Musical composer impressionist. Impressionism in painting and music

Musical Impressionism developed on the basis of the picturesque course of Impressionism. Traditionally, Claude Debussy and Maurice Ravel are considered representatives of impressionism in music.

In the music of impressionist composers, the main thing was the transmission of moods that acquire the meaning of symbols, the fixation of subtle psychological states caused by the contemplation of the external world. Musical impressionism was also close to the art of symbolist poets with its cult of the "inexpressible".

The forerunner of musical impressionism was the late romanticism of the 19th century. Many musical finds of romantic composers were reflected in the music of the Impressionists.

Romantic composers have increased interest in the poeticization of antiquity and distant lands, in timbre and harmonic brilliance, the resurrection of archaic modal systems, the miniature genre, the coloristic discoveries of E. Grieg, N. A. Rimsky-Korsakov, the freedom of voice leading and spontaneous improvisation by M. P. Mussorgsky.

One of the critics wrote: “Listening to impressionist composers, you mostly revolve in a circle of vague iridescent sounds, tender and fragile to the point that the music is about to suddenly dematerialize ... only in your soul for a long time leaving echoes and reflections of intoxicating ethereal visions” .

I. V. Nestyev in his article “Impressionism” writes: “Musical impressionism contributed to the development of many musical genres that replaced romanticism. In symphonic music, these are symphonic sketches, in piano music, compressed program miniatures, and in vocal music, vocal miniatures. In opera, this led to the creation of musical dramas of semi-legendary content, with an enchanting delicacy of sound atmosphere, avarice and naturalness of vocal recitation.

Musical discoveries and improvisation in the music of impressionist composers opened the way for new musical means expressiveness. The unusual harmony, the use of parallelisms, the combination of complex chord complexes weakened the clarity of the functional connection. All this allowed the Impressionists to saturate their works. unusual colors and consonances.

The first mention of impressionism in relation to Debussy's music was made in the spring of 1887, moreover, the term was used rather in a negative context. It was about the suite "Spring" in two parts for women's choir and orchestra. Unfortunately, the score of this work has not survived to this day in its original form, but it is known that its performance excited the cultural community.

The critic in his Report of the Permanent Secretary of the Academy of Fine Arts writes about Debussy: “One can state that he has a sense of musical color, however, the excess of this feeling makes him easily forget about the importance of the accuracy of drawing and form. He should very much avoid this indefinite impressionism - one of the most dangerous enemies of truth in works of art.

Comparison of the composer's music with the pictorial current led critics to analyze the musical innovations in his work. Another critic, Camille Mauclair, in his article "Musical Painting and the Fusion of the Arts" in the Revue Blue newspaper in 1902, called Debussy's music an "impressionism of sound spots".

The term "impressionism", used by music critics of the late nineteenth century. in a judgmental or ironic sense, later became a generally accepted definition and began to cover a wide range of musical phenomena turn of the nineteenth- XX centuries. both in France and elsewhere in Europe.

Let us consider in more detail the innovative musical discoveries of the Impressionist composers Claude Debussy and Maurice Ravel.

Claude-Achille Debussy (1862-1918)

Grigory Mikhailovich Schneerson in his book “French Music of the 20th Century” calls Debussy “to the marrow of his bones French artist". He writes that none foreign influences failed to change the national creative image of Debussy - this composer brought French music to one of the leading places in world musical culture.

Since 1872, studying at the Paris Debussy Conservatory, he stood out among his class as a well-formed artistic individuality. The piano class was taught by the famous pianist and teacher Antoine Marmontel, he studied solfeggio with Albert Lavignac. Most of all, the young composer did not like the lessons in harmony and accompaniment from Emile Duran. The teacher brought up the young man in line with the classical rules of harmony and could not cope with the artistic impulses of his student. Another teacher, O. Basil, encouraged the freedom of improvisation in the future composer. Debussy's composition was led by Ernest Guiraud from 1880, and then the first works of the composer began to appear.

A little earlier, traveling through Switzerland and Italy, Debussy met a wealthy Russian philanthropist, Nadezhda Filaretovna von Meck, who introduced him to the work of Pyotr Ilyich Tchaikovsky.

In her letters to Pyotr Ilyich, Madame von Meck wrote about Debussy as follows: “He is a Parisian from head to toe, a typical gamin (street boy), very witty, an excellent imitator, amusingly and quite characteristically represents Gounod Ambroise Thomas and others, always in the spirit, always and is pleased with everything and makes the whole audience laugh unimaginably; lovely character."

It should be noted that in 1883 Debussy received the second Rome Prize for the cantata "Gladiator". And a year later, the French Academy awards the composer the Grand Prize of Rome for the cantata The Prodigal Son.

Since 1885, Debussy began searching for his original musical language. Then he stood in opposition to the classical traditions of harmony. At this time, the art of France, with all the variety of artistic trends, experienced a stagnation of academicism and respectable conservatism. This was welcomed by official institutions - the Academy of Fine Arts, annual exhibitions, salons, the conservatory.

The young generation of artists, writers, musicians late XIX century challenged the generally accepted norms in art and opened up new aesthetic horizons in his work. In this field, a trend of symbolism arose in French literature, impressionism in painting.

Debussy's style gradually took shape from 1884 to 1889. The composer created a completely new piano language. His contemporaries noted that Debussy the pianist was very attentive to the nuances of the pieces, he attached special importance to the pedal, which created a special color and effect of the pieces. Here are some statements by musicologists: “Debussy did for the piano literature of the 20th century what Chopin did for the 19th century. He opened a new sound for the piano, made a revolution in pianistic technique, expanding the technical capabilities of the instrument.”

When composing his works, the composer could improvise at the instrument for a very long time, and his composing searches can be called “controlled improvisation”. This term was introduced into musical use by J. Barrake.

Teacher R. Godet noted: “Debussy only then began to record music, at least most often, when a long incubation period passed. Then he wrote as if under dictation and almost without blots.

In 1889, Debussy succumbed to new trends in art, directed against academicism, and changed his circle of friends. Now the composer was interested in the ideology of symbolism in literature and impressionism in painting. He met the poets S. Mallarme, P. Verlaine, P. Renier, artists: C. Monet, O. Renoir, P. Cezanne, E. Manet. We can say that Debussy was able to generalize and express all the ideas of symbolism and impressionism in music.

At the same time, the composer visited the Paris World Exhibition, where he heard Russian music by A. P. Borodin, N. A. Rimsky-Korsakov, M. A. Balakirev and M. P. Mussorgsky.

Another significant event in the life of the composer was his acquaintance with the culture of the East. Debussy was one of the first who turned to the theme of the East in his work. Being strongly impressed by her, Debussy wrote the cycle "Prints". The play "Pagodas", which is part of the cycle, is a vivid reflection of oriental culture.

Throughout his life, the composer's sources of inspiration were cultural events not only in France, but all over the world. It should be noted that the mutual influence of French and Russian musical cultures was largely carried out due to the "Russian Seasons" organized by Sergei Diaghilev.

The results of Debussy's musical searches gave a strong impetus to the development of new styles in music. The main fundamental difference between Debussy's musical language was the freedom of self-expression and independence from the classical forms of musical works.

In the piano work of Debussy, influences of romanticism, as well as French harpsichordism, are visible. Almost all of Debussy's works are subject to such a principle as "controlled improvisation".

In the recording of his piano works, he is the first of the composers to use the third line in the common accolade, instead of the traditional two. This is one of the ways to convey the correspondence of the visual image to the auditory one. The third line was first used in the play "An Evening in Grenada" and the play "From the Sketchbook".

The innovation of the piano works of Claude Debussy is determined by the expansion of the piano's capabilities of the instrument and the new topography of the musical text.

Maurice Joseph Ravel (1875 -1937)

Ravel was a composer whose work combined two cultures - Spain and France. His father was French and his mother was Spanish. All his adult life Ravel lived in Paris.

In 1889 Ravel entered the Paris Conservatoire. His teachers were: in the piano class - Pessar, in the class of counterpoint - Gedal, in the class of composition, the outstanding teacher of France Gabriel Foret. During the years of study, the young composer stood out from his comrades by the originality of his composer's thinking. He was fascinated by modernism, the work of symbolist poets such as S. Mallarme, Vellier de Lille Adan, and others. The first steps in the composer's field were not easy for Ravel.

He made his debut in 1898 with Habanera for two pianos. Later, Ravel included "Habanera" as one of the movements in his "Spanish Rhapsody". But criticism met the new composer unfriendly. Failures in the competition at the Academy of Arts from 1901 to 1905 do not bring recognition to the cultural community of Ravel's composer talent.

After graduating from the conservatory, Ravel joined a group of talented young writers, musicians, artists, where he found true comrades and friends. In this group, the main idea was the struggle against routine, for the creation of new art. This group, with the ironic name "apaches", included the excellent pianist Ricardo Viñes, music critics Emile Viyermoz and Mikhail Calvocoressi, the poet Leon Paul Fargue and Tristan Klingsor, and others. Young people did not miss a single musical concert, expressed their admiration for Debussy's music, and clashed with musical conservatives.

Russian music was accepted by the "Apaches" with enthusiasm and enthusiasm. Tristan Klingsor writes: “We were all passionate about Russians. Borodin, Mussorgsky, Rimsky delighted us…”.

Ravel's early works "Pavane for the Death of the Infanta", the play "The Play of Water", the vocal cycle "Scheherazade" received recognition from his contemporaries. The play "The Play of Water" was taken as a model for the works of musical impressionism. French criticism was inclined to believe that Ravel is the successor of Debussy's ideas. Struggling with the constant comparison of his music with the music of Debussy, Ravel had to defend his author's findings.

From 1905 to 1915, Ravel wrote the Sonatina and the cycle of pieces for piano "Reflections", the vocal suite "Natural Stories", "Spanish Rhapsody" for orchestra, the opera "Spanish Hour", the ballet "Daphnis and Chloe", etc. In 1908 " Spanish Rhapsody" was warmly received by the public and the press. After this premiere in Paris, Ravel received recognition in wide musical circles.

