraits of O. A. Kiprensky, and partly - by V. A. Tropinin. Romanticism had a significant influence on the formation of the Russian landscape (the works of Silv. F. Shchedrin, M. N. Vorobyov, M. I. Lebedev; the works of the young I. K. Aivazovsky). The features of romanticism were contradictorily combined with classicism in the works of K. P. Bryullov, F. A. Bruni, F. P. Tolstoy; at the same time, Bryullov’s portraits provide one of the most striking expressions of the principles of romanticism in Russian art. To a certain extent, romanticism affected the painting of P. A. Fedotov and A. A. Ivanov.

Jonathan Swift (1667-1745).

Anglo-Irish satirist, publicist, poet and public figure. He is best known as the author of the fantastic tetralogy Gulliver's Travels, in which he wittily ridiculed human and social vices. He lived in Dublin (Ireland), where he served as dean (rector) of St. Patrick's Cathedral. Despite his English origin, Swift vigorously defended the rights of ordinary Irish people and earned their sincere respect.

For example, in the description of Lilliput Swift proceeds from the premise that the height of the Lilliputians is twelve times less than the height of Gulliver. Therefore, in this country, surface measures are reduced by 144 times, and volume by 1728 times. In the land of giants, where Gulliver himself becomes a Lilliputian, we find the opposite relationship. From here there are many funny episodes. The author tells in detail what incredible work it took for the Lilliputian tailors to sew a new suit for Gulliver, how much material was used for him, how expensive it was to keep the captive (he ate almost 2000 portions at a time), how difficult it was to find a suitable home for him, etc. By the way, the relativity of quantities in an infinitely diverse world, the limited ideas of big and small, are the subject of Swift’s reflections in other works, in particular, in the satirical treatise “On Poetry” (1723):

From the first to the fourth part satire is constantly growing, becoming more caustic and comprehensive.

The ship's doctor Lemuel Gulliver finds himself in the country of Lilliput, where little ones live, twelve times less people, little people. They capture Gulliver, and later the local king takes a vassal oath from him with a promise of obedience and releases him.

In this part of the tetralogy, Swift sarcastically describes the exorbitant conceit of the Lilliputians and their morals, which caricaturedly copy human ones. Many episodes here, as in other parts of the book, satirically allude to Swift's contemporary events.

In the second part of the novel, which describes Gulliver's adventures in the land of giants, Swift no longer castigates individual shortcomings of the political and public life England and not individual rulers, but the entire system of government and government as a whole. Central location in the second part of the Travels, Gulliver's conversation with the king of the giants takes place, to whom Gulliver tells in detail about English laws and customs.

Same thoughts, but we find it in an even more dramatic form in the third part of the novel, which describes Gulliver’s travels to other fictional countries.

In the fourth part of the novel the hero finds himself in the fantastic state of the Houyhnhnms. Describing Gulliver's stay in the country of horses, Swift tries to prove to his compatriots that their lives are organized inhumanly and ugly, unreasonably and cruelly

The $19th century is called the “golden age” of Russian culture. This is a period of powerful flowering of all aspects of the spiritual cultural component. This also applies to music. The traditions of musical culture had already developed by the end of the 18th century, and in the next century outstanding composers became the founders of many new trends and genres. The “Golden Age” in music is associated with the names:

• A. Alyabyeva,
• M. Glinka,
• A. Dargomyzhsky,
• P. Tchaikovsky,
• S. Rubinstein,
• M. Mussorgsky,
• A. Borodina,
• N. Rimsky-Korsakov.

It is traditional to talk about Russian music of the first and second half of the 19th century.

Music of the first half of the 19th century

It is believed that it was during this period that a national music school was formed in Russia. And the first name in this regard is A. Alyabyev, whose “Nightingale” is known throughout the world. No less famous is his “Evening Bells”, “ Winter road", "I loved you".

The composer's musical works are a huge contribution to the musical culture of Russia in the so-called pre-Glinka era.

M. Glinka is considered the founder of Russian classical music. He stands at the origins of two directions - musical folk drama and fairy-tale-epic opera. He believed that music was created by the people, and composers acted only as arrangers. The melody of his works was truly Russian, expressing the aspirations of the people. For the first time, the main character of his opera “A Life for the Tsar”, or “Ivan Susanin”, was a peasant patriot. Scenes from the life of Ancient Rus' and oriental tales The opera “Ruslan and Lyudmila” is rich. M. Glinka wrote many romances based on poems by such outstanding poets as V. Zhukovsky, M. Lermontov, E. Baratynsky.

