Musical style romanticism. Characteristic features of musical romanticism

In the era of romanticism, music occupied a paramount place in the system of arts. This is due to its specificity, which allows you to most fully reflect emotional experiences with the help of the entire arsenal of expressive means.

Romanticism in music appears in the nineteenth century in the works of F. Schubert, E. Hoffmann, N. Paganini, K.M. Weber, G. Rossini. A little later, this style was reflected in the works of F. Mendelssohn, F. Chopin, R. Schumann, F. Liszt, G. Verdi and other composers.

Romanticism is originated in Europe in the early nineteenth century. It became a kind of opposition to classicism. Romanticism allowed the listener to penetrate the magical world of legends, songs and tales. The leading principle of this direction is the opposition (dreams and everyday life, ideal world and everyday life), created by the composer's creative imagination. This style was popular with creative people until the forties of the 19th century.

Romanticism in music reflects the problems of modern man, his conflict with the outside world and his loneliness. These themes become central to the work of composers. Being gifted unlike others, a person constantly feels misunderstood by others. His talent and becomes the cause of loneliness. That is why the favorite heroes of romantic composers are poets, musicians and artists (R. Schumann "The Love of a Poet"; Berlioz is the subtitle "An Episode from the Life of an Artist" to the "Fantastic Symphony", etc.).

Conveying the world of a person's inner experiences, romanticism in music quite often bears a tinge of autobiography, sincerity, and lyricism. The themes of love and passion are widely used. For example, the famous composer R. Schumann dedicated many piano pieces to his beloved Clara Wieck.

The theme of nature is also quite common in the work of romantics. Composers often oppose it to the state of mind of a person, coloring it with shades of disharmony.

The theme of fantasy has become a real discovery of romantics. They are actively working on the creation of fairy-tale heroes and the transfer of their images through various elements of the musical language (Mozart's "Magic Flute" - Queen of the Night).

Often, romanticism in music also refers to folk art. Composers in their works use a variety of folklore elements (rhythms, intonations, old modes), taken from songs and ballads. This allows you to significantly enrich the content of musical plays.

The use of new images and themes necessitated the search for appropriate forms and thus speech intonations, natural tones, oppositions of various keys, solo parts (voices) appear in romantic works.

Romanticism in music embodied the idea of ​​a synthesis of the arts. An example of this is the programmatic works of Schumann, Berlioz, Liszt and other composers (the symphony "Harold in Italy", the poem "Preludes", the cycle "Years of Wanderings", etc.).

Russian romanticism was vividly reflected in the works of M. Glinka, N. Rimsky-Korsakov, A. Borodin, C. Cui, M. Balakirev, P. Tchaikovsky and others.

In his works, A. Dargomyzhsky conveys multifaceted psychological images (“Mermaid”, romances). In the opera Ivan Susanin, M. Glinka paints pictures of the life of the common Russian people. By right, the works of composers of the famous "Mighty Handful" are considered to be the pinnacle. They use expressive means and characteristic intonations inherent in Russian folk songs, everyday music, and colloquial speech.

Subsequently, this style was also used by A. Scriabin (the prelude "Dreams", the poem "To the Flame") and S. Rachmaninov (sketches-pictures, the opera "Aleko", the cantata "Spring").

Music has taken a special place in the aesthetics of romanticism. It was declared a model and norm for all areas of art, since, due to its specificity, it is able to most fully express the movements of the soul.“Music begins when words end” (G. Heine).

Musical romanticism as a direction developed at the beginningXIXcentury and developed in close connection with various trends in literature, painting and theater. The initial stage of musical romanticism is represented by the works of F. Schubert, E. T. A. Hoffmann, K. M. Weber, N. Paganini, G. Rossini; the next stage (1830-50s) - the work of F. Chopin, R. Schumann, F. Mendelssohn, G. Berlioz, F. Liszt, R. Wagner, J. Verdi. The Late Stage of Romanticism Extends to the EndXIXcentury. Thus, if in literature and painting the romantic direction basically completes its development by the middleXIXcenturies, the life of musical romanticism in Europe is much longer.