Ravel actively collaborated with the Russian Seasons. By order of Sergei Diaghilev, the composer wrote the ballet Daphnis and Chloe. Contrary to expectations, on June 8, 1912, the premiere of the ballet took place with great triumph and was accompanied by a tribute to the composer. The French press, admiring the ballet, wrote about the impossibility of performing this music outside the stage. One of the critics wrote: “Without dance, without actors, without light, without scenery, Daphnis will seem unbearably long…”.

Fortunately, the opinion of many critics turned out to be erroneous. Some pieces from this ballet are still performed separately. symphony orchestras and are included in their permanent repertoire.

In 1913, Ravel follows the stylistic trends of Western European music. In his music, a simplification of the musical texture can be traced, most of all it concerns the area chamber music. Throughout his life, Ravel did not deviate from classical forms in music; his works are characterized by drawn-out melodies, observance of the clarity of rhythm and meter.

The musical language of Ravel reveals to the world a kind of "neoclassicism". During the war years, Ravel abandons the ideas of impressionism, his work touches on social problems, everyday topics, his music is filled with philosophical reflections.

Most famous work Ravel - "Bolero". Initially, the composer conceived the performance, but its premiere was a failure. The audience did not accept the composer's new work, but the musical theme "Bolero" was easily picked up.

Ravel was one of the first composers to accept an offer to write music for a film - it was Don Quixote. The composer wrote three songs for the Russian bass Fyodor Chaliapin, these songs form a small cycle, which he called "Don Quixote to Dulcinea".

A. A. Alshvang notes that Ravel's work contributed to the definition of the main trends in Western European musical culture. The main feature of Ravel's work was finding a variety of harmonic musical solutions, the use of more complex harmonies, the frequent use of chords with delay, thereby the composer updated the traditionally established harmonic system.

Ravel's art, imbued with humanism, is imbued with national French flavor. Sergei Sergeevich Prokofiev correctly identified Ravel's place in the history of world music. He wrote: “At one time, after the war, a group of young musicians appeared in France: Honegger, Milhaud, Poulenc and others, who, in the heat of youthful enthusiasm, claimed that Ravel’s music had outlived its time, new people came, a new musical language came. But as the years passed, the said group took its rightful place in French music, and Ravel is still one of the greatest French composers and one of the most significant musicians of our time.”

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Lesson type: lesson-immersion in the topic.

Lesson Objectives:

• to reveal the links between musical and visual arts;
• to motivate students to further deep independent development of the work of the Impressionists.

Lesson objectives:

• updating students' knowledge;
• deepening ideas about the interaction of arts;
• development of the emotional sphere, the ability to listen to music, to express one's attitude towards it;
• penetration into the emotional structure of the works of the Impressionists.

Lesson equipment:

• audio recordings of Impressionist works;
• multimedia presentation on the topic “Impressionism”;
• animated films “Hedgehog in the Fog” (dir. Yu.Norshtein), “Bolero” (dir. I.Maksimov);
• notes: M. Ravel "Bolero", C. Debussy "Girl with Flax-colored Hair", "Interrupted Serenade", "Puppet Cake Walk".

During the classes

Organizing time.[Slides 1,2,3]

U .: Today we will get acquainted with an interesting trend in art, the name of which is impressionism. We will try to penetrate into the essence of this phenomenon, to reveal the degree of its influence on music. At the beginning of the lesson, I bring to your attention a fragment of the animated film directed by Yuri Norshtein “Hedgehog in the Fog”. [slide 4]

“Hedgehog in the Fog” - cartoon

Dive into the topic.

U .: Who does not know “The Hedgehog in the Fog” is a wonderful animated film by Yuri Norshtein. Have you ever wondered what the idea behind this movie is? First of all, the idea is in the fog, thanks to which the usual visit of the Hedgehog to the Bear becomes a real adventure. It becomes an adventure because the fog endows the small space between them with complexity, mystery, mystery. A dog, a horse, an old tree, a hooting owl - everything here becomes as if seen for the first time, as if re-created by the Hedgehog's vision. Thus, it turns out that the fog allows the Hedgehog to discover a new world. And that is why the finale of the film brings such relief, when the Hedgehog and the Bear in the clear night sky begin to count the stars. With all the poetry and independence of this situation, the main thing here is the release from the tension created by the fog. Thanks to the fog, the Hedgehog gets new impressions from familiar objects. The word “impressionism” is translated from French as “impression”.

Repetition of material.

[Slides 5,6,7,8] Claude Monet “Impression. Sunrise”, Camille Pissarro “Opera Passage in Paris”, Auguste Renoir “Large Vase of Flowers”, Edgar Degas “Green Dancers”.

Students' answers to the teacher's questions:

1. Do you know some of these paintings? (students name).
2. What can you say about Impressionist painting based on your visual sensations? (blurred silhouettes, clean colors, use of halftones).
3. Is there anything in common in the works of impressionist artists with the animated film "Hedgehog in the Fog"?
4. When and in what country did this movement - impressionism - arise? (France, last third of the 19th century).
5. What form of art did impressionism originally manifest itself in? (In painting).
6. Name some impressionist painters you know. (C. Monet, E. Manet, E. Degas, K. Pissarro, P. Cezanne, O. Renoir).
7. What does the term "impressionism" mean? How did it come about? (“Impression”, from the name of the painting by C. Monet “Impression. Sunrise”).
8. List the genres to which the artists addressed. (Landscape, lyrical portrait, everyday genre).
9. What are the features of the painting technique (working outdoors as an indispensable condition for creativity, light as the main means of expression, the rejection of the technique of mixing colorful tones on the palette and applying paint to the canvas with only pure tones, the technique of writing with small strokes).
10. In what types of art, in addition to painting, did impressionism manifest itself (sculpture, literature, music).
11. Name the expressive means of painting and music [Slide 9].

[Slides 10,11]

Claude Monet "Rouen Cathedral at noon", Claude Monet "Rouen Cathedral in the evening".

Exercise. Imagine yourself as a composer. Tell me what expressive means of music you would use to create works based on these paintings.

W.: Pictorial impressionism had a significant influence on music. Task: to find out from the verbal description which of the impressionist composers we are talking about.

a) French composer. He graduated from the Paris Conservatoire (1884) and received the Prix de Rome. As a home pianist of the Russian philanthropist N.F. von Meck accompanied her on her travels in Europe, in 1881 and 1882. visited Russia. He performed as a conductor and pianist, performing mainly his own works, as well as a music critic. Author of 24 preludes for pianoforte, suite "Children's Corner", orchestral "Nocturnes", "Preludes to the Afternoon of a Faun". _________________ (Claude Debussy). [Slide 12].

b) French composer. Graduated from the Paris Conservatoire (1905). Three times he participated in the competition for the Rome Prize, then voluntarily refused it. He performed as a pianist and conductor. In 1929 he received an honorary doctorate from Oxford University. A bright representative of impressionism, but he is distinguished by a conscious attraction to classic style. He acts as an interpreter of the works of other composers. Author of "Bolero", ballet "Mother Goose", "Spanish Rhapsody". ___________________ (Maurice Ravel). [Slide 13].

W.: Musical impressionism took shape in an environment of ongoing struggle between the traditional and the new. It was asserted in opposition to the outdated, but tenaciously held, “academic” traditions. musical art France in the early twentieth century. Young Debussy and Ravel felt it to the fullest. Their first creative experiments met with the same hostile attitude from the leadership of the Paris Conservatory and the Academy of Fine Arts, as well as the paintings of the Impressionist artists. There were negative reviews for such works by Debussy as the symphonic ode “Zuleima”, the symphonic suite “Spring”, the cantata “The Chosen Virgin”. The composer was accused of a deliberate desire to "do something strange, incomprehensible, impossible." Ravel's play The Play of Water was also disapproved of by the conservatory professors, and he did not receive the Prix de Rome in 1903. Debussy and Ravel had to make their way in art alone, because they had almost no like-minded people and associates. Their entire life and creative path was full of searches and bold experiments in the field of musical genres and means of the musical language.

Work with musical text, listening to music.

Teacher: Let's turn to the music of Debussy and Ravel. Composers explain the content of their works by giving them titles. We will hear the music, name the works, follow their development by notes, look at the paintings of the Impressionists. After that, you will answer the question: which of these works, in terms of inner mood, is the music most in line with?

[Slide 14].

Claude Debussy's Prelude "Girl with Flaxen Hair" <Приложение 2>.

Student actions:

A) name the work;

B) from the visual range choose a picture corresponding to the auditory impressions, explain their choice;

The students answer the teacher's questions.

Questions:

1. How many preludes are included in piano cycle?
2. What composers before Debussy turned to the genre of preludes?
3. What attracted the composer to this genre?
4. Why does the composer indicate the title only at the end of the piece? (Not wanting to “impose” his idea on the performer and listener, he puts out headings at the end of the piece, enclosing it in brackets and surrounding it with ellipsis).
5. What is the circle of prelude images?
6. In what musical forms are most of the preludes written?

[Slide 15]. Questions:

1. Why was the composer not attracted by the creation of portraits of people close to him?
2. What impression does the prelude “The Girl with the Flaxen Hair” make?
3. What instrument sounds like a melody?
4. What makes a melody pentatonic?
5. Name the characteristic features of the harmonic language of the prelude.
6. In what form is the prelude written? What are the features of the last part?

[Slide 16]. Sounds prelude Claude Debussy "Interrupted Serenade" <Приложение 3>

Student actions:

A) name the work;

B) from the visual range we choose a picture corresponding to auditory impressions, explain our choice.

[Slide 17]. Questions:

1. What is the programmatic intention of this prelude?
2. What role does the composer assign to instrumental accompaniment?
3. Tell me about the prelude melody.
4. What expressive means does the composer use to convey the idea?
5. What is the "impressionism" of the prelude?

[Slide 18]. The play "Puppet Cake Walk" by Claude Debussy from the piano album "Children's Corner" sounds (performed by 5th grade student Arina Stolyarova) <Приложение 4>

Questions:

1. Name the work.
2. What is Claude Debussy's "Children's Corner"?
3. Name the pieces that are included in the cycle.
4. Tell us about the piece "Puppet Cake Walk". What are the features of the rhythm of this piece? [Slide 19].

