Italian dances: history and their varieties. Mandolin - a musical instrument from Italy Italian folk musical instruments of the Renaissance

The origins of Italian music go back to the musical culture of Ancient Rome (see Ancient Roman music). Music played creatures. role in society, state life of the Roman Empire, in everyday life various. layers of the population; the music was rich and varied. tools. Samples of ancient Roman music have not reached us, but dep. its elements survived into the Middle Ages. Christ hymns and folk music traditions. In the 4th century, when Christianity was declared state. religion, Rome, along with Byzantium, became one of the centers of liturgical development. singing, first the basis of which was psalmody, which originated from Syria and Palestine. The Milanese Archbishop Ambrose consolidated the practice of antiphonal singing of hymns (see Antiphon), bringing their melody closer to the narration. origins. A special Western Christian tradition is associated with his name. church singing, called Ambrosian (see Ambrosian singing). In con. 6th century, under Pope Gregory I, solid forms of Christ were developed. liturgy and its music is ordered. side. The singer created at the same time in Rome. the school (“schola cantorum”) became a kind of academy for church singing. lawsuits and higher legislators. authority in this area. Gregory I was credited with unifying and fixing the basic principles. liturgical chants. However, later research has established that melodious. style and forms of the so-called Gregorian chant finally took shape only in the 8th-9th centuries. Roman Catholic. the church, striving for uniformity of worship, propagated this style of monogols. chorus singing among all nations being converted to Christ. faith. This process was completed by the end. 11th century, when the Gregorian liturgy with its corresponding chant. regulations were established in the countries of Middle and West. and Yuzh. Europe. At the same time, the further development of Gregorian chant, frozen into immutability, also stopped. forms.

From the end 1st millennium AD as a result of frequent enemy invasions of Italian territory, as well as the increased oppression of the papacy, which interfered with the free expression of creativity. initiative, in I. m. comes a long period. stagnation, it ceases to play a noticeable role in the general music. European development countries The most important changes that took place in Europe. music at the turn of the 1st and 2nd millennia are weakly and often belatedly reflected in historical music. While the scholar-musicians of the West. and North-West Europe already in the 9th century. gave a rationale for the early forms of polyphony, the most prominent Italian. music the medieval theorist Guido d'Arezzo (11th century) paid the main attention to single-headed Gregorian chant, only briefly touching on the organum. In the 12th century, polyphonic singing entered into the liturgical practice of some Italian churches, but its few known examples do not indicate about the independent contribution of Italy to the development of polyphonic genres of that era. The new rise of historical music in the late 13th-14th centuries was associated with the Early Renaissance, which reflected the growth of humanistic tendencies, the beginning emancipation of the human personality from the oppression of religious dogmas, a more free and direct perception of the world during the period of weakening of the power of feudal lords and the formation of early capitalist relations. The concept of the Early Renaissance corresponds to the definition of Ars nova accepted in the history of music. The main centers of this movement were the cities of Central and Northern Italy - Florence, Venice, Padua - more advanced in their social system and culture than the southern regions, in which feudal relations were still firmly preserved, these cities attracted the most talented composers and performing musicians. New genres and stylistic trends arose here.

The desire for increased expression manifested itself in the lyrics. hymns on freely interpreted religion. The theme is laudah, which was sung in everyday life and during religions. processions. Already at the end. 12th century "Laudist brotherhoods" arose, the number of which increased in the 13th and especially 14th centuries. Laudas were cultivated among the monks of the Franciscan order, which was in opposition to the officialdom. Roman church, sometimes they reflected motives of social protest. The melody of laud is associated with nar. origins, the rhythm is different. clarity, clarity of structure, predominant major coloring. Some of them are close in character to dance. songs.

In Florence, new genres of secular polygon arose. wok music intended for home amateur performance: madrigal, caccia, ballata. It was 2- or 3-goal. strophic songs with melodic primacy. upper voice, which was distinguished by rhythm. mobility, abundance of colored passages. Madrigal - aristocratic. a genre characterized by sophistication of poetics and music. building. It was dominated by subtle eroticism. themes, also embodied satirical. motives, sometimes politically charged. The content of the caccia initially consisted of hunting pictures (hence the name itself: caccia - hunting), but then its themes expanded and covered a variety of genre scenes. The most popular of the secular genres of Ars nova is ballata (a dance song similar in content to a madrigal).

Widespread development in 14th century Italy. receives instr. music. Basic The instruments of that time were the lute, harp, fidel, flute, oboe, trumpet, and various organs. type (positives, portables). They were used to accompany singing and for solo or ensemble playing.

The rise of Italy. Ars nova occurs in mid. 14th century In the 40s creativity unfolds. the activities of its most prominent masters - Giovanni from Florence and Jacopo from Bologna. The blind virtuoso organist and composer became especially famous. F. Landino is a multi-talented person, poet, musician and scientist, who was respected in Italian circles. humanists. In his work, the connection with the people intensified. origins, the melody acquired greater freedom of expression, sometimes exquisite sophistication, floridity and rhythm. diversity.

During the era of the High Renaissance (16th century), historical art took a leading position among Europeans. music crops In an atmosphere of general upsurge of the arts. culture, music-making developed intensively in various layers of society. Its centers were, along with the church. chapels of crafts. guild associations, circles of enlightened lovers of literature and art, sometimes calling themselves after antiquity. modeled after academies. In plural schools were created in cities that contributed to independence. contribution to the development of historical art. The largest and most influential among them are the Roman and Venetian schools. In the center of Catholicism - Rome, new artistic forms brought to life by the Renaissance movement often encountered resistance from the church. authorities. But, despite the prohibitions and denunciations, throughout the 15th century. in Roman Catholic polygoal was firmly established in worship. singing. This was facilitated by the activities of representatives of the Franco-Flemish school G. Dufay, Josquin Despres and other composers, who served at different times in the papal chapel. In the Sistine Chapel (founded 1473) and choir. chapel of the Cathedral of St. Peter, the best masters of the church concentrated. singing not only from Italy, but also from other countries. Church issues singing was given special attention. attention at the Council of Trent (1545-63), whose decisions condemned the excessive passion for “figurative” polyphonic. music, making it difficult to understand the “sacred words”, and the demand for simplicity and clarity was put forward; the introduction of secular melodies into the liturgical was prohibited. music. But, contrary to the desire of the church. authorities to expel all innovations from cult singing and, if possible, return it to the traditions of Gregorian chant, composers of the Roman school created a highly developed polyphonic. an art in which the best achievements of Franco-Flemish polyphony were implemented and reinterpreted in the spirit of Renaissance aesthetics. In production composers of this school are a complex imitation. technique was combined with chord-harmonic. warehouse, multi-headed the texture acquired the character of harmonious euphony, the melodic beginning became more independent, the upper voice often came to the fore. The greatest representative of the Roman school is Palestrina. His perfectly balanced, enlightened in mood, harmonious art is sometimes compared to the work of Raphael. Being the pinnacle of the choir. polyphony of a strict style, Palestrina’s music also contains developed elements of homophonic thinking. The desire for a balance between the horizontal and vertical principles was also characteristic of other composers of the same school: C. Festa, G. Animucci (who stood at the head of the chapel of St. Peter in 1555-71), Clemens-not-Pope, students and followers of Palestrina - G. Nanino, F. Anerio and others. Spain also joined the Roman school. composers who worked in the papal chapel: C. Morales, B. Escobedo, T. L. de Victoria (received the nickname “Spanish Palestrina”).

The founder of the Venetian school was A. Willaert (Dutch by origin), who in 1527 headed the chapel of the Cathedral of St. Mark and was its leader for 35 years. His successors were C. de Pope and the Spaniard C. Merulo. This school reached its greatest flowering in the work of A. Gabrieli and his nephew G. Gabrieli. In contrast to the strict and restrained writing style of Palestrina and other composers of the Roman school, the art of the Venetians was characterized by a lush sound palette and an abundance of bright colors. effects. The principle of polychoricity was of particular importance to them. Contrasting two choirs, arranged. in different sides of the church, served as the basis for dynamic. and colorful contrasts. The constantly varying number of voices reached 20 for G. Gabrieli. Contrasts choir. sonorities were complemented by changes in instruments. timbres, and the instruments not only duplicated the voices of the choir, but also performed independently. and connecting episodes. Harmonic the language was saturated with numerous, often bold for that time, chromatisms, which gave it the features of increased expression.

The creativity of the masters of the Venetian school played a big role in the development of new forms of instruments. music. In the 16th century The composition of the instruments itself has been significantly enriched, their expression has expanded. possibilities. The importance of bowed instruments with their melodious, warm sound has increased. It was during this period that the classic was formed. viola type; violin, previously widespread. in popular life, becomes prof. music tool. As solo instruments, the lute and organ continued to occupy a leading position. In 1507-09, music publisher O. Petrucci published. 3 collections of pieces for lute, still preserved. signs of wok addiction. motet type polyphony. In the future, this dependence weakens, specific tools are developed. presentation techniques. Characteristic of the 16th century. genres solo instrument Music - ricercar, fantasia, canzone, capriccio. In 1549 there appeared org. Richercars Villarta. Following him, this genre was developed by G. Gabrieli, some ricercars whose presentation is close to a fugue. In org. The toccatas of the Venetian masters reflect the virtuosity and tendency to free imagination. In 1551 a collection of books was published in Venice. keyboard dance pieces character.