A. Dargomyzhsky also worked in the same vein, who strengthened realism in Russian music. He owns the first folk musical opera-drama “Rusalka”. In it, the composer created the image of a miller - a little man for whom it is impossible not to feel sympathy. In his romances and songs, Dargomyzhsky conveyed complex emotional contradictions, reflected social problems Russian society.

Note 1

By the middle of the 19th century, the Russian tradition of realism had fully taken shape in music. The world became increasingly aware of the importance of Russian culture, and its musical images assimilated into world culture.

Music of the second half of the 19th century

This period is considered a powerful flowering of Russian musical culture. The rise occurs against the backdrop of worsening social contradictions, which led to reforms and, as a result, to great public activity.

At this time, the first Russian conservatory opened in St. Petersburg, and A. Rubinstein became its director. And four years later, a conservatory began its work in Moscow under the leadership of Anton Rubinstein’s brother Nikolai.

Their first graduates, among whom was P. Tchaikovsky, became the pride of the country and glorified it. During this period, a special place belongs to the association famous composers, which was called the “Mighty Handful” or “New Russian School”. Its founder was Balakirev, besides him there were four other composers: Cui, Mussorgsky, Borodin and Rimsky-Korsakov.

Their aesthetic positions were formed under the influence of V. Stasov, a famous Russian music and art critic. They considered themselves followers of the great M. Glinka and in their creations continued the musical traditions of classical music that were laid down by Glinka and Dargomyzhsky.

Note 2

The composers of the “Mighty Handful” developed Russian national music and considered their main task to be a truthful reflection of the life of the people in music, which would be understandable to the mass listener.

Grade 8 Russian music from the Middle Ages to the turn of the 19th centuryIX – XX bb

Lesson topic

Lesson Objectives to form in students an idea of ​​Russian culture of the 19th century by paying attention to the atmosphere in which they were created outstanding works art

Lesson Objectives Learn:

Introducestudentswith the work of composers and artistsnogo ne period;

Use materialBy given Ouch those e;

Select material on the topic using ICT,

Present material in the form of presentations.

Develop:

develop independent work skills

develop the ability to work with information;

develop wat imagination e;

develop cognitive interest;

develop vocabulary.

Bring up:

bring upinterest in national culture.

cultivate patriotism

During the classes

Introductory conversation.

The topic of our lesson "Musical culture of Russia in the 19th century." Culture is multifaceted. What does it include? (education, science, sculpture, painting, music, architecture, everyday life of the people, literature....).

Today we will talk about painting and music. What is culture? What do we already know about culture?

So, culture is a collection of spiritual and material assets, developed by a certain era, a certain people

Spiritual culture is a set of spiritual values ​​and creative activity on their production, development and application (ideas, works of literature, painting, music).

2. Studying new material.

Conditions for the formation of Russian culture.

What direction was one of the leading in Russian culture in the first decades of the 19th century? (romanticism)

What is the distinctive feature of Russian romanticism? (Russian romanticism was characterized by an increased interest in national identity, traditions national history, affirmation of a strong, liberated personality)

One of the brightest representatives of romanticism in painting was Alexey Gavrilovich Venetsianov. His paintings became a real discovery in Russian painting. They were dedicated to the daily work and life of peasants. In the works of the 20s “On the arable land. Spring"“At the harvest. Summer” he depicted their life in poetic colors, subtly feeling and conveying the beauty of their native nature.

What other direction is being widely developed in the 20s – 50s? (realism).

Realism is a direction in art that aims to most fully reflect reality in its most typical manifestations. The desire for realism was manifested in the work of Karl Pavlovich Bryullov “The Last Day of Pompeii”. Bryullov represented the people for the first time as a hero, conveying dignity, heroism and greatness common man in a natural disaster

- What is happening in the world of music at this time?

In 1815, Catarino Cavos, an Italian by birth, who did a lot for the development of Russian art, wrote the opera “Ivan Susanin”, (telling about the feat of the peasant of the village of Domnino, near Kostroma, Ivan Osipovich Susanin, committed at the beginning of 1613. This early opera suffered from a rather primitive dramaturgy, musical episodes alternate with spoken dialogues, and the opera ends safely - Ivan Susanin returns home alive and well. This was the tradition - the benefactor must triumph, despite historical truth.

In 1836, the opera premiered in St. Petersburg Mikhail Ivanovich Glinka “Ivan Susanin”, telling about the same events as Kavos’s opera, but Glinka creates the first heroic folk musical drama in the history of world music, where all the music is imbued with folk song turns. Before Glinka in Russian music "common people" was only shown in Everyday life and were not presented as heroes of important historical events. This role was played by princes, generals, and fabulous heroes. In Glinka's opera Ivan Susanin not an everyday character, A great hero, saving the whole country and the people acts as an active actor - Listen to how powerful the “Glory” choir sounds, glorifying the Russian land and the people who defeated their enemies, listen to the words of this choir “Glory, glory to you, my Rus'!” Glory to my native land! May our beloved be strong forever and ever Mother country» (music file 1_Glory)

- How did society react to the appearance of this opera?

