French composers. Works by French composers

The traditions of French musical culture began to be laid even before the 15th century. It is well known that a huge impact it was influenced by the cultures of the Germanic and Celtic tribes living in the modern territory of France. The development of music in this country took place in interaction with the creativity of the peoples of neighboring countries - Italians and Germans. That is why the French musical heritage turned out to be so colorful and diverse.

origins

Initially, folk music came to the fore in France, without which ordinary people could not imagine their existence. With the advent of Christianity was born church music which gradually began to change under the influence of the people.

The most famous composer of liturgies of that time is called Ilarius from the province of Poitiers. He lived in the 3rd century and was the smartest theologian and teacher of the church.

Around the 10th century, secular music began to gain popularity. It is performed at feudal courts, on the squares of large cities, in monasteries. Among the instruments there are drum, flute, tambourine, lute.

The 12th century was marked by the opening of a music school at Notre Dame, the great paris cathedral. Its composers became the creators of new musical genres (conduct, motet).

In the 13th century, the most prominent musician was Adam de la Alle, who rethought the work of the troubadours, giving way to real musical art. His most interesting creation is "The Game of Robin and Marion". He became the author of both poetry and music for this play, which was successfully staged at the court of Count Artois.

Ars nova - direction European music, which was developed in France, became the embodiment of new ideas of musicians. The French composers Guillaume de Machaux and Philippe de Vitry became the main theorists of this period. De Vitry wrote musical accompaniment to the poem "The Romance of Fauvel", de Machaux became the author of the "Mass of Notre Dame". This is the first work written by one composer, and not in collaboration with someone else.

Renaissance

From the middle of the 15th to the second half of the 16th century, French music developed under the influence of the Dutch school and such internal political changes as the war for the unification of France, the establishment of a centralized state, and the emergence of the bourgeoisie.

Under the influence of such composers as Gilles Benchois, Josquin Despres, Orlando di Lasso, a new layer is being formed in the musical art of France. The royal court does not stand aside. Chapels appear there and approve the position of the chief intendant of music. The first was the Italian violinist Baltazarini di Belgioiso.

The heyday of the national musical culture came in the 16th century, when chanson stood out as a genre, organ music acquired a significant role. Jean Titluz became the founder and ideologist of this direction.

The creativity of the Huguenots was widespread, which, due to religious strife, was relegated to the background. French composers, the largest representatives of this layer, Claude Goudimel and Claude Lejeune became the authors of hundreds of psalms. Both of them suffered during the St. Bartholomew's night.

17th century

The music of this century developed under the influence of the established absolute monarchy. Court life under Louis XV was famous for its pomp and abundance. Therefore, it is not surprising that, among other amusements, such major genres like opera and ballet.

Cardinal Mazarin advocated the development of sophisticated art. His Italian origin was the reason for the popularization of the culture of this country in France. The first attempts to create a national opera belong to Elisabeth Jacquet de la Guerre, who wrote "Kefala and Procris" in 1694.

Opened in 1671, the Royal Opera House presented the country with remarkable composers. Marc-Antoine Charpentier created hundreds of works, including the operas Orpheus's Descent into Hell, Medea, and the Judgment of Paris. Andre Kampra is the author of the opera-ballet "Gallant Europe", "Carnival of Venice", musical tragedies "Iphigenia in Tauris", "Achilles and Deidamia".

The 17th century was the period of the formation of the French school of harpsichordists. Among its participants, Chambonnière and Jean-Henri d'Anglebert can be distinguished.

18 century

Musical and social life in this century is changing dramatically. Concert activity goes beyond the court. From 1725, regular public concerts were held in theaters. The "Amateur Concerts" and "Friends of Apollo" societies were founded in Paris, where amateurs could enjoy the performance of instrumental music.

The harpsichord suite reached its peak in the 1930s. François Couperin wrote more than 250 pieces for harpsichord and became famous not only in home country but also abroad. He also has royal operas and works for organ to his credit.

For 18th century music great value has the work of Jean Philippe Rameau, who was not only a talented composer, but also a prominent theorist in his field. His lyrical tragedies Castor and Pollux, Hippolyte and Arisia, the ballet-opera The Gallant Indias are also in demand among contemporary directors.

Almost all musical works until the middle of the 18th century were either ecclesiastical or mythological. But the mood in society demanded new interpretations and genres. On this basis, opera buff gained popularity, which, from the satirical side, showed high society and royalty. The first librettos for such operas were written by Charles Favard.

French composers of the 18th century had a great influence on the operatic style and the musical-theoretical basis of this genre.

19th century

The French Revolution brought about significant changes in musical culture. Military brass music came to the fore. Special schools were opened to train military musicians. The opera was now dominated by patriotic plots with new national heroes.

The Restoration period was marked by the rise of romantic opera. The French composer Berlioz is the most bright representative this time. His first program work was the "Fantastic Symphony", reflecting the exaggerated emotionality, typical moods of that time. He became the creator of the dramatic symphony "Romeo and Juliet", the overture "King Lear", the opera "Benvenuto Cellini". In his native country, Hector Berlioz was evaluated ambiguously. It was associated with a special in a creative way which he chose for himself. His works are filled with incredible orchestral effects, which the composer was the first French musician to use.

The middle of the 19th century was marked by the beginning of the development of operetta in the country. But already in the 1870s, lyrical music came to the fore, but with realistic tendencies. Charles Gounod is considered the founder of this genre. His operas - The Unwitting Doctor, Faust, Romeo and Juliet - express all the composer's innovative developments.

Dozens of works significant for French culture were created by Georges Bizet, who lived a short life. He studied at the conservatory from the age of 10 and made great progress from the very beginning. He won several significant music competitions, which allowed the musician to leave for Rome for several years. After his return to Paris, Georges Bizet began working on the opera of his life, Carmen. Its premiere took place in 1875. The public did not accept and did not understand this work. The composer died in the same year, never having seen the triumph of "Carmen".

In the last years of the 19th century, French composers wrote under the influence of German ones, especially Richard Wagner.

20th century

The new century was marked by the spread of impressionism in musical culture. Great French composers became adherents of this style. The brightest was K. Debussy. All the main features inherent in this direction were reflected in his work. The aesthetics of impressionism did not stand aside from another Frenchman. Maurice Ravel in his works mixed different stylistic trends of his time.

