What was listened to in pre-revolutionary Russia. Russian everyday romance of the first half of the 19th century Urban and gypsy romances
A romance is a chamber vocal work, which is characterized by a poetic form and lyrical content of a love theme. In other words, these are poetic works for singing to instrumental accompaniment.
The romance is similar in form to the song, only with a limited theme of a love-lyrical nature. A romance is usually performed to the accompaniment of a single instrument, most often. The main emphasis in works of this kind is on the melody and semantic load.
The origin of the romance
The term "romance" itself originated in Spain, where it was used to name secular songs in Spanish that needed to be separated from religious hymns sung in Latin. The Spanish word "romance" or the late Latin "romanice" is translated in this way: "in Romance" or "in Spanish", which is actually the same thing. The term "romance" has taken root in many languages in parallel with the term "song", although in German and English these two concepts are still not separated, denoting them with the same word (German Lied and English Song).
So, romance is a type of song that took shape in the period of the 15th-19th centuries.
Western European romance
From the middle of the 18th century, romance gained particular popularity in Germany and France and became a separate genre on the verge of music and poetry. The poetic basis for the romances of this era was the poems of such great poets as Heine and Goethe.
Already in the 19th century, national schools of romance were formed in Germany, Austria, France and Russia. During this period, the famous romances of the Austrians Schumann, Brahms and Schubert, the French Berlioz, Bizet and Gounod were created.
Characteristic for European schools was the combination of romances into whole vocal cycles. Beethoven created the first such cycle "To a Distant Beloved". His example was followed by Schubert (cycles of romances "Winter Way" and "The Beautiful Miller's Woman"), Schumann, Brahms, Wolf ... From the middle of the 19th century and in the 20th century, national schools of romance were formed in the Czech Republic, Poland, Norway, Finland.
Gradually, in addition to the classical chamber form of romance, such a genre as everyday romance is also developing. It was designed for non-professional singers and was widely popular in society.
Russian romance
The Russian school of romance originated under the influence of romantic moods in art and was finally formed by the middle of the 19th century. Alyabyeva, Gurilev, Varlamova, who often turned to gypsy themes in their work, are considered its founders.
Alexander Alyabiev
Later, separate trends were formed in the genre of Russian romance - salon romance, cruel romance ... The apogee of development of Russian romance is experienced at the beginning of the 20th century, in the era of creativity of Vertinsky and Vyaltseva, Plevitskaya and Panina. The traditions laid down by these brilliant musicians were successfully continued by Alla Bayanova and Petr Leshchenko, and already in the era of the existence of the Soviet Union - by Vadim Kozin, Tamara Tsereteli, Isabella Yuryeva.
Unfortunately, in the Soviet era, the romance genre was not welcomed by the party leadership, since it was considered a non-proletarian genre, a relic of tsarism. and performers of romances were persecuted and repressed.
Only in the 70s. In the 20th century, romance is experiencing a revival when romances performed by Valentina Ponomareva and Nani Bregvadze, Nikolai Slichenko and Valentin Baglaenko gain popularity.
Romance is a well-defined term. In Spain (the birthplace of this genre), this was the name given to a special kind of composition, intended mainly for solo performance to the sound accompaniment of a viola or guitar. At the heart of the romance, as a rule, lies a small lyrical poem of the love genre.
Origins of Russian romance
This genre was brought to Russia from France by the aristocrats of the second half of the 18th century and was immediately adopted by the fertile soil of Soviet poetry. However, Russian romances, the list of which is known today to every lover of classical songs, began to emerge somewhat later, when the Spanish shell began to be filled with truly Russian feelings and melodies.
In fabric new song Traditions are organically intertwined folk art, which has so far been submitted exclusively by anonymous authors. The romances were re-sung, passing from mouth to mouth, the lines were altered and “polished”. By the beginning of the 19th century, the first collectors of songs began to appear, driven by the idea of preserving the old Russian romances (the list of them by that time was already quite large).
Often these enthusiasts added to the collected texts, adding depth and poetic power to the lines. The collectors themselves were academically educated people, and therefore, going on folklore expeditions, they pursued not only aesthetic, but also scientific goals.
Genre evolution
Since the turn of the XVIII-XIX centuries, artistic content romance lyrics became more and more filled with deep personal feelings. The individual world of the hero received an opportunity for a bright, sincere expression. The combination of a high style with a simple and lively Russian vocabulary made the romance truly popular and accessible to both the nobleman and his peasant.
The vocal genre was finally reborn and to mid-nineteenth century has become an integral part of a secular evening in the framework of the “languid” home music-making loved by all young ladies. The first romances also appeared. The list that made up their song repertoire included more and more author's works.
