Musical genres of the Romantic era. Musical art of the era of romanticism-presentation at the Moscow Art Theater

In the era of romanticism, music occupied a paramount place in the system of arts. This is due to its specificity, which allows you to most fully reflect emotional experiences with the help of the entire arsenal of expressive means.

Romanticism in music appears in the nineteenth century in the works of F. Schubert, E. Hoffmann, N. Paganini, K.M. Weber, G. Rossini. A little later, this style was reflected in the works of F. Mendelssohn, F. Chopin, R. Schumann, F. Liszt, G. Verdi and other composers.

Romanticism is originated in Europe in the early nineteenth century. It became a kind of opposition to classicism. Romanticism allowed the listener to penetrate the magical world of legends, songs and tales. The leading principle of this direction is the opposition (dreams and everyday life, ideal world and everyday life), created by the composer's creative imagination. This style was popular with creative people until the forties of the 19th century.

Romanticism in music reflects the problems of modern man, his conflict with the outside world and his loneliness. These themes become central to the work of composers. Being gifted unlike others, a person constantly feels misunderstood by others. His talent and becomes the cause of loneliness. That is why the favorite heroes of romantic composers are poets, musicians and artists (R. Schumann "The Love of a Poet"; Berlioz is the subtitle "An Episode from the Life of an Artist" to the "Fantastic Symphony", etc.).

Conveying the world of a person's inner experiences, romanticism in music quite often bears a tinge of autobiography, sincerity, and lyricism. The themes of love and passion are widely used. For example, the famous composer R. Schumann dedicated many piano pieces to his beloved Clara Wieck.

The theme of nature is also quite common in the work of romantics. Composers often oppose it to the state of mind of a person, coloring it with shades of disharmony.

The theme of fantasy has become a real discovery of romantics. They are actively working on the creation of fairy-tale heroes and the transfer of their images through various elements of the musical language (Mozart's "Magic Flute" - Queen of the Night).

Often, romanticism in music also refers to folk art. Composers in their works use a variety of folklore elements (rhythms, intonations, old modes), taken from songs and ballads. This allows you to significantly enrich the content of musical plays.

The use of new images and themes necessitated the search for appropriate forms and thus speech intonations, natural tones, oppositions of various keys, solo parts (voices) appear in romantic works.

Romanticism in music embodied the idea of ​​a synthesis of the arts. An example of this is the programmatic works of Schumann, Berlioz, Liszt and other composers (the symphony "Harold in Italy", the poem "Preludes", the cycle "Years of Wanderings", etc.).

Russian romanticism was vividly reflected in the works of M. Glinka, N. Rimsky-Korsakov, A. Borodin, C. Cui, M. Balakirev, P. Tchaikovsky and others.

In his works, A. Dargomyzhsky conveys multifaceted psychological images (“Mermaid”, romances). In the opera Ivan Susanin, M. Glinka paints pictures of the life of the common Russian people. By right, the works of composers of the famous "Mighty Handful" are considered to be the pinnacle. They use expressive means and characteristic intonations inherent in Russian folk songs, everyday music, and colloquial speech.

Subsequently, this style was also used by A. Scriabin (the prelude "Dreams", the poem "To the Flame") and S. Rachmaninov (sketches-pictures, the opera "Aleko", the cantata "Spring").

The romantic worldview is characterized by a sharp conflict between reality and dreams. Reality is low and soulless, it is permeated with the spirit of philistinism, philistinism and is worthy only of denial. A dream is something beautiful, perfect, but unattainable and incomprehensible to the mind.

Romanticism contrasted the prose of life with the beautiful realm of the spirit, "the life of the heart." Romantics believed that feelings are a deeper layer of the soul than the mind. According to Wagner, "the artist appeals to feeling, not to reason." And Schumann said: "the mind is mistaken, feelings - never." It is no coincidence that music was declared the ideal form of art, which, due to its specificity, most fully expresses the movements of the soul. It was music in the era of romanticism that took a leading place in the system of arts.
If in literature and painting the romantic direction basically completes its development by the middle of the 19th century, then the life of musical romanticism in Europe is much longer. Musical romanticism as a trend emerged at the beginning of the 19th century and developed in close connection with various trends in literature, painting and theater. The initial stage of musical romanticism is represented by the work of F. Schubert, E. T. A. Hoffmann, K. M. Weber, G. Rossini; the subsequent stage (1830-50s) - the work of F. Chopin, R. Schumann, F. Mendelssohn, G. Berlioz, F. Liszt, R. Wagner, J. Verdi.