The 20th century was the period of creation of creative associations, whose members were artists. The famous "French Six", created under the leadership of Eric Satie and Jean Cocteau, became the most powerful community of composers of that time.

The association got its name because of the analogy with the Russian Union of Composers - mighty bunch. They were brought together by the desire to move away from foreign influence (in this case, German) and to develop the national layer of this art.

The association included Louis Duray ("Lyrical Offerings", "Self-Portraits"), Darius Milhaud (opera "Guilty Mother", ballet "Creation of the World"), Arthur Honegger (opera "Judith", ballet "Shota Rustaveli"), Georges Auric ( music for the films "Princess of Cleves", "Roman Holiday"), Francis Poulenc (opera "Dialogues of the Carmelites", cantata "Un ballo in maschera") and Germaine Taillefer (opera "The Little Mermaid", ballet "The Birdseller").

In 1935, another association was born - "Young France". Its participants were Olivier Messiaen (opera "Saint Francis of Assisi"), Andre Jolivet (ballets "Beauty and the Beast", "Ariadne").

Such a new trend as the musical avant-garde appeared after 1950. Its bright representative and inspirer was Pierre Boulez, who studied with Messiaen. In 2010, he entered the top twenty the best conductors worldwide.

Development contemporary art France was aided by the pioneering work of such pillars of academic music as Debussy and Ravel.

Debussy

Achille-Claude Debussy, born in Saint-Germain-en-Laye, from early childhood felt a craving for beauty. Already at the age of 10 he entered the Paris Conservatory. Studying was easy for him, the boy even won a small internal competition. But Claude was burdened by classes in harmony, since the teacher was unfriendly to the boy's experiments with sounds.

Having interrupted his studies, Claude Debussy went on a trip with a landowner from Russia, N. von Meck, as a house pianist. The time spent on Russian soil had a beneficial effect on Claude. He enjoyed the work of Tchaikovsky, Balakirev and other composers.

Returning to Paris, Debussy continued to study at the conservatory and write. He is still developing his own style. turning point in the life of Claude was an acquaintance with E. Satie, who, with his innovative ideas, showed the way to the novice composer.

Debussy's mature style finally took shape by 1894, when he wrote " afternoon rest faun", the famous symphonic prelude.

Ravel

Maurice Ravel was born in the south of France, but in order to learn his favorite business, he moved to Paris in young age. His teacher was the French composer-pianist Charles de Bériot.

As with Debussy, Maurice was greatly influenced by his meeting with Eric Satie. After her, Ravel began to compose with a vengeance, inspired by the composer's speeches and ideas.

Even while studying at the conservatory, Ravel wrote a number of works in Spanish motives("Habanera", "Old Minuet"), which are greeted by fellow musicians. However, the composer's style once played a cruel joke on him. Ravel was not allowed to participate in the competition for the prestigious Rome Prize, citing age restrictions. But the composer was not yet 30 years old and could, in accordance with the rules, submit his composition. In 1905, because of this, a huge scandal erupted in the music world.

After the First World War, to which Ravel volunteered, the emotional principle was considered the main one in his works. This explains the sharp transition from writing operas to instrumental compositions(Suite "The Tomb of Couperin"). He also collaborates with Sergei Diaghilev and writes music for the ballet Daphnis and Chloe.

At the same time, the composer begins to work on his own significant work- Bolero. The music was completed by 1928.

The last work of Maurice Ravel was "Three Songs" written for Fyodor Chaliapin.

Legrand

For the Russian audience, the name of one French composer sounds very familiar. This is Michel Legrand, who created the music for cult films.

Michel Jean was born into the family of a conductor and pianist. From childhood, the boy was fascinated by the art of music, which is why he entered the Paris Conservatory. After completing his studies, he left for the United States, where he began writing music for films.

In France, he worked with renowned directors Jean-Luc Godard and Jacques Demy. His most popular work is the music for the film "The Umbrellas of Cherbourg".

Wrote jazz music. Since the 1960s he has worked in Hollywood. Among famous works composer - music for "The Thomas Crown Affair", "The Other Side of Midnight". Michel Legrand is a three-time Oscar winner.

21 century

Academic music is still in demand in France. Do not count all the festivals and established awards for achievements in this area. In Paris, which is the cultural center of the country, there are the National Conservatory, Opera Bastille, Opera Garnier, Theater of the Champs Elysees. There are dozens of orchestras known all over the world.

Music for the general public French composers becomes known through cinema. Along with operatic and symphonic music, they also write for films. These are mainly works for the French film industry, but some composers also go international. The most successful living French composers of the 21st century are:

1. Antoine Duhamel ("Stolen Kisses", "Graceful Age").
2. Maurice Jarre ("Doctor Zhivago", "Walking in the Clouds").
3. Vladimir Kosma ("Prick with an umbrella", "Dads").
4. Bruno Coulet ("Belphegor-ghost of the Louvre", "Chorists").
5. Louis Aubert (operas "Blue Forest", "Charming Night").
6. Philippe Sarde ("Daughter of D" Artagnan "," Princess de Montpensier ").
7. Eric Serra (soundtracks for Leon, Joan of Arc, The Fifth Element).
8. Gabriel Yared ("The English Patient", "Cold Mountain").

The traditions of French musical culture began to be laid even before the 15th century. It is known for certain that it was greatly influenced by the cultures of the Germanic and Celtic tribes living in the modern territory of France. The development of music in this country took place in interaction with the creativity of the peoples of neighboring countries - Italians and Germans. That is why the French musical heritage turned out to be so colorful and diverse.

origins

Initially, folk music came to the fore in France, without which ordinary people could not imagine their existence. With the advent of Christianity, church music was born, which gradually began to change under the influence of the people.

The most famous composer of liturgies of that time is called Ilarius from the province of Poitiers. He lived in the 3rd century and was the smartest theologian and teacher of the church.

Around the 10th century, secular music began to gain popularity. It is performed at feudal courts, on the squares of large cities, in monasteries. Among the instruments there are drum, flute, tambourine, lute.

The 12th century was marked by the opening of a music school at Notre Dame, the great Parisian cathedral. Its composers became the creators of new musical genres (conduct, motet).

In the 13th century, the most prominent musician was Adam de la Alle, who rethought the work of the troubadours, giving way to real musical art. His most interesting creation is "The Game of Robin and Marion". He became the author of both poetry and music for this play, which was successfully staged at the court of Count Artois.