In musical romanticism, as well as in other forms of art and literature, the opposition of the world of beautiful, unattainable ideals and everyday life permeated with the spirit of philistinism and philistinism gave rise, on the one hand, to dramatic conflict, the dominance of tragic motifs of loneliness, hopelessness, wandering, etc. ., on the other - the idealization and poeticization of the distant past, folk life, nature. In common with the state of mind of a person, nature in the works of romantics is usually colored with a sense of disharmony.

Like other romantics, the musicians were convinced that feelings are a deeper layer of the soul than the mind:"the mind is mistaken, feelings - never" (R. Schumann).

The special interest in the human personality inherent in romantic music was expressed in the predominance ofpersonal tone . The disclosure of personal drama often acquired a connotation among romantics.autobiography, who brought a special sincerity to the music. So, for example, many of Schumann's piano works are connected with the story of his love for Clara Wieck. Berlioz wrote the autobiographical "Fantastic" symphony. The autobiographical nature of his operas was strongly emphasized by Wagner.

Very often intertwined with the theme of "lyrical confession"nature theme .

The real discovery of romantic composers wasfantasy theme. Music for the first time learned to embody fabulous-fantastic images by purely musical means. In operasXVII - XVIIIcenturies, "unearthly" characters (such as the Queen of the Night from Mozart's "Magic Flute") spoke the "generally accepted" musical language, standing out little from real people. Romantic composers have learned to convey the fantasy world as something completely specific (with the help of unusual orchestral and harmonic colors). A striking example is the "Wolf Gulch Scene" in Weber's Magic Shooter.

If a XVIIIcentury was the era of virtuoso improvisers of a universal type, equally skilled in singing, composing, playing various instruments, thenXIXthe century was a time of unprecedented enthusiasm for the art of virtuoso pianists (K. M. Weber, F. Mendelssohn, F. Chopin, F. Liszt, I. Brahms).

The era of romanticism completely changed the "musical geography of the world." Under the influence of the active awakening of the national self-consciousness of the peoples of Europe, young composer schools in Russia, Poland, Hungary, the Czech Republic, and Norway advanced to the international musical arena. The composers of these countries, embodying the images of national literature, history, native nature, relied on the intonations and rhythms of their native folklore.

Highly characteristic of musical romanticism is the interest infolk art . Like the romantic poets, who enriched and updated the literary language at the expense of folklore, the musicians widely turned to national folklore - folk songs, ballads, epics (F. Schubert, R. Schumann, F. Chopin, I. Brahms, B. Smetana , E. Grieg and others). Embodying the images of national literature, history, native nature, they relied on the intonations and rhythms of national folklore, reviving the old diatonic modes.Under the influence of folklore, the content of European music has changed dramatically.

New themes and images required the development of romanticsnew means of musical language and the principles of shaping, individualization of melody and the introduction of speech intonations, expansion of the timbre and harmonic palette of music (natural frets, colorful juxtapositions of major and minor, etc.).

Since the focus of romantics is no longer humanity as a whole, but a specific person with his unique feeling, respectivelyand in the means of expression, the general is increasingly giving way to the individual, individually unique. The proportion of generalized intonations in melody, commonly used chord progressions in harmony, and typical patterns in texture are decreasing - all these means are being individualized. In orchestration, the principle of ensemble groups gave way to the soloing of almost all orchestral voices.

The most important pointaesthetics musical romanticism wasthe idea of ​​art synthesis , which found its most vivid expression in the operatic work of Wagner and inprogram music Berlioz, Schumann, Liszt.

Musical Genres in the Works of Romantic Composers

In romantic music, three genre groups clearly emerge:

• genres that occupied a subordinate place in the art of classicism (primarily song and piano miniature);
• genres perceived by the romantics from the previous era (opera, oratorio, sonata-symphony cycle, overture);
• free, poetic genres (ballads, fantasies, rhapsodies, symphonic poems). Interest in them is explained by the desire of romantic composers for free self-expression, the gradual transformation of images.

