Italian songwriters of the 20th century. Great Italian Composers
The concept of "composer" first appeared in the 16th century in Italy, and since then it has been used to refer to a person who composes music.
19th century composers
In the 19th century, the Viennese School of Music was represented by such an outstanding composer as Franz Peter Schubert. He continued the tradition of romanticism and influenced a whole generation of composers. Schubert created over 600 German romances, taking the genre to a new level.
Franz Peter Schubert
Another Austrian, Johann Strauss, became famous for his operettas and light musical dance forms. It was he who made the waltz the most popular dance in Vienna, where balls are still held. In addition, his legacy includes polkas, quadrilles, ballets and operettas.
Johann Strauss
A prominent representative of modernism in the music of the late 19th century was the German Richard Wagner. His operas have not lost their relevance and popularity to this day.
Giuseppe Verdi
Wagner can be contrasted with the majestic figure of the Italian composer Giuseppe Verdi, who remained faithful to opera traditions and gave Italian opera a new breath.
Peter Ilyich Tchaikovsky
Among the Russian composers of the 19th century, the name of Pyotr Ilyich Tchaikovsky stands out. He is characterized by a unique style that combines European symphonic traditions with Glinka's Russian heritage.
Composers of the 20th century
Sergei Vasilyevich Rahmaninov
One of the brightest composers of the late 19th - early 20th centuries is rightfully considered Sergei Vasilyevich Rachmaninov. His musical style was based on the traditions of romanticism and existed in parallel with the avant-garde movements. It was for his individuality and the absence of analogues that his work was highly appreciated by critics around the world.
Igor Fyodorovich Stravinsky
Second famous composer 20th century - Igor Fedorovich Stravinsky. Russian by origin, he emigrated to France, and then to the USA, where he showed his talent to the fullest. Stravinsky is an innovator, not afraid to experiment with rhythms and styles. In his work, the influence of Russian traditions, elements of various avant-garde movements and a unique individual style can be traced, for which he is called "Picasso in Music".
The development of Italian music in the 19th century was marked by opera. This century ended with the late masterpieces of Verdi, the stunning success of the verists Mascagni and Leoncavallo. Puccini drew a line under this brilliant era, who acted as the true heir of Verdi and at the same time opened up new possibilities in the field of musical dramaturgy and vocal melody. Puccini's findings were soon picked up by composers of various national schools. However, the bulk of the Italian opera scores of the early 20th century (E. Wolf-Ferrari, F. Cilea, U. Giordano, F. Alfano) showed an infinite number of variations on the techniques of opera writing developed in the past, only slightly enriched with more modern means, which testified to crisis of the national opera school.
The attempts to develop symphonic and chamber-instrumental genres, which began in the second half of the 19th century, turned out to be practically fruitless. The symphonies of G. Sgambati, G. Martucci, written in the tradition of Mendelssohn and Brahms, do not go beyond eclecticism; the organ work of M. E. Bossi does not rise above the level of imitation, demonstrating the influences of German musical romanticism - from Schumann to Liszt and Wagner.
From the very beginning of the century, the influence of Catholicism noticeably increased in Italy, which also affected music. The bull of Pope Pius X "Motu proprio" (1903), dedicated to the problem of updating church music, played its role here. It, in particular, contained a call for the revival of Gregorian chant and at the same time authorized the use of the most innovative expressive means, provided that their use would meet the requirements of the church. True, the attempts to revive the genres of oratorio, cantata and mass, undertaken at the beginning of the century by Abbé Perosi *,
* Lorenzo Perosi in 1898 was appointed to the post of head of the Sistine Chapel and became the leader of the movement for the renewal of church music.
were not crowned with success: the compositions of this author did not bring the desired renewal of Catholic music either in terms of their stylistic, or spiritual, ethical qualities. Nevertheless, the publication of monuments of Catholic sacred music (the famous Editio Vaticano series, begun in 1904) attracted the attention of many composers who were looking for ways to revive national traditions. Interest in Gregorian chant, ancient Italian polyphony (Palestrina), spiritual genres and forms will especially increase in the 20-30s.