The late stage of Romanticism extends to the end of the 19th century.

The problem of personality is put forward as the main problem of romantic music, and in a new light - in its conflict with the outside world. The romantic hero is always alone. The theme of loneliness is perhaps the most popular in all romantic art. Very often, the idea of ​​a creative person is associated with it: a person is lonely when he is precisely an outstanding, gifted person. The artist, poet, musician are the favorite characters in the works of the romantics (“The Poet's Love” by Schumann, “Fantastic Symphony” by Berlioz with its subtitle “An Episode from the Life of an Artist”, Liszt’s symphonic poem “Tasso”).
The deep interest in the human personality inherent in romantic music was expressed in the predominance of a personal tone in it. The revelation of a personal drama often acquired a touch of autobiography among the romantics, which brought a special sincerity into the music. So, for example, many of Schumann's piano works are connected with the story of his love for Clara Wieck. The autobiographical nature of his operas was strongly emphasized by Wagner.

Attention to feelings leads to a change in genres - the lyrics acquire a dominant position, in which images of love predominate.

The theme of nature is very often intertwined with the theme of "lyrical confession". Resonating with the state of mind of a person, it is usually colored by a sense of disharmony. The development of genre and lyrical-epic symphonism is closely connected with the images of nature (one of the first works is Schubert's "great" symphony in C-dur).
The real discovery of romantic composers was the theme of fantasy. Music for the first time learned to embody fabulous-fantastic images by purely musical means. In the operas of the 17th and 18th centuries, "unearthly" characters (such as the Queen of the Night from Mozart's "Magic Flute") spoke the "common" musical language, standing out little from real people. Romantic composers have learned to convey the fantasy world as something completely specific (with the help of unusual orchestral and harmonic colors).
Interest in folk art is highly characteristic of musical romanticism. Like the romantic poets, who enriched and updated the literary language at the expense of folklore, the musicians widely turned to national folklore - folk songs, ballads, epics. Under the influence of folklore, the content of European music has changed dramatically.
The most important moment in the aesthetics of musical romanticism was the idea of ​​a synthesis of the arts, which found its most vivid expression in the operatic work of Wagner and in the program music of Berlioz, Schumann, and Liszt.

Hector Berlioz. "Fantastic symphony" - 1. Dreams, passions...

The content of the symphony is associated with Berlioz's beloved, the English actress Harriet Smithson. In 1847, during a tour in Russia, the author dedicated the "Fantastic Symphony" to Emperor Nicholas I.

Robert Schumann - "In the radiance ...", "I meet the gaze .."

From the vocal cycle "Poet's Love"
Robert Schumann Heinrich Heine "In the radiance of warm May days"
Robert Schumann - Heinrich "I meet the look of your eyes"

Robert Schumann. "Fantastic plays".

Schumann Fantasiestucke, op. 12 part 1: no. 1 Des Abend and no. 2 Aufschwung

Sheet. Symphonic poem "Orpheus"

Frederic Chopin - Prelude No. 4 in E minor

Frederic Chopin - Nocturne No 20 in C - sharp minor

Schubert opened the way to many new musical genres - impromptu, musical moments, song cycles, lyric-dramatic symphony. But in whatever genre Schubert writes - traditional or created by him - everywhere he appears as a composer of a new era, the era of romanticism.

Presentation "Musical art of the era of romanticism" Continues This blog post introduced the main features of the style. The presentation dedicated to the music of romanticism is not only rich in illustrative material, but also contains audio and video examples. Unfortunately, you can only hear the music by clicking on the links in PowerPoint.

