Impressionist composers. Impressionism in music French musical impressionism

Now I would like to study impressionism in Russian, because it is in it that the features of late romanticism and impressionism intertwined. Great was the influence of literary and artistic trends, and above all symbolism. However, major

22. N. Alexandrova, O. Atroshchenko "Ways of Russian Impressionism" Ed. ScanRus., 2003.

masters developed their own styles. Their work is difficult to attribute to any particular trend, and this is proof of the maturity of Russian musical culture.

And so, the features of impressionism can be heard in the works of A. N. Scriabin, N. A. Rimsky-Korsakov, I. Stravinsky.

The music of I. Stravinsky reflected impressionistic features mainly in the initial period of his work, the so-called "Russian period", until 1920.

In 1907 or 1908, the outstanding Russian impresario, the organizer of the Russian Seasons abroad, S. P. Diaghilev, drew the attention of the young promising composer. By his order, Stravinsky composed the music for the ballet The Firebird based on Russian folk tales, which premiered in Paris in 1910 and brought the composer European fame. [ 22 p. 34] Stravinsky's collaboration with Diaghilev continued (with interruptions) for almost two decades. A whole era in the art of the 20th century. composed a triad of masterpieces created by Stravinsky based on the capabilities of the brilliant Diaghilev ballet and opera troupe; the ballets Petrushka (1911), The Rite of Spring (1913) staged in Paris, and the choreographic scenes with singing and music The Wedding (1923). The stylized reproduction of the folk farce performance (“Petrushka”) and archaic rites, the pagan mystery of fertility (“The Rite of Spring”), the Russian peasant wedding (“Wedding Party”) is carried out by means of a highly original musical language, combining external "roughness", "elementary" rhythm and melody with careful finishing of details, finely calculated asymmetry of musical phrases, unexpected shifts in metrical accents. If in Petrushka and The Rite of Spring (just as earlier in The Firebird) Stravinsky uses all the colors of a modern orchestra, developing in an original way the findings of the French Impressionists (to a lesser extent Rimsky-Korsakov and other Russian composers), then in He limited himself to the combination of singing voices (singing, according to the composer's intention, in a characteristic Russian folk manner) and an ensemble of percussion instruments with four pianos, which gives the work a unique "barbaric" flavor.

23. N. Alexandrova, O. Atroshchenko "Ways of Russian Impressionism" Ed. ScanRus., 2003.

A.N. Scriabin.

Scriabin is the author of nineteen piano poems. These are very short compositions (usually have a title). The brevity is sometimes simply amazing (for example, "The Poem of Longing" lasts only forty-seven seconds), but they make an impression major works. States of insight, powerful spiritual movement or, on the contrary, peace are conveyed accurately and concretely, and the sound of the piano is not inferior to a symphony orchestra in terms of richness of timbres. The name of the works - "poems" - brings them closer to the literature of symbolism. Symbolist poets were primarily interested in the subtle movements of the soul, which cannot be described in detail - one can only hint. In the field of symphonic music, Scriabin also turned mainly to the genre of the poem. The first - "The Poem of Ecstasy" (1907) is a large one-part work in sonata form. However, it differs from traditional works of this kind by an abundance of themes, each of which conveys a specific state of a person and has a name (“the theme of longing”, “the theme of will”, “the theme of dreams”, etc.). The composer created a poetic program, but did not publish it in the score, not wanting to "put pressure" on the listener's perception. The idea of ​​the poem, however, is clear even without words: this is a work about how the human soul goes from obscure forebodings and dreams to higher spiritual joy, gaining tremendous energy and strength.

An important symbol for the author was the image of the ancient mythological hero Prometheus, who brought fire to people from Olympus (the dwelling of the gods). In Scriabin's view, the fire of Prometheus is a phenomenon not so much of a physical as of a spiritual order: we are talking about the "Divine fire of creativity", which, igniting in the artist's soul, makes him similar to the Creator.

In the creative heritage of the composer, the symphonic poem "Prometheus" (subtitled "The Poem of Fire", 1910) is one of the most daring works. It was written for a very large ensemble of orchestra, piano and choir. Scriabin possessed a unique ability - the so-called color hearing (when each key is associated in consciousness with a certain color) and wanted to create not only a sound, but also a visual image of spiritual fire that transforms a person. The composer assumed that if each key was connected to a light source, then in the course of the work it would be possible to send multi-colored rays into the hall. [page 23 59]

However, it is worth noting that Scriabin was not the discoverer and creator of color music. ON. Rimsky-Korsakov possessed the so-called "color hearing", he created a color-like system of tonalities

The results of the analysis carried out during the Kazan production of the opera "The Snow Maiden" (1987) were also interesting. And here, throughout the score, there is a clear correlation between the choice of key with its specific emotional and semantic meaning and mood. actors.

Conclusion: Each composer contributed something of his own, for example, the music of Rimsky-Korsokov had a great influence not only on Russian composers, but also, as mentioned earlier, on the classics of French impressionism, who not only adopted some features of musical expressiveness, but also created on them based on innovative methods.

Conclusion

I also want to say a little about the sad, because the life of this musical style was quite short, but still I think that it was impressionism that served as the impetus and gave the basis for the emergence of abstract art. Impressionism transformed not only painting and music, but also sculpture, literature, and even criticism. Interest in the work of the Impressionists in our time does not disappear. Many of my friends, not only those who study at a music school, study this direction, get acquainted with the work of musicians and composers in more detail. And today, the visions of the composers known to us are striking in their novelty, the freshness of the feelings inherent in them, the strength, courage and unusual means of expression: harmony, texture, form, melody.

