The scenario of the evening of romances “The good old soul will warm. Romances - only for voice and piano
Natalya Odintsova
The script for the evening of romances "The good old soul will warm"
Guests are seated at tables arranged in a small hall. On impromptu stage - piano. It has lit candles on it.
In the foreground is a small table, behind which the presenter is located.
sound romances performed by Julia Priz (record)
The words belong to the leader.
Good afternoon, dear guests of our evenings. Today our meeting is dedicated to music - the queen of all arts and his majesty - romance.
Music is a rainbow of colors of the world around us. She can tell a lot and answer any, the most unexpected questions. Music teaches us kindness and sensitivity, teaches to see the amazing and extraordinary in the simplest and most understandable.
Gone are the elegies and stanzas,
But their times will come
In the tune of a Russian romance
My soul is conquered...
So, we are going on a wonderful journey, into the world of Russian romance.
Talk about romance I would not like to start with a historical digression into the history of the emergence and development of this wonderful genre, but I would like to make an attempt figure out: what is its nature, which makes one secretly listen to lyrical melody and sometimes amazing poetic style; and what it is now, and what it will be. These are the questions I would like to hear the answer from you, dear viewers, participants evenings.
I turn to.
Please tell me, I know that you are doing great romances - sincerely, penetratingly. And do not remember when your first meeting with this musical genre took place. When romance settled in your heart?
(answer)
I think that the guests of our meeting will listen with pleasure romance in your performance.
Let's open a musical encyclopedia: read...
« Romance- chamber work for voice with instrument accompaniment, one or more. This term originated in Spain and originally meant a song in Spanish (romanesque) language, and not in Latin, adopted in church hymns. Thus, the name emphasized the non-church, secular nature of the genre.
Accompaniment in romance, which initially created only support, a background for the voice, gradually became an equal part of the ensemble.
Romance is a complex genre. Difficult because you need to have qualities that can immediately distinguish you from general amateurism to the rank of mastering this genre. And most importantly, in my opinion, quality is intonation. The performer who has found his intonation, in essence, masters the genre, although he may not have special voice data. romances, as they say, sing with the soul.
At our meeting there is just such a performer, many types of vocal art are subject to him. But in the first place, nevertheless, in my opinion, is execution. romances and lyrical ballads. I invite Dmitry Shevchenko to the instrument.
Certainly, romance is multifaceted, multi-genre. This and classic romance, and urban, domestic romance- for us the most understandable and beloved. But no less charming and quivering romance - gypsy.
Listening to him, in front of your mind's eye you draw picture: the steppe, the full moon illuminates the gypsy wagons, horses graze peacefully, silence and only the crackle of a fire, the sound of a guitar and a soul singing, with anguish and some kind of universal longing. About love, about betrayal, and a gypsy can tell a lot more about romance. I invite VV Vasiliev to the piano.
Now often in relation to romance pronounced epithet « old Russian romance» . But romance never been to Russia antique, was a new, trendy and much-loved genre. His power was all-consuming, from merchant choirs and taverns, to theater stages and court salons. And the diversity of the genre was so great that the boundary between romance and the song is still not very defined.
Urban romance is almost the most"young" romance song genre. But some of them have not lost their popularity for more than a century, their melody and words remain well-known.
Let's remember phrases from these popular romances. I will start and you will continue.
"I was driving home - my soul was full"
"White acacia clusters fragrant"
"Coachman, don't drive the horses"
“The chrysanthemums in the garden have faded long ago”
I see that these romances you love, their poetic lines live in your hearts.
I suggest you, dear viewers, to sing the famous urban romance together.
(performed romance)
I turn to ___
Tell me what it means to you romance? What is it - material for thought or rest for the soul?
(answer)
Do you think there is a future for this song genre?
(answer)
And of course we want to hear romance in your performance.
Talking about romance, one cannot help but recall the magnificent performers, thanks to whom romance firmly entered our lives, became loved and recognizable. This is Alexander Vertinsky, Varvara Panina, whom Blok called "divine Varya Panina", Keto Dzhaparidze - the owner of a beautiful low voice, soft hearty timbre, Vadim Kozin, Petr Leshchenko, Leonid Utesov. But I think that our today's performers have captivated the audience no less than celebrities. After all, they invested in their performance soul, emotions, bright feelings and gave this musical bouquet to us - the audience. Let's applaud them again.
In conclusion of our meeting, I would like to recall the words of one musical criticism: "Russian romance is a special kind of phenomenon. Russian romance- this is a living lyrical response of the soul of the people.
Really, romance has stood the test of time. It continues to develop. Perhaps it will take on a new shape. And we will witness the emergence of a new variety of the genre.
Thanks to our wonderful performers, accompanist ___ and you, dear guests, for being with us.
Without exaggeration, the most famous singer from Kazan in the world can be called Yulia Ziganshina, a performer of old and modern Russian romances, domestic and foreign songs, an honored artist of Tatarstan. For many years she has been developing and supporting such a unique genre as “Russian romance”, visiting various parts of the world with concerts and maintaining the Kazan Romance salon in her hometown. "Russian Planet" talked with the singer about what changes the genre has undergone over the past few centuries, and what it can give to a modern person.
- Julia, how has Russian romance changed over the course of its history?
