Culture and art: Russian names. Lesson topic: Secular and sacred music Types of spiritual and secular song art

Materials for lesson 7 grade 3 quarter

Musical dramaturgy - the development of music.

Musical dramaturgy- reflection of musical images in the movement, development, interweaving and struggle of contradictory principles (contradictions).

Ways to develop music:

1. Repetition, repetitions - three-part form ( ABA), rondo form (AVASADA), couplet form.

2. Variation -variation form, sonata form (development, reprise).

Types of variation - sequence, imitation.

Sequence (from Lat following)– movement of a motive, repetition of a sequence of sounds at different heights, in an ascending or descending direction.

Imitation (from Latin imitation) - repetition of a theme or motive in another voice of a musical work (polyphonic presentation - canon or fugue).

Two directions of musical culture .

Musical culture developed in the interaction of two main directions: secular and spiritual (church).

Secular music in its origins relied on folk song and dance culture.

Sacred music has always been associated with worship.

Spiritual music.

Tothe sphere of sacred music includes primarily vocal or vocal-instrumental works on texts of a religious nature, performed during church service

Church music always addresses themes Holy Scripture. Dramaturgy of images of suffering, death, resurrection of Christ is the basis for the development of spiritual music. In the church rite, music and word, in unity with other types of art, determine the integrity of the dramatic action, built on the contrasts of various images. In the eastern Orthodox Church this is liturgy and vigil, wedding and prayer service, which has its roots in Znamenny chant . In the western catholic church- mass, requiem, passions, cantatas etc. They are based on - chorale, polyphonic singing accompanied by an organ or orchestra.

Religious subjects and forms of church music prevail in the work of the German composer J.-S. Bach and Russian composer M. Berezovsky. Bach wrote most of the music for organ and choir, a Berezovsky - for choir a capella Thanks to polyphony, the main idea of ​​each of their compositions receives a deep and multifaceted development. Contents of the chorus "Kyrie, eleison!" from the "High Mass" by J.-S. Bach and the 1st part of the spiritual concert "Do not reject me in old age" by M. Berezovsky unfolds in a perfect polyphonic form - fugue.

secular music.

Secular music is music free from the influence of the church.

From the 16th century starts to develop chamber music(from lat. camera - room). So, unlike church and theatrical, they call instrumental or vocal music. From the middle of the XVIII century. secular concert life, free from the influence of the church, is activated. The number of orchestras, ensemble and solo concerts is increasing. In the work of the Viennese classical composers - Haydn, Mozart, Beethoven, etc. - classical types of instrumental ensemble were formed - sonata, trio, quartet and etc.

Written for a small group of performers, chamber music was played at home or at the courts of noble nobles. Performers who worked in court ensembles were called chamber musicians. Gradually, chamber music began to be performed not only in a narrow circle of connoisseurs and music lovers, but also in large concert halls.

The chamber vocal and instrumental miniatures of 19th-century romantic composers are varied. These include songs by F. Schubert, piano songs without words by F. Mendelssohn, caprices by N. Paganini, waltzes, nocturnes, preludes, ballads by F. Chopin, romances by M. I. Glinka, plays by P. I. Tchaikovsky and much more.

Chamber instrumental music

Etude

Etude (from French study, exercise) - This is a piece designed to improve the technique of playing an instrument. This concept is also found in painting: an etude is a sketch, a sketch of a future painting.

In the 19th century, with the flourishing of virtuoso performance and the improvement of musical instruments, a new genre developed - concert studies. Their technical difficulties are subordinated to the disclosure of the composer's artistic intent.

And now the etudes of romantic composers are popular, whose art penetrates into all corners of the human heart.

The prominent representatives of romanticism are the Polish composer Frederic Chopin (1810-1849) and the Hungarian composer Franz Liszt (1811-1886). Both of them were excellent pianists. Chopin won the recognition of listeners in secular salons, and Liszt - in large concert halls.

In Chopin's etudes, a romantic dream of feelings elevating a person sounds - these are thoughts of love, and contemplation of nature, and revolutionary pathos.

Liszt sought to bring the sound of the piano closer to the sound of the orchestra. His sketches are based on the principles of hidden programming, figurative and artistic pictorial manner of depiction. In Liszt's time, there was an opinion that many etudes were impossible to perform because of their incredible technical difficulty.

Transcription

The term transcription (from Latin rewriting) means processing, transposition of musical works. Transcriptions appeared in the XVI-XVII centuries. as an arrangement of musical texts for performance on other instruments. In the 19th century transcriptions have become one of the most popular concert-virtuoso genres that have independent artistic value.

From one of the transcriptions of the Russian composer of the XIX century. M. Balakirev you already know. This is a piano piece written on the theme of the famous romance by M.I. Glinka "The Lark"

Piano transcriptions by F. Liszt gained wide popularity. His skill as a virtuoso pianist was highly appreciated by his contemporaries. "When Liszt plays," said the German writer G. Heine, "you no longer think about the difficulties you overcome, the piano disappears, and music is revealed to us." He made arrangements for piano of nine symphonies by L. Beethoven. Liszt wrote: "If I fulfill my task - to make them accessible - at the level of a skilled engraver or a clever translator, then my goal will be achieved." Liszt's etudes based on Paganini's caprices were very popular. It was Liszt who drew the attention of Rachmaninoff, Lutoslavsky to Paganini's Caprice No. 4.

Liszt idolized the music of the Austrian composer Schubert, seeing in it the highest expression of lyrical poetry in sounds. Among the piano transcriptions of Liszt are such well-known works by Schubert as "The Forest King", "Serenade", "Trout", "Ave Maria" and others.

The famous Italian pianist and teacher Ferruccio Busoni (1866-1924) continued the tradition of creating transcriptions, having a significant impact on the development of European pianistic art. In his transcriptions, he, like Liszt, referred to the works of many composers.

The performance of Busoni was compared now with the works of painting, now with the great cathedrals. Listening to him, they talked about "colorful canvases", "frescoes", "sound sculptures" in his "play as if carved from marble". In the performance of Busoni, everything gave the impression of a brilliant improvisation - and this was his main force!

Cyclic forms of instrumental music

"Concerto Grosso" by A. Schnittke

Suites, instrumental concertos, sonatas, symphonies belong to the cyclic forms of music. These forms were used by both composers of the past and our contemporaries.

The music of the outstanding Russian composer A. Schnittke is a confession of a man of the new time, who absorbed the experience of several centuries - from the 17th to the 20th century. The free combination of past and present is a feature of his music. Engaging musical quotes. polystylistics (intentional combination in one work of various stylistic phenomena) are characteristic of A. Schnittke. Thanks to this, the appeal to the music of this composer expands our understanding of the unity of the world and human culture.

Concerto for two violins, harpsichord and chamber orchestra by A. Schnittke has the old name "Concerto grosso" (translated from Italian - big concert). In this concerto, the relationship between the soloists and the orchestra is the same as in the old instrumental concertos by Bach and Vivaldi. The parts of soloists do not dominate the orchestra, but are subordinated to some higher order, higher relationships with the orchestra.

The composer dedicated his concerto to his friends and the first performers of this music, violinists Gidon Kremer and Tatyana Grindenko. "While composing the concerto, I not only heard them, but also saw how they play ... Their stage behavior gives listeners and spectators aesthetic pleasure."

The composer contrasts the strong-willed, purposeful main theme of the 5th part with the theme of another world - evil, hostile. "Influxes" that distort the sound of pure violin timbres are perceived by listeners as an intrusion of forces that oppose the activity of the main theme.

"Suite in the old style" A. Schnittke.

Suite (from French row, sequence) exists since the 16th century. and refers to the many-part cyclic forms of instrumental music, as well as the sonata and symphony that arose later. A suite can be compared to a collection of short stories, unlike a symphony - more dynamic, solid, similar to a novel. The suite consists of several independent parts - dances, usually contrasting with each other and united by a common artistic concept.

In the first half of the 18th century, when the clavier art reached its peak, the suites turned into music for listening. They began to be preceded by preludes, they included instrumental arias. There were suites consisting of program pieces-pictures.