Musical art of the Romantic era

Not a single era before the 19th century gave the world so many talented composers and performers and so many outstanding musical masterpieces as the era of romanticism. Unlike classicism, whose worldview is based on the cult of reason, the main thing in the art of romanticism is feeling.

“In its closest and most essential meaning, romanticism is nothing but the inner world of a person’s soul, the innermost life of his heart. Its sphere, as we said, is the whole inner spiritual life of a person, that mysterious life of the soul and heart, from which rise all indefinite aspirations for the better and the sublime, trying to find satisfaction in the ideals created by fantasy. V.G. Belinsky

In music, as in no other art form, it is possible to express a wide variety of feelings and emotions. Therefore, it was music that became the main art in the era of romanticism. Incidentally, the term "romanticism" in relation to music was first used by an outstanding writer, artist, composer Ernest Theodor Amadeus Hoffmann, whose life and fate can serve as the clearest example of the fate of a romantic hero.

Musical instruments of the Romantic era

Due to the richness of the sound palette, the variety of timbre coloring, the piano became one of the favorite musical instruments of the Romantics. In the era of romanticism, the piano was enriched with new possibilities. Among the romantic musicians there are many such as Liszt, Chopin, who amaze music lovers with their virtuosic performance of their (and not only their) piano works.

The orchestra of the era of romanticism was enriched with new instruments. The composition of the orchestra has increased several times in comparison with the orchestra of the era of classicism. In order to create a fantastic, magical atmosphere, the composers used the possibilities of such instruments as harp, glass harmonica, celesta, glockenspiel.

In the slide screenshot from my presentation, you can see that I added an example of its sound to each image of a musical instrument. By downloading the presentation to your computer and opening it in PowerPoint, my inquisitive reader, you can enjoy the sound of these amazing instruments.

“The updated instruments have unspeakably expanded the scope of orchestral expressiveness, made it possible to enrich the coloristic palette of the orchestra and the ensemble with previously unknown timbres, technical brilliance and powerful luxury of sonority. And in solo plays, concerts, fantasies, they could amaze listeners with unprecedented, sometimes acrobatic virtuosity and exaggerated sensuality, giving the performers-concertants demonic and imperious features. V.V. Berezin

Genres in Romantic music

Along with the popular genres that existed in the previous era, new ones appear in romantic music, such as nocturne, prelude(which has become a completely independent work (recall the delightful preludes Frederic Chopin), ballad, impromptu, musical miniature, song (Franz Schubert composed about six hundred of them) symphonic poem. In these works, the romantic composer could express the subtlest shades of spiritual experiences. It was the romantics who, striving for the concreteness of musical ideas, came to the creation of program compositions. These creations were often inspired by works of literature, painting, and sculpture. The most striking example of such creations are the works Franz Liszt, inspired by images, Dante, Michelangelo, Petrarch, Goethe.

Romantic composers

The scope of the "genre" does not allow to place in this entry a story about the work of romantic composers. My task was to give a general idea of ​​the music of romanticism and, if I'm lucky, to arouse interest in the topic and the desire to continue an independent study of the musical art of the romantic era.

I found among the materials of the Arzamas Academy something that may be of interest to my inquisitive reader about music of romanticism. I highly recommend reading, listening, and thinking!

As always, I offer bibliography. I want to clarify that I am compiling the list using my own library. If you find it incomplete, add it yourself.

• Encyclopedia for children. T.7. Art. Part three. Music, theater, cinema. - M .: Avanta +, 2001.
• Encyclopedic Dictionary of a Young Musician. ‒ M.: "Pedagogy", 1985.
• Musical encyclopedic dictionary. ‒ M.: "Soviet Encyclopedia", 1990.
• Velikovich E.I. Musical journeys in stories and pictures. ‒ St. Petersburg: Information and publishing agency "LIK", 2009.
• Emokhonova L.G. World Artistic Culture: Proc. Allowance for students. avg. ped. textbook establishments. - M .: Publishing Center "Academy", 1998.
• Zalesskaya M.K. Richard Wagner. Forbidden composer. ‒ M.: Veche, 2014.
• Collins St. Classical music inside and out. ‒ M.: FAIR_PRESS, 2000.
• Lvova E.P., Sarabyanov D.V., Borisova E.A., Fomina N.N., Berezin V.V., Kabkova E.P., Nekrasova L.M. World Art. XIX century. Visual arts, music, theater. ‒ St. Petersburg: Peter, 2007.
• Rollan R. Lives of great people. ‒ M.: Izvestia, 1992.
• One Hundred Great Composers / Compiled by D.K. Sameen. ‒ M.: Veche, 1999.
• Tibaldi-Chiesa M. Paganini. ‒ M.: Mol. Guard, 1981