Romance came to Russia at the end of the 18th century from Spain, where street musicians began to sing not in Latin and not about love for God, but in their native Romance language and about love for a woman. In our country, the romance fell on fertile ground, society felt the need for sentimental personal experiences. Romances fell into the reliable hands of the great poets and composers of the Golden Age - these are Pushkin, Glinka, Lermontov, Dargomyzhsky. The next surge is the turn of the 19th-20th centuries, then a parlor everyday romance is born. Interestingly, during this period, romances, with some exceptions, were written to the verses of semi-professional poets. The high poetry of the Silver Age was ahead of its time, it was sometimes incomprehensible to the layman. And romance is a genre of humane, earthly in every sense of the word. Romances began to be written on poems of the Silver Age at the end of the 20th century. And an important role in the history of the romance of this time was played by cinema. In the 1920s, the government decided that the romance was an alien, bourgeois genre, and it was life-threatening to perform and write it. And he returned to the masses only together with the poetry of the Silver Age through such films as "The Irony of Fate", "Cruel Romance".
- And what happened to the romance in terms of plots, the range of feelings expressed by it?
Musically, intonation, of course, something is changing. Human thinking develops, vocabulary expands. We began to think more complicated, although this is not always necessary. Romances today are often performed with orchestras, earlier mostly guitar, piano. The range of feelings in a romance is from categorical hatred to deep love. Moreover, we are talking about earthly love in all its nuances - the expectation of love, love as a memory, bright or sad, love in the process.
- What kind of sensory experience and what technique should the performer of the romance have?
All genres require labor and work from the performer. But I am sure that the romance is the most complex genre in its apparent simplicity. Until now, there is an opinion that romance is a trinket that is easy to perform. Many drama, opera and jazz artists think that it is very easy to sing a romance: “If I sing an opera, won’t I sing a romance?” But don't sing! There are catastrophically few real romance singers.
Let me explain. Opera, in my opinion, is vocals. Jazz is freedom. The author's song is the text. Folklore is a state. Rock music is rhythm. Pop music is show and exterior. But romance is a sense of proportion. And with this feeling, as you know, the biggest tension is not only in music. A romance also needs vocals, and competent, delivered, however, if there is too much of it, then, as a rule, the text disappears. When there is not enough vocals, this is also bad, because romance is still a vocal genre; without vocals, amateur performances are obtained. The text should also be in moderation: a little is impossible: a romance is a dramatic work, and a lot is impossible - there is a danger of becoming an author's song.
A state is a must, but just enough so that in three or even two verses you have time to immerse yourself in the work yourself, immerse the listener, and come out of there together - impressed, spiritualized. Show and exterior are essential. A concert costume, but not a simple one, but an appropriate one, is an integral part of the romance program. A show, or rather, a mini-theatre, is the basis of a romance concert, only again in moderation so that the spectacle does not overshadow the romance itself; after all, romance is a fragile genre, easily vulnerable, and the “interior” in it is no less important than the exterior.
Russian romance is a brand, it is unique, Yulia Ziganshina believes. Photo: from personal archive
As for personal experience, it is just not required. The singer must be observant and imaginative, able to arouse feelings - from his past, present and imaginary life, from the memory of his ancestors, and so on. This is called memory of the heart.
- WhatRomance fan today?
This is a man with life experience. Of course, mostly these are people who are over... How much? Hard to tell. I sang romances for a children's audience, and the children listened with interest. Who didn't fall in love in the first grade, didn't have feelings in the seventh? Experience that is beyond the control of years, which can be gained at 7, and at 25, and at 70. There is a person who has lived all his life and did not understand anything. Listeners belong to different social strata. There are more women at concerts: I think because they are not afraid to show their feelings, it is customary for men to be reserved.
- What gives a modern man a romance?
The opportunity to feel like a person, to remember your feelings. Many people say that romance heals their soul. What is this treatment? Tension is relieved, feelings and thoughts come into harmony, the heart is cleansed.
- How is Russian romance received in the world?
I often perform abroad - and not only for the Russian audience, but also for foreigners. For example, I recently returned from Italy, there was a concert in Parma for an Italian audience, where we worked with translators of Russian literature: before each romance, I talked a little about the romance itself, conveyed its summary so that the audience understood where to direct their feelings. And it works.
Russian romance is a brand. He is unique. There is no analogue to this genre anywhere. Everything that is sung with a guitar abroad is more like an author's song than a romance. You will not find the genre of domestic salon romance in any other country. However, as it often happens with us, we treat our native people badly.
- In romanceis succession important?
Now there are a number of singers who have taken the style of performers of the early 20th century and are happily sitting on it. I think this is unacceptable. When they tell me that this is one to one Vertinsky or Piaf, I answer that I would rather listen to the original. Singers who copy achieve a certain success, they have fans, but they need not fresh experiences, but the past, memories, antiques.
There is a reverse side of the issue - a complete denial of what was done before you. As they say, nothing is sacred. And again, the viewer can be attracted by such “innovation”, but, alas, not for long, because this speaks more about the stupidity of the artist than about originality: not taking into account the experience accumulated over the centuries, he shows either ignorance or laziness. Here again the question arises about the great sense of proportion - where is the line so as not to fall into copying, but also not to leave the source? And here it is important to find reference points.
- Why did you choose romance in your life?