The most famous in the first half of the 19th century were such renowned composers as A. Alyabyev and A. Gurilev, who played an invaluable role in the development of Russian romance and its popularization.
Urban and gypsy romances
Urban romance absorbed the largest number folklore motifs of Russia in the 19th-20th centuries. Being an author's song, in terms of the freedom of its existence, it resembled and differed in its characteristic features:
- the magic of details;
- well-defined images;
- stepped composition;
- powerful reflection of the protagonist;
- the image of ever-elusive love.
Characteristic features of urban romance with musical point of vision are the harmonic construction of the composition with minor tones, as well as the sequence inherent in it.
The gypsy romance was born as a tribute to Russian composers and poets in the manner of performance beloved by many of the same name. Its basis was an ordinary lyrical song. However, the characteristic artistic turns and techniques that were in use among the gypsies fit into its texts and melody. To learn such a romance today is no wonder. Its main theme, as a rule, is a love experience in various gradations (from tenderness to carnal passion), and the most noticeable detail is “green eyes”.
Cruel and Cossack romances
There is no academic definition for these terms. However, their specific traits fully described in the literature. A feature of a cruel romance is a very organic combination of the principles of a ballad, a lyrical song and a romance. TO individual traits it is attributed to the abundance of the main plots, differing only in the causes of the tragedy. The result of the whole story is usually death in the form of murder, suicide, or from mental anguish.
The birthplace of the Cossack romance is Don, which gave lovers of folk poetry a legendary song unknown author"Spring will not come for me ...". History also does not know the exact authorship of most of the highly artistic works that can be described as "classical Russian romances." Their list includes such songs as: “Dear long”, “Only once”, “Oh, guitar friend”, “Come back”, “We only know each other” and others written in the first third of the 20th century.
Russian romances: a list and their authors
According to one of the main versions, the Russian romances, the list of which was given above, belong to the most popular songwriters at the beginning of the last century: Boris Fomin, Samuil Pokrass, Yuli Khait and others.
The most devoted connoisseur of the classical romance in the 20th century was Valery Agafonov, who was the first to declare the high value of the cultural baggage leaving the Soviet listener. Russian romances, the list of which was compiled by Agafonov, owed their revival on a new soil to the return to their homeland of their legendary performers - Alexander Vertinsky and Alla Bayanova.
Evening of Russian romance of the 19th - 20th centuries "How delightful evenings are in Russia"
Purpose: to create conditions for the development of creative abilities of students and self-realization of the individual.
Tasks:
To form the skills of research activities in the process of preparing for the evening: search for material and forms of its presentation; skills of aesthetic and scenic culture.
To develop students' tolerance, the desire to help others, to make others happy through the creation of a festive atmosphere; partnerships through joint preparation and holding of events with parents, cultural workers and schools.
Equipment: computer, projector, presentations on the topics "Nature of Russia", "Russian Garden", "Gypsy", "Russian poets"; tables for guests: tablecloth, tea set, refreshments, candlesticks with candles. On the stage: a table covered with a knitted tablecloth, a cup of tea, a candelabra with candles, a bench with a plaid thrown over it, a curtain in the background, an open "window" in which a branch of a flowering apple tree can be seen. Tape recorder, romance CDs, guitar, piano, accordion.
Event progress
The composition of the group "White Eagle" "How delightful evenings in Russia" sounds. Slideshow "Nature of Russia". Guests enter, sit down
Presenter: No matter how life has changed over the past time, eternal values always remain. Songs, romances, ballads - these and other genres of musical and poetic creativity have been and remain an indispensable part of Russian and artistic culture. Hello dear guests. Welcome to our evening dedicated to Russian romance.
(Sounds like "Romance about romance")
Presenter: This phenomenon is amazing - Russian romance. You will hear, and everything in you will turn over, embrace with inexpressible tenderness, sadness, love.
Presenter: The roots of the romance as a vocal genre go to the musical life Western Europe, in particular Spain 13-14 centuries. Songs of a love plan were performed by itinerant singers of that time in the languages of the Romanesque group, which later led to the name of compositions of such a plan - "romance".
(Sounds like a Neapolitan romance.)
Leading: (Slide show "Russian poets"). Romances were written by such world musical classics like Beethoven, Schubert, Schumann, Liszt. The romance genre found fertile ground in the work of Russian composers Glinka, Dargomyzhsky, Rimsky-Korsakov, Rachmaninov, Shostakovich, Sviridov. In romances, probably, the spiritual qualities and demands of the Russian people were most successfully manifested. N.S. Titov, A. A. Lyabyev, M. Yakovlev, A. Varlamov, A. Gumilyov, whose work dates back to the first half of the 19th century, are considered to be the founders of the Russian romance genre. They wrote romances to the verses of A.S. Pushkin, A.A. Delvig, M.Yu. Lermontov, A. Koltsov.