[Slide 20]. A fragment of "Bolero" by Maurice Ravel sounds <Приложение 5>

Questions:

1. Name the piece that has just been played.
2. What is "Bolero"?
3. When was Bolero created?
4. What explains the long symphonic life of this work?
5. What are the features of the theme of the work? [Slide 21].
6. Tell us about the colorful orchestration of Bolero. [Slide 22].
7. What is the role of the string instrument group?
8. What expressive means does the composer use when approaching the climax?

Using the table of emotional states, characterize this work. [Slide 23].

Test work: Test<Приложение 6>.

Summing up the lesson. Answers to teacher's questions.

• Name the impressionist composers whose work we met in the lessons of musical literature.

Claude Debussy, Maurice Ravel.

• What features of impressionistic music do you know?

The images are elusive, unsteady, vague, elusive. Composers strive to convey their impressions in daylight and at night, in summer and winter, in fog or rain. Hence comes the attraction of impressionist composers not to large forms, but to miniatures. They make it easier to convey fleeting impressions of various phenomena, a change of mood.

The value of the melody, as the main expressive element of music, is weakened, it dissolves in the harmonic background. There are no bright, wide melodies, only short melodic phrases flicker.

The role of harmony grows, its colorful meaning comes to the fore. Complex, unstable harmonies are characteristic: increased triads, decreased seventh chords, non-chords.

Frets play an important role in creating colorful sound. Debussy and Ravel often turn to old folk modes: Dorian, Phrygian, Mixolydian, pentatonic.

Orchestration plays the main expressive role in the works of the Impressionists. The string group loses its dominating importance, woodwind instruments come to the fore. Ravel uses unusual combinations of instruments.

Composers turn to modern rhythms.

The music of impressionist composers is programmatic, that is, the authors explain its content by giving titles to their works.

• What do you think, is there anything in common between impressionist painters and impressionist composers?

Music can paint with sounds, we see these pictures. Music recreates images of nature and live sketches of domestic urban scenes. In music, as in Impressionist paintings, there is a sense of light. The work of artists and composers has much in common. First of all, this is a related topic. Landscape becomes the leading theme. The lyrical portrait also became a typical theme. attracts them and household genre. The variety of modes among Impressionist musicians is analogous to the enrichment of the color palette of Impressionist artists.

W.: Now we can find the answer to the question that was raised at the beginning of the lesson: what is impressionism? Impressionism is a new world open to people by artists and composers. The art of Debussy and Ravel, like the canvases of impressionist artists, sings of the world of natural human experiences, conveys a joyful feeling of life, reveals to the audience a beautiful poetic world of nature, painted with subtle, original sound colors. Artists sought to reflect in their works not the surrounding world, but their personal impression of this world. Many trends in the art of the subsequent, twentieth century, appeared thanks to the new methods of impressionism.

Homework(at the student's choice):

1) write a short essay on the topic: “What do I feel when listening to the music of the Impressionists”;

2) choose the expressive means of music for the picture: Auguste Renoir. “Woman with a fan” [Slide 24].

At the end of the lesson, I bring to your attention a fragment of the animated film directed by Ivan Maksimov "Bolero". We remember the unusual decision of "Bolero" as a ballet performance: a dance in a tavern and a dance against the backdrop of a factory wall (according to Ravel's plan). Artists of the 20th century have their own view of the music of the Impressionists. As Maksimov said about his character: “He is his own guiding star that shines and does not need anything.”

“Bolero” - cartoon (fragment) <Приложение 8>

Today we talked about impressionism in painting and in music. I hope that our lesson did not leave you indifferent, and when you find yourself in the museum, you will linger in the hall of the Impressionists, discovering something new and interesting for yourself in their art, perhaps similar to your feelings. Think about how beautiful the moment left for us by artists. I hope that you will have a desire to get to know the music of Debussy and Ravel more deeply. Lesson over, thanks!

Literature

1. Bryantseva V. N. Musical Literature of Foreign Countries: A Textbook for Children's Music School: The Second Year of Teaching the Subject. - M .: - Music. - 2001. - 183 p., not., ill.
2. foreign composers. Biographies, quizzes, crossword puzzles / O. K. Razumovskaya. – M.: Iris-press, 2008. – 176 p. - (Methodology).
3. Impressionism in music and painting / Shemyakina Svetlana Yurievna/ http://festival.1september.ru/articles/101447/
4. Musical literature: the development of Western European music: the second year of study: textbook. allowance / M. Shornikova. - Ed. 12th. - Rostov n / D: Phoenix, 2010. _ 281, (1) p.: ill. + CD. - (Teaching aids for music schools).
5. Osovitskaya Z., Kazarinova A. In the world of music. Proc. Manual for musical literature for music school teachers. – M.; St. Petersburg: Music, 1997. - 200 p.: ill.
6. Open lesson on the basics of musical knowledge. Topic: "Impressionism in music" / Smorodina Natalya Alekseevna / http://festival.1september.ru/articles/524906/
7. Modern music lesson: creative techniques and tasks. / E. A. Smolina. - Yaroslavl: Academy of Development, 2007. - 128 p. (To help the teacher).
8. Lesson "Press conference with the Impressionists" / Young Antonina Vitalievna/ http://festival.1september.ru/articles/531756/

Plan
Introduction
1 Origin
2 Style features
3 Representatives
Bibliography

Introduction

musical impressionism (fr. impressionnisme, from fr. impression- impression) - a musical direction similar to impressionism in painting and parallel to symbolism in literature, which developed in France in the last quarter of the 19th century - the beginning of the 20th century, primarily in the works of Eric Satie, Claude Debussy and Maurice Ravel.

The starting point of "impressionism" in music can be considered 1886-1887, when the first impressionistic opuses of Erik Satie were published in Paris ("Sylvia", "Angels" and "Three Sarabandes")- and as a result, five years later, the first works of Claude Debussy in the new style, which received resonance in the professional environment (above all, The Afternoon of a Faun).

1. Origin

Musical Impressionism has as its predecessor, above all, Impressionism in French painting. They have not only common roots, but also cause-and-effect relationships. And the main impressionist in music, Claude Debussy, and especially Eric Satie, his friend and predecessor on this path, and Maurice Ravel, who took over from Debussy, sought and found not only analogies, but also expressive means in the work of Claude Monet, Paul Cezanne , Puvis de Chavannes and Henri de Toulouse-Lautrec.

The term “impressionism” itself in relation to music is emphatically conditional and speculative (in particular, Claude Debussy himself repeatedly objected to it, however, without offering anything definite in return). It is clear that the means of painting, connected with vision and the means of musical art, based mostly on hearing, can be connected with each other only with the help of special, subtle associative parallels that exist only in the mind. Simply put, the blurry image of Paris “in the autumn rain” and the same sounds “muffled by the noise of falling drops” already have the property artistic image but not a real mechanism. Direct analogies between the means of painting and music are possible only through composer's personality who experienced the personal influence of artists or their paintings. If an artist or composer denies or does not recognize such connections, then it becomes at least difficult to talk about them. However, we have confessions as an important artifact and, (which is the most important) the works of the main actors musical impressionism. It was Erik Satie who expressed this idea more clearly than the rest, constantly focusing on how much he owes to artists in his work. He attracted Debussy to himself with the originality of his thinking, independent, rude character and caustic wit, which did not spare any authorities at all. Also, Satie interested Debussy with his innovative piano and vocal compositions, written in a bold, though not entirely professional hand. Here, below are the words with which in 1891 Satie addressed his newly found friend, Debussy, prompting him to move on to the formation of a new style:

When I met Debussy, he was full of Mussorgsky and persistently looked for ways that are not so easy to find. In this regard, I have long outdone him. I was not burdened by either the Roman Prize or any others, for I was like Adam (from Paradise), who never received any prizes - definitely lazy!… At that time I was writing "Son of the Stars" to the libretto of Péladan and explaining to Debussy the need for the Frenchman to free himself from the influence Wagnerian principles that do not meet our natural aspirations. I also said that although I am by no means an anti-Wagnerist, I still think that we should have our own music and, if possible, without "German sour cabbage". But why not use the same visual means, which we see in Claude Monet, Cezanne, Toulouse-Lautrec and others? Why not transfer these funds to music? There is nothing easier. Isn't that what real expressiveness is?

- (Erik Satie, "Claude Debussy", Paris, 1923).

But if Satie derived his transparent and stingy impressionism from the symbolic painting of Puvis de Chavannes, then Debussy (through the same Satie) experienced the creative influence of the more radical impressionists, Claude Monet and Camille Pissarro.

It is enough just to list the titles of the most striking works of Debussy or Ravel in order to get a complete picture of the impact on their work as visual images, and landscapes of impressionist artists. So, in the first ten years Debussy wrote "Clouds", "Prints" (the most figurative of which, a watercolor sound sketch - "Gardens in the rain"), "Images" (the first of which, one of the masterpieces of piano impressionism, "Reflections on the water ”, evokes direct associations with the famous painting by Claude Monet "Impression: Sunrise")… By famous expression Mallarme, impressionist composers studied "hear the light", convey in sounds the movement of water, the fluctuation of foliage, the breath of the wind and the refraction of the sun's rays in the evening air. The symphonic suite "The Sea from Dawn to Noon" adequately sums up Debussy's landscape sketches.

Despite his often advertised personal rejection of the term "impressionism", Claude Debussy has repeatedly spoken out as a true impressionist artist. So, speaking of the earliest of his famous orchestral works, Nocturnes, Debussy admitted that the idea of ​​the first of them (Clouds) came to his mind on one of the cloudy days when he looked at the Seine from the Concorde bridge ... Well As for the procession in the second part (“Celebrations”), this idea was born by Debussy: “... while contemplating the equestrian detachment of soldiers of the Republican Guard passing in the distance, whose helmets sparkled under the rays of the setting sun ... in clouds of golden dust.” Similarly, the works of Maurice Ravel can serve as a kind of material evidence of direct links from painting to music that existed within the Impressionist movement. The famous sound-visual "Play of water", the cycle of pieces "Reflections", the piano collection "Rustle of the Night" - this list is far from complete and can be continued. Sati stands somewhat apart, as always, one of the works that can be called in this regard is, perhaps, “The Heroic Prelude to the Gates of Heaven”.

