Alexander Sergeevich Dargomyzhsky biography. Composer Alexander Dargomyzhsky: biography, creative heritage, interesting facts

Alexander Sergeevich Dargomyzhsky was born on February 2, 1813 in a small estate in the Tula province. The future composer's early childhood years were spent on his parents' estate in the Smolensk province. In 1817 the family moved to St. Petersburg. Despite their modest income, the parents gave their children a good home upbringing and education. In addition to general education subjects, children played various musical instruments and learned to sing. In addition, they composed poems and dramatic plays, which they themselves performed in front of the guests.

This cultural family was often visited by well-known writers and musicians of that time, and children took an active part in literary and musical evenings. Young Dargomyzhsky began playing the piano at the age of 6. And at the age of 10-11 I already tried to compose music. But his first creative attempts were suppressed by his teacher.

After 1825, his father’s position began to shake and Dargomyzhsky had to start serving in one of the departments of St. Petersburg. But job responsibilities could not interfere with his main hobby - music. His studies with the outstanding musician F. Schoberlechner date back to this time. Since the early 30s, the young man has been visiting the best literary and art salons in St. Petersburg. And everywhere young Dargomyzhsky is a welcome guest. He plays the violin and piano a lot, participates in various ensembles, and performs his own romances, the number of which is rapidly increasing. He is surrounded by interesting people of that time, he is accepted into their circle as an equal.

In 1834, Dargomyzhsky met with Glinka, who was working on his first opera. This acquaintance turned out to be decisive for Dargomyzhsky. If earlier he had not given serious importance to his musical hobbies, now in the person of Glinka he saw a living example of artistic achievement. Before him was a man not only talented, but also dedicated to his work. And the young composer reached out to him with all his soul. He gratefully accepted everything that his senior comrade could give him: his knowledge of composition, notes on music theory. Communication between friends also consisted of playing music together. They lost and dismantled best works musical classics.

In the mid-30s, Dargomyzhsky was already a famous composer, the author of many romances, songs, piano pieces, and the symphonic work “Bolero”. His early romances are still close to the type of salon lyrics or city songs that existed in the democratic strata of Russian society. Glinka's influence is also noticeable in them. But gradually Dargomyzhsky realizes the increasing need for a different self-expression. He has a special interest in the obvious contrasts of reality, the clash of its various sides. This was most clearly manifested in the romances “Night Marshmallow” and “I Loved You.”

At the end of the 30s, Dargomyzhsky decided to write an opera based on the plot of V. Hugo’s novel “Notre Dame de Paris.” Work on the opera lasted 3 years and was completed in 1841. At the same time, the composer composed the cantata “The Triumph of Bacchus” based on Pushkin’s poems, which he soon converted into an opera.

Gradually, Dargomyzhsky became increasingly famous as a major, original musician. In the early 40s, he headed the St. Petersburg Society of Lovers of Instrumental and Vocal Music.

In 1844, Alexander Sergeevich went abroad, to major musical centers - Berlin, Brussels, Vienna, Paris. The main goal of the trip was Paris - a recognized center of European culture, where the young composer could satisfy his thirst for new artistic experiences. There he introduces his works to the European public. One of the best works of that time is the lyrical confession “Both Bored and Sad” based on Lermontov’s poems. This romance conveys a deep sad feeling. The trip abroad played a big role in the formation of Dargomyzhsky as an artist and citizen. Upon returning from abroad, Dargomyzhsky conceived the opera “Rusalka”. At the end of the 40s, the composer's work reached its greatest artistic maturity, especially in the field of romance.

At the end of the 50s, great social changes were brewing in Russia. And Dargomyzhsky did not remain aloof from public life, which had a noticeable influence on his work. His art intensifies elements of satire. They appear in the songs: “Worm”, “Old Corporal”, “Titular Councilor”. Their heroes are humiliated and insulted people.

In the mid-60s, the composer undertook a new trip abroad - it brought him great creative satisfaction. There, in European capitals, he heard his works, which were a great success. His music, as critics noted, contained “a lot of originality, great energy of thought, melody, sharp harmony...”. Some concerts, composed entirely of Dargomyzhsky's works, caused real triumph. It was a joy to return to his homeland - now, in his declining years, Dargomyzhsky was recognized by a wide mass of music lovers. These were new, democratic strata of the Russian intelligentsia, whose tastes were determined by their love for everything Russian and national. Interest in the composer's work instilled new hopes in him and awakened new ideas. The best of these plans turned out to be the opera “The Stone Guest”. Written to the text of one of Pushkin’s “little tragedies,” this opera represented an unusually bold creative search. It is all written in recitative, there is not a single aria and only two songs - like islands among recitative monologues and ensembles. Dargomyzhsky did not finish the opera “The Stone Guest”. Anticipating his imminent death, the composer instructed his young friends Ts.A. Cui and N.A. Rimsky-Korsakov to finish it. They completed it and then staged it in 1872, after the composer’s death.

The role of Dargomyzhsky in the history of Russian music is very great. Continuing the establishment of the ideas of nationality and realism in Russian music, begun by Glinka, with his creativity he anticipated the achievement of subsequent generations of Russians. composers of the 19th century century - members " Mighty bunch"and P.I. Tchaikovsky.

The main works of A.S. Dargomyzhsky:

Operas:

- "Esmeralda". Opera in four actions based on his own libretto based on Victor Hugo's novel Notre-Dame de Paris. Written in 1838-1841. First production: Moscow, Bolshoi Theater, December 5 (17), 1847;

- “The Triumph of Bacchus.” Opera-ballet based on Pushkin's poem of the same name. Written in 1843-1848. First production: Moscow, Bolshoi Theater, January 11 (23), 1867;

- “Mermaid”. An opera in four acts to its own libretto based on Pushkin's unfinished play of the same name. Written in 1848-1855. First production: St. Petersburg, May 4(16), 1856;

- “The Stone Guest.” An opera in three acts based on the text of Pushkin’s “Little Tragedy” of the same name. Written in 1866-1869, completed by C. A. Cui, orchestrated by N. A. Rimsky-Korsakov. First production: St. Petersburg, Mariinsky Theater, February 16 (28), 1872;

- “Mazeppa”. Sketches, 1860;

- “Rogdana”. Fragments, 1860-1867.