Ars nova - the direction of European music, which was developed in France, became the embodiment of new ideas of musicians. The French composers Guillaume de Machaux and Philippe de Vitry became the main theorists of this period. De Vitry wrote the musical accompaniment to the poem "The Romance of Fauvel", de Machaux became the author of the "Mass of Notre Dame". This is the first work written by one composer, and not in collaboration with someone else.

Renaissance

From the middle of the 15th to the second half of the 16th century, French music developed under the influence of the Dutch school and such internal political changes as the war for the unification of France, the establishment of a centralized state, and the emergence of the bourgeoisie.

Under the influence of such composers as Gilles Benchois, Josquin Despres, Orlando di Lasso, a new layer is being formed in the musical art of France. The royal court does not stand aside. Chapels appear there and approve the position of the chief intendant of music. The first was the Italian violinist Baltazarini di Belgioiso.

The heyday of the national musical culture came in the 16th century, when chanson stood out as a genre, organ music acquired a significant role. Jean Titluz became the founder and ideologist of this direction.

The creativity of the Huguenots was widespread, which, due to religious strife, was relegated to the background. French composers, the largest representatives of this layer, Claude Goudimel and Claude Lejeune became the authors of hundreds of psalms. Both of them suffered during

17th century

The music of this century developed under the influence of the established Court life under Louis 15 was famous for its pomp and abundance. Therefore, it is not surprising that, among other entertainments, such important genres as opera and ballet appeared.

Cardinal Mazarin advocated the development of sophisticated art. His Italian origin was the reason for the popularization of the culture of this country in France. The first attempts to create a national opera belong to Elisabeth Jacquet de la Guerre, who wrote "Kefala and Procris" in 1694.

Opened in 1671, the Royal Opera House presented the country with remarkable composers. Marc-Antoine Charpentier created hundreds of works, including the operas Orpheus's Descent into Hell, Medea, and the Judgment of Paris. Andre Kampra is the author of the opera-ballet "Gallant Europe", "Carnival of Venice", musical tragedies "Iphigenia in Tauris", "Achilles and Deidamia".

The 17th century was the period of the formation of the French school of harpsichordists. Among its participants are Chambonnière and Jean-Henri d'Anglebert.

18 century

Musical and social life in this century is changing dramatically. Concert activity goes beyond the court. From 1725, regular public concerts were held in theaters. The "Amateur Concerts" and "Friends of Apollo" societies were founded in Paris, where amateurs could enjoy the performance of instrumental music.

The harpsichord suite reached its peak in the 1930s. Francois Couperin wrote more than 250 pieces for harpsichord and became famous not only in his native country, but also abroad. He also has royal operas and works for organ to his credit.

For the music of the 18th century, the work of Jean Philippe Rameau, who was not only a talented composer, but also a prominent theorist in his field, is of great importance. His lyrical tragedies Castor and Pollux, Hippolyte and Arisia, ballet-opera The Gallant Indias are also in demand among contemporary directors.

Almost all musical works until the middle of the 18th century were either ecclesiastical or mythological. But the mood in society demanded new interpretations and genres. On this basis, the buff opera gained popularity, which from the satirical side showed high society and royal power. The first librettos for such operas were written by Charles Favard.

French composers of the 18th century had a great influence on the operatic style and the musical-theoretical basis of this genre.

19th century

The Great French Revolution brought about significant changes in musical culture. Military brass music came to the fore. Special schools were opened to train military musicians. The opera was now dominated by patriotic plots with new national heroes.

The Restoration period was marked by the rise of romantic opera. The French composer Berlioz is the most prominent representative of this time. His first program work was the "Fantastic Symphony", reflecting the exaggerated emotionality, typical moods of that time. He became the creator of the dramatic symphony "Romeo and Juliet", the overture of the opera "Benvenuto Cellini". In his native country, Hector Berlioz was evaluated ambiguously. This was due to the special creative path that he chose for himself. His works are filled with incredible orchestral effects, which the composer was the first French musician to use.

The middle of the 19th century was marked by the beginning of the development of operetta in the country. But already in the 1870s, lyrical music came to the fore, but with realistic tendencies. Charles Gounod is considered the founder of this genre. His operas - The Unwitting Doctor, Faust, Romeo and Juliet - express all the composer's innovative developments.

Dozens of works significant for French culture were created by Georges Bizet, who lived a short life. He studied at the conservatory from the age of 10 and made great progress from the very beginning. He won several significant music competitions, which allowed the musician to leave for Rome for several years. After his return to Paris, Georges Bizet began working on the opera of his life, Carmen. Its premiere took place in 1875. The public did not accept and did not understand this work. The composer died in the same year, never having seen the triumph of "Carmen".

In the last years of the 19th century, French composers wrote under the influence of German ones, especially Richard Wagner.

20th century

The new century was marked by the spread of impressionism in musical culture. Great French composers became adherents of this style. The brightest was K. Debussy. All the main features inherent in this direction were reflected in his work. The aesthetics of impressionism did not stand aside from another Frenchman. Maurice Ravel in his works mixed different stylistic trends of his time.

The 20th century was the period of creation of creative associations, whose members were artists. The famous "French Six", created under the leadership of Eric Satie and Jean Cocteau, became the most powerful community of composers of that time.

The association got its name because of the analogy with the Russian Union of Composers - the Mighty Handful. They were brought together by the desire to move away from foreign influence (in this case, German) and to develop the national layer of this art.

The association included Louis Duray ("Lyrical Offerings", "Self-Portraits"), Darius Milhaud (opera "Guilty Mother", ballet "Creation of the World"), Arthur Honegger (opera "Judith", ballet "Shota Rustaveli"), Georges Auric ( music for the films "Princess of Cleves", "Roman Holiday"), Francis Poulenc (opera "Dialogues of the Carmelites", cantata "Un ballo in maschera") and Germaine Taillefer (opera "The Little Mermaid", ballet "The Birdseller").

In 1935, another association was born - "Young France". Its participants were Olivier Messiaen (opera "Saint Francis of Assisi"), Andre Jolivet (ballets "Beauty and the Beast", "Ariadne").

Such a new trend as the musical avant-garde appeared after 1950. Its bright representative and inspirer was Pierre Boulez, who studied with Messiaen. In 2010, he entered the top twenty of the best conductors in the world.

The development of contemporary art in France was facilitated by the pioneering work of such pillars of academic music as Debussy and Ravel.

