Smirnova Russian musical literature. Russian musical literature - a textbook for students of music schools

Tutorial. - M.: Muzyka, 2014. - 593 p. - ISBN 978-5-7140-1286-0. The second edition of a textbook on Russian musical literature, created by teachers of the Academic Music College (school) at the Moscow State Conservatory. P.I. Tchaikovsky, continues new series textbooks on this subject to replace the largely outdated manuals published by the Leningrad branch of the publishing house "Music" under general edition E. Fried.
The second issue included chapters devoted to the works of A. Rubinstein, A. Serov, M. Balakirev, A. Borodin and M. Mussorgsky.
The publication is supplied with a large number of sheet music examples. Published for the first time.
For music school students. Introduction. Russian musical culture of the 1860s—1870s
A. G. Rubinstein
Vital and creative path
Childhood years (1829-1840)
Classes with A. I. Villuan
First trip abroad (1840-1843)
Second trip abroad (1844-1848)
Back at home (1848-1854)
Third trip abroad. Rubinstein and Liszt (1854-1858)
Return to St. Petersburg. Creation of the Russian Musical Society and the St. Petersburg Conservatory (1858-1867)
Years of wanderings (1867-1881)
Rubinstein brothers
Last years of life. Latest achievements
Daemon
History of creation and production. Literary source and libretto. Basic poetic motives
Brief summary of the opera
Features of the genre. Composition and dramaturgy. Opera forms
Prologue
First action
Second act
Third act
Concert no. 4 for piano with orc.
A. N. Serov
Life and creative path
1820-30s
1840s
1850s
1860s
Musical and critical heritage
The role of one motive in the whole opera _A Life for the Tsar_
Ruslan and _Ruslanists_
Magic shooter
Lohengrin_ Richard Wagner on the Russian opera stage
Beethoven's Ninth Symphony, its structure and meaning
Opera creativity
Judith
Enemy power
M. A. Balakirev
Life and creative path
Childhood and youth
Mighty bunch
Balakirev - conductor and musical public figure
Years of crisis and revival. last years of life
Symphonic poem "Tamara"
Overture on the themes of three Russian songs
40 Russian folk songs
Romances and songs
The Bandit's Song
Hold it, kiss it
Come to me
Song of Selim
Song of the goldfish
Can I hear your voice
Georgian song ("Don't sing, beauty, in front of me")
A clear month has risen to the sky
Starter
When the yellowing field is agitated
Among the flowers
Islamey
A. P. Borodin
Life and creative path
Childhood and youth (1833-1859)
Heidelberg. Acquaintance with E. S. Protopopova (1859-1862)
Return to Russia. Meeting with Balakirev. First Symphony (1862-1869)
Start of work on "Prince Igor". Second Symphony. Borodin visiting Liszt (1870s)
Last years of life (1880-1887)
Prince Igor
History of creation
Contents of the opera
Opera genre. Composition and dramaturgy
Images of Rus'
Images of the East
Symphonic creativity
First Symphony in Es major
Second Symphony in B-minor ("Bogatyrskaya")
Romances and songs
Song of the Dark Forest
Sleeping princess
Sea princess
From my tears
My songs are full of poison
False note
Arrogance. "In people's houses"
Arabic melody
For the shores of the distant fatherland
Chamber and instrumental creativity
Second Quartet
M. P. Mussorgsky
Life and creative path
Childhood years in Karev (1839-1849)
Petersburg. Years of study (1849-1856)
School of Guards Ensigns and Cavalry Junkers
Mussorgsky - officer of the Life Guards Preobrazhensky Regiment (1856-1858)
Mussorgsky and Dargomyzhsky
New friends. Retirement (1858-1860)
Mussorgsky and Balakirev
Reading circle. Reflections. "King Oedipus". Mental crisis
1860s On the eve of the opera "Boris Godunov"
Commune
Mussorgsky and The Mighty Handful
Events of the second half of the 1860s.
Creativity of the 1860s
Salammbo
Marriage
Symphonic works of the 1860s "Night on Bald Mountain"
Years of creation and production of the opera "Boris Godunov" (1868-1874)
The last period of life and creativity (1872-1881)
Creativity of the 1870s
The history of the creation of the opera "Khovanshchina" (1872-1880)
Sorochinskaya fair
Piano and vocal compositions of the 1870s.
Concert performances
Characteristics of creativity
Mussorgsky and his time. Topics ideas images
Genres principles of form musical language
Mussorgsky the writer
Boris Godunov
Contents of the opera
Pushkin's tragedy "Boris Godunov" and Mussorgsky's opera
Opera genre. Dramaturgy and composition
Intonation Dictionary of Musical Drama
Prologue
First action
Second act
Third act
Act Four
Khovanshchina
Contents of the opera
Literary language of "Khovanshchina"
The musical language of "Khovanshchina"
Dramaturgy and composition
Folk scenes in "Khovanshchina"
The stage fate of "Khovanshchina"
Chamber vocal creativity
Vocal collection "Young Years"
What are your words of love?
Night
The leaves rustled sadly
Where are you, star
Sleep, sleep, peasant son
Folk pictures
Kalistrat
Eremushka's lullaby
Orphan
Mischievous
Gopak
For mushrooms
Svetik Savishna
Satire songs
Seminarian
Classic
Raek
Song about a flea
Vocal cycles
Children's
Without sun
Songs and dances of death
Piano creativity
Pictures from the exhibition
Content

. Textbook for music schools. Issue 1. Ed. EAT. Tsarev. - M.: Muzyka, 2002. - 350 pp., ill., notes.

The textbook for the course of musical literature is devoted to an overview of musical culture foreign countries XVII century, the work of I.S. Bach and G.F. Handel.

ISBN 5-7140-0693-3

Musical literature of foreign countries. Textbook for music schools. Issue 2. G. Zhdanova, I. Molchanova, I. Okhalova. Ed. EAT. Tsareva. - M.: Muzyka, 2002. - 414 pp., ill., notes.