At the forefront in the musical culture of romanticism issong as a genre most suitable for expressing the innermost thoughts of an artist (whereas in the professional work of composersXVIIIcentury, the lyrical song was assigned a modest role - it served mainly to fill leisure). Schubert, Schumann, Liszt, Brahms, Grieg and others worked in the field of song.

The typical romantic composer creates very directly, spontaneously, at the behest of his heart. Romantic comprehension of the world is not a consistent philosophical grasp of reality, but an instantaneous fixation of everything that touched the artist's soul. In this regard, in the era of romanticism, the genre flourishedminiatures (independent or combined with other miniatures in a cycle). This is not only a song and a romance, but also instrumental compositions -musical moments, impromptu, preludes, etudes, nocturnes, waltzes, mazurkas (in connection with the reliance on folk art).

Many romantic genres owe their origin to poetry, its poetic forms. Such are sonnets, songs without words, short stories, ballads.

One of the leading ideas of romantic aesthetics - the idea of ​​a synthesis of the arts - naturally placed the problem of opera in the center of attention. Almost all romantic composers turned to the operatic genre with rare exceptions (Brahms).

The personal, confidential tone of expression inherent in romanticism completely transforms the classical genres of the symphony, sonata, and quartet. They receivepsychological and lyrical-dramatic interpretation. The content of many romantic works is associated withprogramming (piano cycles by Schumann, Years of Wanderings by Liszt, symphonies by Berlioz, overtures by Mendelssohn).

Term , romanticism ” comes from the French word romanticisme. Romanticism is an artistic movement that emerged in the late 18th and early 19th centuries, first in literature and then in music. The work of the romantics reflects the renewal of the personality, the assertion of its spiritual strength and beauty, the individualistic rebellion against the philistinism, sublime lyrics, and interest in fantastic stories. In relation to music, this term was first mentioned by E. T. A. Hoffmann.

Musical romanticism, which manifested itself tangibly in the 20s of the 19th century, showed continuity with classicism (the work of L. Beethoven). In instrumental music, the classical sonata cycle is replaced by a combination of the sonata cycle and variation, the miniature form plays an important role: etudes, nocturnes, waltzes, pieces with program content. There is a tendency to combine individual diverse plays into cycles under a common title. The genre of the symphonic poem is developing. The role of the orchestra and the system of leitmotifs is growing in the opera, which is most clearly manifested in the work of R. Wagner.

Late romanticism is characterized by the further development of expressiveness, refinement, emotional expressiveness, the richest use of the timbre capabilities of a large symphony orchestra. This, in turn, predetermined the emergence of new trends in European music - impressionism and expressionism.

In Germany, romanticism first manifested itself in the work of K. Weber ("Free Shooter") and F. Schubert (vocal, symphonic and piano works). Later, significant achievements in the symphonic, piano and vocal genres were achieved by F. Mendelssohn and R. Schumann. R. Wagner and I. Brahms became the largest opera and symphony composers of the 19th century. Composers-antipodes, they personified two currents of mature romanticism - the attraction to program music, to the rejection of the classical forms of constructing a musical work (Wagner) and romanticism, outwardly clothed in more strict, academic forms (Brahms), more associated with the classical heritage of the past. The powerful traditions of German-Austrian romantic symphonism were continued in the last third of the 19th century in the works of A. Bruckner, G. Mahler, R. Strauss.

The vocal work of F. Schubert, R. Schumann, H. Wolf is the pinnacle of song and romance music of the era of romanticism. Among the vocal forms, the role of the ballad, scene, and poem is growing. Vocal melody and accompaniment become more detailed and individual, songs in many cases are combined into cycles.

In the middle of the 19th century, France became the stronghold of mature romanticism, and Paris became its spiritual center. The cultural and musical life of Europe was concentrated in Paris. The work of the greatest composer, the reformer of the symphony orchestra G. Berlioz, as well as the traditions of the French "grand opera" (J. Meyerbeer, F. Aubert) led to the further development of romanticism - in the works of C. Saint-Saens, S. Franck, J. Massenet, L. Delibes, A. Thomas and others.