Debussy

Achille-Claude Debussy, born in Saint-Germain-en-Laye, from early childhood felt a craving for beauty. Already at the age of 10 he entered the Paris Conservatory. Studying was easy for him, the boy even won a small internal competition. But Claude was burdened by classes in harmony, since the teacher was unfriendly to the boy's experiments with sounds.

Having interrupted his studies, Claude Debussy went on a trip with a landowner from Russia, N. von Meck, as a house pianist. The time spent on Russian soil had a beneficial effect on Claude. He enjoyed the work of Tchaikovsky, Balakirev and other composers.

Returning to Paris, Debussy continued to study at the conservatory and write. He is still developing his own style. The turning point in Claude's life was his acquaintance with E. Satie, who, with his innovative ideas, showed the way for the beginning composer.

Debussy's mature style finally took shape by 1894, when he wrote The Afternoon of a Faun, the famous symphonic prelude.

Ravel

Maurice Ravel was born in the south of France, but moved to Paris at a young age to learn his passion. His teacher was the French composer-pianist Charles de Bériot.

As with Debussy, Maurice was greatly influenced by his meeting with Eric Satie. After her, Ravel began to compose with a vengeance, inspired by the composer's speeches and ideas.

Even while studying at the conservatory, Ravel wrote a number of works on Spanish motifs ("Habanera", "Old Minuet"), which were warmly received by fellow musicians. However, the composer's style once played a cruel joke on him. Ravel was not allowed to participate in the competition for the prestigious Rome Prize, citing age restrictions. But the composer was not yet 30 years old and could, in accordance with the rules, submit his composition. In 1905, because of this, a huge scandal erupted in the music world.

After the First World War, to which Ravel volunteered, the emotional principle was considered the main one in his works. This explains the abrupt transition from writing operas to instrumental compositions (the suite "The Tomb of Couperin"). He also collaborates with Sergei Diaghilev and writes music for the ballet Daphnis and Chloe.

At the same time, the composer begins to work on his most significant work - "Bolero". The music was completed by 1928.

The last work of Maurice Ravel was "Three Songs" written for Fyodor Chaliapin.

Legrand

For the Russian audience, the name of one French composer sounds very familiar. This is Michel Legrand, who created the music for cult films.

Michel Jean was born into the family of a conductor and pianist. From childhood, the boy was fascinated by the art of music, which is why he entered the Paris Conservatory. After completing his studies, he left for the United States, where he began writing music for films.

In France, he worked with renowned directors Jean-Luc Godard and Jacques Demy. His most popular work is the music for the film "The Umbrellas of Cherbourg".

Wrote jazz music. Since the 1960s he has worked in Hollywood. Among the famous works of the composer are the music for "The Thomas Crown Affair", "The Other Side of Midnight". Michel Legrand is a three-time Oscar winner.

21 century

Academic music is still in demand in France. Do not count all the festivals and established awards for achievements in this area. In Paris, which is the cultural center of the country, there are the National Conservatory, the Bastille Opera, the Opera Garnier, the Theater Dozens of orchestras known all over the world work.

The music of French composers becomes known to the general public thanks to the cinema. Along with operatic and symphonic music, they also write for films. These are mainly works for the French film industry, but some composers also go international. The most successful living French composers of the 21st century are:

1. Antoine Duhamel ("Stolen Kisses", "Graceful Age").
2. Maurice Jarre ("Doctor Zhivago", "Walking in the Clouds").
3. Vladimir Kosma ("Prick with an umbrella", "Dads").
4. Bruno Coulet ("Belphegor-ghost of the Louvre", "Chorists").
5. Louis Aubert (operas "Blue Forest", "Charming Night").
6. Philippe Sarde ("Daughter of d'Artagnan", "Princess de Montpensier").
7. Eric Serra (soundtracks for Leon, Joan of Arc, The Fifth Element).
8. Gabriel Yared ("The English Patient", "Cold Mountain").

Paul Mauriat... At the mere pronunciation of his name, music begins to sound in memory ... French composer, one of the greatest masters XX century, was born in Marseille in 1925 in a family of musicians, and when he was 10 years old, he entered the conservatory without hesitation. His favorite style of music was jazz, but at the same time he was fascinated by classical symphonies, which inspired him to create his own orchestra - already at the age of 17, Paul gave concerts. When did the second World War, he played all over France, giving hope to people for a peaceful future.

After the war, he was noticed by the North American company "A&R", which means "Artists and Repertoire", offering him to become an accompanist in various shows. This was the first step towards fame and recognition - Paris, the legislator not only of fashion, but also of world music, opened its arms to the young composer. It was there that the French composer Paul Mauriat became the arranger for the magnificent chansonnier. post-war decade the young musician was the musical director of such celebrities as Maurice Chevalier, Dalida, Escudiero, Aznavour, Henry Salvador - countless tours, concerts, recordings ... Later, in the late 60s and early 70s, he would write for Mireille Mathieu.

In 1957, the French composer Paul Mauriat released his premiere album, which was in great demand. The name of the record was quite simple - "Paul Mauriat". The following year, 1958, brought him an award at the Golden Rooster of Chanson festival for the song "Rendez-vos au lavandou".

In 1964, the album "Paul Mauriat and His Orchestra" was released. Paul Mauriat begins to use pseudonyms - Niko Popadopoulos, Richard Audrey, Eduardo Rouault and many many others. He believed that this would help to better understand international character his works, and did not lose - world fame came to him.

In parallel, he composed soundtracks - music for films, some of which were "Taxi to Tobruk", "Blow Up the Bank", "Horace 62", " Godfather". In the early 90s, he released the soundtrack for the film "Act Sister!", Which then began to be re-recorded by famous artists of the world and is famous to this day. Paul Mauriat developed his own style, which became the most unique in its breadth and range - it was an extraordinary , light, bright and catchy music.

Paul Mauriat entered the Top 100 according to one of the American magazines as the first French instrumental artist. He gave the leading role in his works to the strings - the most complex staccato and legato, the virtuoso playing of the cellists and experiments with arrangements gave his music an indescribable "French" charm, although his works had long gone beyond the limited musical framework. His approach was appreciated not only by French composers - he used different countries.

The French composer Paul Mauriat was awarded the "Golden Disc" in France, the title of Commander of the Arts and recognition at the international level: his music was heard in all kinds of advertisements, programs (in the USSR, the famous "In the Animal World" and "Kinopanorama"), serials.