The second edition of the textbook for the course of musical literature of foreign countries is dedicated to the work of K.V. Gluck, J. Haydn, V.A. Mozart. In the Introduction there is a picture artistic creativity The Enlightenment era in Europe in the middle and second half of the 18th century.

Published for the first time.

Intended for music schools.

Publishing house "Music", 2002
ISBN 5-7140-0312-8

Musical literature of foreign countries. Textbook for music schools. Issue 3. Ed. EAT. Tsarev. - M.: Muzyka, 2004. - 590 pp., ill., notes.

A textbook for music schools on the course of musical literature of foreign countries is devoted to the work of composers of the 19th century: Beethoven, Schubert, Rossini, Weber, Mendelssohn, Schumann and Chopin.

The first edition of a textbook on musical literature of foreign countries was published in 1952 and was the first in a series of textbooks on this subject. Its author was Vera Semyonovna Galatskaya (1904-1982), a famous musician and teacher who worked for over 40 years at the Music School at the Moscow State Conservatory named after P.I. Tchaikovsky as a teacher and then as a consultant.

The fourth edition, revised and expanded, was published in 1970 under the editorship of E.M. Tsareva and has already become a generalization of the accumulated experience of teaching musical literature in the 1950-1960s.

In this edition, the title editor considered it necessary to make some changes that correspond to the modern level of knowledge and practice in teaching the subject.

Publishing house "Music", 2004
ISBN 5-7140-0099-4

Musical literature of foreign countries. Textbook for music schools. Issue 4. Ed. EAT. Tsarev. - M.: Muzyka, 2006. - 704 p., ill., notes.

The fourth edition of the textbook was created by the teaching staff of the Academic Music School (College) at the Moscow Conservatory. P.I. Tchaikovsky to replace issue 4, which has not been reprinted for a long time and, for objective reasons, is largely outdated (author - B. Levik).

The new textbook, dedicated to the life and work of Berlioz, Meyerbeer, Liszt, Wagner, Brahms and Verdi, summarizes the experience of teaching musical literature in the performing and theoretical departments. Great place it contains musical examples and fragments from the literary heritage of composers.

Published for the first time.

For students of music schools.

Publishing house "Music", 2006
ISBN 5-7140-0389-6

Musical literature of foreign countries. Textbook for music schools. Issue 5. Ed. EAT. Tsarev. - M.: Muzyka, 2007. - 640 pp., ill., notes.

The fifth edition of the textbook was created by one of the teachers of the Academic Music School (College) at the Moscow Conservatory. P.I. Tchaikovsky to replace issue 5, which has not been reprinted for a long time and, for objective reasons, is largely outdated (edited by B. Levik).

The new textbook is dedicated to the life and work of Gounod, Bizet, Smetana, Dvorak, Grieg, Debussy and Ravel; it also gives an overview of the musical culture of France and the young national schools in the second half of the 19th century.

A large place in the manual is devoted to musical examples and fragments from the literary heritage of composers.

Published for the first time.

For students of music schools and colleges.

Publishing house "Music", 2007
ISBN 978-5-7140-0741-5

RUSSIAN MUSICAL LITERATURE

Currently, college music literature teachers are working on a series of textbooks on Russian musical literature. Team of authors - O.I. Averyanova, O.B. Khvoina, I.V. Okhalova.

In 2004, the publishing house “Music” published the third issue of the series, and the remaining issues will be published in the coming years.

Review of textbooks in the series “Musical Literature of Foreign Countries”:
Musical literature of foreign countries: A textbook for music schools. Vol. IV. M.: Muzyka, 2006. Vol. V. M.: Music, 2007.

Olga Fadeeva

TEXTBOOKS FOR THE NEW GENERATION OF MUSICIANS

I think I will not be mistaken if I note that today the importance of musical literature as a subject not only of special, but also of general professional secondary music education is increasingly increasing. Possessing a synthesizing content and combining elements of various types of knowledge - both musical-historical and musical-theoretical - it is musical literature with its living artistic material, broad connections with world culture, literature, history that can not only fill young man a certain stock of skills and abilities - first of all, it is designed to enrich him spiritually and aesthetically. Like no other musical subject it allows one to penetrate into the true treasures of culture, introduces greatest creations the human spirit, opens them up for the beginning connoisseur of beauty. The knowledge acquired in the course of musical literature during the period of study at a music school turns out to be necessary throughout the subsequent path of a musician, no matter what specialty he receives.

Textbooks are one of the most important sources of this knowledge, so their updating should be constantly in the field of view of specialists. In recent years, the publishing house “Music” has carried out several projects related to the publication of textbooks on musical literature for different stages and levels of professional education. New books for children's music schools and children's art schools have already appeared and entered into practice. And here is the next important step - a series of manuals for middle management, schools and colleges. Its need has been long overdue, because the first editions of such textbooks were prepared back in the early 50s of the last century, and many of them are now quite outdated. However, understanding the complexity of the task, the amount of work, as well as other objective reasons hindered its implementation. Finally, the wishes and hopes of the publishing house, teachers and students came true. Since 2002, five main books of the series “Musical Literature of Foreign Countries” have been published, three of which (II, IV, V issues) were written anew, and the other two (I and III) are now classic manuals created by V.S. Galatskaya, - seriously edited. Thus, the entire body of textbooks required today for mastering the main sections of the subject in a music school has been completely revised. All this work was carried out by the team of authors of the Academic Music School at the Moscow State Conservatory named after P.I. Tchaikovsky under the guidance of Doctor of Art History, Professor E.M. Tsareva.

