Music in the Age of Enlightenment. Music Musical figures of the Enlightenment 17th 18th century

MKOU Sinyavskaya secondary school

musical culture Enlightenment

Lesson-lecture

Conducted by 10th grade students

Teacher N

year 2013.

The purpose of the lesson: reveal the specifics of the musical culture of the Enlightenment.

Lesson objectives: characterize the aesthetics of a new musical genre - comic opera; talk about the work of the composers of the "Viennese Classical School"; to form the ability to adequately perceive and evaluate musical works.

Lesson plan:

1. Birth of the comic opera.

2. "Viennese classical school».

Y. Gaydin.

During the classes

1.The birth of comic opera.

In world history The 18th century entered as "the age of reason and enlightenment." The triumph of free human thought, which defeated the medieval worldview, leads to the rapid development of the natural sciences, literature and art.

The birth and interaction of many genres and artistic styles in the music of the 18th century, the widespread use of musical instruments in everyday life and the emerging traditions of playing music, the emergence choir chapels, orchestras, opera groups, development music education and the formation of concert activity, the emergence of a national composer school prepared the creation and flourishing classical music in the 19th century. The main place among the musical genres was opera. Comic opera has developed in developed countries opera culture as an alternative to the court opera seria. Italy is considered her homeland, where this genre was called opera buffa (Italian opera buffa - comic opera). Its sources were the comedy operas of the Roman school of the 17th century. and commedia dell'arte. At first, these were funny interludes inserted for emotional release between the acts of the opera seria. The first buffa opera was G. B. Pergolesi's Servant-Mistress, written by the composer as an interlude to his own opera series, The Proud Captive (1733). In the future, buffa operas began to be performed independently. They were distinguished by their small scale, a small number actors, arias of the buffoon type, patter in vocal parts, strengthening and development of ensembles (as opposed to the opera seria, where solo parts were the basis, and ensembles and choirs were almost never used). In musical dramaturgy, song and dance folk genres. Later, lyrical and sentimental features penetrated the buffa opera, shifting it from the rough commedia dell'arte to the whimsical problems and plot principles of C. Gozzi. The development of opera buffa is associated with the names of composers N. Piccini, G. Paisiello, D. Cimarosa.

In France, the genre developed under the name opéra comique (French - comic opera). It originated as a satirical parody of the "grand opera". In contrast to the Italian line of development, in France the genre was initially formed by playwrights, which led to the combination musical numbers with conversational dialogues. So, the author of the first French opéra comique is considered (The Village Sorcerer, 1752). The musical dramaturgy of opéra comique developed in the work of composers E. Dunya and F. Philidor. In the pre-revolutionary era, opéra comique acquired a romantic orientation, saturation with serious feelings and topical content (composers P. Monsigny, A. Grétry).

2.Great composers

Student 1. HAYDNJosef(1732-1809) - Austrian composer, founder of the classical symphony and quartet, representative Viennese School of Composers . As a child, he served as a chorister in the choir of St. Stephen's Cathedral in Vienna. He mastered the art of composition on his own. For more than 30 years he served with the Hungarian prince Esterhazy as the head of the musical chapel. The last years he lived in Vienna; in the 90s made two trips to London. Haydn left a huge creative heritage- more than 100 symphonies, more than 30 operas, oratorios (among them - "The Creation of the World", "The Seasons", "The Seven Words of Christ on the Cross"), 14 masses (including "Nelson Mass", "Mass Theresia ”, “Harmoniemesse”), 83 string quartet, 52 piano sonatas, many instrumental pieces and songs. The pinnacle of his work - twelve so-called "London Symphonies" (written mainly in England); among other symphonies, Farewell (No. 45), as well as “Funeral” (No. 44), “Maria Theresa” (No. 48), “Passion” (No. 49), “Hunting” (No. 73), 6 Parisian symphonies (No. 82-87), "Oxford" (No. 92). His works are marked by a wealth of content, they glorify the bright sides of life, the immediate joy of being. However, they are also characterized by agitated pathos, and deep drama, and open good nature, and sly humor. Haydn's music is truly folk, imbued with optimism, full of grace and charm. Inexhaustible melody, harmony of form, simplicity and clarity of images make it understandable and accessible. the widest circles listeners. Haydn's reform in the field of symphony, as well as the composer's role in shaping the composition symphony orchestra had a great historical meaning, approving for Haydn the honorary title of "father of the symphony". “Haydn is a necessary and strong link in the chain of symphonic composing; if it were not for him, there would be neither Mozart nor Beethoven,” wrote P. I. Tchaikovsky.