The First World War deeply shook Italy economically, politically, socially, culturally, which led to an ideological crisis. In the art of the late 10s - early 20s, one can note both a sharply critical understanding of the events of the past war and post-war reality, as well as skepticism, and religious and mystical aspirations, along with the revival and intensive development of militant nationalist tendencies. Even at the beginning of the century, dreams of anti-fascist ideology appeared about Greater Italy, the heiress of Caesar's Rome, about the transformation of the Mediterranean into Italian - "our sea", etc. The spokesman for such sentiments was literary group Futurists, who published her first manifesto in the Parisian newspaper Le Figaro in 1909. After the war, the activity of this group takes on a clearly expressed political character. In the autumn of 1918, in the first issue of the weekly Roma Futurista, a manifesto and program of the political party were published, containing a frank apology for nationalism. The party being created was headed by F. T. Marinetti; it included B. Mussolini, as well as G. d "Annunzio and a number of other artists, among whom were musicians - L. Russolo, F. B. Pratella; later P. Mascagni and B. Gigli became its members. Futurist literary a group led by Marinetti prepared the emergence of the Fascist Combat Squads organization; the activity of the latter began in March 1919, when Mussolini convened in Milan the first assembly of the future fascist party, called the San Sepolcro Assembly (after the mansion where it took place) A few months later, the San Sepolcro Program was published, which combined a number of points in the Futurist program with the revolutionary-democratic demagogy of Mussolini and the militant nationalism of d'Annunzio.
A significant part of the intelligentsia, especially among cultural and artistic figures, did not accept the nationalist ideology. For this part of the Italian writers, poets, playwrights, universal “eternal” themes have become a spiritual refuge. Humanistic ideas were proclaimed, in particular, by a group of "rondists", who received their name from the magazine "Ronda" published by the socialist party. Unable to make an active protest against fascism, they preached the separation of art from politics and proclaimed the "individual freedom of thought of the artist." Conscious self-limitation by the problems of artistic mastery was combined with a retreat into the past, with a focus on mastering the experience of national classics. The aesthetics of the "Rondists" undoubtedly influenced some prominent composers (Pizzetti, Malipiero, Casella) and contributed to the establishment of neoclassicism in Italian music of the 20-30s as the main direction.
An important role in rallying the left forces of the artistic intelligentsia was played by the socialist weekly Ordino Nuovo, published in 1919-1922, founded by A. Gramsci (later one of the founders of the Italian Communist Party). On the pages of the weekly, Gramsci led an active struggle for democratic culture, paying much attention to promoting the work of modern writers of the left direction - M. Gorky, A. Barbusse, R. Rolland and others. In a number of articles, he sharply criticized futurism and the nationalist platform of d'Annunzio. Since 1924, the newspaper of the Italian Communist Party Unita has become the mouthpiece of the anti-fascist movement.
In the music of Italy, as before the war, the verist direction continued to dominate, despite the fact that it was clearly degenerating (this is especially noticeable in the post-war works of Mascagni). The fight against the routine and conservatism that reigned in the Italian musical life, were led by representatives of the younger generation - Respighi, Pizzetti, Malipiero and Casella, guided by the symphony of R. Strauss, Mahler, French impressionism, the work of Rimsky-Korsakov, Stravinsky. Even earlier, in 1917, they founded the National Musical Society, which aimed to update the repertoire symphony concerts. propaganda new music and the struggle against the dominance of academic and verist tendencies, these composers also waged in the press.
A new situation developed in the country after October 1922. Mussolini, having become prime minister, begins reprisals against his political opponents and at the same time pursues an insidious policy of involving the intelligentsia in the fascist movement, hoping in this way to turn the world public opinion in a direction favorable for its ideology and practice. Already after the coup d'état on January 3, 1925, which led to the establishment of an openly dictatorial regime, in March of the same year, the Congress in the name of fascist culture was held in Bologna, and in April the “Manifesto of the Fascist Intelligentsia” was issued, compiled by the ideologist of Italian fascism, the philosopher J. Gentile.
However, opposition sentiments were still quite strong among cultural figures. The liberal opposition united around the philosopher and politician Benedetto Croce. In her name, on May 1, 1925, a "counter-manifesto" written by Croce appeared in the Mondo newspaper, entitled "The answer of Italian writers, professors and publicists to the manifesto of the fascist intelligentsia." The very publication of the "counter-manifesto" during the period of the authorities' active offensive against progressive thought was a courageous act, although its program was distinguished by abstractness and political passivity. The "Counter-Manifesto" opposed the mixing of politics and literature, politics and science, argued that truth lies not in action, but in thought. It was precisely this separation of philosophy and art from civic action that resulted in the gradual departure of the artistic intelligentsia of Italy to various forms"spiritual emigration". Thus, first in poetry, and then in related arts, the prerequisites were created for the emergence of "hermeticism", which received particular development in the 30s. In music, the influence of "hermeticism" was most pronounced in a number of works by Malipiero.
