Composers of the 17th, 18th and 19th centuries. V.F. Odoevsky described the opera as “a new element in Art, and a new period begins in its history - the period of Russian music”

BONONCINI - family of Italian musicians:

Giovanni Maria (1642 – 1648) – composer, violinist, theorist. Op. 9 collections of sonatas and dance pieces. He owns a treatise on counterpoint. In recent years he has written a chamber opera, a number of madrigals, and solo cantatas.

Giovanni Batista (1670 – 1747) – his son, composer and cellist. His legacy includes 40 operas, over 250 solo cantatas, about 90 symphonies, concerts, and trio sonatas. The success of some of his operas in London surpassed that of his main rival, Handel.

Antonio Maria (1677 – 1726) – composer and cellist. Author of works for musical theater and churches. In terms of texture and harmony, his music was more refined than that of his older brother, but it never enjoyed the same success.

Giovanni Maria Jr. (1678 – 1753) – half-brother, cellist, then violinist in Rome, author of vocal works.

VIVALDI ANTONIO (1678 – 1741)

Highest achievements belong to the instrumental concert genre. Significant place ranks in heritage vocal music. Striving for success in op. genre and traveled a lot directing his productions. Worked in op. theaters in Vicenza, Venice, Mantua, Rome, Prague, Vienna, Ferrara, Amsterdam. Op. OK. 50 operas(20 preserved), incl. "Titus Manlius", "Justin", " Furious Roland", "The Faithful Nymph", "Griselda", "Bayazet". OK. 40 solo cantatas, oratorio “Judith Triumphant”).

Giordani Giuseppe (c.1753 – 1798)

DUNI EGIDIO (1708 – 1775)

He studied in Naples with Durante. Author of 10 opera series based on texts Metastasio, about 20 op. in the French genre comic opera. He introduced ariettas and recitatives into it Italian style. This genre is called Comedy with Ariettas.Operas:“Nero”, “Demophon”, “The Artist in Love with His Model” (comic op.).

DURANTE FRANCESCO (1684 – 1755)

Italian composer. He studied in Naples, then became the first conductor of several Neapolitan conservatories. He was considered the best composition teacher in Naples. Among his students are Duni, Pergolesi, Piccini, Paisiello. Unlike other it. composers did not write operas. The most valuable part of his heritage is sacred music. Interesting and instrumental works– 12 sonatas for harpsichord, 8 concertos for quartet, pieces from the pedagogical repertoire.

CAVALLI FRANCESCO (1602 – 1676)

Nicknamed Bruni. He was a choirmaster and organist at St. Stamp in Venice. He began writing operas that were performed in opera houses in Italy. After Paris, where his opera “Hercules the Lover” was staged with singing and dancing written for this performance by the young Lully, all of Cavalli’s further activities were connected with the Cathedral of St. Brand. He is the author of about 30 operas. Thanks to him, Venice of the 17th century. became the center of IT. opera art. Like the later op. Monteverdi, op. Cavalli is rich in contrasts and psychological nuances; pathetic, even tragic climaxes in them are often replaced by episodes of a comic and everyday nature.

Operas: “The Love of Apollo and Daphne”, “Dido”, “Ormindo”, “Jason”, “Calisto”, “Xerxes”, “Hercules the Lover”

Sacred music: Mass, 3 vespers, 2 Magnificats, Requiem

Secular music: cantata arias.

CALDARA ANTONIO (1670 – 1736)

He played the viola, cello, and clavier. He composed almost exclusively vocal music - oratorios, cantatas, opera seria. Served as church and theater bandmaster. Later he composed a number of works for the Vienna carnival and court festivities, as well as for Salzburg. In total, he wrote 3,000 vocal compositions. Metastasio was the first to set many of Metastasio's librettos to music.

CARISSIMI GIACOMO (1605 – 1674)

He was a choirmaster, organist, bandmaster of the Jesuit Collegiate Germanico, and was ordained. The most significant part of the heritage is the oratorios, designed in a narrative-recitative style. Individual fragments By the nature of the letters they are close to arias. An important role is given to choral scenes. Among his students are A. Chesti, A. Scarlatti, M.-A. Charpentier.

Works: 4 Masses, about 100 motets, 14 oratorios incl. “Belshazzar”, “Jeuthae”, “Jonah”, about 100 secular cantatas.

CACCINI GIULIO (1545 – 1618)

Had a nickname - Roman. Composer, singer, lutenist. He was patronized by Duke Cosimo I de' Medici, who took him to Florence, where he attended meetings of the Camerata and developed a new style of singing - stile recitativo. He published the collection “New Music”, where he most fully reflected his innovative aspirations. The collection includes madrigals and strophic arias for voice and basso continuo. The most popular song collection – Amarilli. In 1614, the composer’s second collection, “New Music and new way write them." The name of Caccini, an outstanding composer and innovative singer, was not forgotten throughout the 17th century. Many composers created collections of vocal pieces based on his model. Caccini's two daughters, Francesca and Settimia, became famous as singers and composed music.

MARTINI (1741 – 1816)

Nickname Il Tedesco ("Italian German", real name Schwarzendorf Johann Paul Egidius). German composer. Before moving to Paris (1764), he was in the service of the Duke of Lorraine. He taught at the Paris Conservatory, directed the court orchestra. Author of 13 operas, vocal miniatures (including the popular song “Plaisir d’amour”).

MARCELLO ALESSANDRO (1669 – 1747)

Brother B. Marcello. An amateur musician, he organized concerts in his Venetian house. He composed solo cantatas, arias, canzonettas, violin sonatas and concertos. Concertos for oboe and strings (6 in total) belong to the latest examples of the Venetian baroque variety of the genre. Concerto for oboe and strings in d minor (c. 1717) is known in J. S. Bach's arrangement for clavier.