Student 2. Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg, now this city is located on the territory of Austria. game on musical instruments and Mozart was taught to compose by his father, a violinist and composer Leopold Mozart. From the age of 4, Mozart played the harpsichord, from 5-6 years old he began to compose (at 8-9 years old Mozart created the first symphonies, and at 10-11 - the first works for musical theater). In 1762, Mozart and his sister, the pianist Maria Anna, began touring in Germany, Austria, then in France, England, and Switzerland. Mozart performed as a pianist, violinist, organist, singer. In years he served as an accompanist, in - an organist at the court of the Salzburg prince-archbishop. Between 1769 and 1774 he made three trips to Italy; in 1770 he was elected a member of the Philharmonic Academy in Bologna (he took composition lessons from the head of the academy, Padre Martini), received the Order of the Golden Spur from the Pope in Rome. In Milan, Mozart conducted his opera Mithridates, King of Pontus. By the age of 19, the composer was the author of 10 musical and stage works: the theatrical oratorio The Duty of the First Commandment (1st part, 1767, Salzburg), the Latin comedy Apollo and Hyacinth (1767, Salzburg University), the German Singspiel Bastien and Bastienne "(1768, Vienna), the Italian opera buffa "The Feigned Simple Girl" (1769, Salzburg) and "The Imaginary Gardener" (1775, Munich), the Italian opera series "Mithridates" and "Lucius Sulla" (1772, Milan), operas -serenade (pastoral) "Ascanius in Alba" (1771, Milan), "The Dream of Scipio" (1772, Salzburg) and "The Shepherd King" (1775, Salzburg); 2 cantatas, many symphonies, concertos, quartets, sonatas, etc. Attempts to settle in any significant music center Germany or Paris were unsuccessful. In Paris, Mozart wrote music for the pantomime by J.J. Novera"Trinkets" (1778). After staging the opera "Idomeneo, King of Crete" in Munich (1781), Mozart broke with the archbishop and settled in Vienna, earning his livelihood through lessons and academies (concerts). A milestone in the development of the national musical theater was Mozart's singspiel The Abduction from the Seraglio (1782, Vienna). In 1786, the premieres of Mozart's small musical comedy "Director of the Theater" and the opera "The Marriage of Figaro" based on the comedy Beaumarchais. After Vienna, The Marriage of Figaro was staged in Prague, where it met with an enthusiastic reception, as did Mozart's next opera, The Punished Libertine, or Don Giovanni (1787). Since the end of 1787, Mozart has been a chamber musician at the court of Emperor Joseph II with the duty to compose dances for masquerades. As an opera composer, Mozart was not successful in Vienna; only once Mozart managed to write music for the Vienna Imperial Theater - a cheerful and elegant opera "All of them are like that, or the School of lovers" (in other words - "All Women Do This", 1790). The opera "Mercy of Titus" on an antique plot, timed to coincide with the coronation celebrations in Prague (1791), was received coldly. Mozart's last opera magical flute"(Viennese suburban theater, 1791) found recognition among the democratic public. The hardships of life, poverty, illness brought the tragic end of the composer's life closer, he died before reaching 36 years old, and was buried in a common grave.

Student 3. Ludwig van Beethoven was born in December 1770 in Bonn. The exact date of birth has not been established, presumably it is December 16th. The composer's father wanted to make a second Mozart out of his son and began to teach him to play the harpsichord and violin. In 1778, the first performance of the boy took place in Cologne. However, Beethoven did not become a miracle child, the father entrusted the boy to his colleagues and friends. One taught Ludwig to play the organ, the other the violin. In 1780, the organist and composer Christian Gottlob Nefe arrived in Bonn. He became a real teacher of Beethoven. Thanks to Nefe, Beethoven's first composition, a variation on Dressler's march, was also published. Beethoven was twelve years old at the time and was already working as an assistant court organist. Beethoven began composing music, but was in no hurry to publish his works. Much of what he wrote in Bonn was later revised by him. From the youthful works of the composer, three children's sonatas and several songs are known, including "Marmot". In the autumn of 1792, Beethoven leaves Bonn. Arriving in Vienna, Beethoven began classes with Haydn, subsequently claiming that Haydn had taught him nothing; classes quickly disappointed both the student and the teacher. Beethoven believed that Haydn was not attentive enough to his efforts; Haydn was frightened not only by the bold views of Ludwig at that time, but also by rather gloomy melodies, which was not common in those years. Soon Haydn left for England and gave his student to the famous teacher and theorist Albrechtsberger. In the end, Beethoven himself chose his mentor - Antonio Salieri.