Outstanding musical critic Odoevsky wrote “With the opera of M. I. Glinka there is something that has long been sought and not found in Europe - a new element in art and begins in its history new period- the period of Russian music." The St. Petersburg aristocrats did not hide their hostility towards Glinka, who made a simple peasant the hero of a monumental historical opera and wrote folk music, they called this music "coachman" to which Glinka replied “This is good and even true, because coachmen, in my opinion, are more efficient than gentlemen.”

- How did the fate of the opera turn out?

According to the original plan, Glinka called the opera “Ivan Susanin”, but Nicholas the First wanted the folk-patriotic opera to be perceived as a glorification of the autocracy, so it was renamed “A Life for the Tsar” and the Tsar graciously praised the composer. During the period of Soviet power, the opera was performed under the name “Ivan Susanin”. With the change in the political situation in the country, it is now being shown in Russian theaters as “A Life for the Tsar.” Thus, political social life also influences cultural life.

So, in the first decades of the 19th century, Russian culture passed an extremely important stage in its development. If at first, despite all its originality, it continued to maintain a somewhat imitative character in relation to culture Western Europe, then gradually in different areas cultural life Russia is increasingly showing interest in its country with its real problems, in its people with their unique, uniquely inherent features, and attempts to understand all the complexities of their historical development. In other words, Russian culture is going through the process of formation of national identity.

What events contributed to the awakening of national consciousness? Patriotic War of 1812, which forced the European educated society to take a new look at the people, to see not a dark mass, but a hero capable of sacrificing everything to save the Motherland, then the Decembrist uprising, disputes between Westerners and Slavophiles about the fate of Russia, about the prospects for its development).

Representatives of culture, artists, composers were sensitive to these disputes and responded to them with their works. One of the trends in the new style was critical realism, which revealed the unfavorable aspects of life and the very content of the works seemed to demand a change for the better.

One of The largest artist of this movement was Vasily Grigorievich Perov . He managed to show with accusatory pathos many unsightly aspects of modern life. In 1861, Perov painted a picture "Rural procession at Easter"

Particularly impressive is the picture depicting the difficult life of children - "Troika" What feelings does the painting evoke? (compassion, feeling of pity, desire to help in some way).

Hard, forced labor is also reflected in Repin’s painting “Barge Haulers on the Volga”

Both Perov and Repin were members of the Peredvizhniki community of artists. Who are the “Peredvizhniki”?

– What's going on in the world of music?

In 1860, a community of Russian composers was created in St. Petersburg, called the Balakirev circle. It included Mily Alekseevich Balakirev (head of the circle), Alexander Borodin, Caesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov

Look at the portraits of these composers and count how old each one was in 1860: Balakirev - 23, Borodin - 27, Cui - 25, Mussorgsky - 21, Rimsky-Korsakov - 16.

These are young people. Balakirev studied at Kazan University at the Faculty of Mathematics. In 1855 he met with Glinka. This meeting changed my whole life young man. He becomes a follower and continuer of Glinka's work. Borodin just graduated from Medical-Surgical academy in St. Petersburg and was not yet a famous scientist.

Cui is a specialist in the field of fortification. Mussorgsky studied at the school of guards ensigns and was promoted to officer.Rimsky-Korsakov is a young graduate of the St. Petersburg Naval Corps. As you can see, all members of the “Mighty Handful” are young people, not professional musicians, who received home musical education, as was customary in all noble families of that time. What united them all?

First of all, the idea of ​​nationality and the truth of art, commitment to the native Russian culture, its history, tradition, folklore.

Turning to historical events, like Glinka, Borodin writes the opera “Prince Igor”, which tells about the unsuccessful campaign of Prince Igor against the Polovtsians.

Listen to a fragment of Borodin's symphony and look at Vasnetsov's paintings. Can we say that music and painting complement each other?

Commitment to Glinka’s ideas can also be found in the works of Mussorgsky.

Famous opera“Khovanshchina” takes us to the 17th century, the time of the reign of Peter the Great about the uprising of the Streltsy and soldiers of Moscow in 1682. Listen to the introduction to this opera. What impression do you get listening to this music and looking at the paintings?

Rimsky-Korsakov turns in his work to fairy tales and epic theme. These are the operas “Sadko” and “Snow Maiden”. As a sailor, Nikolai Andreevich magnificently painted sound pictures of the sea.