The emergence of the first independent states is associated with the names of A. and J. Gabrieli. samples of chamber ensemble and orchestra. music. Their compositions for various instruments. compositions (from 3 to 22 parties) were combined into a collection. "Canzones and Sonatas" ("Canzoni e sonate...", published in 1615 after the death of the composers). These plays are based on the principle of contrasting different. instr. groups (both homogeneous - bowed, woodwind, brass, and mixed), which then received successive. embodiment in the concert genre.

The most complete and vivid expression of Renaissance ideas in music was the madrigal, a new flowering of which came in the 16th century. Many people paid attention to this most important genre of secular music-making during the Renaissance. composers. Madrigals were written by the Venetians A. Willart, C. de Pope, A. Gabrieli, and the masters of the Roman school C. Festa and Palestrina. Schools of madrigalists existed in Milan, Florence, Ferrara, Bologna, and Naples. Madrigal 16th century differed from the madrigal of the Ars nova period in its greater richness and poetic sophistication. content, but basic his sphere remained love lyrics, often pastorally colored, combined with enthusiastic celebration of the beauties of nature. The poetry of F. Petrarch had a great influence on the development of the madrigal (many of his poems were set to music by different authors). Madrigalist composers turned to the works of L. Ariosto, T. Tasso and other major poets of the Renaissance. In madrigals of the 16th century. 4- or 5-goal scores prevailed. a warehouse that connects the elements of polyphony and homophony. Leading melodic player The voice was distinguished by its subtlety of expression. shades, flexible transmission of poetic details. text. The overall composition was free and did not obey strophic lines. principle. Among the madrigal masters of the 16th century. The Dutchman J. Arkadelt, who worked in Rome and Florence, stood out. His madrigals, published in 1538-44 (6 books), were reprinted many times and reproduced in various editions. printed and handwritten meetings. The highest flowering of this genre is associated with creativity. activities of L. Marenzio, C. Monteverdi and C. Gesualdo di Venosa in the end. 16 - beginning 17th centuries If Marenzio is characterized by the sphere of refinement. lyrical images, then in Gesualdo di Venosa and Monteverdi the madrigal is dramatized and endowed with in-depth psychological. expression, they used new, unusual means of harmonious. language, sharpened intonation. expressiveness of the wok. melodica. The rich layer of I. m. are people. songs and dances, distinguished by the melodiousness of melodies, liveliness, and fiery rhythms. For Italian The dances are characterized by meter 6/8, 12/8 and a fast, often rapid, tempo: saltarello (records from the 13th-14th centuries have been preserved), related lombarda (dance of Lombardy) and forlana (Venetian, Friulian dance), tarantella (southern Italian dance , which became national). Along with the tarantella, the siciliana is popular (the size is the same, but the tempo is moderate, the character of the melody is different - pastoral). Sicilians are close to the barcarolle (song of the Venetian gondoliers) and the Tuscan rispetto (song of praise, love confession). Lamento songs (a type of lamentation) are widely known. The plasticity and melodiousness of the melody, bright lyricism, and often emphasized sensitivity are typical of Neapolitan songs widespread in Italy.

Nar. music also influenced prof. music creation. The greatest simplicity and closeness to the people. The genres of frottola and villanelle differed in their origins.

The Renaissance gave impetus to the development of music theory. thoughts in Italy. The foundation is modern. the doctrine of harmony was laid down by G. Zarlino. Middle-century He contrasted the doctrine of modes with a new tonal system with 2 fundamentals. modal moods - major and minor. In his judgments, Zarlino relied primarily on direct auditory perception, and not on abstract scholastic calculations and numerical operations.

The largest event in I. m. at the turn of the 16th-17th centuries. there was the emergence of opera. Having appeared already at the end of the Renaissance, opera is nevertheless entirely connected with its ideas and culture. Opera as a standalone. The genre grew, on the one hand, from theater. performances of the 16th century, accompanied by music, on the other - from a madrigal. Many people created music for the TV. famous composers of the 16th century. Thus, A. Gabrieli wrote choruses for Sophocles’ tragedy “Oedipus” (1585, Vicenza). One of the predecessors of the opera was A. Poliziano's play "The Tale of Orpheus" (1480, Mantua). The madrigal developed means of flexible expression. embodiments of poetic text in music. The common practice of performing madrigals by one singer with instruments. resistance brought them closer to the wok type. monody, which became the basis of the first Italian. oper. In con. 16th century the genre of madrigal comedy arose, in which the mimich. the acting was accompanied by a wok. episodes in madrigal style. A typical example of this genre is “Amphiparnassus” by O. Vecchi (1594).

In 1581 a polemicist appeared. V. Galilei’s treatise “Conversation on Ancient and Modern Music” (“Dialogo della musica antica et délia moderna”), in which the chanting voice. declamation (following the ancient model) was opposed to the “barbarism” of the Middle Ages. polyphony. The excerpt from Dante's "Divine Comedy" that he set to music was supposed to serve as an illustration of this concept. style. Galilee's thoughts found support among a group of poets, musicians and humanist scientists who united in 1580 on the initiative of the enlightened Florentine Count G. Bardi (the so-called Florentine Camerata). The figures of this circle created the first operas - “Daphne” (1597-98) and “Eurydice” (1600) by J. Peri to the text by O. Rinuccini. Solo wok. parts of these operas with op. basso continuo are sustained in declamation. manner, the madrigal structure is preserved in the choirs.

Several years later, the music for “Eurydice” was composed independently by the singer and compositor. G. Caccini, who was also the author of the collection. solo chamber songs with accompaniment "New Music" ("Le nuove musiche", 1601), main. on the same stylistics. principles. This style of writing was called the “new style” (Stile nuovo), or “figurative style” (Stile rарpresentativo).

Prod. Florentines are to a certain extent rational, their meaning is mainly experimental. The genius of the music breathed real life into the opera. playwright, artist of powerful tragic talent K. Monteverdi. He turned to the opera genre in adulthood, already being the author of many works. spiritual op. and secular madrigals. His first operas "Orpheus" (1607) and "Ariadne" (1608) were post. in Mantua. After a long break, Monteverdi again acted as an opera composer in Venice. The pinnacle of his operatic creativity is “The Coronation of Poppea” (1642), prod. truly Shakespearean power, distinguished by the depth of drama. expressions, masterful character sculpting, sharpness and intensity of conflict situations.

In Venice, opera went beyond the narrow aristocratic. circle of connoisseurs and became a public spectacle. In 1637, the first public opera house "San Cassiano" opened here (at least 16 such theaters were created during 1637-1800). More democratic. The composition of the audience also influenced the character of the works. Mythological the subject gave way to the dominant place of history. stories with real action. faces, drams and heroic. the beginning was intertwined with the comedic and even sometimes crudely farcical. Wok. the melody acquired greater melodiousness; within the recitative scenes, sections emerged. episodes of arious type. These features, characteristic of Monteverdi's late operas, were further developed in the work of F. Cavalli, the author of 42 operas, among which the opera Jason (1649) won the greatest popularity.

Opera in Rome acquired a peculiar coloring under the influence of the Catholics who dominated here. trends. Along with the antique mythological plots ("The Death of Orpheus" - "La morte d"Orfeo" by S. Landi, 1619; "The Chain of Adonis" - "La Caténa d"Adone" by D. Mazzocchi, 1626) the opera included religion. themes interpreted in Christ. moralizing plan. Most means. prod. Roman school - the opera "Saint Alexei" by Landi (1632), which was distinguished by its melodic. the richness and drama of the music, the abundance of developed choir textures. episodes. The first examples of comic books appeared in Rome. opera genre: “Let the sufferer hope” (“Che sofre, speri”, 1639) by V. Mazzocchi and M. Marazzoli and “Every cloud has a silver lining” (“Dal male il bene”, 1653) by A. M. Abbatini and Marazzoli.

K ser. 17th century opera departed almost completely from the principles of Renaissance aesthetics advocated by the Florentine Camerata. This is evidenced by the work of M. A. Chesti, associated with the Venetian opera school. In his writings there are agitated dramas. The recitative is contrasted with a soft melodious melody, and the role of rounded woks has increased. numbers (often to the detriment of the dramatic justification of the action). Honor's opera "The Golden Apple" ("Il porno d"oro", 1667), staged with pomp in Vienna on the occasion of the wedding of Emperor Leopold I, became the prototype of the ceremonial court performances, which from that time became widespread in Europe. "This “is no longer a purely Italian opera,” writes R. Rolland, “it is a type of international court opera.”

From the end 17th century leading role in the development of Italy. the opera went to Naples. The first major representative of the Neapolitan opera school was F. Provenzale, but its true head was A. Scarlatti. The author of numerous operatic works (more than 100), he established the typical structure of Italian. opera seria, preserved without creatures. changes until the end 18th century Chief the place in an opera of this type belongs to the aria, usually a 3-part da capo; recitative is given a service role, the importance of choirs and ensembles is reduced to a minimum. But bright melodic. Scarlatti's gift, polyphonic skill. letters, undoubtedly dramatic. instinct allowed the composer, despite all limitations, to achieve a strong, impressive impact. Scarlatti developed and enriched both vocal and instrumental. opera forms. He developed a typical Italian structure. an operatic overture (or symphony, according to the terminology accepted at that time) with fast outer sections and a slow middle episode, which became the prototype of a symphony as an independent one. conc. works.