Presenter: A romance to the verses of A.S. Pushkin “I loved you ...” performed by Ivan Kozlovsky sounds.
Host: It would seem that there are many varieties of everyday romance: “philistine”, “sentimental”, “gypsy”, “old”. However, "petty-bourgeois romance" is nothing but an arrogant attitude towards ordinary, everyday romance. The oldest of the old romances is no more than 150 years old. And most of them were composed at the beginning of the 20th century.
Presenter: Only a few Russian poets wrote poems intended for singing, were songwriters - M. Popov, Y. Neledinsky - Meletsky, A. Merzlyakov, A. Delvig, N. Tsyganov, A. Koltsov ... There are much more such poets whose poems became popular romances, although the authors themselves did not predict a song fate for them.
(And now there will be romances based on verses by Marina Tsvetaeva)
Host: The fact that everyday romance has retained its popularity for almost 250 years speaks of the high level of music-making of past eras. The best samples of the collection of Russian romance are truly masterpieces.
Fragrant bunches of white acacia
Full of fragrance again
The song of the nightingale resounds again
In the quiet glow of the moon!
Do you remember summer: under white acacia
Have you heard the song of the nightingale?
Quietly whispered to me wonderful, bright:
"Honey, believe me! .. forever yours."
Years have long passed, passions have cooled,
The youth of life has passed
White acacia scent gentle,
Believe me, I will never forget ...
Presenter: Presumably, these lines were written by A. Pugachev in 1902 or 1916, we invite you to listen to the romance from the movie "Days of the Turbins".
Presenter: In the second half of the 19th century, new genre- gypsy romance Gypsies, not having beautiful lyrics, began to perform the works of Russian authors so masterfully that the audience perceived them as gypsy romances.
Host: The whole large gypsy family of the Shishkins was known. Gypsy romances performed by Vera Panina evoked real feelings in the listeners, immersed them in an atmosphere of passionate love.
(Slide show "Gypsy" turns on).
My fire in the fog shines
Sparks go out on the fly ...
No one will meet us at night
We will say goodbye on the bridge.
The night will pass - and early in the morning
Far away to the steppe, my dear,
I'll leave with a crowd of gypsies
Behind the nomadic kibitka.
(The romance “We rode on a troika with bells” sounds).
Presenter: Today it is difficult for us to even imagine the song-romance boom that broke out in the second half of the 19th - early 20th century. Everyday romance is best recognized by its content. The romance has only one theme - "love". Nature, the city, friendship are not needed by romance in and of themselves. Nature only helps or hinders love, the city is only the background of love. A romantic friend is always a dear friend.
Host: This is where the difference between a romance and a song comes to light. The song can be historical or patriotic, satirical or lyrical. Romance does not notice social processes in general. The romance world focuses on the state of love, or rather on the state of falling in love.
(View slides "Russian Garden").
The night shone. The garden was full of moonlight. lay
Beams at our feet in a living room with no lights.
The piano was all open, and the strings in it were trembling,
Like our hearts for your song.
You sang until dawn, exhausted in tears,
That you are alone - love. That there is no other love
And so I wanted to live, so as not to drop a sound,
Love you, hug and cry over you.
(The romance “The night is bright”, “You are my fallen maple” sounds.)
Presenter: The most important thing in a romance is a trusting, but not familiar atmosphere in relation to the listener; she is the dignity of the Russian romance.
Host: A surge of romance lyrics comes at moments of unusually close attention to the personal, intimate aspects of life. There were two such eras in Russia - the end of the 19th century and the years of the Great Patriotic War in the 20th century.
Presenter: During the war, a person's life depended entirely on chance, on fate. Even the lyrics turned into a letter, into a correspondence.
Leading: It was at this time that the Soviet song is undergoing a rapid transformation into a romance. "Dark Night", "Wait for me", "In the forest near the front", "Dugout" - all these are typical everyday romances of the Soviet era.
(Sounds of the romance "Dark Night").
Presenter: Beautiful and smooth melodies, heartfelt words of romances are easy to remember. Words that touch the soul of every person.
They take away the spirit - domineering sounds!
They are intoxicated with painful passions,
They are the joy of my youth!
An agitated heart stops,
But I have no power to quench my anguish.
The insane soul languishes and desires -
And sing, and cry, and love ...