Already in the first years of his life in Vienna, Beethoven won fame as a virtuoso pianist. His playing amazed the audience. Beethoven's compositions began to be widely published and enjoyed success. During the first ten years spent in Vienna, twenty sonatas for piano and three piano concertos, eight sonatas for violin, quartets and other chamber works, the oratorio Christ on the Mount of Olives, the ballet Creations of Prometheus, the First and symphonies were written. In 1796, Beethoven begins to lose his hearing. He develops tinitis - inflammation of the inner ear, leading to ringing in the ears Due to deafness, Beethoven rarely leaves the house, loses sound perception. He becomes gloomy, withdrawn. It was during these years that the composer, one after another, creates his most famous works. During these same years, Beethoven worked on his only opera, Fidelio. This opera belongs to the horror and rescue opera genre. Success came to Fidelio only in 1814, when the opera was staged first in Vienna, then in Prague, where it was conducted by the famous German composer Weber and finally in Berlin. After 1812, the composer's creative activity fell for a while. However, after three years, he begins to work with the same energy. At this time created piano sonatas from the 28th to the last, 32nd, two cello sonatas, quartets, the vocal cycle "To a Distant Beloved". A lot of time is devoted to processing folk songs. Along with Scottish, Irish, Welsh, there are Russians. But the main creatures recent years were the two most monumental works of Beethoven - "Solemn Mass" and Symphony No. 9 with Chorus.

The ninth symphony was performed in 1824. The audience gave the composer a standing ovation. It is known that Beethoven stood with his back to the audience and did not hear anything, then one of the singers took his hand and turned to face the audience. People waved handkerchiefs, hats, hands, welcoming the composer. The ovation lasted so long that the police officials who were present immediately demanded that it be stopped. Such greetings were allowed only in relation to the person of the emperor.

Beethoven died on March 26, 1827. Over twenty thousand people followed his coffin. During the funeral, Beethoven's favorite Requiem Mass in C Minor by Luigi Cherubini was performed.

3. The teacher offers the students the following task:

Exercise 1

This is one of the rarest examples in the history of world culture, when a new musical genre was created not by a composer, but by… a philosopher. Naturally, he did not fully master the skill of composing, but he managed to make opera performance not elitist, but democratic, understandable and accessible to the general public. What is the name of this philosopher and the piece of music he created.

Answer: in 1752 he created the first French comic opera called "The Village Sorcerer".

Task 2

The Viennese classical school and its most prominent masters, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Christoph Willibald Gluck. One of them created over 100 symphonies and has been called the "father of the symphony". Among his symphonic works, the most famous are: "Creation of the World", "Seasons", "Funeral", "Farewell". Name this composer. Tell us about the work of this master and your perception of his works.

Answer: Joseph Haydn.

Mozart left without leaving gravestones. Fingers are obedient. And the keys are fast.

This is how flowers disappear. And the sky is forever blue.

Without hypocritically empty glorifications - The happiness of the maestro, the artist fell

Light and sunny beam from a height. Live near the sky and near the earth.

The phantom of luck and the twilight of doubt, Mozart - and the flying curl will be remembered.

And a series of endless separations Mozart - and music is an easy run.

No shadows were cast on inspiration, Inimitable, everlasting,

V. Borovitskaya

Homework:

Advance task: students have already prepared a report about the monuments ancient Rome. Now they are invited to play the role of journalists again and prepare reports on the cultural monuments of the Enlightenment from Moscow and St. Petersburg.

Religion for the first time becomes the subject of harsh criticism. Its most ardent and decisive critic, and especially of the Church, is Voltaire.

In general, the 18th century was marked by a sharp weakening religious foundations culture and the strengthening of its secular character.

18th century philosophy developed in close cooperation And cooperation with science and natural sciences. A huge achievement of this cooperation was the publication of the "Encyclopedia" in 35 volumes (1751 - 1780), inspired and edited by Diderot And D "Alamber. The contents of the "Encyclopedia" were advanced ideas and views on the world and man. It was a collection of valuable knowledge and information about the development of science,
arts and crafts.