Listen and see how Aivazovsky’s paintings and Rimsky-Korsaky’s music resonate.

The same can be said about Levitan’s paintings and Tchaikovsky’s music.

Listening to music and looking at pictures, tell me what mood appears?

3. Bottom line. So, we have traced the stages of development of Russian culture in the 19th century, the connection of time, and came to the conclusion that the development of culture does not stop with the end of the century. New Age absorbs all the best and develops it further. And we, representatives of the 20th and 21st centuries, enjoyed looking at the paintings and listening to the music of the last century.

Homeworkto write a messageon topic“Musical culture of Russia in the 19th century

Faculty: "Cars and automotive industry"

ABSTRACT ON CULTURAL STUDIES
ON THE TOPIC: “The heyday of Russian musical classics in the 19th century”

Completed by student of group 21-A/10 Valiev A.A.

Teacher: Makeev A.I.

2011

CONTENT

INTRODUCTION
1. Russian musical culture of the first half of the 19th century
1.1 Development of musical genres
1.2 Creative genius M.I. Glinka
2. Musical art of the post-reform era (second half of the 19th century)
2.1 The work of P.I. Tchaikovsky. The heights of musical romanticism
3. Musical culture of the “Silver Age” (1890s - 1917)
3.1 New direction in Russian sacred music
3.2 The path to “mystery” A.N. Scriabin
CONCLUSION
LIST OF REFERENCES USED

INTRODUCTION

The flourishing of musical culture in the 19th century was prepared by the entire course of its development in Russia.
Folk poetry and music existed in ancient times, and it reflected the entire life and history of the people: their customs and rituals, work and struggle for freedom, hopes and dreams for a better life.
Russian composers carefully collected and studied folk songs. Balakirev, Lyadov, Rimsky-Korsakov compiled collections of Russian songs for voice and piano accompaniment.

The wealth of Russian music is immeasurable. For over ten centuries, its traditions have been formed and developed in close contact with the musical culture of other countries and in constant interaction with other types of artistic creativity. That is why, turning to the study of the history of Russian musical art of the imperial era, it is inevitable to combine several aspects of its consideration at the same time.
Russian music is the most important part of Russian culture. Like Russian literature, poetry, painting, theater, it vividly reflects all stages of social life, the formation of Russian philosophical and aesthetic thought. In its diverse genres and forms, the history of the people, their liberation struggle, the character of the Russian person, the originality of Russian nature and life were embodied.
At the same time, Russian music is a great page in world culture, the most important link in the general chain of historical development of musical thinking, in the birth and change of stylistic trends in European musical art. Not a single more or less significant achievement of Russian music has ever been nationally limited, but has always had deep international significance. And by the time of its classical heyday, the very breadth of international connections had become a striking national feature of Russian music, ensuring not only its world recognition, but also its leading role in the global progress of musical culture.
Russian music is one of the leading Slavic cultures. It is connected with the culture of other Slavic peoples from the time of its origin, having arisen, like all of them, from the music of the ancient Slavs. Therefore, deep intonation interactions appear especially clearly here, as evidenced, especially since the 17th century, by the widespread use in the works of Russian composers of the melodies of Ukrainian, Belarusian folklore, folklore of the southern and Western Slavs, as well as the process of formation of various professional genres.
The concept of “music history” has multiple components. Its study cannot be limited to consideration of the works of composers and musical folklore. An important role is played by the social function of musical art in the life of the state, the degree of development of performing culture and scientific thought about music, the level of aesthetic perception of musical art by individual social groups, the state of musical enlightenment and education.