In the second half of the 18th century, at the time of Haydn, Mozart, Beethoven, the suite was already perceived as something old-fashioned. Although the light entertaining orchestral compositions of the Viennese classics (divertimento, serenades) are written in the form of suites, for example, the familiar "Rondo" from W. A. ​​Mozart's "Little Night Serenade".

In the 19th century the fashion for the suite was revived. Russian composers of the 19th century also composed suites. You are familiar with individual pieces from the piano suite "Pictures at an Exhibition" by M. Mussorgsky, the symphonic suite "Scheherazade" by N.A. Rimsky-Korsakov, suites for orchestra "Mozartiana" by P.I. Tchaikovsky. He also first appeared suites from ballet music. They began to sound independently of the theater, as independent symphonic works. In the XX century. film suites arose.

- G.P.Sergeeva-E.D.Critskaya "Music" Grade 7;

Secular music (18th century)

The eighteenth century has the significance of a transitional period in the history of our music. In pre-Petrine Russia, fettered by ignorance, prejudices, heavy and inert public and state system, there was no place for internal freedom of artistic development.

Almost all the seeds (except for elements of our church music, borrowed from outside, but having received a peculiar development on our soil), which came to us and to the West, had a different fate here and there. The eastern ancient primitive tambur turned in the west into a multi-stringed lute or theorbo, and we still have almost the same poor two- or three-stringed domra-balalaika. The eastern rebab, poor in strings, in the West turns into a family of numerous bowed instruments, competing in richness of expression with the human voice - and in our country it has been eking out a existence in the form of a miserable "beep" for a long time. Close to our harps, Hackebrett (a genus of cymbals) gave birth in the West to clavichords, spinet, piano - and in our country the harp has frozen at its primitive stage of development. No conditions for free spiritual development made impossible the correct succession of the results of labor from generation to generation.

All this makes itself felt in the 18th century, for example, in the change of southwestern Partes singing to Italian concert singing; one type of polyphonic music gives way without a struggle to another, without being developed into something more perfect, higher. Attempts to create a national opera in the 18th century (Fomina and others), in essence, have nothing to do with similar attempts by Verstovsky, or with the brilliant creations of Glinka.

Only in the 19th century, with Glinka, who plays the same role in the history of our music as Pushkin occupies in our literature, does the real organic, consistent development of our musical art begin. This development, however, became possible only thanks to the Petrine reform: we are indebted to its results for the fact that we later learned to appreciate our national elements of art capable of further development.

The Petrine reform resolved the shackles and fetters that bound the freedom of the individual, and gave it the opportunity to develop unhindered, even if only in certain social classes and conditions. At first, this freedom could not yet manifest itself through creative work in the area that occupies us. During the reign of Peter I and his closest successors, music continues to serve as the same "fun" of the court and high society, as it was under Alexei Mikhailovich. For Peter, music was only a means of bringing greater brilliance, animation and variety to public life. Balls, assemblies, parades, clownish and solemn processions were accompanied by the sounds of music, which was reduced to the degree of an external, noisy accessory. Peter himself showed a taste only for church singing. At a reception at the Elector of Hanover Sophia-Charlotte, during his first trip abroad, Peter listened to Italian singers at dinner with "noticeable pleasure", but nevertheless declared that he "has no great desire" for such music. F. Weber reports that Peter "found just as little pleasure" in operas and comedies, "as in hunting." Berchholtz says the same.

When Peter was in Paris in 1717, some musicians and singers of the Parisian opera asked to serve him, but he turned down their offer. He played the drum perfectly and sometimes in a cheerful company showed his art, which he had learned in childhood, playing the role of a drummer in his "amusing" regiments.

Orchestras of foreign, mainly German musicians begin to appear at the end of the 17th century, not only among foreign ambassadors, but also among Russian boyars. According to Korb, in 1698 music was a necessary accessory for various holidays "in the homes of all merchants and the richest Muscovites and German officers." For the theater, founded in 1702 in Moscow, musicians from Hamburg are being discharged.

Captivated by "musical harmony", the Russians, according to Korb, considered music, however, an empty pastime; they "would never agree to buy a pleasure lasting only a few hours at a year's expense." To the visiting musicians, they also gave natural Russians, serfs, as training. In this training, as Weber testifies, batogs were often used until the student "learns and begins to play." It is not surprising if Russian artists trained in this way, recruited from serfs or other lower classes, often showed roughness of morals. Weber reports on the wild battles of court choristers; he also says that Russian musicians played "without any art".

The orchestras of the time of Peter the Great consisted of a small number of musicians; even in the court orchestra there were only 20 people; dominated by local wind instruments. On especially solemn occasions, more extensive, prefabricated orchestras were also composed; Thus, during the coronation of Empress Catherine (the wife of Peter the Great), an orchestra of 60 imperial, ducal and other musicians was assembled in Moscow. Following the example of the court, the courtiers - Prince Menshikov, Chancellor Golovkin and others - as well as Feofan Prokopovich - started their own orchestras. Foreign ambassadors often took their music with them when they went to visit; some of them, such as the Prussian ambassador, Baron Mardefeld, themselves performed as virtuosos or singers. In general, the musical amusements of this time had little artistic character. Now some kind of virtuoso like the “watchmaker Fister” appeared, amusing Catherine I with his playing on the “crystal bells”, then the page of the Swedish ambassador, who had a “nightingale voice”, showed his art in front of her, etc. There were, however, ladies who knew how to play the harpsichord (Princesses Kantemir and Cherkasskaya, Countess Golitsyna, brought up in Sweden).

Yaguzhinsky, apparently, had a more serious taste. On his initiative, the first regular concerts were arranged, which took place daily on Wednesdays (from 1722 until the death of Peter) in the house of Bassevin, Privy Councilor of the Holstein court, with the participation of the Holstein court orchestra. The Swedish war also contributed to the emergence of numerous orchestras, private and state-owned, for example, military ones. After one Battle of Poltava, 121 people of various captured Swedish army musicians were brought to Moscow in 1709, and from the "royal house company" 4 trumpeters and 4 timpani players. Many of these captive musicians remained in Russia.

Military music was organized in our country before. Back in 1704, according to the project of Field Marshal Ogilvie, drummers alone were relied upon for an infantry regiment of 30 and a cavalry regiment of 12. Already by this time, probably, the entire instrumental composition of the then orchestra had been brought to us from Europe.

In the reign of Peter, for the first time, the participation of music in funeral processions appears. The folk song is only rarely heard at court. The Cossacks-bandurists entertained with their playing and singing not only some amateurs who kept them with them, but also high-ranking persons, for example, the Duchess of Mecklenburg and Empress Catherine. In 1722, two bandura players were at the royal court. Their singing was liked by foreigners, who adopted from them some "fun songs". Their repertoire probably consisted mostly of folk songs, sometimes not entirely decent, as can be judged from the testimony of Berchholtz. Interest in bandura players and their music testifies to the undemanding musical tastes of that time, and also to the fact that German orchestral music did not fully satisfy them, partly in its complexity, partly in its alien content.

Of great importance for the preservation of folk art was the decree of 1722, which allowed "on temple holidays at monasteries and noble parishes, after the liturgy and the procession of the cross," folk amusements forbidden under the predecessors of Peter I, "for folk polishing, and not for any disgrace" . Under Peter II, concerts were an indispensable part of court festivities. At the betrothal of Peter II to Princess Dolgoruky, following the arrival of the bride, a "selected concert" was performed, after which the sovereign appeared "when fighting the timpani and playing the pipes."