MARCELLO BENEDETTO (1686 – 1739)

Composer, music writer, lawyer, brother of A. Marcello. He held high government positions in Venice. The collection of psalms for 1 – 4 voices with digital bass (50 in total) brought wide popularity. He also owns other compositions for church, oratorios, operas, over 400 solo cantatas, duets, as well as sonatas and concertos, marked by the influence of Vivaldi. His music combines polyphonic mastery with sensitivity to the new gallant style. An interesting treatise by Marcello is a satire on opera seria.

PAISIELLO GIOVANNI (1740 – 1816)

He studied in Naples with Durante. He gained a reputation as one of the leading masters of the opera buffa genre. He served as bandmaster at the court of Catherine II in St. Petersburg. Among this period, op. "The Barber of Seville" Upon returning to Naples he began to write opera sevenseries(semi-serious) - “Nina, or Crazy in Love.” He served briefly in Paris as the personal bandmaster of Napoleon I. The quality of Paisiello's operas influenced Mozart - the art of the muses. character sketches, mastery of orchestral writing, melodic inventiveness. Operas:“Don Quixote”, “The Maid-Madam”, “King Theodore in Venice”, “The Miller’s Wife”, “Proserpina”, “The Pythagoreans” and at least 75 more operas.

PERGOLESI GIOVANNI BATISTA (1710 – 1736)

He studied in Naples and at the same time worked as a violinist in an orchestra. Wrote stage works in the genre sacred drama. He died of tuberculosis at the age of 26. Go down in history as the founder of the genre opera buffa. The masterpiece of this genre was op. "Servant Mistress." He wrote works for the church: “Stabat mater” for soprano, contralto and orchestra, 2 Masses, Vespers, 2 “Salve Regina”, 2 motets.

PERI JACOPO (1561 – 1633)

Composer and singer, priest. Served as a composer and singer at court Medici. He was also known as a performer on kitarrone –(string plucked instrument, a type of bass lute, up to 2 m long, used mainly to accompany solo singing). Attended meetings Cameras. He composed in a new recitative style, imitating the ancient practice of solo singing with accompaniment. Wrote operas " Daphne", "Eurydice". He also composed a collection of vocal pieces containing several examples of recitative style.

PICCINI NICCOLO (1728 – 1800)

He studied in Naples with Durante. He not only composed operas, but also taught singing, was a bandmaster and organist. Having settled in Paris, he wrote a number of serious and comic French works. oper. Serious competition from Gluck did not prevent his success lyrical tragedies"Roland", "Iphigenia in Tauris", "Dido". The opera “Cecchina, or the Good Daughter” (1760) brought him international fame.

SARRI DOMENICO (1679 – 1744)

He studied in Naples, where he also served as court conductor. Early operas, oratorios, serenata are designed in the same baroque style as the vocal music of A. Scarlatti. At the same time, his work contributed to the development of a simpler and more melodic Neapolitan style.

SCARLATTI ALESSANDRO (1660 – 1725)

Kapellmeister of theatres, the Royal Chapel and the Conservatory of Naples, where he taught. Among the students are D. Scarlatti, F. Durante, I. A. Hasse. One of the founders and the largest representative Neapolitan Opera School. Under him, such forms as the aria da capo, the Italian overture, and recitative with instrumental accompaniment arose. Op. more than 125 opera seria , incl. “Whims of Love or Rosaur”, “The Corinthian Shepherd”, “The Great Tamerlane”, “Mithridates Eupator”, “Telemachus”, etc. Over 700 cantatas, 33 serenata, 8 madrigals.

SCARLATTI DOMENICO (1685 – 1757)

Son of A. Scarlatti. He wrote operas, sacred and secular music, but gained fame as a virtuoso harpsichordist. The main place in his work was occupied by one-part keyboard works, which he called “exercises.” Innovator in the field of keyboard technology. Op. more than 550 keyboard sonatas, 12 operas, 70 cantatas, 3 Masses, Stabat Mater, Te Deum

STRADELLA ALESSANDRO (1644 – 1682)

Italian composer, composed music commissioned by Queen Christina. Among his works of the Roman period, prologues and intermezzos predominate, incl. to the operas Cavalli and Cesti. His life was replete with scandals and loud love stories. In 1677 he fled to Genoa. Among several operas staged in Genoa, the comic “Guardian of Trespolo” stands out. Stradella was killed out of revenge by mercenaries of the Lomellini family.

One of the most talented and versatile composers of his time. In total, he composed about 30 stage works and about 200 cantatas. 27 instrumental works have survived.

HONOR ANTONIO (1623 – 1669)

The real name of this Franciscan monk is Pietro. In his youth he served as a church choirmaster in Arezzo, then became a novice in the Florentine monastery of Santa Croce. Cathedral organist, then conductor at Voltaire, where he was patronized by his family Medici. Career Honor how opera composer began in 1649, when his opera Orontea was successfully presented in Venice. In 1652 he became court musician of Archduke Ferdinand Charles in Innsbruck and was deprived ordination. From 1665 he served at the Viennese imperial court. For not for a long time, held in Vienna, created many operas, incl. grandiose " Golden Apple" , the production of which was timed to coincide with the wedding of Leopold I. Shortly before his death, he was appointed conductor at the Tuscan court in Florence.

Word opera translated from Italian means “work”, “composition”. Initially, the musical performance was called “dramma per musica” - “drama on music” or “musical drama”, to which was added - opera, that is work such and such a composer.

The first operas appeared in Italy, in Florence at the turn of the XVI - XVII centuries. Their authors were members of a small circle of art lovers who met with wealthy patrons of the arts Giovanni Bardi and Jacopo Corsi. This circle went down in music history under the name Florentine Camerata(Italian camerata - circle).

