English composer Benjamin Britten. Music of English composers, works, famous English composers
The origins of A. m. go back to the muses. culture of the Celtic tribes that inhabited the British Isles from the 4th century BC. Samples of the ancient oral folk-song tradition have been preserved, the carriers of which were bards - singers, performers and creators of epic. and heroic songs. The surviving pictorial, lit. and folklore sources testify that music has occupied an important place in everyday life and societies since ancient times. English life. people. Among peasants, artisans, sailors, warriors, there have long been songs of various genres: labor, related to agriculture. works, hunting, fishing, sea songs fanned with romance, as well as lyric songs, love, comic, humorous. The oldest genres include "carols" - originally unison religions. choir. hymns, the content of which took on a more secular character over time. big group in english folklore are "songs-ballads" of an epic character, glorifying the exploits of the nat. heroes, the struggle of the people against feudal oppression. During the period of the peasant uprising, led by Wat Tyler (1381), freedom-loving songs arose that called the people to resist the feudal lords and the king. mercenaries. Mn. lyric ballads are dedicated to people. hero, friend of the poor, Robin Hood. Folk A. m. ate from many. sources. Along with the British, they created their own music. claim-in Scots, Irish, Welsh. At the national originality of music. language in the songs and dances of the peoples inhabiting Brit. islands, common features are preserved, manifested in the modal-intonation. and rhythmic. melodic structure. For intonation. building a plank A. m. is characterized by the use of Ch. arr. Ionian, Dorian and Mixolydian modes. In ancient English music folklore is dominated by songs built on pentatonic frets; often there are elements of polyphony. As a rule, A. m. (especially dance melodies) is subject to a clear metric. structure. Chap. arr. simple sizes: 4/4, 6/8, 3/4; complex - 5/4, 7/8 - are relatively rare. Instr is widespread among the people. music that arose from shepherd tunes, hunting signals, but Ch. its source was dances and processions. Among the popular dancing - giga, country dance, hornpipe. They were accompanied by playing the flute (pipe), flute (recorder), primitive violin, drum (taybor), etc.
With the adoption in the 6th c. Christianity is developing the Church. music. Over the course of many centuries, the formation in England of prof. music lawsuit. Bas-reliefs depicting angels and monks, singing and playing on decomp. music instruments (primitive harps, lyres, zithers, pipes). Church. the ritual of the early Middle Ages, which developed under the influence of the Catholic. Rome and strictly regulated the forms of muses. everyday life, allowed only unison singing without a regular meter - the so-called. planesong (plainsong). This tradition was introduced at the beginning. 6th c. Augustine, the first Archbishop of Canterbury, who arrived in England from Rome. In the 9th century Anglo-Saxon scholar A. Alcuin (nicknamed Flaccus) outlined in the musical-theoretical. fragment theory 8 church. frets. From the 10th c. The unison chant of Gregorian chant is enriched with two-voice techniques with a predominance of parallel fourth-quint movement of voices. The choir develops. polyphony. On the character of the Middle Ages. choir. polyphony gives an idea of non-permanent records (see Nevmy), the earliest of which date back to the 11th century. Later data allow us to draw a conclusion about the intonational-modal nature of English. cult music. It was based on ancient churches. frets, ch. arr. Ionian, Mixolydian and Aeolian. To the choir polyphony, along with the parallel movement of voices in a fourth-fifth ratio, freer forms of wok combination are also becoming widespread. parties - gimel, fobourdon, allowing parallel movement of thirds and sixths (especially in cadences), crossing voices, melodic. ornaments. According to the handbook sources stored in Winchester Cathedral, in the beginning. 12th c. in the Catholic liturgies there are 3- and 4-voice chants, with the use of imitations. and harmonic. means different from planesong metric. melodic orderliness. movement.
With the conquest of England by the Normans, the process of feudalization of the country intensifies. The influence of Norman (French) culture is growing, manifested in architecture, literature and music. In the 11th-12th centuries. fiefs are being built. castles, cathedrals, is developing liturgical. music. At the same time, new forms of bunks penetrate into A. m. music creativity, in particular the claim of minstrels. These wandering musicians were not only performers of popular songs and ballads, epic, romantic. and satirist. content, but often also by their authors. The products they created passed down in oral tradition. Minstrels contributed to the spread of playing instruments (harp, lyre, lute, primitive violin, bagpipes, trumpet, various types of woodwinds, percussion), as well as their improvement. Being in the service of large feudal lords, they participated in the execution of bunks. religious mysteries, acted out scenes from gospel tales. The Anglican Church forbade playing music. tools and brutally persecuted the minstrels. Minstrels ridiculed priests and monks, some churches. establishment. In the treatise of the Bishop of Salisbury (1303), directed against the people. musicians, it is said about a direct threat, to which minstrels could represent for the strength of the foundations of the church and state. However, as historians testify, there were exceptions. Thus, the Bishop of Sherborne Oldham himself played the "pagan" harp to attract worshipers, and Bishop Dunstan designed an Aeolian harp for the same purpose and placed it in the wall of the cathedral. Gradually, during the 12th-13th centuries, the attitude of the Church. authorities to instr. music is changing. With the strengthening of the feud. building, the emergence of new crafts and the development of mountains. life in Nar. everyday life begin to spread decomp. forms of free wok.-instr. playing music. There is a tolerance for secular music and its bearers - bards, minstrels. Contrary to harsh papal and episcopal edicts, the church was forced to admit instr. music into cult usage. Organ playing is introduced into the liturgy. One of the first large organs(from 400 pipes), built in the 10th century, was an instrument installed in Winchester Cathedral. The British Museum holds records of two org. plays belonging to an anonymous author of the 13th century. Along with the organ in the church. string instruments (harp, psalterium, dulcimer) and wind instruments (trumpets, flutes) begin to be used in music. With the weakening of the severe church guardianship, all types of folk art, and above all poetry, are widely developed. The bearers of the secular artistic culture the clergy often appeared, representing at that time the most educated sections of the population. Heroic poetry is developing significantly. and lyric. content, the original forms of bunks are born. t-ra. The formation of the national culture took place in the process of fighting the pro-French tastes of the Norman nobility, who planted French in the conquered country. lang. and literature. At the same time, the expansion of cultural ties between England and France increased the mutual influence of the muses. cultures of both countries. Muses have been preserved in Worcester Cathedral, Losminster Monastery, and others. manuscripts 13 - early. 14th centuries, containing works, borrowed from the music. of the Parisian Cathedral of Notre Dame. An excellent example of a chorus. polyphony of the Middle Ages - the famous 6-voice "Summer canon" ("Summer is icumen in"), the earliest (c. 1280) of the surviving examples of nar. polyphony; it testifies to the high professionalism of the unknown master. In this play of a lyric-pastoral nature, according to the English. music historians, the influence of the French. polyphonists. In the 13th century is developing and polyphonic. the form of a motet, usually in the form of a 3-voice chorale, in which ch. the part is led by a middle voice (tenor). Non-memorial notation gives way to mensural notation.