Following the ideas of the “counter-manifesto”, the artists sought to oppose the noisy, spiritually impoverished fascist culture with high aesthetic values, expressed, however, in a form that was difficult for the masses to understand. In Italian music, the "counter-manifesto" further strengthened the position of neoclassicism, which, with all the differences between individual composers, with all the nuances in relation to the classical heritage and folk art, became the main, leading direction in the 20-30s. Expressionist-existentialist tendencies associated with the comprehension and development of the experience of the Novovensk school began to clearly manifest themselves somewhat later, starting from the 1930s (in the works of L. Dallapikkola and G. Petrassi).
Playing the role of the patron of science and art, Mussolini organized the Institute of Fascist Culture, under whose leadership a number of scientific and artistic organizations developed. At the same time, the regime showed a rare omnivorous attitude towards various creative directions. Nevertheless, most of the artistic intelligentsia remained in positions of hidden rejection of the ideological doctrines and political practices of fascism.
Of particular note are two polar trends that clearly affected all areas of Italian art in the 1920s and 1930s: these are “strachitta” (“super-city”) and “strapaese” (“super-village”). The first trend was focused on reflecting the culture and life of the modern city (essentially, merging with the trends of European urbanism), while the second defended national soil and actually sought to isolate the art of Italy, to limit it to national boundaries.
Catholicism continued to exert a huge influence on the development of the cultural life of the country. Mussolini's concordat with the Vatican concluded in 1929 led to the expansion of the social and political activities of the church and contributed to the strengthening of religious motives in the work of a number of composers. However, the increased attention to religious themes and spiritual genres in the 30s had deeper reasons and was found in the music of various European countries (in particular, France). Specific to Italy was that the works on religious themes, apparently responding to the line of official clericalism, often served as an expression of spiritual opposition to fascism.
Likewise, a number of important cultural undertakings that outwardly corresponded to the policy of the regime were essentially independent of it. For example, the appeal of the leading Italian composers to the great heritage of the 17th-18th centuries, which emerged in the prewar years and brought fruitful results, has nothing to do with the ideological program of Italian fascism. It is impossible to associate with militant nationalism and ranting about the "chosen Romanesque culture - the heir of imperial Rome" the tremendous work that Italian scientists and composers did in the 20-30s in collecting, researching and publishing the richest song and dance folklore of various regions and provinces of Italy - work that enriched not only musical science, but also professional creativity *.
* Among these publications should be mentioned B. Croce's study "Folk and Artistic Poetry", collections folk songs J. Farah “The Musical Soul of Italy” and “Sardinian Songs”, collections by A. Phanara-Mistrello “Sicilian Songs of the Land and Sea” and “Folk Songs of the Province of Valdemeszaro”, studies by the futurist composer F. B. Pratella “Essays of Lamentations, Songs, choirs and dances of the Italian people" and "Ethnophony of the Romagna".
Of great objective value are academic publications of outstanding monuments of sacred music, masterpieces of the Renaissance, Italian opera and instrumental music of the 17th-18th centuries. This work, begun before the First World War, continued during the years of the "Black Twenty" under the official patronage of the king and Mussolini, who perfectly understood how prestigious it was for the fascist regime. The study of ancient cult genres and the works of polyphonists (especially Palestrina) also enriched the work of composers. Their style was fertilized by the intonational expressiveness of ancient modes, Gregorian chant and ancient sequences aimed at the perception of the masses in moments of sublime mental states.
During the period of the "Black Twenty" a number of outstanding musical scientists worked in Italy, whose capital works acquired global importance. Let us name the studies of A. della Corte on the problems of Italian opera, the monumental three-volume biography of Rossini written by G. Radiciotti, M. Gatti's monograph on Verdi. During these years, the publication of documents and materials on common problems Italian music and creativity of individual composers.
In particular, several most valuable publications of Verdi's epistolary heritage are published.
For reasons of prestige, the fascist leaders encouraged opera and concert performance in every possible way, that is, those forms of art that did not seem dangerous to them. The theater "La Scala" reaches a high performing culture, and after it other opera houses, for example, the Roman one, which was under the special patronage of the regime. The opera shines with wonderful singers - A. Galli-Curci, T. Dal Monte, B. Gigli, Titta Ruffo. At the same time, ideologically, the opera house was under the close supervision of censorship. Fascist-clerical censorship banned the production of Malipiero's opera The Legend of the Changeling Son, and during the intervention in Abyssinia, the regime tarnished itself with the shameful removal of Verdi's Aida from the repertoire. It is no coincidence that Toscanini left Italy in 1928 in protest against the fascist policy, and other major musicians emigrated (M. Castelnuovo-Tedesco, V. Rieti, and others).
The life of literature and drama theater was even more constrained by the pressure of fascist censorship, which forced many artists to take the position of "hermeticism". At the same time, many Italian writers, poets and playwrights were strongly influenced by the work of L. Pirandello, who exposed the tragic reality of life " little man”, the futility of the search for freedom, beauty and happiness. It is noteworthy that a number of Italian composers refer to the works of Pirandello. In the literature of these years, there were also works that were more active in their social criticism (for example, the young A. Moravia, E. Vittorini), but they remained exceptions.