Camerata members were big fans ancient art and dreamed of reviving the ancient Greek tragedy. According to surviving descriptions, they knew that during the performance of the tragedies of Aeschylus, Sophocles, Euripides, the actors did not pronounce, but sang text, and that it involved a singing and dancing choir. However, they did not have the slightest idea what the music was like, since they did not have any documentary material (the few surviving recordings had not yet been deciphered). However, from the statements of ancient philosophers and poets, they concluded that the manner of performance of ancient actors was something between singing and ordinary speech, and they tried to create a melody of the same type. The result of their experiments was the creation recitative- speech melody. It was a vocal melody of a half-chanted, half-declamatory nature, intended for solo performance with instrumental accompaniment. The members of the circle themselves characterized the type of melody they created as follows:

“this type of singing where you could seem to speak”(G. Caccini)

"singing halfway between ordinary speech and pure melody"(Ya. Peri).

The first opera created in Florence has not survived. The other two appeared almost simultaneously and were written on the same plot famous myth about Orpheus. Both operas had the same title - "Eurydice". The music of one of them was written by Jacopo Peri, and the other by Giulio Caccini. The author of the text is the poet Ottavio Rinuccini.

The first Florentine operas were characterized by:

• the dominance of recitative,
• lack of arias and ensembles,
• static action.

The new genre developed very rapidly and rapidly. The experience of the Florentines was adopted by others Italian cities, and very soon the first classical works appeared in the history of opera. Their author was Claudio Monteverdi.

Monteverdi (1567-1643) - Italian composer whose name appears next to the names greatest artists and poets of the Renaissance. If he cannot be called the “inventor” of opera and the homophonic-harmonic style, then it was he who created brilliant examples of both a new genre and a new style.

Thanks to Monteverdi, opera turned into a work primarily of music: now music began to occupy not a subordinate, as it was before, but a main place. In contrast to the monotonous recitative of Peri and Caccini, Monteverdi created a sharply tense, dramatic recitative - with sudden changes in tempo and rhythm, expressive pauses. At the same time, Monteverdi did not limit himself to recitative: at the climax of his operas he included arias, where the melody was no longer declamatory, but melodious in nature. The choir and orchestra acquired great importance, emphasizing the significance of this or that moment of the drama. All this allowed Monteverdi to vividly reveal the inner world of his heroes.

Monteverdi's first operas "Orpheus" And "Ariadne" (of which only one fragment has survived - “ Ariadne's Lament" gained worldwide fame) - appeared in Mantua. Later Monteverdi moved to Venice, where he last period his creativity (30 years). Here he acted as the head of a new opera school, creating such works as "Return of Ulysses" and "The Coronation of Poppea". Like Orpheus, they belong to the genre of “dramma per musica”, which became historically the first type of opera.

"Coronation of Poppea" , created a year before Monteverdi’s death, is the pinnacle of all his work. The plot of the opera is borrowed from the “Annals” (i.e. chronicles) of Tacitus, the greatest historian of Ancient Rome. For the first time in half a century of existence opera genre mythology has replaced historical chronicle, and the gods and mythical heroes were supplanted historical figures. In the operatic culture of the 17th century, there was no work that, like Shakespeare’s chronicles, would reproduce real historical events; That's why Poppea is called "the first opera based on a historical plot."

The cruel and extravagant Emperor Nero decided to depose his wife Ottavia in order to elevate his mistress, the beautiful Poppea, to the throne. Nero's tutor, the philosopher Seneca, tries to dissuade the emperor from annulling the marriage, since the people of Rome sympathize with the empress. Enraged by this resistance, Nero sentences the philosopher to death.

Ottavia is not going to give up her position without a fight. She orders Otto, Poppea's husband, to kill her rival. Otto, who loves Poppea, tries to avoid this step, but Ottavia blackmails him into submission. Dressed in the dress of Drusilla, a young girl in love with him, Otto enters Poppea's chambers to stab her with a dagger. However, at the last moment, the conspiracy is revealed, and all its participants are sent into exile. Nero crowns Poppaea in front of the Roman consuls and tribunes.

The audience of the first operas was limited to a very narrow circle: court nobility, enlightened lovers and connoisseurs of art. But gradually the opera genre became democratize, that is, to appeal to a wider circle of listeners.

The process of democratization of opera began in the 20s of the 17th century. Rome, Where cardinal Barberini built the first purpose-built opera house. Catholic Church generally patronized the new genre, pursuing religious and propaganda goals. The favorite subjects of Roman operas are the lives of saints and moralizing stories about repentant sinners. However, in some places this plot was unexpectedly inserted everyday comic scenes to attract the average listener. This is what became the most valuable in Roman opera, since this was the way to penetrate into the opera. realistic paintings folk life, everyday situations, simple heroes and folk music. Among the Roman composers, the most notable are Stefano Landi And Loretto Vittori, who owns one of the best operas of this school "Galatea" .

Opera developed under completely different conditions. Venice. Its management here fell into the hands of enterprising businessmen. For short time Several publicly accessible city theaters appeared in the city (the first San Cassiano), competing with each other.

Venetian theaters were not only centers of culture, but also commercial enterprises, the main goal of which was to make money. In this regard, opera became dependent on the tastes of the general public, which differed from the enlightened connoisseurs of Florence or the aristocratic visitors to the palace theaters as "heaven and earth". No one here thought about reviving the ancient tragedy. The opera had to captivate, not bore with excessive seriousness, be vital and understandable to ordinary Venetians. For this purpose, for the first time, they began to print brief summaries of operas in special small books (such books were called libretto- translated as “little book”). Opera stories filled with exciting adventures (sudden attacks, earthquakes, duels, chases). They still relied on ancient myths or on historical events, however, both were interpreted very freely and were often modernized. For example, in Monteverdi's opera "Return of Ulysses" The legendary Odysseus, setting off on a voyage, was subject to customs inspection, like all Venetian merchants. The Venetian opera, much more widely than the Roman one, introduced comedic episodes from the life of the common people (servants, artisans, merchants), and with them the intonations of Italian folk songs. Thus, Venetian opera strengthened its connection with folk art.