Under Anna Ioannovna, the Italian opera appeared for the first time in Russia. This event refers to 1735 (not 1736 and 1737, as many researchers mistakenly thought). In the list of operas played in Russia since the last century, compiled by V. V. Stasov ("Russian Musical Newspaper", 1898, January, February, March), the first opera performed in our country is "The Power of Love and Hate" ("La forza dell "amore e dell" odie "), text by K. F. P. (Russian translation by Tredyakovsky), music by the Italian composer Francesco Araya, court bandmaster of Anna Ioannovna. This opera, after the name of its hero, was also called "Abiasare", or rather "Albiazzare" (in Russian - "Abiatsar"). Even earlier, in 1730, on the day of the coronation of Anna Ioannovna, the Polish King Augustus sent from Dresden several famous actors, singers and musicians, to perform "Italian interludes". Kapellmeister Gübner gave the right organization to the court theater, organized a court "chamber" orchestra (from the Germans), and scored 20 Russian boys for the ballroom. In the performance of "Albiazzare" participated in 1737 a huge court chorus of singers, an opera orchestra of 40 people and four military orchestras. Araya's duty was to manage the court opera house and music, and at the same time compose new operas for staging on the court stage, as was the custom of that time. In the above list of operas performed in Russia, there are as many as 17 operas written by Araya and presented over 28 years (1735 - 63). The noise raised by "Albiazzare" completely drowned out another important event that took place a year before its production - the first performance of the "drama on music in three acts", "The Power of Love and Hate", translated from Italian and presented by Russian singers and a choir "on the New Imperial Theater in St. Petersburg", by decree of the Empress. The soloists and choir were taken from the court chapel. This performance can be considered, in a certain sense, the beginning of Russian opera, more precisely, the beginning of opera performances in Russian. Anna Ioannovna spent large sums, in the then fashion, on the maintenance of Italian singers and the brilliant production of operas, but she did not like music and started an opera only following the example of other European courts.

Next to the Italian opera, we see, under Anna Ioannovna, a folk song as a palace entertainment. The ladies-in-waiting of the empress were recruited from girls gifted with good voices and were supposed to be in the room next to the empress's bedroom at the usual time. Bored, Anna Ioannovna opened the door to them and ordered: "Well, girls, sing!" The singing was to continue until the empress said: "enough." Following the example of her predecessors, Anna Ioannovna also kept a palace bandura player, who studied in Dresden with the famous lute player Weiss. At the clownish wedding of Prince Golitsyn, which was celebrated in the "Ice House", representatives of different peoples of the empire participated "with music belonging to each clan", which to a certain extent resembles the clownish processions of Peter the Great and testifies to the level of musical development that has changed little since then.

During the reign of Elizabeth Petrovna, Italian opera reached a special brilliance. The orchestra has been strengthened to 80 people, first-class singers have been invited to the troupe; there are also Russian singers (Poltoratsky, later director of the chapel, Berezovsky, who became famous as a church composer). At the head of the opera was the same Araya, who for the first time wrote music to the original Russian text by Sumarokov: "Cefal and Prokris". This opera was performed (1755) in the court theater by Russian singers. In this "first Russian opera" neither the plot nor the music had anything national. The real first Russian opera ( Note. Information has also been preserved about other, earlier works with singing and dancing. So, in 1743, the old Russian story "Rose without thorns" was staged on the court stage. In the 40s of the XVIII century, on the court stage, "a comedy on music with singing and dancing", taken "from ancient Russian fairy tales" by A.I. Kolychev: "The Brave and Bold Bogatyr Sila Beaver". These works probably had the character of vaudeville and in any case did not bear the name of "opera".) was performed only in next year, November 27, 1756. It was "Tanyusha, or a Happy Meeting", the text of which belonged to I. A. Dmitrievsky, and the music - to the founder of the Russian theater, the actor F. G. Volkov, who is, therefore, the first Russian opera composer. The absence of detailed information about the performance of this opera indicates a weak impression made by it, perhaps due to its unsatisfactory nature, as well as the rivalry of the more brilliant and fashionable Italian opera. In the same year, a permanent Russian theater was established in St. Petersburg (on the Tsaritsyn meadow), where operas were also performed. Opera artists played both dramatic roles and vice versa; the famous Dmitrievsky, for example, also participated in operas.

In 1760 a theater for Russian comedies, tragedies and operas was also built in Moscow. The troupe was made up for the most part of courtyard people and clerks, who were joined by several court singers who were sleeping from the voice. In any case, Volkov's opera and the establishment of the Russian theater reflected that national trend in public life, which was quite clearly manifested in the reign of Elizabeth Petrovna as a reaction against Bironism and German tyranny in general under her predecessors. The empress herself, in her upbringing and habits, was closer to Russian life than to Western life.

The favorite of the Empress, A. K. Razumovsky, formerly a singer, then a court bandura player, was a musical patron. Thanks to his passion for music, the St. Petersburg Italian opera was one of the best in all of Europe. The patronage of Razumovsky enjoyed folk, especially Little Russian music. In his staff there were constantly several bandura players, "bandurists" and even a certain "Little Russian singer".

Under the influence of the court, Italian composers began to compose plays on Russian themes. The violinist Madonis composed a suite on folk motifs and two symphonies of the same kind. Behind him, Araya began to write on Little Russian folk themes. The choreographer Fusano introduced Russian dance into ballet and himself composed contra-dances on Russian themes.

Thus, in the reign of Elizabeth Petrovna, instrumental music also appeared for the first time, representing attempts at an artificial processing of Russian folk themes and laid the foundation for that Russian-Italian style, which we meet much later among collectors of folk songs, like D. Kashin, and among Russian composers, like Alyabyeva, Varlamova and others. The new national stream was not able to fight against the powerful and brilliant Italians, supported by the example of the European courts of the 18th century. Italian music and singing were an indispensable attribute of all balls, gala dinners and similar festivities. Russian nobles begin to start their own home theaters and put on operas, with singers and serf actors. Some even supported Italian opera companies at their own expense.

The private Italian opera (buff) and ballet troupe of Locatelli, formed in 1757, at first withstands, thanks to state subsidies and free premises, competition in the court opera (once a week Locatelli was obliged to give a free performance at court); but when the entrepreneur took it into his head to start the first "big opera house in Moscow" (1759), the Moscow public, which at first fell down to watch the outlandish novelty, soon lost interest in the opera. The same thing happened later in St. Petersburg, despite the good composition of the troupe and the affordability of prices. Things went badly, and Locatelli, disbanding the troupe, left St. Petersburg. The history of his fiasco showed how little the passion for Italian opera still had roots in Russian society. Transferred to a public theater that did not distinguish between titles or estates, she soon lost her audience, who did not yet have real artistic interests and needs.

Yes, and at court had to almost forcibly drive the audience into the opera. In addition to Araya, during the reign of Elizabeth Petrovna, the German Raupach, the author of the second "Russian" opera "Alceste", to the text of Sumarokov (performed in 1758, with the twelve-year-old Bortnyansky in leading role), Madonis - (cantata on the ascension of Elizabeth: "Russia rejoiced in the sadness of Naki", 1742), Sarti - ("Combination of love and marriage", on the marriage of Grand Duke Peter Fedorovich, 1745), Tsonnis ("Vologes", 175?) , Manfredini, who was considered the court composer of the Grand Duke Pyotr Fedorovich (his operas were staged mainly in Oranienbaum, where in 1756 the Grand Duke built a large concert hall for this). In the reign of Elizabeth Petrovna, operas by Gasse, Gluck, Paesiello, Monsigny and Bruel were also staged.

AT Last year reign of Elizabeth Petrovna (1761) theatrical performances were closed. Under Elizabeth Petrovna, the so-called horn, hunting or field music, invented by the Czech Johann-Anton Maresh (1719 - 1791), came into use. As an excellent horn player, Maresh was invited to Russia by Bestuzhev (1748), the empress liked his playing and was taken to the chamber musicians. Knight Marshal Naryshkin instructed him to correct coarse hunting horns. Of these instruments, which gave only one sound each, Maresh organized (1751) a horn orchestra that played entire symphonies and overtures, to the surprise of foreigners, one of whom (Masson, "Mémoires sur la Russie", 1802), however, made a venomous remark, that such music "could only be organized in a country where slavery exists." Maresh left a treatise on horn music, later published by his biographer (I. Ch. Hinrichs, "Entstehung, Fortgang, jetzige Beschaffenheit der russischen Jagdmusik", St. Petersburg, 1796; Russian translation - "The Beginning, Successes and Current State of Horn Music" St. Petersburg, 1796. This book is based on Karpovich's article, "Horn Music in Russia", in "Ancient and New Russia", 1880, August, and an article under the same title in "Russian Musical Newspaper", 1896, No. 7). In the second half of the 18th century, horn music became very widespread in Russia; most recently, it was restored in the court orchestra and figured in the celebrations of the last coronation.

