The main ideas of the composers of the Enlightenment. Music in the Age of Enlightenment

Musical classicism and the main stages of its development

Classicism (from lat. сlassicus - exemplary) - a style in art of the 17th - 18th centuries. The name "classicism" comes from the appeal to classical antiquity as the highest standard of aesthetic perfection. Representatives of classicism drew their aesthetic ideal from samples ancient art. Classicism was based on the belief in the rationality of being, in the presence of order and harmony in nature and inner world person. The aesthetics of classicism contains the sum of mandatory strict rules that must be met piece of art. The most important of them are the demand for a balance of beauty and truth, logical clarity, harmony and completeness of the composition, strict proportions, and a clear distinction between genres.

In the development of classicism, 2 stages are noted:

Classicism XVII century, which developed partly in the struggle with the art of the Baroque, partly in interaction with it.

Enlightenment classicism of the 18th century.

Classicism of the 17th century is in many ways the antithesis of the Baroque. It receives its most complete expression in France. This was the heyday of the absolute monarchy, which provided the highest patronage to court art and demanded pomp and splendor from it. The pinnacle of French classicism in the area theatrical art were the tragedies of Corneille and Racine, as well as the comedies of Moliere, on whose work Lully relied. His "lyrical tragedies" bear the imprint of the impact of classicism (strict logic of construction, heroics, restrained character), although they also have baroque features - the splendor of his operas, the abundance of dances, processions, choirs.

Classicism of the 18th century coincided with the Age of Enlightenment. Enlightenment is a broad movement in philosophy, literature, and art that has engulfed all European countries. The name "Enlightenment" is explained by the fact that the philosophers of this era (Voltaire, Diderot, Rousseau) sought to educate their fellow citizens, tried to resolve issues of the structure human society, human nature, his rights. Enlighteners proceeded from the concept of omnipotence human mind. Faith in a person, in his mind determines the bright, optimistic mood inherent in the views of the Enlightenment figures.

Opera is at the center of musical and aesthetic disputes. French encyclopedists considered it a genre in which the synthesis of arts that existed in the ancient theater should be restored. This idea formed the basis of K.V. Gluck.

The great achievement of enlightenment classicism is the creation of the genre of symphony (sonata-symphony cycle) and sonata form, which is associated with the work of composers of the Mannheim school. The Mannheim school was formed in the city of Mannheim (Germany) in the middle of the 18th century on the basis of the court chapel, in which mainly Czech musicians worked ( largest representative- Czech Jan Stamitz). In the work of the composers of the Mannheim school, the 4-part structure of the symphony and the classical composition of the orchestra were established.

The Mannheim school became the forerunner of the Viennese classical school – Musical direction denoting the work of Haydn, Mozart, Beethoven. In the work of the Viennese classics, the sonata-symphony cycle, which became a classic, was finally formed, as well as the genres of chamber ensemble and concerto.

Among the instrumental genres, the most popular were different kinds household entertainment music - serenades, divertissements, sounded in the open air in evening time. Divertimento (French entertainment) - multi-part instrumental works for a chamber ensemble or orchestra, combining the features of a sonata and a suite and close to a serenade, nocturne.

K. V. Gluck - the great reformer opera house

Christoph Willibald Gluck (1714 - 1787) - a German by birth (born in Erasbach (Bavaria, Germany)), nevertheless, is one of the prominent representatives of the Viennese classical school.

reform activity Gluck proceeded in Vienna and Paris and was carried out in line with the aesthetics of classicism. In total, Gluck wrote about 40 operas - Italian and French, buffa and seria, traditional and innovative. It was thanks to the latter that he secured a prominent place in the history of music.

The principles of Gluck's reform are outlined in his preface to the score of the opera Alceste. They come down to this:

Music should express poetic text opera, it cannot exist on its own, outside of dramatic action. Thus, Gluck significantly enhances the role of the literary and dramatic basis of the opera, subordinating the music to the drama.

Opera should have a moral impact on a person, hence the appeal to ancient subjects with their high pathos and nobility (“Orpheus and Eurydice”, “Paris and Helen”, “Iphigenia in Aulis”). G. Berlioz called Gluck "Aeschylus of music".

The opera must comply with the "three great principles of beauty in all arts" - "simplicity, truth and naturalness". It is necessary to rid the opera of excessive virtuosity and vocal ornamentation (inherent in Italian opera), intricate plots.

There should not be a sharp contrast between the aria and the recitative. Gluck replaces the secco recitative with an accompaniment, as a result of which it approaches an aria (in the traditional opera seria, recitatives served only as a link between concert numbers).

Gluck also interprets arias in a new way: he introduces features of improvisational freedom, development musical material connects with a change in the psychological state of the hero. Arias, recitatives and choirs combine into large dramatic scenes.

The overture should anticipate the content of the opera, introduce listeners into its atmosphere.

The ballet should not be an interstitial number that is not connected with the action of the opera. Its introduction must be determined by the course of the dramatic action.

Most of these principles were embodied in the opera Orpheus and Eurydice (premiered in 1762). This opera marks the beginning of a new stage not only in Gluck's work, but also in the history of all European opera. Orpheus was followed by another of his pioneering operas, Alceste (1767).

In Paris, Gluck wrote other reformist operas: Iphigenia in Aulis (1774), Armida (1777), Iphigenia in Tauris (1779). The staging of each of them turned into a grandiose event in the life of Paris, causing a heated controversy between the "Glukists" and "Picchinists" - supporters of the traditional Italian opera, which was personified by the Neapolitan composer Nicolo Picchini (1728 - 1800). Gluck's victory in this controversy was marked by the triumph of his opera Iphigenia in Tauris.