Works for orchestra:

- “Bolero”. Late 1830s;

- “Baba Yaga” (“From the Volga to Riga”). Completed in 1862, first performed in 1870;

- “Cossack”. Fantasy. 1864;

- “Chukhon fantasy.” Written in 1863-1867, first performed in 1869.

Chamber vocal works:

Songs and romances for one voice and piano to poems by Russian and foreign poets: “Old Corporal” (words by V. Kurochkin), “Paladin” (words by L. Uland translated by V. Zhukovsky), “Worm” (words by P. Beranger in translation by V. Kurochkin), “Titular Advisor” (words by P. Weinberg), “I loved you...” (words by A. S. Pushkin), “I’m sad” (words by M. Yu. Lermontov), ​​“I have passed sixteen years "(words by A. Delvig) and others based on words by Koltsov, Kurochkin, Pushkin, Lermontov and other poets, including two insert romances by Laura from the opera “The Stone Guest”.

Works for piano:

Five plays (1820s): March, Contrance, “Melancholic Waltz”, Waltz, “Cossack”;

- “Brilliant Waltz.” Around 1830;

Variations on a Russian theme. Early 1830s;

- “Esmeralda's Dreams.” Fantasy. 1838;

Two mazurkas. Late 1830s;

Polka. 1844;

Scherzo. 1844;

- “Tobacco Waltz.” 1845;

- "Fierceness and composure." Scherzo. 1847;

Fantasia on themes from Glinka’s opera “A Life for the Tsar” (mid-1850s);

Slavic tarantella (four hands, 1865);

Arrangements of symphonic fragments of the opera “Esmeralda” and others.

Opera "Rusalka"

Characters:

Melnik (bass);

Natasha (soprano);

Prince (tenor);

Princess (mezzo-soprano);

Olga (soprano);

Swat (baritone);

Hunter (baritone);

Lead singer (tenor);

The Little Mermaid (without singing).

History of creation:

The idea for “Rusalka” based on the plot of Pushkin’s poem (1829-1832) arose from Dargomyzhsky in the late 1840s. The first musical sketches date back to 1848. In the spring of 1855 the opera was completed. A year later, on May 4 (16), 1856, the premiere took place in St. Petersburg on the stage of the Mariinsky Theater.

“Rusalka” was staged carelessly, with large bills, which was reflected in the hostile attitude of the theater management towards the new, democratic direction in operatic creativity. Ignored Dargomyzhsky’s opera and “ elite". Nevertheless, “Rusalka” endured many performances, gaining recognition among the general public. Advanced musical criticism in the person of A. N. Serov and Ts. A. Cui welcomed its appearance. But real recognition came in 1865. When it was resumed on the St. Petersburg stage, the opera met with an enthusiastic reception from a new audience - the democratically minded intelligentsia.

Dargomyzhsky left most of Pushkin's text untouched. They included only the final scene of the Prince’s death. Changes also affected the interpretation of images. The composer freed the image of the Prince from the features of hypocrisy that he was endowed with in the literary source. Developed in opera emotional drama Princesses, barely outlined by the poet. The image of the Miller was somewhat ennobled, in which the composer sought to emphasize not only selfishness, but also the power of love for his daughter. Following Pushkin, Dargomyzhsky shows profound changes in Natasha’s character. He consistently displays her feelings: hidden sadness, thoughtfulness, violent joy, vague anxiety, a premonition of impending disaster, mental shock and, finally, protest, anger, the decision to take revenge. An affectionate, loving girl turns into a formidable and vengeful Mermaid.

Characteristics of the opera:

The drama underlying “The Mermaid” was recreated by the composer with great life truth and deep insight into the spiritual world of the characters. Dargomyzhsky shows characters in development, conveys the subtlest shades of experiences. Images of the main characters, their relationship is revealed in intense dialogic scenes. Because of this, ensembles occupy a significant place in opera, along with arias. The events of the opera unfold against a simple and artless everyday background.

The opera opens with a dramatic overture. The music of the main (fast) section conveys the passion, impetuosity, determination of the heroine and, at the same time, her tenderness, femininity, and purity of feelings.

A significant part of the first act consists of extended ensemble scenes. Melnik’s comedic aria “Oh, all of you young girls” is at times warmed by a warm feeling of caring love. Terzetto music vividly conveys Natasha’s joyful excitement and sadness, the Prince’s soft, soothing speech, and the Miller’s grumpy remarks. In the duet of Natasha and the Prince, bright feelings gradually give way to anxiety and growing excitement. The music reaches a high level of drama with Natasha’s words “You’re getting married!” The next episode of the duet is psychologically subtly resolved: short, as if unspoken melodic phrases in the orchestra depict the heroine’s confusion. In the duet of Natasha and Melnik, confusion gives way to bitterness and determination: Natasha’s speech becomes more and more abrupt and agitated. The act ends with a dramatic choral finale.

The second act is a colorful everyday scene; Choirs and dances occupy a large place here. The first half of the act has a festive flavor; the second is filled with worry and anxiety. The majestic chorus “As in an upper room, at an honest feast” sounds solemnly and widely. The Princess’s soulful aria “Childhood Friend” is marked with sadness. The aria turns into a bright, joyful duet of the Prince and Princess. Dances follow: “Slavic”, combining light elegance with scope and prowess, and “Gypsy”, agile and temperamental. Natasha’s melancholy song “Over the pebbles, over the yellow sand” is close to peasant lingering songs.

The third act contains two scenes. In the first, the Princess’s aria “Days of Past Pleasures,” creating the image of a lonely, deeply suffering woman, is imbued with sorrow and mental pain.

The opening of the second picture of the Prince’s cavatina, “Involuntarily to these sad shores,” is distinguished by the beauty and plasticity of the melodious melody. The duet of the Prince and the Miller is one of the most dramatic pages of the opera; sadness and prayer, rage and despair, caustic irony and causeless gaiety - in the comparison of these contrasting states it is revealed tragic image Mad Miller.