The surrounding world in the music of impressionism is revealed through a magnifying glass of subtle psychological reflections, subtle sensations born from the contemplation of minor changes taking place around. These features make Impressionism related to another artistic movement that existed in parallel - literary symbolism. Eric Satie was the first to turn to the works of Josephine Péladan. A little later, the work of Verlaine, Mallarme, Louis and especially Maeterlinck found direct implementation in the music of Debussy, Ravel and some of their followers.

Despite the obvious novelty of the musical language, impressionism often recreates some expressive techniques characteristic of the art of the previous time, in particular, the music of French harpsichordists of the 18th century, the Rococo era. One need only recall such famous pictorial plays by Couperin and Rameau as "Little Windmills" or "The Hen".

In the 1880s, before meeting Eric Satie and his work, Debussy was fascinated by the work of Richard Wagner and was completely in the wake of his musical aesthetics. After meeting Satie and from the moment of creating his first impressionist opuses, Debussy moved with surprising sharpness to the positions of militant anti-Wagnerism. This transition was so sudden and abrupt that one of Debussy's close friends (and biographer), the famous musicologist Émile Vuyermeaux, directly expressed his bewilderment:

Debussy's anti-Wagnerism is devoid of grandeur and nobility. It is impossible to understand how a young musician, whose whole youth is intoxicated with the intoxication of Tristan, and who, in the formation of his language, in the discovery of infinite melody, undoubtedly owes so much to this innovative score, contemptuously ridicules the genius who gave him so much!

- (Emile Vuillermoz, “Claude Debussi”, Geneve, 1957.)

At the same time, Vuyermeaux, internally connected by relations of personal hostility and enmity with Eric Satie, did not specifically mention him and released him as the missing link in creating a complete picture. Indeed, French art at the end of the 19th century, crushed by Wagnerian musical dramas, asserted itself through impressionism. For a long time, it was precisely this circumstance (and the growing nationalism between the three wars with Germany) that made it difficult to talk about the direct influence of the style and aesthetics of Richard Wagner on Impressionism. Perhaps, the famous French composer of Cesar Franck's circle, Vincent d'Andy, an older contemporary and friend of Debussy, was the first to put this question point-blank. In his famous work "Richard Wagner and his influence on the musical art of France", ten years after the death of Debussy, he expressed his opinion in a categorical form:

“The art of Debussy is indisputably from the art of the author of Tristan; it rests on the same principles, is based on the same elements and methods of constructing the whole. The only difference is that Debussy interpreted the dramatic principles of Wagner ..., so to speak, a la francaise ».

- (Vincent d'Indy. Richard Wagner et son influence sur l'art musical francais.)

In the sphere of colorful and oriental painting, fantasy and exoticism (interest in Spain, the countries of the East), the Impressionists were also not pioneers. Here they continued the brightest traditions of French romanticism, in the person of Georges Bizet, Emmanuel Chabrier and the colorful scores of Leo Delibes, at the same time (like true impressionists) avoiding spicy dramatic stories and social topics.

Impressionism in painting and music

The Impressionists believed that the task of art is to correctly reflect the impressions of the surrounding world - a living and ever-changing one. Life is a series of unique moments. That is why the task of the artist is to reflect reality in its incessant variability. Objects and creatures must be depicted not as they are, but as they look in this moment. They may look different due to distance or angle of view, due to changes in the air environment, time of day, lighting. In order to correctly reflect his impressions, the artist must work not in the studio, but in nature, that is, in the open air. And in order to correctly convey the fast ones in the surrounding landscape, you need to paint quickly and complete the picture in a few hours or even minutes, and not, as in the old days, in a few weeks or months. Since the surrounding reality appears before the artist in a new light, the moment captured by him is a document of the minute.

The new direction, which manifested itself so clearly in painting, also influenced other types of art: poetry and music. Musical impressionism was most fully embodied in the work of two French composers: Claude Debussy and Maurice Ravel.

Musical impressionism grew out of national traditions french art. Colorfulness, decorativeness, interest in folk art, ancient culture, a large role of programming has always been characteristic of French music. All this was clearly manifested in the work of Debussy and Ravel. But the most direct and fruitful influence on the new direction in music, of course, was pictorial impressionism.

There is much in common in the work of Impressionist artists and composers. First of all, this is a related topic. The leading theme islandscape».

The focus of painters is the urban landscape, where the city attracts artists in interaction with general natural processes, nuances of the atmosphere. In the painting “Capuchin Boulevard in Paris” by C. Monet, the composition is built on the contrast of the continuous movement of pedestrians and the static forms of houses and tree trunks; on the contrast of warm and cold colors; in an expressive temporal contrast - two frozen figures are, as it were, turned off from the fast-flowing time. The image is given blurry and elusive, there is a feeling of overlapping several images taken from one point on one frame. Much attention was paid to artists and images of nature. But they have such a landscape in which the subject itself recedes into the background, and the main character of the picture becomes a changeable and fickle light. Claude Monet introduced the practice of working on a series of canvases depicting the same motif in different lighting. Each picture of the series is unique, because it is transformed by changing light. Unusual attitude to the landscape and impressionist composers.

None of the composers of the past embodied such a variety and richness of subjects associated with pictures of nature. Moreover, Debussy and Ravel in the images of nature are attracted, first of all, by what moves: rain, water, clouds, wind, fog, and the like. For example, such plays by Debussy: “Wind on the Plain”, “Gardens in the Rain”, “Fogs”, “Sails”, “What the West Wind Saw”, “Heather”, “The Play of Water” by Ravel. In such works, some techniques of sound representation, characteristic of the music of the Impressionists, were clearly manifested. They can be described as “running of waves” (“Playing water” by Ravel, “Sails” by Debussy), “falling leaves” (“Dead Leaves” by Debussy), “flickering of light” (“Moonlight” by Debussy), “breath of the night” (“ Prelude of the Night" by Ravel, "Fragrances of the Night" by Debussy), "Rustle of Leaves" and "Blow of the Wind" ("Wind on the Plain" by Debussy).

Common features in the work of impressionist artists and composers are found not only in the field of content, themes, but also in the artistic method.

An unusual view of the world around him determined the technique of painting by the Impressionists. Plein air is the main key to their method. They did not pass by the main scientific discoveries in optics about the decomposition of color. The color of an object is the impression of a person, which is constantly changing from lighting. The Impressionists applied paints to the canvas only of those colors that are present in the solar spectrum, without neutral tones of chiaroscuro and without pre-mixing these colors on the palette. They applied paint in small separate strokes, which at a distance cause the impression of vibration, while the contours of objects lose their sharpness.

The Impressionists updated not only the light-color system of painting, but also compositional techniques. In the Impressionists, we see the most diverse points of contemplation - from above, from a distance, from the inside, and others. In contrast to the canons of academic art, which included the obligatory placement of the main characters in the center of the picture, the three-dimensionality of space, the use of historical plots, the Impressionists put forward new principles for the perception and reflection of the surrounding world. They stopped dividing objects into main and secondary. The Impressionists focused on the study of the nature of light, the careful observation of specifically colored light. The Impressionists for the first time entered the realm of transformations of reality, barely noticeable to the ordinary eye, which proceed so quickly that they can only be noted by a trained eye and take place at a pace incomparably greater than the pace of creating a picture.

Picturesque impressionism has greatly influenced music in the field of means of expression. The search touched on mode, harmony, melody, metro-rhythm, texture, instrumentation. Debussy and Ravel create a new, impressionistic musical language.

The value of the melody, as the main expressive element of music, is weakened, it dissolves into a harmonic background. There are no bright, wide melodies, only short melodic phrases flicker. But the role of harmony is unusually increasing.

The art of Debussy and Ravel, like the canvases of impressionist artists, sings of the world of natural human experiences, conveys a joyful feeling of life, reveals to the audience a beautiful poetic world of nature, painted with subtle, original sound colors.

Since antiquity, the world aesthetics was dominated by the theory of imitation in art, the Impressionists approved a new concept, according to which the artist should embody on his canvases not the objective world around him, but his subjective impression of this world. Many trends in the art of the subsequent, 20th century, appeared thanks to the new methods of impressionism.

Let's take a mini quiz.

In the first stage, it is proposed to choose: from three piano, and then from three symphonic musical fragments works by impressionist composers. In the second - from the proposed cards with fragments artistic analysis paintings, you need to choose those that belong to the artists - impressionists.

1. The charm of the young model seems most expressive against the backdrop of clear greenish distances of the landscape and the gentle blue sky. This endless landscape seems fabulous, evoking a feeling of the immensity of the world.

2. A sense of scale, a sense of the immensity and scope of what is happening. The allegorical figure is the semantic center of the picture: a classical antique profile, a powerful sculptural torso. The idea of ​​freedom seems to be visibly embodied in a beautiful woman.

3. With small strokes of paint, the artist recreates on the canvas the game of the midday sun, generating many color shades. Bright flowers tremble in the light, long shadows fluctuate. The lady's white dress is written in a blue tone - the color of the shadow that fell on him from a yellow umbrella. Short moment of life blooming garden lives on this canvas.

4. A pink ball without rays floats out of the cloud, coloring the sky and the bay, reflecting in a fluttering path on the surface of the water. Wet fog softens the silhouettes of objects. Around everything is unsteady, the boundaries between the sky and the river are barely perceptible. Another minute - the morning fog will dissipate, and everything will take on a different look.

5.Performed by the artist in this exquisite canvas musical variation shining colored spots of the face, hairstyle, dress, background, repeated in an unfolded fan, add up to the image of a dreamy and tender girl, like a beautiful flower.