Good luck!

abstract in the academic discipline "Culturology"

on the topic: "Romanticism in music".

Plan

1. Introduction.

2. Characteristic features of the era of romanticism in music.

3. The geography of the music of romanticism.

5. Conclusion.

6. List of references.

1. Introduction.

Romanticism is a new artistic trend in the 19th century. It replaced classicism, and its signs began to appear already at the end of the 18th century. The birthplace of romanticism is Germany, but it quickly spread and penetrated other European countries, as well as Russia and America. The term "romanticism" itself first appeared in literature, thanks to the activities of the German writer Novalis (1772 - 1801). E.T. introduced him to music. A. Hoffmann (1776 - 1882). Romanticism developed in struggle and at the same time in close interaction with its predecessors - classicism and sentimentalism. In the bowels of these literary movements, he was born. Classical writers were convinced that only those who are clearly aware of it, who are able to curb their passions - personal interests and aspirations - can fulfill their civic duty. But such, they believed, was the fate of only a few, "noble" people, mainly nobles. They should have been ready selflessly, sacrificially, to serve the fatherland. Civic duty, in their opinion, consists primarily of noble honor and virtue.

Romantics sought to romanticize everything around, all life phenomena. They adopted some principles from the previous era of classicism, but the very essence of romanticism is a protest against the Enlightenment settings, disappointment in them. Representatives of romanticism could not accept the cult of reason, rationalism, logic and practicality. For them, the soul and individuality of a person, his feelings were important.

The originality of romanticism also lies in the fact that they did not strive for a clear division of art into types and genres. They were impressed with the idea of ​​the synthesis of arts, and they successfully implemented it. Romanticism belongs to one of the most interesting and fruitful cultural eras.

2. Characteristic features of the era of romanticism in music.

For more than a hundred years, romanticism reigned in musical culture (1800 - 1910). It was in this art that he proved to be a long-liver, while in literature and painting he could only last fifty years. This cannot be called a coincidence. In the understanding of the Romantics, music is the most spiritual art and has the greatest freedom. One of the main features of the music of the era of romanticism should be called its synthesis with other types of art. Moreover, the romantics were not supporters of a strict and clear genre division.

Aesthetic categories were also mixed. The tragedy easily coexisted with the comic; the ugly with the beautiful; mundane with sublime. Such contrasts did not look unconvincing or unnatural. The main artistic technique - romantic irony - made it possible to connect the incompatible. Thanks to her, a special picture of the world inherent in romanticism arose.

Despite the tendency to mix genres, many of them, of course, had the right to independent existence and managed to develop significantly during this period; specific genres emerged. First of all, this is the genre of a romantic musical poem and ballad (the brightest representative is F. Schubert); songs; piano miniatures.

Special mention should be made of the piano miniature. It was intended to convey some image that impressed the author, or his mood. A piano miniature could have a genre specification: a waltz, a song, a song without words, a mazurka, a nocturne. Composers often turned to program music, combining their works into cycles.

Characteristic of the era of romanticism is the famous piano cycle by R. Schumann "Carnival", which reflects the free nature of the aesthetics of romanticism. "Carnival" contains twenty-one numbers. These are successive sketches, differing from each other in mood, pictures, portraits, but many of them are united by a single plot. The composer draws an imaginary holiday to which guests-masks are invited. Among them are the usual carnival characters - the timid Pierrot, the mischievous Harlequin, Colombina and Pantalone grumbling at each other (all this is beautifully conveyed by musical means).