Among the composers of the Venetian opera school, the followers of Monteverdi should be highlighted Francesco Covalli And Stamp of Antonio Honor(among the operas of this composer, the most resounding success was The Golden Apple, where the episode about Paris and Helen from the history of the Trojan War was used).

Later than others - by the end of the 17th century - an opera school was formed in Naples, summing up the history of the century-long development of Italian opera. It is interesting that Neapolitan opera turned out to be especially far from the ideal to which the Florentine camerata aspired. She immediately declared herself as a work in which the leading force is not poetry, but music and singing. It was in Naples that this species was established opera singing, which was named bel canto(beautiful singing). It refers to the ability to smoothly and beautifully perform a melodious melody of wide breathing (cantilena), and to maintain this smoothness constantly. The Bel Canto style demands from the singer supreme skill: masterly control of breathing, smooth sounding voice in all registers, brilliant technique. This singing caused well-deserved delight among the listeners.

The bel canto style contributed to the flourishing arias , which received a clear advantage over recitative. The Neapolitans introduced typical Aryans who dominated for a long time opera stage. Several contrasting types of arias have emerged, associated with the most common stage situations: lamento (in Italian - crying, complaint) - mournful arias, pathetic (passionate) arias, everyday, lyrical, bravura (noisy, cheerful), buffoonish, revenge arias.

Each type relied on its own expressive techniques. So, for example, lamento is characterized by reliance on the intonation of a descending second, conveying a groan or sob. First classic sample This type of aria is the lament of Monteverdi's Ariadne. It was precisely the images of grief and sadness, embodied in the lamento arias, that were the deepest and most powerful among the Neapolitans.

The reason for the wide popularity of standard arias was that the opera heroes of the 17th century did not yet have an individual appearance and character. They expressed their feelings in generalized language, related not to character, but to a specific situation in which they found themselves. No one was embarrassed that a cruel despot, a villain, having fallen in love, poured out his feelings in a sublime, spiritual melody of divine beauty, and on the contrary, a shy, timid girl, feeling jealous, began to perform frantic roulades. In other words, the expression identical feelings (love, sorrow, hatred, etc.) were similar completely different characters. In form, the arias of the 17th century were of the da capo type, consisting of three parts. The third part, the reprise, was usually decorated by the singers with all sorts of roulades.

The Neapolitans improved and recitative , dividing it into two types - accompanied (accompagnato) and dry (secco). The secco recitative included all the information that needed to be conveyed to the listener. If the aria invariably caused the action to stop, then the dry recitative, on the contrary, did not delay it at all, it quickly followed the text. Melodically, it was more reminiscent of colloquial speech than singing: performed patter in a very free manner (with emphasis on individual words, changes in tempo, expressive pauses) - the singer behaved like a dramatic actor. That is why the secco recitative could not be accompanied by an orchestra. Only individual chords of the harpsichord helped the singer stay in tune.

The accompanied recitative was more melodious and sounded like an aria accompanied by an orchestra. It was often used as an introduction to an aria. Often such recitative conveyed complex states of mind, the struggle of different feelings.

Thus, the composers of the Neapolitan opera school clearly defined and delineated the purpose of the main operatic forms - aria and recitative: the aria concentrated on expressing a specific feeling, expressing an attitude characters to what was happening, recitative developed the action in a dialogue or narration about an event.

Within the Neapolitan school, primarily in creativity Allesandro Scarlatti, a new opera genre has emerged - opera-seria(Italian seria - serious). Typical features of this operatic genre were:

• a mythological or historical-legendary plot with a confusing, often implausible intrigue and an obligatory happy ending;
• noble origin of the heroes (these are kings, generals, ancient gods);
• aria as the central operatic form, “outweighing” everything else. The recitative gradually lost its meaning more and more;
• the dominance of singing and the retreat of drama (what happens on stage) into the background, that is, an indifferent attitude to the content.

Over time, a real cult of the virtuoso singer was established in the opera seria, who could dictate his conditions to the composer (one singer demanded that any aria must have virtuoso passages, which worked especially well for him, another certainly wanted to perform a mournful lamento aria, etc.) As a result, opera seria received an offensive nickname - concert in costumes, since the chain of arias embodying strong feelings was often devoid of a logical connection with each other (everything that related to the drama itself was quickly “spoken out” without arousing interest among the public).

The role of the opera seria in the development of the opera genre is extremely great: it was with its appearance that the true flowering of the opera genre began, as a work primarily of music. At the same time, it was a contradictory phenomenon, in which crisis features were increasingly intensified.

In contrast to the opera seria in the 30s of the next, XVIII century, in Naples arose opera-buffa- comic, and she was born inside serious opera from the so-called sideshow - those funny comedy skits that were inserted into the opera seria to entertain the public. This genre started "The Servant-Mistress" by Pergolesi. There are only three roles in it, and one is a mimic one (Vespone, Uberto's servant, does not sing). The plot is very simple: the clever young maid Serpina uses cunning to marry her master, the old bachelor Uberto. The success of this funny interlude was so sensational that it completely eclipsed the serious opera in which it was performed, and as a result it began to be performed separately as an independent work.

buffa masters were Galuppi,Piccini,Paisiello,Cimarosa.

From Italy, opera very quickly spread to other European countries, becoming mid-17th century century one of the most popular genres. Various Italian opera troupes successfully toured in Austria, Germany, England, France, arousing interest in the art of opera and awakening the initiative of domestic composers who are trying their hand at a new genre. However, the passion for Italian opera sometimes had a negative side: where kings and court circles worshiped only Italian art, it hampered the development of their national opera schools.

With incredible difficulty she made her way German opera. It caused complete indifference on the part of the ruling circles, which recognized only the art of foreigners, primarily Italians. Germany was literally flooded with visiting artists - singers, conductors, composers.