1. Russian musical culture of the first half of the 19th century

1.1 Development of musical genres

The first half of the 19th century was the heyday of urban everyday songs and everyday romance. Along with the growth of cities and the development of the social structure of urban life, Russian urban song was also enriched, absorbing a wide, diverse content. It had a profound impact on the work of Russian composers and found a unique implementation in the lyrics of the masters of Russian romance - Glinka, Dargomyzhsky, Alyabiev, Varlamov, Gurilev. In the romance song - the most widespread and accessible of all genres of music - the connection between composer and folk creativity was clearly realized. Composers of the first half of the 19th century drew material abundantly from everyday songs. At the same time they own songs firmly entered into everyday life and became popular, such as, for example, “Red Sundress” by Varlamov, “Nightingale” by Alyabyev, “Bell” by Gurilev.
Urban song of the early 19th century is rich in content and diverse in genre. Its creators were sensitive to everything around them: not a single major event Russian reality did not go unnoticed, not reflected in the song. The Patriotic War of 1812 gave rise to a number of new soldiers' songs - heroic, marching, comic, and satirical. They expressed the deep, insightful attitude of the people to the great events of our time. The recruit song becomes especially popular in the cruel age of Arakcheevism. Songs about the hard lot of soldiers, about separation from family, about the unknown death of a warrior in a foreign land were in tune with the public mood of that time. They gave vent to the heavy thoughts and moods of the Decembrist years, thoughts about the forced lot of the people and about tragic destinies ordinary people.
The era of the Decembrists marked the beginning of the development of revolutionary song in Russia. Great merit in this regard belongs to the figures of the Decembrist movement - Ryleev and Bestuzhev. The traditions of revolutionary song, laid down by the Decembrist poets, were picked up and developed by their contemporaries. The themes of love of freedom and protest, the fight against social oppression, penetrated deeply into everyday songs.
On the basis of folk song lyrics, the rich and diverse romance creativity of composers of the first half of the 19th century arose and developed. As in the previous century, vocal lyrics of the early 19th century were sensitive to the aesthetic needs and demands of various social groups. The romance of the “highest” aristocratic circle (mainly French), the romance of the middle-class noble salon, the romance in the circles of the literary intelligentsia and, finally, the song-romance of the broad heterogeneous democratic environment are far from homogeneous phenomena. Russian romance, like Russian poetry, developed under the influence of advanced ideas that nourished Russian culture. Already in the first quarter of the 19th century, romance lyrics had come a long way in development - from sentimental romance, which had not yet broken with the traditions of the 18th century (Kozlovsky, Zhilin, Kashin), to deep, psychologically rich works by Alyabyev.
The development of instrumental culture in the first third of the 19th century is characterized by a clear predominance of chamber tendencies, manifested both in creativity and in forms of everyday music-making. The art of chamber performance found fertile ground in the conditions of Russian life, when the passion for music began to capture ever wider sections of society. Amateur musical evenings, quartet meetings, concerts in educational institutions and private homes greatly contributed to the growth and prosperity of chamber music, while the performance of large symphonic works, naturally, was a more difficult task at that time.
During the first half of the 19th century, many chamber ensembles of a wide variety of genres appeared in Russian music. Among them are string quartets, sonatas for bowed string instruments or for wind instruments with piano accompaniment, ensembles for string and wind instruments of various compositions (including, for example, such rare view ensemble, as a quartet for four flutes by Alyabyev, 1827). Not all of these works achieve genuine professional level, however, the best of them pave the way for the creation of Russian chamber classics, for the works of Glinka, Tchaikovsky, Borodin.
Piano music acquired a different meaning in musical and social life. Closely connected with the conditions of home life, accessible to the widest circles of amateurs, it responded more flexibly to the new requirements of the growing national culture. Tracing the evolution of Russian piano music throughout the first half of the 19th century, one cannot limit its achievements to the field of solo works. The development of piano culture was based on the interaction of all genres of chamber music, including romance and chamber ensemble. In close fusion with the vocal and song tradition, such valuable qualities of the piano school as expressive melodiousness, softness and warmth of the lyrical tone, generous melodic richness of texture and thematicity were formed. In the sphere of the chamber ensemble, traditions of brilliant, virtuosic concert style. It should be noted that it was in the genre of the piano ensemble (where the leading role, as a rule, belonged to the pianist) that the chamber music of Glinka’s period most clearly manifested itself.
Symphonic music occupied a special place in the work of Glinka’s older contemporaries. The development of large symphonic forms in the first decades of the 19th century remains closely associated with opera, a theatrical tradition. In conditions of relatively poorly developed concert life, orchestral music, naturally, has not yet had time to take an independent path of development. However, in its own way it convincingly reflected the artistic evolution of Russian art of that time. In the genre of a program overture to an opera or dramatic performance Russian composers managed to implement interesting, bold ideas. Vivid in orchestration and expressive in theme, the overtures of Kozlovsky, Davydov, Alyabyev and Verstovsky prepared Glinka’s symphonic principles. reflected in them big way, passed by Russian music from the classicism of the 18th century through “fierce romance” to the realistic symphonism of “Susanin”, “Kamarinskaya” and “Ruslan”.