Literature

1. Rewald J. History of Impressionism. M., 1994; with. 11-16, p. 53-87

2. Yarotsinsky S. Debussy, Impressionism and Symbolism. M., 1992, p. 57-63

3. Smirnov V.V. Maurice Ravel. L., 1989, 18-57

4. A.I. Tsvetaeva. Master of the magic ring. M., 1986, p.109

5. Alschwang A., Works of C. Debussy and M. Ravel, M., 1963

6. Kremlev Yu.A. “Claude Dubussy”, M., 1965.

7. N. Alexandrova, O. Atroshchenko "Ways of Russian Impressionism" Ed. ScanRus., 2003.

Impressionism is still a little studied phenomenon in the history of the artistic life of Russia. Meanwhile, it was one of the most distinctive trends in Russian art of the late 19th and early 20th centuries and was closely associated with a number of cultural and historical processes of that time. In most domestic musicological works, although impressionism is not considered as a trend that had a significant impact on the development of Russian music, nevertheless, the embodiment in individual works Russian composers of the late XIX-early XX centuries "impressionistic colors". They can be seen in later work N. Rimsky-Korsakov and A. Lyadov, works by I. Stravinsky, Nikolai Cherepnin, S. Vasilenko, some works by S. Prokofiev, S. Rakhmaninov, A. Skryabin, N. Myaskovsky and others.

The culture of Russia at the turn of the 19th - 20th centuries is inscribed in history as one of the most controversial and, at the same time, its most beautiful pages. Saturation with events, a variety of artistic trends predetermined the ambiguous nature of many art phenomena of this period. Despite the deep socio-economic and political crisis phenomena (revolution of 1905, Russian-Japanese and First world war) art experienced a new flowering. Impressionism was among the various artistic trends. A powerful stimulus for its appearance in Russia was the development of Russian-French cultural ties: in 1891, a Russian-French military-political alliance was concluded, followed by the popularization of Russian art in France (concerts of Russian music, entreprises by S. P. Diaghilev, etc.), and French art in Russia (exhibitions of French impressionist artists, enterprises of S. A. Koussevitzky and A. I. Siloti, where works by C. Debussy, M. Ravel and others were performed). The formation of impressionism in Russia is associated with processes aimed at updating traditions. If in France they were expressed in the opposition of progressive artists to the art of the Salon, then in Russia - in an effort to revise the ideas of the Wanderers due to the appearance of a significant number of their epigones (Lyadov, S.K. Makovsky, D.S. Merezhkovsky and others wrote about this) . Scientific and technological progress also contributed to the discovery of new possibilities in art (the invention of photography by L. Dager, the discovery of the theory of mixing colors and the perception of color by the human eye by M. Chevreul, the research of O. Rud and G. von Helmholtz in the field of optics, etc.). At the same time, scientific and technological progress also had a downside, expressed in the crisis of positivist ideals: the discoveries that appeared were accompanied by a revision of established ideas about the world around. The public consciousness did not have time to comprehend such a powerful breakthrough: the very role of science was called into question. The artistic environment of those years (not only in Russia) was dominated by disappointment in the ability of man to influence nature. Appeared "calls" for the harmonious existence of man in nature. These ideas turned out to be close to impressionism.

Since the 1870s, artists (I. N. Kramskoy, I. E. Repin, and others) have been discussing ways to implement French impressionism by the Russian school. The traditions of Russian impressionism in the visual arts were laid at the Moscow School of Painting, Sculpture and Architecture (mainly due to the teaching of K. A. Korovin, I. I. Levitan, V. D. Polenov, V. A. Serov and others. ). Teachers, graduates and students of this educational institution formed the basis of the "Union of Russian Artists" (1903-1923) - an association of landscape painters whose work opened the "stage of Russian impressionism." Documentary primary sources, including memoirs, letters of artists, composers of that time, make it possible to designate the "Russian version of impressionism" as an aesthetic concept. In the "mirror of letters" of figures of Russian art, those historical and cultural processes, which became the basis for the emerging aesthetics of impressionism. Let's designate them: this is the desire to "close" from the surrounding world in creativity, replacing the actual reality with the idealized or unreal world of the work; the desire to renew traditions, to “breathe new life” into the decadent aspects of artistic life; the impact of thinking about significance; scientific and technological progress for art. It is also obvious that the main reason Impressionism in Russia was strengthened by mutual cultural exchange with France, which at the turn of the 19th and 20th centuries experienced its heyday.

