Great composers of classical music. Great Composers of the World

⁰

Slide 2

Berezovsky Maxim Sozontovich 1745-1777

Russian composer Ukrainian origin, also worked in Italy.
Born on October 16, 1745 in Glukhov.
He received his higher education at the Kiev-Mohyla Academy, where he began to write his own works.
In 1758, for his exceptional vocal abilities, he was sent to St. Petersburg, where he became a soloist in the Court Singing Chapel of Prince Pyotr Fedorovich.
He performed as a singer-soloist ( Italian opera in Oranienbaum). In 1765-1774 he lived in Italy, where he was sent for improvement. There he wrote the concert “Do not reject me in my old age” and the Hymns of the Divine Liturgy.
1771 - Passed the exam at the Bologna Philharmonic Academy for the title of academician-composer.
1771 He wrote the opera “Demophon” (libretto by P. Metastasio), staged in 1773 in Livorno), and, as a result, became the first Russian Empire opera composer.
Died March 22, 1777.

Slide 3

Bortnyansky Dmitry Stepanovich 1751-1825

Slide 4

Outstanding Russian spiritual composer.
Born in Ukraine, in the city of Glukhov.
As a boy he was taken into the court singing choir. He studied music in St. Petersburg, then was sent to study in Venice. He lived in Italy in 1769-1779, his operas were staged in Italian interpretations.
Operas: "Creon" 1776, "Alcides" 1778, "Quintus Fabius", 1778.
Upon returning to St. Petersburg, he was appointed “composer of the court singing choir”, from 1796 - “director vocal music" and manager of the Court Choir.
Created about 100 compositions. in the genre choral concert“a cappella”, Lenten chants (“Let my prayer be corrected”, “Now are the powers of heaven”, etc.), Easter chants (“Angel is crying”, “Shines, shines”), the hymn “How Glorious is Our Lord in Zion”, many departments chants from the church. services (including seven “Cherubim”).
Bortnyansky was the largest and most popular composer of his time, his works were performed church choirs, fortress chapels, ensembles.
Bortnyansky also paid attention to secular music (the operas “The Feast of the Senor” 1786, “The Falcon” 1786, “The Rival Son, or the New Stratonica” 1787.
He also wrote as a chamber instrument. ensembles; romances; choir "Singer in the camp of Russian warriors" 1812, to the words of V. A. Zhukovsky).

Slide 5

Pashkevich Vasily Alekseevich 1742 – March 9, 1797

Slide 6

Pashkevich Vasily Alekseevich1742 – March 9, 1797

Russian composer, conductor, teacher, violinist, singer, one of the creators of Russian national opera.
Vasily Pashkevich entered the court service in 1756, and was assigned to the staff of the court chapel.
In 1763 he began to play in the orchestra " ballroom music"(second court orchestra of Catherine II).
In 1783, after success three operas in a row Pashkevich was awarded the title of “chamber musician”, and in 1789 - “accompanist of ballroom music” with the rank of collegiate assessor.
Vasily Pashkevich also led musical part"Free Theatre", studied pedagogical activity.
Paul I, after the death of his mother, dismissed the composer from court service. Left without work and livelihood, Vasily Pashkevich died on March 9 (March 20), 1797, leaving a widow with a one-year-old daughter.

Slide 7

Works

“Misfortune from the Coach” 1779
"The Miser" 1782
"Tunisian Pasha" 1783
"Fevey", libretto by Catherine II 1786
“Fedul with Children”, libretto by Catherine II 1791
“As you live, so will you be known” 1792
“The clerk unhappy in love” 1795

"Temple of Universal Rejoicing", music for the "theater festival"
"Oleg's Initial Administration", dramatic performance 1790
4-voice spiritual concerts “Now is the time to appear”, “Come, let us rise”, “Rejoice people and be merry”, “Glory to God in the highest”, “Lord hear my voice”
Chorus “Cupid and Psyche” 1793