1.2 Creative genius M.I. Glinka

Glinka’s work was of particular importance for the development of Russian national culture: in his works a Russian musical classics. Glinka will forever remain in history as the first Russian composer of world significance, and therefore as a unique, exceptional, inimitable phenomenon.
Glinka became the founder of a new era of Russian art. He acted not only as the end of the passed stage, but also as the opener of new paths. He not only summarized the best artistic traditions of the past, but also gave a new turn to the entire development of Russian music.
All of Glinka’s activities are based on that effective idea of ​​patriotism, which, under the conditions of the Decembrist period, was inextricably linked with the concept of true nationality. Glinka entered our consciousness primarily as a singer of the Russian people. Glinka’s art was nourished by the origins of folk art, adopted the most ancient traditions of Russian choral culture, and interpreted it in a new way. artistic principles Russian school of composers of the 18th and early 19th centuries. The Russian monumental choral style a cappella, early Russian opera, everyday romance songs, and folk song traditions in the genres of instrumental music of the 18th century all lead to Glinka’s art. Of course, all these elements were melted by Glinka into a new quality of a more advanced, classical style. He was the first to give Russian professional music a wide scope, strength of ideological content and perfection of artistic forms. The new content of Glinka’s art is connected, first of all, with a new understanding of the most important principle of the Russian school of composition – the principle of nationality. The composer wrote these wonderful words: “...the people create music, and we, the artists, only arrange it.” Glinka’s nationality is a deep and diverse reflection of the life of the people, their worldview and character, their historical experience.
In his understanding of nationality, the composer was alien to national limitations. One of the most advanced, deeply thinking artists of the Romantic era, he was keenly interested in the art of various peoples, their way of life and customs, their language. His music widely reflects the songs of the East, the grace of Polish dance, the temperamental Spanish dance, and the captivating bell canto of Italian melodies. Such a breadth of perception in Glinka’s work is typical feature Russian classical school.
The problem of nationality in Glinka’s mind was inseparably linked with the demand for a truthful reflection of life, with a realistic method of creativity. And here the composer rose one step above his predecessors. Overcoming the everyday realism of the 18th century, he came to the aesthetic principles of high typification and poetic generalization of the phenomena of reality. The problem of mastery takes on particular significance in Glinka’s creative method. None of his predecessors paid so much attention to issues of artistic form, architectonics, and composition. Any work by Glinka attracts with its integrity and harmony of form, precision and clarity of musical expression.
Glinka's national art does not belong to either classicism or romanticism; it is certainly not a simple sum of classicistic and romantic elements. Having absorbed the achievements of Western European musical culture. Having mastered perfectly high skill, he developed his own system aesthetic views based on the principles of Russian artistic realism Pushkin era. Glinka's style is subordinated to this system.
Glinka left behind a huge invaluable legacy to his descendants - his works, which include the operas “Ivan Susanin” and “Ruslan and Lyudmila”; “Kamarinskaya”, “Waltz-Fantasy” and other symphonic works; more than 70 romances; chamber instrumental ensembles and piano works.
Glinka's role in Russian musical art is great. Only with his work did Russian music take the path of broad, monumental, national art.

2. Musical art of the post-reform era (second half of the 19th century)

Historical period 60-80. The 19th century is usually called post-reform - in 1861, by royal decree, serfdom was abolished, which entailed the liberalization of Russian social life. This stage was marked by the high flourishing of artistic culture as an integral and original phenomenon. It was then that a certain system of spiritual and aesthetic values ​​was formed in art, which were embodied in literature and theater, painting and music.
Musical art has not remained aloof from the burning issues of our time. Populist positions are characteristic of the worldview of many composers who believed in the messianic role of the Russian people, in the triumph of their historical spiritual feat. The music reflected the entire spectrum of intense moral quests of the Russian intelligentsia of those years and embodied ideals inspired by time in musical images. Some masters idealized Russian history and the purity of folk life, others believed in the self-improvement of the individual based on the laws of folk ethics, while others sought to embody in their work a certain prototype of folk culture, born from an ever-living source - pristine nature.
The genre uniqueness of Russian music is closely related to the “literary-centrism” characteristic of the artistic culture of the post-reform era. Generated by the aesthetics of realism, it expressed itself in the priority role of the word, artistic and journalistic. The leading genre of music at this time was opera - historical, epic, lyrical, dramatic. Other synthetic musical genres continue to develop - romance, song. Vocal music supplements the “musical encyclopedia” of Russian poetry, enriching it with social, accusatory and lyrical-psychological images.
Instrumental music of this era also gravitates towards a realistic plot, towards the specifics of the literary source. This was expressed, in particular, in the fact that special significance, which is acquired from Russian composers by program instrumental music. She draws from all world literature (from traditional Pushkin texts to the works of Shakespeare), reinterpreting them from a modern perspective.
The culmination of the development of instrumental music was the creation of the Russian multi-movement symphony, testifying to the high maturity of Russian symphonism - lyrical-dramatic (by P.I. Tchaikovsky), epic (by A.P. Borodin). Other types of symphonic music also developed - instrumental concerts (A.G. Rubinstein, P.I. Tchaikovsky, N.A. Rimsky-Korsakov), overtures, fantasies, symphonic paintings.
A sign of the multi-genre flourishing of music is the birth of classical Russian ballet, in which the dramatic essence of the plot is revealed through symphonic means.
The development of musical culture could not help but reflect two main trends that are significant for the Russian national mentality. The first of them is associated with the acceleration of the pace of Europeanization of musical life, with radical shifts in concert practice, performance, and education. The Russian Musical Society (RMS) was organized, and the first conservatories were opened in St. Petersburg and Moscow.
The second trend of Russian musical culture of the post-reform era was closer to the “soil” public views. Thus, the center of the musical life of St. Petersburg became a circle of musicians headed by M.A. Balakirev. It went down in history as the New Music School, or the “Mighty Handful”. The circle was made up of aspiring composers who had not received professional education and found in M.A. Balakirev his main mentor: Ts.A.Kui, A.P.Borodin, M.P. Mussorgsky, N.A. Rimsky-Korsakov. The aesthetic positions of the “kuchkists” were formed on the basis of radical populist ideas, supported by the rich experience of the development of Russian music in previous years, the work of M.I. Glinka and A.S. Dargomyzhsky. Members of the “Mighty Handful” believed that national art grows from folk art, and the path of the Russian composer is connected with the implementation of the image of the people, their history, and their moral ideals in music.