were ambiguous views of Russian composers on impressionism- from enthusiastic to wary, and sometimes sharply critical attitude towards him. Representatives of the older generation, recognizing the importance of the means of expression cultivated in impressionism, emphasized the “poor thoughts” of its aesthetics ( S.Taneev). The negative perception of modern trends, including impressionism, was inherent in C. A. Cui(a parody of Debussy's "Afternoon of a Faun" called "Reverie d "un Faune, apres la lecture de son journal", a musical joke "Hymn to Futurism", dedicated to "countless modern supergeniuses", and also " Brief instruction how, without being a musician, to become a brilliant modern composer”). Unlike the older generation, young authors ( Cherepnin, Stravinsky, Vasilenko, Prokofiev and others) found the manifestation of impressionistic tendencies as a natural stage in the development of musical art. So, Vasilenko considered his symphonic poems The Garden of Death and The Flight of the Witches, the suites In the Sunbeams and Night Complaints to be impressionistic. The only composer who not only did not hide his interest in impressionism, but also recognized himself as an impressionist, was V. I. Rebikov. At the end of November 1901, in a letter to V. Ya. Bryusov, he wrote: “For some reason they call me a “decadent”. I'm an impressionist." The older generation sought to preserve the inviolability of established canons (“the social purpose of art”), while the younger generation questioned the very idea of ​​the influence of art on social processes like a “moral law” (“art for art’s sake”). Like many representatives of the Russian artistic intelligentsia, composers mainly accepted linguistic (technical) discoveries. Comprehending the development of Russian art as a whole both in the 19th century and at the beginning of the 20th, the figures of Russian culture saw in it a single, indivisible process in which the innovations of the 20th century were a continuation of the 19th century.

As a trend, impressionism in Russia developed in St. Petersburg. He aligns with "exotic-romantic" tradition, pronounced in Petersburg Composer School and focused on aestheticism, sophistication and colorfulness. Therefore, the origins of the impressionist beginning “shine through” long before its appearance and are already noticeable in such works as “Night in Madrid” by M. Glinka, “In Central Asia” A. Borodin, “Pictures at an Exhibition” and “Night on Bald Mountain” by M. Mussorgsky, “Spanish Capriccio” and “Scheherazade” by N. Rimsky-Korsakov and many others. They contain properties close to the methods of absolutization of the moment and color. It is no coincidence that picturesqueness, magnificent, luxurious instrumentation, an unusually “delicious” harmonic language are the properties of Russian music that won the hearts of French impressionists. In this line, one sees a "stylistic connection" with impressionism, which anticipated special features of the Russian version of impressionism: aesthetically refined; to spice and even cloying "sweet" and at the same time almost epic contemplative. It can be said that under such conditions, impressionism received the prerequisites for its interpretation not as something elusive and mysterious (as in the French version), but as a very close and dear “creature”, as if the composers, thanks to impressionism, managed to “catch the Firebird” and transfer all its beauty into your music.

The work "Aesthetics of Musical Art" by N. Rimsky-Korsakov deserves special attention. The ideas and provisions set forth in it are not just the composer's author's view of the nature of art. They could turn into an impressionist program in Russia. The composer's thinking is in direct contact with the impressionistic type of artistic vision. The key ideas of his work serve as peculiar intersecting “points”: the sense of beauty is decisive both in life and in art; The world of beauty is perceived only subjectively, through imagination and contemplation; Man and the World are one, that is, Man, his thoughts are inseparable from "nature and life." The composer analyzes the features of the musical language that has been established in Russian music since the time of Glinka. At the same time, the musical means of expression turn out to be close to impressionism (including in connection with the expansion of coloristic, phonic properties that can create the effect of pictorial, colorful sound painting).

Rimsky-Korsakov, despite the fact that the composer retained a deep connection with tradition, he played a leading role in the formation of impressionistic methods of absolutization of the moment and color in Russian music. Their crystallization can be seen in individual scenes from the operas The Snow Maiden, Sadko, Kashchei the Immortal, The Legend of the Invisible City of Kitezh and the Maiden Fevronia. So, if the scenes of the melting of the Snow Maiden and the appeal of the Sea Princess to the river are solved by the composer in the "exotic-romantic" tradition - they are preceded by the story of the heroines about what is happening and are accompanied by a sound-visual device (harp overflows according to the sounds of a reduced triad), then the transformation of Kashcheevna into a weeping willow can be called impressionistic . In this scene, there is a decrease in the role of the word: the heroine only hints at her transformation. However, at the same time, the role of orchestral means with coloristic properties is enhanced (the descending trembling movement of the strings along the sounds of the “Rimsky-Korsakov scale”, emphasized by the tritone moves of the basses, against which the ascending sounds of the reduced seventh chord of the harp with the English horn, and then with oboe). The features of impressionism in Rimsky-Korsakov have deep soil foundations, which is achieved through the use of concentrated musical thematics created in the “folk spirit”. In particular, in the scene of the Snowstorm (“Kashchei the Deathless”), “folklore thematicism” has a singing nature. Imitation techniques are widely used by the composer. In the scene, signs of such genres as magic-incantatory ritual round dance songs, partly trepak, are heard. At the same time, the harmonic solution of the scene is connected with the reliance on tritone revolutions, as well as on the symmetrical “Rimsky-Korsakov mode”, which contributes to the creation of an impressionistic sonority of a winter fantastic landscape. The forerunner of "Kashchei" in the composer's work is the third act of "Mlada" - "Night on Mount Triglav" - a fantastic scene in the kingdom of Chernobog (in the same place, by the way, some foreshadowings of "The Golden Cockerel" are seen). Rimsky-Korsakov often expands his color palette by attracting oriental sounds. Methods of absolutization of the moment and coloristics are manifested, for example, when exposing musical characteristics"Eastern" heroes - the Queen of Shemakhan and the Astrologer in the Introduction to the opera "The Golden Cockerel", in the IV scene "The Appearance of Queen Cleopatra" from III actions opera-ballet "Mlada" In the last example, the first theme of the heroine is especially indicative. It is an improvisational instrumental melody that sounds on the small clarinet, piccolo flute and sometimes glissando of the strings against the background of the measured “swaying” of the strings. The composer uses a variety of harmonic colors (major-minor variability, passages based on the sounds of the Lydian mode, exquisite chromaticisms, diminished harmonies). This creates a languid, ghostly-fantastic impressionistic atmosphere.
N. Rimsky-Korsakov, while teaching in St. Petersburg, could not but influence his colleagues and students. However, in the works of the latter, impressionism was "refracted" through the prism of the author's styles, giving examples of his individual decisions.