In 1998, Moriah left the stage, giving last concert in Osaka. And in 2006, at the age of 81, the French composer Paul Mauriat died in the south of France in the city of Perpignan, at his home. Although he contributed invaluable contribution in music, contemporaries and close friends remembered him as a restrained, modest, friendly greatest composer.

The most rebellious group turned out to be a group of young people formed at the very end of the First World War. By analogy with the Russian "Five", that is, the "Mighty Handful", she received the name "Six", given to her in 1920 by the journalist A. Kolle. It included: Darius Milhaud, Arthur Honegger, Georges Auric, Francis Poulenc, Louis Durey and Germain Taifer (they should have been joined by friends and like-minded people of the Six, Jacques Ibert, Jean Viener and Alexis Roland-Manuel). Herald of this new group the poet, publicist, playwright, screenwriter, artist and amateur musician Jean Cocteau appeared, whose pamphlet The Rooster and the Harlequin (1918) acquired artistic significance.

The position of the "six" composers: affirmation of French music, appeal to ideals French classicism, to the refined music of the harpsichordists J. Ram, F. Couperin, aspiration and innovation. Focus on renewal musical language based on national traditions through everyday music; work in complex synthetic genres (theater, ballet, cinema, circus); the implementation of the features of neoclassicism, expressionism, urbanism - an attempt to reflect the rhythm, noise of a big city.

Typical works: F. Poulenc "Morning Serenade", "Negro Rhapsody", J. Auric "Foxtrots", J. Ibert "The Little White Donkey", D. Millau "Blue Express", "Bull on the Roof", "Brazilian Dances" .

Arthur Honegger(1899 - 1965) - the most significant of the "six" composers. "Pacific 231" (1923) - a composition by the young Honegger. Onomatopoeia of locomotive movement. The seriousness of the themes in the subsequent work of the composer: oratorios "King David", "Joan of Arc at the stake", five symphonies. Reflection of the themes of the Second World War and the defense of peace in the symphonies of the third (1946) and fifth (1950). Proximity to the symphonies of D. Shostakovich The tragic content of Symphony No. 5, expressing anxiety for the future (after the Second World War, the threat of a new, atomic war loomed. Three-part cycle:

Part 1 - slow, harsh, gloomy with intense dissonant music;

2 part - tragic-grotesque scherzo;

Part 3 - a swift finale, filled with a sense of anger, horror with a marching oppositional theme and a melodious melody with wide moves.

Eric Satie(05/17/1866 - 07/01/1925) - French composer. In 1883 he entered the Paris Conservatory in the class of A. Gilman (organ), but dropped out a year later. For some time he worked as a pianist in a cabaret in Montmartre. Being engaged in composition on his own, he began to write piano pieces, as well as music for theatrical performances. Only at the age of 40, Sati decides to take up composition seriously and enters the Schola Cantorum, where his teachers were V. d "Andy and A. Roussel. Thanks to Sati's original and independent artistic thinking, Sati united around him a number of young musicians who sympathized with the anti-Wagner movement in french art. In the 1920s, Satie became the ideological inspirer of the "Six" group, having a strong influence on the formation of creative and aesthetic views many French composers of the first quarter of the 20th century. Sati's works are replete with sharp harmonies, they are distinguished by their original rhythm and unusual form. The spirit of the grotesque and malicious irony suggested to Sati the eccentric titles of many of his piano pieces: "Dried Embryos", "Three Pieces in the Shape of a Pear", "Jerky Pieces", "Automatic Descriptions", "Eternal and Instant Clocks", "Cold Pieces" and pl. etc. The most famous works of Satie include piano pieces "Gymnopedia" (1888; orchestrated by Debussy). Diaghilev ordered Satie's ballet "Parade" for his troupe (G. Cocteau, Myasin and Picasso took part in the creation of the ballet), in the score of which the composer introduced locomotive whistles, typewriters, etc.

OPERA BORIS GODUNOV

Opera in four acts with a prologue; libretto by Mussorgsky based on the tragedy of the same name by A. S. Pushkin and "History of the Russian State" by N. M. Karamzin. First production: St. Petersburg, Mariinsky Theatre, January 27, 1874. The action takes place in Moscow in 1598-1605.

The idea to write an opera based on the plot of Pushkin's historical tragedy Boris Godunov (1825) was suggested to Mussorgsky by his friend, a prominent historian, Professor VV Nikolsky. Mussorgsky was extremely fascinated by the opportunity to translate the topic of the relationship between the tsar and the people, which was acutely relevant for his time, to bring the people as the main character in the opera.

The work, begun in October 1868, proceeded with a huge creative upsurge. A month and a half later, the first act was already ready. The composer himself wrote the opera's libretto, drawing on materials from N. M. Karamzin's "History of the Russian State" and other historical documents. As the composition progressed, individual scenes were performed in a circle of "Kuchkists" who gathered either at A. S. Dargomyzhsky's or at Glinka's sister, L. I. Shestakova. "Joy, admiration, admiration were universal," V. V. Stasov recalled.

At the end of 1869, the opera "Boris Godunov" was completed and presented to the theater committee. But its members, discouraged by the ideological and artistic novelty of the opera, rejected the work under the pretext of the absence of a winning female role. The composer made a number of changes, added a Polish act and a scene near Kromy. However, the second edition of "Boris", completed in the spring of 1872, was also not accepted by the directorate of the imperial theaters.

"Boris" was staged only thanks to the energetic support of advanced artistic forces, in particular the singer Yu. F. Platonova, who chose the opera for her benefit performance. The premiere took place on January 27 (February 8), 1874 at the Mariinsky Theatre. The democratic public greeted "Boris" enthusiastically. Reactionary criticism and the society of the nobility and landlords reacted sharply negatively to the opera. Soon, the opera began to be given with arbitrary cuts, and in 1882 it was completely removed from the repertoire.

"Boris Godunov" is a folk musical drama, a multifaceted picture of the era, striking with Shakespearean breadth and boldness of contrasts. The characters are depicted with exceptional depth and psychological insight. The tragedy of loneliness and doom of the tsar is revealed with amazing power, the rebellious, rebellious spirit of the Russian people is innovatively embodied.

The prologue consists of two paintings. The orchestral introduction to the first expresses grief and tragic hopelessness. The chorus "To whom are you leaving us" is akin to mournful folk lamentations. Appeal of the clerk Shchelkalov "Orthodox! Relentless boyar!" imbued with majestic solemnity and restrained sadness.