In such a difficult environment, the largest composers of a whole generation had to work - Respighi, Pizzetti, Malipiero, Caselle. To their credit, they did not become troubadours of Italian fascism, although they were not active fighters against it either.
Classical composers are known all over the world. Every name musical genius- a unique individuality in the history of culture.
What is classical music
Classical music - enchanting melodies created by talented authors, who are rightly called classical composers. Their works are unique and will always be in demand by performers and listeners. Classical, on the one hand, is usually called strict, deep-seated music that is not related to the directions: rock, jazz, folk, pop, chanson, etc. On the other hand, in historical development music is the period of the late XIII - early XX century, called classicism.
Classical themes are distinguished by sublime intonation, sophistication, a variety of shades and harmony. They have a positive effect on the emotional worldview of adults and children.
Stages of development of classical music. Their brief description and main representatives
In the history of the development of classical music, stages can be distinguished:
- Renaissance or Renaissance - early 14th - last quarter of the 16th century. In Spain and England, the Renaissance lasted until the early 17th century.
- Baroque - came to replace the Renaissance and lasted until the beginning of the 18th century. Spain was the center of style.
- Classicism - a period of development European culture from the beginning of the 18th to the beginning of the 19th century.
- Romanticism is a direction opposite to classicism. It lasted until the middle of the 19th century.
- Classics of the 20th century - the modern era.
Brief description and main representatives of cultural periods
1. Renaissance - a long period of development of all areas of culture. - Thomas Tullis, Giovanni da Palestina, T. L. de Victoria composed and left immortal creations to posterity.
2. Baroque - in this era, new musical forms appear: polyphony, opera. It was during this period that Bach, Handel, Vivaldi created their famous creations. Bach's fugues are built in accordance with the requirements of classicism: obligatory observance of the canons.
3. Classicism. Viennese classical composers who created their immortal creations in the era of classicism: Haydn, Mozart, Beethoven. Sonata form appears, the composition of the orchestra increases. and Haydn differ from the ponderous works of Bach by their uncomplicated construction and the elegance of their melodies. It was still a classic, striving for perfection. Beethoven's compositions are the verge of contact between romantic and classic styles. In the music of L. van Beethoven, there is more sensuality and ardor than rational canonicity. Such important genres as symphony, sonata, suite, opera stood out. Beethoven gave rise to the Romantic period.
4. Romanticism. Musical works are characterized by color and drama. Various song genres are formed, for example, ballads. Piano compositions by Liszt and Chopin received recognition. The traditions of romanticism were inherited by Tchaikovsky, Wagner, Schubert.
5. Classics of the 20th century - characterized by the authors' desire for innovation in melodies, the terms aleatoric, atonalism arose. The works of Stravinsky, Rachmaninov, Glass are referred to the classical format.
Russian classical composers
Tchaikovsky P.I. - Russian composer musical critic, public figure, teacher, conductor. His compositions are the most performed. They are sincere, easily perceived, reflect the poetic originality of the Russian soul, picturesque pictures of Russian nature. The composer created 6 ballets, 10 operas, more than a hundred romances, 6 symphonies. The world-famous ballet "Swan Lake", the opera "Eugene Onegin", "Children's Album".
Rachmaninov S.V. - the works of the outstanding composer are emotional and cheerful, and some of them are dramatic in content. Their genres are diverse: from small plays to concerts and operas. The generally recognized works of the author: operas " Miserly knight”, “Aleko” based on Pushkin’s poem “Gypsies”, “Francesca da Rimini” based on a plot borrowed from Dante’s “Divine Comedy”, the poem “The Bells”; suite "Symphonic dances"; piano concertos; vocalise for voice with piano accompaniment.
Borodin A.P. was a composer, teacher, chemist, doctor. The most significant creation is the opera "Prince Igor" based on the historical work "The Tale of Igor's Campaign", which was written by the author for almost 18 years. During his lifetime, Borodin did not have time to finish it; after his death, A. Glazunov and N. Rimsky-Korsakov completed the opera. Great composer is the ancestor classical quartets and symphonies in Russia. The "Bogatyr" symphony is considered the crowning achievement of world and Russian national-heroic symphony. The instrumental chamber quartets, the First and Second Quartets were recognized as outstanding. One of the first to introduce heroic figures from ancient Russian literature into romances.