It all started professionally when I became a laureate of the 1998 Romansiada competition. But long before that, I was interested in this genre, in my early youth I tried to sing romances, but I couldn’t learn the words by heart in any way - I didn’t see the point in them. I was attracted to romances by their melody, some kind of languid melancholy, which, of course, was familiar to me, but I could not understand what they were about. And suddenly - the film "Cruel Romance"! An exact hit on me with an incredible combination of words, melody, guitars, tonalities, matching my condition, modern sounding with the general surroundings of the 19th century! And most importantly - the voice! The voice, where the text and experience were in the foreground. One cannot even say that it was the voice that struck me: real romance singers do not have a voice in its purest form - it is always a combination of sound, word, meaning and feeling. Then a vinyl record was bought, listened to before trips and scratches. And a strange thing - after some time, through the modern romances that sounded in the film, there came an understanding and awareness of what is being done in the old romances - they acquired meaning, they found logic, and development, and an idea!
RUSSIAN ROMANCE - THE SOUL OF THE PEOPLE
Romance creativity of composers of the first half of the 19th century was born on the basis of folk song lyrics. The flourishing of the vocal creativity of the composers of this period was accompanied by a high rise in Russian poetry in the pre-Pushkin and Pushkin era. Developing during the heyday of Russian poetry, the romance sensitively reflected its themes, stylistic evolution and figurative structure. Batyushkova K.N., Baratynsky E.A., Delvig A.A. and especially Pushkin A.S..
Pushkin's poetry enriched the Russian romance and made it a major artistic phenomenon. In the composers' work, those genres of the Russian romance developed, which later received a high, perfect embodiment by classical composers. Two important lines of vocal lyrics are defined - romance and "Russian song". The term "romance" was established in Russian musical use at the very beginning of the 19th century. This name meant a lyrical vocal work with instrumental accompaniment created for an independent poetic text. Another genre of vocal chamber music - "Russian song" - is closer to folklore samples. The “Russian song” is the most beloved, widespread genre in the music of the first half of the 19th century; it developed under the influence of a deep interest in folk art, which appeared almost simultaneously in music and poetry. Many “Russian songs” by A.A. Alyabyev, A. E. Varlamov, A.L. Gurilev “returned to the people” and became popular - the composers so subtly and poetically managed to translate the features of folk song lyrics into them. Romance lyrics largely determined the appearance of Russian musical art in the first half of the 19th century. In the simplest genre of romance, the foundations of the national musical style and language were developed, and the intonation principles of Russian melodics were developed.
In addition to the “Russian song”, the formation of the main varieties of Russian romance - elegy, ballads, drinking songs, etc. dates back to this time. The elegy, reaching great heights in the work of Glinka, Dargomyzhsky, Borodin, Rimsky-Korsakov, extraordinarily enriched the romance with elements and intonations of Russian poetic speech. With an elegy, it also includes the sizes typical of Russian versification - four- and five-foot iambs, which determined a special type of melody: sad-melodious, declamatory. To the genre of elegy in the XX century. Taneyev, Rachmaninov, Medtner addressed. The ballad genre is distinguished by plot, narrative, hence the appearance of bright and expressive means. Unlike Western poetry, Russian ballads are characterized by a more realistic development of the plot (western ones are characterized by fantastic plots with elements of mysticism). Through the ballad, imagery of harmony and texture comes to Russian vocal lyrics. intonations emphasizing especially significant words of the text. The Russian ballad, developing in line with the realistic direction, absorbed historical plots, heroic themes and freedom-loving motives. Examples are Glinka's "Night review" to the words of Zhukovsky, Dargomyzhsky's "Wedding", Borodin's "Sea". “The imagery of harmony and texture comes to Russian vocal lyrics largely through the ballad” (V. Vasina-Grossman). A common feature of the romance lyrics of the Pushkin era was its close connection with the poetic form. Composers very subtly feel the strophic, rhythmic, and structure of the verse. In the romance genre, a harmonious classical form is gradually being developed - most often strophic, couplet.
The most common type of couplet is a simple two-part form, corresponding to a stanza of eight verses (rarely a period form). The harmonic plan of the romance is usually determined by modulation into the dominant system (in major works) or the parallel major system (in minor works) with a return to the main key. The peculiarity of the vocal melody was the initial “sing-along” with a wide jump by a sixth (sometimes by a fifth or an octave) up and a subsequent smooth descent. Soft, “female endings” of phrases, languid chromatisms, intra-syllable chants that emphasize the smoothness of the melody are typical. , gruppetto) are completely dependent on the style of vocal performance, they are organically included in the musical fabric. The dance rhythms of the waltz, mazurka, polonaise played an important role in the development of the Russian romance. Dancing in Russian romance sometimes becomes a means of figurativeness, portrait characteristics of heroes. Dance rhythms had a noticeable influence on poetry as well. Composers turn to stories related to the East, the Caucasus, Italy, Spain. The melody and rhythm of romances were enriched, primarily by multinational, dance elements. In the musical heritage of A.A. Alyabyev's vocal lyrics occupies a special place; even during the composer's lifetime, romances created great fame for him.
In the first period of his creative work, the composer turns mainly to the elegiac, contemplative images of Russian poetry. He is attracted by the poetry of Zhukovsky, the bright lyrics of Delvig, the youthful poetry of Pushkin. The romances “Voice from the other world”, “Remembrance” (to the words of Zhukovsky), “Singer”, “Tear” (to the words of Pushkin) are typical for the young Alyabyev. The song-romances “The Nightingale”, “In the Evening Blush of the Dawn”, “The Ring of the Maiden’s Soul”, written by him in the 1920s, have firmly entered the life of simple layers of Russian society. Alyabyev’s famous song “The Nightingale” for the text A.A. Delviga, which has become a kind of synonym for everyday song lyrics of the Pushkin era. In it, the composer managed to generalize the typical features of sensitive lyrical songs-romances of urban life, while maintaining the noble simplicity and elegance of his vocal style. folk song modal variability. The melody, covering the range of the octave, smoothly modulates in the first sentence of their minor into a parallel major, while forming the characteristic intonation of "chromatism at a distance" (C-sharp - C, v. 3-5). In the second sentence, it is colored by a colorful deviation into the major key of the 7th degree (C major, v.12), in order to return to the D minor tonic.
