Most popular romances list. Sheet music, chords - a collection of old Russian romances - piano

Romance is a well-defined term. In Spain (the birthplace of this genre), this was the name given to a special kind of composition, intended mainly for solo performance to the sound accompaniment of a viola or guitar. At the heart of the romance, as a rule, lies a small lyrical poem of the love genre.

Origins of Russian romance

This genre was brought to Russia from France by the aristocrats of the second half of the 18th century and was immediately adopted by the fertile soil of Soviet poetry. However, Russian romances, the list of which is known today to every lover of classical songs, began to emerge a little later, when the Spanish shell began to be filled with truly Russian feelings and melodies.

In fabric new song Traditions are organically intertwined folk art, which has so far been submitted exclusively by anonymous authors. The romances were re-sung, passing from mouth to mouth, the lines were altered and “polished”. TO early XIX centuries, the first collectors of songs began to appear, driven by the idea of ​​​​preserving old Russian romances (their list by that time was already quite large).

Often these enthusiasts added to the collected texts, adding depth and poetic power to the lines. The collectors themselves were academically educated people, and therefore, going on folklore expeditions, they pursued not only aesthetic, but also scientific goals.

Genre evolution

Since the turn of the XVIII-XIX centuries, artistic content romance lyrics became more and more filled with deep personal feelings. The individual world of the hero received an opportunity for a bright, sincere expression. The combination of a high style with a simple and lively Russian vocabulary made the romance truly popular and accessible to both the nobleman and his peasant.

The vocal genre was finally reborn and to mid-nineteenth century has become an integral part secular evening as part of the “languid” home music-making, beloved by all young ladies. The first romances also appeared. The list that made them song repertoire, contained more and more author's works.

The most famous in the first half of the 19th century were such famous composers as A. Alyabyev and A. Gurilev, who played an invaluable role in the development of Russian romance and its popularization.

Urban and gypsy romances

Urban romance absorbed the largest number of folklore motifs Russia XIX-XX centuries. Being an author's song, in terms of the freedom of its existence, it resembled and differed in its characteristic features:

• the magic of details;
• well-defined images;
• stepped composition;
• powerful reflection of the protagonist;
• the image of ever-elusive love.

The characteristic features of urban romance from a musical point of view are the harmonic construction of the composition with minor tones, as well as its inherent sequence.

The gypsy romance was born as a tribute to Russian composers and poets in the manner of performance beloved by many of the same name. Its basis was the ordinary lyric song. However, the characteristic artistic turns and techniques that were in use among the gypsies fit into its texts and melody. To learn such a romance today is no wonder. Its main theme, as a rule, is a love experience in various gradations (from tenderness to carnal passion), and the most noticeable detail is “green eyes”.

Cruel and Cossack romances

There is no academic definition for these terms. However, their character traits fully described in the literature. A feature of the cruel romance is a very organic combination of the principles of the ballad, lyric song and romance. Its individual features include an abundance of main plots that differ only in the causes of the tragedy. The result of the whole story is usually death in the form of murder, suicide, or from mental anguish.

The birthplace of the Cossack romance is Don, which gave lovers of folk poetry a legendary song unknown author"Spring will not come for me ...". History also does not know the exact authorship of most of the highly artistic works that can be described as "classical Russian romances." Their list includes such songs as: “Dear long”, “Only once”, “Oh, guitar friend”, “Come back”, “We only know each other” and others written in the first third of the 20th century.

Russian romances: a list and their authors

According to one of the main versions, Russian romances, the list of which was given above, belong to the most popular at the beginning last century songwriters: Boris Fomin, Samuil Pokrass, Yuliy Khaita and others.