The second picture of the prologue is a monumental choral scene, preceded by the ringing of bells. Solemn majestic to Boris "Already like a red sun in the sky" is based - on a genuine folk melody. In the center of the picture is Boris's monologue "Soul Sorrows", in the music of which royal grandeur is combined with tragic doom.

The first scene of the first act opens with a brief orchestral introduction; the music conveys the monotonous creaking of the chronicler's pen in the silence of a secluded cell. The measured and sternly calm speech of Pimen (the monologue "One more, last tale") outlines the strict and stately appearance of the old man. An imperious, strong character is felt in his story about the kings of Moscow. Gregory is depicted as an unbalanced, ardent young man.

The second picture of the first act contains juicy domestic scenes. Among them are the songs of the tavern woman "I Caught a Gray Drake" and Varlaam's "How it was in the city in Kazan" (on folk words); the latter is saturated with elemental strength and prowess.

The second act broadly outlines the image of Boris Godunov. Big monologue "I have reached supreme power"is saturated with a restless mournful feeling, disturbing contrasts. Boris's mental discord escalates in a conversation with Shuisky, whose speeches sound insinuating and hypocritical, and reaches the limit in the final scene of hallucinations ("the scene with the chimes").

The first picture of the third act opens with an elegantly graceful choir of girls "On the Azure Vistula". Marina's aria "How languid and lethargic", sustained in the rhythm of a mazurka, paints a portrait of an arrogant aristocrat.

The orchestral introduction to the second scene depicts an evening landscape. The melodies of the Pretender's love confession are romantically agitated. The scene of the Pretender and Marina, built on sharp contrasts and capricious mood swings, ends with a duet full of passion, "O Tsarevich, I beg you."

The first picture of the fourth act is a dramatic folk scene. From the mournful groan of the song of the Holy Fool "The moon is riding, the kitten is crying" grows the choir "Bread!", Amazing in terms of the power of tragedy.

The second picture of the fourth act ends with a psychologically sharp scene of Boris's death. His last monologue "Farewell, my son!" painted in tragically enlightened, pacified tones.

The third picture of the fourth act is a monumental folk scene exceptional in scope and power. The opening choir "Does not fly across the skies" (to a genuine folk melody of a laudatory song) sounds mocking and menacing. The song of Varlaam and Misail "The sun, the moon faded" is based on the melody folk epic. The culmination of the picture is the rebellious choir "Dispersed, cleared up", full of spontaneous, indomitable revelry. The middle section of the choir "Oh you, power" is a sweeping tune of a Russian round dance song, which, developing, leads to formidable, angry exclamations "Death to Boris!". The opera ends with the solemn entrance of the Pretender and the lamentation of the Holy Fool.

OPERA RUSLAN AND LYUDMILA

Opera in five acts; libretto by the composer and V. Shirkov based on the poem of the same name by A. S. Pushkin.
First production: Petersburg, November 27, 1842. The action takes place in Kyiv and fairy lands during Kievan Rus.

“The first thought about Ruslan and Lyudmila was given to me by our famous comedian Shakhovsky.

The composer began working on the opera in 1837, without a libretto ready yet. Due to the death of Pushkin, he was forced to turn to minor poets and amateurs from among friends and acquaintances. Among them were N. V. Kukolnik (1809-1868), V. F. Shirkov (1805-1856), N. A. Markevich (1804-1860) and others.

The text of the opera included some fragments of the poem, but in general it was written anew. Glinka and his librettists made a number of changes to the actors. Some characters disappeared (Rogdai), others appeared (Gorislava); have undergone some changes and storylines poems. The idea of ​​the opera is largely different from the literary source.

Pushkin's brilliant youthful poem (1820), based on the themes of a Russian fairy tale epic, has features of light irony and a playful attitude towards the characters. Glinka resolutely refused such an interpretation of the plot. He created a work of epic scope, full of great thoughts, broad life generalizations.

Heroism, nobility of feelings, fidelity in love are sung in the opera, cowardice is ridiculed, deceit, malice and cruelty are condemned. Through the entire work, the composer conveys the thought of the victory of light over darkness, of the triumph of life.

The opera was written by Glinka for five years with long breaks: it was completed in 1842. The premiere took place on November 27 (December 9) of the same year at the Bolshoi Theater in St. Petersburg.

Ruslan and Lyudmila is an epic opera. Monumental images of Kievan Rus, the legendary figures of the Grand Duke Svetozar, the hero Ruslan, the prophetic folk singer Bayan take the listener to an atmosphere of ancient times, give rise to an idea of ​​beauty and grandeur folk life. A significant place in the opera is occupied by fantastic pictures of the kingdom of Chernomor, the castle of Naina, whose music is endowed with oriental flavor. The main conflict - the clash of the forces of good and evil - is reflected in the music of the opera due to the relief opposition musical characteristics actors. Vocal parts goodies, folk scenes are full of songs. Negative characters or deprived vocal characteristics(Chernomor), or outlined with the help of a recitative "talker" (Naina). The epic warehouse is emphasized by the abundance of choral mass scenes and the unhurried development of the action, as in an epic narration.

The idea of ​​the work - the triumph of the bright forces of life - is already revealed in the overture, in which the jubilant music of the opera's finale is used. In the middle section of the overture, mysterious, fantastic sounds arise.

The first act impresses with breadth and monumentality musical embodiment. The act opens with an introduction that includes a series of numbers. Bayan's song "Cases of Bygone Days", accompanied by harps imitating the harp, is sustained in a measured rhythm, full of majestic calmness. The second song of Bayan "There is a desert land" has a lyrical character. The introduction ends with a powerful congratulatory choir "To the Light Prince and health and glory." Lyudmila's cavatina "I'm sad, dear parent" - a developed scene with a choir - reflects the different moods of a girl, playful and graceful, but capable of great sincere feeling. The choir "Lel mysterious, intoxicating" resurrects the spirit of ancient pagan songs. The kidnapping scene begins with the harsh chords of the orchestra; music takes on a fantastic, gloomy flavor, which is preserved in the canon “What wonderful moment”, conveying a state of stupor that has engulfed everyone. The act is crowned by a quartet with a choir “O knights, rather in an open field”, full of courageous determination.

The second act, consisting of three scenes, begins with a symphonic introduction depicting a harsh, mysterious northern landscape, embraced by watchful silence.