2.1 Creativity P.I. Tchaikovsky

The heights of musical romanticism.
The work of P.I. Tchaikovsky absorbed and focused comprehensive information about a person, the psychology of his feelings, the dynamics of passions; it captured the dialectic of natural impulses towards happiness and the impossibility of changing the tragic essence of earthly Existence.
Tchaikovsky's genius was formed in the post-reform era. He witnessed the high rise and decline of the populist movement in Russian culture, and was a contemporary of the composers of the “Mighty Handful”.
Tchaikovsky's music style developed in the context of the composer's unconventional ideas about the nature of national identity. In his interpretation of the “national” and “folk,” he followed a different path than the adherents of “Kuchkism.” Russian folklore was not a universal source for him, the fundamental basis of musical language. With the help of generalized, mediated folk song intonations, Tchaikovsky embodied the national image of “Russianness”, Russia, Russian reality in its modern versatility. Therefore, the composer did not set out to use specific genres of authentic peasant folklore in music, but turned to the “intonation vocabulary” of the urban musical life surrounding him. Familiar urban intonations, combined with emotional openness, sincerity and melody, made Tchaikovsky’s music understandable and accessible to the widest audience both in Russia and abroad. That is why Tchaikovsky’s works quickly won the sympathy of Europeans and contributed to the international recognition of Russian music throughout the world.
The phenomenon of Tchaikovsky’s work as a deeply Russian phenomenon lies in the fact that the composer, embodying the personal, was able to express the universally significant, telling in the language of music about his emotional experiences– rise to the level of generalization of philosophical and moral ideas that are key in Russian culture. Among them is a question written with pain in the hearts and minds of contemporaries, brilliantly formulated by F.M. Dostoevsky: is everything allowed to a person(?), as well as the eternal problems of life and death, good and evil, love and hate. Tchaikovsky’s music has in common with Russian cultural traditions an unobtrusive “teachership”, compassion for people coming from within, sympathy for their weaknesses and sorrows, in other words, true humanism in its universal understanding.
Tchaikovsky’s works fit no less organically into the achievements of European art, into the style of romanticism. Tchaikovsky believed that “European music is a treasury into which every nationality contributes something of its own for the common benefit.” The composer always considered it an important task to bring “his own”, not alien to the “common”, never specifically caring about his own originality. Therefore, he spoke in an original, but at the same time universal musical language, perceiving romanticism precisely as a general artistic idea.
The romantic worldview opened up limitless possibilities for the manifestation of the composer's lyrical gift. The best pages of his compositions are painted in emotional tones, giving the music the character of a confessional statement.
The range of the composer's creative interests is unusually wide. His legacy includes ten operas (Eugene Onegin, Ondine, Blacksmith Vakula, The Queen of Spades, etc.), three ballets (Swan Lake, Sleeping Beauty, The Nutcracker), seven symphonies, more than ten orchestral works, instrumental concerts, choral and piano music, chamber and vocal works. In every field, Tchaikovsky was an innovator, although he never sought to be a reformist. Using traditional genres, the composer found opportunities to update them. He created a lyric-dramatic opera, a tragedy symphony, enriched a one-part program overture and a symphonic poem, and was also the founder of the Russian symphonized ballet and concert-symphony.
Tchaikovsky's work had a huge influence on his contemporaries. His name was already associated with the greatest representatives of Russian culture. In the decades that followed, no musician escaped the influence of Tchaikovsky's powerful symphony and his operatic style. The artistic and humanistic significance of his music became especially relevant in the second half of the 20th century. Against the backdrop of global environmental disasters, wars, destruction and spiritual crises, the composer’s words are increasingly coming true: “I would like with all the strength of my soul for my music to spread, so that the number of people who love it and find solace and support in it increases.”