Great musicians
M. P. Mussorgsky, who can be said to be a great realist composer, a bold innovator, touching on acute social problems, an excellent pianist and an excellent vocalist. The most significant musical works are the operas "Boris Godunov" based on the dramatic work of A.S. Pushkin and "Khovanshchina" - a folk-musical drama, the main character of these operas is the rebellious people from different social strata; creative cycle "Pictures at an Exhibition", inspired by the works of Hartmann.
Glinka M.I. - a famous Russian composer, the founder of the classical direction in Russian musical culture. He completed the process of creating a school of Russian composers, based on the value of folk and professional music. The master's works are imbued with love for the Fatherland, reflecting the ideological orientation of the people of that historical era. The world-famous folk drama "Ivan Susanin" and the fairy-tale opera "Ruslan and Lyudmila" have become new trends in Russian opera. Symphonic works"Kamarinskaya" and "Spanish Overture" by Glinka are the foundations of Russian symphonism.
Rimsky-Korsakov N.A. is a talented Russian composer, naval officer, teacher, publicist. Two currents can be traced in his work: historical (“ royal bride”, “Pskovityanka”) and fabulous (“Sadko”, “Snow Maiden”, suite “Scheherazade”). Distinctive feature composer's works: originality based on classical values, homophony in the harmonic construction of early compositions. His compositions have an author's style: original orchestral solutions with unusually built vocal scores, which are the main ones.
Russian classical composers tried to reflect in their works the cognitive thinking and folklore characteristic of the nation.
European culture
Famous classical composers Mozart, Haydn, Beethoven lived in the capital of musical culture of that time - Vienna. Genius combines masterful performance, excellent compositional solutions, the use of different musical styles: from folk tunes to polyphonic developments musical themes. The great classics are characterized by a comprehensive creative mental activity, competence, clarity in the construction musical forms. In their works, intellect and emotions, tragic and comic components, ease and prudence are organically linked together.
Beethoven and Haydn gravitated towards instrumental compositions, Mozart masterfully managed both operatic and orchestral compositions. Beethoven was an unsurpassed creator of heroic works, Haydn appreciated and successfully used humor, folk-genre types in his work, Mozart was a universal composer.
Mozart is the creator of the sonata instrumental form. Beethoven perfected it, brought it to unsurpassed heights. The period became a period of quartet heyday. Haydn, followed by Beethoven and Mozart, make a significant contribution to the development of this genre.
Italian masters
Giuseppe Verdi - an outstanding musician of the 19th century, developed the traditional Italian opera. He had impeccable craftsmanship. The operatic works Il trovatore, La Traviata, Othello, Aida became the culmination of his composer activity.
Niccolo Paganini - born in Nice, one of the most musically gifted personalities of the 18th and 19th centuries. He was a virtuoso on the violin. He composed caprices, sonatas, quartets for violin, guitar, viola and cello. He wrote concertos for violin and orchestra.
Gioacchino Rossini - worked in the 19th century. Author of spiritual and chamber music, composed 39 operas. Outstanding works - "The Barber of Seville", "Othello", "Cinderella", "The Thieving Magpie", "Semiramide".
Antonio Vivaldi is one of the largest representatives of violin art of the 18th century. He gained fame thanks to his most notable work- 4 violin concertos "Seasons". Lived an amazingly productive life creative life, composed 90 operas.
Famous Italian classical composers left an eternal musical legacy. Their cantatas, sonatas, serenades, symphonies, operas will give pleasure to more than one generation.
Peculiarities of perception of music by a child
Listening to good music has a positive effect on the psycho-emotional development of the child, according to child psychologists. Good music introduces to art and forms an aesthetic taste, so teachers think.
Many well-known creations were created by classical composers for children, taking into account their psychology, perception and the specifics of age, i.e. for listening, while others composed various pieces for little performers that were easily perceived by ear and technically accessible to them.
"Children's Album" by Tchaikovsky P.I. for little pianists. This album is a dedication to a nephew who loved music and was very gifted child. The collection contains more than 20 pieces, some of them based on folklore material: Neapolitan motifs, Russian dance, Tyrolean and French melodies. Collection "Children's Songs" by Tchaikovsky P.I. designed for auditory perception children's audience. Songs of an optimistic mood about spring, birds, a blooming garden (“My garden”), about compassion for Christ and God (“Christ the baby had a garden”).
Children's classic
Many classical composers worked for children, the list of works of which is very diverse.
Prokofiev S.S. "Peter and the Wolf" - symphonic tale for children. Through this story, children are introduced to musical instruments symphony orchestra. The text of the tale was written by Prokofiev himself.
Schumann R. "Children's scenes" are short musical stories with a simple plot, written for adult performers, memories of childhood.
Debussy's Piano Cycle "Children's Corner".
