Musical culture of romanticism: aesthetics, themes, genres and musical language. Russian music of romanticism Which musicians belong to the French school of romanticism
Skryabina Svetlana Anatolievna
MBOU DOD DSHI Uvarovo, Tambov region
Teacher
Essay
"Piano Works by Romantic Composers"
Introduction.
2. Romanticism in music.
4. The influence of the romantic style on piano creativity F. List.
5. Conclusion.
6. List of references.
Introduction.
Romanticism, as an artistic movement, was formed at the end of the 18th century, early XIX centuries, first in literature (in Germany, Great Britain and other countries of Europe and America), then in music and other forms of art. Romantic style is original, fantastic and sublime.
The era of romanticism played a huge role in the development musical culture. Romanticism covered all spheres of culture: philosophy, aesthetics, theater, literature, music and others. humanitarian sciences. In connection with various national traditions and historical aspects, romanticism, developing in different countries, acquired peculiar national features: among the Germans - in mysticism, among the British - in a personality that will oppose rational behavior, among the French - in unusual stories. The romantic style is characterized by an appeal to the inner world of a person, the desire for emotionality, this determined the primacy of literature and music in romanticism.
Relevance This topic lies in the fact that Romanticism was a support for many composers, and played a huge role in the development of musical culture, and also prompted the development of the piano work of romantic composers.
The purpose of this work– to determine the main features of romanticism and study their reflection in the piano work of romantic composers by solving the following tasks:
- Consider the main features of romanticism;
- Identify manifestations of romanticism in music;
- To study the stylistic features of romanticism in piano work;
- To characterize the piano work of F. Liszt.
To bring their ideas to life, romantic composers turned to new forms: piano miniatures, ballads, nocturnes, polonaises, impromptu, lyric songs, software products have played an important role. There was a freer use of sonata-symphonic and variational forms, the creation of new large single-part forms - sonata, concerto, symphonic poem, the use of special developmental techniques - leitmotifs, monothematism, vocal recitation, coloring.
1. The origins of romanticism and its features.
In connection with the bourgeois revolution in France, the views and ideas of the people changed. Historical events left their imprint in the soul of everyone who witnessed revolutionary upheavals. For artists, writers and musicians, the ideas of equality, fraternity, and freedom became close. Thus ended the Age of Enlightenment. But the new social order did not live up to the expectations of that society, and disappointment set in and the emergence of a new worldview system, Romanticism, became irreversible.
Romanticism is an ideological and artistic direction in European and American spiritual culture of the late 18th - first half of the 19th century, which replaced classicism. In the content of art, in the movement of aesthetic thought, in the character artistic images profound changes are taking place.
At the center of the world of romanticism is the personality of a person, striving for complete inner freedom, for perfection and renewal. He expresses his attitude to life, the world around him through lyrics emotional experiences and feelings. The lyricism of artistic images was affected by the turn of art, which directed its development, connections with the past, movement into the future.
The basis of romanticism was the concept of duality (the world of dreams and the real world). The discord between the ideal and reality, which was also characteristic of previous trends, acquires extraordinary sharpness and tension in romanticism.
The main task of romanticism was the image of the inner world, mental life. It is with romanticism that real psychologism begins to appear. Restraint and humility were rejected, they were replaced by powerful emotions often going to extremes. Among the romantics, human psychology was clothed with mysticism, it was dominated by moments of the irrational, obscure, mysterious.
Romantics turned to the mysterious, mysterious, even terrible, folk beliefs, fairy tales. Rejecting everyday life modern civilized society as colorless and prosaic, romantics strove for everything unusual. They were attracted by fantasy, folk legends and folk art in general.
The hero of romanticism is, first of all, an individualistic superman. A person for romantics is a small universe, a microcosm. An intense interest in strong and vivid feelings, all-consuming passions, in the secret movements of the soul, in its "night" side, a craving for the intuitive and the unconscious are the essential features of romantic art.
2. Romanticism in music.
In the second decade of the 19th century, musical romanticism appeared, which arose under the influence of literary art. It was a historically new phenomenon, although deep connections with musical "classics" were found. Studying and performing the works of romantic composers, one can feel the upliftment of the spiritual structure and the loftiness of feelings, dramatic contrast, deep pathos, sincere lyricism.
The founders of the era of romanticism are such composers as: Liszt, Chopin, Schumann, Grieg. In more late period the musical "impressionism" of Debussy, Ravel, Scriabin was born.