First German opera "Daphne" appeared in 1627. Its author was Heinrich Schutz, one of the most prominent German composers. In addition to Daphne, other attempts were made to create national German operas, but this process was interrupted by the Thirty Years' War. Only in the 60s of the 17th century did a new stage in the development of opera art in Germany begin. In large German cities - Dresden, Hamburg, Leipzig - open opera houses, in which, however, Italian opera troupes staging Italian operas are firmly established. The only exception is Hamburg, where the opera house manages to resist Italian domination for some time. Only there they put opera performances in native German.

The flourishing of the Hamburg opera is associated with the name of a highly talented German composer Reinhard Kaiser, whose works enjoyed unprecedented success. In his operas, Kaiser turned to a variety of subjects: mythological, historical, comic. Among his best operas are "Octavia" ,"Nero", "Leipzig Fair" . Many German composers, including Bach and Handel, were influenced by the Kaiser.

However, gradually a crisis is brewing and intensifying in the Hamburg Opera. He is furiously persecuted by the church, the public grows cold towards her, the theater does not make any money, the stage is filled with Italians, and in the end (by the beginning of the 40s) the opera house in Hamburg ceased to exist. Main reason This sad result was that in backward Germany there were simply no social and cultural conditions for a national opera theater. German composers had no choice but, like Handel, to seek recognition in a foreign land, composing operas there in the Italian style, or to use their talent outside of opera music.

A special fate befell the opera in England. The British were usually in no hurry to adopt European innovations. For a long time, a musical performance based entirely on singing did not arouse their sympathy. They preferred mixed forms - dramatic performances, where there was a lot of music, but the main emphasis was on the word, acting. Semi-opera, based on a combination of music and spoken dialogue, was also popular.

First English National Opera - "Dido and Aeneas" - belongs Henry Purcell. The activities of this great composer took place mainly in the field theater music: he designed performances based on the plots of Shakespeare and his contemporary English playwrights. Dido and Aeneas is Purcell's only opera in the generally accepted sense of the word. It was written not for the professional stage, but for school holiday at the boarding house noble maidens. With the help of the students, it was performed in a chamber, almost homely atmosphere. Hence the very modest scale of the opera - it lasts just over an hour.

The plot of "Dido" is borrowed from Virgil's Aeneids:

Aeneas, fleeing the destruction of Troy, ends up in Carthage, where the dowager queen Dido rules. Mutual passionate love breaks out, but evil forces (in the form of witches, typical of English folklore) interfere with the happiness of the heroes. Aeneas is forced to leave Carthage and Dido dies of grief.

The climax of the entire opera is heroine's dying monologue, consistent with the genre lamento. His music is distinguished by rare melodic beauty and, at the same time, brilliant simplicity. The ostinato bass is repeated throughout the aria, enhancing the sense of fatal inevitability. As the grief increases, the melody loses its songlike quality and turns into recitation.

Like other operas of the 17th century, “Dido” is built on the alternation of individual numbers - solo, ensemble, choral (this structure is called numbered). At the same time, there is an obvious desire to combine numbers into scenes. For example, in the finale of the last, third act recitative Dido, without ending, goes into aria, which flows into the orchestral postlude, and the postlude - in final chorus. Such end-to-end development will be characteristic of operas of a later time.

The appearance of Dido marked the birth of national English opera. However, during Purcell’s lifetime it was never performed on a professional stage, and after the composer’s death, it entered a period of lasting and seemingly eternal oblivion. Only in late XIX century, the opera was performed again, causing a whole revolution in English musical culture. In the 17th century, Purcell did not find a single follower, and in the words of Romain Rolland, he ended up "the founder of the failed English opera school." With the death of Purcell, the life of English opera was cut short for 2.5 centuries.

The only country that managed to protect itself from the influence of the Italian opera house in the 17th century was France. It developed its own, very original national operatic tradition, and any foreign composer who wanted to conquer Paris was obliged not only to write exclusively in French text, but also to follow a number of customs established in France.

The first attempt to create a French opera was made by the poet Pierre Perrin and composer Robert Camber. At their suggestion, a public opera house, the Grand Opera, was opened in Paris. However, the true creator of French opera is considered Jean Baptiste Lully, who created the standard of French musical style.

Jean Baptiste Lully

An Italian by birth (in childhood his name was Giovanni Battista Lulli), Lulli, as a child, thanks to a happy accident, ended up in France, where he was in the service of the sister of the French king. Thanks to his rare musical abilities, he quickly made brilliant career, becoming a court composer enjoying the unlimited confidence of Louis XIV.

Lully's talent was distinguished by rare versatility: he was an excellent violinist who organized his own orchestra (“16 violins of the king”), conductor, composer, dancer, choreographer, director, director of the court musical theater, for which he wrote 20 musical and dramatic works. Being a contemporary of the great French playwrights - Corneille, Racine, Molière - Lully actively collaborated with them, especially a lot with Molière, writing music for such plays as “A Reluctant Marriage”, “The Sicilian”, “The Bourgeois in the Nobility”, etc.

The composer called his operatic works "lyrical tragedies"(literally: tragedy to the lyre, that is singing, musical). Their first listener and admirer was himself Louis XIV, for whom they became a favorite spectacle.

Among Lully's operas the most famous are "Ariadne" , "Hatis" ,"Armida" ,"Acis and Galatea" ,"Theseus" . All of them are written to the text of a wonderful poet Philippa Kino, who was the composer's permanent librettist.