The beginning of a new movement in society. and cultural life of England, marked by anti-feud. uprisings and a wave of heretical religions. the teachings that swept the country in the 14th century were reflected in all types of bunks. creativity and literature. In production forerunner of early English. Renaissance outstanding writer and the poet J. Chaucer contains references to the modern. him music, musicians, music. tools. The Renaissance is associated with the professionalization of musicians, the legalization of their civil rights. In 1469 a minstrel guild was founded in London, with the support of the mountains. authorities. With the king. yard are organized wok. and instr. chapels. Muses. creativity ceases to be anonymous. The school of prof. composers, polyphonic scientists, based in their work on the experience of Nar. polyphony and European counterpoint masters. A. m. is enriched with a variety of rhythms, music. forms that overcome the limitations of the cantus firmus style.
It means moving out. composer, one of the first English. masters of polyphony J. Dunstable, also known outside of England (his compositions were in the libraries of Rome, Bologna, Modena). According to the few surviving works Dunstable can be judged by the richness of fantasy and high contrapuntal. composer's skill. His work is an example of the bold development of expressive melodic music. style, full-sounding polyphony, contrasting forms using variations. music developments. material. Dunstable's work was appreciated by his contemporaries; he worked during the reign of Henry VI (1422-61), to-ry not only patronized the muses. art-vu, but he himself composed spiritual music. Composers L. Power and G. Abingdon, who headed the king from 1455, worked at his court. chapel. Following the example of the king. court, noble feudal lords created their instr. wok. chapels, often attracting composers and performers from Italy, France and the Netherlands.
With the growth of national self-consciousness, there is an interest in Nar. creativity, national literature, which contributes to the gradual weakening of the French. influence. Creativity is strengthened. English positions. composers who win the sympathy of the middle strata by appealing to the nat. traditions, developed in prof. music of folklore motifs. Vocal lyrics appeal to the living images and characters of people, the free human personality, the joy of life are sung. Instr. music, new instr. genres, church modes give way to a major-minor system, a homophonic-harmonic is formed. letter warehouse. At the same time, the development of polyphonic music continues. lawsuit, enriched with new poetic. images, more juicy and at the same time refined by means of muses. expressions. Outstanding music. monument of this era - rukop. wok collection. prod. English composers of the 15th century, the so-called. The Old Hall Manuscript, which included Dunstable's writings. Although not all the plays in this collection are free from the influences of the French. style of motet writing, he signified means. Achievements of A. m., which began to find recognition abroad. This was noted by the French, German. and ital. music theorists of the time. In particular, J. Tinktoris associates the emergence of ars nova with the name of Dunstable, the aesthetic and ethical principles of which are based on humanistic. ideals of Renaissance art.
The era of the Reformation (16th century) put an end to the secular dominion of the Catholics. churches. Mn. monasteries were abolished, churches. lands and property were confiscated in favor of the court, the new nobility and the bourgeoisie. The emerging new living conditions, manners and customs are reflected in the mountains. music folklore (songs of weavers, spinners, street vendors, etc.), as well as in all types of secular music making, in literature and theater. In the salons of the bourgeoisie and the nobility, keyboard instruments appeared - a small organ (portable), virginal, harpsichord. In Oxford and Cambridge high fur boots, the foundations of the theoretical are laid. musicology. High level of development of English. music life and music. education attracts students from Europe to London. continent. In turn, some English musicians improve their education in France, Italy, Germany.
On the early stage During the Reformation, the Anglican Church had not yet developed clear liturgical norms. application of music, as was the case in Germany, where M. Luther and his followers created hymns and psalms on it. texts for choir. performance by parishioners. In England, after the Reformation, cult music was performed for a long time by prof. choirs, in which specially trained boys sang the treble parts, and the rest of the parts were sung by men. Only in 1549 the first Sat. monophonic psalms in English. lang., compiled by J. Merbeck; in 1552 - the second Sat. (they are still used in the musical everyday life of the Anglican Church).
Among the English composers of the 16th century Outside the country, K. Tai, J. Taverner, T. Tallis ("three big Ts", as they are called by English music historians) and W. Bird became famous. Developing the achievements of their predecessors, they sought to expand their expression. funds, widely used sophisticated imitation techniques, bold dynamic. contrasts, elements of chromatism. To church. large forms appear in music - the mass, the magnificat, developed antiphonal products. characteristic music. a monument of this period is Taverner's "Western Wind" Mass, highly valued in England (after the name of the folk song melody used in it).
The general flourishing of culture and art The renaissance, which began during the reign of Queen Elizabeth (1558-1603), manifested itself in music to a lesser extent than in the theater, which brought forward such masters as K. Marlowe, W. Shakespeare and B. Johnson. The greatest composer of the “golden age of Elizabeth” was W. Byrd, who enjoyed the constant patronage of the court, despite his commitment to Catholicism; however, he also composed cult music for the Anglican Church. In the multifaceted work of Bird, who clearly manifested himself in both sacred and secular music, the new trends in Renaissance art were most fully reflected - the rejection of the harsh asceticism of the Middle Ages, the establishment of the cult of beauty and pleasure. In the preface to the notebook "Psalms, sonnets and sad and pious songs" ("Psalmes, sonets and songs of sadnes and pietie", 1588), Bird expresses the wish that his music "happily carries at least a little tenderness, relaxation and entertainment." Attraction to the emotional fullness of the muses. speech led Bird and his followers to search for a lively expressive poetic. the words. Along with numerous church writings. destination he created hundreds of woks. plays on verses in English. poets (songs, arias, sonnets). Bird is considered the founder of the school of English. madrigal. The publication in London of his first madrigals marked the beginning of the English craze. audience and composers with this new genre of secular music for England, which was further developed in the works of T. Morley (his collection of madrigals was published in 1594), T. Wilks and J. Wilby (all of them are known as authors of music for the plays of W. Shakespeare and K. Marlo).
The desire for freedom lyric. statements, characteristic of the art of the Renaissance, finds expression in the chamber-instrument. genres. The Anglican Church, striving to simplify cult music, demanded the rejection of contrapuntal. complexities, available for execution only by prof. chapels. This was an incentive to search for ways to develop polyphonic. style in secular A. m. A lot of tools are being created. fantasies, motets, duets, trios, variations on nar. themes, dance plays for various instr. compositions (often without indicating the composition of the ensemble). These plays are gaining popularity among the aristocrats. and bourgeois homes, often among artisans. The playing of the virginal, harpsichord, viol, and lute is widely spread. For these instruments, along with Bird and Morley, J. Baldwin, T. Whithorn, W. Daman and others write. Home music-making is becoming fashionable. (In "A Real Gentleman" - a set of rules of "good tone" by G. Peacham, it is recommended "... not only to be able to sing your part with confidence, but also to play it on the viol or lute just for yourself.")
Queen Elizabeth's successor James I continued to maintain the king's prestige. courtyard as a center of music. culture of the country, patronizing literature and art. This was a period of high rise in the A. m. At the end of the 16th century. following W. Byrd, the comp. J. Dowland (author of lyric songs with lute accompaniment), J. Bull (organist and virginalist, who wrote over 150 works for these instruments), P. Philips, K. Simpson and others.