Thus, Gluck turned opera into the art of lofty educational ideals, saturating it with deep moral content, revealed on stage genuine human feelings. opera reform Gluck had a fruitful influence both on his contemporaries and on subsequent generations of composers (especially the Viennese classics).

"The influence of the ideas of the Enlightenment" - Enlightenment movement. The American Revolutionary War. "Golden age" Russian nobility. State of Russia. Catherine the Great. "On the Social Contract, or the Principles of Political Law". Pugachev's uprising. Jean-Jacques Rousseau. American Enlightenment Movement. The policy of "enlightened absolutism" in Russia.

"Enlightenment" - Enlightenment-. German Enlightenment. Charles Montesquieu. Born in Geneva in the family of a watchmaker. Music. Jonathan Swift (1667-1745). Ideas of encyclopedists. Name the French enlighteners. What is the meaning of the motto of the Enlightenment? The value of the activities of enlighteners. England is the birthplace of the Enlightenment. Encyclopedists.

"The War of Independence and the Education of the United States" - George Washington. Additional material to the topic in the form of a presentation in grade 7, to the course " new history". The War of Independence and the Formation of the United States. Residence of the President of the United States The White house. Surrender of British troops at Yorktown. Washington's ceremonial entry into New York. Signing of the Declaration of Independence of the United Provinces.

"Culture of the Enlightenment" - Goethe's pathos of activity is opposed to philistine reconciliation with reality. 4. Encyclopedists. The centers of the ideology and philosophy of the Enlightenment were France, England and Germany. Enlighteners saw getting rid of all social troubles in the dissemination of knowledge. Encyclopedists believed that "ideas" affect real social progress.

"Enlightenment, Classicism, Sentimentalism" - Henry Fielding. Feeling. Beethoven. Limitation of the mind. Education. Diderot. Takeoff musical art. Portrait of Lopukhina. T. J. Smollett. J.-J. Rousseau. Nicolas Boileau. Jonathan Swift. France. What does it look like. Enlightenment, classicism, sentimentalism. Critic. essence of classicism. Carlo Gozzi. Classicism.

"Europe XVIII century" - The main goal is domination in the Baltic. internal political structure. D. Cantemir Aram Oleg. The wars and revolutions of the 19th century did little to change the outlines of European countries. Society. Foreign policy. EUROPE in the second half of the 17th - 18th centuries.

There are 25 presentations in total in the topic

Religion for the first time becomes the subject of severe 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 XVIII artists 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.

The music of the 18th century is represented by such names 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".

* this work is not scientific work, is not 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 Maid of Madame Pergolesi, Rousseau composed his own comic opera The Village Sorcerer, followed by the scathing Letters on French Music, where Rameau became the main object of attack.

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 classic heroes and the gods lived and died in an atmosphere of high tragedy. was less formal 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 Even before Mozart's operatic career began, Gluck advocated 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 pretexts for the singers to demonstrating the power of your voice.

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

The development of philosophy, science, visual arts, literature. French encyclopedists J.J. Rousseau and D. Diderot are outstanding representatives of the educational movement. Aesthetic views of encyclopedists.

The transition from polyphonic art to the homophonic-harmonic warehouse of writing in music.

Opera art. The crisis of the Italian opera seria and the French lyrical tragedy, which affected the dramaturgy, the stage embodiment of the performance, and the practice of vocal performance. Genre opera buffa. Its themes, images, connection with folk music. Giovanni Pergolesi (1710-1736) and his opera The Servant-Mistress - classic pattern new genre. Features of the development of action and musical composition, principles of thematic development. Basic vocal forms, the role of the orchestra.

French comic opera. Folk fair performances and vaudeville as its origins. Plots of operas. French song as the basis of intonational content. The couplet-strophic structure of the arias, the genre-pictorial use of the orchestra. "War of the Buffoons". Opera "The Village Sorcerer" by Jean Jacques Rousseau (1712-1778), the establishment of a new melodic warehouse. Operas by F. Philidor, P. Monsigny. Opera by André Grétry (1741-1813) "Richard Lion Heart” is a genre-everyday opera of the lyrical direction.

Christoph Willibald Gluck (1714-1787). The meaning of art K.V. Gluck in the history of the development of opera. creative way. The first innovative musical dramas were Orpheus and Alceste. The struggle between "glukists" and "picchinists". aesthetic views K.V. Gluck. Principles of operatic dramaturgy. Intonation renewal and dramatization of vocal parts. The role of the choir, ballet, orchestra. Historical meaning opera creativity of K.V. glitch for further development musical theatre.

instrumental music XVIII century. Formation under different conditions national cultures sonata-symphonic and concert genres. Development of the principles of sonata development in the instrumentalism of the 18th century. Formation of the classic composition symphony orchestra. Significance in development instrumental music XVIII century symphony school created Czech composers. Frantisek Vaclav Micha (1694-1744) - the creator of one of the first symphonies. Representatives of the Mannheim School: Jan Stamitz (1717-1757), Frantisek Richter (1709-1789). Anton Filz (1730-1760). characteristic musical images, features of the subject, principles of development and form. Dynamic style innovation musical performance. The influence of the school of J. Stamitz on the work of I.K. Bach, V.A. Mozart and other composers.