The most devoted connoisseur of the classical romance in the 20th century was Valery Agafonov, who was the first to declare the high value of the cultural baggage leaving the Soviet listener. Russian romances, the list of which was compiled by Agafonov, owed their revival on a new soil to their return to their homeland. legendary performers- Alexander Vertinsky and Alla Bayanova.

list of romances by Tchaikovsky, list of romances
List of Russian romances

• 1 List
  • 1.1 A
  • 1.2 B
  • 1.3 V
  • 1.4G
  • 1.5 D
  • 1.6 E
  • 1.7 F
  • 1.8 Z
  • 1.9 I
  • 1.10 K
  • 1.11 L
  • 1.12 M
  • 1.13 N
  • 1.14 O
  • 1.15 P
  • 1.16 R
  • 1.17C
  • 1.18T
  • 1.19
  • 1.20 C
  • 1.21 h
  • 1.22 W
  • 1.23 E
  • 1.24 I
• 2 Links

List

A

• And finally, I will say ... (A. Petrov - B. Akhmadulina)
• Oh, why this night ... (Nik. Bakaleinikov - N. Ritter)
• Oh those black eyes

B

• "Fragrant clusters of white acacia" - music by an unknown author, lyrics by A. Pugachev (?). Published in 1902. Modern version - music by V. E. Basner, lyrics by M. L. Matusovsky.
• Bells - music by A. Bakaleinikov, lyrics by A. Kusikov.
• Past joys, past sorrows

IN

• In the garden where we met
• At the hour when the flicker
• At the fatal hour (gypsy waltz by S. Gerdal)
• You don't understand my sadness
• Come back, I will forgive everything! (B. Prozorovsky - V. Lensky)
• Evening ringing - poems by Ivan Kozlov and music by Alexander Alyabyev, 1827-28
• The look of your black eyes (N. Zubov - I. Zhelezko)
• IN moonlight(Ding-ding-ding! The bell is ringing, words and music by Evgeny Yuryev)
• Here comes the postal troika
• Everything that was (D. Pokrass - P. German)
• You ask for songs, I don't have them (Sasha Makarov)
• I go out alone on the road (M. Lermontov)

G

• "Gas scarf" (Don't tell anyone about love)
• Gaida, troika (M. Steinberg)
• Eyes (A. Vilensky - T. Shchepkina-Kupernik)
• Looking at a beam of purple sunset
• Burn, burn, my star - music by P. Bulakhov to words by V. Chuevsky, 1847.

D

• Two guitars - music by Ivan Vasiliev (on the motive of a gypsy Hungarian woman), lyrics by Apollon Grigoriev.
• Day and night drops the heart of affection
• You made a mistake (unknown - I. Severyanin)
• Long road - music by B. Fomin, lyrics by K. Podrevsky
• Weeping willows slumber

E

• If you want to love (music: A. Glazunov, lyrics: A. Korinfsky)
• More than once you remember me

AND

• The autumn wind moans plaintively (M. Pugachev - D. Mikhailov)
• My joy lives - based on the poem by Sergei Fedorovich Ryskin (1859-1895) "The Daredevil" (1882), in arr. M. Shishkina

Lark (M.Glinka - Puppeteer N)

Z

• For a friendly conversation (He came to us, came to us)
• Stars in the sky (V. Borisov - E. Diterikhs)
• Winter road - poems by Pushkin, music by Alyabyev

pip kaka.

AND

• Emerald

TO

• how good
• Wicket (A. Obukhov - A. Budischev)
• Capricious, stubborn
• When a premonition of separation ... (D. Ashkenazy - Y. Polonsky)
• You are my fallen maple (Sergey Yesenin in 1925)
• When with a simple and gentle look

L

• Swan Song (music and lyrics by Marie Poiret), 1901
• Calendar sheets
• Only the moon will rise (K. K. Tyrtov, dedication to Vyaltseva)

M

• My days are slowly dragging on (music: N. Rimsky-Korsakov, lyrics by A. Pushkin)
• Honey, you hear me - music by E. Waldteuffel, lyrics by S. Gerdel
• My fire in the fog shines (Y. Prigozhy and others - Yakov Polonsky)
• Shaggy bumblebee (A. Petrov - R. Kipling, trans. G. Kruzhkov)
• Flies like black thoughts (Mussorgsky - Apukhtin)
• We went out into the garden
• We only know each other (B. Prozorovsky - L. Penkovsky)