In the first picture, Finn's ballad takes center stage; her music creates a noble image, full of deep humanity and moral beauty.

The second picture is the opposite of the first. The appearance of Naina is outlined by prickly rhythms of short orchestral phrases, cold instrumental timbres. A well-aimed comic portrait of a jubilant coward is captured in Farlaf's rondo "The hour of my triumph is near."

In the center of the third picture is Ruslan's magnificent musical aria; her slow introduction "O field, field, who strewn you with dead bones" conveys the mood of deep, concentrated meditation; the second section, in a fast energetic movement, is endowed with heroic features.

The third act is the most diverse in terms of color and picturesqueness of the music. Alternating choirs, dances, solo numbers paint the atmosphere of Naina's magical castle. The flexible melody of the Persian choir “Night darkness falls in the field” sounds charmingly seductive, imbued with sweet languor. Cavatina Gorislava "Luxury Star of Love" is full of hot, passionate feelings. Ratmir's aria "And heat and heat replaced the night with a shadow" is noted with a pronounced oriental flavor: the whimsical melody of the slow section and the flexible waltz-like rhythm of the fast one outline the ardent nature of the Khazar knight.

The fourth act is distinguished by lush decorativeness, brightness of unexpected contrasts. Lyudmila's aria “Oh, you share, share” - an extended monologue scene; deep sadness turns into determination, indignation and protest. The march of Chernomor paints a picture of a bizarre procession; angular melody, piercing sounds of pipes, flickering sounds of bells create a grotesque image of an evil sorcerer. The march is followed by oriental dances: Turkish - smooth and languid, Arabic - mobile and courageous; the dance suite concludes with a fiery, whirlwind lezginka.

There are two scenes in the fifth act. In the center of the first is Ratmir's romance "She is my life, she is my joy", imbued with bliss and passion.

The second scene is the finale of the opera. The stern, sorrowful choir "Oh, you, light-Lyudmila" is close to folk lamentations. The second move “The bird won't wake up in the morning” is colored with sadness, interrupted by the mournful remarks of Svetozar. The music of the awakening scene is fanned by the morning freshness, the poetry of a flourishing life; Ruslan sings a melody full of lively, quivering feeling (“Joy, clear happiness”); Lyudmila joins him, and then the rest of the participants and the choir. The final chorus (“Glory to the great gods”) sounds jubilant, light and cheerful (overture music).

OPERA PRINCE IGOR

Opera in four acts with a prologue; composer's libretto in Russian epic poem"The Tale of Igor's Campaign". First production: St. Petersburg, Mariinsky Theatre, October 23, 1890, directed by K. Kuchera.

The action takes place: in the prologue, in the first and fourth acts - in the city of Putivl, in the second and third acts - in the Polovtsian camp in 1185.

Everything is amazing in Prince Igor. First, of course, great music. Secondly, the fact that the opera was composed by a person whose professional occupation was not music, but chemistry (AP Borodin was an academic chemist). Thirdly, much in the opera, although it was composed by Borodin, was not written down and orchestrated by him; the opera was completed by the composer's friends N. A. Rimsky-Korsakov, A. K. Glazunov and A. K. Lyadov.

The overture, although it was composed by A.P. Borodin, was not put on paper by him. It was recorded, completed and orchestrated after his death and from the memory of A. K. Glazunov, who heard it many times performed on the piano by the author himself. Fourthly, all these composers often worked in such close contact with each other that it is almost impossible to determine what is written in Prince Igor with one hand and what with the other; in other words, musical style opera represents something artistically absolutely integral.

In April 1869, V.V. Stasov offered Borodin a wonderful monument as an opera plot. ancient Russian literature"The Tale of Igor's Campaign" (1185-1187). According to the composer, he liked the plot "terribly to his liking." In order to get deeper into the spirit of antiquity, Borodin visited the vicinity of Putivl (near Kursk), studied historical sources: chronicles, old stories ("Zadonshchina", " Mamaevo massacre”), studies about the Polovtsy, the music of their descendants, epics and epic songs. The composer was greatly assisted by V. V. Stasov, the greatest connoisseur of Russian history and ancient literature.

The text and music of "Igor" were composed simultaneously. The opera was written for 18 years, but was not completed. After Borodin's death, A. K. Glazunov restored the overture from memory and completed the missing episodes of the opera on the basis of the author's sketches, while N. A. Rimsky-Korsakov instrumented most of it. The premiere took place great success October 23 (November 4), 1890 in St. Petersburg, on the stage of the Mariinsky Theater.

"Prince Igor" - folk-epic opera. The epic warehouse of "Igor" is manifested in heroic musical images, in the scale of forms, in a leisurely, as in epics, course of action.

In a large overture based on melodies of the opera, the images of Russians and Polovtsy are contrasted. The middle episode paints a picture of a fierce battle.

The mighty chorus of the prologue "Glory to the Red Sun" (to the original text from the Lay) is akin to the harsh, majestically austere melodies of ancient epic songs. This chorus is framed by an ominous orchestral picture of the eclipse and a recitative scene in which the frightened boyars, the anxious, loving Yaroslavna, the rude Galitsky and the courageously adamant Igor are depicted.

The music of the first picture (the first act), with its reckless, riotous character, contrasts sharply with the mood of the prologue. Galitsky's song "If only I could wait for honor" resembles a sweeping dashing dance. In the girls' choir "Oh, dashingly" the peculiarities of plaintive folk lamentations are subtly reproduced. The rough-comic song of the buffoons "What's with Prince and Volodymyr" sounds with mock importance.

In the second picture, the image of the charmingly feminine, but strong-willed Yaroslavna is outlined in relief. In the arioso "A lot of time has passed since then" her longing and anxious forebodings are expressed; chastely restrained, strict in nature, the music gradually acquires a passionately excited character. Further, the action is dramatized, reaching the greatest tension in the scene of Yaroslavna with the boyars. The choirs of the boyars “Take courage, princess” and “We, princess, are not the first time” are full of harsh, formidable power.