Piano miniatures by Schubert, "Songs without words" by Mendelssohn, piano cycles, nocturnes, Schumann's preludes, Chopin's ballads - all this wealth has transformed old genres and forms, it has entered the musical treasury of the world and acquired significance in classical music.
The dominant place is occupied by the theme of love, it is this state of mind that most comprehensively and fully reflects all the depths and nuances human psyche. A person's love for his home, for his fatherland, for his people runs like a thread through the work of all romantic composers.
Romantics have an image of nature that is closely and inextricably intertwined with the theme of a lyrical confession. Like the images of love, the image of nature personifies the state of mind of the hero, so often colored by a sense of disharmony with reality.
The theme of science fiction often competes with the images of nature, and this is generated by the desire to escape from captivity. real life. Among the composers of the romantic school, fabulous, fantastic images acquire a national unique coloring. Chopin's ballads are inspired by the Ballads of Mickiewicz, Schumann, Mendelssohn, create works of a fantastic grotesque plan, symbolizing, as it were, the wrong side of faith, striving to reverse the ideas of fear of the forces of evil.
The late period of the life and work of the last great classical composer Ludwig van Beethoven coincided with the heyday of the work of the first great romantic composer Franz Schubert. This significant coincidence testifies to the close connection between classical and romantic musical art. Despite the continuity between these two heritages, there are important differences that are typical of the relationship between the work of classical and romantic composers. The main difference is the special emphasis in romantic music on the embodiment of dreamy lyrical and agitated lyric-pathetic images and moods.
Romantic composers began to show great interest in the national identity of domestic music, as well as the music of other peoples. In this regard, a careful study of folk musical creativity began - musical folklore. At the same time, interest in the national historical past, in ancient legends, tales, and traditions increased, which became the basis for the emergence of fascinating fantastic images. Mastering new themes and images, romantic music increased interaction with romantic poetry And romantic theater. This determined the high flourishing in the 19th century of romantic opera - a genre in which a synthesis of all types of art takes place. One of the brightest romantic operas - « magic shooter» German composer Carl Maria von Weber.
romantic musical art brought forward many outstanding composers, who were often also wonderful concert performers.
3. Stylistic features of the era of romanticism in piano work.
In the style of music of the era of romanticism, modal and harmonic means acquire a very important role. The first of these processes - dynamics - is the saturation of chords in pieces with alterations and dissonances, which exacerbated their instability, increased the tension that required resolution in further playing. Such properties of the performance of the works of romantic composers were expressed by the “languor” typical of this style, the stream of “infinitely” developing feelings, which was embodied with particular completeness in the works of Chopin, Schumann, Grieg. A variety of colors, colorfulness of sound were extracted from natural modes, with the help of which the folk or archaic nature of the music was emphasized. When depicting fantastic, fabulous or bizarre images, a huge role was assigned to whole-tone and chromatic scales.
The following trends acted in romantic melodics: the desire for breadth and the continuity of the development of phrasing. Many composers of the Romantic era have "endless melody" with huge multi-bar leagues in their works. This is especially evident in the works of Chopin, Tchaikovsky, early period 80s - 90s Rachmaninov ("Elegy", "Melody", "Romance", "Serenade" and his other works).
Of great importance when getting acquainted with the music of romantic composers is sound production, a sense of "style", here it is very important to note that in working on phrasing in a particular piece, it is necessary that the phrases pick up one another, cling to each other, forming garlands, but together with that they did not overlap each other.
Talking about style features piano performances of musical works by romantic composers, professor of the Leningrad Conservatory V.Kh.
Required in execution lyrical works feel the breath, it can be felt through touch: full of air background, breathing bass, accurate pedal.
About the stylistic features of F. Chopin's music, Liszt said the following: "His music resembles a bindweed flower, which shakes its corollas on an unusually thin stem. These corollas of extraordinary beauty are made of such a fragrant and delicate fabric that it breaks at the slightest touch."Chopin is the "top" performing arts era of romanticism.
Fulfilling musical works era of romanticism, it must be remembered that in order to achieve the desired "sound" - velvet and unearthly, it is necessary and special gift hard work and sense of style. As Neuhaus said: “Sound is a sacred thing, take care of sound like gold, like a jewel, it is born in a presonic atmosphere, its birth is a sacrament, it is very important to find the necessary “measure of sound”.