In close connection with opera, a new non-liturgical genre developed. religious lawsuit - oratorio. Emerging from religions. readings accompanied by the singing of polygons. laud, she acquired independence. finished form in the works of G. Carissimi. In his oratorios, written mostly on biblical themes, he enriched the operatic forms that had developed by the middle. 17th century, achievements of the chorus. conc. style. Among the composers who developed this genre after Carissimi, A. Stradella stood out (his personality became legendary due to his adventurous biography). He introduced elements of drama into the oratorio. pathos and characterization. Almost all composers of the Neapolitan school paid attention to the oratorio genre, although compared to opera, oratorio occupied a secondary place in their work.

A genre related to the oratorio is the chamber cantata for one, sometimes 2 or 3 voices with accompaniment. basso continuo. Unlike the oratorio, secular texts predominated in it. The most prominent masters of this genre are Carissimi and L. Rossi (one of the representatives of the Roman opera school). Like the oratorio, the cantata played means. role in the development of wok. forms that have become typical of Neapolitan opera.

In the field of religious music in the 17th century. dominated by the desire for external, ostentatious greatness, achieved ch. arr. due to quantities. effect. The principle of polychoricity, developed by the masters of the Venetian school, acquired hyperbolic. scale. In some productions. up to twelve 4-goal were used. choirs Gigantic choir. the compositions were supplemented by numerous. and diverse groups of instruments. This style of lush Baroque was especially developed in Rome, replacing the strict, restrained style of Palestrina and his followers. The most prominent representatives of the late Roman school are G. Allegri (author of the famous “Miserere”, recorded by ear by W. A. ​​Mozart), P. Agostini, A. M. Abbatini, O. Benevoli. At the same time, the so-called “concert style”, close to the arioso-recitative singing of early Italo. operas, examples of which are the spiritual concerts of A. Banchieri (1595) and L. Viadana (1602). (Viadana was credited, as it turned out later, without sufficient grounds, with the invention of the digital bass.) C. Monteverdi, Marco da Galliano, F. Cavalli, G. Legrenzi and other composers wrote in the same manner, transferring to the church. music elements of opera or chamber cantata.

Intensive search for new forms and means of music. expressiveness, dictated by the desire to embody a rich and versatile humanistic. content, conducted in the field of tools. music. One of the greatest masters of org. and keyboard music of the pre-Bach period was G. Frescobaldi, a composer of outstanding creativity. individuality, a brilliant virtuoso on the organ and harpsichord, famous in his homeland and in other Europe. countries. He brought into tradition. ricercar forms, fantasies, toccatas, features of intense expressiveness and freedom of feeling, enriched with melodicism. and harmonious language, developed polyphony. invoice. In his prod. classic crystallized. a type of fugue with clearly identified tonal relationships and completeness of the overall plan. Frescobaldi's creativity is the pinnacle of Italy. org. lawsuit His innovative achievements did not find outstanding followers in Italy itself; they were continued and developed by composers from other countries. In Italian instr. music from the 2nd half. 17th century The leading role passed to bowed instruments and, above all, to the violin. This was due to the flourishing of the violin performing arts and the improvement of the instrument itself. In the 17th-18th centuries. In Italy, dynasties of famous violin makers emerged (the Amati, Stradivari, Guarneri families), whose instruments have remained unsurpassed to this day. Outstanding violin virtuosos were, for the most part, also composers; in their work, new techniques for solo violin performance were consolidated, and new muses were developed. forms.

At the turn of the 16th-17th centuries. In Venice, the genre of trio sonata - a multi-part work - developed. for 2 solo instruments (usually a violin, but they could be replaced by other instruments of the corresponding tessitura) and a bass. There were 2 varieties of this genre (both belonged to the field of secular chamber music): “church sonata” (“sonata da chiesa”) - a 4-part cycle, in which slow and fast parts alternated, and “chamber sonata” (“sonata da camera"), consisting of several. plays dance character, close to the suite. It is especially important in the further development of these genres. The Bolognese school played a role, putting forward a brilliant galaxy of masters of violin art. Among its senior representatives are M. Caccati, G. Vitali, G. Bassani. An era in the history of violin and chamber ensemble music was marked by the work of A. Corelli (a student of Bassani). The mature period of his activity was associated with Rome, where he created his own school, represented by such names as P. Locatelli, F. Geminiani, G. Somis. Corelli's work completed the formation of the trio sonata. He expanded and enriched the fulfillment. capabilities of bowed instruments. He also owns a cycle of sonatas for solo violin with op. harpsichord. This new genre, which arose in the late 17th century, marked the end. approval monodich. principle in instr. music. Corelli, along with his contemporary G. Torelli, created concerto grosso - the most important form of chamber-orchestral music-making until the mid-18th century.

K con. 17 - beginning 18th centuries increased international glory and authority I. m. Mn. foreign musicians flocked to Italy to complete their education and obtain certification, which ensured recognition in their homeland. As a teacher, he was especially famous for a musician of enormous erudition, comp. and theorist J.B. Martini (known as Padre Martini). His advice was used by K. V. Gluck, W. A. ​​Mozart, A. Gretry. Thanks to him, the Bologna Philharmonic. The academy has become one of the largest centers of music in Europe. education.

Italian composers of the 18th century basic attention was paid to opera. Only a few of them remained aloof from the operatic theater, which attracted a wide audience from all levels of society. The operatic production of this century, gigantic in volume, was created by composers of various types. scale of talent, among whom there were many talented artists. The popularity of the opera was facilitated by the high level of vocal performance. culture. The singers were preparing. arr. in conservatories - orphanages that arose back in the 16th century. In Naples and Venice - the main centers of Italy. opera life in the 18th century. there were 4 conservatories, in which there were muses. education was led by major composers. Singer and comp. F. Pistocchi founded a special company in Bologna (c. 1700). singer school. Outstanding wok. the teacher was N. Porpora, one of the most prolific opera composers of the Neapolitan school. Among the famous masters of bel canto art in the 18th century. - performers of the main husbands. roles in the opera seria were castrati singers A. Bernacchi, Caffarelli, F. Bernardi (nicknamed Senesino), Farinelli, G. Crescentini, who possessed a virtuoso vocal skills. technique combined with a soft and light timbre of voice; singers F. Bordoni, F. Cuzzoni, C. Gabrielli, V. Tesi.

Italian the opera enjoyed privileges. situation in most of Europe. capitals She will be attracted. strength was also manifested in the fact that many Composers from other countries created operas in Italian. texts in the spirit and traditions of the Neapolitan school. It was joined by the Spaniards D. Perez and D. Terradellas, the German I. A. Hasse, and the Czech J. Myslivecek. It means it flowed in line with the same school. part of the activities of G. F. Handel and K. W. Gluck. For Italian Opera scenes were written by Russians. composers - M. S. Berezovsky, P. A. Skokov, D. S. Bortnyansky.

However, already during the lifetime of the head of the Neapolitan opera school, A. Scarlatti, the creator of the opera seria, its inherent artistic qualities were revealed. contradictions, which served as a reason for harsh criticism. speaking out against her. In the beginning. 20s 18th century a satirist appeared. music pamphlet theorist B. Marcello, in whom the absurd conventions of opera librarians and the disdain of drama composers were ridiculed. the meaning of the action, the arrogant ignorance of prima donnas and castrati singers. For the lack of deep ethical content and abuse of external effects criticized modern. im opera ital. educator F. Algarotti in his “Essay on Opera” (“Saggio sopra l”opera in musica...”, 1754) and encyclopedist E. Arteaga in his work “The Revolution of the Italian Musical Theater” (“Le rivoluzioni del teatro musicale italiano dalla sua origine fino al presente", v. 1-3, 1783-86).

Librettist poets A. Zeno and P. Metastasio developed a stable structure of historical and mythological. opera seria, in which the nature of the dramas was strictly regulated. intrigue, number and relationships of characters, types of solo woks. numbers and their location on the stage. action. Following the laws of classicist drama, they gave the opera unity and harmony of composition, freeing it from the confusion of tragedy. elements with comedy and farce. At the same time, the opera texts of these playwrights are marked by aristocratic features. gallantry, written in artificial, mannered, refined language. Opera Seria, Spanish the cut was often timed to coincide with the advent. celebrations, had to end with an obligatory successful ending, the feelings of its heroes were conditional and implausible.

All R. 18th century There has been a tendency towards overcoming the established cliches of opera seria and a closer connection between music and drama. action. This led to an increased role of the accompanied recitative and an enrichment of the orc. colors, expansion and dramatization of the choir. scenes These innovative tendencies received the most vivid expression in the work of N. Jommelli and T. Traetta, who partially prepared Gluck’s operatic reform. In the opera “Iphigenia in Tauris,” Traetta managed, according to G. Abert, “to advance to the very gates of Gluck’s musical drama.” The so-called composers followed the same path. "New Neapolitan school" G. Sarti, P. Guglielmi and others. A. Sacchini and A. Salieri were staunch adherents and followers of Gluck's reform.