At the turn of the 16-17 centuries. in english music life began to include the so-called. consorts ("commonwealth" of groups playing various instruments). The consorts consisted of dec. number of performers (up to 30-40). This is how the originals arose. forms of orchestras at court and in the homes of wealthy nobles. Compositions for extended instruments appear. ensembles (polyphonic fantasies, variations, dance pieces). In 1599 T. Morley published "Lessons of the Consort" ("Consort lessons") - Sat. instr. plays diff. authors. Leading masters instr. genres using new performers. the possibility of large ensembles to create products. developed form, with contrasting episodes, decomp. in terms of movement and pace. O. Gibbons in his instr. fantasies, distinguished by a refined skill of presentation, contrasts dramatic images with playful, everyday ones. This principle, which is close to Shakespearean dramaturgy, reflects a new trend in the art of mass production—a departure from the "conflict-free" content and uniformity of texture typical of the Middle Ages. motet. Significant contributions to consort literature were made by A. Ferrabosco, T. Lupo, W. Lowes, and J. Hilton (first half of the 17th century).
To the beginning 17th century English is being formed. music t-r, leading its origin from the bunk. representations - mysteries. With the rise of English t-ra A. m. received a new impetus for development. Originally music in English. t-re of this time was of a subordinate nature, playing the role of a "revitalizing element" in fasting. fairy tales, extravaganzas or household comedies. Importance in the formation of the style of English. music t-ra had adv. performances - masks, along with dance and pantomime, included songs, and sometimes recitatives with instr. escort. Dramaturgic. the functions of music in these representations were still extremely limited due to the underdevelopment of the homophonic principle. The authors of texts and scripts for some masks were J. Shurley, B. Johnson, T. Carew and other prominent writers and playwrights. Among the composers who wrote music for masks, A. Ferrabosco, N. Lanier, brothers G. and W. Laws stand out.
The development of the genre of masks did not stop even after the establishment of the spiritual power of the Puritans (1640-60), which followed the English. bourgeois revolution ser. 17th century In the fight against "sinful temptations" the Puritans expelled music from the church. everyday life, destroyed organs, destroyed muses. instruments, burned notes. The very profession of a musician was declared "pagan", which forced some composers to publicly renounce music. Chasing the church music, the Puritans, however, tolerated performances of masks that were not designed for a mass audience. So, in the period of the Republic, in 1653, there was a post in London. mask "Cupid and Death" by Shirley with music by M. Lok and K. Gibbons and others. In 1656 post. first English. opera - "The Siege of Rhodes" ("Siege of Rhodes") by playwright W. Davenant and comp. G. Lowes, G. Cook, J. Hudson and C. Colman (music has not been preserved). Although the influence of the Puritans had a negative effect on the development of A. m., it could not stop overall process its development - the traditions of the national-humanistic were too strong. culture. At the end of the 17th century noto-publishing business was widely developed, muses became widespread. clubs that brought together music lovers. In 1672, the violinist J. Banister, for the first time in Europe, organized a public concert in London. paid concerts. English the court again attracted the best craftsmen, Charles II created, following the example of the French. yard strings. orchestra "24 Violins of the King". Under the arm experienced musician G. Cook resumed the activities of the King. chapels. However, despite the attraction of the king to the French. music culture, English was preserved in his chapel. nat. traditions.
As part of the boys' choir at Korol led by Cook. chapel was 9-year-old Henry Purcell, later a major composer. Purcell created great amount prod. all genres, marked by an amazing wealth of melody, inexhaustible fantasy, technical. freedom, decades ahead of the modern. him English. composers (his immediate predecessors and contemporaries - P. Humphrey, the author of many choral works of spiritual and secular content, and J. Jenkins - brought little new to the musical culture of the country). The most means. Purcell's achievements are connected with the theatre. music. The opera "Dido and Aeneas" (1689) is the largest phenomenon in the history of the English. music t-ra. Her music is brightly national. character, folk-song intonations are implemented, the plot itself is reworked in the spirit of English. nar. poetry. Purcell's wok innovations. monodies, recitative, a bold expansion of the expressive means of choral polyphony, and finally his universal mastery of instrumental writing raised A. m. to a new stage of development. Purcell's work completes the brilliant period of the A.M. era of Shakespeare and subsequent decades. However, Purcell did not have worthy students and successors.
Muses. life in England at the turn of the 17th and 18th centuries. more and more subject to the spirit of capitalism. entrepreneurship, influencing decomp. sides of culture and lawsuits. In London there are numerous. music publishing companies; the organizers of concerts and the patrons of musicians are the owners of theaters, clubs, keepers will amuse. gardens, for which music is primarily a source of income. Even during the life of Purcell in England, an influx of foreigners began. musicians. Among them are the French - R. Kamber, author of the opera "Pomona" (1671), L. Grabu, who became from 1665 hands. King. chapels in London; Italians - violinist N. Matteis, comp. J. Draghi, castrato singer F. D. Grossi; Germans - violinist T. Balzar and comp. J. Pepusch; Czech G. Finger. In 1705, a theater was opened in the center of London, on the stage of which Italian began to perform annually. opera troupe. Under contract with Italian composers - G. Bononchini, F. Amodei, A. Ariosti, F. Veracini, N. Porpora - the theater staged their new operas. Italian opera soon conquered the English. audience, pushing aside interest in nat. opera and creativity composers who have lost their most talented representative in Purcell. Thus ended the heyday of the A. m. and the period of its long crisis began, which lasted until the end of the 19th century.
In English music culture 1st floor. 18th century the activity of G. F. Handel played a major role. Handel lived in London c. 50 years old (1710-59). He easily adapted to tastes and arts. English requirements. public by creating St. 40 operas in Italian. style (performed by the London Italian troupe in Italian). German the composer stood in the center musical life England. This was facilitated not only by a bright creative. Handel's individuality, he will perform. skill, but also the energy of the organizer, democratic. direction of his research. Handel's influence was especially evident in the chorus. music. In his oratorios, osn. in antique, historical and biblical heroes. plots ("Judas Maccabee", "Samson", "Israel in Egypt", etc.), for the first time in music. The images embodied the struggle for the freedom-loving ideals of mankind. Ch. the role in them is entrusted to the choirs representing the people. In the oratorio works of Handel, the traditions of the English are generalized. choral culture. At the same time, elements of operatic dramaturgy play an important role in these oratorios. Handel strove to establish people's democratic ideals in art and set himself ideological and moral tasks.
A strong blow to the dominance of Italy. the opera was inflicted by "The Beggar's Opera" ("The beggar" s opera", London, 1728) by the English poet and playwright J. Gay and the German composer J. Pepusch, who lived in England. "The Beggar's Opera" is a parody of Italian opera and a vicious satire on the manners of English bourgeois society was an expression of the democratic opposition, which had a sensational success with a democratic audience (63 performances in the very first season) and remained in the repertoire of English theater for many years, subjected to various changes. staged and musical arrangements, The Beggar's Opera gave birth to a new genre of the so-called "ballad opera", revived the traditions of folk performances by minstrels of the 15th century.