Coming to the fore melos. The melody is updated intonationally and compositionally. Two appear different sources intonation renewal: folklore and speech intonations. What deviates from the classical norm, first of all, attracts attention. The classicists had recitation (oratory), but the romantics had it more intimate, lyrical, open, emotional.
5. The influence of the romantic style on the piano work of F. Liszt.
Liszt, like a virtuoso, is a phenomenon from among those
that appear once in several centuries,
Serov wrote
In the work of F. Liszt piano works make up the best part of his creative legacy.
Liszt's artistic personalities as a pianist and composer combined to open up new paths in the art of music.
He entrusted all his thoughts, dreams, sufferings and joys to the piano. And that is why Liszt first of all found new methods of composition and means of expression in the field of piano music.
F. Liszt was a brilliant pianist and could convince and captivate thousands of listeners with his performance. In the same way, in composing practice, he achieved a relief and intelligible presentation of musical thoughts. On the other hand, as an incessantly searching artist, gifted with a brilliant creative flair, he updated the entire structure and character of the piano sound, making it, as Stasov aptly put it, "an unknown and unheard of thing - a whole orchestra."
The composer introduced the Symphonic interpretation of the piano into modern performance and creativity. In his developments, he achieved a powerful orchestral sound of the instrument and enriched it with coloristic possibilities. In one of the letters, Liszt indicated that his goal was “... to attach the spirit of the pianist-performer to orchestral effects and, within the limited limits of the piano, to make sensitive various instrumental sound effects and shades. Liszt accomplished this by saturating the piano works with timbres and melodic warehouse. In Liszt's piano pieces, author's indications are often found - quasi tromba (like a trumpet), quasi flauto (like a flute), etc., imitation of the cello (for example, in Oberman's Valley), horns (the etude "Hunt"), bells ("Geneva bells"), organ, etc. Liszt expanded the expressive resources of pianism to the fore, bringing to the fore the power, brilliance and brilliance of sound.
F. Liszt discovered new methods of piano technique. He tried to use all registers of the piano: he used basses that sounded juicy and deep, he transferred the melody to the middle, “cello” register, and in the upper register he revealed a transparent, crystal-clear sound. When comparing registers, the composer used passages, he saturated them with chord complexes in a wide arrangement. Liszt made extensive use of orchestral tremolo effects, chordal trills or martellato octaves, to more prominently and catchily convey dramatic or dynamic moments. He paid special attention to the distribution of sound material between the two hands, their transfer and transfer to different registers of the piano. Among other favorite techniques of Liszt are passages in octaves, double notes, masterfully used rehearsal technique. These techniques influenced the development of the multi-layered texture of Liszt's works. Their development is given in several dynamic and color plans, as in orchestral compositions.
Liszt, as a great reformer of the piano playing, taught pianists to “get used to making accents and grouping motifs, putting forward what is more important and subordinating the less important to it, in a word, setting themselves the standard of the orchestra.”
The features of Liszt's piano style were not formed immediately, they can be divided into four stages. The first stage (20s - mid 30s) is associated with the study of the possibilities of the piano, with the imitation of the bravura manner of modern virtuosos, in the second (late 30s - 40s), Liszt develops an individual style, enriching his technique and musical language the latest achievements of romantic composers (Paganini, Berlioz, Chopin). The third stage (late 40s - 60s) - the pinnacle of Liszt's skill - is characterized by the justification of all technical methods by the requirements of expressiveness and content, the absence of virtuoso "excesses", the fourth stage (70s-80s) is marked by new quests: the rejection of monumental ideas, the search for chamber sound, subtle coloring.
The tradition of "Listov" concert pianism was developed in the art of A.G. Rubinstein, A. Siloti and especially S. Rachmaninov.
Conclusion.
Romanticism as a method and direction in art was a complex and controversial phenomenon. In every country he had a bright national expression. It is not easy to find features in literature, music, painting and theater that unite Chateaubriand and Delacroix, Mickiewicz and Chopin, Lermontov and Kiprensky.
TO critical areas works of romantic composers include: lyrics, fantasy, originality in the performance of characteristic national motifs (example E. Grieg). Beginning with Schubert and Weber, the composers involved in the common European musical language the intonational turns of the ancient, predominantly peasant folklore of their countries.
The new content of music required new means of expression. This is, first of all, a huge melodic richness, as well as the melodic richness of a developed textural presentation, the increased complexity and colorfulness of the harmonic language.
Bibliography.