In the 18th century, the earlier scientific revolution, and science- referring to natural science - reaches its classical form. The main features and criteria of such a science are as follows:

Objectivity of knowledge;

The experience of its origin;

The exclusion of everything subjective from it.

The unusually increased authority of science leads to the fact that already in the 18th century the first forms of scientism, which puts science in the place of religion. On its basis, the so-called scientistic utopianism is also formed, according to which the laws of society can become completely "transparent", fully known; and politics - based on strictly scientific laws that are indistinguishable from the laws of nature. Such views, in particular, were tended by Diderot, who looked at society and man through the prism of natural science and the laws of nature. With this approach, a person ceases to be the subject of cognition and action, is deprived of freedom and is identified with an ordinary object or machine.

Generally art XVIII century- in comparison with the previous one - it seems less deep and sublime, it appears lighter, airy and superficial. It demonstrates an ironic and skeptical attitude towards what was previously considered noble, chosen and sublime. The Epicurean principle, the craving for hedonism, the spirit of pleasure and pleasure are noticeably enhanced in it. At the same time, art becomes more natural, closer to reality. Moreover, it is increasingly invading social life, struggle and politics, becomes engaged.

18th century art is in many ways a direct continuation of the previous century. The main styles are still classicism and baroque. At the same time, there is an internal differentiation of art, its fragmentation into a growing number of trends and directions. New styles emerge, and particulars rococo And sentimentalism.

Classicism represents first of all french artist J.-L. David (1748 - 1825). Large historical events, subject civic duty.

Baroque being the "great style" of the era of absolutism, it gradually loses its influence, and by the middle of the 18th century the style rococo. One of its most famous representatives is the artist ABOUT. Fragonard (1732 - 1806). His "Bathers" is a real apotheosis of life, sensual joy and pleasure. At the same time, the flesh and forms depicted by Fragonard appear as if incorporeal, airy and even ephemeral. In his works on foreground virtuosity, grace, sophistication, light and air effects come out. It is in this spirit that the picture "Swing" is written.

Sentimentalism(second half of the 18th century) opposed the cult of natural feeling to reason. One of the founders and main figures of sentimentalism was J.-J. Rousseau. He owns famous saying: "The mind can be wrong, the feeling - never!". In his works - "Julia, or New Eloise", "Confession", etc. - he depicts the life and concerns of ordinary people, their feelings and thoughts, sings of nature, critically evaluates urban life, idealizes the patriarchal peasant life.

The Greatest Artists of the 18th Century out of style. These include primarily the French artist A. Watteau (1684 - 1721) and Spanish painter F. Goya (1746 - 1828).

Creativity Watteau ("Morning toilet", "Pierrot", "Pilgrimage to the island of Cythera") is closest to the Rococo style. At the same time, the influence of Rubens and Van Dyck, Poussin and Titian is felt in his works. He is rightfully considered the forerunner of romanticism and the first great romantic in painting.

With his work, F. Goya ("Portrait of Queen Marie-Louise", "Mach on the Balcony", "Portrait of Sabasa Garcia", a series of etchings "Caprichos") continues the realistic trend of Rembrandt. In his works one can detect the influence of Poussin, Rubens and other great artists. At the same time, his art is organically merged with Spanish painting - especially with the art of Velázquez. Goya is one of the painters whose work has a pronounced national character.

Musical art is experiencing unprecedented growth and prosperity. If XVII century is considered the century of the theater, then XVIII century can rightly be called the century of music. Her social prestige increases so much that she comes to the first place among the arts, displacing painting from there.

Music XVIII centuries represent names such as F. Haydn, K. Gluck, G. Handel. Of the great composers close attention deserve I.S. Bach (1685 - 1750) and IN. A. Mozart (1756- 1791).

Bach is the last great genius of the Baroque era. He worked successfully in almost all musical genres except for opera. His music was far ahead of its time, anticipating many later styles, including Romanticism. Bach's work is the pinnacle of the art of polyphony. In the field of vocal and dramatic music, the most famous masterpiece composer is the cantata "Matthew Passion", which tells about last days the life of Christ. The greatest glory to Bach during his lifetime brought organ music. In the field of music for the clavier, the composer's brilliant creation is "Well-Tempered Clavier" which is a kind of encyclopedia of music styles of the XVII - XVIII centuries.