Ravel M. "Mother Goose" based on the fairy tales of Ch. Perrault.
Bartok B. "First Steps at the Piano".
Cycles for children Gavrilova S. "For the smallest"; "Heroes of fairy tales"; "Kids about animals."
Shostakovich D. "Album piano pieces for children".
Bach I.S. Notebook for Anna Magdalena Bach. Teaching his children music, he created special pieces and exercises for them to develop technical skills.
Haydn J. - progenitor of the classical symphony. Created a special symphony called "Children's". The instruments used: clay nightingale, rattle, cuckoo - give it an unusual sound, childish and provocative.
Saint-Saens K. came up with a fantasy for orchestra and 2 pianos called “Carnival of the Animals”, in which he masterfully conveyed the clucking of chickens, the roar of a lion, the complacency of an elephant and its manner of movement, a touchingly graceful swan by musical means.
Composing compositions for kids and youth, the great classical composers took care of the interesting storylines of the work, the availability of the proposed material, taking into account the age of the performer or listener.
Presentation "Great Italian composers"
slide 1:
Music has always played an important role in Italian culture. Instruments associated with classical music, including the piano and violin, were invented in Italy.
In 16th and 17th century Italian music, the roots of many of the predominant classical forms of music, such as the symphony, concerto, and sonatas, can be traced.
Slide 2: Goals of the presentation:
To acquaint with the work of Italian composers of the 7th-20th centuries.
Antonio Salieri;
Niccolo Paganini;
Gioacchino Rossini;
Giuseppe Verdi;
Antonio Vivaldi.
Develop figurative perception music.
Build musical taste.
Italian composers of the 7th-20th centuries. Brief biographical information:
Antonio Salieri;
Niccolo Paganini;
Gioacchino Rossini;
Giuseppe Verdi;
Antonio Vivaldi.
Instrumental concert by A. Vivaldi "The Seasons":
Winter;
Spring;
Summer;
Autumn.
The Baroque era is represented in Italy by composers Scarlatti, Corelli and Vivaldi, the era of classicism by composers Paganini and Rossini, and the era of romanticism by composers Verdi and Puccini.
Classic musical traditions still, as evidenced by the fame of countless opera houses such as La Scala in Milan and San Carlo in Naples, and performers such as the pianist Maurizio Pollini and the late tenor Luciano Pavarotti.
Listen to this piece.
Slide 5:
Paganini's playing revealed such wide possibilities for the violin that contemporaries suspected that he possessed some secret hidden from others; some even believed that the violinist sold his soul to the devil. All violin art of subsequent eras developed under the influence of Paganini's style. Here is one of the most famous works Caprice #24.
Slide 6:
Spoon ice cracked
Cover of the winter pond.
The sun blinded the river
No roads - one stream
Wind warm bridle.
They brought rooks yesterday.
Everything chirps and sparkles with the caress of the first spring days,
And in a hurry to wash. in a puddle old sparrow.
Slide 13:
So the days of spring flew by quickly,
And the warm summer has come.
And the sun is hot and radiant.
It brought with it.
Slide 14:
Look, it's autumn.
Autumn day, sad day,
Aspen leaf, farewell,
The leaf is spinning, the leaf is spinning
The leaf falls to sleep on the ground.
BONONCHINI - family of italian musicians:
Giovanni Maria (1642 - 1648) - composer, violinist, theorist. Op. 9 collections of sonatas, dance pieces. He owns a treatise on counterpoint. IN last years wrote a chamber opera, a number of madrigals, solo cantatas.
Giovanni Batista (1670 - 1747) - his son, composer and cellist. His legacy includes 40 operas, over 250 solo cantatas, about 90 symphonies, concertos, trio sonatas. The success of some of his operas in London surpassed that of his main rival, Handel.
Antonio Maria (1677 - 1726) - composer and cellist. Author of works for musical theater and church. In terms of texture and harmony, his music was more refined than that of his older brother, but it never enjoyed the same success.
Giovanni Maria Jr. (1678 - 1753) - half-brother, cellist, then violinist in Rome, author of vocal works.
VIVALDI ANTONIO (1678 - 1741)
The highest achievements belong to the instrumental concerto genre. significant place occupies in the heritage vocal music. Striving for success in op. genre and traveled extensively directing his productions. Worked in op. theaters of Vicenza, Venice, Mantua, Rome, Prague, Vienna, Ferrara, Amsterdam. Op. OK. 50 operas(survived 20), incl. Titus Manlius, Justin, Furious Roland, Faithful Nymph, Griselda, Bayazet. OK. 40 solo cantatas, oratorio Triumphant Judith).