6. The space of the landscape, in which a slight asymmetry is emphasized, is formed by tree lines, contours of figures and color spots of white, green, blue, trembling shadows on the ground. Blinding sunlight deprives the figures of volume, which turn into silhouettes. The freedom of the stroke, the dazzling freshness of the palette, the illusion of light, the tranquility of the mood become the main features of the new painting style. The picture, endowed with the unique charm of the atmosphere, seems unusually decorative and major.

7. Cut off by the frame, in a slight diagonal shift, it appears as a mysterious phantom of the past. The midday sun ignites the plane of the facade with a light golden flame, but the glow also comes, as it were, from inside the stone.

Jean Auguste Dominique Ingres, portrait of Mademoiselle Riviere, 1805, Paris, Louvre.

E. Delacroix, "Freedom leads the people", 1831, Paris, Louvre.

C. Monet, Lady in the Garden, 1867, St. Petersburg, State Hermitage.

C. Monet, “Impression. Sunrise”, 1873, Paris, Marmotan Museum.

O. Renoir, "Girl with a fan", 1881, St. Petersburg, State Hermitage.

C. Monet, "Women in the Garden", 1886, Paris, Museum d'Orsay.

C. Monet, "Rouen Cathedral at noon", 1892, Moscow, GIII im. A.S. Pushkin.

C squeak literature

1. John Rewald. History of Impressionism.416 p. Republic Publishing House, Moscow, 2002.

2. Andreev L.G. Impressionism. M. MGU, 1980

3. Vlasov V.G. “Styles in Art.” St. Petersburg, “Lita”. 1998

4. Koretskaya I.V. Impressionism in the Poetics and Aesthetics of Symbolism. - In the book: Literary and aesthetic concepts in Russia in the late XIX - early XX centuries. M., 1975

5. Claude Monet. Paten Sylvie. - M.: Astrel Publishing House, 2002. - 175 p.

Impressionism is still a little studied phenomenon in the history of the artistic life of Russia. Meanwhile, it was one of the most distinctive trends in Russian art of the late 19th and early 20th centuries and was closely associated with a number of cultural and historical processes of that time. In most domestic musicological works, although impressionism is not considered as a trend that had a significant impact on the development of Russian music, nevertheless, the embodiment of “impressionist colors” in individual works of Russian composers of the late 19th and early 20th centuries is noted. They can be seen in the late works of N. Rimsky-Korsakov and A. Lyadov, the works of I. Stravinsky, Nikolai Cherepnin, S. Vasilenko, some works by S. Prokofiev, S. Rakhmaninov, A. Skryabin, N. Myaskovsky and others.

The culture of Russia at the turn of the 19th - 20th centuries is inscribed in history as one of the most controversial and, at the same time, its most beautiful pages. Saturation with events, a variety of artistic trends predetermined the ambiguous nature of many art phenomena given period. Despite the deep socio-economic and political crisis phenomena (revolution of 1905, Russian-Japanese and World War I), art experienced a new flourishing. Impressionism was among the various artistic trends. A powerful stimulus for its appearance in Russia was the development of Russian-French cultural ties: in 1891, a Russian-French military-political alliance was concluded, followed by the popularization of Russian art in France (concerts of Russian music, entreprises by S. P. Diaghilev, etc.) , and French - in Russia (exhibitions of French impressionist artists, entreprises of S. A. Koussevitzky and A. I. Siloti, where works by C. Debussy, M. Ravel, etc. were performed). The formation of impressionism in Russia is associated with processes aimed at updating traditions. If in France they were expressed in the opposition of progressive artists to the art of the Salon, then in Russia - in an effort to revise the ideas of the Wanderers due to the appearance of a significant number of their epigones (Lyadov, S.K. Makovsky, D.S. Merezhkovsky and others wrote about this) . Scientific and technological progress also contributed to the discovery of new possibilities in art (the invention of photography by L. Dager, the discovery of the theory of mixing colors and the perception of color by the human eye by M. Chevreul, the research of O. Rud and G. von Helmholtz in the field of optics, etc.). At the same time, scientific and technological progress also had a downside, expressed in the crisis of positivist ideals: the discoveries that appeared were accompanied by a revision of established ideas about the world around. The public consciousness did not have time to comprehend such a powerful breakthrough: the very role of science was called into question. The artistic environment of those years (not only in Russia) was dominated by disappointment in the ability of man to influence nature. Appeared "calls" for the harmonious existence of man in nature. These ideas turned out to be close to impressionism.

Since the 1870s, artists (I. N. Kramskoy, I. E. Repin, and others) have been discussing ways to implement French impressionism by the Russian school. The traditions of Russian impressionism in the visual arts were laid at the Moscow School of Painting, Sculpture and Architecture (mainly due to the teaching of K. A. Korovin, I. I. Levitan, V. D. Polenov, V. A. Serov and others. ). Teachers, graduates and students of this educational institution formed the basis of the "Union of Russian Artists" (1903-1923) - an association of landscape painters whose work opened the "stage of Russian impressionism." Documentary primary sources, including memoirs, letters of artists, composers of that time, make it possible to designate the "Russian version of impressionism" as an aesthetic concept. In the "mirror of letters" of figures of Russian art, those historical and cultural processes, which became the basis for the emerging aesthetics of impressionism. Let's designate them: this is the desire to "close" from the surrounding world in creativity, replacing the actual reality with the idealized or unreal world of the work; the desire to renew traditions, to “breathe new life» into the decadent aspects of artistic life; the impact of thinking about significance; scientific and technological progress for art. It is also obvious that the most important reason for the strengthening of impressionism in Russia was the mutual cultural exchange with France, which flourished at the turn of the 19th and 20th centuries.

were ambiguous views of Russian composers on impressionism- from enthusiastic to wary, and sometimes sharply critical attitude towards him. Representatives of the older generation, recognizing the importance of the means of expression cultivated in impressionism, emphasized the “poor thoughts” of its aesthetics ( S.Taneev). The negative perception of modern trends, including impressionism, was inherent in C. A. Cui(a parody of Debussy's "Afternoon of a Faun" called "Reverie d "un Faune, apres la lecture de son journal", a musical joke "Hymn to Futurism", dedicated to "countless modern supergeniuses", and also " Brief instruction how, without being a musician, to become a brilliant modern composer”). Unlike the older generation, young authors ( Cherepnin, Stravinsky, Vasilenko, Prokofiev and others) found the manifestation of impressionistic tendencies as a natural stage in the development of musical art. So, Vasilenko considered his symphonic poems The Garden of Death and The Flight of the Witches, the suites In the Sunbeams and Night Complaints to be impressionistic. The only composer who not only did not hide his interest in impressionism, but also recognized himself as an impressionist, was V. I. Rebikov. At the end of November 1901, in a letter to V. Ya. Bryusov, he wrote: “For some reason they call me a “decadent”. I'm an impressionist." Older generation sought to preserve the inviolability of established canons ("the social purpose of art"), while the young questioned the very idea of ​​the influence of art on social processes like a "moral law" ("art for art's sake"). Like many representatives of the Russian artistic intelligentsia, composers mainly accepted linguistic (technical) discoveries. Comprehending the development of Russian art as a whole both in the 19th century and at the beginning of the 20th, the figures of Russian culture saw in it a single, indivisible process in which the innovations of the 20th century were a continuation of the 19th century.

As a trend, impressionism in Russia developed in St. Petersburg. He aligns with "exotic-romantic" tradition, pronounced in Petersburg composer school and focused on aestheticism, sophistication and colorfulness. Therefore, the origins of the impressionist beginning “shine through” long before its appearance and are already noticeable in such works as “Night in Madrid” by M. Glinka, “In Central Asia” by A. Borodin, “Pictures from an Exhibition” and “Night on Bald Mountain” M. Mussorgsky, "Spanish Capriccio" and "Scheherazade" by N. Rimsky-Korsakov and many others. They contain properties close to the methods of absolutization of the moment and color. It is no coincidence that picturesqueness, magnificent, luxurious instrumentation, an unusually “delicious” harmonic language are the properties of Russian music that won the hearts of French impressionists. This line shows a "stylistic connection" with impressionism, which anticipated special features of the Russian version of impressionism: aesthetically refined; to spice and even cloying "sweet" and at the same time almost epic contemplative. It can be said that under such conditions, impressionism received the prerequisites for its interpretation not as something elusive and mysterious (as in the French version), but as a very close and dear “creature”, as if the composers, thanks to impressionism, managed to “catch the Firebird” and transfer all its beauty into your music.

The work "Aesthetics of Musical Art" by N. Rimsky-Korsakov deserves special attention. The ideas and provisions set forth in it are not just the composer's author's view of the nature of art. They could turn into an impressionist program in Russia. The composer's thinking is in direct contact with the impressionistic type of artistic vision. The key ideas of his work serve as peculiar intersecting “points”: the sense of beauty is decisive both in life and in art; The world of beauty is perceived only subjectively, through imagination and contemplation; Man and the World are one, that is, Man, his thoughts are inseparable from "nature and life." The composer analyzes the features of the musical language that has been established in Russian music since the time of Glinka. At the same time, the musical means of expression he calls turn out to be close to impressionism (including in connection with the expansion of coloristic, phonic properties that can create the effect of pictorial, colorful sound painting).