In works Austrian composer W. A. ​​Mozart, the principles of classicism are combined with the aesthetics of sentimentalism. At the same time, Mozart is the forerunner of romanticism - the first great romantic in music. His work covers almost all genres, and everywhere he acts as a bold innovator. During Mozart's lifetime, his operas enjoyed the greatest success. The most famous among them are "The Wedding of Figaro", "Don Juan", "The Magic Flute". Also deserves special mention "Requiem".

Report on the topic: “Music in the Age of Enlightenment” An unprecedented rise takes place in the Age of Enlightenment musical art. After the reform carried out by K.V. Gluck (1714–1787), opera became a synthetic art, combining music, singing and complex dramatic action in one performance. Raised to the highest level of classical art by F.

J. Haydn (1732–1809) instrumental music. The pinnacle of the musical culture of the Enlightenment is the work of J.S. Bach (1685–1750) and W.A. Mozart (1756–1791). The enlightening ideal comes through especially brightly in Mozart's opera The Magic Flute (1791), which is distinguished by the cult of reason, light, and the idea of ​​man as the crown of the universe. opera art 18th century opera reform second half of the 18th century. was largely literary

movement. Her progenitor was French writer and philosopher J.J. Rousseau. Rousseau also studied music, and if in philosophy he called for a return to nature, then in opera genre advocated a return to simplicity. In 1752, a year before the successful Paris premiere Maid of Madame Pergolesi, Rousseau composed his own comic opera, The Village Sorcerer, followed by scathing

Letters on French music, where Rameau became the main subject of attacks. Italy. After Monteverdi, such operatic composers as Cavalli, Alessandro Scarlatti (the father of Domenico Scarlatti, the largest of the authors of works for the harpsichord), Vivaldi and Pergolesi appeared one after another in Italy. The rise of comic opera. Another type of opera originates from Naples - opera buffa (opera-buffa), which arose as a natural

reaction to the opera seria. Passion for this type of opera quickly swept the cities of Europe - Vienna, Paris, London. From its former rulers - the Spaniards who ruled Naples from 1522 to 1707, the city inherited the tradition of folk comedy. Reviled by strict teachers in conservatories, comedy, however, captivated students. One of them, G. B. Pergolesi (1710–1736), at the age of 23 wrote an intermezzo, or little comic

opera The Maid-Mistress (1733). Even before, composers composed intermezzos (they were usually played between acts of the opera seria), but Pergolesi's creation was a resounding success. In his libretto, it was not about the exploits of ancient heroes, but about a completely modern situation. The main characters belonged to the types known from the "commedia dell'arte" - the traditional Italian improvised comedy with a standard set of comic roles.

The buffa opera genre was remarkably developed in the work of such late Neapolitans as G. Paisiello (1740–1816) and D. Cimarosa (1749–1801), not to mention the comic operas of Gluck and Mozart. France. In France, Lully was replaced by Rameau, who dominated the opera stage throughout the first half of the 18th century. The French analogy of the buffa opera was the “comic opera” (opera comique).

Authors such as F. Philidor (1726-1795), P. A. Monsigny (1729-1817) and A. Gretry (1741-1813) took Pergolesian mockery of tradition to heart and developed their own model of comic opera, which in in accordance with Gallic tastes, it provided for the introduction of conversational scenes instead of recitatives. Germany. It is believed that opera was less developed in Germany. The fact is that many German opera composers worked outside

Germany - Handel in England, Gasse in Italy, Gluck in Vienna and Paris, while the German court theaters were occupied by fashionable Italian troupes. The Singspiel, the local analogue of the opera buffa and French comic opera, began its development later than in Latin countries. The first example of this genre was I. A. Hiller's (1728–1804) "Devil at Large", written in 1766, 6 years before Mozart's

Seraglio kidnappings. Ironically, the great German poets Goethe and Schiller inspired not domestic, but Italian and French opera composers. Austria. Opera in Vienna is divided into three main branches. The leading place was occupied by a serious Italian opera(Italian opera seria), where classic heroes and the gods lived and died in an atmosphere of high tragedy. Less formal was the comic opera (opera buffa), based

on the plot of Harlequin and Columbine from the Italian comedy (commedia dell "arte), surrounded by shameless lackeys, their decrepit masters and all sorts of rogues and crooks. Along with these Italian forms, the German comic opera (singspiel) developed, whose success was, perhaps, in the use of available general public German language. Even before Mozart's operatic career began,