The last two years have been the most fruitful for the authors, who created the final editions of the manual one after another and thus completed many years of work. As rightly stated in the preface to the IV issue, the publication summarizes the experience and traditions of teaching musical literature in one of the oldest educational institutions Russia, which developed with the participation of such masters of this subject as V.S. Galatskaya, R.A. Peskina, L.L. Rytslin, V.B. Grigorovich. It is extremely valuable that the new generation of authors (E.M. Tsareva, I.M. Molchanova, I.V. Okhalova, D.R. Petrov) preserved the principle of organizing the course, introducing into its content something new that was enriched in teaching practice last decades. The most significant updates, of course, occurred in the IV and V editions of the manual, which appeared quite recently, and therefore are based on the latest “developments” of teachers.

The view of the school course in musical literature as basic, fundamental and, at the same time, in many ways preparing for the perception of the university course in the history of music, is now the most common among middle-level teachers.

As in previous editions, the new manuals retain the principle of monographic essays, which makes it possible to combine the presentation of the composer’s creative individuality with a description of cultural and historical processes. But the authors not only preserved the established system, but in most cases enriched and expanded the musical material, thus giving the inquisitive reader the opportunity to become acquainted with both the mandatory requirements of the course and those artistic phenomena that he still has to learn in the future. In other words, manuals are perceived as a kind of “guide to action”, a creative “maximum task”. They allow you to find the answer to a specific “today’s” task, but at the same time they invite the student to new knowledge.

Biographical chapters (“Life and creative path...”) occupy a special place here. For the authors, they became an expression of the musical-historical concept of the subject. They not only contain information about the lives of composers, but show creative atmosphere, in which the formation of the artist’s personality took place, the problems of his style are touched upon. In some cases, descriptions of musical works are successfully woven into the biography (for example, “Pelléas et Mélisande” by Debussy, Brahms’ Third Symphony) or comments on literary and philosophical works (Wagner). In presenting biographies, documentary materials, memoirs of contemporaries, and statements of prominent researchers are widely used, which gives the biographical pages historical authenticity.

More thoroughly than before, the manuals contain analytical chapters devoted to individual musical works. Thus, in the “romantic” IV edition, in comparison with the previous textbook, pages representing the piano heritage of F. Liszt, operas and musical dramas of R. Wagner are supplemented and significantly deepened in content, and V includes such works as E. Grieg’s Third Violin Sonata , “Gaspard by Night” by M. Ravel and others. New sections, previously not included in school textbooks, were also introduced: the IV issue, for example, was replenished with material about J. Meyerbeer.

A practicing teacher, who for many years has habitually introduced his students to the same essays strictly according to the program, accompanying them with already practiced comments, will note skeptically: who needs these innovations when there is not enough time even for the main material? Meanwhile, a modern student, as a rule, due to the independence of his character, is more likely to pay attention to precisely those pages of the manual that go beyond the compulsory course: after all, he has already heard the “compulsory” in class. Now, in an ordinary textbook, literally “at hand”, he finds information about works that he himself may perform or often listens to in recordings. And a traditional textbook suddenly becomes for him a most valuable source of information, a reference book, simply a “book to read,” from which he can learn many musical and historical facts that interest him. It seems that the authors of this manual sought precisely this kind of perception of their work by readers. Likewise, the appearance of a special essay about Meyerbeer and his opera “The Huguenots” in a manual intended for music schools is like a response to the demands of the time: now there are complete audio recordings of this work, and an inquisitive student, and just a music lover who often uses educational literature to replenish your musical luggage, you will find it here required material. These pages will also be useful for students of some university specialties.

In connection with this understanding of the textbook, it seemed logical to include in the section “Richard Wagner” (author I. Molchanov) a fairly detailed description of the opera “Tristan and Isolde”. The previous textbook in all its numerous reprints gave only the most general information about this work inside the biography of the composer. At the same time, this opera constantly “excites consciousness” and is one of the most fascinating pages works of Wagner, always perceived with great interest. Young musician One cannot help but be struck by the emotionally rich plot, psychologically heightened images, passionate tone of expression and unusual musical language. It is quite natural that the section of the manual introducing this unique work will certainly attract the attention of readers.

New discoveries are also contained in other sections of issue IV. D. Petrov wrote an interesting and fascinating essay dedicated to Berlioz in a lively literary manner. The composer appears in it without any stiltedness or artificiality, in all the contradictions of his character and the complex vicissitudes of life. The author shows the master's appearance in inextricable connection with the social and artistic life of France; he not only clarifies some information about Berlioz's life, but also significantly expands the possibilities of getting to know his music. The place for this is the chapter “Life and Creative Path”, where the necessary information is given (confirmed by musical examples) about such works as “Harold in Italy”, “Romeo and Juliet”, Requiem, etc. D. Petrov did not even ignore Berlioz’s not very well-known work, the sacred trilogy “The Childhood of Christ,” giving it a brief but succinct description and illustrating it with a small musical example from the overture.

Teachers and students will certainly be pleased to notice the changes that have occurred in the mandatory chapter for the textbook - “Liszt's Piano Works”. Supplemented by a detailed presentation of literally all the main concert genres of the composer’s piano music - etudes, rhapsodies (along with a description of the verbuncos style), the more widely shown “Years of Wanderings”, and some late works, this chapter has become the real center of the monographic section here. It also seemed useful to get acquainted with Liszt’s work by turning to works that summarize his most important stylistic principles - this is the “piano poem” “Valley of Oberman” from the cycle “Years of Wandering” and two piano concertos. The author of the chapter, I. Okhalova, found accurate and memorable verbal characteristics to describe Liszt’s piano works, reflecting the romantic pathos of the music. This is how, for example, she commented on the famous transcendental sketch “Mazeppa”; “The image of a wild race (a symbol of the vicissitudes of fate, in many ways akin to the “Forest King”), and the courage to overcome, and a bright vision are captured here with pictorial relief. lyrical image..." (p. 179-180); or the program title “Obermann Valley”: “...The word “valley” is used here not in a picturesque, but in a psychological way, as an image of solitary reflection, immersion in the depths of an infinitely complex spiritual world” (p. 209).