(A romance to the verses of B. Okudzhava sounds.)
Presenter: Love for romance is not transient. It sounded many years ago and sounds today. He stirred the souls of great people and mere mortals. But romance would not be so popular without wonderful performers who bring awe, excitement, depth of feelings to our hearts. Let's listen to a romance from Eldar Ryazanov's movie "Cruel Romance".
Host: Russian romance... How many secrets, broken destinies and trampled feelings it keeps! But how much tenderness and touching love sings!
(The romance “I will never forget you ...” from the opera “Juno” and “Maybe” sounds.)
Presenter: Throughout life, people from time to time turn to lyrical works as a way of expressing their feelings and thoughts.
GOOUST "Klyukvinskaya boarding school"
"How delightful evening in Russia…"
(Evening of Russian romance)
Prepared by:
teacher of Russian language
and literature
Balakina L.V.
2011-2012 academic year
The heyday of the romance as a genre began in the second half of the 18th century. Especially popular genre becomes in France, Russia and Germany.
K XIX century, national schools of romance are already taking shape: Austrian and German, French and Russian. At this time, it becomes popular to combine romances into vocal cycles: F. Schubert "The Beautiful Miller's Woman", "Winter Road" to the verses of W. Müller, which are, as it were, a continuation of Beethoven's idea, expressed in the collection of songs "To a Distant Beloved". Also known is the collection of F. Schubert "Swan Song", many romances from which have gained worldwide fame.
In Russian artistic culture, romance is a unique phenomenon, because. it became national musical genre in fact, immediately after the penetration into Russia from the countries of Western Europe in the middle XVIII v. Moreover, he assimilated on our national soil from the Western European aria and Russian lyrical song, absorbing all the best of these genres.
An important contribution to the development of the Russian romance was made by composers A. Alyabiev, A. Gurilev and A. Varlamov.
Alexander Alexandrovich Alyabiev (1787-1851)
A. Alyabievis the author of about 200 romances, the most famous of them is "The Nightingale" to the verses of A. Delvig.
A. Alyabyev was born in the city of Tobolsk into a noble family. He took part in the Patriotic War of 1812 and foreign campaigns of the Russian army in 1813-14. Participated in the capture of Dresden, organized by the partisan and poet Denis Davydov. During the capture of Dresden he was wounded. He took part in the battle of Leipzig, the battles on the Rhine and the capture of Paris. Has awards. With the rank of lieutenant colonel, he retired with a uniform and a full pension. Lived in Moscow and St. Petersburg. Music was his passion. He was interested in the music of the peoples of Russia, recorded Caucasian, Bashkir, Kyrgyz, Turkmen, Tatar folk songs. In addition to the world famous Nightingale, the best works Alyabyev can be called romances based on Pushkin's poems "Two Crows", " Winter road”, “Singer”, as well as “Evening Bells” (verses by I. Kozlov), “Oakwood Noises” (verses by V. Zhukovsky), “I’m sorry and sad” (verses by I. Aksakov), “Curls” (verses by A. Delvig), "The Beggar Woman" (verses by Beranger), "Paquitos" (verses by I. Myatlev).
Alexander Lvovich Gurilev 1803-1858)
Born in the family of a serf musician, Count V. G. Orlov. He received his first music lessons from his father. He played in the fortress orchestra and in the quartet of Prince Golitsyn. Having received freedom with his father, he became known as a composer, pianist and teacher. He writes romances to the verses of A. Koltsov, I. Makarov, which are quickly gaining popularity.
Gurilev's most famous romances: “The bell rattles monotonously”, “Justification”, “Both boring and sad”, “Winter Evening”, “You do not understand my sadness”, “Separation” and others. His romance to the words of Shcherbina "After the Battle" gained particular popularity during Crimean War. It was reworked and became the folk song "The Sea Spreads Wide".
Vocal lyrics were the main genre of his work. The romances of A. Gurilev are imbued with subtle lyricism and Russian folk song tradition.
Alexander Egorovich Varlamov (1801-1848)
Descended from Moldovan nobles. Born in the family of a petty official, a retired lieutenant. His talent for music manifested itself in early childhood: he played the violin and guitar by ear. At the age of ten, he was sent to the court singing chapel in St. Petersburg. A capable boy interested D.S. Bortnyansky, the composer and director of the chapel. He began to study with him, which Varlamov always remembered with gratitude.