3. “Silver Age” in Russian musical art (1890s - 1917)

The end of the 19th and beginning of the 20th centuries for Russian music were sometimes characterized by unusually rapid, rapid development and the emergence of new forces and trends, which was associated with a general reassessment of values, a revision of many ideas and criteria of aesthetic evaluation established in the previous era. This process took place in heated disputes and clashes between various, sometimes converging, sometimes antagonistic tendencies that seemed irreconcilable and mutually exclusive. But it is precisely this diversity and intensity of quests that determine the special richness of this historical period - one of the most interesting and fruitful in history. Russian art. Outstanding achievements and discoveries in various fields of artistic creativity that marked the time enriched it with new content, new forms and means of expression.
The cultural trends of the “Silver Age” profoundly changed the face of musical art. Among the “traditionalists”, whose movement towards the new was made without a break with accumulated experience, the names of representatives of the St. Petersburg school, the closest followers of N.A. Rimsky-Korsakov, stand out - A.K. Glazunov and A.K. Lyadov. The Moscow school is worthily represented by S.I. Taneev, as well as lesser-known but gifted authors - A.S. Arensky, V.S. Kalinnikov, M.M. Ippolitov-Ivanov.
But already in the 1900s. In Russian music, a brilliant generation of young composers is emerging, belonging to the great creators of the “Silver Age”. Their art reflected the renewal of the worldview, the drama and intensity of passions of the “turn of the century era”, free soaring in its stylistic polyphony. The music spoke with images of symbolism (A.N. Scriabin), neoclassicism (N.K. Medtner), neo-romanticism (S.V. Rachmaninov), neo-folklorism (I.F. Stravinsky), cubo-futurism (S.S. Prokofiev), freely combining language of all styles.
The musical art of the “Silver Age” was innovative in its essence. The discoveries of Scriabin, Rachmaninov, Stravinsky, Prokofiev in the field of mode, harmony, and form contributed to the formation of new imagery and means of artistic expression in the music of the 20th century.

3.1 New direction in Russian sacred music

The era of the turn of the 19th-20th centuries. was a genuine “spiritual renaissance” of Russian church music. Choral works created in the period from approximately the mid-1890s to 1917 belong to the so-called New Direction in Russian liturgical musical art. This direction was represented by composers of different creative abilities and attitudes. Among them were musicians from the St. Petersburg and Moscow composing schools. All of them were united by one common idea - the idealization of genuine church melodies, their transformation into a net musically sublime, strong in its expressiveness and close to the Russian heart due to its typical nationality.
An appeal to the origins, to the practice of znamenny singing of Ancient Rus' becomes the essence of the New Direction. At first glance, such church singing “neoclassicism” is in complete harmony with the main line of development of art of that time, with the desire to revive the models of past cultures. However, the music of the New Direction is a completely special branch of artistic creativity of the “Silver Age”, since it performed a kind of mediating function between liturgical practice with its strict canon and secular art concert purpose. The works of adherents of this movement are associated not only with the liturgical text (which is often found in music of the 20th century), but with a specific divine service, which made it possible to include many works in church service. The new style in sacred music developed quickly and fruitfully. Composers carefully studied ancient chants, trying to identify on their basis the principles of harmonization of church melodies.
The forerunners of the New Direction were N.A. Rimsky-Korsakov and P.I. Tchaikovsky, whose sacred music dates back to the post-reform period. Later, the most significant forces of musicians concentrated within the walls of the Moscow Synodal School Therefore, the temple music of the “Silver Age” is often called the “school of the Synodal College”. The largest representatives of this school were the director of the Synodal School S.V. Smolensky, Archpriest V.M. Metallov, and also A.V. Preobrazhensky. Among the Moscow composers who belonged to the new direction are S.V. Rachmaninov, A.T. Grechaninov, A.D. Kastalsky and others. In St. Petersburg, its largest representatives were N.N. Cherepnin and S.V. Panchenko.

3.2 The path to the “mystery” of A.N. Scriabin

One of the most prominent representatives of the art of the “Silver Age” at the time of its rapid flowering was Alexander Nikolaevich Scriabin. For many decades, Russian musicology assessed his work ambiguously - censorship considerations did not allow researchers to reveal the essential aspects of the music of the Russian genius, officially called an “idealist-mystic.”
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