National European schools also made a significant contribution to the enrichment of the traditions of romanticism. Among the most famous European romantic composers are F. Liszt (Hungary), F. Chopin (Poland), N. Paganini, G. Rossini, V. Bellini, G. Donizetti (Italy), E. Grieg (Norway), K. Nielsen (Sweden), J. Sibelius (Finland), E. Elgar (Great Britain), A. Dvorak and B. Smetana (Czech Republic) M. de Falla and E. Granados (Spain). In Russian music, the features of romanticism can be traced in M. I. Glinka, P. I. Tchaikovsky, S. V. Rachmaninov, A. N. Scriabin.

Realism arose in the middle of the 19th century as a contrast to romanticism with its exalted idealization of the inner experiences of the individual. The main characteristic features of realism are the depiction of real heroes, characters, events, and the relationship of the individual with the environment.

The influence of realism is already felt in the work of major romantic composers. B. Smetana and A. Dvorak became prominent representatives of the synthesis of romanticism and realism. Features of realism appeared in the works of D. Verdi (La Traviata) and J. Bizet (Carmen).

At the end of the 19th century, a trend of verism appeared in the opera, characterized by penetrating lyrics and truthfulness of feelings. This trend was most clearly expressed in the operas Cio-Cio-san by G. Puccini, Pagliacci by R. Leoncavalo, Andrei Chenier by W. Giordano, and others.

Realism was widely spread in Russia. The traditions of "classical realism", laid down in Russian literature, were embodied in the works of M. Glinka ("Ivan Susanin"), A. Dargomyzhsky (romances). The composers of The Mighty Handful: A. Borodin, M. Mussorgsky, N. Rimsky-Korsakov are the largest representatives of realism. They introduced into music a new circle of images connected both with everyday life and with great historical events (operas by M. Mussorgsky "Boris Godunov" and "Khovanshchina", N. Rimsky-Korsakov's "The Tsar's Bride"), with great skill revealed spiritual experiences of the individual when confronted with the surrounding reality.

The discovery of aspects of life previously inaccessible to art was combined with the search for new means of musical expression and a change in the musical language. The works of the greatest Russian composers of the 20th century - S. Prokofiev, D. Shostakovich, N. Myaskovsky, A. Khachaturian - reflected the historical situation and colossal social collisions of the 20th century. In Russia, symphonic and chamber-instrumental creativity has achieved the greatest success. Nevertheless, such works as operas and ballets by S. Prokofiev (“Romeo and Juliet”, “Cinderella”, “War and Peace”) and D. Shostakovich (“Katerina Izmailova”, “The Nose”) became bright achievements of realistic music .

I Music (from the Greek musike, literally the art of the muses) is a type of art that reflects reality and affects a person through meaningful and specially organized sound sequences, consisting mainly of tones ... ... Great Soviet Encyclopedia

- (Greek moysikn, from mousa muse) a type of suit that reflects reality and affects a person through sound sequences that are meaningful and specially organized in height and time, consisting mainly of tones ... ... Music Encyclopedia

Contents 1 Historical aspects 2 Literature 2.1 Origin 2.2 Realism ... Wikipedia

This term is based on the Greek ή μουσική (implying τέχνη art), that is, the art of the Muses (primarily the goddesses of singing and dancing). Later, it received a broader meaning from the Greeks, in the sense of the harmonious development of the spirit in general, and with us again ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

SPIRITUAL MUSIC- music. works of Christ. content not intended to be performed during worship. D. m. is often opposed to secular music, and in this sense, an extremely wide range of phenomena from liturgical music is sometimes referred to this area ... ... Orthodox Encyclopedia

The roots of N. m go back to ancient times. Archaeological data. studies indicate the existence of other germs. tribes of various kinds of spirits. tools (lurs), the manufacture of krykh dates back to the Bronze Age. Lit. and historical ... ... Music Encyclopedia