Among the most significant. English composers of the 18th century - T. Arn, who created many. prod. for music t-ra, incl. popular comedian. the opera "Thomas and Sally" and the music for the mask "Alfred" will conclude. song "Rule Britannia!" ("Rule Britannia"), which is widely popular in modern times. England; W. Boyes - the first English. composer who wrote an oratorio in English. text "David's lamentation over Saul and Jonathan" ("David's lamentation over Saul and Jonathan", 1736), C. Dibdin - singer and composer, songwriter in the folk spirit, M. Arn, who wrote songs and music for the theater; T. Linley, who collaborated with the playwright R. Sheridan These composers, who created music for the dramatic theater and amuse the gardens of London, were gifted musicians, but their art lagged far behind the achievements of their contemporary great composers of Germany, Austria, of Italy and France; therefore, foreign musicians were invited to England, they ordered operas, oratorios, and symphonies. Among the foreign composers of the second half of the 18th century, J. Bach", the son of J.S. Bach, who worked in England in 1762-82). Since 1767, the Italian pianist and composer M. Clementi, who is considered the head of the English clavier school, lived in London. important event in english music life were the arrivals of J. Haydn (1791-92 and 1794-95), who wrote 12 symphonies in England ("London Symphonies") and made 187 arr. shotl songs. The only English composer who left England to work in Europe. continent, - J. Field (Irish by nationality), lived in Russia from the age of 20. Pianist and composer plays and concertos for piano, Field is considered the creator of the romantic genre of nocturne for piano.
From Ser. 18th century in parallel with the composer's school, the English began to form. the school of musicologists, among which the most famous are C. Burney, the author of the capital work "A general history of music" ("A general history of music", t. 1-4, 1776-89), J. Hawkins, who wrote the "General History of Music" musical theory and practice" ("General history of the science and practice of music", t. l - 5, 1776), etc.
Muses. Life in 18th century England manifested itself. arr. in the organization of large choirs. festivals that brought together many amateurs and prof. singers to perform Handel's oratorios (since 1715). Since 1724 in Gloucester, Worcester and Hereford alternately held the so-called. "Festivals of three choirs" (church), from 1768 - in Birmingham, from 1770 - in Norwich, from 1772 - in Chester, from 1777 - in Manchester, from 1784 - in Liverpool, etc. In 1784, the first Handel Festival took place in London ( in Westminster Abbey, where the composer is buried). There are many conc. and other music. ob-va that influenced the further development of A. m: the Academy of Early Music (since 1770, the first end. about-in in London); "Catch Club" (since 1761), uniting lovers of the choir. singing, the largest "Royal Music Society" (from 1762), "Concerts of Ancient Music" (from 1776; from 1783 - "Royal Concerts") and many others. etc. In connection with the increased interest in playing the harpsichord and (later) on the piano. (concerts by I. K. Bach, W. A. Mozart, M. Clementi) the production of keyboard instruments is developing. In 1728 was the main. the J. Broadwood firm (the oldest in the world), which at first produced harpsichords, and since 1773, grand pianos; in 1760 J. Hill founded a firm that manufactured strings. instruments and bows (later - "Hill and Sons"). In the 1st floor. 19th century England has not nominated a single major composer. Even the best of the English musicians could not rise above the imitation of music samples of other European composers. countries, mainly being followers of their own. and ital. teachers. None of them could express in their work the original features of the richest nat. culture of England. It is characteristic that outstanding muses. prod. on the plots of English masterpieces. arts. lit-ry were created by foreign. composers: "Oberon" Weber, "Otello" Rossini, "A Midsummer Night's Dream" Mendelssohn written by prod. Shakespeare; "Harold in Italy" by Berlioz, "Manfred" and "The Bride of Messina" by Schumann - according to Byron; "Lucia di Lammermoor" Donizetti - according to W. Scott and others.
The repertoire of the London t-ra "Covent Garden" (founded in 1732) consisted of preim. from production. foreign authors, as well as the concert programs of the Philharmonic. about-va (foundation in 1813), a cut of Ch. arr. popularized the symbol. the music of Beethoven and others. Western-European. composers.
English creativity. composers ser. 19th century it was eclectical (G. Bishop and M. Balfe created opera works of little originality, W. S. Bennett imitated Schumann and Mendelssohn). Did not contribute nat. originality in A. m. nor Ch. X. Parry - one of the founders of societies. English revival movement nat. music culture, nor Ch. Stanford, who raised mp. English composers. Both of them are highly educated and talented musicians, but are better known as educators and researchers than as composers.
The brightest examples of A. m. of the late 19th century. - operettas The Mikado by Sullivan (1885, author of 14 operettas in libre by Ch. Gilbert) and Geisha Jones (1896), which had big success and in other countries.
In the 19th century London becomes one of the centers of Europe. music life. Here performed: F. Chopin, F. Liszt, F. Mendelssohn, N. Paganini, G. Berlioz, R. Wagner, J. Verdi, C. Gounod, J. Meyerbeer, A. Dvorak, later - P. I. Tchaikovsky , A. K. Glazunov and others. In the "Covent Garden" theater, the Italian played. a troupe famous for its bel canto masters. big development received conc. life. In 1852 the New Philharmonic was organized. about-in, in 1857 - "about-in Hull" in Manchester. From 1857 London began to hold regular
Handel festivals (since 1859 - in the Crystal Palace), in which the number of participants reached 4000. Music. festivals were also held in Leeds (since 1874) and other cities. Spirit contests are organized. orchestras (the first - in Manchester, in 1853). From Ser. 19th century there is a growing interest in the performance and study of classical music. music, as well as to the ancient A. m. - the Gendelevsky (in 1843), Bakhovsky (in 1849) and Purcellovsky (in 1861) societies are organized, the society for the study of the Middle Ages. music art-va (Plainsong and medieval society, 1888).
In English music life of this period are democratic. trends. Nar was founded in 1878. a concert society that organized popular concerts for residents of the poorer quarters of London; in many the cities of England arise likes. choirs performing in churches, clubs, on open stages. Special success used student concerts. choir. teams. The choirs united in numerous choir. Society - Society of Sacred Harmony (since 1832), Association of Choirs (since 1833), King. choral society (since 1871), the Bach choir (since 1875) and many others. others
Expansion of the choir. movement in England was facilitated by a system of simplified musical notation, the so-called. "tonic - sol-fa", which was introduced in all general education schools. With the development of music life, the need for educational institutions grew, which means. music expanded. education. In London were opened: King. Academy of Music (1822), Trinity College (1872), King. music college (1883).
At the end of the 19th century music develops. science, incl. music lexicography: the 1st volume of "Grove's dictionary of music and musicians" is published, the works of classical music historian D. F. Tovey and theorist E. Prout.
The last decades of the 19th century English music historians consider the beginning of the "English musical revival". The turning point in the history of A. m. is the performance of music for scenes from P. B. Shelley's lyric drama "Prometheus Unbound" ("Prometheus unbound", 1880) Ch. X. Parry for soloists, choir and orchestra, in which he revives the traditions of the English. choir. polyphony of the 17th century, and, ch. arr, E. Elgar's oratorio "The Dream of Gerontius" ("The dream of Gerontius", conductor G. Richter, Birmingham). Muses. the public of England proclaimed the latter the beginning of the formation of a new nat. composer school. Elgar managed to overcome the "psychological barrier" of distrust of the British to the fatherlands. modern music. He created his own style and was recognized as the head of the new school. Elgar's compositions are marked by the freshness of the music. language and vivid imagination. Along with the "Dream of Gerontius" in the repertoire of many others. orchestras and soloists included his symphony. variations on the original. theme "Enigma" ("Enigma"), concertos for violin and for cello, 2nd symphony.