Slide 8

Fomin Evstigney Ipatievich 1761 - 1800

Slide 9

Fomin is one of the first professional Russian composers, whose work had a significant influence on further development Russian opera. Fomin's legacy, however, remained little known until the mid-20th century, when some of his operas were staged in theaters in Moscow and Leningrad.
Born on August 5, 1761 in St. Petersburg.
At the age of six he was sent to the Educational School at the Imperial Academy of Arts, then studied at the academy itself, where he mastered playing the harpsichord, music theory and composition.
After graduating from the academy in 1782, Fomin was sent to Bologna to improve his musical skills.
In 1785, under the name Eugenio Fomini, Fomin was elected a member of the Bologna Philharmonic Academy.
In 1786, Fomin returned to St. Petersburg, where he wrote his first opera, “The Novgorod Bogatyr Vasily Boeslavich” to the libretto of Empress Catherine II. The opera in five acts, completed by the composer unusually quickly - within one month - was already staged in the same year Hermitage Theater St. Petersburg.
In 1786–1788 he served in the office of G. R. Derzhavin.
In Tambov in 1788, the libretto of Fomin’s opera “Coachmen on a Stand” was published anonymously.
In 1788, Fomin wrote one of his most famous operas, “The Americans,” to a libretto by 19-year-old Ivan Krylov. Directorate imperial theaters did not accept it for production, and only in 1800 did this opera see the stage.
To others famous essay Fomina is a melodrama "Orpheus and Eurydice", written in 1791.
In 1797, Fomin was hired as a tutor at court theaters, where he helped singers learn opera parts.
He died on April 28, 1800 in St. Petersburg.
The scores of “Coachmen on a Stand”, “The Americans”, “Orpheus and Eurydice”, as well as the chorus from the music for the play “Yaropolk and Oleg” (1798) have survived to this day.
The operas “Novgorod Bogatyr Vasily Boeslavich” and “ Golden Apple"(last of famous works composer) are preserved in the form of orchestral parts.

Evolution of music

In the first half of the 18th century, the evolution of music reaches a brilliant era. Forms that originated at the beginning of the 17th century reach the highest level of perfection. Four great masters, working in four different countries, define the entire musical art of this period with their work: Alexandro Scarlatti in Italy, Jean Philippe Rameau in France, Johann Georg Handel in England, and Johann Sebastian Bach in Germany.

Depending on tastes and trends, one can evaluate their works differently. But the fact that all four, each in his own field, fulfilled his mission with equal perfection is not in doubt. Two of them are Germans. The power of their creativity concentrated around itself everything significant that had been achieved until then by European music.

In the first half of the 18th century, it still dominated italian music and has perhaps never been more brilliant. In Germany, as early as the 17th century, they spread the custom of appointing Italians to positions in court chapels and serving in theaters, and even establishing the entire Italian opera. The splendor and pomp of the performances surpassed anything seen up to that time. Italians appear everywhere and take first places in England, Poland, Russia, and not just in Germany. France alone steadfastly resists the onslaught of Italian opera and rejects both its bad and good sides equally.

Having separated from Venice, Naples at the beginning of the 18th century took over the leadership of the musical movement in the field of opera. Thanks to Francesco Provenzeale and Alexandro Scarlatti, Naples, which until then had not played a significant role in the development of music, gives its name to a school with a specific direction and is glorified through this.

Francesco Provenzeale is the composer of a number of operas: comic ("The Slave of His Wife"), serious on ancient subjects (Cyrus, Crerks, Eritrea, etc.). Francesco Provenzeale was influenced by the Venetians, but as a result developed a style that soon became characteristic of the entire Neapolitan opera school, and then for the entire Italian opera of the 18th century.

Alexandro Scarlatti was born in 1659 in Sicily, died in Naples in the 17th century, a student of Carissimi, after staging his first opera “An Innocent Error” in Rome in 1679, he became conductor in 1680 at the court of the Swedish Queen Christina, who lived in Rome. In 1694 Scarlatti became conductor to the Viceroy in Naples. From XVII 03 to XVII 08 he runs a metriza (music school) at one of the Roman churches, then returns to Naples again. The number of Scarlatti’s works is colossal: 1 XVIII operas alone, 700 cantatas, etc.