H

• To the far shore ... (words - V. Lebedev, music - G. Bogdanov)
• At dawn, don't wake her up (A. Varlamov - A. Fet)
• Don't scold me, dear. Words: A. Razorenov, music: A. I. Dubuk
• Don't tell me about him (M. Perrote)
• Spring will not come for me - based on the text of the poet A. Molchanov, created in 1838 in the Caucasus, music. and words by N. Devitte.
• Don't deceive
• Do not awaken memories (P. Bulakhov - N. N.)
• Don't leave, my dear (N. Pashkov)
• Don't leave, stay with me (N. Zubov - M. Poigin)
• No, he did not love! (A. Guerchia - M. Medvedev). Translation of the Italian romance, performed with great success by V. F. Komissarzhevskaya and introduced into the play "Dowry" by A. N. Ostrovsky on stage Alexandria Theater as a romance by Larisa (premiered September 17, 1896).
• No, I don't love you so passionately (verses by M. Lermontov)
• I don't need anything in the world
• beggar woman
• But I still love you
• Crazy nights, sleepless nights (A. Spiro - A. Apukhtin)
• The night is bright (M. Shishkin - M. Yazykov)
• The night is quiet (A. G. Rubinshtein)

ABOUT

• Oh, speak at least you with me (I. Vasiliev - A. Grigoriev), 1857
• The bell rattles monotonously (K. Sidorovich - I. Makarov)
• The moon turned crimson
• He left (S. Donaurov - unknown author)
• sharp ax
• Get away, don't look
• The chrysanthemums have faded (the first romance by Nikolai Kharito, 1910)
• Charming eyes (I. Kondratiev)
• Black eyes - words by Evgeny Grebenka (1843), performed to the music of F. Herman's waltz "Hommage" (Valse Hommage) in the processing of S. Gerdel in 1884.
• Dissuaded by a golden grove (to poems by S. Yesenin)

P

• Pair of bays (S. Donaurov - A. Apukhtin)
• Under your charming caress
• Lieutenant Golitsyn (song) - first dated performance in 1977.
• Right, I'll tell my mother
• Lure me, my darling - music: A. I. Dubuc
• Confession
• Farewell, my camp! (B. Prozorovsky - V. Makovsky)
• Farewell dinner
• Song of a gypsy woman verses by Yakov Polonsky

R

• As she parted, she said
• Romance about romance - music by Andrey Petrov, lyrics by Bela Akhmadulina, from the film "Cruel Romance", 1984.
• Romance (Words and music by Alexander Vasiliev)

C

• White tablecloth (F. German, arr. S. Gerdal - unknown author)
• shone the night
• random and simple
• I dreamed of a garden in a wedding dress - music by Boris Borisov, lyrics by Elizaveta Diterikhs
• Nightingale - composer A. A. Alyabyev on poems by A. A. Delvig, 1825-1827.
• Good night, gentlemen - music - A. Samoilov, poetry - A. Skvortsov.
• Among the worlds
• Faceted cups

T

• Your eyes are green Boris Fomin
• Dark cherry shawl (V. Bakaleinikov)
• Only once (words by P. German, music by B. Fomin)
• Shadows of the past ... (lyrics by Anatoly Adolfovich Frenkel, music by Nikolai Ivanovich Kharito)

At

• On the high shore
• Alas, why does she shine - Pushkin's poems, Alyabyev's music
• You are a true friend
• Go away, completely go away (L. Friso - V. Vereshchagin)
• Street, street, you, brother, are drunk - lyrics: V. I. Sirotin, music: A. I. Dubuk
• Foggy morning (E. Abaza, according to other sources of Y. Abaza - Ivan Turgenev)

C

• The whole night the nightingale whistled to us - music by Veniamin Basner, lyrics by Mikhail Matusovsky. Romance from the film "Days of the Turbins". 1976. Created under the influence of the popular romance "White Acacia Fragrant Clusters"
• FLOWERS old noble romance, music. Sartinsky Bay, lyrics by an unknown author

H

• Seagull - music: E. Zhurakovsky, M. Poiret, lyrics: E. A. Bulanina
• Circassian song - poems by Pushkin, music by Alyabyev
• Black eyes. Words: A. Koltsov, music: A. I. Dubuk
• What is this heart
• wonderful rose

W

• Silk cord musical arrangement by Boris Prozorovsky, lyrics by Konstantin Podrevsky