The strongest opposition is conditionally heroic. Opera Seria was compiled by a new democratic opera buffa genre. At 17 and beginning 18th centuries comic the opera was represented only by isolated examples. How they are independent. the genre began to take shape with the senior masters of the Neapolitan school L. Vinci and L. Leo. The first classic. an example of an opera buffa is Pergolesi’s “The Servant-Mistress” (originally used as an interlude between the acts of his opera-seria “The Proud Captive”, 1733). The realism of the images, the liveliness and poignancy of the music. characteristics contributed to the widest popularity of G.B. Pergolesi's interlude in many. countries, especially in France, where her post is. in 1752 served as the impetus for the emergence of a fierce aesthetic. polemics (see "War of the Buffons") and contributed to the formation of the French. national kind of comic operas.

Without losing touch with the people. roots, Italian opera buffa later developed more developed forms. Unlike the opera seria, the solo vocal was dominant. beginning, in comic Ensembles have become very important in opera. The most developed ensembles were placed in lively, rapidly unfolding finales, which were a kind of node of comedic intrigue. N. Logroshino is considered to be the creator of this type of effective final ensembles. C. Goldoni, a major Italian, had a fruitful influence on the development of opera buffa. comedian of the 18th century, who reflected the ideas of educational realism in his work. He was the author of a number of opera librarians, most of which had music written by one of the outstanding Italian masters. comic operas by the Venetian B. Galuppi. In the 60s 18th century in opera buffa sentimentalist tendencies appear (for example, N. Piccinni’s opera based on Goldoni’s text “Cecchina, or the Good Daughter”, 1760, Rome). Opera buffa approaches the type of “philistine drama” or “tearful comedy” that reflected morals. ideals of the third estate on the eve of the Great French. revolution.

The work of N. Piccinni, G. Paisiello and D. Cimarosa is the last, highest stage in the development of opera buffa in the 18th century. Their productions combine comedic elements with sensibilities. pathetic, melodic. richness with a variety of forms, liveliness, grace and mobility of music have been preserved in the operatic repertoire. In many ways, these composers approached Mozart and prepared the work of one of the greatest Italians. opera composers of the next century G. Rossini. Certain features of opera buffa were adopted by the later opera seria, which resulted in greater flexibility of its forms, simplicity and spontaneity of melodies. expressions.

Means. The contribution was made by Italian. composers of the 18th century in the development of various instrument genres music. In the field of violin making, the greatest master after Corelli was G. Tartini. Continuing, following his predecessors, to cultivate the genres of solo violin sonata and trio sonata, he filled them with new bright expressiveness, enriched the techniques of violin performance, and expanded the usual range of its sound at that time. Tartini created his own school, called Padua (named after the city of Padua, where he spent most of his life). His students were P. Nardini, P. Alberghi, D. Ferrari. In the 2nd half. 18th century unfolded masterfully and performed. and creative activities of G. Pugnani, the largest Italian. classical violinist era. Among its many. students, J.B. Viotti became especially famous, in whose work there is sometimes a sense of romanticism. trends.

In the orc genre. concerto grosso as bold and original. the innovative artist was A. Vivaldi. He dramatized this form, introduced along with dynamic. contrasting large and small groups of instruments (tutti and concertino) thematically. contrasts within the department parts, established a 3-part structure of the cycle, preserved in the classic. instr. concert. (Vivaldi’s violin concertos were highly valued by J. S. Bach, who arranged some of them for the clavier and also for the organ.)

In the trio sonatas of G.B. Pergolesi, pre-classical features are noticeable. "gallant" style. Their light, transparent texture is almost entirely homophonic, the melody is distinguished by soft melodiousness and grace. One of the composers who directly prepared the flowering of classical music. instr. music, was G. Sammartini (author of 78 symphonies, many sonatas and concertos for various instruments), whose nature of creativity was close to representatives of the Mannheim and early Viennese schools. L. Boccherini combined in his work elements of gallant sensitivity with pre-romanticism. excited by pathos and closeness to the people. sources. They will notice. cellist, he enriched solo cello literature, was one of the creators of classical music. type of bow quartet.

The artist is alive and richly creative. fantasy, D. Scarlatti expanded and updated the figurative structure and means of expressiveness of clavier music. His sonatas for harpsichord (the author called them “exercises” - “Essercizi per gravicembalo”), striking in their diversity of character and presentation techniques, are a kind of encyclopedia of clavier art of that era. Scarlatti's sonatas, clear and concise in form, focus on thematic issues. contrasts are clearly defined. sections of the sonata exposition. After Scarlatti, the keyboard sonata was developed in the works of B. Galuppi, D. Alberti (whose name is associated with the definition of Albertian basses), G. Rutini, P. Paradisi, D. Cimarosa. M. Clementi, having mastered certain aspects of D. Scarlatti’s manner (which was expressed, in particular, in his creation of 12 sonatas “in the style of Scarlatti”), then became close to the masters of developed classical music. style, and sometimes comes to the origins of the romantic. virtuosity.

A new era in the history of violin making was opened by N. Paganini. As a performer and composer, he was a typically romantic artist. warehouse His playing made an irresistible impression with its combination of enormous virtuosity with fiery imagination and passion. Mn. prod. Paganini ("24 Caprices" for solo violin, concertos for violin and orchestra, etc.) still remain unsurpassed examples of virtuoso violin literature. They influenced not only the entire subsequent development of violin music in the 19th century, but also the work of the largest representatives of the Romantic movement. pianism - F. Chopin, R. Schumann, F. Liszt.

Paganini was the last of the great Italians. masters working in the field of tools. music. In the 19th century the attention of composers and the public was almost entirely focused on the opera. At the turn of the 18th-19th centuries. Opera in Italy was going through a period of known stagnation. Traditional the types of opera seria and opera buffa had already exhausted their capabilities by that time and could not develop. Creativity of the largest Italian. opera composer of this time G. Spontini took place outside Italy (in France and Germany). Attempts by S. Mayr (German by nationality) to support the traditions of opera seria (by grafting certain borrowed elements) turned out to be eclectic. F. Paer, who gravitated toward opera buffa, did not contribute anything significantly new to this genre compared to the work of Paisiello and Cimarosa. (In the history of music, the name of Paer has been preserved as the author of the opera based on the text by J. Bouilly “Leonora, or Conjugal Love”, which served as a source for the librarian “Fidelio” by Beethoven.)

High flourishing of Italy. operas in the 19th century was associated with the activities of G. Rossini, a composer gifted with inexhaustible melodicism. ingenuity, lively, ebullient temperament and unmistakable dramaturgy. instinct. His work reflected the general rise of Italy. culture caused by the growth of patriotic. national liberation aspirations. Deeply democratic, people. According to its origins, Rossini's operatic work was addressed to a wide range of listeners. He revived the national type of opera buffa and breathed new life into it, sharpening and deepening the characteristics of the action. persons, bringing them closer to reality. His "The Barber of Seville" (1816) is the pinnacle of Italian. comic operas. Rossini combines the comedic beginning with the satirical, libre. Some of his operas contain direct allusions to societies. and political the situation of that time. In operas there are heroic dramas. character, he overcame the frozen cliches of opera seria, in particular, attaching special importance to the chorus. the beginning. Narratives are being widely developed. scenes in Rossini's last opera "William Tell" (1829) on the national liberation. the plot interpreted in a romantic way. plan.

Romanticism gets a vivid expression. trends in the work of V. Bellini and G. Donizetti, whose activities began in the 30s. 19th century, when the national movement Renaissance (Risorgimento) in Italy entered a decisive stage of the struggle for unity and political. independence of the country. In Bellini's operas "Norma" (1831) and "The Puritans" (1835), national liberation is clearly heard. motives, although the main emphasis was placed by the composer on the personal drama of the characters. Bellini was a master of expression. romantic cantilena, which aroused the admiration of M. I. Glinka and F. Chopin. Donizetti has a desire for strong dramas. effects and acute situations sometimes resulted in stilted melodrama. Therefore, his great romanticism. operas ("Lucretia Borgia", according to V. Hugo, 1833; "Luciadi Lammermoor", according to V. Scott, 1835) turned out to be less viable than the production. comedy genre ("Elisir of Love", 1832; "Don Pasquale", 1843), in which traditions. Italian type opera buffa acquired new features: the importance of the genre background increased, the melody was enriched with the intonations of everyday romance and song.

The work of J. S. Mercadante, G. Pacini and some other composers of the same period did not differ independently. individual traits, but reflected the general tendency towards dramatization of the operatic form and enrichment of musical expression. funds. In this regard they were direct. predecessors of G. Verdi - one of the greatest operatic playwrights not only in Italy, but also in world music. t-ra.

Verdi's early operas, which appeared on stage in the 40s. 19th century, not yet completely independent stylistically ("Nabucco", "Lombards in the First Crusade", "Ernani"), aroused the ardent enthusiasm of the audience with their patriotic. pathos, romantic elation of feelings, the spirit of heroism and love of freedom. In production 50s ("Rigoletto", "Il Trovatore", "La Traviata") he achieved great psychological results. depth of images, strength and truthfulness of the embodiment of acute, intense mental conflicts. Wok. Verdi's writing is freed from external virtuosity, passage ornamentation, becoming an organically integral element of melodic. line, acquired will express. meaning. In operas of the 60-70s. (“Don Carlos”, “Aida”) he strives to further identify broad layers of drama. actions in music, strengthening the role of the orchestra, enriching the muses. language. In one of his last operas, “Othello” (1886), Verdi came to the creation of a complete music dramas, in which the music is inextricably linked with the action and flexibly conveys all its psychological aspects. shades.