Gluck argued for a return to the simplicity of 17th-century opera, whose plots were not muffled by long solo arias that delayed the development of the action and served only as an excuse for the singers to demonstrate the power of their voices. By the power of his talent, Mozart combined these three directions. As a teenager, he wrote one opera of each type. As a mature composer, he continued to work in all three directions, although the tradition of opera seria

withered. Platonova Vera, 11 A class

The Age of Enlightenment in literature covers a hundred-year period from 1688 to 1789. England was the birthplace of the Enlightenment, where the Glorious Revolution took place in 1688, as a result of which the bourgeoisie came to power. Enlightenment expresses the ideas of a new estate - the bourgeoisie, it is based on rationalism. In any literary work of the Enlightenment, three conditions must be met: an entertaining plot, instructiveness, and the allegorical nature of the narrative.
Enlightenment in English Literature
In English literature, the Enlightenment went through several stages.
In the 20-30s of the 18th century, prose dominated literature, and the novel of adventure and travel gained popularity. At this time they created their famous works Daniel Defoe and Jonathan Swift. Daniel Defoe devoted his whole life to trade and journalism, traveled a lot, knew the sea well, he published his first novel in 1719. They became the novel "Robinson Crusoe". The impetus for the creation of the novel was once read by Defoe an article in a magazine about a Scottish sailor who was landed on a desert island and in four years became so wild that he lost his human skills. Defoe rethought this idea, his novel became a hymn to the work of a man from the bottom. Daniel Defoe became the creator of the genre of the New Time novel as an epic privacy individual person. Jonathan Swift was a contemporary and literary opponent of Defoe. Swift wrote his novel Gulliver's Travels as a parody of Robinson Crusoe, fundamentally not accepting Defoe's social optimism. In the 40-60s of the 18th century, the genre of the social and everyday moralizing novel of education flourished in literature. The literary figures of this period are Henry Fielding and Samuel Richardson. Most famous novel Fielding, The Story of Tom Jones, Foundling. It shows the formation of a hero who makes a lot of mistakes in life, but still makes a choice in favor of good. Fielding conceived his novel as a polemic on Richardson's Clarissa, or the Story of a Young Lady, in which main character Clarissa is seduced by Sir Robert Lovelace, whose surname later became a household name. In the 70-90s of the 18th century, enlightenment realism was replaced by sentimentalism, where the primary role in the perception of the world is given to sensations. Sentimentalism criticizes civilization, it is based on the cult of nature, sentimentalists are interested in a person in itself, outside of his social position. Among sentimental novels the novels "The Life and Beliefs of Tristram Shandy" and " sentimental journey» Lawrence Stern. Extremely interesting is the "graveyard" poetry of the English poets Thomas Gray, James Thompson, Edward Jung. Pre-romanticism ripens in the depths of sentimentalism. By the 90s of the 18th century, interest in antiquity, in the Middle Ages, was growing in England, the so-called "Gothic" novel appeared. This is a pseudo-chivalrous novel, a novel of mystery and horror. The founder of the Gothic novel genre is Horace Walpole, the action of his novel The Castle of Otranto takes place in the era of the first crusade. This tradition in literature is continued by Anna Radcliffe and Matthew Gregory Lewis.
Enlightenment in French literature
In French literature, the Enlightenment also goes through several stages. 1715-1751 is the time of the domination of enlightenment classicism. At this time, the novels "Candide" by Voltaire and "Persian Letters" by Charles Louis de Montesquieu appeared. 1751-1780 - Enlightenment realism prevails in French literature, at this time the famous comedies of Pierre Beaumarchais "The Barber of Seville" and "The Marriage of Figaro" appear. In French literature, as in English, sentimentalism arose at this time, the founder of which in France was Jean-Jacques Rousseau.
Enlightenment in German literature
In German literature, the main figures of the Enlightenment are Johann Wolfgang Goethe and Friedrich Schiller. The latter is known for his plays "Robbers" and "Deceit and Love", and Goethe's contribution to classic literature, I think everyone knows. And although the Enlightenment came to Germany later than to other countries, it gave rise to the greatest literary works. In addition to the great Faust, Goethe should also read his earliest novel, The Sufferings of Young Werther, and the poetry collection Roman Elegies.
In my opinion, the most interesting is the English Enlightenment. It contains much less revolutionary ideas than, for example, French. In addition, the English Enlightenment opened up to me the origins of the Gothic novel and the prose of the sentimentalists. In the depths of the English Enlightenment, pre-romanticism arose, which later developed into the era of Romanticism, which is perhaps one of the most interesting eras in the history of world literature.