In the section devoted to the work of Brahms, its author, E. Tsareva, extremely concentrated her attention on those works that are recommended training programs for study at the secondary level (IV Symphony, Piano Intermezzo op. 117). However, this in no way impoverished the composer’s performance as a whole. An expert on his personality and creativity, E. Tsareva introduced touching details of his life into the presentation of Brahms’ biography (for example, she emphasized his passion for studying and collecting manuscripts of past composers, etc.), thereby giving the master’s appearance liveliness and humanity. Perhaps for the first time in a textbook, the image of this composer turned out to be so natural, devoid of a touch of cold rationality. And of course, an important addition to the facts of his biography was brief explanations to many works - from Hungarian dances to the Third Symphony. The chapter, which actually contains an analysis of the last peaks of his music, is perceived as a generalization of the main features of Brahms’ style.

The fifth edition of the manual, written by I. Okhalova, deserves special attention. For the first time, this, essentially the final, section of the school course acquired such a fundamental basis in the form of a textbook in which monographic chapters are combined with short musical and historical essays explaining the most important artistic phenomena of the second half of the 19th century (“French music of the second half of the 19th century”, “Young national schools in the second half of the 19th century"). Without going beyond the historical course (Gounod, Wiese, Smetana, Dvorak, Grieg, Debussy, Ravel), relying on the most significant phenomena of musical literature, the author presented a wide panorama of the development of musical genres and images. The sections dedicated to the works of Bizet, Dvorak, and Grieg are written emotionally and expressively in the manual. The essays on Debussy and Ravel were successful in terms of analyzing musical material. Significantly expanded, they not only give a convincing idea of the style of these composers, but with numerous examples they confirm judgments about the genre diversity of their work. The last two editions of the manual are wonderful examples of the continuity of scientific and pedagogical thought. Created today, they represent an organic synthesis of the best achievements of textbooks of previous years and new qualities of modern educational literature. However, complementing each other, these books, at the same time, represent absolutely different approaches to the idea of organizing a modern textbook. The IV issue, created by a large team of authors, is an interaction of different creative principles with a unified methodological approach to the subject. The individuality of the author's decisions is manifested here both in relation to the material itself, and in the manner of presentation, and in the degree of its detail. But differences in particular matters only facilitate the perception of the whole, avoid monotony and at the same time contribute to unification, just as contrasts in musical themes determine unity general composition. The fifth issue, written by one author, in turn, demonstrates the integrity of the approach to solving the main problems of the book’s content.

The authors have significantly improved the manner of presentation of the material, giving the tone of the manuals a literary and artistic character. This facilitates the perception of the books under review and makes them interesting for readers of different circles. The text is distinguished by precision of definitions, clarity and expressiveness. In the current state of the educational process, this feature of the new manuals seems extremely valuable. The internal organization of the text, built professionally, taking into account the specifics of “educational reading” is also attractive. It is convenient and pleasant to work with such books. With their entire “device” they seem to invite the reader to cooperate. The presentation of the content of operatic works is included directly in their characteristics and is associated with a description of the music (it’s only a pity that the content of the opera “Lohengrin” was subjected to a strange truncation, as a result of which some of the events Act III turned out to be moved to II). The cognitive function is performed in the text and explanations; formatted as footnotes per page, which clearly indicates that they should always be taken into account. Finally, large musical examples representing relatively complete and meaningful construction-themes (in the samples vocal music- with the text given in Russian), complementing the analytical material, help to consolidate what has been read.

There is no doubt that we have before us a new, necessary and promising work of Moscow musicologists, reflecting modern trends in the system of teaching musical literature and deserving close attention from a wide range of specialists. Probably, some readers may have a question: to whom are these books addressed, which of the modern students will be able to fully master the material presented in them, which of the teachers in their classes will have time to cover the wide range of phenomena that the new editions offer us? There is only one answer here - these are new generation manuals, including a variety of materials, and their main attractiveness lies precisely in the ability to choose from the proposed range of phenomena what is necessary and interesting for you. These are books for both teachers and students, everyone can find in them something they need for themselves, but the main thing is that everyone will find in them what is required for a full-fledged course in musical literature at various professional levels.

So, the updating of foreign musical literature manuals is completed, now it’s time for textbooks on Russian music!

INTRODUCTION
In the family of world musical cultures, Russian music has one of the most significant and honorable places.
It arose over ten centuries ago from the song and instrumental art of the ancient Slavs and since then has come a long and glorious path, gradually increasingly asserting its global significance. The pinnacle of this centuries-long development was XIX century, which gave humanity Glinka and Dargomyzhsky, Borodin and Mussorgsky, Tchaikovsky and Rimsky-Korsakov, Glazunov and Taneyev, and on turn of the 19th century and 20th centuries - Rachmaninov and Scriabin.

Having grown out of folk musical practice, Russian musical art has retained an unbreakable connection with this life-giving source for all times. It thus reflected everything historical stages development of national consciousness and at the same time preserved and creatively developed the most valuable musical traditions of deep antiquity. This is how its national identity developed over the centuries. Russian music also sensitively absorbed the achievements of the musical art of other countries and peoples and developed in close connection with other arts - Russian and foreign literature, poetry, theater, painting.
During the period of greatest flowering of Russian music national character combined with a deep and original refraction of the most important problems of the century, with the ability to capture great universal content in a bright, unique form. These features constantly attracted the close attention of leading figures in European musical art. Liszt and Berlioz were ardent admirers of Glinka. Even during the composer’s lifetime, Tchaikovsky’s work won love and admiration in many countries around the world. According to the recognition of a number of French musicians, led by Claude Debussy, the creative principles of Mussorgsky, Rimsky-Korsakov, and Borodin contained the seeds of further fruitful development and renewal of European music.
Classic XIX the century of Russian music was a preparation for new art, Soviet era, which opened with the Great October Revolution. The work of Soviet composers Myaskovsky, Prokofiev, Shostakovich and many others, which in turn have already become classics, is strongly connected with the musical traditions of their great predecessors.