The style of the Neapolitan school has distinct features. First of all, this is a melodic style, based entirely on our modal and tonal major-minor system. Melody - main element Neapolitan music, a richly expanded melody, passionate and sultry, expressive of a powerful, immediate feeling. This feeling is common to everyone - immediately, from the first sounds, understandable. Thus, melody in the Neapolitan school is the strongest generalizing and unifying social factor. Melodiousness (vocality) is an essential quality of this lyrical-dramatic music. This is where its forms come from, this is where the expressive melodic recitatives of Neapolitan operas with rich instrumental accompaniment, hence the whole peculiar structure of these operas: a sequence of arias connected by recitatives.

Jean Philippe Rameau (1683-XVII 64) - one of the brightest representatives operatic art XVIII century in France. Rameau first showed his musical activity as an organist-theorist and as a composer of harpsichord and religious music. Only in XVII 33 he managed to attract attention to himself as a theater composer with his opera “Hippolytus”.

This is original and typical from start to finish. French work: everything is in moderation, everything is clear, everything is balanced, the feeling is moderated by the reason, taste and habitual discipline of a person, restrained by the framework of public politeness, gallantry and irony. Rameau's music is a complete contrast with the sensual nakedness of Italian lyrics and with the German "immersion into oneself", into personal mental life. True, in Rameau’s work - a rare case - they merged great composer and a great theorist. The composer's temperament is cooled by the rationality of the researcher, and, conversely, speculative conclusions are supported by the composer's insight and feeling, because theoretical work Rameau is still more likely the work of a practicing musician, coming from experience, than of a genuine thinker.

Rameau's music is figurative, plastic and theatrical. Until the end of the 19th century, the theater was one of the most important organs of French intellectual life. Most of, if not all French music XVII and the 18th century and beyond, including Berlioz, is figurative and plastic and is the music of theater and ballet. All concert and chamber music France from Couperin's suites to orchestral works Debussy, and in the center of the symphony and oratorio Berlioz is associated with theatricality. Here are a few more operas by Rameau: The Gallant Indians (XVII 35), Castor and Pollux (XVII 37) The Triumphs of Hebe (XVII 39) Dardanus (XVII 39).

Gluck's reform was very important for the history of musical drama. Its starting point was the Neapolitan opera, but the reform itself took place on French territory. In his music, Gluck expressed the new ideals of his era and created a work that still resists time. Ancient myth came to life in a sincere and sincere, crystal pure music and in simple action: no intrigue, no interludes, no minor characters(one pathetic cupid appears as a concession to old operatic tastes). The chorus and ballet form organic links in the action, rather than random insertions. The famous “no” - the stern answer of the shadows of hell to the prayers of Orpheus - is one of the strongest dramatic effects, dancing and singing in the Champs Elysees is one of the most touching moments in all theatrical Western European music.

"Orpheus" was composed on an Italian text, and the main role also intended for viola. But the Italians, accustomed to full-blooded sensual melody and the richness of cultural color, did not understand simplicity dramatically expressive music"Orphea". Gluck continued his work and offered the Venetian public Alceste, followed by another opera, Paris and Helen.

In the first half of the 18th century, with the work of Handel (1685-XVII 59) and Bach, German music advanced two gigantic, unattainable peaks. Early in his career, Handel was influenced by Neapolitan influences. Since it was dominant, such a powerful talent as Handel's could not pass by it without overcoming it and thereby enriching its technique. His early works V Italian style are not devoid of expressive beauty, but they still do not give the whole of Handel. What was best and original in him could not fully manifest itself in forms alien to him. Like Gluck (and later Mozart), he had to create his own art. England, with its centuries-old, tightly organized choral religious music, gave him the right means of influence. Personally, it was hard for him to bear the failure of his operas and his entire struggle for the opera business, but for music, Handel’s failure in this area should be considered an absolutely good outcome: failures opened Handel’s eyes and sent him on the right path, perhaps against his will. Handel wrote oratorios - essentially musical dramas. Here are all the most significant works of Handel in this kind: Messiah (XVII 42) Acisse and Galatea, Esther - XVII 32, Deborah - XVII 33, The Festival of Alexander or the Triumph of Music - XVII 36, Saul - XVII 38, Israel in Egypt - XVII 39, Samson - XVII 43, Belshazzar - XVII 44, Judah Maccabee - XVII 46, Joseph - XVII 48, Susanna, Solomon, Theodora, Jephtha - XVII 48-XVII 51