Giuseppe Giordani (c.1753 - 1798)
DUNY EGIDIO (1708 - 1775)
Studied in Naples with Durante. Author of 10 opera series on texts Metastasio, about 20 Op. in the genre of French comic opera. He introduced into it ariettas and recitatives in the Italian style. This genre is called comedy with ariettas.Operas:"Nero", "Demofont", "Artist in love with his model" (comic op.).
DURANTE FRANCESCO (1684 - 1755)
Italian composer. He studied in Naples, then became the first bandmaster of several Neapolitan conservatories. He was considered the best teacher of composition in Naples. Among his students are Duny, Pergolesi, Picchini, Paisiello. Unlike other it. composers did not write operas. The most valuable part of his legacy is sacred music. Instrumental works are also interesting - 12 sonatas for harpsichord, 8 concertos for quartet, pieces of the pedagogical repertoire.
FRANCESCO CAVALLI (1602 - 1676)
He was nicknamed Bruni. He was a chorister and organist at St. Mark in Venice. He began to write operas that went to opera houses Italy. After Paris, where his opera Hercules the Lover was staged, with singing and dancing written for this performance by the young Lully, all further activities Cavalli was associated with the Cathedral of St. Brand. He is the author of about 30 operas. Thanks to him, Venice of the 17th century. became the center of operatic art. Like late op. Monteverdi, op. Cavalli are rich in contrasts and psychological nuances; pathetic, even tragic climaxes in them are often replaced by episodes of a comic and everyday plan.
operas: "The Love of Apollo and Daphne", "Dido", "Ormindo", "Jason", "Calisto", "Xerxes", "Hercules the Lover"
Spiritual music: Mass, 3 Vespers, 2 Magnificats, Requiem
Secular music: cantata arias.
CALDAR ANTONIO (1670 - 1736)
He played the viol, cello, clavier. He composed almost exclusively vocal music - oratorios, cantatas, opera seria. He served as a church and theater conductor. Later he composed a number of works for the Vienna carnival and court festivities, as well as for Salzburg. In total, he wrote 3,000 vocal compositions. Metastasio was the first to set many librettos to music.
CARISSIMI GIACOMO (1605 - 1674)
He was a chorister, organist, bandmaster of the Jesuit Colleggio Germanico, and took holy orders. The most significant part of the legacy is oratorios, sustained in a narrative-recitative style. Separate fragments by the nature of the letter are close to the arias. An important role is given to choral scenes. Among his students are A. Chesty, A. Scarlatti, M.-A. Charpentier.
Op.: 4 Masses, about 100 motets, 14 oratorios Belshazzar, Ievfai, Jonah, about 100 secular cantatas.
GIULIO CACCCINI (1545 - 1618)
He had a provision - a Roman. Composer, singer, lute player. He was patronized by Duke Cosimo I de Medici, who took him to Florence, where he attended Camerata meetings and developed a new style singing - stile recitativo. He published the collection "New Music", where he most fully reflected the innovative aspirations. The collection includes madrigals and strophic arias for voice and basso continuo. The most popular song of the collection is Amarilli. In 1614, the composer's second collection, New Musics and a New Way of Writing Them, was published. The name of Caccini, an outstanding composer and innovative singer, was not forgotten during the entire 17th century. Many composers created collections of vocal pieces based on his model. Caccini's two daughters, Francesca and Settimia, became famous as singers and composed music.
MARTINI (1741 - 1816)
Nicknamed Il Tedesco ("Italian German", real name Schwarzendorf Johann Paul Egidius). German composer. Before moving to Paris (1764) he was in the service of the Duke of Lorraine. He taught at the Paris Conservatory, led the court orchestra. Author of 13 operas, vocal miniatures (including the popular song "Plaisir d'amour".
MARCHELLO ALESSANDRO (1669 - 1747)
Brother B.Marcello. An amateur musician, he gave concerts in his Venetian home. He composed solo cantatas, arias, canzonettes, violin sonatas and concertos. Concertos for oboe and strings (6 in total) belong to the latest examples of the Venetian baroque variety of the genre. Concerto for oboe and strings in d-moll (c. 1717) is known in the arrangement of J.S. Bach for clavier.
MARCHELLO BENEDETTO (1686 - 1739)
Composer, music writer, lawyer, brother of A. Marcello. He held high government positions in Venice. The collection of psalms for 1 - 4 voices with digital bass (50 in total) brought wide popularity. He also owns other compositions for the church, oratorio, opera, over 400 solo cantatas, duets, as well as sonatas and concertos, marked by the influence of Vivaldi. In his music, polyphonic mastery is combined with susceptibility to new gallant style. An interesting treatise by Marcello is a satire on the opera seria.