Lully's opera is a harmonious, monumental performance of 5 acts with an obligatory prologue (the Italian serious opera had three acts). Despite the common plots (mostly mythological) with Italian opera seria, French opera differs from it in many ways:

• Its basis is declamatory recitative, akin to sublime, pathetically elevated speech and much less flexible and melodic than in Italian opera. Lully composed his recitatives by imitating the measured, pathetic declamation of the best French dramatic actors.
• The aria, which played a dominant role in Italian opera, took a more modest place in Lully, serving as a small conclusion to the recitative monologue. In the music of his arias, the composer often used the intonations of everyday French songs.
• Comedy scenes, so popular in Italy, were not allowed into French lyrical tragedy. The entertainment side consisted of an abundance of ballet numbers (the love of ballet is a national French trait). The 5th act generally consisted of a chain of dances, in which, according to tradition, the king himself and the royal nobility took part.
• Choral episodes of varied nature were of great importance in French opera.
• The productions of lyrical tragedies intended for the royal court theater were often distinguished by excessive luxury and pomp.
• On French stage castrati singers, so popular in Italy, practically did not appear. In addition, there was never a dictate from the singers.

In Lully's operas the type was established French overture. Usually it consisted of 2 parts: a slow, stately march and a fast, energetic fugato ( Italian The overture of the 18th century was most often built on the contrast of 3 parts according to the principle of fast-slow-fast).

The style of Lully's opera is closely related to national traditions French culture, first of all - with French drama theater. At the same time, much of them contradicts the rules of classicist tragedy. So, for example, in the libretto of Cinema, gods and fantastic creatures are almost always present among the characters; situations occur that are completely impossible in the dramas of Corneille and Racine; the classical principle of the unity of time, place and action is almost never observed. All this makes French opera of the 17th century similar to Baroque theater.

Great composers, whose names are widely known throughout the world, created huge amount valuable works. Their creations are truly unique. Each of them has an individual and unique style.

Great composers of the world (foreign). List

Below are foreign composers different centuries, whose names are known throughout the world. This:

• A. Vivaldi.
• J. S. Bach.
• W. A. ​​Mozart.
• I. Brahms.
• J. Haydn.
• R. Schumann.
• F. Schubert.
• L. Beethoven.
• I. Strauss.
• R. Wagner.
• G. Verdi.
• A. Berg.
• A. Schoenberg.
• J. Gershwin.
• O. Messiaen.
• C. Ives.
• B. Britten.

Great composers of the world (Russian). List

He created a large number of operettas, worked with the lungs musical forms of a dancing nature, in which he was very successful. Thanks to Strauss, the waltz became extremely popular dance in Vienna. By the way, balls are still held there. The composer's heritage includes polkas, ballets and quadrilles.

And G. Verdi are great who created a huge number of operas that won the sincere love of the audience.

The German Richard Wagner was the most prominent representative modernism in the music of this century. Rich it up opera heritage. Tannhäuser, Lohengrin, The Flying Dutchman and other operas are still relevant, popular and performed on stage.

The Italian composer Giuseppe Verdi is quite a majestic figure. He gave Italian opera a new breath, while remaining true to operatic traditions.

Russian composers of the 19th century

M. I. Glinka, A. P. Borodin, M. P. Mussorgsky, P. I. Tchaikovsky are the great composers of classical music of the 19th century who lived and created their works in Russia.

The works of Mikhail Ivanovich Glinka have determined national and world significance in the history of Russian music. His work, which grew up on Russian folk songs, is deeply national. He is rightfully considered an innovator, the founder of Russian musical classics. Glinka worked fruitfully in all of his operas “Ivan Susanin” (“Life for the Tsar”) and “Ruslan and Lyudmila” opened the way for two leading directions. Great importance in development musical art There were also his symphonic works: “Kamarinskaya”, “Waltz-Fantasy” and many others.

Alexander Porfirievich Borodin is a great Russian composer. His work is small in volume, but significant in content. Central location occupied by heroic historical images. He closely intertwines deep lyricism with epic breadth. The opera “Prince Igor” combines the features of folk musical drama and epic opera. His first and second symphonies mark a new direction in Russian symphony - heroic-epic. In the field of chamber vocal lyrics, he became a true innovator. His romances: “The Sea”, “For the Shores of the Distant Fatherland”, “Song of the Dark Forest” and many others. Borodin had a significant influence on his followers.

Modest Petrovich Mussorgsky is another great Russian composer of the 19th century. He was a member of the Balakirev circle, which was called “ Mighty bunch" He worked fruitfully in a variety of different genres. His operas are wonderful: “Khovanshchina”, “Boris Godunov”, “Sorochinskaya Fair”. His works revealed traits of creative individuality. He owns a number of romances: “Kalistrat”, “Seminarist”, “Lullaby to Eremushka”, “Orphan”, “Svetik Savishna”. They capture unique national characters.

Pyotr Ilyich Tchaikovsky - composer, conductor, teacher.

Opera and symphonic genres. The content of his music is universal. His operas “The Queen of Spades” and “Eugene Onegin” are masterpieces of Russian classical music. The symphony also occupies a central place in his work. His works became known throughout the world during his lifetime.

Representatives of the new Viennese school

A. Berg, A. Webern, A. Schoenberg are great composers who lived and created their works throughout the 20th century.

Alban Berg became world famous thanks to his amazing opera Wozzeck, which made a strong impression on listeners. He wrote it over several years. Its premiere took place on December 14, 1925. At the moment, Wozzeck is a classic example of 20th century opera.

Anton Webern - Austrian composer, one of the brightest representatives of the new Viennese school. In his works he used serial and dodecaphonic techniques. He is characterized by conciseness and laconicism of thought, concentration of musical and expressive means. His work had a profound influence on Stravinsky, Boulez, Gubaidulina and many other Russian and foreign composers.

Arnold Schoenberg is a prominent representative of such a musical style as expressionism. Author of serial and dodecaphonic techniques. His compositions: Second String Quartet (F-sharp minor), "Drama with music for choir and orchestra", the opera "Moses and Aaron" and many others.

J. Gershwin, O. Messiaen, C. Ives

These are the great composers of the 20th century who are famous all over the world.