"Carnival" is fraught with a very original idea. The composer himself called his cycle "miniature scenes on 4 notes", since all the melody is built on them. The composer took four notes in various sequences and combinations, and as a result they formed a semblance of a theme underlying each piece.

In terms of composition, "Carnival" demonstrates the highest degree of composing skill. All songs of the cycle are distinguished by the perfection of finishing, brilliance and virtuosity. In general, the whole cycle is an example of a harmonious combination and integrity.

If we talk about program music in more detail, then here we can single out such a feature as a connection with other genres: literature, painting. The form of the essay becomes dependent on the plot. In connection with this, symphonic poems, one-movement concertos and sonatas arise; multipart symphonies. Thus, in the era of romanticism, both chamber vocal music and chamber instrumental music developed.

Opera also became special during this period. She begins to gravitate toward symphonism; it has a close and justified connection between text and music; stage action had an equal value with them.

Romantics had favorite themes. Most of the plots were based on the theme of loneliness and love, because at the center of the aesthetics of romanticism was a proud and lonely person, in whose soul strong passions raged. The romantic hero has always been opposed to society, to the whole world. Therefore, it is quite logical that during the period of romanticism, the authors turned to themes close to the image of such a hero: the theme of death, the theme of the road and wanderings, the theme of nature. In romantic works, a lot of space was given to elements of fantasy, invading the boring material world.

The composers who worked in the era of romanticism had their own musical language. They paid great attention to melody, emphasizing the meaning of the word, artistic expressiveness (the last remark also applies to accompaniment).

Harmony was noticeably transformed and enriched. Passion, languor, contrast of moods, tension, fantastic beginning of the works were conveyed through harmony. Thus, melody, texture and harmony became equal in their significance.

So, the main features of the music of the era of romanticism can be called a synthesis of arts and genres; special expressiveness and close relationship of melody, accompaniment and harmony; contrast; fantastic; increased emotionality and expression.

3. The geography of the music of romanticism.

Romanticism covered a fairly wide area: from Europe and Russia to America, and everywhere its development was carried out in a specific way. In Europe, musical art in this period in some countries had both cultural commonality and differences. For example, the music of Austria and Germany developed in approximately the same direction. The musical romanticism of these countries was influenced by the Vienna School of Music, which powerfully manifested itself in literature. They also shared a common language. German-Austrian romanticism was distinguished not only by advanced works of various genres, but also by active enlightenment. The defining feature of German and Austrian romanticism is song.

Romanticism in Poland is a combination of vocalism and instrumentality - a characteristic feature of Polish folk music. So, in the intonations of F. Chopin, echoes of the epic genre of Polish folk music - the Polish Duma - are quite clearly audible. This genre in the mature period of its development is characterized by a slow epic chant, often of a mournful tone. And subsequent dramatic and tense episodes, alternating with the return of the melody of the initial verse. There is no doubt that it was the West Slavic thoughts that served as the prototype for Chopin's ballads and compositions close to them. Thus, at the heart of Polish romanticism lies folk art.

Italian romanticism is an unprecedented flourishing of operatic art; Takeoff Bel Canto. Thus, the opera of Italy became the leader in this direction all over the world. In France, too, opera acquires one of the leading values. A great merit in this belongs to G. Berlioz (1803 - 1869), who is the creator of such an interesting phenomenon as a comic opera, which directly reflected the national specifics of this country.

In Russia, romanticism developed under the influence of the ideas of the Decembrists, the Great French Revolution, the war with Napoleon in 1812, that is, it was associated with global social events. The principles of citizenship, service to the motherland were also transferred to the art of music, in which the idea of ​​national consciousness sounded distinctly. Thus, the musical romanticism of all countries was united by common features: the desire for high spirituality, dreams of beauty, reflection of the human sensual sphere.

4. Great composers and musicians of the era of romanticism.

Romanticism gave musical culture many great composers: F. Liszt (1811 - 1886, Hungary), R. Schumann (1810 - 1856, Germany), F. Schubert (1797 - 1828, Austria), K. Weber (1786 - 1826, Germany ), R. Wagner (1813 - 1883, Germany), J. Bizet (1838 - 1875, France), N. Paganini (1782 - 1840, Italy), E. Grieg (1843 - 1907, Norway), G. Verdi ( 1813 - 1901, Italy), F. Chopin (1810 - 1849), L. van Beethoven (the last stage of creativity, Germany), etc. Let us briefly characterize the work of some of them.