The best creations of Russian music are always characterized by deep humanity. In the minds of their authors, the concepts of “beauty” and “truth”, the principles of aesthetic and ethical, were inextricably linked. The highest goal for Russian composers has invariably been the creation true image a person, the expression of his complex thoughts and feelings. In works of various genres, as well as in folk art, not only the history and life of the people, their struggle for independence, an angry denunciation of social injustice, but also the passionate desire of the individual to emancipate their spiritual forces, the struggle for a person’s personal happiness. That's why Russian composers, like Russian writers, can rightfully be called, using the expression of A. Tolstoy, “masons of the invisible fortress, the fortress of the people’s soul.”

The feat of Russian musicians becomes even more obvious if we remember that they selflessly created in the most difficult conditions of the tsarist system, serfdom and during the period of rapid growth of developing capitalism, when artists were subjected to severe persecution for expressing freedom-loving thoughts, and all Russian art was disparagingly viewed by the ruling elite as something “inferior” in relation to the fashionable West. Maxim Gorky was right when he said: “In the field of art, in the creativity of the heart, the Russian people discovered amazing power, creating, under the most terrible conditions, beautiful literature, amazing painting and original music, which is admired by the whole world. The people’s lips were closed, the wings of the soul were tied, but their heart gave birth to dozens of great artists of words, sounds, and colors.”
The Great October Revolution freed the “wings of the soul,” opening up unprecedented opportunities for the development of artistic creativity in history. After the Great October Revolution socialist revolution all forms of art, including music, entered into new stage existence, began a new life. At the same time, interest in the historical past of our native art has increased in our time.

To understand and appreciate the present, you need to know the past well. Treasures created over the centuries by the genius of the people, passed on from generation to generation, are our heritage, our national pride and the true foundation of Soviet music.

Chapter I. Russian music before the 18th century
- Music ancient Rus'
- Musical culture Kievan Rus
- Musical culture of Novgorod
- Musical culture of Moscow Rus'
- New phenomena of Russian musical culture in the 17th century
Chapter II. Russian musical culture XVIII century
- Folk song in city music
- Vocal everyday lyrics
- Opera
- Choir concert
- Instrumental music
Chapter III. Russian musical culture in the first half of the 19th century
- Romance
- Musical Theatre
Chapter IV. Russian composers - contemporaries of Glinka
- A. A. Alyabyev
- A. E. Varlamov
- A. L. Gurilev
- A. N. Verstovsky
Chapter V. M. I. Glinka
- Life and creative path
- "Ivan Susanin"
- "Ruslan and Ludmila"
- Symphonic works
- Romances.
Chapter VI. A. S. Dargomyzhsky
- Life and creative path
- Romances
- Opera creativity

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RUSSIANMUSICALLITERATURE

1. RUSSIANMUSICXYIIIANDFIRSTHALVESXIXCENTURIES

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.

In the XYIII century, an everyday urban song appeared, with chordal harmonic accompaniment. The first Russian operas are created (“St. Petersburg Gostiny Dvor"serf musician M. Matinsky). Russia is developing its own school of composition. Young composers create expressive romances and arrangements of Russian songs, piano and violin pieces, symphonic overtures, music for plays, and operas. Among them were Dubinsky, Berezovsky, Bortnyansky, Fomin, Khandoshkin.

2. SONGANDROMANCE

One of the most beloved types of musical art at the end of the 18th century and the first half of the 19th century was romance. Many romances of that time were closely related to urban everyday songs. They were performed to the accompaniment of a piano, harp or guitar. Important role In the development of Russian romance, composers Alyabyev (“The Nightingale”), Varlamov (“The Lonely Sail Is White,” “Mountain Peaks,” “A Blizzard is Blowing Along the Street”), Gurilev (“Mother Dove,” “The Blue-Winged Swallow Hovering,” “ Bell"). The work of these composers is a valuable contribution to the treasury of Russian music.

3. M.AND.GLINKA.(1804 - 1857 )

Mikhail Ivanovich Glinka is a brilliant Russian composer. Like Pushkin in poetry, he was the founder of Russian classical music - opera and symphony.

The origins of Glinka's music lie in Russian folk art. His best works are imbued with love for the Motherland, its people, and Russian nature.

Basicworks: folk-heroic opera “Ivan Susanin”, fairy-tale-epic opera “Ruslan and Lyudmila”, works for voice and piano: romances, songs, arias symphonic pieces: overtures “Aragonese Jota”, “Night in Madrid” symphonic fantasy “Kamarinskaya”, "Waltz-Fantasy" piano pieces.

4. OPERA"IVANSUSANIN"

Opera "Ivan Susanin" - heroic folk musical drama. The plot for the opera was the legend of heroic feat Kostroma peasant Ivan Susanin in 1612, during the occupation of Russia by Polish invaders.

Characters: Susanin, his daughter Antonida, adopted son Vanya, Sobinin. The main character is the people.

The opera has 4 acts and an epilogue.

Firstaction- characteristics of the Russian people and the main characters. It begins with an extensive choral introduction, in which there are two choirs - male and female.

Cavatina and Antonida's rondo reveal the traits of a Russian girl - tenderness, sincerity and simplicity.

The trio “Don’t Tomi, Darling” conveys the sad experiences of the characters and is based on the expressive intonations of urban everyday songs.

Secondaction - musical characteristics of the Poles. Dance music is playing. Four dances form a symphonic suite: a brilliant polonaise, a krakowiak, a waltz and a mazurka.

Thirdaction. Vanya’s song “How the Mother Was Killed” serves as a musical description of an orphan boy, close to Russian folk songs.

Susanin's scene with the Poles is a wonderful example of a dramatically developing ensemble. The musical characteristics of the Poles are outlined by the rhythms of the polonaise and mazurka. Susanin's musical speech is majestic and full of dignity.

The wedding choir is close in its melodic structure to Russian wedding songs of praise.

Antonida’s song-romance “It’s not what I’m grieving for, my friend” that reveals the richness of the girl’s spiritual world; the intonations of folk lamentations can be heard here.