PAISIELLO GIOVANNI (1740 - 1816)
Studied in Naples with Durante. Gained a reputation as one of the leading masters of the buffa opera genre. He served as bandmaster at the court of Catherine II in St. Petersburg. Among this period, op. "The Barber of Seville". On his return to Naples he began to write opera-semi-series(semi-serious) - "Nina, or Crazy with Love." He briefly served in Paris as Napoleon I's personal bandmaster. The quality of Paisiello's operas influenced Mozart - the art of the Muses. delineations of character, mastery of orchestral writing, melodic ingenuity. Operas: Don Quixote, The Servant-Mistress, King Theodore in Venice, The Miller's Woman, Proserpina, The Pythagoreans and at least 75 more operas.
PERGOLESI GIOVANNI BATISTA (1710 - 1736)
He studied in Naples, at the same time worked as a violinist in an orchestra. Wrote stage works in the genre sacred drama. He died of tuberculosis at the age of 26. Went down in history as the founder of the genre opera buffa. The masterpiece of this genre was op. "Maid Lady". He wrote works for the church: "Stabat mater" for soprano, contralto and orchestra, 2 Masses, Vespers, 2 "Salve Regina", 2 motets.
PERI JACOPO (1561 - 1633)
Composer and singer, priest. Served as a composer and chorister at court Medici. He was also known as a performer on chitarrone -(string plucked instrument, a kind of bass lute, up to 2 m long, used mainly to accompany solo singing). Attended meetings Camerata. He composed in a new recitative style, imitating the ancient practice of solo singing with accompaniment. Wrote operas Daphne, Eurydice. He also composed a collection of vocal pieces containing several examples of recitative style.
PICCINI NICCOLO (1728 - 1800)
Studied in Naples with Durante. He not only composed operas, but also taught singing, was a bandmaster and organist. Settling in Paris, he wrote a number of serious and comic French. opera. Serious competition from Gluck did not prevent the success of his lyrical tragedies"Roland", "Iphigenia in Tauris", "Dido". International fame was brought to him by the opera "Chekkina, or the Good Daughter" (1760)
SARRI DOMENICO (1679 - 1744)
He studied in Naples, where he served as court bandmaster. Early operas, oratorios, serenades are sustained in the same baroque manner as the vocal music of A. Scarlatti. At the same time, his work contributed to the formation of a simpler and more melodic Neapolitan style.
SCARLATTI ALESSANDRO (1660 - 1725)
Bandmaster of theaters, the Royal Chapel and the Conservatory of Naples, where he taught. Among the students are D. Scarlatti, F. Durante, I. A. Hasse. One of the founders and largest representative Neapolitan opera school. Under him, such forms as the aria da capo, the Italian overture, and the recitative with instrumental accompaniment arose. Op. over 125 opera series , incl. “Whims of Love or Rosaura”, “The Corinthian Shepherd”, “The Great Tamerlane”, “Mithridates Evpator”, “Telemak”, etc. Over 700 cantatas, 33 serenatas, 8 madrigals.
SCARLATTI DOMENICO (1685 - 1757)
Son of A. Scarlatti. He wrote operas, spiritual and secular music, but gained fame as a virtuoso harpsichordist. The main place in his work was occupied by one-movement clavier compositions, which he called "exercises". An innovator in the field of clavier technique. Op. more than 550 clavier sonatas, 12 operas, 70 cantatas, 3 Masses, Stabat Mater, Te Deum
STRADELLA ALESSANDRO (1644 - 1682)
Italian composer, composed music commissioned by Queen Christina. Among his works of the Roman period, prologues and intermezzos predominate, incl. to the operas Cavalli and Honor. His life was full of scandals and loud love stories. In 1677 he fled to Genoa. Among the several operas staged in Genoa, the comic Guardian of Trespolo stands out. Stradella was killed out of revenge by the mercenaries of the Lomellini family.
One of the most talented and versatile composers of his time. In total, he composed about 30 stage works, about 200 cantatas. 27 instrumental compositions have survived.
HONOR ANTONIO (1623 - 1669)
The real name of this Franciscan monk is Pietro. In his adolescence he served as a church chorister in Arezzo, then became a novice at the Florentine monastery of Santa Croce. Cathedral organist, then bandmaster at Voltaire, where he was patronized by his family Medici. Career Honor as opera composer began in 1649, when his opera Orontea was successfully presented in Venice. In 1652 he became the court musician of Archduke Ferdinand Karl in Innsbruck and was defrocked. From 1665 he served at the Vienna imperial court. In a short time spent in Vienna, he created many operas, incl. grandiose " Golden Apple" , which was staged to coincide with the wedding of Leopold I. Shortly before his death, he was appointed conductor at the Tuscan court in Florence.