fabulous picture "Magic Lake" (1909) A. K. Lyadov became the most striking embodiment of the specifics of Russian musical impressionism, created in line with the nature-centric worldview. In particular, both Lyadov's statements about the history of the creation of The Magic Lake and the music itself testify to the composer's desire not only to depict the landscape, but also to convey the impressions of it. All the musical-thematic elements of "Magic Lake" grow from the vibrating background. The fifth, third and second declared in the introduction become the most important intonation grains. From them, micromotives are born (“nature”, “stars”, “splashes of water”, etc.) and motives (“dead nature”, “dawn”, etc.). Their variant changes and combinations form a kind of unfolded relief, disappearing into the background sonority. The intonational unity of the miniature, with the constant modification of thematic elements, contributes to the creation of a picture of a static landscape in the play, which is constantly changing. Magic Lake themed elements have their own paint. However, sometimes, in accordance with the composer's creative intent, they acquire different shades (for example, due to variant change or timbre transformation). So, the micromotive of "stars" passes at the celesta and flute, then at the celesta and harp; the theme “on the branches” is heard by the oboe, and later transferred to the flute. Together with a group of woodwind strings, they contribute to the creation of various colorful paintings within the miniature: the transformation of a magical lake, its mysterious life. Celesta and harp enhance the fabulous imagery. The composer also attaches great importance to the pedal, which gives musical landscape special depth. In the "Magic Lake" three stages of the transformation of the landscape are distinguished: from late evening to night and predawn. Each of his next paint appears under the influence of a new impression observed by the composer. Lyadov's work is similar to Debussy's "Sea", where the landscape is also shown in a different state. However, the French composer embodies in seascape impressions of a person observing nature from the side. Nature, in turn, awakens in his soul moods close to this landscape. Here unity is formed only between Man and his vision of the World. The nature of the “Magic Lake” is perceived as a living organism that has its own soul, which Lyadov seeks to reveal to the listeners by “dissolving” the Man (and himself, and each listener) in the contemplated World. It is in this that the important difference between the nature-centric worldview and the human-centric one is rooted. Absolutizing the moments of all transformations, the composer epicly embodies the impressionist theme of nature, telling about the secrets of her life. The fairy-tale picture is likened to a sketch of a theatrical scenery: the beauty of the landscape of a mysterious lake, lost in the wilderness of the forest, “captured” and transferred to the musical “canvas”, against which the action can begin. The composer conveys to the listener a sketch of his own fantasies, forcing the listener to fantasize, thereby realizing the theme of a dream. At the same time, Lyadov is childishly surprised by this World, he does not get tired of rejoicing at him and admiring him. He is likened to a cameraman, trying to capture every frame of the transformation of the landscape, or a magician, wanting to breathe life into this landscape and “dissolve” in it.

Fantasy "Fireworks" (1908) I.F. Stravinsky- one of the remarkable milestones of Russian impressionism. The associativity of this play is so great that not only the feeling of an enthusiastic state is conveyed to the listener. He, as it were, becomes an accomplice to the whole “action”, building in his mind a whole series of “pictures” associated with various types of fireworks. All kinds of fireworks-turntables, fountains, cascades, rockets, balls, the effects of explosions, claps are “heard” in a variety of performance techniques, timbre colors, sound extraction methods. Among them are colorful roll calls, pizzicato, jete, divisi techniques for strings, closed sounds for horns, playing cymbals with timpani sticks. Of great importance is the use of sparkling timbres: bells, triangle, harp, cymbals, celesta in a high register (such sound representation is close to the colors of the symphonic poem "The Fountains of Rome" by O. Respighi). The vivid associativity of Stravinsky's Fantasy is achieved by dynamic, tempo, harmonic means. Fascinating with reduced harmonies (the main constructive element of Fireworks), the whimsicalness of the “breaks” of themes in an extended tonality, the “twisting” of chromatic passages, the composer creates an amazing coloristic action. Its fluidity makes the three sections of the play seem blurry. Even contrasting tempo and textural changes are not capable of distinguishing between them in the listener's perception. Colorful "blotches-strokes" of "Fireworks", fluidity, whimsicality, unpredictability of emerging images-associations create an impressionistic picture of a fireworks festival. At the same time, Stravinsky, unlike Lyadov, does not seek to "dissolve" in the colorful cascades of fire action. Rather, he is characterized by the unity between the World and the vision of the World. In the center of the composer's attention is the rejoicing Man - himself, either the hero of the crowd, silently present in his play, or the listener, admiring, admiring and enjoying the performance. The impressionism of I. Stravinsky, to a greater extent, is characterized by Western thinking. Bright to that confirmation is his opera The Nightingale, the ballet The Firebird. In the colorful images of the ballet "The Firebird" the opposing lines of people (folklore) and fairy-tale creatures (impressionist) do not combine. And although the second line is solved by the composer in the spirit of Rimsky-Korsakov's traditions, and the first line is not devoid of brilliance, they do not merge with each other, and the person does not "dissolve" in the enchanted landscapes of Kashcheev's kingdom. Perhaps this is the root of the reason for Igor Fedorovich's openness to the most diverse trends of the time: throughout his life, in his work, he appears as a Russian Man who shares with us his impressions, including the impressions of the latest compositional techniques.