The fourth act alternates between fantastic and real scenes. The first scene is preceded by a short, colorfully graphic orchestral introduction. Natasha’s aria “The long-desired hour has come!” sounds majestic and menacing.

The Princess’s aria in the second scene, “For many years already in grave suffering,” is full of ardent, sincere feeling. A charmingly magical tone is given to the melody of the Mermaid’s call “My Prince”. Terzet is imbued with anxiety, a premonition of approaching disaster. In the quartet, the tension reaches its highest limit. The opera ends with the enlightened sound of the melody of the Mermaid's call.

Women's choir "Svatushka" »

In it, the composer very colorfully conveyed the comic-everyday scene of a wedding ceremony. The girls sing a song in which they ridicule the unlucky matchmaker.

Libretto by A. Dargomyzhsky based on the drama by A. Pushkin

Matchmaker, matchmaker, stupid matchmaker;

We were on our way to pick up the bride, we stopped in the garden,

They spilled a barrel of beer and watered all the cabbage.

They bowed to Tyn and prayed to faith;

Is there any faith, show me the path,

Show the bride the path to follow.

Matchmaker, guess what, get to the scrotum

The money is moving in the purse, the red girls are striving,

The money is moving in the purse, the red girls are striving,

Strive, red girls strive, strive, red

girls, strives.

The choir “Svatushka” is of a humorous nature. This wedding song sounds in the 2nd act.

Genre of the work: comic wedding song accompanied by accompaniment. The “Svatushka” choir is close to folk songs, as there are chants here.

Music-theoretical analysis

The piece is performed accompanied by accompaniment.

Musical form:

The form of the work is 2-part verse, the 2nd part is 2 verses, between which there is a gap. The verses are exactly the same melodically.

1 part

1st verse - 12 t. loss 2nd verse - 12 t.

1 sec. 2 sec. 1 sec. 2 sec.

4 t. 8 t. 4 t. 8 t.

part 2

12 t. 10 t. 12 t.

The texture of the work's presentation is homophonic-harmonic. The main theme is carried out in the soprano part, and the altos and accompaniment provide harmonic support.

The main key is B major. But in the 2nd part there is a deviation in G-moll, then Es-dur, and then again a return to B-dur.

The harmony in the work is simple

The size in the work is 2/4. It does not change throughout the entire work.

The work has many small durations, which gives it a light and playful character.

The "Moderato" tempo is (moderately) constant throughout the piece.

The accompaniment plays a supporting role; it also emphasizes the liveliness of the scene, the girls' jokes and the clumsiness of the drunken matchmaker. The dynamics of the accompaniment from p to f are very diverse. Sometimes a figurative moment is included in the accompaniment. So, for example, in the bridge between the verses, the accompaniment resembles the playing of a pipe that accompanies folk festivals (wind instruments are performed in the orchestra). Independent accompaniment in the passage recreates the mood, connects the parts, and serves as a “thematic bridge.”

Vocal and choral analysis.

The score “Svatushka” was written for a female choir of 3 voices: soprano I and II and alto.

Type of choir: homogeneous female.

The choir “Svatushka” is performed moderately, the method of sound management is non legato. The main type of attack is soft, non legato, which presupposes clear diction, clear, close articulation.

The breathing in the work flows through the phrases, and in the middle of the phrases it is chain-like, it is intended to obtain a continuous sound of the phrase and achieve development in the phrases, and, therefore, to achieve an accurate transmission of the concept of the work, the meaning.

The tempo ensemble will depend on the conductor. He must clearly show with a conductor's gesture the releases and after-actions, especially the after-actions to the second beat, as well as at the end of the work, where a syncopated rhythm is used. The tempo ensemble is continuously connected with the rhythmic one. Its difficulty is in the movement of rhythm. The tempo is moderate, but short durations visually speed it up, you need to develop precise intonation, the diction ensemble depends on this, you need to clearly pronounce and enunciate all the words, you can work on your diction with the help of tongue twisters. You can also use the text of the work itself. The dynamics are mainly mf and f. The overall climax, which is at the end of the piece, is expressed in ff. The work also contains private climaxes. In a dynamic ensemble, it is important to show development, despite the fact that it is narrow, there must be contrast.

The timbre ensemble involves performing with a light, bright sound. Low sounds violas should sing in a high position, without “loading” the sound. It should be noted that the tessitura of the work is very convenient.

The melodic line of the parts is unique. The predominance of jumps brings its own difficulties in execution. There are jumps on ch.4, ch.5, m 6, b6, ch 8. And not only in the leading voice, but also in sopranos 2 and altos.

In addition to the horizontal melodic structure, it is necessary to create and build a vertical harmonic structure in the work, which represents the correct intonation of consonances and chords in their sequential movement. Parties must listen, “adjust” to each other, align chords, i.e. create a harmonic ensemble. In order for the parts in the work to be sung while working, closed mouth or on the syllable “lu”, so that all parts can be heard well.

Creating a unison ensemble presents some difficulty. There are few such places in the work “Svatushka” and nevertheless one should not turn a blind eye to it. When all the parts sing in unison, you need to try to remove the sound of all the parts, because otherwise this sound will stand out from the overall sound.

There are others in the parties vocal difficulties , except those discussed above.

So, for example, the performer needs to remember that in a melody the same sound is repeated at the same pitch; it must be formed positionally higher than the previous one, as if intoned upward. This helps maintain altitude.

Another vocal difficulty is the chromaticisms that occur in Part 2. You need to pay attention to them. Halftones should be intoned as close as possible. Another difficulty lies in the fact that halftones are intoned next to whole tones; you need to switch your hearing in time.

The jump to ch8 in altos should be sung actively, but in one position. Altos should not “fall over”, sing low low sounds, they need to sing them in a high vocal position, then there will be no gap between the lower sound and the upper one, the jump will be smoothed out.

Diction: The Choir “Svatushka” is light, playful in nature; to emphasize this, clear diction is needed. Good, clear pronunciation of words and active articulation are required for all parts.