Varlamov worked as a singing teacher in the Russian Embassy Church in Holland, but soon returned to his homeland and from 1829 lived in St. Petersburg, where he met M.I. Glinka, visited him at musical evenings. He served as assistant bandmaster of the Moscow Imperial Theatres. He also performed as a singer-performer, and gradually his romances and songs became popular. The most famous romances of Varlamov: “Oh, you, time is a little time”, “Mountain peaks”, “It’s hard, there was no strength”, “A blizzard sweeps along the street”, “Song of the robber”, “Up the Volga”, “Sail whitens lonely".
Alexey Nikolaevich Verstovsky (1799-1862)
A. Verstovsky. Engraving by Karl Gampeln
Born in the Tambov province. He did music on his own. He served as an inspector of music, inspector of the repertoire of the imperial Moscow theaters, manager of the office of the Directorate of the imperial Moscow theaters. He wrote operas (his opera "Askold's Grave" based on the novel by M. Zagoskin was very popular), vaudeville, as well as ballads and romances. His most famous romances: “Have you heard the voice of the night beyond the grove”, “Old husband, formidable husband” (to poems by A. S. Pushkin). Created a new genre - the ballad. His best ballads are Black Shawl (to lyrics by A. S. Pushkin), The Poor Singer and Night Watch (to lyrics by V. A. Zhukovsky), Three Songs of a Skald, etc.
Mikhail Ivanovich Glinka (1804-1857)
The future composer was born in the village of Novospasskoye, Smolensk province, in the family of a retired captain. He has been involved in music since childhood. He studied at the Noble Boarding School at St. Petersburg University, where he was his tutor. future Decembrist V. Kuchelbecker. Here he met A. Pushkin, with whom he was friends until the death of the poet.
After graduating from the boarding school, he is actively engaged in music. Visits Italy, Germany. In Milan, he stops for a while and there he meets the composers V. Bellini and G. Donizetti, improves his skills. He plans to create a Russian national opera, the theme of which was advised to him by V. Zhukovsky - Ivan Susanin. The premiere of the opera A Life for the Tsar took place on December 9, 1836. The success was enormous, the opera was enthusiastically accepted by society. M.I. Glinka was recognized as the Russian national composer. In the future, there were other works that became famous, but we will focus on the romances.
Glinka wrote more than 20 romances and songs, almost all of them are known, but the most popular are still "I'm here, Inezilla", "Doubt", "Associated song", "Confession", "Lark", "I remember a wonderful moment" and others. The history of the creation of the romance “I remember a wonderful moment” is known to every schoolchild, we will not repeat it here, but that “Patriotic Song” by M. Glinka in the period from 1991 to 2000 was the official anthem Russian Federation, you can recall.
The authors of the music of romances in the XIX century. there were many musicians: A. Dargomyzhsky, A. Dubuque, A. Rubinstein, C. Cui(he was also the author of a study on Russian romance), P. Tchaikovsky, N. Rimsky-Korsakov, P. Bulakhov, S. Rachmaninov, N. Kharito(author of the famous romance "The chrysanthemums in the garden have faded a long time ago").
Traditions of Russian romance in the XX century. continued B. Prozorovsky, N. Medtner. But the most famous contemporary romance writers were G.V. Sviridov and G.F. Ponomarenko.
Georgy Vasilyevich Sviridov (1915-1998)
G. Sviridov was born in the city of Fatezh, Kursk region, in a family of employees. Early left without a father. As a child, he was very fond of literature, and then music. His first musical instrument was a balalaika. Studied at music school, and then in the musical technical school. At the Leningrad Conservatory he was a student of D. Shostakovich.
He created 6 romances on the verses of A. Pushkin, 7 romances on the verses of M. Lermontov, 13 romances on the verses of A. Blok, romances on the verses of W. Shakespeare, R. Burns, F. Tyutchev, S. Yesenin.
Grigory Fedorovich Ponomarenko (1921-1996)
Born in the Chernihiv region (Ukraine) in a peasant family. From the age of 5 he learned to play the button accordion from his uncle - M.T. Ponomarenko, who not only played himself, but also made button accordions.
independently studied musical notation, and at the age of 6 he already played at all village holidays.
During the service, he participated in the Song and Dance Ensemble of the border troops of the NKVD of the Ukrainian SSR. After demobilization, he was accepted as an accordion player in the Russian Orchestra folk instruments named after N. Osipov. Since 1972 lived in Krasnodar Territory. He wrote 5 operettas, sacred choral music "All-Night Vigil", concertos for button accordion and orchestra, quartets, pieces for orchestra of folk instruments, oratorios for mixed choir with orchestra, works for domra, button accordion, music for performances drama theater, to films, many songs. His romances to poems by S. Yesenin are especially famous: “I don’t regret, I don’t call, I don’t cry ...”, “I am delirious on the first snow”, “I left my dear home”, “Golden grove dissuaded”, etc.