In many works Nikolay Tcherepnin of the Russian period, a harmonious combination of the “exotic-romantic” tradition with the influence of the French Impressionists can be traced (a sketch for orchestra for the fairy tale about the Firebird “The Enchanted Kingdom”, “Fairy Tales”, six musical illustrations for the fairy tale “About the Fisherman and the Fish” by A. Pushkin, ballet "Narcissus and Echo", pieces from "14 Sketches for the Russian "ABC in Pictures" by Alexandre Benois"). The sketch for orchestra for the fairy tale about the Firebird "The Enchanted Kingdom" (1910) is in many ways consonant with the "Magic Lake". Like Lyadov, Cherepnin focuses his attention on the moments of evening and night landscapes, on their transformation and state of enchantment, which no one and nothing can interrupt. Absolutizing them, the composer is likened either to the artist-decorator, or to the cinematographer, who brings closer or further away big picture, and in other cases - to the lighting artist, showing the landscape in different highlights. The "germination" of all thematic elements from a single "grain", immersed in bright timbre and harmonic colors, creates the effect of static movement. Variable mixing and highlighting of the background with the relief demonstrate the amazing impressions of an impressionistic, childishly naive contemplation of the fabulous. The atmosphere of contemplation (drowsiness) is achieved by the composer through the method of coloring. A static musical picture is “painted” with long admiring one color (most often such colors are associated with the use of a whole-tone fret and an increased triad). Timbre means, like no other, contribute to strengthening the phonic side of the composition. Numerous methods of sounding strings (with mutes, divisi, solo, col legno, etc.), wind instruments and such colorful instruments as bells, celesta, xylophone, harp, piano, give an impressionistic “feeling” of sound close to sonorant. It is they who are assigned an important function: to show highlights, light and shadows, play of colors, etc. Tcherepnin's implementation of impressionist methods aimed at realizing the themes of fairy tale, nature and dreams reveals not only a nature-centric worldview, but also a human-centric one. In particular, associativity in miniature, subject to the “dissolution” of Man in the World (as in Lyadov), is not always maintained. An example is the theme of “the tunes of the Firebird”, where one can talk about the dominance of the subjective Self over the World (as in Debussy). The score of the ballet "Narcissus and Echo", written for Diaghilev's "Russian Seasons", refers to top achievements Cherepnin as a symphonist and to a new type of ballet score, musical style which was determined by the pictorial and pictorial beginning. There are no more rounded numbers of classical ballet here. Impressionistic plasticity, visual impression, picturesqueness, a kind of statics of a decorative panel came to the fore. In "Fairy Tales", continuing the tradition of "Children's Songs" by Lyadov, Cherepnin introduces his own, new, freely combining elements of folklore and contemporary musical and visual techniques: whimsical harmony, capricious rhythms, sketchy melodies, etc. At the same time wittily and subtly used associations with the works of Debussy. In the musical illustrations for the ABC, Benoit Tcherepnin created a gallery of pictures and images that are entertaining for children's imagination, among which the most striking were images of nature (“Forest”), distant countries (“Egypt”) and fairy tales (“Arap”, “Baba Yaga "). In the play "Arap" the character of Russian fair performances is vividly recreated - Arap dancing to a fake barrel organ, in whose appearance individual elements of the style of Stravinsky's "Petrushka" are guessed. The play "Baba Yaga" is also effective. The fantastic nature of the images - the flight of Baba Yaga on a broomstick and her dashing whistle - are emphasized by the technique of a three-line, as it were, "orchestral" presentation.

Interesting impressionist tendencies, manifested in the work Sergei Prokofiev. So already "Autumn" resurrects well famous images, which arose earlier in Rimsky-Korsakov's "Kashchei the Immortal", but the gloomy impressionism of the play (coming from Rachmaninov's "Isle of the Dead") for all attractive features, in fact, is not typical for Prokofiev. In music " ugly duckling" and "Five Poems to the verses of Anna Akhmatova", some "Fleeting" there is something watercolor, coming from soft, impressionistic brilliance, in which the composer's growing craving for lyrics was manifested. In the score of the "Scythian Suite" Prokofiev put all the mastery of orchestral writing, which was formed on the basis of Russian classical traditions, but was to some extent enriched by the influences of impressionism (perceived mainly through Stravinsky), in particular, "discordance, superimposing a drawing on a background without much matching them to each other" (V .Karatygin).

Unlike the works of composers of the St. Petersburg school, in the works of Moscow authors, impressionist methods are present along with other, non-impressionist ones, and are subject to the aesthetic concepts of individual author's styles (and to a much greater extent than in the works of their St. Petersburg colleagues). However, to some extent they can also be considered in the sphere of influence of impressionism. Among such examples are some pages of creativity S. Rachmaninov(“The Bright Holiday” from the First Suite for 2 pianos, the vocal-symphonic poem “The Bells”, many romances (Lilac, Ostrovok, etc.), Etudes-paintings), A. Scriabin(Preludes op. 11, "Poem-Nocturne" op. 61, 4th, 5th and 10th sonatas, Prometheus), A. Stanchinsky(some numbers from the Twelve Sketches, Nocturne), some compositions M. Gnesina, G. Catuara.