Correct singing involves drawing out vowels and quickly pronouncing consonants. In the work “Matchmaker” there are such words as “bowed”, “prayed”, “accept”, “moves”, “strives”. Instead of the syllable “xia” it is necessary to sing the syllable “sa”, and instead of the combination “tsya” - “tsa”.

It is also necessary to exaggerate some consonants in the words “accept”, “red”.

The piece is performed moderately, but the text must be pronounced clearly, although softly in character.

It is necessary to focus the choir's attention on the intonation of consonants; they are pronounced in a high position, at the height of the vowels to which they adjoin.

Dynamics: the difficulty will be the dynamic development in the work, because the dynamics in the work “Matchmaker” are very flexible and varied from p to ff. The brightest dynamics are in part 2. ffpfpf, this alternation makes the work brighter. The culmination of the work sounds in the 2nd part on ff after the introduction on the 2nd beat. The conductor needs to lead the choir, clearly show the development in phrases and to the climax, the choir needs to cresc and dim at the same time, i.e. create a dynamic ensemble.

Conducting difficulties: The successful performance of this work depends mainly on the conductor, on how clear his gesture is to the choir.

The gesture should be light, nonlegato, consistent with the character and mood of the work. Special attention attention should be paid to after-taps and withdrawals. Affects and withdrawals are given in character softly, calmly, at the climax with a more elastic gesture.

Conclusion:

The final result of working on this work is the revelation of the ideological concept to the listeners, a reflection of the mood of the work and the scene in the opera.

In addition to being performed in the opera, the work “The Matchmaker” can be performed at creative evenings, at themed evenings dedicated to opera or the work of composers. The performance of the choir “Svatushka” can be performed by both a highly professional choir and an amateur, amateur one.

Russian composer Alexander Sergeevich Dargomyzhsky was born on February 14 (2 according to the old style) February 1813 in the village of Troitskoye, Belevsky district, Tula province. Father - Sergei Nikolaevich served as an official in the Ministry of Finance, in a commercial bank.
Mother Maria Borisovna, née Princess Kozlovskaya, composed plays for production on stage. One of them, “A chimney sweeper, or a good deed will not go unrewarded,” was published in the magazine “Blagomarnenny”. Petersburg writers, representatives of the “Free Society of Lovers of Literature, Science and Art” were familiar with the composer’s family.

In total, there were six children in the family: Erast, Alexander, Sofia, Lyudmila, Victor, Erminia.

Until three years, the Dargomyzhsky family lived on the Tverdunovo estate in the Smolensk province. The temporary move to the Tula province was associated with the invasion of Napoleon's army in 1812.

In 1817, the family moved to St. Petersburg, where Dargomyzhsky began studying music. His first teacher was Louise Wolgenborn. In 1821-1828, Dargomyzhsky studied with Adrian Danilevsky, who was opposed to composing music by his student. During the same period, Dargomyzhsky began to master playing the violin together with the serf musician Vorontsov.

In 1827 Dargomyzhsky was assigned as a clerk (without salary) to the staff of the Ministry of the Court.

From 1828 to 1831, Franz Schoberlechner became the composer's teacher. To develop his vocal skills, Dargomyzhsky also works with teacher Benedikt Zeibich.

IN early period creativity, a number of works for piano were written ("March", "Counter Dance", "Melancholy Waltz", "Cossack") and some romances and songs ("The Moon is Shining in the Cemetery", "Amber Cup", "I Loved You", "Night marshmallow", "Young Man and Maiden", "Vertograd", "Tear", "The fire of desire burns in the blood").

The composer takes an active part in charity concerts. At the same time, he met the writers Vasily Zhukovsky, Lev Pushkin (brother of the poet Alexander Pushkin), Pyotr Vyazemsky, Ivan Kozlov.

In 1835, Dargomyzhsky met Mikhail Glinka, from whose notebooks the composer began studying harmony, counterpoint and instrumentation.

In 1837, Dargomyzhsky began work on the opera "Lucretia Borgia", based on the drama of the same name French writer Victor Hugo. On Glinka’s advice, this work was abandoned and the composition began new opera"Esmeralda" is also based on Hugo's story. The opera was first staged in 1847 at the Bolshoi Theater in Moscow.

In 1844-1845, Dargomyzhsky went on a trip to Europe and visited Berlin, Frankfurt am Main, Brussels, Paris, Vienna, where he met many famous composers and performers (Charles Beriot, Henri Vieutan, Gaetano Donizetti).

In 1849, work began on the opera "Rusalka" based on work of the same name Alexandra Pushkina. The opera premiered in 1856 at the St. Petersburg Circus Theater.

During this period, Dargomyzhsky focused his attention on developing a natural recitation of the melody. The composer's creative method, “intonation realism,” is finally being formed. For Dargomyzhsky, the main means of creating an individual image was the reproduction of the living intonations of human speech. In the 40s and 50s of the 19th century, Dargomyzhsky wrote romances and songs (“You will soon forget me”, “I’m sad”, “Both boring and sad”, “Fever”, “Darling maiden”, “Oh, quiet, quiet, quiet, quiet”, “I’ll light a candle”, “Crazy, crazy”, etc.)

Dargomyzhsky became close to the composer Mily Balakirev and the critic Vladimir Stasov, who founded creative association"The Mighty Bunch"

From 1861 to 1867, Dargomyzhsky wrote three successive symphonic fantasy overtures: “Baba Yaga”, “Ukrainian (Malarossian) Cossack” and “Fantasy on Finnish Themes” (“Chukhon Fantasy”). During these years, the composer worked on the chamber vocal works “I Remember Deeply,” “How Often I Listen,” “We Parted Proudly,” “What’s in Your Name,” “I Don’t Care.” Oriental lyrics, previously represented by the romances "Vertograd" and " Eastern romance", was replenished with the aria "Oh, maiden rose, I am in chains." A special place in the composer's work was occupied by songs of social and everyday content "Old Corporal", "Worm", "Titular Councilor".