The cadence with a colorful juxtaposition of the minor and major dominant accentuates the smoothness of the melody. A kind of “leitingtonation” of the song is the final ascending melodic move from the dominant to the tonic along the steps of the melodic minor scale - typical of everyday Russian romance. In the fast chorus (Allegro vivace), which affirms the main key, the same characteristic stylistic feature is the Russian sext chant - a move from the fifth to the third of the fret. Alyabyev's song has spread all over Russia and has become in the true sense of the word folk. The wide popularity of the work was facilitated by its piano arrangements - Glinka's variations on the The Nightingale (1834) and Liszt's virtuoso transcription (1842). Alyabyev enriched vocal music with new content and new means of musical expression. In the composer's romances, attention was paid to harmonic expression, expressive means of timbre and color. Alyabyev's harmony always emphasizes the meaning of the vocal melody, enriches it with subtle emotional nuances. Typical for the composer are the juxtaposition of the major and minor keys of the same name (in details and large parts of the form), sudden enharmonic modulations, the use of altered chords, and expressive unisons. His favorite sustained organ points and ostinato figurations in the bass are used in different ways in romances of various genres - either as a pictorial, genre or coloristic device (oriental dances from the collection "Caucasian Singer"), then as a moment of purely psychological significance ("Beggar Woman") .Alyabyev introduced a great variety into the interpretation of the form of the romance, subordinating the general structure of the romance to the development of the poetic plot, using, depending on the text, various types of composition. stanzas (“The Beggar Woman”), three-part reprise forms, sometimes complicated by variational development (“Like a settlement stands behind the river”), free forms of through development, typical of ballad romances or dramatic monologues (“What is clouded, clear dawn”, “Awakening” , “Village Watchman”). The piano part is often the carrier of the main poetic image. Short instrumental introductions in the romances "Winter Road" and "Two Crows" with a few sparing strokes convey the figurative structure of Pushkin's poems. In this trend of internal enrichment of the form, texture and musical language of the romance, the innovative features of Alyabyev's style, bringing him closer to the Russian classics, appeared. The creative heritage of A.L. Gurilev consists of two main genres - vocal lyrics and piano miniature. The appearance of the composer as a master of romance cannot be correctly understood if one does not take into account the important artistic and expressive role of piano accompaniment in his best romances. The prevailing idea of the allegedly “primitive” style of Gurilev is now completely refuted by domestic musicologists, who were able to correctly establish in his vocal and piano music the common features of great grace and subtle soulful lyricism. Gurilev's creativity flourished in the 40s, when the folk song of urban life was enriched new topic. The composer reflected the folk song of his time, first of all, in the collection “47 Russian Folk Songs for Voice and Piano”. This material is currently one of the most valuable sources on the history of Russian urban folklore in the first half of the 19th century. It contains, along with songs-romances of urban origin, also songs of the old peasant tradition. First of all, these are the drawn-out songs “Luchinushka”, “There is not one path in the field”, “Oh, you, my steppe.” In his songs, Gurilev often uses the techniques of ornamental variation, either coloring the theme, or accompanying it with variations in accompaniment. The content of the collection is a kind of "encyclopedia" of urban songs of the 30s and 40s. Gurilev's Russian Songs, which are widespread in folk life, are closely connected with the tradition of everyday music-making. They are dominated by the composer's characteristic circle of lyrical-elegiac images, thoughtful and contemplative moods. The composer almost does not turn to the lingering melody of a wide-singing warehouse - he builds his melody on shorter, but flexible and plastic chants. Of great expressive importance in Gurilev's songs is the character of rhythmic movement, almost always associated with the waltz formula. It can be said that the waltz is the main distinguishing feature of Gurilev's "Russian songs", in which the plastic grace of dance is always felt. Only some samples of folk songs (including "Mother Dove", "Sarafanchik") were written by Gurilev in two-part meter. However, waltz does not contradict the bright national tradition of songs. With great skill, the composer melts the typical rhythms of the waltz into the intonational structure of the Russian folk song and, as it were, rethinks them in Russian melos. . This poetic meter naturally fits the composer in a triple, waltz metrorhythm (“Don't make noise, rye, with a ripe ear”, “Girl's sadness”, “A blue-winged swallow is winding”, “Tiny house”, etc.). The smoothness of the waltz movement, combined with Russian song intonations, gives these Gurilev songs a special touch of soft sensitivity. Smooth, sliding chromatisms, rounded cadence turns are typical. One of the best examples of this elegiac song-romance style can be the popular “Russian song” “The gray-winged swallow is winding.” The song “Bell” is distinguished by penetrating, deep lyricism. With poetic sadness, the composer conveys a picture of Russian nature, the dull sounds of the coachman's song. Characteristic is the complete fusion of text and music, melody and words, which speaks of Gurilev's subtle "poetic ear", of his ability to understand the music of the verse. The composer, using a waltz movement typical of him, uses a poetic meter (often found in Nekrasov) - a three-foot anapaest: “The bell rattles monotonously, and the road is slightly dusty ...” In his songs, Gurilev touched on the theme of a girl’s share, which is characteristic of Russian folk poetry. The images of Russian girls, the sphere of femininity corresponded perfectly to Gurilev's subtle and gentle