During the Age of Enlightenment, an unprecedented rise in musical art takes place. After the reform carried out by K.V. Gluck (1714–1787), opera became a synthetic art, combining music, singing and complex dramatic action in one performance. FJ Haydn (1732–1809) raised instrumental music to the highest level of classical art. The pinnacle of the musical culture of the Enlightenment is the work of J.S. Bach (1685–1750) and W.A. Mozart (1756–1791). The enlightening ideal comes through especially brightly in Mozart's opera The Magic Flute (1791), which is distinguished by the cult of reason, light, and the idea of ​​man as the crown of the universe.
Opera reform in the second half of the 18th century. was largely a literary movement. Its progenitor was the French writer and philosopher J.J. Rousseau. Rousseau also studied music, and if in philosophy he called for a return to nature, then in the opera genre he advocated a return to simplicity. In 1752, a year before the successful Paris premiere of Madame Pergolesi's Servant, Rousseau composed his own comic opera, The Village Sorcerer, followed by the scathing Letters on French Music, where Rameau became the main subject of attacks.
Italy. After Monteverdi, such operatic composers as Cavalli, Alessandro Scarlatti (the father of Domenico Scarlatti, the largest of the authors of works for the harpsichord), Vivaldi and Pergolesi appeared one after another in Italy.
The rise of comic opera. Another type of opera originates from Naples - the opera buffa (opera-buffa), which arose as a natural reaction to the opera seria. Passion for this type of opera quickly swept the cities of Europe - Vienna, Paris, London. From its former rulers - the Spaniards who ruled Naples from 1522 to 1707, the city inherited the tradition of folk comedy. Reviled by strict teachers in conservatories, comedy, however, captivated students. One of them, G. B. Pergolesi (1710–1736), at the age of 23 wrote an intermezzo, or little comic opera, The Servant-Mistress (1733). Even before, composers composed intermezzos (they were usually played between acts of the opera seria), but Pergolesi's creation was a resounding success. In his libretto, it was not about the exploits of ancient heroes, but about a completely modern situation. The main characters belonged to the types known from the "commedia dell'arte" - the traditional Italian improvised comedy with a standard set of comic roles. The buffa opera genre was remarkably developed in the work of such late Neapolitans as G. Paisiello (1740–1816) and D. Cimarosa (1749–1801), not to mention the comic operas of Gluck and Mozart. France. In France, Lully was replaced by Rameau, who dominated the opera stage throughout the first half of the 18th century. The French analogy of the buffa opera was the “comic opera” (opera comique). Authors such as F. Philidor (1726-1795), P. A. Monsigny (1729-1817) and A. Gretry (1741-1813) took Pergolesian mockery of tradition to heart and developed their own model of comic opera, which in in accordance with Gallic tastes, it provided for the introduction of conversational scenes instead of recitatives. Germany. It is believed that opera was less developed in Germany. The fact is that many German opera composers worked outside Germany - Handel in England, Gasse in Italy, Gluck in Vienna and Paris, while the German court theaters were occupied by fashionable Italian troupes. The Singspiel, the local analogue of the opera buffa and French comic opera, began its development later than in Latin countries. The first example of this genre was I. A. Hiller's (1728-1804) "Devil at Large", written in 1766, 6 years before Mozart's Abduction from the Seraglio. Ironically, the great German poets Goethe and Schiller inspired not domestic, but Italian and French opera composers. Austria. Opera in Vienna is divided into three main branches. The leading place was occupied by a serious Italian opera (ital. opera seria), where classical heroes and gods lived and died in an atmosphere of high tragedy. Less formal was the comic opera (opera buffa), based on the plot of Harlequin and Columbine from the Italian comedy (commedia dell "arte), surrounded by shameless lackeys, their decrepit masters and all sorts of rogues and crooks. Along with these Italian forms, the German comic opera (singspiel) developed ), whose success lay perhaps in the use of his native German, accessible to the general public.Even before Mozart's operatic career began, Gluck advocated a return to the simplicity of 17th-century opera, whose plots were not muted by long solo arias that delayed the development of the action and served as for singers only occasions to demonstrate the power of his voice. Through the strength of his talent, Mozart combined these three directions. As a teenager, he wrote one opera of each type. As a mature composer, he continued to work in all three directions, although the opera seria tradition was fading.

* this work is not a scientific work, is not a graduation qualifying work and is the result of processing, structuring and formatting the collected information, intended for use as a source of material for self-study educational work.