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- Aliev, Yu.B. Handbook of a school teacher-musician / Yu.B. Aliev. - M.: VLADOS, 2000. - 336 p.
- Bryantseva, V.N. Musical literature foreign countries. Second year of study. - M.: Music, 2004.
- Druskin, M.S. Story foreign music. Issue 4: The second half of the 19th century / M.S. Druskin. - St. Petersburg: COMPOSITOR-ST. PETERSBURG, 2007. - 632 p.
- Zhabinsky, K.A. Encyclopedic musical vocabulary/ K.A. Zhabinsky. Moscow: Phoenix, 2009. 474 p.
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Kholopova, V.N. Music theory: Melody, rhythm, texture, thematism / V.N. Kholopov. - M.: Lan
At the end of the 18th - beginning of the 19th century, such an artistic movement as romanticism appeared. During this era, people dreamed of ideal world and "flee" in fantasy. This style found its most vivid and figurative embodiment in music. Among the representatives of romanticism, such composers of the 19th century as Carl Weber,
Robert Schumann, Franz Schubert, Franz Liszt and Richard Wagner.
Franz Liszt
The future was born in the family of a cellist. His father taught him music early years. As a child, he sang in a choir and learned to play the organ. When Franz was 12 years old, his family moved to Paris so that the boy could study music. He was not admitted to the conservatory, however, since the age of 14 he has been composing sketches. Such 19th century as Berlioz, Paganini, had a great influence on him.
Paganini became Liszt's real idol, and he decided to hone his own piano skills. The concert activity of 1839-1847 was accompanied by a brilliant triumph. During these years, Ferenc created the famous collection of plays "Years of Wanderings". A virtuoso of piano playing and a favorite of the public has become a true embodiment of the era.
Franz Liszt composed music, wrote several books, taught, led open lessons. Composers of the 19th century from all over Europe came to him. We can say that almost all his life he was engaged in music, because he worked for 60 years. And to this day it musical talent and craftsmanship are a role model for contemporary pianists.
Richard Wagner
The genius created music that could not leave anyone indifferent. She had both admirers and fierce opponents. Wagner was fascinated by the theater since childhood, and at the age of 15 he decided to create a tragedy with music. At the age of 16, he brought his compositions to Paris.
For 3 years he tried in vain to stage an opera, but no one wanted to deal with an unknown musician. Such popular composers 19th century, like Franz Liszt and Berlioz, whom he met in Paris, do not bring him luck. He is in poverty, and no one wants to support his musical ideas.
Having failed in France, the composer returns to Dresden, where he begins working as a conductor in the court theater. In 1848, he emigrated to Switzerland, because after participating in the uprising he was declared a criminal. Wagner was aware of the imperfection of bourgeois society and the dependent position of the artist.
In 1859, he sang love in the opera Tristan und Isolde. In Parsifal, universal brotherhood is presented in a utopian way. Evil is defeated, and justice and wisdom win. All the great composers of the 19th century were influenced by Wagner's music and learned from his work.
In the 19th century, a national composing and performing school was formed in Russia. There are two periods in Russian music: early romanticism and classic. The first includes such Russian composers of the 19th century as A. Varlamov, A. Verstovsky, A. Gurilev.
Mikhail Glinka
Mikhail Glinka founded composer school in our country. The Russian spirit is present in all of his famous operas, like "Ruslan and Lyudmila", "Life for the Tsar" are permeated with patriotism. Glinka summarized character traits in folk musical creativity, used old tunes and rhythms folk music. The composer was also an innovator in musical dramaturgy. His work is the rise of national culture.
Russian composers gave the world many works of genius which still win the hearts of people today. Among the brilliant Russians composers of the XIX century immortalized such names as M. Balakirev, A. Glazunov, M. Mussorgsky, N. Rimsky-Korsakov, P. Tchaikovsky.
Classical music vividly and sensually reflects the inner world of a person. Strict rationalism was replaced by the romance of the 19th century.
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The origins of F. m. go back to the folklore of the Celtic, Gallic and Frankish tribes who lived in ancient times on the territory of present-day France. Nar. song art, as well as Gallo-Roman culture, became the foundation for the development of F. m. Ancient lit. And… … Music Encyclopedia
The romantic worldview is characterized by a sharp conflict between reality and dreams. Reality is low and soulless, it is permeated with the spirit of philistinism, philistinism and is worthy only of denial. A dream is something beautiful, perfect, but unattainable and incomprehensible to the mind.