Johann Sebastian Bach (1685 - XVII 50) is the end point of a long chain of evolution. Bach's works are the mighty vaults of the building and the dome crowning the huge monument. Bach's influence began to be felt more strongly not during his lifetime, but from the beginning of the 19th century. And if one cannot agree with the opinion of modern admirers of his art that Bach is the creator of all European music, then we can fully consider him his father modern music. Bach never had a chance to visit Italy. Therefore, his writings retained a purely German tartness. Therefore, most connoisseurs of the music of his time, already accustomed to the soft rhythms, accents and catilenes of the Neapolitan school, did not understand his brilliant work and did not pay him due attention: his compositions seemed pompous. Outside of a small circle of students and a few German organists, Bach's influence on his era was extremely limited. His works were engraved very rarely. Most of them remained in manuscripts and were copied by the composer himself.

Wolfgang Amadeus Mozart (XVII 56-XVII 91) was a student of his father Leopold Mozart, an outstanding violinist and teacher, who recognized his son’s genius and devoted his life to its formation. In Munich, during the carnival of XVII 75, he composed the opera "The Court Gardener", and in the same year - "The Shepherd King". In XVII 81 his serious classical Italian opera Idomeneo was performed in Munich. In XVII 82 the "Abduction from the Seraglio" is performed! In the XVII 86 they staged "The Marriage of Figaro" in Venen. in XVII 87 Don Juan was shown in Prague. XVII 88 three great symphonies in g-moll, Es-dur and c-dur were composed. In XVII 90 he wrote the opera “This is what everyone does.” Composed in XVII 91 latest operas"Titus", "The Magic Flute" and "Requiem".

Ludwig van Beethoven

Ludwig van Beethoven- The greatest composer of the early 19th century. Requiem and Moonlight Sonata immediately recognizable to anyone. The composer's immortal works have always been and will be popular because of Beethoven's unique style.

- German composer of the 18th century. Without a doubt the founder of modern music. His works were based on the versatility of harmonies various instruments. He created the rhythm of music, which is why his works lend themselves easily to modern instrumental processing.

- The most popular and understandable Austrian composer late 18th century. All his works are simple and ingenious. They are very melodic and pleasant. A little serenade, a thunderstorm and many other rock-arranged compositions will have a special place in your collection.

- Austrian composer of the late 18th, early 19th centuries. A truly classical composer. The violin had a special place for Haydn. She is a soloist in almost all of the composer's works. Very beautiful and mesmerizing music.

- Italian composer of the first half of the 18th century No. 1. The national temperament and a new approach to arrangement literally blew up Europe in the mid-18th century. The "Seasons" symphonies are business card composer.

- Polish composer of the 19th century. According to some information, he is the founder of the combined genre of concert and folk music. His polonaises and mazurkas blend seamlessly with orchestral music. The only drawback in the composer's work was considered to be too soft a style (lack of strong and fiery motives).

- German composer of the late 19th century. He was spoken of as the great romantic of his time, and his “German Requiem” eclipsed other works of his contemporaries in its popularity. The style in Brahms's music is qualitatively different from the styles of other classics.

- Austrian composer of the early 19th century. One of the greatest composers unrecognized during his lifetime. Very early death at 31, she did not allow Schubert to fully develop his potential. The songs he wrote were the main source of income when the greatest symphonies were collecting dust on the shelves. It was only after the composer's death that the works were highly appreciated by critics.

- Austrian composer of the late 19th century. The founder of waltzes and marches. We say Strauss - we mean waltz, we say waltz - we mean Strauss. Johann Jr. grew up in the family of his father, a composer. Strauss the elder treated his son's works with disdain. He believed that his son was doing nonsense and therefore humiliated him in every possible way in the world. But Johann the Younger stubbornly continued to do what he loved, and the revolution and the march written by Strauss in its honor proved his son’s genius in the eyes of European high society.

- One of the greatest composers of the 19th century. Master of Opera. Verdi's Aida and Othello are extremely popular today thanks to the true talent of the Italian composer. The tragic loss of his family at the age of 27 crippled the composer, but he did not give up and delved into creativity, writing several operas at once. short term. High society highly appreciated Verdi's talent and his operas were staged in the most prestigious theaters in Europe.