Rimsky-Korsakov, despite the fact that the composer retained a deep connection with tradition, he played a leading role in the formation of impressionistic methods of absolutization of the moment and color in Russian music. Their crystallization can be seen in individual scenes from the operas The Snow Maiden, Sadko, Kashchei the Immortal, The Legend of the Invisible City of Kitezh and the Maiden Fevronia. So, if the scenes of the melting of the Snow Maiden and the appeal sea ​​princess into the river are solved by the composer in the "exotic-romantic" tradition - they are preceded by the story of the heroines about what is happening and are accompanied by a sound-visual device (the harp spills over the sounds of a reduced triad), then Kashcheevna's transformation into a weeping willow can be called impressionistic. In this scene, there is a decrease in the role of the word: the heroine only hints at her transformation. However, at the same time, the role of orchestral means with coloristic properties is enhanced (the downward trembling movement of the strings along the sounds of the “Rimsky-Korsakov scale”, emphasized by the tritone moves of the basses, against which the ascending sounds of the reduced seventh chord of the harp with English “flicker” with cold reflections - “teardrops”. horn, and then with oboe). The features of impressionism in Rimsky-Korsakov have deep soil foundations, which is achieved through the use of concentrated musical thematics created in the “folk spirit”. In particular, in the scene of the Snowstorm (“Kashchei the Deathless”), “folklore thematicism” has a singing nature. Imitation techniques are widely used by the composer. In the scene, signs of such genres as magic-incantatory ritual round dance songs, partly trepak, are heard. At the same time, the harmonic solution of the scene is connected with the reliance on tritone revolutions, as well as on the symmetrical “Rimsky-Korsakov mode”, which contributes to the creation of an impressionistic sonority of a winter fantastic landscape. The forerunner of "Kashchei" in the composer's work is the third act of "Mlada" - "Night on Mount Triglav" - a fantastic scene in the kingdom of Chernobog (in the same place, by the way, some foreshadowings of "The Golden Cockerel" are seen). Rimsky-Korsakov often expands his color palette by attracting oriental sounds. The methods of absolutization of the moment and color are manifested, for example, when exposing the musical characteristics of the "eastern" heroes - the Queen of Shemakhan and the Astrologer in the Introduction to the opera "The Golden Cockerel", in scene IV "The Appearance of Queen Cleopatra" from III actions opera-ballet "Mlada" In the last example, the first theme of the heroine is especially indicative. It is an improvisational instrumental melody that sounds on the small clarinet, piccolo flute and sometimes glissando of the strings against the background of the measured “swaying” of the strings. The composer uses a variety of harmonic colors (major-minor variability, passages based on the sounds of the Lydian mode, exquisite chromaticisms, diminished harmonies). This creates a languid, ghostly-fantastic impressionistic atmosphere.
N. Rimsky-Korsakov, while teaching in St. Petersburg, could not but influence his colleagues and students. However, in the works of the latter, impressionism was "refracted" through the prism of the author's styles, giving examples of his individual decisions.

fabulous picture "Magic Lake" (1909) A. K. Lyadov became the most striking embodiment of the specifics of Russian musical impressionism, created in line with the nature-centric worldview. In particular, both Lyadov's statements about the history of the creation of The Magic Lake and the music itself testify to the composer's desire not only to depict the landscape, but also to convey the impressions of it. All the musical-thematic elements of "Magic Lake" grow from the vibrating background. The fifth, third and second declared in the introduction become the most important intonation grains. From them, micromotives are born (“nature”, “stars”, “splashes of water”, etc.) and motives (“ dead nature”, “dawn”, etc.). Their variant changes and combinations form a kind of unfolded relief, disappearing into the background sonority. The intonational unity of the miniature, with the constant modification of thematic elements, contributes to the creation of a picture of a static landscape in the play, which is constantly changing. Magic Lake themed elements have their own paint. However, sometimes, in accordance with the composer's creative intent, they acquire different shades (for example, due to variant change or timbre transformation). So, the micromotive of "stars" passes at the celesta and flute, then at the celesta and harp; the theme “on the branches” is heard by the oboe, and later transferred to the flute. Together with a group of woodwind strings, they contribute to the creation of various colorful paintings within the miniature: the transformation of a magical lake, its mysterious life. Celesta and harp enhance the fabulous imagery. The composer also attaches great importance to the pedal, which gives musical landscape special depth. In the "Magic Lake" three stages of the transformation of the landscape are distinguished: from late evening to night and predawn. Each of his next paint appears under the influence of a new impression observed by the composer. Lyadov's work is similar to Debussy's "Sea", where the landscape is also shown in a different state. However, the French composer embodies in seascape impressions of a person observing nature from the side. Nature, in turn, awakens in his soul moods close to this landscape. Here unity is formed only between Man and his vision of the World. The nature of the “Magic Lake” is perceived as a living organism with its own soul, which Lyadov seeks to reveal to the listeners by “dissolving” the Man (and himself, and each listener) in the contemplated World. It is in this that the important difference between the nature-centric worldview and the human-centric one is rooted. Absolutizing the moments of all transformations, the composer epicly embodies the impressionist theme of nature, telling about the secrets of her life. A fairy tale picture is likened to a sketch theatrical scenery: “caught” and transferred to the musical “canvas” the beauty of the landscape of a mysterious lake lost in the wilderness, against which the action can begin. The composer conveys to the listener a sketch of his own fantasies, forcing the listener to fantasize, thereby realizing the theme of a dream. At the same time, Lyadov is childishly surprised by this World, he does not get tired of rejoicing at him and admiring him. He is likened to a cameraman, trying to capture every frame of the transformation of the landscape, or a magician, wanting to breathe life into this landscape and “dissolve” in it.

Fantasy "Fireworks" (1908) I.F. Stravinsky- one of the remarkable milestones of Russian impressionism. The associativity of this play is so great that not only the feeling of an enthusiastic state is conveyed to the listener. He, as it were, becomes an accomplice of the whole “action”, building in his mind whole line"paintings" associated with different types of fireworks. All kinds of fireworks-turntables, fountains, cascades, rockets, balls, the effects of explosions, claps are “heard” in a variety of performance techniques, timbre colors, sound extraction methods. Among them are colorful roll calls, pizzicato, jete, divisi techniques for strings, closed sounds for horns, playing cymbals with timpani sticks. Great value acquires the use of sparkling timbres: bells, triangle, harp, cymbals, celesta in a high register (such sound representation is close to the colors of the symphonic poem "The Fountains of Rome" by O. Respighi). The vivid associativity of Stravinsky's Fantasy is achieved by dynamic, tempo, harmonic means. Bewitching with diminished harmonies (main structural element"Fireworks"), the whimsical "kinks" of the themes in an extended tonality, the "twisting" of chromatic passages, the composer creates an amazing coloristic action. Its fluidity makes the three sections of the play seem blurry. Even contrasting tempo and textural changes are not capable of distinguishing between them in the listener's perception. Colorful "blotches-strokes" of "Fireworks", fluidity, whimsicality, unpredictability of emerging images-associations create an impressionistic picture of a fireworks festival. At the same time, Stravinsky, unlike Lyadov, does not seek to "dissolve" in the colorful cascades of fire action. Rather, he is characterized by the unity between the World and the vision of the World. In the center of the composer's attention is the rejoicing Man - himself, either the hero of the crowd, silently present in his play, or the listener admiring, admiring and enjoying the performance. The impressionism of I. Stravinsky, to a greater extent, is characterized by Western thinking. Vivid confirmation of this is his opera The Nightingale, the ballet The Firebird. In the colorful images of the ballet "The Firebird" the contrasting lines of people (folklore) and fairy creatures(Impressionist) are not compatible. And although the second line is solved by the composer in the spirit of Rimsky-Korsakov's traditions, and the first line is not devoid of brilliance, they do not merge with each other, and the person does not "dissolve" in the enchanted landscapes of Kashcheev's kingdom. Perhaps this is the root of the reason for Igor Fedorovich's openness to the most diverse trends of the time: throughout his life, in his work, he appears as a Russian Man who shares with us his impressions, including the impressions of the latest compositional techniques.

In many works Nikolay Tcherepnin of the Russian period, a harmonious combination of the “exotic-romantic” tradition with the influence of the French Impressionists can be traced (a sketch for orchestra for the fairy tale about the Firebird “The Enchanted Kingdom”, “Fairy Tales”, six musical illustrations for the fairy tale “About the Fisherman and the Fish” by A. Pushkin, ballet "Narcissus and Echo", pieces from "14 Sketches for the Russian "ABC in Pictures" by Alexandre Benois"). The sketch for orchestra for the fairy tale about the Firebird "The Enchanted Kingdom" (1910) is in many ways consonant with the "Magic Lake". Like Lyadov, Cherepnin focuses his attention on the moments of evening and night landscapes, on their transformation and state of enchantment, which no one and nothing can interrupt. Absolutizing them, the composer is likened either to an artist-decorator, or to a cameraman, who brings the overall picture closer or further away, and in other cases, to an lighting artist, showing the landscape in different highlights. The "germination" of all thematic elements from a single "grain", immersed in bright timbre and harmonic colors, creates the effect of static movement. Variable mixing and highlighting of the background with the relief demonstrate amazing impressionistic, childishly naive contemplation of the fabulous. The atmosphere of contemplation (drowsiness) is achieved by the composer through the method of coloring. A static musical picture is “painted” by long admiring one color (most often such colors are associated with the use of a whole-tone fret and an increased triad). Timbre means, like no other, contribute to strengthening the phonic side of the composition. Numerous methods of sounding strings (with mutes, divisi, solo, col legno, etc.), wind instruments and such colorful instruments as bells, celesta, xylophone, harp, piano, give an impressionistic “feeling” of sound close to sonorant. It is they who are assigned an important function: to show highlights, light and shadows, play of colors, etc. In Cherepnin's implementation of impressionistic methods aimed at realizing the themes of fairy tale, nature and dreams, one can trace not only a nature-centric worldview, but also a human-centric one. In particular, associativity in miniature, subject to the “dissolution” of Man in the World (as in Lyadov), is not always maintained. An example is the theme of “the tunes of the Firebird”, where one can talk about the dominance of the subjective Self over the World (as in Debussy). The score of the ballet "Narcissus and Echo", written for Diaghilev's "Russian Seasons", belongs to the highest achievements of Cherepnin as a symphonist and to a new type of ballet score, the musical style of which was determined by the pictorial-pictorial principle. There are no more rounded numbers of classical ballet here. Impressionistic plasticity, visual impression, picturesqueness, a kind of statics of a decorative panel came to the fore. In "Fairy Tales", continuing the tradition of "Children's Songs" by Lyadov, Cherepnin introduces his own, new, freely combining elements of folklore and contemporary musical and visual techniques: whimsical harmony, capricious rhythms, sketch melodies, etc. At the same time wittily and subtly used associations with the works of Debussy. In the musical illustrations for the ABC, Benoit Tcherepnin created a gallery of paintings and images that are entertaining for children's imagination, among which the most striking were images of nature ("Forest"), distant countries ("Egypt") and fairy tales ("Arap", "Baba Yaga "). In the play "Arap" the character of Russian fair performances is vividly recreated - Arap dancing to a fake barrel organ, in whose appearance individual elements of the style of Stravinsky's "Petrushka" are guessed. The play "Baba Yaga" is also spectacular. The fantastic nature of the images - the flight of Baba Yaga on a broomstick and her dashing whistle - are emphasized by the technique of a three-line, as it were, "orchestral" presentation.