Features of the formation of muses. US culture, which began in con. 17th century, were largely determined by the colonial type of development of the country. Transferred to Amer. the ground of music the traditions of Europe, Africa, later Asia were assimilated and, interacting, ... ... Music Encyclopedia

The origins of R. m. go back to the work of the East. glory. tribes that inhabited the territory of Dr. Russia before the emergence in the 9th century. the first Russian gos va. About the most ancient types of east. glory. music can be hypothetically judged by otd. historical evidence... ... Music Encyclopedia

The origins of F. m. go back to the folklore of the Celtic, Gallic and Frankish tribes who lived in ancient times on the territory of present-day France. Nar. song art, as well as Gallo-Roman culture, became the foundation for the development of F. m. Ancient lit. and… … Music Encyclopedia

At the end of the 18th - beginning of the 19th century, such an artistic movement as romanticism appeared. In this era, people dreamed of an ideal world and "flee" in fantasy. This style found its most vivid and figurative embodiment in music. Among the representatives of romanticism, such composers of the 19th century as Carl Weber,

Robert Schumann, Franz Schubert, Franz Liszt and Richard Wagner.

Franz Liszt

The future was born in the family of a cellist. His father taught him music from an early age. As a child, he sang in a choir and learned to play the organ. When Franz was 12 years old, his family moved to Paris so that the boy could study music. He was not admitted to the conservatory, however, since the age of 14 he has been composing sketches. Such 19th century as Berlioz, Paganini, had a great influence on him.

Paganini became Liszt's real idol, and he decided to hone his own piano skills. The concert activity of 1839-1847 was accompanied by a brilliant triumph. During these years, Ferenc created the famous collection of plays "Years of Wanderings". A virtuoso of piano playing and a favorite of the public has become a true embodiment of the era.

Franz Liszt composed music, wrote several books, taught, and conducted open lessons. Composers of the 19th century from all over Europe came to him. We can say that almost all his life he was engaged in music, because he worked for 60 years. To this day, his musical talent and skill are a role model for modern pianists.

Richard Wagner

The genius created music that could not leave anyone indifferent. She had both admirers and fierce opponents. Wagner was fascinated by the theater since childhood, and at the age of 15 he decided to create a tragedy with music. At the age of 16, he brought his compositions to Paris.

For 3 years he tried in vain to stage an opera, but no one wanted to deal with an unknown musician. Such popular composers of the 19th century as Franz Liszt and Berlioz, whom he met in Paris, do not bring him luck. He is in poverty, and no one wants to support his musical ideas.

Having failed in France, the composer returns to Dresden, where he begins working as a conductor in the court theater. In 1848, he emigrated to Switzerland, because after participating in the uprising he was declared a criminal. Wagner was aware of the imperfection of bourgeois society and the dependent position of the artist.

In 1859, he sang love in the opera Tristan und Isolde. In Parsifal, universal brotherhood is presented in a utopian way. Evil is defeated, and justice and wisdom win. All the great composers of the 19th century were influenced by Wagner's music and learned from his work.

In the 19th century, a national composing and performing school was formed in Russia. There are two periods in Russian music: early romanticism and classical. The first includes such Russian composers of the 19th century as A. Varlamov, A. Verstovsky, A. Gurilev.

Mikhail Glinka

Mikhail Glinka founded a school of composers in our country. The Russian spirit is present in all of his famous operas such as "Ruslan and Lyudmila", "Life for the Tsar" are imbued with patriotism. Glinka summarized the characteristic features in folk music, using old tunes and rhythms of folk music. The composer was also an innovator in musical dramaturgy. His work is the rise of national culture.

Russian composers gave the world many brilliant works that still win the hearts of people today. Among the brilliant Russian composers of the 19th century, such names as M. Balakirev, A. Glazunov, M. Mussorgsky, N. Rimsky-Korsakov, P. Tchaikovsky are immortalized.

Classical music vividly and sensually reflects the inner world of a person. Strict rationalism was replaced by the romance of the 19th century.