E

• Hey, coachman, drive to the Yar (A. Yuryev - B. Andrzhievsky)

I

• I do not tell you words and music by D. Mikhailov
• I loved you - poems by Pushkin, music by Alyabyev
• I met you (music unknown author, edited by I. Kozlovsky - F. Tyutchev)
• I was going home (words and music by M. Poiret), 1905
• I won't tell you anything (T. Tolstaya - A. Fet)
• I'm leaving, I'm leaving, I'm leaving
• Coachman, don't drive the horses - composer Yakov Feldman, poet Nikolai von Ritter, 1915
• I survived my desires on the verses of A. S. Pushkin

Links

• Russian classical romance - texts, biographical information.mp3
• List of romances and gypsy songs with lyrics at a-pesni.org
  • List of gypsy romances with lyrics at a-pesni.org
• Russian Records - SKURA GOOD PERSON

list of romances, list of romances by Tchaikovsky

Educational and methodological development "Romances in the work of Russian composers"

The work is intended for a wide range readers, and can also be used for themed evenings dedicated to Russian romance for age category starting from medium classes, Children's music school and children's art school.

INTRODUCTION

I love to listen, plunging into bliss,
Romances of ardent sighs of fire.
S. Danilov

Sometimes in concerts, on radio, television, in home music-making, we hear works that are distinguished by rare expressiveness, high poetic words, vivid melody, and the fusion of a poetic idea with a musical idea. These works are often short in length, their voice is not loud and addressed to a small audience of listeners.
These works are romances.
Romance... It is full of charm and light sadness.
Romances provide the broadest opportunities for expressing thoughts, feelings, moods ...

History of the Romance.

The word romance takes us back to the distant Middle Ages in Spain. It was there, in the XIII-XIV centuries, in the work of wandering poets-singers that a new song genre was established, combining the techniques of recitative, melodious, melodic beginning and mimic dance. The songs of troubadour singers were performed in their native Romance. Hence the name “romances” came from, which determined not only special genre poetic text, performing traditions, but also a characteristic type of melody accompanied by musical instrument.
In the 15th century, with the development of lyric, especially court poetry, publications of romance collections, the so-called romancesero, began to be carried out in Spain. From Spain, the romance migrated to England and France.
To countries Western Europe romance penetrated at first as a genre of literary, poetic, but gradually took root as a genre of music, forming in vocal music various countries independent direction.
The English called romances not only vocal compositions, but also great knightly poems, and the French - lyrical love songs. moving closer to folk art, the romance was enriched with folk features, became a popular democratic genre, preserving, in contrast to the Spanish folk song, their specific features.
How musical genre the romance expanded its scope over time, filled with love, comic, satirical content.

Russian romance

In the 18th century, the romance genre was also defined in Russian musical art, becoming one of the outstanding phenomena of national culture. Romance became the genre in which poetry and music most closely merged.
In Russia, the romance initially appears in the nobility of the capital, and then in the provincial environment. It is specially adapted for a narrow circle of people who visit salons and gather for evenings. A warm homely atmosphere is created there, and this contributes to the expression of cordial feelings.
The first romances were predominantly salon in nature, they were characterized by the artificiality of both the experiences themselves and their expression. But over time, romances became simpler, love feelings began to be conveyed openly and more clearly. The romance was widely spread not only in the educated strata of society, but also became the property of raznochintsy, philistines, ordinary people who appreciated in it the depth of feeling, sincerity and cordiality. The romance was addressed to every person who experienced hot and strong love or disappointed in love. The eternal feeling in its diversity and conflicts, which excites and makes the human heart suffer, remaining the content of the romance, opposes the coldness, indifference and alienation that a person often feels in real life.
Romance fixes a memorable moment in the history of relationships and in the fate of people, one way or another separating them from the vain world and taking them to the realm of eternal truths, to the realm of truly human values.