- Even at the age of 18, this talented Italian composer wrote several operas that became very popular. The crowning achievement of his creation was the revised play " Barber of Seville"After presenting it to the public, Gioachino was literally carried in his arms. The success was intoxicating. After this, Rossini became a welcome guest in high society and acquired a solid reputation.

- German composer of the early 18th century. One of the founders of opera and instrumental music. In addition to writing operas, Handel also wrote music for “the people,” which was very popular in those days. Hundreds of songs and dance tunes the composer's songs thundered in the streets and squares in those distant times.

- The Polish prince and composer is self-taught. Having no music education became famous composer. His famous polonaise is known all over the world. During the composer’s time, a revolution was taking place in Poland, and the marches he wrote became the anthems of the rebels.

- Jewish composer born in Germany. His wedding March and "Dream in summer night"have been popular for hundreds of years. The symphonies and compositions he wrote are successfully received all over the world.

- German composer of the 19th century. His mystically anti-Semitic idea of the superiority of the Aryan race over other races was adopted by the fascists. Wagner's music is very different from the music of his predecessors. It is aimed primarily at connecting man and nature with an admixture of mysticism. His famous operas"The Rings of the Nibelungs" and "Tristan and Isolde" confirm the revolutionary spirit of the composer.

- French composer mid-19th century. Creator of "Carmen". From birth he was a child of genius and at the age of 10 he already entered the conservatory. During his short life (he died before he was 37 years old) he wrote dozens of operas and operettas, various orchestral works and one-symphonies.

- Norwegian composer and lyricist. His works are simply full of melody. During his life he wrote a large number of songs, romances, suites and etudes. His composition “Cave of the Mountain King” is very often used in cinema and modern pop music.

- American composer of the early 20th century - author of “Rhapsody in Blue,” which is especially popular to this day. At 26, he was already Broadway's first composer. Gershwin's popularity quickly spread throughout America, thanks to numerous songs and popular shows.

- Russian composer. His opera "Boris Godunov" is the hallmark of many theaters around the world. The composer in his works relied on folklore, considering folk music to be the music of the soul. "Night on Bald Mountain" by Modest Petrovich is one of the ten most popular symphonic sketches in the world.

The most popular and greatest composer of Russia is of course. "Swan Lake" and "Sleeping Beauty", "Slavic March" and "The Nutcracker", "Eugene Onegin" and "The Queen of Spades". These and many more masterpieces musical art were created by our Russian composer. Tchaikovsky is the pride of Russia. All over the world they know “Balalaika”, “Matryoshka”, “Tchaikovsky”...

- Soviet composer. Stalin's favorite. Mikhail Zadornov strongly recommended listening to the opera “The Tale of a Real Man.” But mostly Sergei Sergeich’s work is serious and deep. "War and Peace", "Cinderella", "Romeo and Juliet", a lot of brilliant symphonies and works for orchestra.

- Russian composer who created his own inimitable style in music. He was a deeply religious man and a special place in his work was given to writing religious music. Rachmaninov also wrote a lot of concert music and several symphonies. His last work, “Symphonic Dances,” is recognized as the composer’s greatest work.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Evolution of music

In the first half of the 18th century, Italian music still dominated and, perhaps, never was more brilliant. In Germany, as early as the 17th century, they spread the custom of appointing Italians to positions in court chapels and serving in theaters, and even establishing the entire Italian opera. The splendor and pomp of the performances surpassed anything seen up to that time. Italians appear everywhere and take first places in England, Poland, Russia, and not just in Germany. France alone steadfastly resists the onslaught of Italian opera and rejects both its bad and good sides equally.

Francesco Provenzeale is the composer of a number of operas: comic ("The Slave of His Wife"), serious on ancient subjects (Cyrus, Crerks, Eritrea, etc.). Francesco Provenzeale was influenced by the Venetians, but as a result he developed a style that soon became characteristic of the entire Neapolitan opera school, and then of the entire Italian opera of the 18th century.