George Gershwin is an American composer and pianist. He became extremely popular thanks to his large-scale work Porgy and Bess. This is a “folklore” opera. It is based on the novel by DuBose Hayward. His instrumental works are no less famous: “Rhapsody in Blue for Piano and Orchestra”, “An American in Paris”, “Second Rhapsody” and many others.

Olivier Messiaen - French composer, organist, teacher, music theorist. In his remarkable theoretical works, he outlined new and quite complex principles of musical composition. Theological ideas were reflected in his works. He was very fascinated by the voices of birds. So he created “Bird Catalog” for piano.

Charles Ives is an American composer. His work was influenced by folk music. Therefore, his style is extremely unique. He created five symphonies, five violin sonatas, two piano sonatas, the cantata “Heavenly Country” and many other works.

Russian composers of the 20th century

S. S. Prokofiev, I. F. Stravinsky, D. D. Shostakovich are the great composers of the 20th century.

Sergei Sergeevich Prokofiev - composer, conductor, pianist.

His music is varied in content. It contains lyrics and epic, humor and drama, psychologism and characterization. Opera and ballet creativity laid down new principles and techniques of musical dramaturgy. His operas are “The Gambler”, “The Love for Three Oranges”, “War and Peace”. Prokofiev worked in the genre of film music. His cantata “Alexander Nevsky”, created in collaboration with director S. Eisenstein, is widely known.

Igor Fedorovich Stravinsky - emigrant composer, conductor.

His work is divided into Russian and foreign periods. His brightest ballets: “Petrushka”, “The Rite of Spring”, “Firebird”. Stravinsky also made a great contribution to the symphonic genre.

Dmitry Dmitrievich Shostakovich - composer, teacher, pianist. His work is multifaceted in genres and figurative content. Particularly important is his importance as a composer-symphonist. His fifteen symphonies reflect complex world human feelings with experiences, struggles, tragic conflicts. His opera “Katerina Izmailova” is an excellent composition of this genre.

Conclusion

The music of great composers is written in different genres, contains multifaceted plots, constantly updated techniques corresponding to a particular era. Some composers have achieved excellence in a few genres, while others have successfully covered almost all fields. Of the entire galaxy of great composers, it is difficult to single out the best. All of them made a significant contribution to the history of world musical culture.

The formation of classical music. Great composers of the 17th and 18th centuries

Monteverdi. D. Frescobaldi`. A. Corelli. A. Vivaldi. A. Scarlatti. D. B. Pergolesi. Dynasties of violin makers.

MUSIC OF ITALY

J.B. Lully. J.F. Rameau. F. Couperin.

MUSIC OF FRANCE

G.Purcell.

MUSIC OF ENGLAND

G. Schutz. D. Buxtehude. G. F. Handel. J.S.Bach.

MUSIC OF GERMANY

M.S.Berezovsky. D.S. Bortnyansky. E.I.Fomin.

MUSIC OF RUSSIA

At the turn of the 16th-17th centuries, polyphony, which dominated the music of the Renaissance, began to give way to homophony (from the Greek “homos” - “one”, “identical” and “phone” - “sound”, “voice”). Unlike polyphony, where all voices have equal rights, in homophonic polyphony there is one, performing main topic, and the rest play the role of accompaniment (accompaniment). The accompaniment is usually a system of chords (harmonies). Hence the name of the new way of composing music - homophonic-harmonic.

Works appeared that were written on religious texts or subjects, but were not intended for mandatory performance in church. (Such works are called spiritual, since the word “spiritual” has a broader meaning than “ecclesiastical.”) The main spiritual genres of the 17th-18th centuries. - cantata and oratorio. Increased importance secular music: it sounded at court, in the salons of aristocrats, in public theaters (the first such theaters were opened in the 17th century). A new type of musical art has emerged - opera.

Instrumental music is also marked by the emergence of new genres, most notably the instrumental concerto. The violin, harpsichord, and organ gradually turned into solo instruments. The music written for them provided an opportunity to demonstrate the talent of not only the composer, but also the performer. What was valued above all was virtuosity (the ability to cope with technical difficulties), which gradually became an end in itself and an artistic value for many musicians.

Composers of the 17th-18th centuries usually not only composed music, but also played instruments masterfully and were engaged in teaching activities. The artist’s well-being largely depended on the specific customer. As a rule, every serious musician sought to obtain a place either at the court of a monarch or a wealthy aristocrat (many members of the nobility had their own orchestras or opera houses) or in a temple. Moreover, most composers easily combined church music with service for a secular patron.

Artistic movements of the 18th century and their characteristic features

An artistic direction is a fundamental commonality of artistic phenomena over a long period of time.

Baroque - direction to European architecture and art of the late 16th-18th centuries, which is characterized by:

Grandiosity, pomp and dynamics;

Pathetic elation;

Intensity of feelings;

Addiction to spectacular spectacles;

Combining the illusory and the real;

Strong contrasts of scale and rhythm, materials and textures, light and shadow.

Classicism is an artistic movement in European art 17th-19th centuries. Artists of classicism:

Recognized supreme example ancient art;

They relied on the traditions of the High Renaissance;

They strived to express the idea of ​​a harmonious structure of society based on the eternal “laws of reason”

At the end of the 17th and 18th centuries. New musical canons are beginning to emerge, which composers and musicians will follow for a long time. This century gave the world music that made an invaluable contribution to the world cultural heritage. Composers of the 18th century are famous for such personalities as:

This is one of the greatest German composers, interest in whose personality and work does not fade over time, but, on the contrary, is increasing. But, unfortunately, he did not receive recognition during his lifetime. Johann had no choice of career other than music, because his ancestors were famous for their musicality.

The future genius was born in 1685 in the town of Eisenach. He owes his first steps in music to his father, who taught him to play the violin. Bach had a beautiful voice and sang in the city school choir. Those around him had no doubt that the boy would become an excellent musician.