manner of writing, the intimate intimacy of his style. The genre of "portrait of a woman" is represented in such songs as "Sarafanchik", "Fortune-telling", "Guess, my dear", "Who sheds tears", etc. The composer's romances, in comparison with "Russian songs", did not gain wide popularity, behind a few exceptions, although Gurilev's romance work in the conditions of his time was a significant phenomenon. His best romances have points of contact with Varlamov, Glinka, Dargomyzhsky, whose work he undoubtedly loved and knew well. chromatic descents, soft cadenzas with feminine endings, opus and surroundings of the central sound by figures of the groupetto type, for example, in the romance “Don’t leave your native land.” A special group in Gurilev’s heritage is romances of a lyrical and dramatic plan. In the romances “Separation” (lyrics by A. V. Koltsova), “I spoke at parting” (lyrics by A.A. Fet), “Poor girl you”, “Who pours tears, stretch out your hands” (lyrics by I.S. Aksakov), in works based on texts by M.Yu .Lermontov, the composer acts as a worthy contemporary of Dargomyzhsky, as a composer who managed to touch upon deep psychological processes and show the hidden life of the human soul. Gurilev can rightly be considered one of the first talented interpreters of the elegiac poetry of M.Yu. Lermontov. The composer's romances “Both Boring and Sad”, “Justification” can be attributed to the new genre of “lyrical monologue”, which was highly embodied in the work of his younger contemporary A. S. Dargomyzhsky. , naturally divided into short "colloquial" phrases, a compressed range. Expressive speech accents give the romance a special intonational mood of a simple statement, a conversation with oneself. The declamatory nuances of the vocal part are especially prominent against the background of the transparent and laconic piano accompaniment. Rhythmic stops in the piano part enhance the mood of mournful, tormenting reflection. Regardless of the genre, the distinguishing feature of Gurilev's romances is the subtlety of the piano texture. The piano part is technically simple, accessible for amateur performance. Meanwhile, the composer's piano texture is polished, it is distinguished by the purity and smoothness of voice leading, the elegance of expressive details. Often the composer enriches the piano part with undertones, short remarks, counterpointing with the main voice. The general impression of grace is facilitated by the exact designations of the tempo, dynamics and nature of the performance. M.I. Glinka turned to romance lyrics throughout his life. “Each of his vocal works is a page or a line from his life, a particle of his delights, joys and sorrows,” wrote V.V. Stasov. But not only spiritual experiences of a person, but also images of the outside world, pictures of nature, genre and everyday moments are vividly reflected in Glinka's vocal lyrics. In terms of objectivity and breadth of content, his romances are compared with the lyrical poems of A.S. Pushkin, it was in the music of Glinka that Pushkin's poetry received an equivalent expression for the first time. It is impossible not to recall the words of G.G. Neuhaus, who wrote in one of his articles: “If a musician is an artist, then he cannot but feel the music of poetry with the same force with which he feels the poetry of music ... I consider Glinka's romances to be the most perfect music for Pushkin's poems. Music here is, as it were, a modest friend, an unpretentious companion of poetry, it does not impose anything, does not interfere in anything, its dignity and charm are in its “service role”. And all this is achieved by the amazing fidelity of the transmission of the intonational beginning of Pushkin's verse. From this point of view (and not only from this point of view), the slogan: “Forward, to Glinka” seems to me the most fruitful for our young composers who set Pushkin's texts to music ... "Glinka's vocal work was the pinnacle and completion of a long period of development of chamber vocal culture, originated in the 18th century. The genres of sentimental-lyrical romance, elegy, "Russian song", ballads were raised by the composer to a new artistic level. The richness of the content in the composer's romances is combined with the high perfection of the artistic form. The vocal melody is distinguished by rare plasticity and completeness. Along with the couplet structure, he makes extensive use of a symmetrical three-part or three-to-five-part form with a contrasting middle episode. An important role in the overall composition of the romance is played by piano solo episodes, introductions and conclusions, which contain a generalized image of the romance. In romances, Glinka does not strive to complicate the texture, external virtuosity, however, despite the apparent simplicity of the means, they require high skill from the performer. It is known that Glinka, himself an outstanding singer and vocal teacher, mastered the technique of vocal performance to perfection. The composer created truly vocal romances, in which the leading role always belongs to the singer and the main content is expressed in a vivid melodic image. Almost all of Glinka's romances were written to the texts of contemporary Russian poets. They were created at the time of the high flowering of Russian lyric poetry. The composer subtly felt modern literary and artistic trends. The inextricable link between Russian music and modern poetry determines the whole path of development of Russian classical romance in the future. The lyrics of meditation and contemplation in the beautiful elegies of Glinka's contemporary poets - Zhukovsky, Baratynsky, Batyushkov, were in tune with the creative aspirations of the young composer. The famous romance "Do not tempt" to the text of E.A. . The mood of "mute anguish", languor and hidden hope, expressed in Baratynsky's poem, is conveyed by the composer with rare perfection. The melody of the romance is distinguished by noble simplicity; it harmoniously merges with the poetic text of Baratynsky, which is very expressive in itself. Glinka avoids the "anguish" so often found in the lyrics of the "cruel romance". The music of the romance is extremely simple. An expressive introduction, with falling