In 1864-1865, Dargomyzhsky’s second trip abroad took place, where he visited Berlin, Leipzig, Brussels, Paris, and London. The composer's works were performed on the European stage ("Little Russian Cossack", overture to the opera "Rusalka").

In 1866, Dargomyzhsky began work on the opera “The Stone Guest” (based on the small tragedy of the same name by Alexander Pushkin), but did not have time to finish it. According to the author's will, the first picture was completed by Cesar Cui, and Nikolai Rimsky-Korsakov orchestrated the opera and composed an introduction to it.

Since 1859, Dargomyzhsky was elected to the Russian musical society(RMO).

Since 1867, Dargomyzhsky was a member of the directorate of the St. Petersburg branch of the Russian Medical Society.

On January 17 (5 old style), Alexander Dargomyzhsky died in St. Petersburg. The composer did not have a wife or children. He was buried at the Tikhvin Cemetery of the Alexander Nevsky Lavra (Necropolis of Art Masters).

In the territory municipality The Arsenyevsky district of the Tula region erected the world's only monument to Dargomyzhsky, the work of the sculptor Vyacheslav Klykov.

The material was prepared on the basis of information from open sources

1. Fyodor Chaliapin performs "The Miller's Aria" from Dargomyzhsky's opera "Rusalka". Entry 1931.

2. Fyodor Chaliapin in the scene “Aria of the Miller and the Prince” from Dargomyzhsky’s opera “Rusalka”. Entry 1931.

3. Tamara Sinyavskaya performs Laura's song from Dargomyzhsky's opera "The Stone Guest". Orchestra of the State Academic Bolshoi Theater. Conductor: Mark Ermler. 1977

Alexander Sergeevich Dargomyzhsky, whose brief biography is presented in the article, is a great Russian composer who introduced a lot of new things into Russian classical music. The years of his life are 1813-1869. Dargomyzhsky was born on February 14, 1813. His biography begins in the village. Troitsky (Dargomyzhe) Tula province, where he was born. His father served as an official, and Alexandra’s mother was an amateur poetess.

How Dargomyzhsky spent his early childhood

Biography, summary works, Interesting Facts about the composer - all this interests numerous fans of his work. Let's start from the very beginning and talk about early childhood future composer.

Alexander Sergeevich spent it on his parents' estate, which was located in. After some time, the family moved to St. Petersburg. Alexander Dargomyzhsky was educated at home here. His biography of this time is marked by his studies in music, theater and literature. Alexander Dargomyzhsky's teachers were A. T. Danilevsky (pianist), P. G. Vorontsov (serf violinist), F. Schobernechler ( Viennese composer and pianist), B. L. Tseybikh (singer).

In addition, Dargomyzhsky met M.I. Glinka (his portrait is presented above), who gave him theoretical manuscripts brought from Professor Dehn from Berlin. They contributed to the expansion of Alexander Sergeevich’s knowledge in the field of counterpoint and harmony. At the same time, Dargomyzhsky began to study orchestration. His biography continues with the creation of his first independent works.

First works, students of Dargomyzhsky

First piano pieces and romances were published in the 1830s. The greatest artistic value have romances created on the words of Pushkin: “Night Zephyr”, “Vertograd”, “Young Man and Maiden”, “I Loved You”, etc. And in subsequent years vocal music was one of the main creative interests Alexander Dargomyzhsky, who happily gave vocal lessons, and for free. The number of his students is enormous. Among them, L.N. stands out. Belenitsyna (Karmalina), Bibibina, Shilovskaya, Girs, Barteneva, Purgolt (Molas), Princess Manvelova. Dargomyzhsky was always inspired by women's sympathy, especially singers. About the latter, he half-jokingly said that, without them, it would not have been worth becoming a composer.

Opera "Esmeralda"

The opera "Esmeralda" (years of creation - 1837-41) is considered the first serious work of Alexander Sergeevich. The libretto for it was previously created by Hugo himself. famous novel This work, despite its immaturity (it was written like a French opera), testifies to Dargomyzhsky’s realistic aspirations. Esmeralda was never published. In St. Petersburg, in the library Imperial theaters, the keyboard, handwritten score and Dargomyzhsky’s autograph are kept. A few years later this work was staged. The premiere took place in St. Petersburg in 1851, and in Moscow in 1847.

Romances by Dargomyzhsky

Alexander Sergeevich Dargomyzhsky was dissatisfied with the production of the opera. His biography is marked by a turn in his work. "Esmeralda", apparently, disappointed the composer. Dargomyzhsky again began to compose romances, whose biography was marked by their writing before. Together with early works new ones (30 romances in total) were published in 1844. They brought Dargomyzhsky fame. The most the best romances Works based on Pushkin's poems are considered to be from the 1840s: "Night Marshmallow", "Tear", "Wedding", "I Loved You". In 1843, Dargomyzhsky’s cantata “The Triumph of Bacchus” was created based on the verses of the same poet. This work was presented in 1846 in St. Petersburg Bolshoi Theater at the director's concert. However, the author was denied the opportunity to stage The Triumph of Bacchus as an opera, created in 1848. Only much later, only in 1867, was the work created by the composer Dargomyzhsky presented in Moscow. His biography continues with the next period of creativity.

Travel and new trends in the composer’s work

New trends in Dargomyzhsky's work appeared in the second half of the 1840s - early 1850s. They were associated with the emergence and flourishing in our country of the so-called natural school in art and literature. Alexander Sergeevich began to be attracted mainly folk stories. In addition, his interest in folklore became even greater. Dargomyzhsky began processing a peasant song. We can say that the exacerbation national consciousness at this time is due to the fact that the composer was abroad in the period from 1844 to 1845. He visited Germany, Vienna, Brussels and Paris. Dargomyzhsky went there as a fan of everything French, and returned to St. Petersburg as an adherent of Russian, as in the case of Glinka.