The reign of Peter III, who passionately loved music, did not have time to respond in any way to the state of music in Russia, although he harbored broad musical plans. While still a Grand Duke, despite his limited means, he kept expensive German and Italian artists on his staff, hosted concerts and operas, and amassed an excellent collection of violins. In his semi-amateur orchestra (up to 40 people), in which he held the first violin, the officers of the retinue, who knew how to play something, also took part. Having ascended the throne, Peter III still continued to play the violin. Living in Oranienbaum, he set up a music school for the children of court gardeners.

Catherine II was, according to Segur, "insensitive to music." Huge expenses for the opera were, in her eyes, to serve as an indicator of the wealth and power of the empire. On the other hand, she is convinced that "the people who sing and dance do not think evil." Of course, the word "people" here could be understood only by those parties of the upper classes that were engaged in palace intrigues and coups in previous reigns: Italian opera was as alien to the Russian "people" in those days as it is now. According to A.N. Engelgard ("Notes", 49), Catherine II "of all theatrical spectacles, most of all complained about the Italian opera buff." A considerable share in this passion for "opera-buff" must also be attributed to the influence of such court "music lovers" as Prince Potemkin, Count Bezborodko and others, for whom Italian prima donnas were also interesting from a completely different, non-musical side. So, according to Segur, the famous and terribly expensive singer Todi was discharged for Prince Potemkin. Noble ladies "madly", in turn, were fond of singers. At the end of her reign, even the empress herself admitted (in a conversation with Khrapovitsky) that "the opera buff has distorted everyone."

In 1772, some kind of "musical club" arose (in the house of Count Chernyshev), where concerts were given weekly. The first place among the court theatrical entertainment was occupied by the Italian opera, which invited the most famous singers and composers, the latter - as conductors and suppliers of new operas for the court stage. Performances of the Italian opera opened in the autumn of 1762 with Manfredini's opera Olimpiada, written for the accession of the empress to the throne. This composer owns several more operas and cantatas performed during the reign of Catherine II. His successor was the maestro of the Venetian school, Balthasar Galuppi; he wrote several operas, started weekly concerts at the court and taught composition (Bortnyansky was his student both in St. Petersburg and then in Italy); he also owns several church compositions for the court choir. His "Dido" and "Iphigenia" had particular success.

At the same time as Galuppi, the choreographer and composer Anjolini served, who arrived in Russia in 1766 and followed in the footsteps of Fusano in composing ballets a la russe. In 1767, he composed "a huge ballet in Russian taste, and, having combined Russian melodies into its music, with this new mind, his work surprised everyone and gained universal praise for himself." Galuppi's place was taken by the Neapolitan maestro Tomaso Traetta, who staged five operas and ballets of his own composition in St. Petersburg; then the famous Paesiello (in St. Petersburg from 1776 to 1784), music teacher of Empress Maria Feodorovna, was invited. Stasov's list of operas includes 22 of his operas and ballets, of which about 14 were staged during the reign of Catherine II. conservatory, which existed for a very short time. After the death of Potemkin, Sarti returned to St. Petersburg and occupied the position of court bandmaster until the end of the reign of Paul I. In addition to several operas written and staged in Russia (Stasov cites 4 of his operas; in addition, one opera, Oleg's Initial Administration, to the text empress, - written by him together with Canobbio and Pashkevich), Sarti wrote several spiritual and musical works for Orthodox worship and was a teacher of church composers Vedel, Dekhterev and Davydov, a collector of folk songs and composer D.N. Kashin and others. He also wrote music in the Russian style; one of the romances of this kind: “I didn’t know anything in the world to grieve” even became a folk song. The Spaniard Martini, or Martin, staged a long series of his operas and ballets (Stasov has 14 titles). His operas "Dianino Tree" and "A Rare Thing" ("Cosa rara"), which were also famous in Europe, enjoyed particular success.

From 1789 to 1792, the famous Cimarosa also lived in Russia (12 of his operas appear on Stasov's list). Of the other foreign composers who worked in St. Petersburg, Baron Vanjour, the author of two operas based on the text of the Empress herself ("The Brave and Bold Knight Akhrideich" and "Ivan Tsarevich", both 1787), and the Frenchman Bulan, the author of numerous operas (in the list Stasov - 15), of which some were written in Russian texts (Italian operas during the reign of Catherine were also written by our church composers, Berezovsky and Bortnyansky, when they were in Italy; but for Russia this activity of theirs remained completely unknown and passed without a trace).

In terms of the number of composers whose operas were performed in St. Petersburg, the first place belonged to the Italians; then followed the French and after all the Germans. In 1766, 37,400 rubles were allocated for opera and chamber music, 6,000 rubles for staging new operas, and 9,200 rubles for a court ballroom orchestra. When, in the form of delivering “spectacles” to the people, it was allowed “everyone to start entertainments decent for the public,” the Italian opera, which was the privilege of the court, was removed from here.

In 1762, for the organization of spiritual court concerts during Lent, a Czech, accompanist Starzer, was discharged from Vienna. His concerts had a very limited circle of listeners and did not leave any lasting traces in the history of our music.

In 1764, the French comic opera appeared, but, despite the successful performance of its repertoire, it could not compete with the Italian opera. When the contract with the treasury ended, the French tried to continue their performances, but, having no success, they were forced to join the German troupe, and then completely leave Russia.

It is remarkable, however, that the dominance of Italian opera (the musical taste of the then Petersburg public can be obtained from a collection of the most popular passages from Italian operas of that time, published in 1796 under the title "Giornale del italiano di S. Pietroburgo") went hand in hand with the rise of the national trend, reflected in a number of operas with scenes from Russian life and history, the music of which belonged to Russian composers, and in the appearance of quite numerous Russian musicians - composers, virtuosos and singers.

Folk song, unpretentious home-made instrumental music surrounded the Russian child and youth from childhood; Once in the capital, he could not get rid of childhood impressions. Love for the native song, therefore, was not displayed. At the Hermitage evenings, according to P.I. life, songs, dances and all other amusements of the common people. Thanks to all this, a number of nuggets appear in music, which came out, for the most part, from the masses of the people.

Such was Yevstigney Fomin, bandmaster of the Medox Theater in Moscow, who wrote about 30 Russian operas, based on texts by the Empress herself, Ablesimov, Knyaznin, I. A. Dmitrievsky, I. A. Krylov, Kapnist, and others. One of his first operas of this kind, "Anyuta", was staged in 1722 in Tsarskoe Selo and was a great success among the court audience. In the same year, an opera by unknown authors was staged in Moscow: The Lover-Sorcerer, the text and music of which are taken from Russian songs (it is identical, perhaps, with the same opera by Bulan and Nikolaev, which was also performed in St. Petersburg in 1722).

Operas were also written by Kapellmeister Matinsky, a serf who was educated at the expense of his master, Count Yaguzhinsky, in Russia and Italy. Of these, "Gostiny Dvor" was especially successful, the text of which also belonged to Matinsky. Fomin's opera based on Ablesimov's text: "Melnik the sorcerer, deceiver and matchmaker", staged in 1799 in Moscow, and then in St. Petersburg, at the court theater, had the greatest success; but here it was found too vulgar in content and removed from the repertoire.

The chamber musician Paskevich or Pashkevich wrote several operas in the folk spirit, using folk motifs; he was also entrusted with those numbers of operas composed by foreign composers, which were supposed to have a national character. So, in the operas on the text of Catherine "Oleg's Initial Administration" and "Fedul with Children" Pashkevich wrote all the folk choirs.

Russian operas also wrote: Byulan, whose "Sbitenshchik" (1789, text by Knyazhnin) had the same success with the success of "The Miller", Kertselli, Prince Beloselsky, Brix, Freilich, Pomorsky, and others. In addition, foreign operas were usually translated and switched to Russian stage where they were performed by Russian singers.

The Russian opera troupe was still not separated from the drama troupe; only some singers with outstanding voices were an exception, participating in one opera. The orchestra of the Russian court opera was the same as in the Italian one. Choirs here and there were performed by court choristers.