In the beginning. 20th century in A. m. have been developed folklore motifs, which were neglected by English composers. One of the first musicians who turned to the nat. sources was F. Dilius - the opera "Rural Romeo and Juliet" ("A village Romeo and Juliet", 1901) and rhapsodies for symphony. orchestra "Fair in Brigg" ("Brigg fair: an English rhapsody", 1907), "Dance Rhapsody" ("Dance rhapsody", 1908), etc. However, most of his colorful symphonies. poems of elegiac-pastoral content created under the influence of the French. impressionists and E. Grieg.
Elements of Nar are used more organically and creatively. A. m. in production. G. Holst, master of orchestra. letters. The study of Nar. music gave him thematic. material for a number of wok., symphon. and chamber instruments. essays. Along with this, in his most famous work. - orc. suite (7 pieces) "The planets" ("The planets", 1918) - manifested the composer's inclination to mysticism, passion for astrology.
Negro topics. folklore developed in the production. different genres S. Coleridge-Taylor, conductor and composer, author of the "Song of Hiawatha" - a trilogy for soloists, choir and orchestra. G. Bantok showed interest in the East and Celtic themes.
The revival of the national music contributed to the emergence of works on music. folklore: J. Broadwood - recordings of melodies with lyrics of peasant songs, made by him in 1843 and published by L. Broadwood and J. A. Fuller-Maitland in collections of nar. songs "Songs of the inhabitants of the English counties" ("English county songs", 1893) and "English ritual songs and carols" ("English traditional songs and carols", 1908), and Ch. arr. works of S. Sharp, to-ry for the period 1903-24 recorded over 3000 nar. UK songs and 1600 English songs. settlers from the Appalachian mountains (North America). These are songs. genres - ritual, labor, lyrical, comic, songs-ballads of fairy-tale or historical. content. Muses. and poetic. the structure of these songs captured the character traits of the people, figurative and phonetic. features of English speech.
The research activities of S. Sharp and his followers (J. A. Fuller-Maitland, M. Karpeles and R. Vaughan Williams), thanks to which the ancient Scots, Irl. and Welsh Nar. songs, aroused interest in music. traditions of the 15th-17th centuries. and to the ancient Nar. music claim. In 1898, Sharpe founded in London the Society of Nar. songs, engaged in the study and promotion of English. music folklore (existing until the 70s of the 20th century). In 1911, the Society of English was created. nar. Dance (in 1932 it was transformed into the Society of English Folk Dance and Song). Later interest in nat. music led to the formation of societies, to-rye popularized the work of the fatherlands. composers (British Music Society, 1918, etc.).
Creative. English achievements. composers at the beginning 20th century associated with art. the transformation of the national music traditions, appeal to people. music, testified to the approval of the new English. composer school. the most prominent representative"English musical revival" was R. Vaughan Williams. The study of Nar. Art-va helped Vaughan Williams find his own style and express the features of Nar. song art in symphony. and opera music.
Along with Vaughan Williams, J. Ireland, A. Bucks, and P. Warlock were staunch champions and successors of the ideas of the "English musical revival," who strove to renew the content and style of A. m. through the development of folk music. nat. traditions. In symph. and fp. writings of the Ireland National music the basis is combined with the influence of M. Ravel, K. Debussy and I. F. Stravinsky. Bucks recreated the images of irl. and English. nar. art-va in program symphonies, symphony. poems and chamber music. production; Warlock combined the muses in his face. scholar, English music antiquities and the author of songs on English verses. poets. On the subjects of ancient English. the operas of R. Boughton were also built of legends (for their production, he organized a small tr in Glastonbury). F. Bridge (teacher of B. Britten) belongs to the composers of this generation, however, his exquisite music. production language, who played known role in the development of chamber music, addressed to a narrow circle of listeners.
Muses. life in England at the turn of the 19th and 20th centuries. develops intensively, including provincial cities, where muses are created. schools, orchestras, choir. about-va; festivals are organized - in Cardiff (1892-1910), Sheffield (1896-1911), in London - Bach festivals (1895-1926), festivals dedicated to. Elgar (in 1904), F. Dilius (in 1929); competitions are held. The Association of Competitive Festivals was founded in 1905 (merged with the British Federation of Music Festivals in 1921). Of great importance for the promotion of symphony. music had public "Promenade Concerts" (held in London since 1838), to-rye in 1895-1944 was headed by G. Wood. In their program - music dec. schools, incl. writings of contemporary English composers. These concerts contributed to the development of the symphony. and oratorio A. m. beginning. 20th century
Along with the fruitful revival of the nat. traditions in the music of some composers of the 20s. influenced by expressionist aesthetics, constructivism, neoclassicism. A new stage in the development of English. music culture is characterized not only by the strengthening of nat. trends, but also an increase in prof. skill. The claim of A. Bliss, W. Walton, A. Bush, A. Benjamin, E. J. Moran, M. Tippett, C. Lambert, E. M. Maconkey, X. Ferguson, E. Rabra and others received recognition abroad. All of them continued to develop the traditions of the "English musical revival". Their experience, as well as the achievements of the composers next. generations - M. Arnold, J. Bush, J. Gardner, R. Arnell, A. Milner, P. Dickinson and others, confirm the presence in England of their nat. composer school.
A special place among modern English Composers are occupied by B. Britten, who enjoys world recognition as one of the greatest musicians of the 20th century. His operatic, oratorio and symphonic works are in the repertoire of the best orchestras, orchestras and soloists of the world.
In the work of S. Scott and L. Berkeley, the influence of the French is noticeable. Impressionists (the first studied in Germany, the second - in France). Some composers younger generation(P. R. Frikker, X. Searle, R. Bennett and others) from the 2nd half. 40s show interest in the dodecaphonic school of A. Schoenberg (see Dodecaphony). These composers, and later A. Göhr, resort to the technique of serial writing; their muses. language is devoid of national originality. The desire for a compromise between the latest methods of writing and stylistic. features of Old English. music is characteristic of the quest of P. M. Davis; D. Bedford is engaged in experiments in the field of electronic music.
In the 20th century the circle of English has expanded. musicologists; some of them specialized in a certain area of music, others studied the work of one composer: R. Morris (problems of counterpoint in the 16th century), M. Scott (J. Haydn), S. B. Oldman (W. Mozart), E Newman (R. Wagner and X. Wolf), C. S. Terry (J. S. Bach), M. A. E. Brown (F. Schubert). Among the authors of the monographic works and scientific research - E. Dent, E. Evans, E. Lockspeiser, J. A. Westrup, A. Robertson, S. Goldar, J. Mitchell, D. Cook. The study of Russian R. Newmarch and J. Abraham were engaged in music. The works of musicologists were published by Korol. music association (since 1874), work on the study of ancient instruments - the Society of them. Golpin (since 1946). Great contribution to English. musicology were "The Oxford History of Music" by G. K. Kolles ("Oxford history of music", 1934), as well as the works of E. Blom, editor of the 3rd and 4th ed. Grove's dictionary.