Interesting impressionist tendencies, manifested in the work Sergei Prokofiev. So already "Autumn" resurrects well famous images, which arose earlier in Rimsky-Korsakov's "Kashchei the Immortal", but the gloomy impressionism of the play (coming from Rachmaninov's "Isle of the Dead"), with all its attractive features, is, in fact, little characteristic of Prokofiev. In music " ugly duckling" and "Five Poems to the verses of Anna Akhmatova", some "Fleeting" there is something watercolor, coming from soft, impressionistic brilliance, in which the composer's growing craving for lyrics was manifested. In the score of the "Scythian Suite" Prokofiev put all the mastery of orchestral writing, which was formed on the basis of Russian classical traditions, but was to some extent enriched with the influences of impressionism (perceived mainly through Stravinsky), in particular, "discordance, imposing a drawing on a background without much matching them to each other" (V .Karatygin).

Unlike the works of composers of the St. Petersburg school, in the works of Moscow authors, impressionist methods are present along with other, non-impressionist ones, and are subject to the aesthetic concepts of individual author's styles (and to a much greater extent than in the works of their St. Petersburg colleagues). However, to some extent they can also be considered in the sphere of influence of impressionism. Among such examples are some pages of creativity S. Rachmaninov(“The Bright Holiday” from the First Suite for 2 pianos, the vocal-symphonic poem “The Bells”, many romances (Lilac, Ostrovok, etc.), Etudes-paintings), A. Scriabin(Preludes op. 11, "Poem-Nocturne" op. 61, 4th, 5th and 10th sonatas, Prometheus), A. Stanchinsky(some numbers from the Twelve Sketches, Nocturne), some compositions M. Gnesina, G. Catuara.

In writings Rachmaninov Impressionistic features appear only at the level of musical expressiveness, in particular, when carrying out the theme of bell chimes, the ostinato repetition of which against the background of two seventh chords (small major and small diminished) reproduces impressionistic colorfulness, close to the chime of bells of different sizes. However, behind the external imitation of bell chimes, there are complex psychological processes thinking Man, aimed at gaining some meaning and essence, a Man striving to find answers to the difficult questions of Existence. This is seen as a tradition of M. P. Mussorgsky, who managed to embody, through the chimes of bells in the coronation scene from Boris Godunov, the doubts and feelings of the tsar ascending the throne. The focus of Rachmaninoff is a Man who, under the influence of an audible bell ringing, finds the appropriate emotions in himself, and this is consonant with impressionism in the tradition of a nature-centric worldview. However, such emotions are endowed by the composer with additional meanings, whereby the reverse unity between the World and the vision of the World is not formed. Man, striving to “dissolve” in the World, does not merge with it, but remains an eternally searching wanderer who has devoted himself to service high purpose. As a result, for Rachmaninoff, the impressionistic method of coloring turns out to be a way of conveying the symbolist concept-idea. Such an interpretation of impressionism (only at the level of means of musical expression) in the compositions composers of the Moscow school is dominant. This is largely due to the traditions of P. I. Tchaikovsky and S. I. Taneyev, in the concepts of whose works intellectuality, a penchant for philosophical reflection, and a deep experience of emotional upheavals predominate. This is also observed in the opuses of their followers: musicians are attracted by subjective images filled with inner psychologism. It is not surprising that the implementation of the "exotic-romantic" tradition in the works of Muscovites occurs only sporadically and is subject to other aesthetic tasks.
Nevertheless, some authors, for example, I. Golubenko in the article “Levitan and Rachmaninov: lyrical “mood landscape” and Russian impressionism”, come to the conclusion that the content of the work of the two masters is endowed with an impressionistic “sound”. Moreover, the “sound” of precisely Russian impressionism, the specificity of which is determined, in her opinion, by the lyricism of their "landscapes of moods", which become not only a fixed moment of the first impression, but also act as “a means of knowing the world around us and a person’s place in it, a means of “dialogue” with nature and that “quiet abode” in which the soul finds peace and rest”

In particular, such an appeal to impressionist means is characteristic of A. N. Scriabin. Gradually convinced of his supreme mission as the creator of the Mystery, the composer resorted to their use solely in order to emphasize magical properties art. Impressionistic sound painting, subject to an ecstatic impulse, was “translated” by him into the perspective of mystical, extraterrestrial, Universal dimensions. The use of impressionistic colorfulness within the framework of other aesthetic “settings” is also characteristic of the works of G. L. Catoire (for example, the romance “Twilight”), some "Tales" by N. K. Medtner, individual plays from the "Twelve Sketches" by A. V. Stanchinsky and others.

At the same time, in some works of representatives of the Moscow school of composers, the influence of the impressionism of Petersburgers is also observed. So, close to the "exotic-romantic" tradition is V. S. Kalinnikov(introduction to the second movement of the First Symphony). Creativity is an exception. Sergei Vasilenko, which also absorbed the traditions and principles of the work of St. Petersburg composers. The embodiment of not only the technical techniques of impressionism, but also its aesthetics can be traced in his symphonic poems The Garden of Death, The Flight of the Witches, and The Chinese Suite. Particularly indicative is his play "Echo of the Golden Lakes" from the VI part of the "Chinese Suite". Despite its closeness to the “Bright Holiday”, the interpretation of the bell ring here does not have a symbolist “subtext”: the concept of the play appears to be similar to the impressionism of the St. Petersburg authors (its nature-centric worldview). Absolutizing the moments of imitation of the sounds of bells and sacred stones, Vasilenko seeks to convey to the listener the very breath of nature: light wind, sunlight, clear water, echoing melodic ringing. This landscape is perceived as a sketch of a theatrical scenery, which the composer “sees” with his unbiased gaze and demonstrates harmony Chinese culture connecting everything with your state of contemplation and daydreaming. Coloristic means are also aimed at this (the use of ringing and soft-sounding timbres; ostinato repetition of figuration according to individual sounds of the pentatonic scale of the harp and piano). A study of individual works by composers of the Moscow school shows that they also possess features of impressionism. The methods of absolutization of the moment and coloristics manifested in them bring a sense of space, a state of contemplation, dreaminess. However, these methods are not always used by composers of the Moscow school to the full extent, since they often set themselves the tasks of a completely non-impressionist aesthetics.

The transitional processes of Russian history (not only at the turn of the 19th - 20th centuries, but throughout the entire 20th century) predetermined impressionism as a mixed and rapid development in a short time (about ten to fifteen years in total), and its long-suffering subsequent fate (from admiring exaltation to contemptuous denial). It is difficult to imagine how the fate of the current of impressionism would have developed if fatal revolutionary events had not taken place in Russia; if I. Stravinsky (1914), S. Rachmaninov (1917), N. Cherepnin (1921) had not left their homeland; if N. Rimsky-Korsakov and A. Lyadov had lived longer, as well as G. Catoire, V. Rebikov, A. Skryabin, A. Stanchinsky. And yet, friends, students, adherents, followers of these composers remained in Russia. Therefore, it is not surprising that impressionistic methods can be traced in the works of Russian masters and in other aesthetic conditions. Impressionism continues to manifest itself later in the work of a number of composers: these are A. Alexandrov, S. Vasilenko, V. Deshevov, A. Dzegelyonok, L. Knipper, A. Crane, N. Rakov, A. Khachaturyan, S. Feinberg, A. Shenshin, B. Shekhter. Representatives of the "first wave" of the avant-garde did not pass by the hobbies of impressionism in their early period (A. Mosolov, N. Roslavets and etc.). In their work, the impressionistic principle is present in other aesthetic conditions: as part of the search for new means of expression. The influence of impressionism can be traced in mature works S. Prokofiev a (Scenes from the opera "The Love for Three Oranges", some harmonic and orchestral techniques of "The Fiery Angel", Five melodies for violin and piano, even in such a late composition as the 8th piano sonata). In early symphonies N. Myaskovsky(8th, 12th, etc.) noticeable harmonic devices, characteristic of Debussy, down to explicit quotations, such as the theme from "Clouds" at the beginning of the 12th symphony. Georgy Sviridov in the works of the 50s-60s ("The Poem in Memory of Sergei Yesenin", "Kursk Songs", etc.), continuing the search for Mussorgsky, Borodin (partly also Debussy and Stravinsky) in the field of natural-mode harmony, free from the traditional functionality of the European major-minor, used a variety of fourth and second harmonies, bi- and poly-functional complexes, which have a purely coloristic meaning. In these Sviridov's compositions, colorful statics and timbre sophistication, the impressionistic beginning, organically merged with the folk.

The specific application of impressionist methods can be observed in the work of composers in the second half of the 20th century - R. Shchedrin, A. Eshpay, R. Ledenev, N. Sidelnikov, E. Denisov. The predominance of the method of absolutization of the moment is evident in R. Shchedrin's concerto for orchestra "Rings". Andrey Eshpay's influences and attachment to the French school of composition partly determined such features of his style as colorfulness, picturesque presentation, refinement of the harmonic language. Impressionist influence is also felt in N. Sidelnikov's Russian Fairy Tales. The predominance of the color method is traced here. For the composer, the desire for colorful sound representation of characteristic “stories”-sketches is closer. A harmonious combination of both impressionistic methods is found in the work of R. Ledenev. Perhaps that is why researchers call his author's style "neo-impressionist". In general, the embodiment of the method of absolutization of the moment can be found in such compositional techniques as spatial music, minimalism. The meditativeness inherent in this method also contributes to its penetration into twelve-tone techniques and aleatorics. The method of coloristics was one of the fundamental ones for the development of sonoristics. As a result, the "life" of impressionism is extended to the present day, which retains its attractiveness for further research.