In writings Rachmaninoff Impressionistic features appear only at the level of musical expressiveness, in particular when carrying out the theme of bell chimes, the ostinato repetition of which against the background of two seventh chords (small major and small diminished) reproduces impressionistic colorfulness, close to the chime of bells of different sizes. However, behind the external imitation of bell chimes, there are complex psychological processes of a thinking Man, aimed at gaining some meaning and essence, a Man striving to find answers to difficult questions Genesis. This is seen as a tradition of M. P. Mussorgsky, who managed to embody, through the chimes of bells in the coronation scene from Boris Godunov, the doubts and feelings of the tsar ascending the throne. The focus of Rachmaninoff is a Man who, under the influence of an audible bell ringing, finds the appropriate emotions in himself, and this is consonant with impressionism in the tradition of a nature-centric worldview. However, such emotions are endowed by the composer with additional meanings, whereby the reverse unity between the World and the vision of the World is not formed. Man, striving to “dissolve” in the World, does not merge with it, but remains an eternally searching wanderer who has dedicated himself to serving a lofty goal. As a result, for Rachmaninoff, the impressionistic method of coloring turns out to be a way of conveying the symbolist concept-idea. Such an interpretation of impressionism (only at the level of means of musical expression) in the compositions composers of the Moscow school is dominant. This is largely due to the traditions of P. I. Tchaikovsky and S. I. Taneyev, in the concepts of whose works intellectuality, a tendency to philosophical understanding, and a deep experience of emotional upheavals predominate. This is also observed in the opuses of their followers: musicians are attracted by subjective images filled with inner psychologism. It is not surprising that the implementation of the "exotic-romantic" tradition in the works of Muscovites occurs only sporadically and is subject to other aesthetic tasks.
Nevertheless, some authors, for example, I. Golubenko in the article “Levitan and Rachmaninov: lyrical “mood landscape” and Russian impressionism”, come to the conclusion that the content of the work of the two masters is endowed with an impressionistic “sound”. Moreover, the “sound” of precisely Russian impressionism, the specificity of which is determined, in her opinion, by the lyricism of their "landscapes of moods", which become not only a fixed moment of the first impression, but also act as “a means of knowing the world around us and a person’s place in it, a means of “dialogue” with nature and that “quiet abode” in which the soul finds peace and rest”

In particular, such an appeal to impressionist means is characteristic of A. N. Scriabin. Gradually convinced of his supreme mission as the creator of the Mystery, the composer resorted to their use solely in order to emphasize magical properties art. Impressionistic sound painting, subject to an ecstatic impulse, was “translated” by him into the perspective of mystical, extraterrestrial, Universal dimensions. The use of impressionistic colorfulness within the framework of other aesthetic “settings” is also characteristic of the works of G. L. Catoire (for example, the romance “Twilight”), some "Tales" by N. K. Medtner, individual plays from the "Twelve Sketches" by A. V. Stanchinsky and others.

At the same time, in some works of representatives of the Moscow school of composers, the influence of the impressionism of Petersburgers is also observed. So, close to the "exotic-romantic" tradition is V. S. Kalinnikov(introduction to the second movement of the First Symphony). Creativity is an exception. Sergei Vasilenko, which also absorbed the traditions and principles of the work of St. Petersburg composers. The embodiment of not only the technical techniques of impressionism, but also its aesthetics can be traced in his symphonic poems The Garden of Death, The Flight of the Witches, and The Chinese Suite. Particularly indicative is his play "Echo of the Golden Lakes" from the VI part of the "Chinese Suite". Despite its closeness to the “Bright Holiday”, the interpretation of the bell ring here does not have a symbolist “subtext”: the concept of the play appears to be similar to the impressionism of the St. Petersburg authors (its nature-centric worldview). Absolutizing the moments of imitation of the sounds of bells and sacred stones, Vasilenko seeks to convey to the listener the very breath of nature: light wind, sunlight, clear water, echoing melodic ringing. This landscape is perceived as a sketch of a theatrical scenery, which the composer “sees” with his unbiased gaze and demonstrates the harmony of Chinese culture, connecting everything with his state of contemplation and daydreaming. Coloristic means are also aimed at this (the use of ringing and soft-sounding timbres; ostinato repetition of figuration according to individual sounds of the pentatonic scale of the harp and piano). A study of individual works by composers of the Moscow school shows that they also possess features of impressionism. The methods of absolutization of the moment and coloristics manifested in them bring a sense of space, a state of contemplation, dreaminess. However, these methods are not always used by composers of the Moscow school to the full extent, since they often set themselves the tasks of a completely non-impressionist aesthetics.