High artist. performer differs in level. English culture. orchestras, among which are the London Philharmonic Orchestra and the London Symphony, as well as the Symphony. Orchestra of the British Radio Corporation (BBC) and Symphony. Orchestra of Manchester.
She did a lot to popularize the old instr. music family Dolmech and especially A. Dolmech; in 1925 he organized an early music festival in Haslemere (Surrey).
In the music theater. life of England 1st half. 20th century as before, the leading role belongs to the opera house "Covent Garden" (it was closed during the 1st World War of 1914-18 and only in 1925 resumed its activity, again interrupted by the 2nd World War). From the 20s. 20th century his repertoire, as in the 19th century, consists of works. foreign (Ch. arr. Italian., French and German) composers performed by foreign. soloists. Only a few English the authors saw the post. his operas on the stage of this theater: R. Vaughan Williams - "Hugh the drover" ("Hugh the drover", 1924), "Sir John in love" ("Sir John in love", 1930), etc.; G. Holst - "On the head of a boar" ("At the Boar" s head", 1925), S. Scott - "The Alchemist" ("The Alchemist", 1928), etc. However, none of them remained in the repertoire. In the 1930s, London's Sadler's Wells began to stage operas by English composers along with Western European and Russian classics in English (this was an important innovation). There were posts: Purcell's Dido and Aeneas (1931), Benjamin's The Devil Take Her, Collingwood's Macbeth (1934), Walton's Troilus and Cressida (after Chaucer, 1954), " The traveling companion" ("The traveling companion") by C. Stanford (1935), Vaughan Williams and Britten operas.
English interest. composers to the ballet genre, caused by the tour of Rus. ballet ("Russian Seasons" under the direction of S. P. Diaghilev, held annually in London in 1911-29), contributed to the creation of a national ballet.
In 1931, N. de Valois was founded by the English. ballet troupe"Vic Wells balle", from 1942 called. "Sadler's Wells balle" (as part of its artistic council - composers A. Bliss and X. Searle). Here is a post. pl. English ballets. composers - "Job" by Vaughan Williams (1931), "Mot's Career" ("The rake" s progress, based on the paintings of W. Hogarth, 1935) by G. Gordon and others.
In 1934, at the expense of patron J. Christie, a theater for 400 seats was built on his estate Glyndebourne (Sussex), where every summer opera festivals with the participation of the best soloists. Initially ch. F. Bush and K. Ebert, who emigrated from Germany, were the conductor and director of the performances of the festival. Main the repertoire consisted of operas by W. A. Mozart, then by K. Gluck, G. Verdi, and other composers of the 19th century; authors. The Glyndebourne festivals have played a prominent role in enhancing the operatic culture in England. Spirit contests are becoming more and more popular. orchestras. In 1930, 200 spirits took part in the London competition. teams.
In the 30-40s. intensive development of music. life manifested itself in the creation of numerous. loves. and prof. music about-in and associations: Chamber Music Association (1934), Nat. music federation. Society (1935), Society of Performers Recording Records (1937), Commission for the Encouragement of New Music (1943), Society "Renaissance" (1944), Society of Viola da Gamba (1948) and many others. etc. Several people work in England. intl. music organizations: Intern. about modern music (since 1922), Intern. Folklore Council (since 1947).
Mass music. work among the working people of England is carried out by the Workers' Music. association (Workers Music Association, established in 1936), uniting amateur choirs, orchestras, publishing special. repertoire of mass songs, often political. content. Chairman of the association (since 1941) and author of many others. mass choirs and songs - prof. King. Academy of Music composer A. Bush.
During the 2nd World War 1939-45 muses. activity in the country was not interrupted. On the initiative and with the participation of the pianist M. Hess, concerts were organized in the basement of the Nat. arts. galleries. After the best conc. was destroyed by a bomb in 1941. London's Queen's Hall, symphony. the concerts were moved to other premises. In 1951, a new large conc. was opened in London. Hall "Festival Hall" (refurbished in 1965). New conc. halls were built in the provinces. cities of England. Means. revival in music the life of the country is contributed by the annual muses. festivals held in Cheltenham (since 1945, dedicated to contemporary music), Edinburgh (since 1947, International Music and Theater Festival - a review of foreign opera companies and symphonic orchestras), in London (since 1947), in Aldborough (since 1948, organized by B. Britten and representing the modern A. m.), in Bath (the I. Menuhin festival, since 1948), in Oxford (since 1948), the festival of mysteries and the arts festival in York (since 1951) , in Coventry (since 1958; in 1962 - a festival in the Coventry Cathedral), as well as international. music competitions in Leeds, etc.
Means. influence on the development of music. culture of modern England render muses. radio and television programs. In the 60s. pop wok was popular.-instr. quartet of young singers, the so-called. the beatles (beetles), who performed characteristic melodies (a combination of elements of Negro jazz and blues), which caused imitation in other countries. In the field of entertainment music (musical, musical revue, jazz), the influence of the United States is noticeable; jazz music, which has become widespread, is crowding out the muses. life of part of the British nat. English songs and dances, which negatively affects the formation of their tastes. Creativity pl. modern composers are characterized by hobbies decomp. avant-garde trends, testifying to the ideological crisis of bourgeois culture in England.
On the high level The production of gramophone records is located in England, the gramophone industry is united into large corporations, in 1936 the National Federation of Gramophone Society.
Among the English musicians of the 20th century: conductors - J. Barbirolli, T. Beecham, A. S. Boult, G. Wood, R. Kempe, A. Coates, M. Sargent, C. Halle; pianists - L. F. Kentner, F. A. Lamond, J. Moore, T. Mattei, B. Moiseevich, J. Ogdon, M. Hess, M. Limpani, H. Cohen; violinists - A. Campoli, G. Temyanka; violists - W. Primrose, L. Tertis; harpists - E. Parish-Alvars; guitarists - J. Williams; singers - J. Vivien, J. Hammond, K. Sheklok, K. Ferrier, K. A. Novello; singers - J. McCormack, P. Pierce; musicologists and musicians writers - E. Blom, E. Lockspeiser, M. Montague-Nathan, E. Newman, X. F. Redlich and others.
Literature: Ivanov-Boretsky M.V., Materials and documents on the history of music, vol. 2, M., 1934; Gruber R.I., History musical culture, vol. 1, part 2, M.-L., 1941; Schneerson G. M., Modern English music, M., 1945; Konen V. D., Ralph Vaughan Williams, M., 1958; Fuller-Maitland, J. A., English music in the 19th century, L., 1902; Sharp C. J., English folk song, L., 1907; Borren Ch., The sources of keyboard music in England, L., 1913; Kidson F. and Neal M., English folk-song and dance, Camb., 1915; Davey N., History of English music, L., 1921; Walker, E., History of music in England, N. Y., 1924, Oxf., 1952; Dent E. J., The foudations of English opera, Camb., 1928, L., 1949; Hadow H. English music, L., 1931; Scholes F. A., The puritans and music in England, L., 1934; his own, The mirror of music. 1844-1944 A century of musical life in Britain... v. 1-2, L., 1947; Gagey E. M., Ballad opera, N Y., 1937: Mayer E. H., English chamber music, L., 1946; Vasharash A. L., (ed.), Britich music of our time, L., 1946; Blom E., Music in England, Harmondsworth, 1947, Feliowes E. H., The English madrigal composers, L., 1948, Oxf., 1949; Westrup J. A., British music, L., 1949; his, Domestic music under the Stuarts, in Proceedings of the musical associations, LXVII, 1953; Nettel R., Seven centuries popular song, L., 1956; his, The orchestra in England: a social history, L., 1962; Knepler G., Musikgeschichte des XIX. Jahrh., Bd 1, B, (DDR), 1961; Schafer M., British composers in interview, L., 1963; Mackernes E. D., A social history of English music, L., 1964; Austin W. W., Music in the 20th century, N. Y., 1966; Mitchell D., The language of modern music, L., 1966; Howes F., Folk music in Britain and beyond, L., 1969; Lee E., Music of the people, L., (1970).