After the revolution of 1917 romance was forcibly withdrawn from the artistic life of the country and called a "bourgeois" phenomenon. If the classical romances of Alyabyev, Glinka and other composers were still heard at concerts, then the everyday romance was completely “driven underground”. And only since the beginning of the 60s, he gradually began to revive.
Russian classical romance is more than 300 years old, and concert halls during the performance of romances are always full. Pass international festivals romance. The romance genre continues to live and develop, delighting its fans.
By everyday romance here is meant Russian vocal lyrics, designed not only for professional performance, but also for amateur singers, that is, practicallypublic . Performed to the accompaniment of a piano or guitar, it firmly entered urban life, just as inXVIIIcentury, this happened with cants or Russian songs. The amateur tradition is also evidenced by the fact that in many cases authorship was not recorded, romances existed anonymously, authorship was established only later.
The genre definition of "romance" in Russia came into use in early XIX century, replacing the "Russian song". Lyrical in content, "Russian songs" were the forerunners of the Russian romance.
The works of F. Dubyansky, O. Kozlovsky, D. Kashin, A. Zhilin, I. Rupin can be called the first Russian romances. They have preserved key features"Russian songs":
proximity to the music of urban life;
wide chant, flexibility and plasticity of the melodic line;
sensitive nature.
The genre form of the “Russian song” itself remains stable.
The main stylistic features of Russian everyday romance:
the melody of the Russian everyday romance is specifically vocal. Its intonational softness and smoothness come from folk song origins. The leading role is played by sixth intonations (often - the beginning with an ascending sixth followed by a smooth descent, or a descending sixth jump to the opening tone with further resolution to the tonic) and second delays;
the inclusion of declamatory turns as a means of dramatization;
the predominance of the harmonic minor, deviations in related keys, an increaseIV steps;
an appeal to the rhythms of dances common in everyday life - waltz, mazurka, polonaise, Russian dance. One of the most popular in Russian everyday lyrics was the waltz rhythm, into which songs written in the so-called "Koltsovskaya meter" - five-syllables, easily fit;
"guitar" arpeggiated texture of piano accompaniment (less often chord);
the predominance of the couplet, strophic form.
The genre of Russian romance was formed in an atmosphere of bright flourishing of amateur music-making. Russian cities, estates and estates are covered by a general craving for music. The piano, harp, violin or guitar act as necessary household items, song writing becomes a ubiquitous phenomenon in the nobility and raznochin environment.
Played a fundamental role in the development of the Russian romanceRussian poetry, submitted works of a brilliant generation Russian poets: Zhukovsky, Baratynsky, Delvig, Batyushkov, Yazykov, Pushkin, later - Lermontov, Tyutchev.
Under the influence of poetry, several popular varieties of everyday chamber-vocal music were formed:
elegy - a romance of lyrical and philosophical content, connected with the themes of deep reflection, memories of the past, loneliness, unrequited love. A feature of the melody is the characteristic combination of song-romance and declamatory turns;
ballad - a romance in a free form of a monologue-story about dramatic, mysterious events. Often the ballad is based on folk legend, fantastic elements are included. Musical speech is distinguished by agitated pathos, expressiveness of recitation. The piano part plays an important role. The creator of the Russian vocal ballad is A.N. Verstovsky ("Black Shawl" to the words of Pushkin, "Three Songs of the Skald" and "Poor Singer" to the words of Zhukovsky);
"Russian song" - song-romance, focused on the folklore tradition. R The flowering of this genre is associated, first of all, with the poetry of A. Koltsov (“At the dawn of a foggy youth ...”, “Oh, you, my steppe ...”) and N. Tsyganov (“Do not sew me, mother, a red sundress ...”) ;
drinking songs. They were distributed mainly among the officers. In their cheerful music, a clear march-like tread is often heard, indicating a connection with marching and battle songs. In the era of the Decembrists, the everyday theme of drinking songs gives way to civil statements, calls for freedom and "liberty";
romances national genre plan, often referred to as"eastern" (Spanish serenades, Caucasian songs, gypsy romances, Italian barcarolles).
The poetry of A.S. Pushkin. His poems raised the Russian romance to the level of a truly classical art. It was during the Pushkin era that a number of talented masters of Russian romance came to the fore.
Alexander Alexandrovich Alyabiev (1787-1851)
Among the older contemporaries of Glinka, Alyabyev stood out for his rare talent. In his works, he displayed the structure of feelings inherent in the art of the Decembrist era. In shaping his worldview important role played communication with A. Griboedov, Decembrist poets, partisan poet Denis Davydov.