The style of the Neapolitan school has distinct features. First of all, this is a melodic style, based entirely on our modal and tonal major-minor system. Melody is the main element of Neapolitan music, a richly expanded melody, passionate and sultry, expressive of a powerful, immediate feeling. This feeling is common to everyone - immediately, from the first sounds, understandable. Thus, melody in the Neapolitan school is the strongest generalizing and unifying social factor. Melodiousness (vocality) is an essential quality of this lyrical-dramatic music. This is where its forms come from, this is where the expressive melodic recitatives of Neapolitan operas with rich instrumental accompaniment come from, this is where the entire unique structure of these operas comes from: a sequence of arias connected by recitatives.

Jean Philippe Rameau (1683-XVII 64) is one of the brightest representatives of the operatic art of the 18th century in France. Rameau first showed his musical activity as an organist-theorist and as a composer of harpsichord and religious music. Only in XVII 33 he managed to attract attention to himself as a theater composer with his opera “Hippolytus”.

This is from beginning to end an original, typical French work: everything in moderation, everything is clear, everything is balanced, feeling is moderated by reason, taste and the habitual discipline of a person restrained by the framework of public politeness, gallantry and irony. Rameau's music is a complete contrast with the sensual nakedness of Italian lyrics and with the German "immersion into oneself", into personal mental life. True, in Rameau's work - a rare case - a great composer and a great theorist merged. The composer's temperament is cooled by the rationality of the researcher, and, conversely, speculative conclusions are supported by the composer's insight and feeling, for Rameau's theoretical works are still more likely the work of a practicing musician, coming from experience, than of a genuine thinker.

Rameau's music is figurative, plastic and theatrical. Until the end of the 19th century, the theater was one of the most important organs of French intellectual life. Most, if not all French music XVII and XVIII centuries and beyond, including Berlioz, is figurative and plastic and is the music of theater and ballet. All concert and chamber music in France, from Couperin's suites to Debussy's orchestral works, and in the center of Berlioz's symphonies and oratorios, is associated with theatricality. Here are a few more operas by Rameau: The Gallant Indians (XVII 35), Castor and Pollux (XVII 37) The Triumphs of Hebe (XVII 39) Dardanus (XVII 39).

Gluck's reform was very important for the history of musical drama. Its starting point was the Neapolitan opera, but the reform itself took place on French territory. In his music, Gluck expressed the new ideals of his era and created a work that still resists time. The ancient myth came to life in sincere and sincere, crystal clear music and in uncomplicated action: no intrigue, no interludes, no minor characters (one pathetic cupid appears as a concession to old operatic tastes). The chorus and ballet form organic links in the action, rather than random insertions. The famous “no” - the stern answer of the shadows of hell to the prayers of Orpheus - is one of the strongest dramatic effects, dancing and singing in the Champs Elysees is one of the most touching moments in all theatrical Western European music.

"Orpheus" was composed to an Italian text, and the main role was also intended for the viola. But the Italians, accustomed to full-blooded sensual melody and the richness of cultural color, did not understand the simplicity of the dramatically expressive music of "Orpheus". Gluck continued his work and offered the Venetian public Alceste, followed by another opera, Paris and Helen.

In the first half of the 18th century, with the work of Handel (1685-XVII 59) and Bach, German music advanced two gigantic, unattainable peaks. Early in his career, Handel was influenced by Neapolitan influences. Since it was dominant, such a powerful talent as Handel's could not pass by it without overcoming it and thereby enriching its technique. His early works in the Italian style are not without expressive beauty, but they do not yet give the whole of Handel. What was best and original in him could not fully manifest itself in forms alien to him. Like Gluck (and later Mozart), he had to create his own art. England, with its centuries-old, tightly organized choral religious music, gave him the right means of influence. Personally, it was hard for him to bear the failure of his operas and his entire struggle for the opera business, but for music, Handel’s failure in this area should be considered an absolutely good outcome: failures opened Handel’s eyes and sent him on the right path, perhaps against his will. Handel wrote oratorios - essentially musical dramas. Here are all the most significant works of Handel in this kind: Messiah (XVII 42) Acisse and Galatea, Esther - XVII 32, Deborah - XVII 33, The Festival of Alexander or the Triumph of Music - XVII 36, Saul - XVII 38, Israel in Egypt - XVII 39, Samson - XVII 43, Belshazzar - XVII 44, Judah Maccabee - XVII 46, Joseph - XVII 48, Susanna, Solomon, Theodora, Jephtha - XVII 48-XVII 51