All the national operas of the Catherine era listed above were very unpretentious. The arias were mostly in couplet form; recitative was replaced by dialogue, as in the French operetta or the German Singspiel; ensembles were relatively rare. The instrumentation was mainly based on a string quintet, which was sometimes joined by wind instruments (oboe, bassoon, horn, in fortissimo - trumpets). Encroachments on the dramatic characterization and development of the plot did not go beyond the most modest limits. The national character of the music had a conditional connotation, not going beyond the use of folk melodies in their Italianized presentation or weak attempts to imitate them. Nevertheless, in some cases, glimpses of talent and a certain technical skill are noticeable here. In any case, these works were quite on the shoulder of the then public and found regular and numerous listeners. Russian operas were given in St. Petersburg, in addition to the court theater, and in several others. There were many domestic scenes maintained by nobles and wealthy landowners. Serf singers and singers, orchestral musicians and even composers labored on these private stages. Prince Potemkin, on his campaigns in the south of Russia, took with him Italian singers, a magnificent orchestra and a huge choir of singers.

Instrumental music stood in the background: the musical development of the public was still too low to be interested in symphonic music. Orchestral music, as before, was a noisy accessory of luxury, brilliance and vanity at balls, feasts, walks on water, etc. In playing individual instruments, the virtuoso side was primarily of interest, the taste for which was also supported by visiting vocal virtuosos. The best orchestra was the court opera, which consisted of 35 people in 1766 and included first-class artists in its midst, especially in the second half of Catherine's reign. According to the states in 1766, the orchestra had 16 violinists, 4 violists, two cellists, double bassists, bassoonists, flutists, oboists, horns and trumpeters, and 1 timpani player.

The orchestra also included Russian virtuosos, for example, the violinist Ivan Khandoshkin (died in 1804), the son of a poor St. Petersburg tailor, a first-class virtuoso and a prolific violin composer (sonatas, concertos, variations on folk songs), in the same national direction, in which Fomin, Pashkevich, Matinsky wrote.

Horn music was especially widespread under Catherine: horn orchestras (from serfs) were kept, among other things, by Grigory Orlov and Potemkin, who also had choirs of Moldavian, Hungarian and Jewish musicians. The fashion for music was also reflected in military bands; some of them reached 100 people or more. Many regiments kept their own choirs. Of the instrumental composers of Catherine's time, O.A. Kozlovsky, a Pole by birth (died in 1831), and his countryman Count M. Oginsky, whose polonaises, of low musical value, were very popular in their time.

There were no symphonic Russian works at that time. The emergence of artificial Russian songs and romances, which were then often included in popular use, dates back to the Catherine's era. Texts for them were written by Bogdanovich, Kapnist, Derzhavin, Dmitriev, M. Popov, Sumarokov, Prince Gorchakov; the works of Neledinsky-Meletsky were especially popular. The music for them was composed by: Sarti, Dietz, Kozlovsky and others. Something was included in the folk song from the popular Italian operas of Paesiello and others.

The spread of taste for music served under Catherine and education. Although the empress herself expressed (in the instruction manual for the educator of the grand dukes, Prince Saltykov) a rather dismissive view of the educational value of music, nevertheless, the teaching of music was introduced in her time in educational institutions, mainly for women. Betsky ordered from the pupils of the orphanage "those who show the ability to sing and music - to elect music teachers."

In 1779, the orphanage signed a contract with entrepreneur Karl Knipper, who ran a theater and music school, according to which he had to teach music and performing arts to 50 pupils of both sexes at home for 3 years, and then provide them with paid places in his theater .

In the same year, our first special school of stage and musical art, the theater school, was founded. In the gentry cadet corps, cadets were taught to sing and play various instruments; the singing choir of the corps was famous in the city; Bortnyansky was invited to study with him. Concerts were also arranged by pupils at the Smolny Institute, the Orphanage, Moscow University and other educational institutions.

The heir to the throne, Grand Duke Pavel Petrovich, learned to play the clavichord. The spread of musical education (albeit very light and superficial) among the broad masses of society caused the appearance of a number of translated manuals, including our first "True Instruction in Composing a Bass General" (Kelner's works, translated from German by Zubrilov, Moscow, 1791) .

The fruit of the above-described widespread planting of musical "art" is musical dilettantism, which has left its mark on the history of our music in the current century, but has served as a good preparatory step for more serious pursuits of art. Not bad amateur singers and singers, good amateur musicians like Princess Dashkova, amateur composers like Princes Beloselsky and Gorchakov appeared. A rather numerous literature of musical almanacs appears, an example of which can be: "Musical amusements containing odes, Russian songs, both spiritual and secular, arias, Polish duets, etc." (See the brochure of Count Lisovsky about this literature: "Musical almanacs of the 18th century", St. Petersburg, 1882).

Appears, along with an interest in folk life, everyday life, legends, and a number of collections of folk songs, among which the most prominent place is occupied by the collection of Lvov and Prach, (“Collection of Russian Folk Songs with Their Voices”, St. Petersburg, 1790; 2nd ed., corrected and supplemented, 1805; 3rd - 1815; 4th - 1897). At the same time, adaptations of Little Russian songs began to appear ("Little Russian Song: Settlement on the Bank", Moscow, 1794).

The reign of Paul I brought nothing new into the history of our music. The emperor himself was rather indifferent to music. Noticing the "great crowd" of musicians of the Preobrazhensky Regiment, Pavel selected from them two of the best horn and clarinet players and one best bassoon player, ordering in the future to limit the composition of the regimental orchestra to this, while the rest of the musicians were listed as combat soldiers. Following this, an order was issued that regimental bands should not exceed 5 people in number; only 7 musicians were left for all the artillery. In the theaters under Paul, foreign opera, Italian and French, continued to dominate, and the weakening of the first and the strengthening of the second were noticeable. There is not much difference in the repertoire since the time of Catherine: the new works of the Italian school belonged to almost the same composers, whose plays were staged in the previous reign; of the French, more operas by Gretry and Daleyrac were staged than under Catherine; from German we find two operas by Mozart and one by Gluck - composers who were completely absent from Catherine's repertoire: in general, the repertoire has a somewhat more serious character. Under Emperor Paul, it was forbidden to import music from abroad and music education was canceled in those institutes where girls of non-noble origin studied. The last measure came from Empress Maria Feodorovna, who in 1797 expressed the idea that teaching music and dancing, "being an essential requirement in the upbringing of a noble girl, becomes not only harmful, but even disastrous for the bourgeois woman and can drag her into societies that are dangerous for virtue. ".

The historical era that has come to replace to the ancient world are called the Middle Ages. It began with the fall of Rome (476) and continued for more than a thousand years. During this time, a significant part of the European peoples and states was formed, the most important features of European culture were formed.

The collapse of the Roman Empire ended in the 5th century AD. e. after its conquest by barbarian tribes who came from the northern outskirts. Wars, epidemics, famine, devastation accompanied the rise of feudalism in Europe.

Gradually in medieval Europe A new religion, Christianity, was established. Born in Judea, which was part of the Roman Empire, the new doctrine acted as a confrontation with evil and violence. The new religion preached the idea of ​​universal equality of people before God, the idea of ​​forgiveness, and most importantly, brought comfort to the suffering and oppressed. This humane doctrine eventually won big number followers in different countries.

The image of Jesus Christ has become an unattainable ideal for a Christian. The constant striving for a spiritual ideal and its unattainability during life carry a conflicting principle, characteristic of both the worldview of a medieval person and the art of that time.

The culture and art of that era were directly related to religion and the church. The art of the Middle Ages - church architecture, sculpture, icons, mosaics and frescoes that filled the space of the temple - was subordinated to the tasks of Christian worship. Perhaps the most difficult role was assigned to music; it was supposed to help the prayer to get rid of everyday worries, forget about personal feelings and concentrate entirely on what the biblical texts and church sacraments revealed to him. This goal was served by chants, the main features of which for a long time remained monophony (the singers simultaneously performed one melody) and the absence of instrumental accompaniment. Monophony, according to the authors of the hymns, was the best way to express important theological ideas: it was a symbol of the one God and the one Church. The sound of musical instruments had a powerful effect on the feelings of a person, which is precisely what the Church sought to avoid.

Until the beginning of the XIII century. church music was created almost exclusively in monasteries. Composing a chant, the monk strictly followed the canons (rules) and traditions and did not seek to create a work that differed from previous samples. He did not consider himself an author, for the only creator in his understanding was God. The composer saw his task in something else: to embody the plan of God. Perhaps it is precisely this worldview that explains the fact that the vast majority of musical works of this era are anonymous.