Followers of Verdi, incl. A. Ponchielli, the author of the popular opera La Gioconda (1876), was unable to enrich his operatic principles with new creatures. achievements. At the same time, Verdi's work met with opposition from adherents of Wagnerian music-dramas. reforms. However, Wagnerism did not have deep roots in Italy; the influence of Wagner was felt among some composers not so much in the principles of operatic drama, but in the techniques of harmonics. and orc. letters. Wagnerian tendencies were reflected in the opera “Mephistopheles” by Boito (1868), who subsequently moved away from the extremes of his passion for Wagner.

In con. 19th century Verism became widespread in Italy. The enormous success of Mascagni's operas "Honor Rusticana" (1890) and "Pagliacci" by Leoncavallo (1892) contributed to the establishment of this movement as dominant in Italy. operatic creativity. Verism was supported by U. Giordano (among his works the most famous is the opera André Chénier, 1896) and F. Cilea.

The work of the largest Italian was also connected with this trend. opera composer after Verdi - G. Puccini. His prod. usually dedicated drama of ordinary people, shown against a colorful everyday background. At the same time, Puccini's operas are free from the naturalistic nature inherent in verism. features, they are distinguished by greater psychological subtlety. analysis, soulful lyricism and elegance of writing. Being true to the best Italian traditions. bel canto, Puccini sharpened the declamation. expressiveness of the wok. melodics, strived for a more detailed reproduction of speech nuances in singing. Colorful harmonious and orc. the language of his operas contains certain elements of impressionism. In their first mature productions. ("La Boheme", 1896; "Tosca", 1900) Puccini is also associated with Italy. operatic tradition of the 19th century, later his style became more complex, his means of expression acquired greater sharpness and concentration. A peculiar phenomenon in Italy. opera art - the work of E. Wolf-Ferrari, who tried to modernize the classic. type of opera buffa, combining its traditions. forms with stylistic using the means of late romanticism ("Curious Women", 1903; "Four Tyrants", 1906, based on Goldoni's stories). R. Zandonai, following mainly the path of verism, became close to some of the new muses. currents of the 20th century.

High achievements in Italy. operas at 19 - early 20th centuries were associated with the brilliant flowering of vocal performers. culture. Italian traditions Bel canto, which developed in the 19th century, is further developed in the art of several. generations of singers who enjoyed worldwide fame. At the same time, their performance acquires new features, becoming more lyrical and dramatically expressive. The last outstanding representative of a purely virtuoso style who sacrificed drama. content for the sake of sound beauty and technicality. voice mobility, was A. Catalani. Among the masters is Italian. wok schools 1st half 19th century, formed on the basis of the operatic work of Rossini, Bellini and Donizetti - singers Giudita and Giulia Grisi, G. Pasta, singers G. Mario, G. B. Rubini. In the 2nd half. 19th century a galaxy of “Verdi” singers is emerging, including singers A. Bosio, B. and C. Marchisio, A. Patti, singers M. Battistini, A. Masini, G. Anselmi, F. Tamagno, E. Tamberlik and others In the 20th century glory to Italy the opera was supported by singers A. Barbi, G. Bellincioni, A. Galli-Curci, T. Dal Monte, E. and L. Tetrazzini, singers G. De Luca, B. Gigli, E. Caruso, T. Skipa, Titta Ruffo and etc.

From the end 19th century the significance of opera in Italian creativity. composers is weakening and there is a tendency to move the center of attention to the field of instruments. genres. The revival of active creativity. interest in tools music was promoted by the activities of G. Sgambati (received recognition in Europe as a pianist and conductor) and G. Martucci. But the work of both composers, which developed under the influence of F. Liszt and R. Wagner, was not independent enough.

As a harbinger of new aesthetics. ideas and stylistic principles have a great influence on the development of the whole of Europe. music of the 20th century rendered by F. Busoni, one of the greatest pianists of his time, a major composer and art theorist. He put forward the concept of “new classicism”, which he contrasted, on the one hand, with impressionistic. the fluidity of images, the elusiveness of shades, on the other hand, the “anarchy” and “arbitrariness” of Schoenberg’s atonalism. Your creativity Busoni implemented the principles in such works as “Contrapuntal Fantasy” (1921), “Improvisation on a Bach Chorale Theme” for 2 fp. (1916), as well as the operas “Harlequin, or Window”, “Turandot” (both post. 1917), in which he abandoned the developed wok. style of their Italians. predecessors and sought to get closer to the type of ancient people. comedy or farce.

Italian creativity developed in line with neoclassicism. composers, sometimes united under the name. "groups of the 1880s" - I. Pizzetti, J. F. Malipiero, A. Casella. They sought to revive the traditions of the great national. music past, turning to forms and stylistics. Italian techniques Baroque and melodic Gregorian chant. Promoter and researcher of early music, Malipiero publ. collection works by C. Monteverdi, instr. prod. A. Vivaldi and the forgotten heritage of many. Italian composers of the 17th-18th centuries. In his work, he uses the forms of the ancient Baroque sonata, ricercar, etc. His operas, main. on express. wok declamation and stingy means of orc. con., reflect what came in the 20s. reaction against verism. The neoclassical tendencies of Casella’s work manifested themselves in “Partita” for fp. with orchestra (1925), suite "Scarlattiana" (1926), some music theater. prod. (for example, chamber opera "The Tale of Orpheus", 1932). At the same time, he turned to Italian. folklore (rhapsody for orchestra "Italy", 1909). Its colorful orc. the letter was developed to a large extent under the influence of Russian. and French schools (a tribute to the passion for Russian music was the orchestration of Balakirev’s “Islamey”). Pizzetti introduced religious and moralizing elements into his operas and saturated the muses. language with the intonations of Gregorian chant, without at the same time breaking with the traditions of Italo. opera school of the 19th century Several A special place in this group of composers is occupied by the work of O. Respighi, master of orc. sound recording (the formation of his creativity was influenced by classes with N. A. Rimsky-Korsakov). In the symphony Respighi's poems ("Roman Fountains", 1916; "Pineas of Rome", 1924) give vivid pictures of people. life and nature. Neoclassical tendencies were only partly reflected in his later work. A noticeable role in I. m. 1st half. 20th century played by F. Alfano, the most prominent representative of the veristic movement (the opera “Resurrection” based on the novel by L.N. Tolstoy, 1904), who then evolved to impressionism; M. Castelnuovo-Tedesco and V. Rieti, who in the beginning. 2nd World War 1939-45 according to political reasons left their homeland and settled in the United States.

At the turn of the 40s. 20th century noticeable stylistic shifts occur in I. m. The trends of neoclassicism are replaced by movements that develop in one form or another the principles of the new Viennese school. Creative creativity is indicative in this regard. evolution of G. Petrassi, who, having experienced the influence of A. Casella and I. F. Stravinsky, moved first to the position of free atonality, and then to strict dodecaphony. The largest composer of this period I.M. is L. Dallapiccola, whose work attracted wide attention after the 2nd World War. In his prod. 40's and 50's features of expressionism and kinship appear. creativity of A. Berg. The best of them embody humanism. protest against tyranny and cruelty (choral triptych "Songs of Prisoners", 1938-1941; opera "Prisoner", 1944-48), which gave them a certain anti-fascist orientation.

Among the composers of the younger generation that emerged after World War II, L. Berio, S. Bussotti, F. Donatoni, N. Castiglioni, B. Maderna, R. Malipiero and others became famous. Their work is associated with various. currents of avant-gardeism - post-Weberian serialism, sonorism (see Serial music, Sonorism), aleatorism, and is a tribute to the formal search for new sound means. Berio and Maderna base. in 1954 in Milan the "Studio of Phonology", which conducted experiments in the field of electronic music. At the same time, some of these composers strive to combine the so-called. new means of expressiveness for music. avant-garde with genre forms and techniques of music of the 16th-17th centuries.

A special place in modern times. I. m. belongs to the communist composer and active fighter for peace L. Nono. In his work, he addresses the most pressing topics of our time, trying to embody the ideas of international. brotherhood and solidarity of workers, protest against imperialism. oppression and aggression. But the means of avant-garde art, which Nono uses, are often in conflict with his desire for immediacy. propaganda impact on the broad masses of listeners.

Standing aside from avant-garde tendencies is G.C. Menotti - Italian. composer living and working in the USA. In his work, associated primarily with opera, elements of verism acquire a certain expressionist coloring, while the search for truthful speech intonation leads him to a partial rapprochement with M. P. Mussorgsky.

In music Opera continues to play an important role in the life of Italy. One of the outstanding opera companies in the world is La Scala in Milan, which has existed since 1778. The oldest opera houses in Italy also include San Carlo in Naples (founded in 1737), Fenice in Venice ( founded in 1792). Large art. The Roman Opera Theater gained importance (opened in 1880 under the name Costanzi Theater; since 1946 - the Roman Opera). Among the most prominent modern Italian opera artists - singers G. Simionato, R. Scotto, A. Stella, R. Tebaldi, M. Freni; singers G. Becky, T. Gobbi, M. Del Monaco, F. Corelli, G. Di Stefano.