sequences, immediately introduces the listener into the poetic structure of Baratynsky's poem. The mournful intonation further develops in the vocal part. Most of Glinka's "Russian songs" were written to the verses of A.A. Delvig. In this genre, the composer develops mainly lyrical plots. "Russian Songs" are imbued with sincere, dreamy moods, which brings them closer to the general atmosphere of the urban everyday romance of the 20s, but Glinka's style of everyday lyrics is sustained with great artistic taste. In the songs “Oh you, darling, beautiful girl”, “Oh you, is it night, night”, the composer does not go beyond the usual methods and means of everyday romance, the piano part is reduced to a minimum (restrained chords and simple guitar-type accompaniment), but it is precisely the simplicity of the texture in the "Russian songs" further emphasizes their song nature. The vocal part is presented in an improvisational manner and requires great performing skills from the singer. Glinka's romance "Don't sing, beauty, in front of me" to the words of A.S. Pushkin is one of the first attempts to embody the theme of the East in Russian music. The simple theme of a folk song is processed by the composer with his inherent skill - a folk motive unfolds calmly and smoothly against the background of subtle harmonization with chromatic undertones in the middle voice. . The Italian theme found its classical reflection in the romances "Venetian Night" to the words of I. Kozlov, "Desire" to the verses of F. Romani, they feel a romantic feeling of beauty - youth, beauty, happiness. The romance-barcarolle "Venetian Night" has two editions , which differ significantly from each other in melodic and harmonic language. In performing practice, the second option is more often used, in which Glinka's desire to saturate the texture with polyphony, stroke and harmonic diversity was manifested. The rhythm of the barcarolle serves as the main means for recreating the musical landscape. Measured rhythmic swaying, "bursts of waves" in the accompaniment, a light melodic line expressively set off the poetic feeling of nature. Glinka showed constant interest in the Spanish theme. The element of rhythm, temperament and sincerity of feelings, nobility and warmth of soul - the qualities of the Spanish folk song that conquered Glinka. "Winner" to the words of V.A. Zhukovsky is a heroic "knightly" romance, permeated with active, energetic rhythms, saturated with ringing coloratura, glorifying the triumph of victory and the joy of love. The romance carries a touch of brilliant concert style. Despite the Polish polonaise laid in the rhythmic basis, the romance subtly breathes with Spanish flavor, the abundance of clearly organized vocal fioritas using the second low step, gives a “southern” shade to the melody and the entire musical language of the work. Some episodes of the piano accompaniment were also written in a virtuoso style, especially the final ritornello, where two important intonations of the romance and two main rhythmic patterns interact. The romances “I am here, Inezilla”, “Night marshmallow”, “Where is our rose”, “The fire of desire burns in the blood”, “I remember a wonderful moment” and the later created “Healthy Cup”, “Mary”, “Adel” are classic examples of the unity of music and poetry. The traditional genre of the "Spanish serenade" received a peculiar interpretation. In the romance "I'm Here, Inezilla", the traditional love serenade turns into a passionate confession - a monologue, a scene of love and jealousy. The impetuous, sharply accentuated melody takes on the shade of a dramatic recitation, expressively embodying Pushkin's image of determination and courage. The composer wrote the romance in three-part form, the extreme sections frame the central episode containing a love confession and jealous reproaches of the hero. Glinka expounds the theme concisely (14 bars, not 16), this achieves swiftness, rapidity of musical speech. This is also emphasized by rhythmic means - syncopations and accents on the words "with a sword", "I'm here", and a short piano conclusion. The genre of the serenade is confirmed by the "guitar" accompaniment, and the type of melody in the extreme sections (a slight rise and a smooth return in the extreme sections. The contrasting middle, like the extreme sections, is built on the principle of constant emotional forcing. From the accompanist, as well as from the soloist, instant figurative switching, elasticity are required rhythm, sometimes lightness, and sometimes richness of sound.The whole composition of the romance "Night Zephyr" (three-five-part form) is based on the contrast of two images. The first is the initial theme of the southern night, serves as a landscape background against which the love scene takes place, the second is light and gentle serenade.The contrast of "landscape" and "serenade" is shaded by means of coloristic expressiveness, tertian juxtaposition of tonalities, difference in registers and textural presentation (soft f-major, dull roar of waves in the first part of the romance and light A major, guitar accompaniment in the love serenade). editions of the romance "Where is our rose". The "inner music" of this poem by Pushkin is based on the alternation of four and five-syllable verses. Glinka conveys the musicality of Pushkin's verse with the help of a flexible five-beat meter and a uniform, smooth rhythm. In the romance "Adel", next to the designation of the Allegro tempo in brackets, the composer indicates: Tempo di Polka, although a small four-bar introduction does not at all resemble this dance, it sounds pastoral, a reed theme, which in the further dramatic development is assigned a connecting role. Immediately after the first four bars of the vocal part, which sets the tone for the dance beginning of the romance, Glinka assigns this theme to the voice (bars 11-16) and it sounds three times, first accompanied by a lyrical interlude, and then transformed into an enthusiastic hymn apotheosis of love. An important role in the dramaturgy of the romance is played by the piano part, not only in solo episodes, but also as an accompaniment. All piano losses are built on thematic material that grew out of the material of the introduction. In