It was at this time that the final design of “intonation realism” dates back to creative method composer (reproduction of speech intonations is the main means by which images are created). The composer said that he strives to ensure that the sound expresses the word. In the song "Melnik" the principle professed by Alexander Dargomyzhsky was put into practice. short biography it is marked by the active implementation of “intonation realism”. From “Melnik,” songs based on Pushkin’s poems, threads stretch to “The Stone Guest,” an opera in which the principles of musical declamation were embodied. “Musical speech” appears in the romances “You will soon forget me” and “Both boring and sad.”

Opera "Rusalka"

The opera "Rusalka", created in 1855 based on the drama by A.S. Pushkin, is central work of this period. It truthfully describes tragic fate a peasant girl who was deceived by the prince. Dargomyzhsky in this work created a genre that raised the problem of social inequality (folk and everyday musical drama). On May 4, 1856, “Rusalka” was first presented at the St. Petersburg Mariinsky Theater. It was staged with old scenery, sloppy performances, inappropriate costumes, and inappropriate notes. It is not surprising that this opera was not a success. By the way, the production took place under the direction of K. Lyadov, who did not like Dargomyzhsky. Until 1861, "Rusalka" had only 26 performances. However, in 1865 it was resumed by Komissarzhevsky and S. Platonova. In its new version, the opera was a huge success. It was included in the repertoire of many theaters and became one of the most beloved Russian operas.

Musical and social activities

How much do you know about such a composer as Dargomyzhsky? The biography in the table placed in textbooks contains only the most basic information about him. Meanwhile, Dargomyzhsky was not only a composer. The musical and social activities of Alexander Sergeevich Dargomyzhsky began in the late 1850s. In 1859, the composer became a member of the RMS (Russian Musical Society) committee. By participating in the commission that reviewed the compositions sent to the competition, he contributed to the development of Russian music. Dargomyzhsky also participated in the creation of the charter of the first conservatory in our country. At the same time, Alexander Sergeevich became close to composers who later became members of the “Mighty Handful” ( Balakirevsky circle"). The result was mutual creative enrichment.

Cooperation with Iskra

Dargomyzhsky, whose biography and work were closely connected throughout his life, collaborated with Iskra in 1859. It was an influential satirical magazine at the time. The collaboration left an imprint on the composer’s further work. Alexander Sergeevich created music based on poems by P. I. Weinberg and V. S. Kurochkin, poets who were published in Iskra. Dargomyzhsky’s innovative romances dating back to this time are permeated with social content: “The Worm”, “The Titular Councilor”, “The Old Corporal”. At the same time, the composer continued his studies with amateur singers, and lyrical romances were created: “I remember deeply,” “What’s in your name,” “We parted proudly.”

Dargomyzhsky's last opera

In the last years of his life, the composer's attention was again focused on opera. Having decided to carry out a radical reform, Dargomyzhsky in 1866 began working on “The Stone Guest” based on the work of A. S. Pushkin. He wanted to write music without changing Pushkin's text. Dargomyzhsky abandoned historically established opera forms: vocal ensembles, expanded arias. His goal was continuity musical action. Recitative-ariosa recitation was taken as a basis, that is, the opera is almost entirely built on melodic recitative. The piece was almost completed several months later. Dargomyzhsky's death prevented him from creating music only for the last 17 verses. Ts. Cui completed “The Stone Guest” according to the composer’s will. He also created the introduction to this opera, which was orchestrated by N. Rimsky-Korsakov.

The meaning of "Stone Guest"

"The Stone Guest" through the efforts of friends of Alexander Dargomyzhsky was staged on February 16, 1872 Mariinsky stage in St. Petersburg. In 1876, the opera was resumed, but did not remain in the repertoire. To this day, it is still not appreciated. Not only among domestic composers(Rimsky-Korsakov, Mussorgsky) the innovative principles of Alexander Sergeevich's final opera found followers. Foreign musicians also appreciated it. In particular, C. Gounod wanted to create his own opera, taking “The Stone Guest” as a model. In the work "Pelleas and Melisandre" C. Debussy relied on the principles of the reform that Dargomyzhsky carried out. His short biography would be incomplete if we did not talk about orchestral works Alexander Sergeevich.

Orchestral works by Dargomyzhsky

The brightest among them can be considered “Baba Yaga”, “Chukhon Fantasy” and “Little Russian Cossack”. The everyday images of these works are aggravated by the composer with the help of a grotesquely exaggerated interpretation. This is precisely where the novelty of the artistic techniques. They were continued in the works of such Russian composers as A. Lyadov, M. Mussorgsky and others. On January 17, 1869, Dargomyzhsky died in St. Petersburg (his grave is shown in the photo below).

His short biography is studied today in all music schools Russia. And the works of Alexander Sergeevich are performed in the best theaters our country to this day. There are not many among our compatriots who have never heard of such a composer as Dargomyzhsky. The biography for children and adults presented in this article concerns only his main works and achievements. We will be glad if you would like to continue your acquaintance with Russian classical music. A very interesting representative of it is Dargomyzhsky (biography and creativity). Now you can tell us briefly about his life and legacy.

(1813-1869) Russian composer

A contemporary of Pushkin and Lermontov, a friend of Glinka and Varlamov, a senior colleague of Mussorgsky, Borodin, Rimsky-Korsakov, Alexander Dargomyzhsky was a brilliant pianist and violinist, Hard times worked as a singing teacher, collaborated with Iskra magazine, and was chairman of the St. Petersburg branch of the Russian Musical Society. But for us, he is first and foremost a composer, one of the founders of classical Russian music.

A. Dargomyzhsky was born in a difficult time for Russia: Patriotic War 1812. Their family then lived in the Tula province with relatives. Returning home, Dargomyzhsky's father threw himself into business. In May 1816, a commission was created to investigate abuses in the distribution of government benefits in the devastated Smolensk province. Participation in this commission brought S. Dargomyzhsky not only the respect and gratitude of his fellow countrymen, but also the rank of collegiate secretary and the Order of St. Anne of the third degree. This was followed by an invitation to serve in St. Petersburg - at the State Commercial Bank. In his new place, Sergei Nikolaevich advanced to the rank of court councilor, but in 1826 he was fired without any explanation. After much red tape, he received a position as an official special assignments at the Ministry of the Imperial Household.