As terminological apparatus, which characterizes the properties of the aesthetics of this style, one can take figurative, but well-aimed and capacious formulations, “thrown” once by L. Leroy: “impression”, “incompleteness”, “freedom” and “softness”. Impressionism has two methods - "absolutization of the moment" and "coloristics". The first is associated with the semantic level of musical works (theme and imagery), its forms and genres, and is aimed at realizing such aesthetic properties as the desire to convey an impression and the principle of incompleteness. The second with the means of musical expressiveness (thematism, texture, harmony, etc.) and reveals the properties of "freedom" and "softness" of the embodiment. The study of musical impressionism in the works of Russian composers, taking into account worldview and aesthetic positions allows you to determine some of its features. In the opuses created in the first twenty years of the last century, impressionist methods of absolutization of the moment and color are realized, akin to the pan-European properties of impressionist compositions. In the mind of the listener, an atmosphere of colorful coloring of the impressions of the surrounding world is also created, time stops, barely noticeable vibrations of air, water appear, and each next paint is inspired by the composer with a new impression.

Reconstruction" of impressionism as a type of artistic vision and its comparison with Russian mentality highlights the ideological aspects of this trend in Russia.

Aesthetics of Impressionism is based on a trend aimed at expressing the ideal position of a person in the world. In accordance with this, the creative process is also taking shape: while working on a work, the composer prefers to embody the optimistic impressions of the surrounding world. In the concepts of impressionist works, such impressions are determined by a number of aesthetic provisions: the unity of the World and the vision of the World; a feeling of joy of a Man in relation to the World; immediacy (childhood) perception of the World; the beauty of the world . The interpretation of these provisions in different national schools is different. Thus, for the Western European, in particular, the French tradition, it is predetermined by the pronounced dominance of the subjective Self over the World, the human-centric worldview. In the Russian tradition, the interaction between Man and the World is most often accompanied by the “dissolution” of the subjective Self in the World and is defined as nature-centric worldview. This turns out to be consonant with such properties characteristic of the mentality of a Russian person as a special feeling of the space-open spaces of the Russian Earth, the ability to almost pagan, but at the same time idealized, poetically perceive and spiritualize the world around. At the same time, there were processes of "cultural exchange" between Russia and France. This allowed us to conclude that Russian culture, regardless of French influence, could independently develop an aesthetic concept close to impressionism.
Analyzing the impressionistic works of Russian and French composers, one can identify them similarities. This is the lack of a consistent plot narrative and pronounced contrast; preference for picturesqueness (often with sketchy features) in genre interpretations; the desire to "obscure" the boundaries of the form, its personnel. At the level of the method of coloring, this is the use, along with concentrated, dispersed thematics; relief and background equalization; manifestation of interest in colorful harmonies (increased, reduced), frets with a special color (whole tone, symmetrical, pentatonic), timbres that bring fabulous atmosphere(bells, celesta, harp, etc.) and contributing to associativity, and sometimes sound representation.

However, they emphasize national characteristics impressionism. In particular, in the Russian school of composers they are formed within its “exotic-romantic” tradition, saturated with a special color: intonation environment of Russian song folklore, features of epic and orientalism. In the implementation of the instant absolutization method, one can trace the predominance of the following themes: fabulousness or mythology, dreams, holidays, nature. The traditions of the embodiment of fabulousness were laid down by M.I. Glinka (“Ruslan and Lyudmila” - the scene of the abduction of Lyudmila) and found their logical continuation in Lyadov’s “Magic Lake”, Cherepnin’s “The Enchanted Kingdom”, Stravinsky’s “Firebird”, etc. In the interpretation of the mythological theme, the themes of dreams and nature, one also sees closeness to a fairy tale, which is manifested in the involvement of such elements of figurative transformation as the appearance, transformation and disappearance (the moment Narcissus turns into a flower in Cherepnin's Narcissus and Echo). In addition, works for children and about children (Mussorgsky's Nursery, whose traditions were continued by Tcherepnin in the Fairy Tales vocal cycle), as well as most love romances by Russian composers, are associated with the theme of dreams.
On the example of the interpretation of the theme of nature, one can see the difference in the approaches of the impressionist and non-impressionist traditions. If in the aesthetics of the 19th century nature played the role of the background of the emotional upheavals of Man (the blizzard scene in the finale of Act IV of Glinka's opera Ivan Susanin), or appeared as a contrast to human experiences (the nocturne Moonlight in the act of Rimsky-Korsakov's opera Pan Voivode ), then impressionist aesthetics with its nature-centric view assumed that the composer, conveying the impressions of the surrounding beautiful World, himself seemed to “dissolve” in it, inspiring it and finding in it an inner, often fabulous life (“Narcissus and Echo” by Cherepnin, “Magic Lake ” Lyadov, “Echo of the Golden Lakes” from the VI part of the “Chinese Suite” by Vasilenko and others).

So let's bring results. Impressionism in Russia at the turn of the 19th-20th centuries was not only the result of the influence of French culture, but also had own way development. Its genetic basis can be traced in the "exotic-romantic" tradition of Russian music XIX century, which predetermines the national specifics. As a result, impressionism in Russia resulted in a holistic artistic movement, the signs of which were:
the presence in Russia of the first twenty years of the 20th century of a relatively close-knit group of composers, in their aesthetic views close to impressionism, including Stravinsky, Cherepnin, Vasilenko, Lyadov, Prokofiev, and others;
the manifestation in the musical work of these composers not only of technical methods, but also of aesthetics akin to French musical impressionism;
the formation of impressionism, its formation in Russian music is directly related to the work of Rimsky-Korsakov (literary, musical), which has the features of impressionism;
despite the absence of an announced manifesto that could serve as a cementing factor for uniting musicians in a direction, it is obvious that an analogue of such an association was formed thanks to the pedagogical and social activities of Rimsky-Korsakov.
- the origins of impressionism in Russia are laid in the "exotic-romantic" tradition;
- the path of development of impressionism in Russian music had two "trends: the first was determined by a specifically Russian worldview, the so-called nature-centric, and was associated with the"exotic-romantic" tradition, developed mainly in the St. human-centric - accumulated the traditions of composers of the Moscow school;
- the stylistic features of musical impressionism are aimed at conveying the first impression and are associated with the implementation of impressionist methods of absolutization of the moment (at the levels of themes, ideas and images, genre and form) and color (with the help of musical expressiveness);
- the above-mentioned stylistic features of musical impressionism in Russia are specific, since they highlight the color of Russian song folklore and orientalism, epic features and properties reminiscent of theatrical sketchiness.
- the sincerity, contemplative attitude to nature, a special feeling of space - the vastness of the Russian Earth, characteristic of a Russian person, as well as the ability to almost pagan, but at the same time idealized, poetically perceive and spiritualize the world around, are close to the impressionist artistic vision. The implementation of the aesthetic principles of impressionism in the works of Russian composers is carried out with the help of certain themes: fabulousness or mythology, dreams, holidays, nature.

Studying Impressionism in Russia has never been systemic. Although at the beginning of the century in brief observations about impressionism as part of critical notes on concerts ( V. G. Karatygin, V. I. Sokalsky, Yu. D. Engel), new music publications (B. V. Asafiev, V. V. Derzhanovsky), articles devoted to the work of individual composers (B. V. Asafiev, V. G. Karatygin), the idea is voiced that the sprouts of the impressionist searches of Russian composers are rooted in the work of representatives of the New Russian School, in impressionism they mainly saw signs of decadence, in 1930 years - formalism, in the post-war years - cosmopolitanism. Due to objective reasons, in the Soviet era for about fifty years, researchers were extremely cautious about topics that were somehow connected with the manifestation of impressionism. Until 1956 (XX Congress of the CPSU), negative perception of impressionism in all forms of art dominated in research work (S. P. Varshavsky, D. B. Kabalevsky, P. I. Lebedev, J. Reinhardt, etc.). Its positive evaluation ( B. V. Asafiev, Yu. V. Keldysh, Kremlev etc.) is condemned, and sometimes plays a fatal role in the fate of researchers (dismissal D. V. Zhitomirsky from the Moscow Conservatory;). The turning point in the history of Russian thought about impressionism was the discussion in March 1957, where “one-sided, indiscriminately negative assessments of impressionism that took place in Soviet art history” are being revised. Before this discussion, I. Nestiev published in the newspaper of the conservatory "Soviet Musician" on March 4 a summary of his opening speech, in which he outlined the key issues requiring revision. One of the important provisions of the article is the understanding of impressionism as a trend in Russian music. As a result, studies of the work of French Impressionist composers began in the late 1950s. But the features of impressionism in Russian music remain outside the attention of researchers. Apparently, the memory of the difficult circumstances of the activities of scientists under ideological pressure was the reason for their caution: they only mention impressionistic features in the “Russian” works of I. F. Stravinsky V. V. Smirnov and B. M. Yarustovsky, S. S. Prokofiev - I. V. Nestiev; the manifestation of impressionism in the “Magic Lake” by A. K. Lyadov is indicated N. V. Zaporozhets and M. K. Mikhailov; foresight of impressionism in the works of M. I. Glinka notes O. E. Levasheva, M. P. Mussorgsky - V. P. Bobrovsky, M. D. Sabinina etc. A landmark event for the study of impressionism in Russia was the defense of V.A. Filippov’s dissertation (1974), the subject of which was Russian impressionism in painting. The art critic traced the history of the development of impressionism in Russia, including the work of artists of the first half of the 19th century and the Soviet period. The post-Soviet period was marked by the appearance of a number of studies by domestic culturologists (O. Yu. Astakhov, M. G. Dyakova), art historians (N. S. Dzhumaniyazova, O. I. Selivestrova), philologists (V. E. Fedotova), philosophers (Yu. A . Griber), musicologists ( T. N. Levaya), which gradually fill in the gaps in the study of the specifics of impressionism.

Materials of the dissertation of Aliya Saduova were used. 2002

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