Romanticism contrasted the prose of life with the beautiful realm of the spirit, "the life of the heart." Romantics believed that feelings constitute a deeper layer of the soul than the mind. According to Wagner, "the artist appeals to feeling, not to reason." And Schumann said: "the mind is mistaken, feelings - never." It is no coincidence that music was declared the ideal form of art, which, due to its specificity, most fully expresses the movements of the soul. It was music in the era of romanticism that took a leading place in the system of arts.
If in literature and painting romantic direction basically completes its development by the middle 19th century then life musical romanticism much longer in Europe. Musical romanticism as a trend emerged at the beginning of the 19th century and developed in close connection with various trends in literature, painting and theater. First stage musical romanticism is represented by the works of F. Schubert, E. T. A. Hoffmann, K. M. Weber, G. Rossini; the subsequent stage (1830-50s) - the work of F. Chopin, R. Schumann, F. Mendelssohn, G. Berlioz, F. Liszt, R. Wagner, J. Verdi.
The late stage of romanticism extends to late XIX century.
The problem of personality is put forward as the main problem of romantic music, and in a new light - in its conflict with the outside world. romantic hero forever alone. The theme of loneliness is perhaps the most popular in all romantic art. Often associated with it is the thought of creative personality: a person is lonely when he is precisely an outstanding, gifted person. The artist, poet, musician are the favorite heroes in the works of the romantics (“The Love of the Poet” by Schumann, “Fantastic Symphony” by Berlioz with its subtitle “An Episode from the Life of an Artist”, Liszt’s symphonic poem “Tasso”).
Inherent in romantic music is a deep interest in human personality expressed in the predominance of a personal tone in it. The revelation of a personal drama often acquired a touch of autobiography among the romantics, which brought a special sincerity into the music. So, for example, many of Schumann's piano works are connected with the story of his love for Clara Wieck. Autobiographical character Wagner emphasized his operas in every possible way.
Attention to feelings leads to a change in genres - the lyrics acquire a dominant position, in which images of love predominate.
The theme of nature is very often intertwined with the theme of "lyrical confession". Resonating with state of mind of a person, it is usually colored by a sense of disharmony. The development of genre and lyrical-epic symphonism is closely connected with the images of nature (one of the first works is Schubert's "great" symphony in C-dur).
The real discovery of romantic composers was the theme of fantasy. For the first time, music has learned to embody fabulous-fantastic images in a purely musical means. In the operas of the 17th - 18th centuries, "unearthly" characters (such as, for example, the Queen of the Night from Mozart's " magic flute”) spoke in the “generally accepted” musical language, standing out little from the background real people. Romantic composers have learned to convey the fantasy world as something completely specific (with the help of unusual orchestral and harmonic colors).
IN the highest degree characteristic of musical romanticism is an interest in folk art. Like the romantic poets who, at the expense of folklore, enriched and updated literary language, musicians widely turned to national folklore - folk songs, ballads, epic. Under the influence of folklore, the content of European music has changed dramatically.
The most important point aesthetics of musical romanticism was the idea of a synthesis of the arts, which found its most vivid expression in opera Wagner and in the program music of Berlioz, Schumann, Liszt.
Hector Berlioz. "Fantastic symphony" - 1. Dreams, passions...
Robert Schumann - "In the radiance ...", "I meet the gaze .."
From the vocal cycle "Poet's Love"
Robert Schumann Heinrich Heine "In the radiance of warm May days"
Robert Schumann - Heinrich "I meet the look of your eyes"
Robert Schumann. "Fantastic plays".
Schumann Fantasiestucke, op. 12 part 1: no. 1 Des Abend and no. 2 Aufschwung
Sheet. Symphonic poem"Orpheus"
Frederic Chopin - Prelude No. 4 in E minor
Frederic Chopin - Nocturne No 20 in C - sharp minor
Schubert paved the way for many new musical genres - impromptu, musical moments, song cycles, lyric-dramatic symphony. But in whatever genre Schubert wrote - in traditional or created by him - everywhere he acts as a composer new era era of romanticism.
Many features of the new romantic style were then developed in the works of Schumann, Chopin, Liszt, Russian composers of the second half of XIX century.
Franz Schubert. Symphony C major
Franz Liszt. "Dreams of Love"
Weber. Chorus of hunters from the opera "Free Shooter"
Franz Schubert. Impromptu #3
The text is compiled from different sites. Compiled by:Ninel Nick