The modest salary, of course, was not enough to support big family and education of children, but income from the estates of his wife and her brother helped. Dargomyzhsky's mother came from a family of princes Kozlovsky. It was clever woman endowed with a lively and cheerful character, kind and with a loving heart. She received the usual home education for that time, had a penchant for literature, and wrote poems, which were even published in magazines and almanacs (one of them was published in A. Delvig’s almanac “Northern Flowers” ​​in 1825).

Parents zealously cared about the fate of their children and sought to give them a comprehensive education. On the recommendation of friends, the best teachers were invited to the house, and my father never spared money on this. Much attention The Dargomyzhsky family was devoted to music. My brother played the violin, my sister played the harp. In 1819, Sasha began to be taught to play the piano. Noticing the child's aptitude for music, the parents invited a more experienced teacher.

In addition to the fact that the Dargomyzhsky children studied literature, history, foreign languages, their parents encouraged them to write poetry and translate from French. Children's literary albums were full of fables, parables, and epigrams. The mother wrote small plays, which were acted out by the whole family.

For three years, from 1828 to 1831, Sasha studied with the Austrian musician Schoberlechner. Already in the thirties, Dargomyzhsky was considered a very strong pianist in St. Petersburg. Although the father, not without reason, feared that music lessons their son, even the most successful ones, will not be able to provide for him financially. Therefore, he began to worry early about his career.

When Alexander turned fourteen years old, he was assigned to public service. In September 1827, the young official began his duties in the office, at first without monetary remuneration - his salary began to be paid only two years later. True, this service was not too burdensome for Dargomyzhsky. He served under his father’s good friends; moreover, they were great music lovers and did not interfere with Alexander’s pursuit of art. The young clerk's zeal was noted in his service records, and he was regularly promoted: in 1829, Dargomyzhsky became a collegiate registrar, three years later - a provincial secretary, and then a junior assistant controller. After that, he moved to the department of the Ministry of Finance - as a clerical official of the State Treasury. He finished his service in 1843, retiring with the rank of titular adviser.

In the thirties, disaster struck the Dargomyzhsky family: two sons and a son-in-law died, and a few years later a daughter and her child died. Because of these sad events, the Dargomyzhskys received almost no one, and therefore the matured Alexander, accustomed to home concerts since childhood, began to frequent the literary and musical salons of his acquaintances. Watching the capital's life with interest, young Dargomyzhsky became increasingly close to the circle creative intelligentsia St. Petersburg. He visited the houses of the poet I. Kozlov, V. Odoevsky, and visited the literary salon of the writer and historian N.M. Karamzin, where brilliant meetings were led by his widow and daughters. Here he played the piano and sang his romances with Karamzin’s daughter and accompanied them. It is believed that here he could meet Lermontov, whose poems he loved very much. Huge role in creative life Dargomyzhsky was played by his long-term friendship with M.I. Glinka.

Long conversations with Glinka and other composers strengthened Dargomyzhsky in his decision to write an oner, and he set to work. He wrote his first opera “Esmeralda” for about four years and completed work on it in 1842, but it was staged in Moscow at the Bolshoi Theater only five years later. It must be said that the composer himself was not very happy with his music.

In 1844, Dargomyzhsky went abroad for the first time. He visited Berlin, then went to Brussels, to Paris, played here excerpts from his opera, romances, piano works. Returning to his homeland, the musician again plunged into work. At this time he wrote many romances, gave charity concerts in memory of his friend, composer A. Varlamov, to support his family. But the main thing for him was work on the new opera “Rusalka”. In 1855, Dargomyzhsky finished writing the opera, and on May 4, 1856 its premiere took place. True, this time too the composer was dissatisfied with the staging of his work and the sound of the orchestra.

In the late 50s and early 60s, he began to collaborate in the democratic magazine Iskra. He discovered a gift for satirism, and he mostly wrote feuilletons in collaboration with one of the journalists. During these years, Dargomyzhsky decided to write a satirical novel “Confession of a Liberal.” However, this work remained unfinished, known only home page novel.

In 1864, another misfortune happened: Dargomyzhsky’s father, his support and main adviser, died. Having no family of his own, the composer lived his entire life side by side with his father, whom he loved and respected very much. The father managed the economic and financial affairs of his son; he was also responsible for managing the estate of his late wife, from where the family received the main means of subsistence.

In the last years of his life, the composer worked hard on the opera “The Stone Guest,” completely preserving the text of A.S. Pushkin. But he already felt unwell and more than once told his friends that he would like to hand over “The Stone Guest” to Cesar Antonovich Cui for completion and production. He asked Rimsky-Korsakov to instrument the opera.

Soberly assessing the patient’s condition, the friends still did not lose hope that Dargomyzhsky would have time to complete the work. At some moments he felt better, and then in the composer’s apartment they played and sang again, and not only the works of the owner of the house. So, in November 1868, Mussorgsky introduced his friends to fragments from the new opera “Boris Godunov,” which Dargomyzhsky accepted with keen interest and said that Mussorgsky went much further than him in this opera. He especially liked the scenes at Novodevichy Convent and in the tavern.

The temporary improvement, however, was soon replaced by a new onset of illness, which eventually confined the composer to bed. Now he wrote lying down, barely holding an unruly pencil with his weak hands, suffering from unbearable pain in his chest: as he himself said, every breath “cut like a knife.” And yet he continued to write, in a hurry to finish his last essay.

The composer died at the very beginning of 1869. On January 9, a memorial service was held in the Semenovskaya Church on Mokhovaya Street, which was attended by the entire musical Petersburg: composers, Dargomyzhsky’s colleagues in the Russian Musical Society, his students - students of the conservatory, friends, artists and simply admirers of the composer’s talent. Dargomyzhsky was buried in the Alexander Nevsky Lavra.

Fulfilling his will, composers Ts. Cui and N. Rimsky-Korsakov completed his opera “The Stone Guest” in September 1869. Then Cui proposed to the management of the Mariinsky Theater to stage the opera with the cast of performers as the author himself wanted it to be. This opera became the pinnacle of creativity talented composer, it clearly shows the author’s desire to create a strong fusion of music and text, to look for new operatic forms, and above all a special, melodic recitative.