By the 13th century, polyphony was established in European music. It not only carried spiritual ideas (like monophony), but also revealed the richness of human thought. Polyphony arose under the significant influence of scholasticism (from the Greek "scholasticos" - "school", "scientist") - a trend in theology that claimed that human mind can, within certain limits, understand and explain the truths of faith. The centers of scholastic theology were not monasteries, but universities; as a rule, musical life was concentrated in large university cities.

In the Catholic tradition, an important role in worship since the 7th century. The organ began to play, followed by other instruments. Orthodox music remained faithful to monophony much longer than Catholic music; in Orthodox churches, the sound of instruments is still not allowed.

From the end of the XII century. began to develop secular music associated with knightly love poetry. In the Middle Ages, everyday genres of instrumental music (mainly dance) also became widespread.

MUSIC OF MEDIEVAL EUROPE

The traditions of Western European church music date back to the 4th-5th centuries. The early stage of their formation is associated with the activities of the theologian and preacher St. Ambrose of Milan (circa 340-397) - he was one of the first to compose hymns for worship. Ambrose belongs to an important innovation in the practice of church music - the division of the choir into two compositions located on opposite sides of the altar. The compositions alternately sang between prayer texts musical fragments. Such fragments were called antiphons (from the Greek "antiphonos" - "sounding in response"), and the principle of their performance, based on the alternation of two choirs, was called antiphonal singing. Gradually, strictly defined antiphons were assigned to the most important texts, the music for which was created on the basis of already existing and well-known short melodies-chants. The number of antiphons, as well as the number of chants, grew with time, and it became more and more difficult for the chanters to keep them in memory. That is why at the very beginning of the 7th century. all the accumulated material was brought into the system and collected in an extensive collection called "Gregorian Antiphonary". The name is associated with the name of Pope Gregory I (circa 540-604). The collection of Pope Gregory became the basis for the development of one of the styles of European church music - Gregorian chant.

All Gregorian chants are strictly monophonic. The voices of the singers should merge into a single whole to such an extent that the sound of the choir is as close as possible to the sound of the voice of one person. Musical means are aimed at solving the main task - to convey a special state when the thoughts of the praying person are focused on Christ, and the feelings are brought into perfect balance, bringing enlightenment and inner peace to the soul. The musical phrases of the chants are lengthy, devoid of sharp jumps in melody, captivating by the evenness of rhythm - they carry deep peace and at the same time measured, concentrated movement. They convey the inner, prayerful work of the soul in communion with God and are in perfect harmony with the architecture. catholic church, all the details of which emphasize the same steady movement - in a straight line from the entrance to the altar.

Gregorian music is based on the principle of diatonicity (from the Greek "diatonicbs" - "stretched") - a scale built on the sounds of the scale without ups and downs. There was a special system of church diatonic modes that came to Europe from Byzantium and were of ancient origin.

The total number of frets - eight - had a deep spiritual meaning. It was considered as a product of 2x4, where the first figure meant the dual, divine-human essence of Jesus Christ, and the second - the four ends of the cross. Thus, the Gregorian modal system symbolized the crucified Christ.

The combination of music with text is also built in a special way. It is based on two techniques that came into singing from the ancient tradition of singing prayers. One of them is called psalmody(used when reading psalms): one musical sound accounted for one syllable of text. Another trick - anniversary(from Lat, jubilatio - "jubilation") - consisted in the fact that one syllable was sung into several sounds. Gregorian chant flexibly combined both techniques.

In the 9th century, another variety of Gregorian chant appears - sequence The sequence was originally an addition to the Alleluia anniversary. Later, for better memorization of melodies, sequences began to be subtexted, and they received a second name - prose. There is an assumption that the literary term "prose" originates from the tradition of subtexting ancient Gregorian chants. Having become independent church tunes, the most famous sequences were also popular in everyday life. Two medieval sequences have taken a firm place in the work of European composers up to the 20th century: this is the sequence Dies irae(about the Day of Judgment) and the sequence for the feast of the Seven Sorrows of Mary - Stabat mater.

From the beginning of the 10th century, polyphony began to penetrate church music. Its first forms were church chants, performed in two voices. The principle of performing early polyphony was as follows: to the main tune of the Gregorian chant, which was called cantus firmus or tenor from above, a second voice was composed (improvised or recorded), and later a third voice.

The type of early two-voice was called tape, since both voices often sounded in parallel movement in pure fourths and fifths. From the point of view of the laws of medieval music, such a parallel movement was the norm of sound, in contrast to the rules of later classical harmony. The reliance on perfect consonance is explained by the fact that, being the first in the overtone series, these intervals are easier and more convenient to tune in vocal performance.

The development and complication of the forms of church hymns required a more perfect musical notation. In Gregorian music, a special system for recording chants was developed. Initially, they were denoted by neumes (from the Greek "pneuma" - "breath") - conventional signs that conveyed the general direction of the development of the melody. The deranged recording resembled a synopsis, in which only the main points are indicated, and the performer must know the details himself.

Two lines were drawn one above the other (usually different color), indicating the height of the main sounds, and the neumes were recorded around or directly on these rulers.

At the beginning of the XI century. the musician and theorist Guido of Apeuuo (c. 992 - c. 1050) revolutionized the writing system by introducing two more lines. Nevmas began to be placed on four lines and between them, which much more accurately and in more detail indicated the height of the sounds. The four-line system became the prototype of modern musical notation, based on five lines.

Around the same time, the names for the main sounds appeared - Ut, Re, Mi, Fa, Sol, La. These were the initial syllables of the first six words of a Latin hymn written by the monk Paul the Deacon in honor of the Apostle John (he was considered the patron saint of church singing). Later, the syllable Ut was replaced by the syllable Do. There was also a name for one sound - Si (formed from the first letters of the phrase Sancte lohanne - "Saint John").

From the 12th century Gregorian chants began to be recorded in the so-called. choral or square notation. This recording gave a specific indication of the pitch, but did not reflect the rhythmic side of the music.

The appearance of polyphony and the subsequent development of vocal polyphony presupposed the sounding of several melodic voices with different rhythms. This required precise rhythmic fixation of each sound. Therefore, in the 13th century, mensural notation, in which the duration needed at the moment was assigned to each sound.

Already by the 11th century, a cyclic form had developed in church life, which to this day is the most important part of catholic worship. We are talking about the mass, which has become an integral part of both everyday and festive services. Mass is performed on Latin and has a number of obligatory chants. The following five sacred chants have become canonical:

Kyrie eleison - Lord have mercy

Gloria in excelsis Deo - Glory to God in the highest

Credo in unum Deum - I believe in one God

Sanctus Dominus Deus Sabaoth - Holy is the Lord God of Hosts and Benedictus qui venit in nominee Domini - Blessed is he who comes in the name of God

Agnus Dei qui tollis peccata mundi - The Lamb of God who took upon himself the sins of the world

The first masses were monophonic and performed without instrumental accompaniment. In the early masses, two types of singing were distinguished: psalmodic - close in character to recitative, and hymnical - more melodious. In the nature of the sound of the Gloria and Credo sections, the melismatic style of performance, close to the anniversary, was increasingly asserted. The main musical material for the early masses was Gregorian chant. Starting from the 14th century, already in polyphonic masses, Gregorian chants were used as Cantus firmus and placed in tenor.

The community took part in the performance of early masses, therefore, folk-song intonations penetrated into many chants. In later times, as Cantus firmus, composers also sometimes used the melodies of secular songs with the canonical text of prayers. Such masses were called parody or parody masses. The original meaning of the word "parody" is borrowing. Church authorities were ambivalent about the penetration of secular genres into church music. Sometimes this provoked a protest against her secularization, sometimes they saw it as a means of attracting the laity to the church.

Since the 12th century, one of the leading genres of church and, in part, secular vocal music has become motet. For the first time, the voices of boys began to be involved in the performance of motets along with male voices. Polyphony gave birth to such musical genres as conduct and motet. In the genre of conduct (from the Latin conductus - "leader"), they created spiritual and secular works to accompany solemn processions and processions; texts for conducts were written in Latin. In a motet (French motet, from mot - "word"), each voice had its own text, and sometimes the texts for the voices were written in different languages. Motets, like conducts, were used in both sacred and secular music.