Varieties of romance in Russia:

The wide spread of the romance in different strata of society in Russia also caused the appearance of its varieties: “estate”, “urban” romance, which penetrated the city into a diverse environment. Special variety- petty-bourgeois, or "cruel" romance. He was distinguished by extremely intense passions, anguish, exaggerated and carried to the extreme intonations.
Close to the "cruel" is the "gypsy" romance, with a cult wave that knows no boundaries of love passion.
Romance brings together genre varieties like ballad, elegy, barcarolle, romances in dance rhythms.
An elegy is a lyric-philosophical poem. An example of a romance resembling an elegy is the beautiful romance "Misting Morning" to the words of I. S. Turgenev. It captures with poetic charm the aching feeling of longing for the departed happiness.
The romance, which resembles a ballad, is characterized by images inspired by ancient traditions and legends. An example is the romance "Black Shawl" by A. N. Verstovsky to the verses of A. S. Pushkin.
Many composers have created vocal and instrumental pieces in the barcarolle genre. Barcarole - (Italian barcarola, from barca - boat), the song of the Venetian gondoliers is characterized by a soft, swinging movement of the melody and a lyrical character. Features folk barcarolle also appear in Russian romances.
Currently, the term "romance" means the whole variety of chamber vocal forms (solo and ensemble) with instrumental accompaniment, most often piano.
Options such as guitar and harp accompaniment are also possible:

(picture - a girl playing the harp)
(picture - a young man playing the guitar)

An important role in the development of the Russian romance of the first half of XIX centuries, composers Alyabyev, Varlamov, Gurilev, Verstovsky, Bulakhov played. A prominent place is occupied by the genre of romance and chamber song also in the work of classical composers - Dargomyzhsky and Glinka.
(Portrait of M.I. Glinka)
The romances of Mikhail Ivanovich Glinka are the pride of Russian classics. The composer wrote them throughout his life. Some of them depict pictures of Russian nature and life, and lyrical romances are a kind of confession.
Everything captivates in the romances of M. I. Glinka: sincerity and simplicity, modesty and restraint in expressing feelings and moods, classical harmony, strictness of form, beauty of the melody.
M.I. Glinka - the founder of the Russian school vocal singing. His romances are an inexhaustible source of beauty and perfection.
The composer composed romances to the verses of contemporary poets - Zhukovsky, Delvig, Pushkin, close friends, for example, I.V. Puppeteer.
In the composer's vocal lyrics, a special place is occupied by romances to the words of A.S. Pushkin. Among them is the pearl of Russian vocal lyrics “I remember wonderful moment". In this romance, the genius of the poet and composer merged.
In 1838 M.I. Glinka met Ekaterina, the daughter of Anna Petrovna Kern, whom A.S. Pushkin dedicated the poem "I remember a wonderful moment."
“She was not good,” the composer later recalled, “even something suffering was reflected on her pale face, but her clear expressive eyes, an unusually slender figure and a special kind of charm and dignity, spilled in her whole person, attracted me more and more” .
M. I. Glinka’s feelings were divided: He wrote: “I felt disgusting at home, but there was so much life and pleasure on the other side. Fiery poetic feelings for E. K., which she fully understood and shared ... "
The meeting with Ekaterina Kern brought great joy to the composer. Sensitivity, spirituality, education of the girl struck M. I. Glinka. Thanks to the deep pure feeling composer to Ekaterina Kern appeared an inspired poetic romance "I remember a wonderful moment."
(Portrait of A.S. Dargomyzhsky)
More than a hundred songs and romances were written by the famous Russian composer A. S. Dargomyzhsky.
In romances, deeply and psychologically truthfully revealed inner world man, his feelings and thoughts.

Favorite poets A.S. Dargomyzhsky were A. S. Pushkin, M. Yu. Lermontov, A. Delvig, Beranger. Their genius served as a source of inspiration for many composers of that time.
Dargomyzhsky's romance "I'm sad" to the words of M. Yu. Lermontov is permeated with deep lyricism. Such romances as “I have passed 16 years old”, “Titular Counselor”, “Old Corporal” are famous.
Pyotr Ilyich Tchaikovsky wrote his romances (there are more than a hundred of them) throughout his life. They are very diverse both in genres, and in mood, and in the characters of the characters.
The romances of Pyotr Ilyich are characterized by sincerity of lyrical feeling, spiritual openness and simplicity of expression.
(Portrait of P.I. Tchaikovsky)
About the romances of P. I. Tchaikovsky, the composer B. V. Asafiev wrote:
“... In the monstrous conditions of Russian reality, especially provincial, among people suffering from a petty and vulgar life, music was needed ... of direct, sincere feeling, which would make it possible ... to "take away the soul" ...
Tchaikovsky's music came at the right time and opened up the full possibility of this kind of intense emotional communication."
It is difficult to find a person who would not hear the romances of P. I. Tchaikovsky. Here are some of them:
“In the midst of a noisy ball” to the words of A. N. Tolstoy It is written in the rhythm of a waltz, which corresponds to the content of the poem (memories of a meeting with a loved one during a ball). This romance is a subtle, penetrating, lyrical miniature, an intimate confession of one's feelings.