Johann Sebastian Bach (1685 - XVII 50) is the end point of a long chain of evolution. Bach's works are the mighty vaults of the building and the dome crowning the huge monument. Bach's influence began to be felt more strongly not during his lifetime, but from the beginning of the 19th century. And if one cannot agree with the opinion of modern admirers of his art that Bach is the creator of all European music, then one can fully consider him the father of modern music. Bach never had a chance to visit Italy. Therefore, his writings retained a purely German tartness. Therefore, most connoisseurs of the music of his time, already accustomed to the soft rhythms, accents and catilenes of the Neapolitan school, did not understand his brilliant work and did not pay him due attention: his compositions seemed pompous. Outside of a small circle of students and a few German organists, Bach's influence on his era was extremely limited. His works were engraved very rarely. Most of them remained in manuscripts and were copied by the composer himself.

Wolfgang Amadeus Mozart (XVII 56-XVII 91) was a student of his father Leopold Mozart, an outstanding violinist and teacher, who recognized his son’s genius and devoted his life to its formation. In Munich, during the carnival of XVII 75, he composed the opera "The Court Gardener", and in the same year - "The Shepherd King". In XVII 81 his serious classical Italian opera Idomeneo was performed in Munich. In XVII 82 the "Abduction from the Seraglio" is performed! In the XVII 86 they staged "The Marriage of Figaro" in Venen. in XVII 87 Don Juan was shown in Prague. XVII 88 three great symphonies in g-moll, Es-dur and c-dur were composed. In XVII 90 he wrote the opera “This is what everyone does.” In XVII 91 the last operas “Titus”, “The Magic Flute” and “Requiem” were composed.

Similar documents

Short review works of the German composer and organist Johann Sebastian Bach. Study of the main features of the keyboard style of I. Bach. General characteristics of the ancient suite genre. Analysis of the features of Bach's style in " French Suite"No. 2 in C minor.

test, added 01/04/2014

short biography And general characteristics the works of two great composers - Johann Sebastian Bach (1685-1750) and George Frideric Handel (1685-1759), as well as an analysis of their relationships. Peculiarities of the creation of Genedel's biblical epic oratorios.

abstract, added 07/24/2010

The era of Jean Philippe Rameau - one of the most outstanding composers of his homeland. Rameau and the "big" French opera. "War of the Buffoons". French lyrical tragedy as a genre. Lyrical tragedies of Rameau. Rameau and De La Bruere. Rameau is the sounding Versailles.

course work, added 02/12/2008

The oratorio genre in the works of I.S. Bach. The main musical instrument of the Baroque. Transitional phase between late Baroque and early classicism. Music of the classical period. Prominent composers XVIII century The leading genre in Bach's vocal and instrumental works.

abstract, added 07/11/2011

Biography of Johann Sebastian Bach - the great German composer, representative of the Baroque era, virtuoso organist, music teacher. Organ and keyboard creativity, orchestral and chamber music, vocal works. The fate of Bach's music.

presentation, added 05/13/2015

Prerequisites for the flourishing of the music of French harpsichordists. Keyboards musical instruments XVIII century. Features of the Rococo style in music and other forms of creativity. Musical images French harpsichordists, harpsichord music by J.F. Rameau and F. Couperin.

course work, added 06/12/2012

Decline in the composer's popularity last years life and after his death. Renewed interest among the general public in the music of Johann Sebastian Bach after the publication of his first biography. Awareness of the musical and pedagogical value of the composer’s works.

presentation, added 04/10/2011

The work of Johann Sebastian Bach, a special place among the works for organ “Toccata and Fugue in d minor”. The main dramatic idea stated at the beginning. Form of the work. The use of the theme, both in expositional form and in its various variants.

abstract, added 05/13/2012

Russian folk song- the basis of the work of Russian composers. Reform activities E.I. Fomina. Little known composers XVIII century. Romances and opera: national identity, communications with folk songs. Characteristics of music early XIX century.

abstract, added 03/21/2009

Biography of Johann Sebastian Bach. Creative heritage includes works for soloists and choir, organ compositions, keyboard and orchestral music. Bach's sacred cantatas - five cycles for every Sunday and church holidays. Works for organ.