the Bacchic drinking song "Zadravny goblet" and another drinking song - "Mary", Glinka embodied the cheerful, epicurean moods of Pushkin's verse. "Zazravny goblet". The poet chooses a rarely used meter (dactyl) for his drinking ode, thanks to which the precise, chopped verse sounds full-blooded and concise. Glinka uses the entire poem as a text, primarily recreating a festive atmosphere in music. Glinka's "Cup" is a joyful, sonorous hymn in which there is no place for despondency. Glinka pays special attention to the form and content of the poem. In Pushkin, each stanza has its own “theme” (scold glory, beauty, love, wine). Glinka separates the stanzas from each other tonally (As, Es, E, As), limiting them also to the repetition of the final lines and piano interludes. The composer combines the principle of division with the principle of unity, ending the last verse of each stanza with one melodic refrain, which ensures the dynamics of development and the integrity of the general mood. The romance "Mary" is written in three-part form. The extreme parts are built on similar musical material, the middle part is a kind of lyrical center. Glinka uses her favorite technique of variant reprise, placing new episodes in the last part of the romance, echoing in mood with the middle part. Almost everywhere where the melody is repeated, the composer changes the texture of the accompaniment, as a result of which new facets of the intonational-figurative language of the romance are highlighted. In the vocal lyrics of the late period of the 40s - 50s, the number of romances is small. Along with the cheerful, bright Pushkin romances, Glinka's work contains dramatic romances-monologues, full of tragic and mournful moods, hidden anxiety, painful meditation: "The Song of Margarita", "Prayer", "You will soon forget me", "Do not say that my heart hurts.” The second half of the 19th century was a period of extraordinary upsurge of creative forces in Russian music. The end of the 50s and 60s brought forward a whole galaxy of composers whose names are the pride and glory of Russia: P.I. Tchaikovsky, A.P. Borodin, M.P. Mussorgsky. Russian musical culture of the 80-90s shines with the names of S.I. Taneev, A.S. Arensky, A.K. Lyadov, A.K. Glazunov. In the second half of the 19th century, the Russian song from the subject of everyday music-making becomes the subject of close interest and study. During this period, as before, folk song and songwriting remain the basis of professional art, the nature of the ties between Russian romance and poetry will become more complicated. Poetry gives way to the leading role of prose, while at the same time experiencing its influence in relation to themes, plots, the nature of poetic speech (lexicon, syntax, etc.). . Mussorgsky, as well as in the work of A. Borodin, C. Cui, P. Tchaikovsky. During these years, poets of a different direction, such as A.A. Fet, A.K. Tolstoy, A.N. Maikov, Ya.P. Polonsky, Tyutchev created a lot of value in the field of psychological lyrics, revealed the beauty of their native nature, etc. The leading role at that time was taken by opera, as a form of musical art, most perceived by the broad masses of the people , and under the influence of opera art, the dramatic possibilities of the romance are expanding. Not only individual romances are created, but also cycles of songs and romances of various themes. New heats of Russian vocal music appear: characteristic monologues, musical portraits, romances-poems, romances-serenades, etc. The role of piano accompaniment is growing significantly. Romance in the process of formation turns into a classically completed genre of vocal-symphonic poem, while retaining the sincerity and spontaneity characteristic of chamber lyrics. The top, the culmination of Russian romance lyrics - the work of P.I. Tchaikovsky. The composer's chamber vocal work is an emotional dominant of vocal lyrics, a lyrical diary, on the pages of which we meet a passionate thirst for happiness and the bitterness of unfulfilled hopes, a feeling of acute spiritual discord and dissatisfaction, an ever-increasing contrast between high impulses towards the ideal and monotonous gray reality. The main part of Tchaikovsky's vocal work belongs to the field of lyrics. The composer singles out in this or that poetic text, first of all, the dominant psychological motif, finds the corresponding musical intonation, which becomes the basis of a holistic composition. The role of the piano in Tchaikovsky's vocal lyrics is very great. The piano acts as an equal partner of the performer of the vocal part, and between them there is a kind of dialogue, a confidential conversation. The circle of poets whose work Tchaikovsky turned to is wide and varied. Among them there are also little-known names. The composer could be attracted by some successful, vivid image, a general emotional mood, or one motive, although on the whole the poem did not have significant poetic merit. The main part of the romances was written on highly artistic texts written by A.K. Tolstoy, V.I. A.N. Maykov, F.I. Tyutchev, A.A. Fet, Ya.P. Polonsky, A.N. Pleshcheeva, L.A. Meya, N.A. Nekrasov. The first series of romances by P.I. Tchaikovsky was published in 1869. Basically, these are romances of a lyrical-elegiac nature, imbued with moods of sadness, regret for the lost happiness. Romances "No, only the one who knew", "Why?" (translated by L.A. Mey from Goethe and Heine) - the most popular examples of the composer's vocal lyrics. In the romance "No, only the one who knew" the depth and brightness of expression are combined with laconism and elegance of form. The melody unfolds unhurriedly, the initial move to a minor seventh in a downward movement gives it a special expressive poignancy, followed by a smooth gradual filling, a similar turn is used by Tchaikovsky as an intonation of mournful reflection or persistent assurance. An expressive dialogue arises between the vocal and piano parts and continues throughout the romance. The romance "Why?" - an example of a beautiful expressive nuance of one short melodic turn. A simple thoughtful phrase, which arose from the intonation of a timid question, reaches an almost tragic sound at the moment of climax. A small piano conclusion, as