The transitional processes of Russian history (not only at the turn of the 19th - 20th centuries, but throughout the entire 20th century) predetermined impressionism as a mixed and rapid development in a short time (about ten to fifteen years in total), and its long-suffering subsequent fate (from admiring exaltation to contemptuous denial). It is difficult to imagine how the fate of the current of impressionism would have developed if fatal revolutionary events had not taken place in Russia; if I. Stravinsky (1914), S. Rachmaninov (1917), N. Cherepnin (1921) had not left their homeland; if N. Rimsky-Korsakov and A. Lyadov had lived longer, as well as G. Catoire, V. Rebikov, A. Skryabin, A. Stanchinsky. And yet, friends, students, adherents, followers of these composers remained in Russia. Therefore, it is not surprising that impressionistic methods can be traced in the works of Russian masters and in other aesthetic conditions. Impressionism continues to manifest itself later in the work of a number of composers: these are A. Alexandrov, S. Vasilenko, V. Deshevov, A. Dzegelyonok, L. Knipper, A. Crane, N. Rakov, A. Khachaturyan, S. Feinberg, A. Shenshin, B. Shekhter. Representatives of the "first wave" of the avant-garde did not pass by the hobbies of impressionism in their early period (A. Mosolov, N. Roslavets and etc.). In their work, the impressionistic principle is present in other aesthetic conditions: as part of the search for new means of expression. The influence of impressionism can be traced in mature works S. Prokofiev a (Scenes from the opera "The Love for Three Oranges", some harmonic and orchestral techniques of "The Fiery Angel", Five melodies for violin and piano, even in such a late composition as the 8th piano sonata). In early symphonies N. Myaskovsky(8th, 12th, etc.) the harmonic devices characteristic of Debussy are noticeable, up to explicit quotations, such as the theme from "Clouds" at the beginning of the 12th symphony. Georgy Sviridov in the works of the 50s-60s ("The Poem in Memory of Sergei Yesenin", "Kursk Songs", etc.), continuing the search for Mussorgsky, Borodin (partly also Debussy and Stravinsky) in the field of natural-mode harmony, free from the traditional functionality of the European major-minor, used a variety of fourth and second harmonies, bi- and poly-functional complexes, which have a purely coloristic meaning. In these Sviridov's compositions, colorful statics and timbre sophistication, the impressionistic beginning, organically merged with the folk.

The specific application of impressionist methods can be observed in the work of composers in the second half of the 20th century - R. Shchedrin, A. Eshpay, R. Ledenev, N. Sidelnikov, E. Denisov. The predominance of the method of absolutization of the moment is evident in R. Shchedrin's concerto for orchestra "Rings". Andrey Eshpay's influences and attachment to the French school of composition partly determined such features of his style as colorfulness, picturesque presentation, refinement of the harmonic language. Impressionist influence is also felt in N. Sidelnikov's Russian Fairy Tales. The predominance of the color method is traced here. For the composer, the desire for colorful sound representation of characteristic “stories”-sketches is closer. A harmonious combination of both impressionistic methods is found in the work of R. Ledenev. Perhaps that is why researchers call his author's style "neo-impressionist". In general, the embodiment of the method of absolutization of the moment can be found in such compositional techniques as spatial music, minimalism. The meditativeness inherent this method, also contributes to its penetration into twelve-tone techniques and aleatoric. The method of coloristics was one of the fundamental ones for the development of sonoristics. As a result, the "life" of impressionism is extended to the present day, which retains its attractiveness for further research.

As terminological apparatus, which characterizes the properties of the aesthetics of this style, one can take figurative, but well-aimed and capacious formulations, “thrown” once by L. Leroy: “impression”, “incompleteness”, “freedom” and “softness”. Impressionism has two methods - "absolutization of the moment" and "coloristics". The first is associated with the semantic level musical works(theme and imagery), its forms and genres and is aimed at the implementation of such aesthetic properties as the desire to convey an impression and the principle of incompleteness. The second with the means of musical expressiveness (thematism, texture, harmony, etc.) and reveals the properties of "freedom" and "softness" of the embodiment. The study of musical impressionism in the works of Russian composers, taking into account worldview and aesthetic positions, allows us to determine some of its features. In the opuses created in the first twenty years of the last century, impressionist methods of absolutization of the moment and color are realized, akin to the pan-European properties of impressionist compositions. In the mind of the listener, an atmosphere of colorful coloring of the impressions of the surrounding world is also created, time stops, barely noticeable vibrations of air, water appear, and each next paint is inspired by the composer with a new impression.

Reconstruction" of impressionism as a type of artistic vision and its comparison with Russian mentality highlights the ideological aspects of this trend in Russia.

Aesthetics of Impressionism is based on a trend aimed at expressing the ideal position of a person in the world. In accordance with this, the creative process is also taking shape: while working on a work, the composer prefers to embody the optimistic impressions of the surrounding world. In the concepts of impressionist works, such impressions are determined by a number of aesthetic provisions: the unity of the World and the vision of the World; a feeling of joy of a Man in relation to the World; immediacy (childhood) perception of the World; the beauty of the world . The interpretation of these provisions in different national schools is different. So, for Western European, in particular, French tradition it is predetermined by the pronounced dominance of the subjective Self over the World, by the human-centric worldview. In the Russian tradition, the interaction between Man and the World is most often accompanied by the “dissolution” of the subjective Self in the World and is defined as nature-centric worldview. This turns out to be consonant with such properties characteristic of the mentality of a Russian person as special feeling the expanses of the Russian Earth, the ability to almost pagan, but at the same time idealized, poetically perceive and spiritualize the world. At the same time, there were processes of "cultural exchange" between Russia and France. This allowed us to conclude that Russian culture, regardless of French influence, could independently develop an aesthetic concept close to impressionism.
Analyzing the impressionistic works of Russian and French composers, one can identify them similarities. This is the lack of a consistent plot narrative and pronounced contrast; preference for picturesqueness (often with sketchy features) in genre interpretations; the desire to "obscure" the boundaries of the form, its personnel. At the level of the method of coloring, this is the use, along with concentrated, dispersed thematics; relief and background equalization; manifestation of interest in colorful harmonies (increased, reduced), frets with a special color (whole-tone, symmetrical, pentatonic), timbres that bring a fabulous atmosphere (bells, celesta, harp, etc.) and contribute to associativity, and sometimes sound representation.