Franz Liszt, like V.A. Mozart, was a young virtuoso and made Europe talk about himself very early, speaking to the public as a pianist. His gift as a composer showed up just as early. Subsequently, F. Liszt combined touring and composing activities. He also made piano transcriptions of symphonic music, and he can rightly be considered a great enlightener.

The author's compositions of F. Liszt are characterized by virtuosity and depth, expression and fury. These are his famous cyclical works: "Years of Wanderings", "Etudes of Transcendent Performance", "Great Etudes after Paganini's Caprices", "Hungarian Rhapsodies". F. Liszt made a huge contribution to the popularization and development of Hungarian musical culture.

Franz Schubert is considered the first composer of the Romantic era to be ranked among the great composers. His music is pure, joyful, poetic and at the same time - sadness, coldness, despair. As is typical for romantics, the music of F. Schubert is contrasting, but it strikes with its freedom and ease, the beauty of melodies.

F. Schubert wrote a huge number of songs that are true masterpieces. This is especially true for works written to the verses of V.I. Goethe ("The Forest King", "Gretchen at the Spinning Wheel") and many others.

The composer also worked in other genres: operas, chamber vocal and instrumental compositions. And yet, first of all, the name of F. Schubert is associated with his songs and various cycles: “The Beautiful Miller’s Woman”, “Winter Way”, “Swan Song”.

The French composer Georges Bizet entered the history of world culture as the author of the unsurpassed opera Carmen. Already at the age of ten, he became a student at the Paris Conservatory. The young composer at the beginning of his career tried himself in different genres, but opera became his true passion. In addition to "Carmen", he wrote such operas as "Pearl Seekers", "Perth Beauty", "Jamile". The music written by him for the drama by A. Daudet with the same name “Arlesian” is also distinguished. J. Bizet is rightfully considered an outstanding composer of France.

Edvard Grieg is the most famous composer of Norway, one of the symbols of this country. His music is an original and original phenomenon, demonstrating the unique individuality of this composer's creative thinking. The works of E. Grieg, including "Piano Concerto", romances, "Lyric Pieces", "Second Violin Sonata" and, of course, "Peer Gynt" - music for the play by G. Ibsen - became the property of not only Norwegian, but also world music .

One of the personifications of romanticism is the Italian violinist and composer Niccolò Paganini. The most accurate definitions of his art are brightness, brilliance, fury, rebellion. He wrote virtuoso and passionate works, which are still present in the repertoire of famous violinists today. We are talking about the First and Second Violin Concertos, "24 Capricci", "Carnival of Venice" and "Perpetual Motion". In addition, N. Paganini was an excellent improviser and made arrangements-variations of fragments of operas for solo violin. He was the inspiration for many figures of the Romantic era.

Speaking about the music of the outstanding Polish composer Fryderyk Chopin (1810 - 1849), first of all, it is worth saying that this is the "soul of the Polish people", which found a variety of expression in Chopin's art. There are pages of epic greatness and heroic upsurge in his music. In the tragic episodes of Chopin's music one can hear the grief of a courageous heart. Chopin's art is a deeply folk art of a patriot artist, a humanist artist, animated by the advanced ideals of the era in which he had to live and create.

Chopin's activities as a composer began with composing Polish household dances (mazurka, polonaise, waltz). He also turned to nocturnes. Revolutionary for piano music were his "Ballad in G minor", "Scherzo in B minor", "Etude in C minor". The etudes and preludes of F. Chopin (along with the etudes of F. Liszt) are the pinnacle of the piano technique of the Romantic era.

Romanticism took root very well on Russian soil. The new attitude found a response in the minds and souls of the intelligentsia. His concept of resistance to evil, which swept the whole world, turned out to be very close to Russian art and literature.