G. M. Schneerson
English composers, like many others, gave us something wonderful - music. Of course, many composers other than English ones have done this, but now we will talk about English ones. Their music has a certain charm, and each composer has his own special approach to works.
The beginning of the development of music in England
Until the 4th century, England, from the point of view of art historians, was considered one of the most "least musical" countries. Based on this fact, we can say that the works of English composers classical music, and in other respects any other, did not seem to connoisseurs of beauty to be something noteworthy and reverence. But even despite the opinion of skeptics and art critics, England had and has great and talented composers whose names are known to everyone, and melodies and works are valued not only in the country itself, but also abroad.
The first fame of composers of those times
Famous English composers began to appear and become famous somewhere in X-XV centuries. Of course, music appeared there much earlier, but the works were not very famous, and the names of composers have not survived to this day, just like their works. English composers of classical music first appeared and became somewhat famous in the 11th century. The first works appeared almost in the same period as the European ones. English composers of classical music conveyed stories about Celtic or simply military campaigns in their works. The works described the life of ordinary, or not quite, people living or having any connection with the Celtic islands and tribes.
After the adoption of Christianity, at the end of the 6th century, English composers of classical music began to actively develop their skills in the field of music, using church themes for this, and a little later, at the beginning and middle of the 7th century, domestic and state. Thus, it becomes clear that English music was dedicated to religion and the various military merits of the country.
The popularity of English classical composers in modern times
As you can see, music composers were not very popular in the fifth and seventh centuries, but how much of such composers are preferred now? Of course, in our time, they do not pay due attention to such music and often the latest musical novelties happen instead of the works of great composers. But the music of famous English composers can still be heard in our time - in opera houses or simply by finding a wonderful musical phenomenon on the Internet. Today you will get acquainted with some of the most famous composers, whose works are known in many countries and on many continents. The music of English composers, of course, is widespread in England itself and abroad, but does not have such a large number of admirers as then.
Who is Edward Benjamin Britten?
Benjamin Britten is a British composer of classical English music born in the 20th century. Benjamin was born in 1913 in Lowestoft. Benjamin is not only a composer, but also an excellent musician, namely a conductor and a professional pianist. He also tried many musical directions as a composer, his repertoire included vocal and piano pieces and opera performances. By the way, it was the third repertoire that became one of his most basic. Like any other famous composer, Edward Benjamin Britten has many different masterpieces behind him. opera music and plays.
The plays of Benjamin Britten and his popularity
The most famous play, which is staged in theaters in our time - "Noah's Ark". Judging by the title, and also by the plot of the play, it is easy to understand that the title itself confirms the fact that many works written before the 20th century and at its beginning often had a religious theme. Speaking of Benjamin, it is impossible not to mention his significance among composers of the mid-twentieth century. He was the most famous composer of the 20th century, one might even say that it was he who lifted the significance and beauty of English musical masterpieces "to heaven". After Edward's death, for a long time England "did not see" such talents.
Who is Gustav Holst?
Gustav Holst is one of the most famous English composers of the nineteenth and twentieth centuries. Gustav was born in 1830 and to this day he has retained his popularity, and his creations are still famous for lovers of beauty. Symphonies and melodies by Gustav Holst are not uncommon now, they are very easy to get in our time: there are many works in electronic form on the Internet, and it is easy to buy a CD with a collection of works by the great master.
Plays and works of Gustav Holst, their role in cultural institutions
You will say: “He was great and talented, but is he popular and are his creations popular now?” It is impossible to give an unambiguous answer to your question, because, like any musician, and especially the famous English composer of those times, he did not remain a favorite of the public, and people preferred musical novelties to his works. And no matter how famous and beloved by the public Gustav may be, in our time, few will remember his name. But it is impossible not to include him in our list, because once his example was an ideal for beginning English composers who dream of world fame and fame.
In conclusion, I would like to say that although English classical composers and their music are not currently successful and almost no one prefers such a magnificent genre as classical, genres, works and their authors still have admirers, the number of which is incredibly great for beginners and Not only classical composers. And remember: the classic is eternal and unchanging, because what it has remained for many centuries is the same now.
The concept of "composer" first appeared in the 16th century in Italy, and since then it has been used to refer to a person who composes music.
19th century composers
In the 19th century the Viennese music school represented by such an outstanding composer as Franz Peter Schubert. He continued the tradition of romanticism and influenced a whole generation of composers. Schubert created over 600 German romances, taking the genre to a new level.
Franz Peter Schubert
Another Austrian, Johann Strauss, became famous for his operettas and light musical dance forms. It was he who made the waltz the most popular dance in Vienna, where balls are still held. In addition, his legacy includes polkas, quadrilles, ballets and operettas.
Johann Strauss
A prominent representative of modernism in the music of the late 19th century was the German Richard Wagner. His operas have not lost their relevance and popularity to this day.
Giuseppe Verdi
You can contrast Wagner with a majestic figure Italian composer Giuseppe Verdi, who remained faithful opera traditions and gave Italian opera a new breath.
Peter Ilyich Tchaikovsky
Among the Russian composers of the 19th century, the name of Pyotr Ilyich Tchaikovsky stands out. He is characterized by a unique style that combines European symphonic traditions with Glinka's Russian heritage.
Composers of the 20th century
Sergei Vasilyevich Rahmaninov
One of the brightest composers of the late 19th - early 20th centuries is rightfully considered Sergei Vasilyevich Rachmaninov. His musical style was based on the traditions of romanticism and existed in parallel with the avant-garde movements. It was for his individuality and the absence of analogues that his work was highly appreciated by critics around the world.
Igor Fyodorovich Stravinsky
Second famous composer 20th century - Igor Fedorovich Stravinsky. Russian by origin, he emigrated to France, and then to the USA, where he showed his talent to the fullest. Stravinsky is an innovator, not afraid to experiment with rhythms and styles. In his work, the influence of Russian traditions, elements of various avant-garde movements and a unique individual style can be traced, for which he is called "Picasso in Music".
As ironic as it may sound, we must recognize the validity of the statement that England is a country where the audience is very musical, but there are no musicians!
This problem is all the more interesting because we know very well how high the musical culture of England was in the era of Queen Elizabeth. Where did the musicians and composers disappear to in England of the 18th-19th centuries?
It is not difficult to give a superficial answer. Great Britain traded, acquired colonies, carried out gigantic financial transactions, created industry, fought for a constitution, played chess on a huge board of the globe - and she did not have time to mess with music.