Report on the topic: "Music in the Age of Enlightenment"

During the Age of Enlightenment, an unprecedented rise in musical art takes place. After the reform carried out by K.V. Gluck (1714–1787), opera became a synthetic art, combining music, singing and complex dramatic action in one performance. FJ Haydn (1732–1809) raised instrumental music to the highest level of classical art. The pinnacle of the musical culture of the Enlightenment is the work of J.S. Bach (1685–1750) and W.A. Mozart (1756–1791). The enlightening ideal comes through especially brightly in Mozart's opera The Magic Flute (1791), which is distinguished by the cult of reason, light, and the idea of ​​man as the crown of the universe.

Opera art of the 18th century

Opera reform in the second half of the 18th century. was largely a literary movement. Its progenitor was the French writer and philosopher J.J. Rousseau. Rousseau also studied music, and if in philosophy he called for a return to nature, then in the opera genre he advocated a return to simplicity. In 1752, a year before the successful Paris premiere of Madame Pergolesi's Servant, Rousseau composed his own comic opera, The Village Sorcerer, followed by the scathing Letters on French Music, where Rameau became the main subject of attacks.

Italy. After Monteverdi, such operatic composers as Cavalli, Alessandro Scarlatti (the father of Domenico Scarlatti, the largest of the authors of works for the harpsichord), Vivaldi and Pergolesi appeared one after another in Italy.

The rise of comic opera. Another type of opera originates from Naples - the opera buffa (opera-buffa), which arose as a natural reaction to the opera seria. Passion for this type of opera quickly swept the cities of Europe - Vienna, Paris, London. From its former rulers - the Spaniards who ruled Naples from 1522 to 1707, the city inherited the tradition of folk comedy. Reviled by strict teachers in conservatories, comedy, however, captivated students. One of them, G. B. Pergolesi (1710–1736), at the age of 23 wrote an intermezzo, or little comic opera, The Servant-Mistress (1733). Even before, composers composed intermezzos (they were usually played between acts of the opera seria), but Pergolesi's creation was a resounding success. In his libretto, it was not about the exploits of ancient heroes, but about a completely modern situation. The main characters belonged to the types known from the "commedia dell'arte" - the traditional Italian improvised comedy with a standard set of comic roles. The buffa opera genre was remarkably developed in the work of such late Neapolitans as G. Paisiello (1740–1816) and D. Cimarosa (1749–1801), not to mention the comic operas of Gluck and Mozart.

France. In France, Lully was replaced by Rameau, who dominated the opera stage throughout the first half of the 18th century.

The French analogy of the buffa opera was the “comic opera” (opera comique). Authors such as F. Philidor (1726-1795), P. A. Monsigny (1729-1817) and A. Gretry (1741-1813) took Pergolesian mockery of tradition to heart and developed their own model of comic opera, which in in accordance with Gallic tastes, it provided for the introduction of conversational scenes instead of recitatives.

Germany. It is believed that opera was less developed in Germany. The fact is that many German opera composers worked outside Germany - Handel in England, Gasse in Italy, Gluck in Vienna and Paris, while the German court theaters were occupied by fashionable Italian troupes. The Singspiel, the local analogue of the opera buffa and French comic opera, began its development later than in Latin countries. The first example of this genre was I. A. Hiller's (1728-1804) "Devil at Large", written in 1766, 6 years before Mozart's Abduction from the Seraglio. Ironically, the great German poets Goethe and Schiller inspired not domestic, but Italian and French opera composers.

Austria. Opera in Vienna is divided into three main branches. The leading place was occupied by a serious Italian opera (Italian opera seria), where classical heroes and gods lived and died in an atmosphere of high tragedy. Less formal was the comic opera (opera buffa), based on the plot of Harlequin and Columbine from the Italian comedy (commedia dell "arte), surrounded by shameless lackeys, their decrepit masters and all sorts of rogues and crooks. Along with these Italian forms, the German comic opera (singspiel) developed ), whose success lay perhaps in the use of his native German, accessible to the general public.Even before Mozart's operatic career began, Gluck advocated a return to the simplicity of 17th-century opera, whose plots were not muted by long solo arias that delayed the development of the action and served as for singers only occasions to demonstrate the power of their voices.

By the power of his talent, Mozart combined these three directions. As a teenager, he wrote one opera of each type. As a mature composer, he continued to work in all three directions, although the opera seria tradition was fading.

Platonova Vera, 11 A class