The second act is devoted to the paintings of the Polovtsian camp. In Konchakovna's cavatina "Daylight Fades" one can hear love calls, passionate longing, sensual bliss. The poetry of youthful love, the charm of the luxurious southern night is fanned by Vladimir's cavatina "Slowly the day faded away." Igor's aria "No sleep, no rest" - a multifaceted portrait of the protagonist; sad thoughts about the fate of the motherland, and a passionate thirst for freedom, and a feeling of love for Yaroslavl are captured here. Khan Konchak appears domineering, cruel and generous in his aria “Is he healthy, prince?” The act ends with dazzlingly colorful scenes of dances, accompanied by a choir. Smooth female dance alternates in contrast, unbridled performed elemental force masculine and swift, easy dance of boys. Gradually, all groups are involved in a violently temperamental whirlwind dance.

In the third act (this act is usually released in productions), militancy and cruelty come to the fore in the depiction of the Polovtsy.

In the fourth act, the music develops from mourning to universal jubilation. Deep, inescapable sadness is heard in Yaroslavna's arioso "Oh, I'm crying", close to folk lamentations. Arioso results in folk lamentation - the choir of the villagers "Oh, not a violent wind howled", which sounds like a genuine Russian lingering song. Festive and solemn final choir "To know, the Lord has heard prayers."

Jean-Philippe Rameau - popular composer from France, famous for his musical experiments. He was famous throughout Europe, served as a court composer for the French king. He entered the history of world music as a theorist of the Baroque trend, the creator of a new operatic style. His detailed biography we will tell in this article.

Biography of the composer

Jean-Philippe Rameau was born in 1683. He was born in the French city of Dijon.

His father was an organist, so the boy was introduced to music from childhood. As a result, he learned the notes before he learned the alphabet. Jean-Philippe Rameau was educated at a Jesuit school. His parents strongly supported his passion for music. Therefore, as soon as he turned 18, they sent him to Italy to improve musical education. Jean-Philippe Rameau studied in Milan.

Returning to his homeland, he first got a job as a violinist in an orchestra in the city of Montpellier, then followed in his father's footsteps, starting to work as an organist. He constantly performed in Lyon, his native Dijon, Clermont-Ferrand.

In 1722, Jean-Philippe Rameau, whose biography is in this article, finally settled in Paris. He began to compose music for the capital's theaters. It is noteworthy that he wrote not only secular, but also spiritual works. In 1745 he was appointed court composer at the court of Louis XV the Beloved.

The most famous works

Secular works brought fame to the hero of our article. Jean-Philippe Rameau created many pieces for harpsichord, which in the 20th century became so popular that they even began to be played and studied in children's music schools. Also among his works it is worth noting as many as five concertos for violin, harpsichord and viola, characteristic pieces that are distinguished by a vivid and memorable style.

The composer also has spiritual works. First of all, these are three Latin motets, that is, polyphonic vocal works, which were extremely popular in the Middle Ages in Western Europe, have not lost their relevance in the Renaissance.

Among the popular plays by Rameau, one should note the works "Chicken", "Tambourine", "Hammers", "Dauphine", "Roll Call of Birds".

Musical experiments

These days, Ramo is primarily known as a daring musical experimenter. Especially often he made experiments when writing pieces for harpsichord. Rameau experimented with rhythm, harmony and texture. Contemporaries directly called his workshop a creative laboratory.

The example of the plays "Cyclopes" and "Savages" is indicative. In them, Rameau managed to achieve an amazing sound due to the unusual deployment of the tonal mode. It was very inventive and unusual for musical works that time. In the play "Enharmonic" Rameau was one of the first in the world to use enharmonic modulations, that is, he used sounds, chords, intervals and keys that coincided in height, which at the same time remained different in spelling.

Jean-Philippe Rameau's instrument is the organ. He also repeatedly experimented with it, achieving a fundamentally new sound.

New opera style

Jean-Philippe Rameau created a new operatic style. This is what he is most famous for among his contemporaries. You can evaluate it by the most famous musical tragedies of the author. For example, this is Hippolyte and Arisia.

This is his first opera, the libretto for which was written by Simon Joseph Pellegrin. The opera is based on the famous tragedy of Racine called "Phaedra", which, in turn, was written on the basis of the tragedies "Hippolytus" by Euripides and "Phaedra" by Seneca.

Interestingly, this opera was the only one by Rameau that was not popular with the audience. But it also sparked a lively controversy. Adherents of opera traditions believed that it turned out to be too complicated and artificial. Supporters of Rameau's music objected to them in every possible way.

It is noteworthy that Rameau wrote his first opera when he was almost 50 years old. Before that, he was known as the author of works on music theory and collections of easy pieces for harpsichord. Rameau himself worked for many years to create a great work worthy of the Royal Opera, but could not find a writer who would help him realize this plan. Only an acquaintance with the abbot Pellegrin, who by that time was already known as the author of the libretto for the opera Jephtha, saved the situation.

Pellegrin agreed to cooperate, but, according to rumors, demanded a promissory note from Rameau in case the work failed. One of the main innovations that the composer used in this opera was the connections that arose between the overtures and the content of the opera itself. So he managed to illustrate the confrontation between the main characters of the work - Hippolyta and Phaedra.

Rameau continued his work on the creation of a new operatic style in the operas Castor and Pollux, the opera-ballet The Gallant Indias, the works Dardanus, Hebe's Celebrations, or Lyrical Gifts, Naida, Said, Zoroaster, "Boready", lyrical comedy "Platea". Most of the operas were first staged at the Paris Opera.

Today, seven cantatas have become extraordinarily popular, which were never published during his lifetime. Often the choristers also perform his "Hymn of the Night". True, in recent times it became known that this is not a work of Rameau, but a later processing of the theme from the opera Hippolyte and Aricia, made by Noyon.

Treatises on Music Theory

At one time, Rameau became famous as a major musical theorist, thanks to whom the French classical music and the opera stepped far ahead. In 1722 he published the famous "Treatise on harmony reduced to its natural principles".

He also enjoyed and still arouses interest among specialists in his work in the ways of accompaniment on the harpsichord and organ, research on the origin of harmony, demonstration of its foundations, and observation of a person's inclination to music.

In 1760, his treatise "Laws of practical music".

Composer recognition

After the composer's death, he was quickly forgotten, since Rameau was replaced by an even bolder reformer, Christophe Gluck, who created a fundamentally new opera. Throughout almost the entire 19th century, Rameau's works were not performed. His music was carefully studied only by the composers themselves. For example, Richard Wagner and

Only at the beginning of the 20th century did the works of Rameau begin to return to the stage. today he has become a recognized genius of French music, one of the most influential figures mid-eighteenth century.

A crater on the planet Mercury was even named after the composer.