The answer is tempting, but not true. After all, this same England gave mankind great poets: Byron, Shelley, Burns, Coleridge, Browning, Crabbe, Keats, Tennyson, but can you name all those on this list of fame; merchant England gave birth great artists: Hogarth, Constable and Turner. The size of the chapter does not allow us to give here the names of all the masters of prose in England of the 18th-19th centuries. We will only mention Defoe, Fielding, Stern, Goldsmith, Walter Scott, Dickens, Thackeray, Stevenson, Meredith, Hardy, Lamb, Ruskin, Carlyle.
So the above argument is invalid. It turns out that merchant England was at its best in all forms of art, with the exception of music.
Perhaps we will come closer to the truth if we follow the train of thought of the musicologist Goddard. In The Music of Britain in Our Time, he writes: “English music lives first by admiration for Handel, then from Haydn, in the Victorian era this admiration was replaced by the adoration of Mendelssohn, and this adoration made Mendelssohn's compositions not only the criterion, but the only nutrient medium of music. There simply was no organization, association or class that would be inclined to support English music.
Although this explanation sounds somewhat crude and unlikely, nevertheless, if you think about it carefully, it is quite acceptable. The English aristocracy, as is well known, demanded, purely out of snobbery, Italian conductors and singers, French dancers, German composers, because she did not consider listening to her musicians a sufficiently secular matter, just as she traveled not to Scotland or Ireland, but to Italy or Spain, to the African jungle or to the icy world of fiords. Thus, national English music could be heard only when the rising and victorious bourgeoisie felt strong enough not to imitate in the field of theater, music, opera. high society”, and go where her mind, heart and taste lead her. But why was the English bourgeoisie able to find literature and poetry to its liking, and why did this not happen with music?
Yes, because the rising bourgeois brought with him the ideals of the Puritans, and with pious horror denied the brilliance of the opera stage, as if it were a phenomenon born at the instigation of the devil. The 19th century had to come with its rationalism, freer thinking, more distant from religion, more secular and, one might say, high-society outlook on life, so that the English bourgeois would turn to music, so that an era would come that ensures the right to a life full of perky dances. , sparkling with cheerful laughter of the opera-buffa Arthur Sullivan (1842-1900), to awaken the understanding of the cantatas of Hubert Parry (1848-1924), opened Edward Elgar oratorios: "Apostles", "Light of Christ", "King Olaf", "Dreams of Gerontius". Elgar is already smiling popularity and recognition. He is the court musician of the king. He alone receives as many awards as all the famous English musicians in the history of music from the Renaissance to the present day have not received.
But the influence of the music of the continent is still strong. So, following in the footsteps of Elgar Frederick Delius(1863-1934) studies in Leipzig and is freed from the influence of Mendelssohn by Paris, where he meets with Strindberg and Gauguin and, perhaps, meant even more for him than meeting with these great people, this is a meeting with the city itself on the banks of the Seine , with the French people, with Gallic wit.
Delius wrote the following operas: Coanga (1904), Rural Romeo and Juliet (1907), Fennimore and Gerda (1909).
Delius lived in a French milieu and, despite a respectable desire for creative freedom, could not completely free himself from the influence of the music of the continent.
The first true English composer of the 19th century was Ralph Vaughan Williams(1872), English nature singer, English people, a connoisseur of English song folklore. He addresses the ancient poet Banaien and the 16th-century composer Tellis. He writes a symphony about the sea and about London. He draws a musical portrait of the Tudors, but most of all makes English folk songs sound.
In the camp of English composers of the 19th century, he has a special place, not only because of his excellent technique, amazing taste and fruitfulness, but also because he has such qualities that were given only to Dickens or Mark Twain: he knows how to smile condescendingly, somewhat ironically, squinting his eyes, but humanly, as the above-mentioned great writers did.
For the stage, he wrote the following works:
The Pretty Shepherds, The Mountains (1922), Hugh the Driver (1924), Sir John in Love (1929), The Service (1930), The Poisoned Kiss (1936), The Sea Robbers (1937), Pilgrim's Success (1951).
Contemporaries of Vaughan Williams, English musicians-innovators, are trying to develop the style of a new English opera. There is no shortage of traditions: the composers of this era revive the traditions of old ballad operas, resurrect the spirit of Gay and Pepush: they mix lofty feelings with burlesque, pathos with irony; but most of all I am inspired by English poetry - a treasury of poetic beauties, the world of thoughts.
From among the English composers late XIX- the beginning of the 20th century, we will only mention those who contributed to the formation of modern stage music.
Arnold Bax (1883-1953) became famous as a composer of ballets.
William Walton (1902) wins great success with Troilus and Cressida (1954).
Arthur Bliss (1891) attracted attention with an opera based on a libretto by Priestley, The Olympians (1949).
Eugene Goossens (1893-1963) appeared on the English opera stage with Judith (1929) and Don Juan de Manara (1937).
But world success brought English opera works of Benjamin Britten.
England is called the most "non-musical" country in Europe. According to art historians, the history of the origin of English music goes back to the distant 4th century, when Celtic tribes lived on the territory of the British Isles. In the surviving songs and ballads of that time, singers and bards described military campaigns, exploits, romantic legends and love for native land. A new stage in the development of the culture of England falls only on the VI century, with the adoption of Christianity musical art began to develop rapidly: first under the church, and then under the state.
Today, English composers are not as famous as their European counterparts, and then it is rather difficult to quickly recall their names or works. But, if you look into the history of world music, you can find out that the United Kingdom gave the world such great composers as Edward Elgar, Gustav Holst,Ralph Vaughan Williams and Benjamin Britten.
The heyday of musical culture in Great Britain fell on the reign of Queen Victoria. In 1905, the first symphony was written in England, the author of which was Edward Elgar. General recognition of the young composer brought an oratorio called "The Dream of Gerontius", which was written in 1900, as well as "Variations on a mysterious theme." Elgar was recognized not only by England, but by the whole of Europe, and the famous Austrian Johann Strauss even noted that Elgar's creations are the pinnacle of English romanticism in the field of music.
Gustav Holst is another famous English composer who lived in the nineteenth century. He is called the most original and unusual creator of classical music - he received such recognition for a scene called "Planets". This work consists of seven parts and describes the planets of our solar system.
The next in the list of great composers is the founder of the school of the "English musical Renaissance", the great-nephew of Charles Darwin - Ralph Vaughan Williams. In addition to composing music, Williams was also active in social work and collected English folklore. Among his most famous works are three Norfolk Rhapsodies, fantasies on the theme of Tallis for double string orchestra, as well as symphonies, three ballets, several operas and arrangements of folk songs.
Among the modern composers of England, it is worth highlighting the Baron Edward Benjamin Britenne. Britten wrote works for chamber and symphony orchestras, church and vocal music. Thanks to him, there was a revival of opera in England, which was in decline at that time. One of the main themes of Britenn's work was the protest against the manifestation of violence and war in favor of peace and harmony in human relationships, which was most clearly expressed in the "War Requiem", written in 1961. Edward Benjamin also often visited Russia and even wrote music to the words of A. S. Pushkin.