Fourthaction. Susanin's recitative and aria are one of the most intense dramatic episodes of the opera. Here the image of a hero and patriot is fully revealed. The music is strict, restrained and expressive.

Epilogue. The people celebrate the victory over the enemy. In the final chorus, “Glory,” the music is majestic and solemn. This gives it the characteristics of an anthem. The people praise native land and dead heroes.

The opera “Ivan Susanin” is a realistic work, truthfully and sincerely telling about historical events. Created by Glinka new type folk musical drama had a huge influence on subsequent works of Russian composers (“The Pskov Woman” by Rimsky-Korsakov, “Boris Godunov” by Mussorgsky).

5. WORKSFORORCHESTRA

An important place in Glinka's work is occupied by plays for symphony orchestra. All his works are accessible to the wide masses of listeners, highly artistic and perfect in form.

Symphonicfantasy"Kamarinskaya"(1848) represents variations on two Russian folk themes. These themes are contrasting. The first of them is a wide and smooth wedding song “Because of the mountains, high mountains.” The second theme is the swashbuckling Russian dance song “Kamarinskaya”.

"Waltz Fantasy"- one of the most poetic lyrical works Glinka.

At the core is a sincere theme, impetuous and aspirational. main topic is repeated many times, forming a rondo shape. It is contrasted with episodes of varied content. The predominance of the string group gives the entire symphonic work lightness, flight, and transparency.

6. ROMANCESANDSONGS

Glinka wrote romances throughout his life. Everything about them captivates: sincerity and simplicity, restraint in the expression of feelings, classical harmony and severity of form, the beauty of the melody and clear harmony.

Among Glinka’s romances one can find a wide variety of genres: the everyday romance “The Poor Singer,” the dramatic ballad “Night View,” drinking and “road” songs, dance songs in the rhythm of a waltz, mazurka, polonaise, and march.

Glinka composed romances based on poems by contemporary poets - Zhukovsky, Delvig, Pushkin.

Romances from the cycle “Farewell to St. Petersburg” - “Lark” and “A Passing Song” (lyrics by N. Kukolnik) are popular.

Romance to the words of Pushkin “I remember wonderful moment" - the pearl of Russian vocal lyrics. It belongs to the mature period of creativity, which is why there is so much mastery in it.

In his romances, Glinka summarized all the best that was created by his predecessors and contemporaries.

7. A.WITH.DARGOMYZHSKY.(1813 - 1869 )

Alexander Sergeevich Dargomyzhsky is a younger contemporary and follower of Glinka. He entered the history of Russian music as a realist composer, “a great teacher of musical truth,” and a brave innovator.

Dargomyzhsky’s views developed in the period of the 30s and 40s of the 19th century, a time of rapid development of Russian culture. Dargomyzhsky sensitively responded to everything advanced and progressive in Russian art. In his work, he was close to the democratic writers and artists of Russia, raised the topic of social denunciation, and created comic and satirical songs.

Basicworks: operas “Rusalka”, “The Stone Guest” symphonic plays “Cossack”, “Baba Yaga”, “Chukhon Fantasy” 100 songs and romances to the words of Koltsov, Kurochkin, Pushkin, Lermontov vocal ensembles piano pieces.

8. OPERA"MERMAID"

“Rusalka” is the first Russian opera in the nature of a psychological, everyday musical drama. The main task set by the composer is to reflect the spiritual world of the heroes, their experiences and characters. The new task also required new musical and expressive means. The principle of end-to-end development prevails in opera. Ensemble singing is often replaced by dialogue between the characters. This new trick Later it was developed in the works of Mussorgsky and Tchaikovsky.

The opera has 4 acts. The stage action is preceded by an overture.

Under the influence of dramatic events, the characters' characters change: anger and bitterness awaken in the gentle Natasha; the merry fellow and joker Melnik, Natasha's father, shocks with his tragedy.

The first act is important in the opera. It contains musical characteristics the main characters Natasha, Miller, Prince. It also marks the denouement of the drama: Natasha commits suicide and ceases to exist as a real girl, turning into an arrogant mermaid.

The opera "Rusalka" belongs to one of the most beloved operas of Russian classics. Dargomyzhsky managed to write a work that is sincere, understandable, and angrily denounces the dark sides of Russian reality of that time.

9. ROMANCESANDSONGS

Romances and songs occupy a prominent place in Dargomyzhsky's work. The composer wrote more than a hundred of them. The content of Dargomyzhsky's vocal music is rich. There are sincere lyrics, playful slyness and drama, calm landscapes and typical everyday sketches, and sometimes caustic social satire. Especially deeply and psychologically truthfully revealed in romances inner world a person with his thoughts, feelings and character.

The romances “I am sixteen years old” with lyrics have become popular. Delviga, “I'm Sad” based on Lermontov's poems, “Old Corporal” based on lyrics. Kurochkina.

10. RUSSIANMUSICSECONDHALVESXIXCENTURIES

The second half of the 19th century is a time of mighty flowering of Russian music, as well as all Russian art. A sharp aggravation of social contradictions led to a great social upsurge in the early 60s. Russia's defeat in Crimean War(1853-1856) showed its backwardness and proved that serfdom hampered the development of the country. The best representatives of the noble intelligentsia and commoners rose up against the autocracy.

In the development of the revolutionary movement in Russia, the role of Herzen and the activities of Chernyshevsky, Dobrolyubov, and the poet Nekrasov were significant. The revolutionary ideas of the 60s were reflected in literature, painting, and music. Leading figures of Russian culture fought for the simplicity and accessibility of art; their works sought to clearly reflect the life of disadvantaged people.

In the second half of the 19th century, Russian painting gave such wonderful artists, like Perov, Kramskoy, Repin, Surikov, Serov, Levitan. Their names are associated with the Partnership traveling exhibitions", since painting exhibitions began to be organized in different cities Russia.