Having become an orphan early, at the age of 15, Johann began an independent life. Despite the fact that the young composer lived in cramped circumstances and frequently moved, Bach’s interest in music never waned; he constantly expanded his knowledge of music through self-education.

Unlike his fellow composers, who tried to imitate foreign musicians in everything, Bach actively used German folk songs and dances in his works. But Johann was not only a talented composer, but also an excellent performer on the organ and harpsichord. If he was not known as a composer, then everyone recognized his mastery of playing these instruments.

But court society did not like the composer’s music: it was considered too bright, emotional, and human. But despite the public’s lack of recognition of his works, he never adjusted to their tastes. Bach wrote his best musical works in Leipzig, where he moved with his family and remained until the end of his life. There he created most of cantatas, "St. John's Passion", "Matthew's Passion", Mass in B minor.

The composer's greatest joy, support and support was his family. The sons also became gifted musicians and gained fame during Bach's lifetime. His second wife and eldest daughter had very beautiful voice. Therefore, Johann continued to write musical works for his family.

In the last years of his life, Bach began to serious problems with vision, and after an unsuccessful operation he became blind. But despite this, he did not abandon his creativity and continued to create compositions, dictating them for recording. His death went virtually unnoticed in the musical community, and he was soon forgotten. Interest in his music appeared only 100 years later, when, under the leadership of Mendelssohn, one of his most beautiful creations, “St. Matthew Passion,” was performed, and at the same time a collection of his musical compositions was released.

This genius of music was not appreciated by his contemporaries, who could not understand the full strength and depth of his talent, did not like him for his strong and independent character, but centuries later they are interested in his work and admire his talent. Wolfgang was born on January 27, 1756. His father was a court musician and, having early noticed musical abilities in Mozart’s sister, began to teach her music.

This marked the beginning of Wolfgang's work. The boy showed exceptional abilities for music at an early age: at the age of 5-6 years, he had already created his first musical works, while possessing a unique ear for music and an amazing memory. The father, seeing that his son has rare musical talents, decides to start a concert tour so that Wolfgang gains fame and does not become a court musician.

But despite the fact that everyone admired the boy and at the age of 12 his works became famous, society could not fully appreciate the full potential of the young musician. Therefore, after returning from the tour, Wolfgang became a court musician and suffered greatly from the situation in which he found himself. But not wanting to put up with being disrespected and treated inappropriately, he left Salzburg for Vienna.

It was during his stay in Vienna that his talent flourished. Soon he married a beautiful girl named Constanze Weber, and even the disapproval of his parents could not prevent their happiness. The years he spent in Vienna cannot be called easy; rather, on the contrary. Being in need, Mozart had to work very hard, which affected his health. Despite the fact that his operas “The Marriage of Figaro” and “Don Giovanni” are a success, society is still unable to understand the full genius of Wolfgang.

Shortly before his death, Mozart wrote his greatest work- opera " The Magic Flute". At the same time, he creates "Requiem", but does not have time to complete it. On the night of December 4-5, 1791. genius composer passed away. The circumstances of his death still remain unknown, which gives rise to many disputes among experts. Only after his death did the musical society and the whole world recognize the genius of Mozart, and his works are still considered masterpieces in music.

His "Seasons" have been on a par with others for several centuries brilliant works. A virtuoso violinist who received recognition during his lifetime, who traveled a lot, an excellent teacher - all this is about the famous Italian composer Antonio Vivaldi.

Antonio was born on March 4, 1678 and became only child in the family who chose musical field. His musical talent appeared very early, and his first teacher was Giovanni Batista, who by that time had gained fame as a virtuoso. Studying his performance style suggests that the boy took lessons from other famous musicians.

Young Antonio decides to choose a career as a priest and on December 18, 1693 receives the lowest church rank. Later, he received three more “lower” and two “higher” church titles necessary to receive the priesthood. But despite his spiritual career, Vivaldi continued to play music very successfully.

And his intensive studies brought results: Antonio was appointed teacher at one of the best “conservatories” in Venice. Its extensive and versatile musical activity made the “conservatory” one of the most prominent in the city. At the beginning of his work, the composer paid great attention to the instrumental direction, which can be explained by the fact that the northern part of Italy and Venice were considered the center of the best instrumentalists.

Antonio Vivaldi gained fame outside of Italy, his works were successful, and studying with him was considered a high honor. In Mantua, the composer meets Anna Giraud and her sister Paolina. Soon both girls became permanent residents of the Vivaldi house, which caused discontent among the church leadership, who already did not like the fact that Antonio was on frequent travel.

On November 16, 1737, on behalf of the cardinal, the composer was prohibited from entering Ferrara, which in those days was considered a disgrace. This meant that now Vivaldi's entire spiritual career was destroyed and caused quite a significant material damage. His relationship with the leadership of the “conservatory” deteriorated more and more. And it wasn’t just his frequent travels - Vivaldi’s music had already begun to be considered old-fashioned.

At the end of 1740, Antonio parted with the “conservatory”, which owed him many years of fame. Getting ready for a long trip and experiencing financial difficulties, Vivaldi arranges a sale of his concerts at a low price. At the age of 62, the composer decides to leave Italy and find happiness in other countries. But, despite the fact that he was once accepted by everyone and his works were admired, at the end of his life Antonio Vivaldi was forgotten and abandoned by everyone. The famous Italian virtuoso died on July 28, 1741 in Vienna. He is one of the most prominent representatives of composers of that time, and his instrumental compositions occupy a worthy place in the world musical heritage.

Composers of the 18th century had a huge influence on the future development of music, although they did not always receive recognition and fame during their lifetime. It’s just that the society of that era could not appreciate the full power of their talent, their beauty and depth. The framework imposed on them was too narrow for their talent; for them, music was the meaning of life. But their descendants were able to appreciate their work, and their brilliant works continue to be performed at all concerts to this day.