Great influence on the development of opera and symphony. culture in Italy was influenced by the activities of A. Toscanini, one of the greatest conductors of the 20th century. Prominent representatives of music performing The artists are conductors P. Argento, V. De Sabata, G. Cantelli, T. Serafin, R. Fasano, V. Ferrero, C. Zecchi; pianist A. Benedetti Michelangeli; violinist J. DeVito; cellist E. Mainardi.

From the beginning 20th century Music research has received intensive development in Italy. and critical thought. Means. contribution to the study of music. heritage was contributed by musicologists G. Barblan (president of the Italian Society of Musicology), A. Bonaventura, G. M. Gatti, A. Della Corte, G. Pannain, G. Radiciotti, L. Torchi, F. Torrefranca and others M. Zafred and M. Mila work primarily. in the field of music. critics. A number of muses are published in Italy. magazines, incl. "Rivista Musicale italiana" (Turin, Milan, 1894-1932, 1936-1943, 1946-), "Musica d"oggi" (Milan, 1919-40, 1958-), "La Rassegna Musicale" (Turin, 1928-40 ; Rome, 1941-1943, 1947-62), "Bolletino Bibliografico Musicale" (Milan, 1926-33, 1952-), "Il Convegno Musicale" (Turin, 1964-), etc.

A number of encyclopedias have been published, dedicated to. music and t-ru, incl. "Enciclopedia della musica" (v. 1-4, Mil., 1963-64), "Enciclopedia dello spettacolo" (v. 1-9, Roma, 1954-62).

Among the special music uch. The largest institutions are the conservatories: "Santa Cecilia" in Rome (founded in 1876 as a music lyceum, since 1919 - a conservatory); the name of G. B. Martini in Bologna (since 1942; founded in 1804 as a musical lyceum, since 1914 received the status of a conservatory); them. Benedetto Marcello in Venice (since 1940, founded in 1877 as a music lyceum, since 1916 equal to a higher school); Milanskaya (founded in 1808, in 1901 named after G. Verdi); them. L. Cherubini in Florence (founded in 1849 as a music institute, then a music school, Academy of Music, and from 1912 - a conservatory). Prof. musicians are also trained by the institutes of music history at universities, the Pontifical Ambrosian Institute of Sacred Music, etc. In these schools. institutions, as well as at the Institute for the study of Verdi’s legacy, musicology is conducted. Job. The International was founded in Venice. Italian propaganda center music, which annually organizes summer courses (“Musical Vacations”) on the study of ancient Italian. music. The Ambrosian Library and the library of the Milan Conservatory have an extensive collection of sheet music and books on music. The repositories of ancient instruments, sheet music and books are widely known (concentrated in the library of the Bologna Philharmonic Academy, in the library of G.B. Martini and in the Archives of the Chapel of San Petronio in Bologna). The richest materials on Italian history. music have the National. Marciana Library, D. Cini Foundation Library and the Museum of Music. instruments at the Conservatory in Venice.

In Italy there are numerous. music organization and execution. teams. Regular symphonies concerts are given by: orchestras of La Scala and Fenice, National. Academy "Santa Cecilia", Italy. radio and television in Rome, the orchestra of the "Afternoon Music Playing" ("Rommerigi musicali") society, which performs primarily. from Spanish modern music, chamber orchestras "Angelicum" and "Virtuosi of Rome", the "Ambrosian Polyphony" society, which promotes the music of the Middle Ages, Renaissance and Baroque, as well as the orchestra of the Bologna theater "Comunale", the Bologna Chamber Orchestra and other groups.

Numerous events are held in Italy. music festivals and competitions: Int. modern festival music (since 1930, Venice), "Florentine Musical May" (since 1933), "Festival of Two Worlds" in Spoleto (since 1958, founded by G.C. Menotti), "Week of New Music" (since 1960, Palermo), piano competition named after F. Busoni in Bolzano (since 1949, annually), music and dance competition named after. G. B. Viotti in Vercelli (since 1950, annually), competition named after. A. Casella in Naples (since 1952, every 2 years, until 1960 pianists participated, since 1962 - also composers), violin competition. N. Paganini in Genoa (since 1954, annually), orchestra competition. conductors in Rome (since 1956, every 3 years, established by the National Academy "Santa Cecilia"), piano competition. E. Pozzoli in Seregno (since 1959, every 2 years), competition for young conductors. G. Cantelli in Novara (since 1961, every 2 years), vocal competition "Verdi Voices" in Busseto (since 1961, annually), choir competition. collectives named after Guido d'Arezzo in Arezzo (founded in 1952 as national, since 1953 - international; annually, also known as "Polyfonico"), G. Casado cello competition in Florence (since 1969, every 2 years).

Among the Italians music society - Corporation of New Music (section of the International Society of Contemporary Music; founded in 1917 as the National Music Society, in 1919 transformed into the Italian Society of Contemporary Music, since 1923 - Corporation), Music Association libraries, Society of Musicology, etc. A lot of work is being done in Italy. music publishing house and trading company "Ricordi and Co." (founded in 1808), which has branches in many places. countries.

Literature: Ivanov-Boretsky M.V., Musical-historical anthology, vol. 1-2, M., 1933-36; his, Materials and documents on the history of music, vol. 2, M., 1934; Kuznetsov K. A., Musical and historical portraits, ser. 1, M., 1937; Livanova T., History of Western European music until 1789, M. - L., 1940; Gruber R.I., General history of music, part one, M., 1956, 1965; Khokhlovkina A., Western European Opera. The end of the 18th - first half of the 19th century. Essays, M., 1962; History of European art history: from antiquity to the end of the 18th century, M., 1963; History of European art history. First half of the 19th century, M., 1965.

“Folk Art” - Find out how the love of oral folk art is brought up in your family. Thus, interest in Russian folk art increased. Project implementation. 6 hours. Research objectives: What types of folk art do you use in your games? Stages of work: Goals and objectives are set. Is Russian folk art used in your life, in games?

“Russian folk costume” - If the sleeves were lowered, then it was impossible to do any work. In Rus', the main clothing for women was a sundress and an embroidered shirt. The soul of the people is reflected in clothes. Sundresses could be of different colors: red, blue, brown... Girls could walk with their heads open. Green – nettle. By clothing you can learn about the traditions and customs of your people.

"Artists of the Italian Renaissance" - Representative of the High Renaissance. Return of the Prodigal Son. Raphael. Madonna and Child. Velazquez. Bathers. The last artist of the German Renaissance. Painting. The fruits of jealousy. Gioconda. Leonardo da Vinci. Madonna Constabile. There are numerous church paintings and images of saints. Venus and Adonis.

“Folk Music” - Pyatnitsky Russian Song Choir of the All-Union Radio. All genres of Russian folklore deserve equal attention from collectors and researchers. Vasily Tatishchev. Truly popular. Ensemble "Golden Ring". M. Gorky said: “... The beginning of the art of words is in folklore.” Properties: Musical images are connected with people's lives. Centuries of polishing by time.

“Russian folk instruments” - Musical instruments in kindergarten. Balalaika Harmony. Same-horned pipes! First instruments. Holes were made in the body to change the pitch. He grew up in the forest, cries in his arms, was taken out of the forest, and jumps on the floor. They sculpted from clay. Russian folk instruments. Appeared in 1870 in Tula. In classes and at holidays.

“Orchestra of Folk Instruments” - Composition of the orchestra. There are several varieties of Russian domra. Domra is the leading instrument in the folk instrument orchestra. The button accordion owes its appearance to the Russian master Pyotr Sterligov. Wind instruments. The Bayan has existed in Rus' since 1907. They are part of the folk instruments orchestra. The first information about the gusli dates back to the 6th century.

Culturally patchwork Italy has given the world unsurpassed masters in the field of art. But the Italian genius creators themselves were influenced by folk culture, incl. melodic Italian songs. Almost all of them have authors, which, however, does not prevent them from being called folk.

This is probably due to the natural love of Italians for playing music. This statement applies to all regions of Italy from southern Naples to northern Venice, which is confirmed by the many song festivals held throughout the country. The Italian song is known and loved all over the world: our parents still remember “Bella Ciao” ​​and “On the Road” - Italian folk songs sung by Muslim Magomayev, recognized as the best performer of songs in this country.

Italian folk songs from time immemorial

If the Italian language developed by the 10th century, then researchers attribute the appearance of Italian folk songs to the very beginning of the 13th century. These were songs sung by traveling jugglers and minstrels in city squares during holidays. The subject matter for them was love or family stories. Their style was somewhat rough, which is quite natural for the Middle Ages.

The most famous song that has come down to us is called “Contrasto” (“Love Dispute”) by the Sicilian Ciullo d’Alcamo. It is about a dialogue between a girl and a boy in love with her. In addition, similar dialogue songs are known: “The dispute between the soul and the body”, “The dispute between the brunette and the blonde”, “The dispute between the frivolous and the wise”, “The dispute between winter and summer”.

During the Renaissance, the fashion for playing music at home spread among the inhabitants of Italy. Ordinary townspeople gathered in circles of music lovers, where they played various instruments and composed words and melodies. Since then, the songs have become widespread among all segments of the population and have been heard everywhere in Italy.