There have also been changes in musical life. Music went beyond the aristocratic salons. The organization of the Russian Musical Society played a great role in this.

In 1862, the first Russian conservatory opened in St. Petersburg, and in 1866 - in Moscow. The first releases gave Russian art wonderful musicians.

IN musical creativity 60s leading place Tchaikovsky and a group of composers who were part of an association called the “Mighty Handful” took over. The inspirer of the circle was Balakirev. The composition included Cui, Mussorgsky, Borodin, Rimsky-Korsakov. The composers saw their goal in the development of Russian national music, the truthful embodiment of the life of the people.

11. M.P.MUSORGSKY.(1839 - 1881 )

Among the composers of The Mighty Handful, Modest Petrovich Mussorgsky was the most prominent exponent of revolutionary democratic ideas. He was able to reveal with great accusatory force the harsh truth about the life of the Russian people, imbued with faith in their strength and power best pages composer's music.

Basicworks: operas “Boris Godunov”, “Khovanshchina”, “Sorochinskaya Fair”, romances and songs, symphonic film “Midsummer Night on Bald Mountain”, cycle of piano pieces “Pictures at an Exhibition”.

12. OPERA"BORISGODUNOV"

The opera is based on Pushkin's tragedy of the same name. The genre of the opera is folk musical drama. Consists of a prologue and four acts, which are divided into scenes. The main idea is the conflict between the criminal Tsar Boris and the people. The tragedy is compounded by the mental internal drama Boris, the murderer Tsar, tormented by his conscience (monologue from Chapter III “I have reached the highest power”).

The main character is the people. Mussorgsky was attracted by the opportunity to recreate in opera the awakening of the power of the people, which results in a spontaneous uprising.

Thus, the orchestral introduction from the prologue paints an image of the oppressed people, and in the fourth century the culmination is the mighty chorus of the rebellious people “The strength has dispersed, the strength has run wild, the bravery is valiant.”

"Boris Godunov" is a great work of Russian music. The creation of this work was an important stage in the development of musical theater.

13. "IMAGESWITHEXHIBITIONS"

“Pictures at an Exhibition” was written by Mussorgsky under the impression of an exhibition of works by the artist W. Hartmann, a friend of the composer, who suddenly died.

The cycle is a suite of ten independent pieces united by a common concept. Each play is music picture, reflecting Mussorgsky’s impression, inspired by one or another Hartmann’s drawing. There are bright everyday pictures (“The Tuilerie Garden”, “Limoges Market”), apt sketches of human characters (“Two Jews”), landscapes (“The Old Castle”), and images of Russian fairy tales (“The Hut on Chicken Legs”). , epic (“Heroic Gate”). Individual miniatures contrast with each other in content and means of expression. At the same time, they are connected by the theme “Walk,” which opens the cycle and then appears several more times, as if leading the listener from one picture to another.

“Pictures at an Exhibition” became one of the most popular works. Many pianists include this work in their concert programs.

14. A.P.BORODIN.(1833 - 1887 )

Alexander Porfirievich Borodin is a uniquely original composer. He also proved himself to be a major scientist and public figure. In music, Borodin largely continued the traditions of Glinka. He embodied the greatness and power of the Russian people, the heroic character traits of the Russian people, the majestic images of the national epic epic. Along with this there are lyrical, soulful images, full of passion and tenderness. The main means of musical expression is always melody - broad, songlike, plastic. Harmonic language is characterized by colorfulness and brightness.

Basicworks: opera "Prince Igor", three symphonies, symphonic picture "In Central Asia", instrumental music, romances.

15. OPERA"PRINCEIGOR"

The opera is based on a work of ancient literature of the 12th century - “The Tale of Igor’s Campaign”.

“Prince Igor” is a lyrical-epic opera in four acts with a prologue. The music of the opera is based on the intonations of folk songs - Russian and Eastern.

The prologue and act I characterize the Russian people. The picture is important solar eclipse from the prologue. In folk epic poetry, various dramatic events in people's lives were often compared with powerful and formidable natural phenomena.

Act II is dedicated to showing life eastern peoples. Borodin did not use genuine oriental melodies here, but implemented their intonations and mode features in his music.

The central place in the fourth action is occupied by Yaroslavna’s lament, which arose from ancient folk voices and lamentations.

The opera “Prince Igor” is one of the best creations of opera classics. The composer dedicated it to the memory of Glinka. It glorifies the heroic spirit of the people, their resilience, patriotism, and spiritual beauty.

16. N.A.RIMSKY-KORSAKOV(1844 - 1908 )

Nikolai Andreevich Rimsky-Korsakov occupies a special place among the composers of The Mighty Handful. With his work, the fairy tale flourished in Russian music. The composer left a huge creative legacy in almost all musical genres. His works are varied in their content, but their main feature is a deep penetration into the life and way of life of the people. With great force he expressed everything beautiful that surrounds a person: beauty and love, faith in the triumph of light and truth, the dream of a better future, folk wisdom and the splendor of our native nature. The work of Rimsky-Korsakov influenced many composers of subsequent generations.

Basicworks: 15 operas (“The Snow Maiden”, “Sadko”, “The Tale of Tsar Saltan”, “The Golden Cockerel”), symphonic suites (“Scheherazade”), romances, collections of Russian folk songs for voice and piano, etc.

17. OPERA"SNOW MAIDEN"

The opera is based on the plot of the play by A.N. Ostrovsky in 1880. The composer reproduced with great warmth ancient customs and rituals. True image life and everyday life of people is combined with the world of fantasy and fairy tales. The characters: Tsar Berendey, Bermyata, Kupava, Lel, Mizgir, Bobyl and Bobylikha (realistic images) are endowed with human traits by Vesna-Krasna, Grandfather Frost, the image of the Snow Maiden - the daughter of Frost and Spring - combines real traits with fantastic ones.

Nature is often depicted in opera. Sometimes images of nature have an allegorical meaning - they personify the justice and regularity of life phenomena.