So, the development of Gregorian chant in the Middle Ages went from monophony (monody) to rather complex 2-, 3-, 4-voice forms in organums, conducts and motets. The emergence of vocal polyphony set the task of classifying singing voices. The specificity of their names reflected the pitch position of the voices relative to the tenor - the main voice. In addition to the tenor, there was a voice that was called a countertenor - located against the tenor. In a three-voice presentation, depending on its position, this voice was called or countertenor - altus(voice above tenor), or countertenor - bassus(voice below tenor). In four voices, the highest voice was called discantus– i.e. "moving up from the theme (tenor)." From these names, over time, the usual designations for the voices of the choral score developed: treble (later - soprano), alto, tenor, bass.

Over time, masters began to actively use musical instruments to accompany polyphonic singing. In the work of the French composer Guillaume de Machaux (circa 1300-1377), only the main voice was sometimes assigned to vocals, and all other voices were instrumental. Especially often this master used a similar technique in secular writings.

The formation of genres and forms of secular music took place on the basis of folk tradition. It is very difficult to study it, since songs and dances were rarely recorded. But some idea of ​​them can still be formed, first of all, according to urban folklore. The main performers of folk music in the cities were itinerant actors.

They performed in several roles at once: both as musicians, and as dancers, and as masters of pantomime, and as acrobats; acted out short scenes. Such actors participated in theatrical performances that unfolded in the streets and squares - in mysteries, carnival and buffoon performances, etc. The attitude of the Church towards them was rather wary. "A person who lets mimes and dancers into his house does not know what a large crowd of unclean spirits follows them," he wrote at the end of the 8th century. spiritual mentor of Emperor Charlemagne, Abbot Alcuin. The fears of the leaders of the Church were not so groundless as it sometimes seems. The samples of songs and dances of the shpielmans (itinerant German actors and musicians) that have come down to us, simple in form, filled with bright, festive intonations, carry a huge charge of stormy, sensual energy, which could easily awaken in people not only joy, but also a rude instinct destruction. Folk art embodied both the light and dark sides of the soul of a medieval person - unbridledness, harshness, the ability to easily forget about the high spiritual ideals of Christianity.

The heyday of professional secular music of the XII-XIII centuries. associated primarily with the culture of chivalry - the military aristocracy of the European Middle Ages. By the middle of the 12th century in Provence, one of the richest and most culturally interesting provinces of France, the work of poets and singers - troubadours - was formed. The word "troubadour" comes from the Provencal expression art de trobas - "the art of composing", and it can be roughly translated as "inventor", "writer".

Musically, the work of the troubadours was probably seriously influenced by folk traditions. However, they gave great softness and refinement to open, often bold folk intonations. The rhythm of the compositions, even at a fast pace, retains regularity and grace, and the form is distinguished by deep thoughtfulness and proportionality.

The music of troubadours is diverse in genres. A significant place was occupied by epic works called songs about deeds(French chansons de geste). Usually they were written on texts from the "Song of Roland" - an epic poem (XII century), telling about the campaigns of Charlemagne and the tragic fate of his faithful knight Roland. The idyllic scenes of rural life were narrated by tender and gentle characters. shepherds(from French pas-tourelle - "shepherdess"). (Later on their basis a pastoral will appear - a work of art showing the unity of man with nature.) There were also moralizing songs - tensons(from French tension - "tension", "pressure").

However, love themes remained the main theme in the music and poetry of the troubadours, and the main genre was "Songs of the Dawn"(French chansons 1 "aube). As a rule, they sing about the sweet moment of a knight’s nightly meeting with his Beautiful Lady. The melodies of the songs conquer with flexibility and exquisitely clear composition. Usually they are built on short, often recurring motifs, but these repetitions are not noticed they always succeed: they are so masterfully connected to each other that they give the impression of a long, constantly changing melody.This feeling is greatly facilitated by the sound of Old French with its long vowels and soft consonants.

Troubadours were people different origin- both commoners and aristocrats (for example, the Duke of Aquitaine Guillaume IX, Baron Bertrand de Born). However, regardless of social affiliation, they all showed the ideal love of a man and a woman, the harmony between the sensual and the spiritual in their relationship. The ideal of a beloved knight of a troubadour is an earthly woman, but by purity, nobility and spirituality she should resemble the Virgin Mary (often in the description of the Beautiful Lady there is a subtext - a hidden image of the Mother of God). In relation to the knight to the Lady, there is not even a shadow of sensual unbridledness (very characteristic of the mores of the era), it is rather a reverent admiration, almost worship. In the description of such relationships, the poetry of the troubadours found amazingly subtle nuances, and the music sought to accurately convey them.

Another interesting phenomenon of professional secular culture Western Europe- creation Trouvers, singers and poets from Champagne, Flanders, Brabant (part of the territory of modern France and Belgium). The word "trouver" is close in meaning to the name "troubadour", only it comes from the old French verb trouver - "to find", "to invent", "to compose". Unlike the troubadours, the trouvères were closer to urban life, more democratic in their forms, and the heyday of their creativity falls on the second half of the 13th century, when chivalry began to gradually fade into the background in social life. Especially popular was the master from the city of Arras, Adam de la Halle (known as Adam le Bossu, around 1240 - between 1285 and 1288). He composed love songs, dramatized skits, which were usually accompanied by music (see the article "Medieval Theater of Western Europe"). Close to the art of French troubadours is the work of German chivalric poets and musicians - minnesingers (German Minnesinger - "singer of love"). The most prominent are Wolfram von Eschenbach (circa 1170-circa 1220) and Walter von der Vogelweide (circa 1170-1230). The art of the minnesingers evoked such big interest that in 1207 in the city of Wartburg a competition was even arranged between them. The event later formed the basis of a popular plot in romantic literature and music; in particular, this competition is described in the opera "Tannhäuser" by the German composer Richard Wagner.

The main theme of the Minnesingers' creativity, like the troubadours, is love, but the music of their songs is more strict, sometimes even harsh, concentrated and filled with reflections rather than ardent feelings. The melodies of the minnesingers captivate with their simplicity and conciseness, behind which lies a spiritual depth that allows them to be compared with the best examples of church music.

Description of the presentation on individual slides:

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Spiritual and secular song art. Vocal genres and their development in sacred and secular music of different eras Performed by: music teacher MBOU "Secondary School No. 2", Olekminsk, RS (Y) Andreeva Olga Petrovna

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Spiritual song art Spiritual music (German geistliche Musik, Italian musica sacra, English sacred music) - musical works associated with texts of a religious nature, intended to be performed during a church service or at home. Sacred music in a narrow sense means church music of Christians; in a broad sense, sacred music is not limited to the accompaniment of worship and is not limited to Christianity. The texts of sacred music compositions can be either canonical (for example, in W.A. Mozart's Requiem) or free (for example, in the motets of Guillaume de Machaux), written on the basis of or under the influence of sacred books(for Christians - the Bible).

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The era of the Middle Ages in the history of musical art - as well as the entire artistic culture of mankind - is an extremely complex and controversial stage. More than 1000 years of the Middle Ages for musical art meant a long and very intense evolution of musical thinking - from monody - monophony - to the most complex forms of polyphonic polyphony. During this period, many musical instruments were formed and improved, musical genres took shape - from the simplest forms of choral monophony to multi-part polyphonic genres that combined both vocal and instrumental sound - mass, passions.

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The monastic singing and composing schools acquire exceptional significance in the development of sacred music. In their depths, a special, numerical aesthetics of music developed, which is part of the 7 "liberal arts", along with mathematics, rhetoric, logic, geometry, astronomy and grammar. Understood as a numerical science, music for medieval aesthetics was a projection of mathematics onto sound matter.

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Orthodox spiritual singing Znamenny chant is an ancient Russian monophonic tradition of liturgical singing. Znamenny chant was born and flourished on the Russian land, in the Russian Church. It most fully reflects the prayerful feelings of the Russian soul coming before God. Znamenny singing is based on the ancient Byzantine singing culture, adopted by us, together with the Christian faith itself, even under the holy prince Vladimir. But the znamenny chant is not just an interpretation of Greek singing in the Russian way, it is an integral spiritual and musical system, the fruit of the conciliar creativity of Holy Russia, a song to God of the people of God.