19. Becoming classical music. Great composers of the 17th and 18th centuries

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

MUSIC OF ITALY

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

MUSIC OF FRANCE

G.Purcell.

MUSIC OF ENGLAND

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

MUSIC OF GERMANY

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

MUSIC OF RUSSIA

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

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

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

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

21. Artistic movements of the 18th century and their characteristics

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

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

Grandiosity, pomp and dynamics;

Pathetic elation;

Intensity of feelings;

Addiction to spectacular spectacles;

Combining the illusory and the real;

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

Classicism - artistic direction V European art 17th-19th centuries. Artists of classicism:

Recognized supreme example ancient art;

Rely on tradition High Renaissance;

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

22. “Enlightenment” absolutism in Russia. Cultural reforms of Peter 1 and Catherine 2

National history- one of the main national shrines of any country - has become in Russia the subject of fierce disputes and conflicts, often associated with opposing assessments of past events, both long-standing and those of the last twenty years. When, in a tense atmosphere of mutual irritation of opponents (not to say - deep mutual alienation, even contempt and hatred) you resort to the terms of disease, diagnosis, syndrome, etiology, you risk receiving accusations of blasphemy, from all sides. Accounting social stratification. Under Catherine II, the rights of the nobles regarding estates and peasants expanded, but thereby aggravated the enslavement and hardships of the peasantry. The single parameter of “freedom” is not able to capture this “subtlety”. Arithmetic addition of the values of indicators for different social strata can only obscure the picture (like the notorious “average hospital temperature of patients”).

23. Romanticism as an artistic movement

Romanticism, an ideological and artistic movement that arose in European and American culture at the end of the 18th century - the first half of the 19th century, as a reaction to the aesthetics of classicism. It originally developed (1790s) in philosophy and poetry in Germany, and later (1820s) spread to England, France and other countries. He predetermined the latest development of art, even those directions that opposed it.

New criteria in art were freedom of expression, increased attention to the individual, unique features of a person, naturalness, sincerity and relaxedness, which replaced the imitation of classical models of the 18th century. The Romantics rejected the rationalism and practicalism of the Enlightenment as mechanistic, impersonal and artificial. Instead, they prioritized emotional expression and inspiration. Feeling free from the decaying system of aristocratic rule, they sought to express their new views and the truth they had discovered. Their place in society has changed. They found their readership among the growing middle class, ready to emotionally support and even worship the artist - a genius and prophet. Restraint and humility were rejected. They were replaced by strong emotions, often reaching extremes. Some romantics turned to the mysterious, enigmatic, even terrible, folk beliefs, fairy tales. Romanticism was partly associated with democratic, national and revolutionary movements, although the "classical" culture of the French Revolution actually slowed the arrival of Romanticism in France.

... "16. These theories are based on the idea that the artistic world created by one people is incomprehensible to another, that it is inaccessible due to psychological and historical barriers. The history of the development of the musical culture of Khakassia completely proves the inconsistency of these views. Without inventing the purely national genres of Khakass opera, Khakass ballet or symphony, but being enriched by known experience...

Approximately 10% of Russian scientific works are competitive in the global market of scientific products. 4. The artistic and spiritual life of the country in the 80-90s During the years of perestroika, fundamental changes occurred in relationships artistic culture with authorities and society. On the one hand, literature and art got rid of ideological dictates, on the other - artistic...

Redistribution of power between the federal center and the constituent entities of the Federation, socio-economic changes of the last decade. As a result of these processes, the role of regional (subjects of the Federation) and municipal budgets in supporting the activities of cultural and art institutions has increased. Behind last decade share of financial revenues from regional budgets for...

They would confirm not only the development of culture and art in antiquity and antiquity, but would also specifically indicate the development physical culture in the period from 15,000 BC. until the 6th century AD 1. Reflection of the development of physical culture in the art of the ancients in the period from 15,000 BC. until the 6th century AD 1.1 Archaeological finds, confirming the development of physical culture until the 5th millennium BC...