Rimsky-Korsakov often uses leitmotifs - consistent musical characteristics. Scenes based on continuous (“end-to-end”) development alternate in the opera with completed numbers. The opera has many choirs, and genuine folk melodies are widely used.

The opera consists of a prologue and four acts.

18. "SCHEHERAZADE"

Symphonic suite "Scheherazade" (1888) - a programmatic work written based on Arabian tales"Thousand and One Nights". It consists of four contrasting parts, united not only by a single poetic concept, but also by common musical themes(themes of Shahriar and Scheherazade). Initially, the composer intended to give each part its own name: Part I - “The Sea and Sinbad’s Ship”, Part II - “The Fantastic Story of Kalender the Tsarevich”, Part III - “The Tsarevich and the Princess”, Part IY - “Baghdad Holiday and ship crashing on a rock bronze horseman" However, he later abandoned this idea, considering it more useful for listeners to freely follow their imagination.

"Scheherazade" is one of my favorite works symphonic music worldwide.

19. P.AND.CHAIKOVSKY.(1840 - 1893 )

Pyotr Ilyich Tchaikovsky dedicated all his work to man, his love for the Motherland and Russian nature, his aspirations for happiness and the courageous struggle against the dark forces of evil. And no matter what the composer talks about, he is always truthful and sincere.

Tchaikovsky wrote in almost all genres, and in each of them he had his say genius artist. But his favorite genre was opera. Much attention he paid attention to the content, giving preference to a plot from Russian life.

At the same time, symphonic music also occupies an important place in Tchaikovsky’s work.

Basicworks: 10 operas (“Eugene Onegin”, “The Enchantress”, “The Queen of Spades”, “Iolanta”, etc.), 3 ballets (“ Swan Lake", "Sleeping Beauty", "Nutcracker"), 6 symphonies and other symphonic works, piano pieces (including the cycles "Seasons", " Children's album"), romances.

Tchaikovsky's work is the pinnacle of world musical culture of the 19th century.

20. FIRSTSYMPHONY"WINTERDREAMS"

Written in 1866. The content of the work is the thoughts and lyrical feelings of a person, as well as images of nature. The symphony consists of four movements.

Part I - “Dreams on a Winter Road”, written in sonata form. Pictures of winter Russian nature are depicted here in soft colors.

Part II - “Gloomy land, foggy edge" This music is inspired by the impressions of Tchaikovsky’s journey across Lake Ladoga.

Parts III and IV - the scherzo and the finale - do not have titles, but in their content they do not fall out of the general poetic concept.

Tchaikovsky's First Symphony is a remarkable example of his early orchestral work. For the first time, characteristic images and techniques, deeply developed by the composer in the symphonic work of his mature period, appear in it.

21. OPERA"EUGENEONEGIN"

The idea to write an opera based on the plot of “Eugene Onegin” was given to Tchaikovsky by the famous singer E. A. Lavrovskaya. The composer involved his friend, writer K. S. Shilovsky, in composing the libretto. The first performance of the opera took place by students of the Moscow Conservatory under the direction of N. Rubinstein in 1879.

Tchaikovsky called his opera “lyrical scenes.” The composer focused all his attention on revealing the inner, spiritual world of his heroes. Pictures of folk life are also vividly and truthfully revealed (such as in the first picture the romance “Have You Heard”, the singing and dancing of peasants on the occasion of the end of the harvest, the shepherd’s horn in the writing scene, the song “Maids, Beauties” in the third picture, etc.) With great love gave poetic “sketches” of Russian nature, against the background of which the feelings and experiences of the characters are revealed.

Characters: Tatiana, Olga, Onegin, Lensky, Prince Gremin.

The orchestra plays an important role in revealing characters. Each of the main characters is outlined by their own special musical themes.

The characters of the characters also develop and gradually change throughout the development of the plot (for example, in the writing scene, the character main character given in motion: from a naive, dreamy girl Tatyana turns into a passionate loving woman, gains mental maturity).

The opera “Eugene Onegin” is the highest achievement of Russian operatic art. Already during the composer's lifetime, it became one of the most beloved operas.

22. PEOPLE'SSONGANDHERUSAGEINWORKSRUSSIANCLASSICAL COMPOSERS

The work of classical composers is inextricably linked with folk songs

Folk songs reflect the history of the people and their daily life, innermost thoughts and dreams of happiness. A song is the soul of the people, a true mirror of their life and way of life.

Among Russian folk songs there are labor and holiday songs, round dance and dance songs, wedding and plangent songs, coachman and barge hauler songs, recruit and soldier songs, city songs and ditties.

Classical composers studied folk songs. They recorded and processed the melodies of the songs. They compiled collections of folk songs. The most famous are the collections of Balakirev (40 Russian folk songs), Rimsky-Korsakov (100 Russian folk songs), Tchaikovsky (50 Russian folk songs), Lyadov (8 Russian folk songs for orchestra).

Many folk songs have found a second life in operas and symphonies, in works for piano and various ensembles (Glinka’s Variations on the Russian folk song “Among the Flat Valley”; in the finale of Tchaikovsky’s first piano concert, the Ukrainian spring song “Come out, come out, Ivanka” was used).

CONCLUSION

The work of classical composers Glinka, Dargomyzhsky, Borodin, Mussorgsky, Rimsky-Korsakov, Tchaikovsky is a great treasure of Russian culture of the 19th century. Their traditions found their implementation and development in the works of composers of the late 19th and early 20th centuries - Taneyev and Glazunov, Lyadov and Adensky, Kalinnikov, Scriabin and Rachmaninov, in the works of composers Soviet period- Mayakovsky, Prokofiev, Shostakovich, Khachaturian, Kabalevsky, Sviridov and many others.

The music of classical composers reflects centuries-old history of our Motherland, the liberation struggle of the Russian people against oppression and violence, the people with their spiritual beauty, grief and dreams of a bright future are glorified.

Smirnova Russian musical literature. Russian musical literature - a textbook for students of music schools

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