One of the most radiant romances of the composer is “Does the Day Reign” to the words of A. N. Tolstoy. Everything in it reflects the stormy delight, the ardor of the boundless, all-consuming feeling.

The romance "I bless you, forests" to the words from A. N. Tolstoy's poem "John of Damascus" by its nature can be attributed to the philosophical pages of P. I. Tchaikovsky's vocal lyrics. Its main idea is the glorification of the beauty and power of nature, with which human life is inextricably linked.
(Portrait of N.A. Rimsky-Korsakov)
It is impossible not to mention one more composer who enriched the treasury of Russian romance - Nikolai Andreevich Rimsky-Korsakov.

In the composer's multifaceted work, romances occupy a special place, and he created 79 of them.
The vocal lyrics of Nikolai Andreevich are characterized by deep poetry, impeccable art form.
The main content of his romances is love feelings, images of nature, motives of oriental poetry, reflections on art.
The poems that attracted N. A. Rimsky-Korsakov indicate his delicate taste.
The composer's favorite poets are Pushkin, Maykov, Nikitin, Fet, Koltsov, A. Tolstoy.
Most famous romances: "Anchar", "My voice for you", "To the yellow fields", the vocal cycle "By the Sea".
(Portrait of P.P. Bulakhov)
Everyday music, closely associated with Russian folk songs, sounded widely and freely in Moscow. Therefore, it is not surprising that it was in Moscow that Russian everyday romance found refuge, the brightest representative which in the second half of the 19th century was the composer and singer Pyotr Petrovich Bulakhov (1822-1885).

Son opera artist P. A Bulakhov, brother of the famous Russian tenor Pavel Bulakhov, Pyotr Bulakhov became famous as the creator and performer of Russian songs and everyday romance.
The art of Pyotr Petrovich was admired by such famous representatives national culture, as playwright A. N. Ostrovsky, founder art gallery P. M. Tretyakov, philanthropist, connoisseur of Russian music S. I. Mamontov.
In the romances and songs of Bulakhov and in the work of the authors of everyday romance of the beginning of the century, melodic alloys of urban Russian song, gypsy song with forms of salon music, romance creativity of Western and Russian composers were combined.
P.P.Bulakhov's contemporaries called him the predecessor of Pyotr Ilyich Tchaikovsky in the romance genre. Bulakhov knew how to express his feelings sincerely and simply.
This can be seen in the famous romance "Burn, Burn My Star", inspired by autobiographical motifs. This romance, very popular even today, included in their performing repertoire such famous singers like Anna German and Iosif Kobzon:
"Burn, burn, my star
Burn, dear star,
You are my only cherished
There will never be another…”

IN famous song“My bells, flowers of the steppe” reveal Russian roots and features that are close to urban romance.

And in the romance “No, I don’t love you”, the influence of salon music is noticeable:

No, I don't love you
And I won't love
Insidious your eyes
I don't believe in lies.
Cooled the fire of the soul
And my heart went cold!
You are very good
Yes, what do I care!

An elegant, fluttering waltz, with a flexible soaring melody, with pauses, sighs, playing, changing major and minor, with lively, figurative musical speech, in which there is much from Bulakhov's own style, is a reflection of his creative searches.
The same expressiveness is filled with one of his best elegies “Do not awaken memories”. Every sound, every word sings here. Everything from the heart and soul:

"Don't bring up memories
Days gone by, days gone by
You can't bring back your old desires
In my soul, in my soul…”

Accompaniment! Luxury or necessity?