One of the manifestations of romanticism was Russian romantic prose. Appeared in the first half of the 19th century, it in itself became a unique and unique phenomenon. Represented by the names of not only great Russian writers, but also the authors of the second row. Some of the works of these authors clearly demonstrate the attraction to fantasy, unusual and surreal atmosphere, magical plot twist, strange characters. In these works, one can feel the trace of Hoffmann, but refracted through Russian reality. As in Germany, Russian music of this period was closely associated with literature. This can be seen in the example of V.F. Odoevsky (1804 - 1869), who excelled in both areas.

In general, the romantic era produced a whole galaxy of outstanding composers. These are P. I. Tchaikovsky (1840 - 1893), A. A. Alyabiev (1787 - 1851), A.P. Borodin (1833 - 1887), M. I. Glinka (1804 - 1857), A. S. Dargomyzhsky (1813 - 1869), M.P. Mussorgsky (1839 - 1881), M. A. Balakirev (1837 - 1910), N. A. Rimsky-Korsakov (1844 - 1908), A. N. Scriabin (1872 - 1915), Ts.A. Cui (1835 - 1915), S.V. Rachmaninov (1873 - 1943). Of course, most of the listed composers were only romantics. They made a huge contribution to the development of realism in Russian culture, but certain periods of their work fell on the stage of romanticism.

The spokesman for the Russian idea in music was M.I. Glinka. His appearance in Russian musical culture forced her to take a different path. In his work, he managed to combine European and Russian national traditions. The romantic period of M.I. Glinkas are beautiful romances filled with harmony, lyricism and passion, perfect in form and content.

In addition to the activities of composers, creative associations played a huge role in this period. In general, it was a time of great and significant changes for Russia, including in musical life. There is a development of science and literature, which carries with it Russian art. Its best representatives begin to realize the great social power of art. So, the trends of the times also capture music, the influence of literature on it increases and, as a result, their interaction. The scope of its relationship with other types of art is also expanding, various musical communities are emerging: the Dargomyzhsky circle, the Rubinstein circle, the Belyaev circle and, finally, the Balakirev musical community, called the Mighty Handful.

The expression "Mighty bunch" was introduced by the critic V.V. Stasov (1824 - 1906). This oxymoron expression later became winged, and it began to be repeated both in a respectful and in an ironic context, referring to the musicians grouped around M.A. Balakirev.

First of all, they sought to revive interest in Russian folk art. Attaching great importance to the national originality of music, they rightly believed that it could only be achieved if the composer turned to folk song sources. Anyone who has been brought up only on salon compositions, even the best, will not be able to create anything worthwhile. Until now, the members of the Balakirev circle believed, professional music, with rare exceptions (meaning M.I. Glinka, 1804 - 1857), was far from folk art. In the understanding of the "Kuchkists", the composer must be imbued with the spirit of folk music. Thus, Russian romanticism is Russian national art.

5. Conclusion.

A new, romantic view of the world in European art at the turn of the 18th - 19th centuries. In romanticism, the ordinary world is adjacent to the fantastic world, where the dramatic hero runs, hoping to get away from the ordinary. Romantics believed that art is one; poetry and music are especially close. Music is able to "retell" the thought of the poet, draw the image of a literary hero, and poetry quite often strikes with its musicality. The trend of the new art was also reflected in the work of the great romantic composers.

Musical romanticism had its own heroes, its own themes, its own aesthetic principles and artistic language. His goal was a free form, not limited by genre or specific boundaries. Musical romanticism lasted a very long time and brought the richest fruits.

However, the moment of its crisis has come. This happened at a time when the approach of the twentieth century with its peculiar tendencies began to destroy the ideals of romanticism. And although in the end it was replaced by modernism, romanticism did not sink into oblivion, and its traditions continued to live in the art of the new century and even in our modern times.

6. List of references.

1. Belousova S.S. Romanticism. - M.: Rosmen, 2004. - 115 p.

2. Galatskaya V.S. German composer Robert Schumann/W.S. Galatskaya. - M.: Knowledge, 1956. - 33 p.

3. Gordeeva E.M. Mighty bunch / E.M. Gordeev. - M.: Music. - 270 s.

4. Solovtsov A.A. Fryderyk Chopin. Life and creation. - State Musical Publishing House / A.A. Solovtsov. - Moscow, 1960. - 504 p.