Alyabyev worked in a wide variety of genres: music for drama theater, opera, symphonic and chamber instrumental compositions. And yet, in the history of national culture, the name of Alyabyev is associated, first of all, with the romance genre. His most famous song is"Nightingale" (text by A.A. Delvig, composed around 1825) - from the masterpieces of Russian song lyrics and a classic example of the "Russian song" genre. In a simple lyrical melody pouring from the top, one is attracted by the breadth and plasticity close to a Russian lingering song. The melody is distinguished by its tonal variability:d- F and C- a. At the same time, the same melodic turns acquire different harmonic coloring.
Alyabyev's vocal work significantly changed the whole appearance of early romance lyrics and introduced new features into it. Based on the achievements of Russian literature, the composer expanded the content of the romance, going beyond the traditional love-lyrical themes.
A significant part of Alyabyev's vocal lyrics, his "lyrical hero" are autobiographical.The circumstances of the composer's personal fate developed in such a way that the romantic themes of loneliness, longing, separation, exile turned out to be especially close to him. . A strong impression is made by songs of a gloomy, tragic nature, created during the years of Siberian exile (“Irtysh”, “Evening Ringing”).
Alyabyev was one of the first interpreters of Pushkin's lyrics (romances "If life deceives you", "I loved you", "Alas, why does it shine", "Awakening", "Winter Road", "Two Ravens").
With Alyabyev's romances, the themes of civil sound, the ideas of patriotism, love of freedom entered the Russian vocal lyrics. In the late romances created to the verses of N. Ogarev (“Kabak”, “Hut”, “Village Watchman”) and P.Zh. Béranger ("The Beggar Woman")the influence of Gogol's literature is clearly felt.The theme of social inequality openly sounded in them, anticipating the searches of Dargomyzhsky and Mussorgsky.
Romance "Beggar" refers to the pinnacle of Alyabyev's achievements in the field of dramatic vocal music. Here an image appears, anticipating the heroes of "poor Russia" -"little people", disenfranchised and crushed by fate. This is a poor old woman, in the past - a famous singer, in the present - a beggar,begging for alms at the temple. The repeated lines "Give, for Christ's sake, to her" call for compassion and love, give the composition a deep public sense. The couplet form of the romance is complicated by the two-part structure of each stanza.
Alyabyev's work also includes images of the "Russian East" ("Kabardian Song" to the words of A.A. Bestuzhev-Marlinsky, "Georgian Song" to the words of L.A. Yakubovich).
Expanding the theme of Russian romance, Alyabiev enriches vocal music with new means musical expressiveness. The melody in his romances, usually restrained and not wide in range, is distinguished by subtle declamatory expressiveness (“Evening Bells”, “Beggar Woman”, “Village Watchman”).
The enrichment of the composer's vocal lyrics was greatly facilitated by his instrumental skills. In a number of romances, the grain of the poetic image is contained precisely in the piano part ("Winter road" ).
Alexander Egorovich Varlamov (1801-1848)
If Alyabyev wasclose to the Decembrist trend in Russian art,then his contemporary Varlamov belonged to another, post-Decembrist generation. His vocal lyrics sincerely and truthfully reflected the mood of a new for Russia diverse artistic intelligentsia.
Varlamov came from a family of a petty official, hence his closeness to the urban folk environment, his love for urban folk song intonations. The leading genre of his vocal work was the "Russian song". Bringing the Russian romance closer to folk origins, the composer reflected characteristics Russian song (variant-singing development, abundant intra-syllable chants, modal variability, majestic slowness of movement). We will not find such a direct connection with folk melos among any of Glinka's contemporaries, not excluding Alyabyev and Verstovsky. And only the touching lyrics of A. Gurilev just as naturally merged into the same stream of urban folk songs.
Varlamov created about 200 romances. Bringing the romance genre closer to the folk song, he made it accessible to the most broad circles listeners. Among his favorite poets are M. Lermontov, A. Fet (who was just starting his literary activity), A. Pleshcheev. But most often he turned to the poems of songwriters - A.V. Koltsov and now forgotten N.G. Tsyganov. It was on the poems of Tsyganov that the famous Varlamovsky"Red Dress" , which, according to the composer A. Titov, "was sung by all classes - both in the living room of a nobleman and in a peasant's chicken hut."
The "Red Sundress" is built as a dialogue of a simple Russian girl with her mother, characteristic of ancient wedding ceremonies.The composer found simple but very precise means of musical expression. In verses sung from the face of his daughter, he uses major scale, and in the answers of the wise mother - minor. In deploying the vocal melody, which begins with a characteristic "romantic" sixth, Varlamov shows great ingenuity.