One of the features of the romance, unlike the song, is the presence of piano accompaniment. In a song, it is not always necessary. Let's remember how often we have to sing songs without accompaniment - one melody. Of course, if singing is accompanied by a piano or accordion, then the sound becomes fuller, richer, more colorful. But it is quite possible to do without instrumental accompaniment, especially if the song is performed by the choir. Simplicity, accessibility, performance is one of the advantages of the song.
But the performance of a romance is often completely impossible to imagine without accompaniment.
In romances, the vocal and instrumental parts are closely related to each other. Here, both the melody and the instrumental accompaniment closely interact, participating in the creation musical image.
Take, for example, Tchaikovsky's romance "In the midst of a noisy ball":
(Music example)
Phrase after phrase the voice sings; the melody unfolds slowly, like a gradually looming vision, the outlines of which are clearer and clearer. Penetrating thoughtful intonations with sadly sinking endings of phrases, intermittent, with pauses, breathing convey the trembling of the first, timid and tender feeling and draw the image of the heroine - poetic, fragile.
But no less important is the accompaniment, weightlessly transparent, almost airy. Sustained in the rhythm of a waltz, it seems to convey to us the echoes of a distant ball.
And the uniform accompaniment drawing, bewitching with its monotony, further contributes to the fact that the whole romance sounds like a memory and appears in a romantic haze ...
And if you listen to Rachmaninov's "Spring Waters"! Is it possible to imagine this romance without piano accompaniment?
When listening to this romance, one can immediately understand that the joyfully upbeat melody with its jubilant exclamations and the seething streams of incessantly raging piano passages form a single artistic whole.
Continuing the work of S. Rachmaninov, many examples can be given.
One of the most remarkable is the romance to the verses of F. Tyutchev "Spring Waters":
“The snow is still whitening in the fields, and the waters are already rustling in spring ...”
So much light and hope in this solar hymn, so much youthful strength and joy conveyed in accompaniment!
Another example: "Island" to the words of K. Balmont.
Here the music conveys the soundscape. The melody seems to flow silently and transparently, without disturbing the silence.

Words and Music make up a single whole!

Consider some of the differences between a romance and a song. We know that songs are usually written in verse form. When you learn a song, you remember only the music of the first verse, because in all subsequent verses the words change, but the melody remains unchanged.
If the song is with a chorus, then we are dealing with two different melodies: the sing-along and the chorus. Alternating, they follow one after another. And, despite the fact that in the text of the song the words in each next verse are new, the music of the sing-along remains unchanged.
Text and music must be in full accordance. The melody perfectly reflects the main idea of ​​the whole text as a whole, corresponds to its general mood.
It's in the song. But what about romance?
If the composer, creating a romance, wants to reflect the general mood poetic text, then he resorts to a generalized song melody, to a couplet form.
Such are many romances by Schubert, Glinka, Alyabyev, Varlamov. Often they are even difficult to distinguish from the song. But in most romances, music not only gives a general mood, reflects not only the main idea of ​​the test, but reveals all the diversity of its content, explains the meaning of stanzas, phrases, draws the listener's attention to some individual words, details. The composer can no longer confine himself to the song couplet form, he chooses more complex musical forms, often based on the structure and content of the poem itself.
Thus, the main task of romances is to convey artistic sense music and text, as well as the creative idea of ​​the composer. Then any romance will find a soul and will “live” forever!

Conclusion

Listening in chamber vocal works domestic musical culture, we penetrate into the innermost works of great masters, trace their affections and hobbies, become witnesses of the birth of certain artistic movements reflected in the intonational language of literary and musical speech.
Listening to romances, we clearly see and feel the techniques, strokes, features artistic method characteristic of its time, and in this respect the role of the romance is invaluable.
The tradition of composing and singing romances continues to live.
And if you listen to the unceasing voice today, to a mighty stream of sound impressions, even today we can distinguish the gentle voice of our friend, the good old romance, who is not going to give up his positions at all,
and gradually, unobtrusively, but steadily and beautifully, it draws more and more young and young, old and old people into its own special and beautiful world real feelings, deep thoughts, true passions and life ideals!