Musical instruments and Italian folk songs

Speaking about folklore, one cannot fail to mention the instruments to the accompaniment of which they were performed. Here are some of them:

• A violin that received its modern appearance in the 15th century. This instrument of folk origin is very loved by Italians.
• The lute and its Pyrenean variant, the vihuela. Plucked instruments that spread throughout Italy in the 14th century.
• Tambourine. A type of tambourine that came to Italy from Provence. The dancer accompanied himself with them while performing the tarantella.
• Flute. It became widespread in the 11th century. Very often used by the performer together with a tambourine.
• The barrel organ is a mechanical wind instrument that became popular in Italy in the 17th century. She was especially loved among traveling musicians, remember Papa Carlo.

Italian folk song “Santa Lucia” – the birth of Neapolitan music

Naples is the capital of the Campania region, the most famous city in southern Italy and home to the stunningly lyrical Neapolitan folk song, the beautiful “Santa Lucia”.

Its extraordinary beauty of nature, mild climate and convenient location on the shore of the bay of the same name made this city and the surrounding area extremely attractive to numerous conquerors and simple settlers. For more than 2,500 years, this city has accepted and reinterpreted many cultures, which could not but affect the musical traditions of the region.

The birth of the Neapolitan folk song is considered to be the beginning of the 13th century, when the song “The Sun is Rising” was very popular. This is the dawn of the Italian Renaissance. The time of rapid development of Italian cities and the beginning of the emergence of human consciousness from the dark ages. By this period, people stopped considering dancing and singing as sinful, and began to allow themselves to enjoy life.

In the XIV-XV centuries. Among the people, humorous couplets were popular, which were composed on the topic of the day. In the second half of the 15th century, the villanelle (Italian village song) arose in Naples - couplets performed in several voices to the accompaniment of a lute.

However, the heyday of the Neapolitan folk song as we know it dates back to the 19th century. It was during this period that the most famous Italian song “Santa Lucia” was published by Teodoro Cottrau. It is written in the genre of barcarolle (from the word barka), which means “boatman’s song” or “song on the water.” The song was sung in the Neapolitan dialect and was dedicated to the beauty of the coastal town of Santa Lucia. This is the first Neapolitan work translated from a dialect into Italian. It was performed by Enrico Caruso, Elvis Presley, Robertino Loretti and many other world-famous artists.

Original Neapolitan text

Comme se fr?cceca la luna chiena…
lo mare ride, ll'aria? serena...
Vuje che facite ‘mmiez’a la via?
Santa Lucia! Santa Lucia!

II Stu viento frisco, fa risciatare, chi v?’ spassarse j?nno pe’ mare…
E’ pronta e lesta la varca mia… Santa Lucia!
Santa Lucia! III La t?nna ? posta pe’ f? na price...
e quanno stace la panza chiena, non c’? la m?nema melanconia!

Santa Lucia! Santa Lucia!
P?zzo accostare la varca mia?
Santa Lucia!
Santa Lucia!…

Classical Italian text (Enrico Cossovic, 1849)

Sul mare luccica l'astro d'argento.

Sul mare luccica l'astro d'argento.
Placida? l'onda, prospero? il vento.

Santa Lucia! Venite all'agile barchetta mia, Santa Lucia! Santa Lucia!

Con questo zeffiro, cos? soave, Oh, com’? bello star sulla nave!
Su passegieri, venite via!
Santa Lucia!
Santa Lucia!

Su passegieri, venite via!
Santa Lucia!
Santa Lucia!

In fra le tende, bandir la cena In una sera cos? serena,

Santa Lucia!
Santa Lucia!
Chi non dimanda, chi non desia.
Santa Lucia!
Santa Lucia!


Mare s? placida, vento s? caro,
Scordar fa i triboli al marinaro,
E va gridando con allegria,
Santa Lucia! Santa Lucia!

E va gridando con allegria,
Santa Lucia! Santa Lucia!


O dolce Napoli, o suol beato,
Ove sorridere volle il creato,
Tu sei l'impero dell'armonia,
Santa Lucia! Santa Lucia!

Tu sei l'impero dell'armonia,
Santa Lucia! Santa Lucia!


Or che tardate? Bella? la sera.
Spira un'auretta fresca e leggiera.
Venite all'agile barchetta mia, Santa Lucia!
Santa Lucia!

Venite all'agile barchetta mia, Santa Lucia!
Santa Lucia!

Russian text

The sea breathes a little
In sleepy peace,
The whisper of the surf can be heard from a distance.
Big stars lit up in the sky, Santa Lucia, Santa Lucia!
Oh, what an evening - Stars and sea!
A gentle wind blows from the foothills.

He evokes golden dreams,
Santa Lucia, Santa Lucia!
A boat like a swan
Floats into the distance
Stars on the sky
Shining brightly.

Wonderful song
I hear in the night
Santa Lucia,
Santa Lucia!
Evening over the sea
Full of languor
Quietly we echo
The song is familiar.

Oh my Naples
Relatives gave
Santa Lucia,
Santa Lucia!
Moonlight
The sea shines.

Favourable wind
The sail rises.
My boat is light
The oars are big...
Santa Lucia,
Santa Lucia!

Behind the curtains
Secluded boats
Can be avoided
Immodest glances.
How to be locked up
At night like this?

Santa Lucia,
Santa Lucia!
My wonderful Naples,
Oh, lovely land,
Where he smiles
The vault of heaven is for us.

Delights in the soul
It's pouring unearthly...
Santa Lucia,
Santa Lucia!
We are light marshmallows
Let's rush into the distance
And let's soar over the water like a seagull.

Ah, don't lose it
Gold watch...
Santa Lucia,
Santa Lucia!

The sea is calm
Everyone admires
And woe is the sailors
They instantly forget
They just sing
The songs are dashing.

Santa Lucia,
Santa Lucia
What else are you waiting for?
Quiet on the sea.
The moon is shining
In the blue expanse
My boat is light
The oars are big...

Santa Lucia,
Santa Lucia!
***

Listen to the Italian folk song Santa Lucia performed by Anastasia Kozhukhova:

In addition, another Neapolitan song “Dicitencello vuie” is also famous in our country; in our country it is better known as “Tell the girls to your girlfriend.” The song was written in 1930 by composer Rodolfo Falvo with lyrics by Enzo Fusco. The Russian-language version was performed by most domestic artists from Sergei Lemeshev to Valery Leontyev. In addition to Russian, this song has been translated into many other languages.

Neapolitan songs are unprecedentedly known and loved throughout the world. This is evidenced by an incident that occurred at the Olympic Games in Antwerp in 1920. During the award ceremony for the Italian team, it turned out that the Belgian orchestra did not have the notes of the Italian anthem. And then the orchestra burst out “O my sun” (“O sole mio”). At the very first sounds of the melody, the audience present at the stadium began to sing along to the words of the song.

Speaking about the song traditions of Naples and its surroundings, one cannot fail to mention the Piedigrotta festival, which is held annually in early September. Piedigrotta is a grotto located near Naples that once served as a pagan sanctuary. In 1200, in order to consecrate this place, the Church of St. Mary was erected here, which became known as Piedigrotta, which means “at the foot of the grotto.”

Over time, religious worship of the Virgin Mary and festivities in her honor transformed into a song competition-festival. During this musical festival, the best folk poets and singers of Naples compete. Sometimes it happens that two songs score the same number of points. And then the audience is divided into two camps, each of which is ready to defend their favorite melody with their fists. If both songs are really good, friendship wins and the whole city hums these favorite tunes.

Italian folk song “Happy”

The work relates to love lyrics, but the words of the text highlight the treachery and frivolity of youth. The narration is told from the perspective of a girl who seems to be turning to her friend, asking: does he know what is hidden behind the flirtatious glances of the beauties at the balls? The girl herself is not yet in love with anyone and therefore considers herself the happiest and “more charming than all the queens.” A young Italian woman walks among daisies and violets, listens to the chirping of birds and sings to them about how happy she is and that she wants to love only them forever.

Truly, it has been accurately noted that as long as your love for another person does not become a painful attachment, there is time to enjoy life, nature and everyone who surrounds you. Where can you notice all this when you are burning with jealousy and anxiety?

Listen to the Italian folk song “Happy” in Russian performed by Anastasia Teplyakova:

Humor in Italian folk songs: we sing about “Pasta”

The light and cheerful Italian character contributed to the widespread dissemination of humorous songs. Among such works, it is worth noting the song “Pasta,” dedicated to this truly Italian dish. By singing this song, orphans and children from poor families earned their living by begging for alms from passers-by. Depending on the gender of the performer, there are male and female versions of the text. The song is created in a tarantella rhythm.

Tarantella is a folk dance that has been performed since the 15th century. As a rule, the tarantella is based on one rhythmically repeating motif. Interestingly, dancing to this tune was considered a healing remedy for people bitten by a tarantula. Since ancient times, musicians have roamed the roads of Italy performing this melody especially for those suffering from “tarantism”.

Pasta (male version) Translation by M. Ulitsky

1. I live among the ruins.
More often cheerful than sad.
I live among the ruins.
More often cheerful than sad.

I would willingly give a table, a bed, and a house with a balcony for pasta.

2. This tasty dish is a good friend of the common people.
This tasty dish is a good friend of the common people.

But important people also eat pasta with sauce.

3. Do you want to know how the dying red clown survived?
Do you want to know how the dying red clown survived?

Shutovskaya took off his crown and exchanged it for pasta.