it were, restores the disturbed balance, but a desperate cry of suffering and pain continues to sound in the ears of the listeners. The words of the title of the romance serve as a refrain in the text of the poem, completing individual stanzas. Tchaikovsky gives them different meanings, intonations in different ways. The first two stanzas end softly and thoughtfully, while the third (which is the middle of the three-part form) sounds more expressive, due to the use of an increased fourth and a mournful descending few-second intonation. The fourth (last) stanza sounds especially dramatic, thanks to the interval of a reduced seventh with a further fall to a small sixth and transfer to a high register with a change in the dynamic shades of ff and p, these words are perceived as an exclamation of despair. Despite the fact that the romance is written in a simple three-part form, short in length, the composer achieves an extraordinary power of dramatic growth, creating a vividly dynamized reprise with the major replaced by the minor of the same name. In the 70s, the composer wrote almost half of all romances. The figurative and thematic sphere of vocal creativity is expanding, the range of expressive means becomes more diverse, new forms and genres of works for Tchaikovsky appear. Among them are a song in the folk spirit “How they got it right: a fool” (Mey’s words), an oriental romance “Canary” (Mey’s words), two mazurkas to the verses of A. Mickiewicz - “Ali mother gave birth to me” and “Merry girl” imbued with bitter humor. During this period, the romances “Take My Heart Away” (words by Fet) and “I would like to be in a single word” (words by Heine in Mey’s translation) were composed, they are imbued with a single passionate impulse, similar not only in general emotional coloring, but also in the form of presentation : easily soaring, as if soaring melodic pattern of the vocal part, evenness and continuity of rhythmic pulsation within the framework of a six-beat measure corresponding to two feet of poetic text (anapestic and amphibrachic). The highest point in the development of Tchaikovsky's vocal work was the turn of the 70s and 80s. Two series of romances (op. 38 and 47) include a number of samples of the composer's vocal lyrics that are the highest in terms of artistic perfection and subtlety of expression. Most of these romances were written to the verses of A.K. Tolstoy (eight out of twelve). Among them are vocal miniatures "It was in early spring", "Among the noisy ball". Remarkable in terms of the power of expressing a bright, enthusiastic feeling that overwhelms the soul is the romance “Does the Day Reign” to the words of Apukhtin (op. 47). An important expressive role is played in the romance by the piano part, with its violently uplifting and receding undulating passages. This series includes two dramatized songs in the folk spirit “If only I knew, if only I knew” (lyrics by A. K. Tolsky) and “Was I not a grass in the field” (lyrics by I.Z. Surikov). In the vocal lyrics of the 80s, dramatic moods intensify, especially concentrated expression is obtained in the romance “Yellow Fields” (lyrics by A. K. Tolstoy) from a series of op. 57. But if soft elegiac sadness and thoughtfulness are heard in Tolstoy's poem, then in Tchaikovsky nature itself is painted in gloomy tones. In the opening section of the romance, the recitative phrases of the voice are accompanied by heavy piano chords in a low register, reminiscent of the monotonous strikes of a funeral bell. In the middle section, vocal speech takes on an agitated character, rushing to a dynamic peak, but this impulse quickly fades. The repetition of the main structure at the end of the romance (Tolstoy does not have this repetition) without any changes in the musical material and with the same words emphasizes the hopelessness and feeling of immense loneliness. The series of romances op. 60 is quite colorful in composition. These are sad, lonely reflections in the midst of the silence of the night - “Crazy Nights” to the words of Apukhtin, “Night” to the poems of Polonsky, and unrequited suffering in “Oh, if only you knew” to the verses of A.N. Pleshcheev, and inspired, full of bright poetic lyrics “I won’t tell you anything” to the words of Fet, “The meek stars shone on us” to Pleshcheev’s poems. Of the romances op.63 and op. and “The lights in the room have already gone out”, attracting melodic expressiveness and subtlety of color. The last work in the field of vocal miniatures was the romances op. Ratgauz. The poems of the young poet attracted the attention of the composer by their emotional consonance with the mood in which he was at that time. The new features of Tchaikovsky's lyrics were reflected mainly in the first two romances "We sat with you", "Night" and the last "Again, as before, alone", imbued with the tragic mood of loneliness, hopeless spiritual darkness and despondency. In the romance "We sat with you” the constant return of the melody to the original sound conveys a state of numbness of feelings, “fascination” with the surrounding silence and peace, and the ostinato chromatic downward movement of the middle voices in the piano part on the tonic organ point enhances the feeling of perfect stillness. A short tremolo in the bass (“peal of thunder”) awakens a storm in the soul, peace is replaced by tragic despair. The rapid growth is interrupted by an unexpected decline. The initial melodic turn is repeated, which emphasizes the hopelessness of suffering. The contrast of the extreme sections is emphasized by the change of major to parallel minor. A special place in Tchaikovsky's chamber vocal work is occupied by a cycle of sixteen songs for children written to words from Pleshcheev's collection of poems "Snowdrop" (with the exception of "Swallow" to the verses of Surikov and "Children's song" to the words K.S. Aksakova). The composer addresses in his songs directly to the children themselves, taking into account their level of perception and the range of everyday children's interests. This determines both the theme of the songs and the comparative simplicity of their musical language. Among the best and most frequently performed are the song "My Garden", "Cuckoo" and "Lullaby in a Storm".