Romanticism in its purest form is a phenomenon of Western European art. Russian music of the 19th century. from Glinka to Tchaikovsky, the features of classicism were combined with the features of romanticism, the leading element was a bright, original national principle.

Time (1812, the Decembrist uprising, the reaction that followed) left its mark on music. Whatever genre we take - romance, opera, ballet, chamber music - everywhere Russian composers have said their new word.

Early 19th century - these are the years of the first and bright flowering of the romance genre. The modest sincere lyrics still sound and delight the listeners. Alexander Alexandrovich Alyabyev (1787-1851). He wrote romances to the verses of many poets, but the immortals are "Nightingale" on the verses of Delvig, "Winter road", "I love you" on Pushkin's poems.

Alexander Egorovich Varlamov (1801-1848) wrote music for dramatic performances, but we know him more from famous romances “Red sundress”, “Don’t wake me at dawn”, “A lone sail turns white”.

Alexander Lvovich Gurilev (1803-1858)- composer, pianist, violinist and teacher, he owns such romances as “The bell rings monotonously”, “At the dawn of a foggy youth” and etc.

The most prominent place here is occupied by Glinka's romances. No one else had yet achieved such a natural fusion of music with the poetry of Pushkin, Zhukovsky.

Mikhail Ivanovich Glinka (1804-1857)- a contemporary of Pushkin, a classic of Russian literature, became the founder of musical classics. His work is one of the pinnacles of Russian and world musical culture. It harmoniously combines the richness of folk music and the highest achievements of composer's skill. Glinka's deeply folk realistic work reflected the powerful flourishing of Russian culture in the first half of the 19th century, associated with the Patriotic War of 1812 and the Decembrist movement. Light, life-affirming character, harmony of forms, beauty of expressive and melodious melodies, variety, brilliance and subtlety of harmonies are the most valuable qualities of Glinka's music. in the famous opera "Ivan Susanin"(1836) received a brilliant expression of the idea of ​​popular patriotism; The moral greatness of the Russian people is also glorified in the fairy tale opera “ Ruslan and Ludmila". Orchestral works by Glinka: “Fantasy Waltz”, “Night in Madrid” and especially "Kamarinskaya", form the basis of Russian classical symphonism. Remarkable in terms of the power of dramatic expression and the brightness of the characteristics of the music for the tragedy "Prince Kholmsky". Glinka's vocal lyrics (romances “I remember a wonderful moment”, “Doubt”) is an unsurpassed embodiment of Russian poetry in music.

In the first half of the XIX century. the birth of a national music school. In the first decades of the 19th century dominated by romantic tendencies, manifested in the work of A.N. Verstovsky, who used historical subjects in his work. The founder of the Russian musical school was M.I. Glinka, the creator of the main musical genres: operas ("Ivan Susanin", "Ruslan and Lyudmila"), symphonies, romance, who actively used folklore motifs in his work. An innovator in the field of music was A.S. Dargomyzhsky, author of the opera-ballet "The Triumph of Bacchus" and the creator of the recitative in the opera. His music was closely connected with the work of the composers of the "Mighty Handful" - M.P. Mussorgsky, M.A. Balakireva, N.A. Rimsky-Korsakov, A.P. Borodin, Ts.A. Cui, who strove to embody in their works "life, no matter where it affects", actively turning to historical plots and folklore motifs. Their work established the genre of musical drama. "Boris Godunov" and "Khovanshchina" by Mussorgsky, "Prince Igor" by Borodin, "The Snow Maiden" and "The Tsar's Bride" by Rimsky-Korsakov are the pride of Russian and world art.

A special place in Russian music is occupied by P.I. Tchaikovsky, who embodied in his works the inner drama and attention to the inner world of a person, characteristic of Russian literature of the 19th century, to which the composer often turned (the operas Eugene Onegin, The Queen of Spades, Mazepa).