4. Our Tarantella is sung, who should I go to dinner with?
Our Tarantella is sung, who should I go to dinner with?

I’ll just shout: “Pasta!” - Companions will appear immediately.

Pasta (female version)

I'm blacker than an olive
I'm wandering alone homeless
And to the sound of a tambourine
I'm ready to dance all day
I will dance the Tarantella for you,
Just be supportive
Give me a soldo and I'll buy it
Pasta, pasta.

My friend Pulcinello
He was wounded in the heart by an arrow,
Only I didn’t want to become Pulcinello’s wife.
He almost shot himself
Almost threw myself off the balcony
But I was cured of passion,
Just swallowing the pasta.

I gathered my brother for a hike,
His beloved left behind him,
How can I make the soldiers
Was everyone unharmed?
So that the guns don't fire,
You need to take out all the cartridges,
Instead of bullets, let them fly out
Pasta, pasta.

If you're a little sad,
If illness oppresses you,
Or sometimes my stomach is empty,
Pasta is good for you!
Goodbye, senoritas,
Bon voyage, Signori Donna,
You must be very full
And I have pasta waiting for me!

Maccheroni

1.Io mi sono un poveretto senza casa e senza letto.
Io mi sono un poveretto senza casa e senza letto.

Venderei i miei canzoni per un sol piatto da maccheroni.

2. Pulcinella mezzo spento vole a fare il testimento.
Pulcinella mezzo spent vole a fare il testimento.

Purche avesse dai padroni un grosso piatto di maccheroni.

3. Ho veduto un buon Tenente che cambiava col Sergente.
Ho veduto un buon Tenente che cambiava col Sergente.

Le spalline pe’galloni per un sol piatto di maccheroni.

4. Tarantella si e cantata,
due carlini si e pagata.
Tarantella si e cantata,
due carlini si e pagata.
Sono allegro, o compagnoni,
ne comperemo de' maccheroni.
Sono allegro, o compagnoni,
ne comperemo de' maccheroni.
***

Listen to the Italian folk song “Pasta” in Russian performed by Anna Zhikhalenko:

Venetian songs on the water

In addition to southern Naples, the northern pearl of Italy, Venice, has magnificent and amazing song traditions. We are talking, first of all, about the songs of gondoliers. These love motifs belong to the barcarolle genre. They are very melodic and leisurely.

The strong and beautiful voice of the gondolier seems to echo the slow strokes of the oars on the water. Strange, but until the 18th century the barcarolle did not receive due attention from professional musicians. However, in the next century this omission was more than made up for. Tchaikovsky, Mendelssohn, Chopin, Glinka are just a small number of musical geniuses who were captivated by Venetian folk song and included its motifs in their immortal works.

Unfortunately, modernity has a negative impact on Venetian traditions, including the barcarolle. For example, at the request of tourists, gondoliers often sing the Neapolitan song “O Sole Mio”, although the Gondoliers Association is against its performance, since it is not Venetian.

Song of the Italian partisans “Bella Ciao”

The famous partisan song “Bella Ciao” ​​(“Farewell Beauty”) is also incredibly popular. It was sung by members of the Resistance during the Second World War. True, it was not widespread throughout Italy, but only in the north of the country, in the Apennines.

The lyrics are believed to have been written by a paramedic or doctor. And the melody is clearly taken from the old children's song “Sleeping Potion.” Although, according to Luciano Granozzi, professor of modern history at the University of Catania, “Bella Ciao” ​​was performed only by some groups of partisans in the vicinity of Bologna until 1945.

E picchia picchia
la porticella
E picchia picchia

E picchia picchia
la porticella dicendo: “Oi bella, mi vieni aprir.”
Con una mano apr?
la porta e con la bocca
la gli d? un bacin.
La gh'ha dato un bacio cos? tanto forte
la suoi mamma la l'ha sent?.
Ma cos'hai fatto, figliola mia,
che tutto il mondo parla mal di te?
Lascia pure che
il mondo ‘l diga: io voglio amare chi mi ama me.
Io voglio amare quel giovanotto ch’l’ha
fatt sett'anni di prigion per me.
L'ha fatt sett'anni e sette
mesi e sette giorni di prigion per me.
E la prigione
l'? tanto scura,
mi fa paura,
la mi fa morir

Bella Ciao (one of the options)

This morning I was woken up

This morning I was woken up
And I saw the enemy through the window!
Oh, partisans, take me
Oh, bella ciao, bella ciao, bella ciao, ciao, ciao!
Oh, partisans, take me,
I feel my death is near!
If I am destined to die in battle
Oh, bella ciao, bella ciao, bella ciao, ciao, ciao!
If I am destined to die in battle, bury me.
Bury you high in the mountains
Oh, bella ciao, bella ciao, bella ciao, ciao, ciao!
Bury you high in the mountains
Under the shadow of a red flower!

Oh, bella ciao, bella ciao, bella ciao, ciao, ciao!
A passerby will pass and see the flower
“Beautiful,” he will say, “flower!”
That will be the memory of the partisan
Oh, bella ciao, bella ciao, bella ciao, ciao, ciao!
That will be the memory of the partisan
What a freedom to bravely fall!
***

Listen to the song of the Italian partisans “Bella, Ciao” ​​performed by the Pyatnitsky Choir:

Everyone’s favorite partisan song was “Fischia il vento” (“The wind blows”), it had a pronounced communist character. Therefore, after the end of the war, for ideological purposes, the Italian government began to promote the song “Bella Ciao”. For that we only have to thank him. In any case, the song gained worldwide fame in the late forties, after the 1st International Festival of Youth and Students, which was held in Prague in the summer of 1947. After which it was covered many times by famous and not so famous singers all over the world.

The topic of Italian folk music is so voluminous that it is impossible to convey it in one article. This is due to the fact that the entire history of Italy is reflected in folk songs. An incredibly melodic language, luxurious nature and the turbulent history of the country's development have given the world such a cultural phenomenon as the Italian folk song.

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The music of Italy is known all over the world. There is not a single country or continent where nothing has been heard about it. Italy is considered the cradle of musical art, the country that gave the world the greatest genre - opera. In this article we will share with you some interesting information from the history of the musical culture of this sunny state.

Is there a limit to perfection?

Milan's La Scala opera house is considered one of the main symbols of Italy. Why did he win such recognition and love from the whole world? Everything is far from simple - the theater is perfect in everything. An amazingly beautiful building, designed in a strict style, excellent acoustics, a carefully thought-out arrangement of seats in a luxuriously decorated auditorium, always the most talented performing and acting staff, brilliant conductors and even more brilliant music... Well, and most importantly, it is believed that the theater was built in an ideal location for such a room. And all because when excavating the territory for its construction, builders discovered a huge piece of marble on which the most famous actor of ancient Rome, the mime Pylades, was carved. Such a find was considered a real sign from above, confirming the correctness of the choice of place - but how could it be otherwise if it was personally indicated by one of the greatest tragedians of antiquity?

Victims of beautiful singing

This sunny country is also considered the birthplace of bel canto - a virtuosic and elegant style of singing that has conquered the whole world, a style without which baroque music in Italy is unthinkable. And really, how can one remain indifferent if all the singers of this style have almost perfect command of their voices? An unusually wide vocal range, covering very high sounds, brilliant coloratura, complex passages and simply unimaginable duration of breathing. Everything would be fine, but it was predominantly men who mastered this art.

To teach the art of beautiful singing, gifted little boys were selected and sent to special educational institutions. There, young singers were taught vocals every day for several years. If a child was found to have outstanding singing abilities, he was castrated so that after the so-called “breaking” of his voice, the quality of his singing would not change. Such children grew up to be singers with phenomenal voices. One of the most famous castrati singers is Carlo Broschi (Farinelli).

But where did this “fashion” for performing these terrible operations on children come from? From where, as they say, they didn’t expect it. Castrati singers have been trained since the 3rd century to sing at church services. Women were strictly forbidden to participate in Catholic singing, and high voices were required. The art of bel canto flourished in the second half of the 17th century.

When a surname obliges

One of the most common surnames among art creators of the late 15th-16th centuries is Allegri. Maybe no one would have paid attention to it if it were not for the direct relationship of this word with a musical term. Allegro in music is used to indicate the tempo, character of a piece of music, and even its parts. Therefore, it is not at all surprising that among the creators of the declared era, several composers bore such a surname. But we will turn to only one, the most famous.

Gregorio Allegri devoted most of his life to working in the Sistine Chapel in the Vatican, where he devoted himself entirely to church music. His most famous work is called "Miserere". The title of the work is given from the first word of its text - “Miserere” translated from Latin means “Have mercy”. It is considered the standard of its time, the greatest masterpiece of Italian music. And, perhaps, this creation would have been forgotten in musical history over time, if not for one thing. The Vatican strictly forbade copying it and removing it from the church, and in case of violation of the decree it threatened with excommunication. So it was until one day W. A. ​​Mozart heard this work. Arriving home, he wrote it down from memory. This is how Allegri’s work was seen by the world, but the 14-year-old genius was never punished.

Of course, there is a lot of interesting things in Italian early music that we could still talk about. This is the largest and most valuable layer of world culture, which has influenced the musical art of the whole world. She played a special role for our country. The Italians not only introduced the Russians to the genre of opera, but also taught Russian composers how to compose it. But this is a completely different, but no less interesting story.

Video: listen to the music of Italy