Among Varlamov's "Russian songs", two types predominate. This is a lyrical lingering (“Red sundress”, “Oh, you are time, time”, “What are you early, grass”) and lively, energetic dance (“A blizzard sweeps along the street”, “What kind of heart is this”, “Nightingale stray” ). The composer's talent manifested itself especially brightly in lyrical songs, in the cantilena of wide breathing, prompted by the sound of a human voice. He is a born melodist, which is undoubtedly due to many years of work as a singer-performer and teacher. .
Varlamov's "waltz" songs form a special group, usually associated with the elegiac theme of remembrance, dreamy sadness ("At dawn, don't wake her up" lyrics by A. Fet). The rhythm of the waltz, common in urban life, in his music naturally melts into the usual intonations of Russian folk songs. Many other romances by Varlamov are also permeated with dance rhythms. (such, for example, is the energetic rhythm of the bolero in the romance"Sail" to the verses of M. Lermontov).
Varlamov had an undeniable influence on further development Russian song cantilena, as well as the birth of intonations that truly convey the psychological state of a person .
The folk-everyday line of the Russian romance, vividly represented in the work of Varlamov, found its original continuation in the vocal lyrics of his close contemporary and friend, Alexander Gurilev.
Alexander Lvovich Gurilev (1803-1858)
Compared to the dynamic, emotionally rich style of Varlamov's music, Gurilev's lyrics are more chamber, "homely", often colored with an elegiac mood. Much in the style of his vocal compositions recalls the origins of the Russian romance - the “Russian song”: the general tone of the statement is sensitive, the very vocabulary of the poems (“darling”, “maiden”, “heart-toy”, “heart broke”).
"Russian Song" was Gurilev's favorite genre, which is already explained by his origin: he was born in the family of a serf musician, he received his freedom only in 1831 (at the age of 28).The composer often introduces a waltz rhythm into the traditional genre of “Russian song” (“Bell”, “Don't make noise, rye, with a ripe ear”, “A gray-winged swallow is winding”, “Tiny house”). Many of the composer's songs have become folk; they were sung to the accompaniment of a guitar or piano in urban life, they also penetrated into the peasant environment, into the repertoire of professional gypsy choirs.
The content of Gurilev's romances is dominated by the themes of unrequited love, regrets about the irretrievable loss, ruined youth, dreams of happiness (“Bell”, “Swallow Whispers”, “Don't make noise, rye”). Best of all, the composer succeeded in songs of a dramatized type, where his tendency to emphasize sensitive intonations is justified by the general nature of the music (“The Swallow is Winding”). It is characteristic that in the work of his beloved poet Koltsov, he was attracted, first of all, by Koltsov's melancholy, and not by "valiant daring."
One of best songs Gurilev to the words of Koltsov -"Parting" ("At the dawn of misty youth").In this work, one can find the features of dramatization, which were later developed in the work of Dargomyzhsky. At the moment of climax, the melody, at first melodious, develops into a dramatic recitative that conveys the pain of parting.
The composer was deeply concerned about the theme female share, akin to the painting of Venetsianov and Tropinin (“Mother Dove”, “Sadness of a Girl”, “Guess, My Dear”, “Sarafan”).
Like Varlamov, Gurilev collected and processed authentic folk melodies. A valuable contribution to Russian musical folklore was the collection “47 Russian Folk Songs” compiled by him.
A distinctive feature of Gurilev's romances and songs is the masterful development of the piano part. For all its simplicity, it is marked by the purity of voice leading, detailed and careful nuances. This testifies to the high professional culture of the composer, who perfectly mastered the expressive means of the piano. He was known to his contemporaries not only as a composer, but also as a gifted virtuoso pianist.
The epithet "sincere" (sincere tone, intonation, melody, and so on) clearly prevails in defining the features of Russian everyday romance, since it has always been addressed to the human soul.
Him with fate was dramatic. The son of the Tobolsk governor, a nobleman,A participant in the Patriotic War of 1812, awarded orders for military merit, Alyabyev was exiled to Siberia on a false charge of murder. In exile, he had to experience all the hardships of a disenfranchised existence.
He received his musical education at the St. Petersburg court singing chapel under the leadership of D. Bortnyansky. Varlamov's great pedagogical experience is summarized in the "School of Singing" he created - the first major work in Russia devoted to the methodology of teaching vocal art.
In this regard, the romance "Don't Wake Her Up at Dawn" is especially interesting, the opening phrase of which is clearly akin to the first intonations of Tchaikovsky's romances "In the midst of a noisy ball", "I opened the window".
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