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Troparion Greek. Τροπάριον - in the Orthodox Church - a short prayer chant in which the essence of the holiday is revealed, a sacred person is glorified and called for help. Troparion in the canon - a stanza following the irmos, with the chant of verses according to its (irmos) melodic-rhythmic model

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Partes singing (from the late Latin partes - parties [poly-voiced musical composition], voice) - a kind of Russian church and concert music, polyphonic choral singing, which is used in Uniate and in Orthodox worship Russians, Ukrainians and Belarusians. The most important genre of partes singing is the partes concerto.

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Greek stichera. στιχηρὰ, from other Greek. στίχος - poetic line, verse), in Orthodox worship - a hymnographic text of strophic form, usually dedicated to the psalm verses (hence the name). In stichera, the theme of the day or a memorable event is carried out. The number of stichera depends on the festivity of the service. The stanzas do not have a fixed verse form and vary widely from 8 to 12 lines. The melody of the stichera, as a rule, covers one stanza.

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Liturgy (Greek λειτουργία - “service”, “common cause”) is the main Christian worship service in historic churches during which the sacrament of the Eucharist is celebrated. In the Western tradition, the word "liturgy" is used as a synonym for the word "worship"

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An all-night vigil, or an all-night vigil, is such a service that takes place on the evening before especially revered public holidays. This Divine service is called the all-night service because in ancient times it began late in the evening and lasted all night until dawn. The Lord Jesus Christ Himself often devoted the night hours to prayer: "Watch and pray," the Savior said to the apostles, "lest you fall into temptation." And the apostles gathered at night for prayer. During the era of persecution, Christians also performed services at night. However, until our time in most churches in Russia all-night vigil served at night on the eve of the feasts of Holy Pascha and the Nativity of Christ; on the eve of certain holidays Athos monasteries, in the Valaam Monastery of the Transfiguration of the Savior, including in the Olekminsky Spassky Orthodox Cathedral.

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Chorale When Pope Gregory I called monody the "principal" church music, he could hardly guess what career awaits the chant, which was called Gregorian. Gregorian chant (Latin cantus Gregorianus; English Gregorian chant, French chant grégorien, German gregorianischer Gesang, Italian canto gregoriano), Gregorian chant, cantus planus - liturgical monody Roman Catholic Church

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Mass (lat. missa) in the sense of a musical term is most often understood as a genre of church polyphonic music based on ordinary prayer texts of a Catholic mass. Initially, such masses were composed by composers to decorate the service. The peak of the development of the polyphonic mass is the second half of the 15th - the beginning of the 17th centuries. In modern times, composers, as a rule, conceived the mass immediately as a complete concert composition, without any connection with the divine service.

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In fact, the first school of polyphony was the Parisian singing school at the Notre Dame Cathedral (from the middle of the 12th to the middle of the 13th centuries), the largest masters of which were Leonin and Perotin. The further development of verbosity is associated with the names of the French musicians of the Ars nova era Philippe de Vitry and Guillaume de Machaux.

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Secular song art Sacred (spiritual) and secular (secular) spheres of music relied on various figurative systems. The center of the secular sphere was the image of an earthly man in all the diversity of his earthly life. First of all, this was reflected in the song and poetic art of wandering musicians. This new trend of worldly music-making - standing, as it were, between folklore proper and sacred musical art - was first formed in Provence - in the 9th - 11th centuries. and then spread throughout Europe. In various European countries, these wandering musicians were called differently: troubadours - in the south, trouvers - in the north of France, minnesingers and spielmans - in Germany, hoglars - in Spain. The principles of their work, the range of images and themes were largely the same. They were in one person poets, singers, jugglers, magicians, performers on a variety of musical instruments.

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The art of wandering musicians was genetically connected with the folklore tradition, on the one hand, and, on the other hand, with the development of the education and culture of chivalry. Starting from the IX century. the sons of influential lords were educated in monasteries, where, among other sciences, they were taught singing and music theory. In such a paradoxical way, the sacred sphere of spiritual life within itself gave rise to a new secular art. In keeping with the traditions of chivalry—and as a reaction to the asceticism of Christian doctrine—earthly sensual love becomes the figurative center of the new secular music. But at the same time, the canons of Christian morality leave their mark on the interpretation of this topic, which is certainly innovative for musical art. Love by wandering musicians was perceived as idealistic, unrequited, hopeless, completely based on unconditional fidelity to the lady of the heart. The wandering musician did not expect to find a response to his love in this world, only death could bring him deliverance from love torments, only in another, upper world he could find peace.

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The art of itinerant musicians, first of all, was focused on the personality, individuality and, as a result, had a fundamentally monophonic character. Monophony - in contrast to the predominantly choral nature of sacred music - was also due to the tradition of the finest vocal nuances of a poetic text. The melody of the songs of wandering musicians was extremely flexible and whimsical. But at the same time, the rhythm was practically canonized - in which the influence of canonized sacred music is clearly revealed - and is determined by the poetic meter. There were only 6 varieties of rhythm - the so-called rhythmic modes - and each of them had a strictly fixed figurative content.

It should be noted that modern researchers, wondering about the essence of art as such, insist that the identification of art with aesthetics “seems unacceptable to us, because if, on the one hand, it simplifies the problem, then, on the other, it limits the scope aesthetic experience, abstracting and isolating the reality of art" (Banfi.A. Philosophy of Art. M. Art. 1989. -p.358). However, this non-artistic basis, for example, the writer Schiller and the philosopher Spencer saw in game . Spencer considered the playful nature of art as entertainment caused by the need to restore the physical strength of the human body. For Schiller, the playful nature of art is reduced to "ironic dialectics for the rest of the spirit", a kind of distraction from the usual work. That is why, as A. Banfi writes, “in art, as a means of expression, an atmosphere reigns charm , unnaturalness , something artificial , I would say something almost magical , in which for us, apparently, only beauty should manifest itself ”(-С.34). There is also a curious conclusion that this author makes on the basis of the analyzed material: “Every work of art is, in a certain sense, a kind of idol, the very idol that sinners blinded with their own hands in order to bow to it” (-p. 35). And further: “For every work of art is such only because of the sense of spirituality it radiates, because of the revelation it contains, a revelation that is not reducible to any aspect of the world or personal values, but is a reflection of the presence in the world and the personality of the spirit, which is such In a way, he designated a new source of his ideal life. (-p.35) Another thing, how does a representative and exponent of secular thought understand, what is a “spirit present in the world and personality”, what are the tasks and what is the essence of art? It turns out that the sphere of the spirit for him is the sphere of artistic life: “Only in the sphere of artistic life does the artist act as an artist, that is, a creator: his miraculous genius consists precisely in participating in this vital need, alien to any personal inclinations, free from mood public and ideal abstract schematism: in a painful desire to solve their specific problems ”(-p. 37). That is why art has life as its source, "it feeds on it." “Art knows no other norms, other traditions than its own life; knows no other problems, no other solutions, except for those put forward before the artistic reality by life itself in its continuous development” (- p. 38).

Thus, a secular master or a secular art analyst, without denying the presence of spirituality and a spiritual vector in art, sees it in the spontaneous, continuous development of life as such, which guides, nourishes, and inspires itself. Consequently, only by studying the laws and trends in the development of this life, from the point of view of secular thought, can it be understood, reflected, expressed. The more deeply an artist and thinker can penetrate into the secrets of the universe, life as such, the more vividly he will be able to express and reflect it. This highlights the importance mastering the methods and techniques of fine arts , as well as the development of personal qualities and the creator's own efforts. Life is multifaceted and rich and everyone sees it through a prism own taste, mood . From that, already from the Renaissance (Renaissance), it was so significant and important to form the author's style, a unique handwriting that would indicate the uniqueness of the master and his creation. So it becomes the norm to sign your work by the master or to indicate with the help of symbols who the author is. Thus, in In secular art, the external expressive form is subject to the revelation that was revealed to the master, and was revealed to the world through the prism of his feelings and experiences. However, a natural consequence of such a state of mind is the following well-known trend in contemporary art: how many views and moods, so many styles, approaches, forms of expression. Therefore, secular art offers variety of forms , styles and does not imagine itself outside of this diversity. Vanity.