Evaluating all the work last year life of Dargomyzhsky, Russian musical critic Stasov wrote: “This victory of the spirit over the body, this triumph of the spirit over the most unbearable suffering, this boundless devotion to the cause, which is the only thing that fills the soul - isn’t this still greatness! And indeed, such colossal creations as the “Stone Guest” can only come from the head of one for whom the creation of his creative spirit is everything, all life, all love, his entire existence.”

Since then, the music of Dargomyzhsky, whom Mussorgsky called “the great teacher of musical truth,” has been one of the best pages Russian classical culture.

Alexander Sergeevich Dargomyzhsky (1813-1869) together with M.I. Glinka is the founder of Russian classical school. Historical meaning his work was very accurately formulated by Mussorgsky, who called Dargomyzhsky “the great teacher of truth in music.” The tasks that Dargomyzhsky set for himself were bold, innovative, and their implementation opened up new prospects for the development of national music. It is no coincidence that Russian composers of the 1860s generation, primarily representatives of the “Mighty Handful,” rated his work so highly.

A decisive role in the formation of Dargomyzhsky as a composer was played by his rapprochement with M. I. Glinka. He studied music theory from Glinka's notebooks with recordings of Siegfried Dehn's lectures, Glinka's romances Dargomyzhsky performed in various salons and circles, before his eyes the opera “Life for the Tsar” (“Ivan Susanin”) was composed, in the stage rehearsals of which he took a direct part. Dargomyzhsky perfectly mastered the creative style of his older contemporary, as evidenced by the similarities a number of their works. And yet, compared to Glinka, Dargomyzhsky’s talent was of a completely different nature. This is talent playwright and psychologist, who manifested himself mainly in vocal and stage genres.

According to Asafiev, “Dargomyzhsky sometimes possessed the brilliant intuition of a musician-playwright, not inferior to Monteverdi and Gluck...”. Glinka is more versatile, larger-scale, more harmonious, he easily grasps whole, Dargomyzhsky dives into details. The artist is very observant, he analytically studies the human personality, notices its special qualities, manner of behavior, gestures, intonations of speech.He was especially attracted to the transfer of subtle processes of internal, mental life, various shades of emotional states.

Dargomyzhsky became the first representative of the “natural school” in Russian music. His favorite topics were close to him critical realism, images of the “humiliated and insulted”, akin to the heroesN.V. Gogol and P.A. Fedotova. Psychology « little man", compassion for his experiences ("Titular Councilor"), social inequality(“Mermaid”), “prose of everyday life” without embellishment - these themes first entered Russian music thanks to Dargomyzhsky.

The first attempt to embody the psychological drama of the “little people” was the opera “Esmeralda” based on the ready-made French libretto by Victor Hugo based on the novel “Cathedral” Notre Dame of Paris"(finished in 1842). “Esmeralda,” created on the model of a grand romantic opera, demonstrated the composer’s realistic aspirations, his interest in acute conflict and strong dramatic plots. Subsequently, the main source of such stories for Dargomyzhsky was the work of A.S. Pushkin, based on whose texts he created the operas “Rusalka” and “The Stone Guest”, more than 20 romances and choruses,cantata "The Triumph of Bacchus", later converted into an opera-ballet.

Originality creative manner Dargomyzhsky defines an original fusion of speech and musical intonations. He formulated his own creative credo in the famous aphorism:“I want the sound to directly express the word, I want the truth.” By truth, the composer understood the exact transmission of speech intonations in music.

The strength of Dargomyzhsky's musical declamation lies mainly in its amazing naturalness. It is closely connected with both native Russian chant and characteristic conversational intonations. Amazingly subtle sense of all the features of Russian intonation , melodica Dargomyzhsky’s love for vocal music-making and his studies in vocal pedagogy played a significant role in Russian speech.

The pinnacle of Dargomyzhsky’s quest in the field of musical recitation was histhe last opera is “The Stone Guest” (based on Pushkin’s little tragedy). In it, he comes to a radical reform of the operatic genre, composing music to the unchanging text of a literary source. Achieving continuity of musical action, he abandons historically established operatic forms. Only two of Laura’s songs have a finished, rounded form. In the music of The Stone Guest, Dargomyzhsky managed to achieve a perfect fusion of speech intonations with expressive melody, anticipating the opening of the opera house XX century.

The innovative principles of “The Stone Guest” were continued not only in the operatic recitative of M. P. Mussorgsky, but also in the work of S. Prokofiev. It is known that the great Verdi, while working on Othello, he carefully studied the score of this masterpiece by Dargomyzhsky.

In the composer's creative heritage, along with operas, chamber vocal music stands out - more than 100 works. They cover all the main genres of Russian vocal lyrics, including new varieties of romance. These are lyrical and psychological monologues (“I’m sad”, “Both bored and sad” to the words of Lermontov), ​​theatrical genre-everyday romances-sketch (“The Miller” to the poems of Pushkin).

Dargomyzhsky's orchestral fantasies - "Bolero", "Baba Yaga", "Little Russian Cossack", "Chukhon Fantasy" - together with Glinka's symphonic opuses marked the pinnacle of the first stage of Russian symphonic music. They show clear signs of genre-characteristic symphonism (national coloring of thematic, reliance on song and dance genres, picturesque images, programming).

Dargomyzhsky’s musical and social activities, which began in the late 50s of the 19th century, were multifaceted. He took part in the work of the satirical magazine "Iskra" (and from 1864 - the magazine "Alarm Clock"), was a member of the committee of the Russian Musical Society (in 1867 he became chairman of its St. Petersburg branch), and participated in the development of the draft charter of the St. Petersburg Conservatory.

Cui called Dargomyzhsky's last opera "The Stone Guest" alpha And omega Russian operatic art, along with Glinka's Ruslan.D he advised all vocal composers to study the declamatory language of “The Stone Guest” “constantly and with the greatest care” as code.