However, they emphasize national features of impressionism. In particular, in the Russian composing school they are formed within its “exotic-romantic” tradition, saturated with a special color: intonation environment of Russian song folklore, features of epic and orientalism. In the implementation of the instant absolutization method, one can trace the predominance of the following themes: fabulousness or mythology, dreams, holidays, nature. The traditions of the embodiment of fabulousness were laid down by M.I. Glinka ("Ruslan and Lyudmila" - the scene of Lyudmila's abduction) and found their logical continuation in Lyadov's "Magic Lake", Cherepnin's "The Enchanted Kingdom", Stravinsky's "Firebird" and others. mythological theme, the themes of dreams and nature also seem to be close to a fairy tale, which is manifested in the involvement of such elements of figurative transformation as the appearance, transformation and disappearance (the moment Narcissus turns into a flower in Cherepnin's Narcissus and Echo). In addition, works for children and about children (Mussorgsky's Nursery, whose traditions were continued by Tcherepnin in the Fairy Tales vocal cycle), as well as most love romances by Russian composers, are associated with the theme of dreams.
On the example of the interpretation of the theme of nature, one can see the difference in the approaches of the impressionist and non-impressionist traditions. If in the aesthetics of the 19th century nature played the role of the background of the emotional upheavals of Man (the blizzard scene in the finale of Act IV of Glinka's opera Ivan Susanin), or appeared as a contrast to human experiences (the moonlight nocturne in the act of Rimsky-Korsakov's opera Pan Voivode ), then impressionist aesthetics, with its nature-centric view, assumed that the composer, conveying the impressions of the surrounding beautiful World, seemed to “dissolve” himself in it, inspiring it and finding in it an inner, often fabulous life (“Narcissus and Echo” by Cherepnin, “Magic Lake ” Lyadov, “Echo of the Golden Lakes” from the VI part of the “Chinese Suite” by Vasilenko and others).

So let's bring results. Impressionism in Russia at the turn of the 19th-20th centuries was not only the result of the influence of French culture, but also had its own development path. Its genetic basis can be traced in the "exotic-romantic" tradition of Russian music. 19th century, which predetermines the national specifics. As a result, impressionism in Russia resulted in a holistic artistic movement, the signs of which were:
the presence in Russia of the first twenty years of the 20th century of a relatively close-knit group of composers, in their own aesthetic views close to impressionism, including Stravinsky, Cherepnin, Vasilenko, Lyadov, Prokofiev and others;
the manifestation in the musical work of these composers not only of technical methods, but also of aesthetics akin to French musical impressionism;
the formation of impressionism, its formation in Russian music is directly related to the work of Rimsky-Korsakov (literary, musical), which has the features of impressionism;
despite the absence of an announced manifesto that could serve as a cementing factor for uniting musicians in a direction, it is obvious that an analogue of such an association was formed thanks to the pedagogical and social activities of Rimsky-Korsakov.
- the origins of impressionism in Russia are laid in the "exotic-romantic" tradition;
- the path of development of impressionism in Russian music had two "trends: the first was determined by a specifically Russian worldview, the so-called nature-centric, and was associated with the"exotic-romantic" tradition, developed mainly in the St. human-centric - accumulated the traditions of composers of the Moscow school;
- the stylistic features of musical impressionism are aimed at conveying the first impression and are associated with the implementation of impressionistic methods of absolutization of the moment (at the levels of themes, ideas and images, genre and form) and color (with the help of musical expressiveness);
- the above-mentioned stylistic features of musical impressionism in Russia are specific, since they highlight the color of Russian song folklore and orientalism, epic features and properties reminiscent of theatrical sketchiness.
- the sincerity, contemplative attitude to nature, a special feeling of space - the expanses of the Russian Earth, characteristic of a Russian person, as well as the ability to almost pagan, but at the same time idealized, poetically perceive and spiritualize the world around, are close to the impressionist artistic vision. The implementation of the aesthetic principles of impressionism in the works of Russian composers is carried out with the help of certain themes: fabulousness or mythology, dreams, holidays, nature.

Studying Impressionism in Russia has never been systemic. Although at the beginning of the century in brief observations about impressionism as part of critical notes on concerts ( V. G. Karatygin, V. I. Sokalsky, Yu. D. Engel), new musical editions ( B. V. Asafiev, V. V. Derzhanovsky), articles devoted to the work of individual composers (B. V. Asafiev, V. G. Karatygin), the idea is voiced that the germs of the impressionistic searches of Russian composers are rooted in the work of representatives of the New Russian School, in impressionism they mainly saw signs of decadence, in 1930 years - formalism, in the post-war years - cosmopolitanism. Due to objective reasons, in the Soviet era for about fifty years, researchers were extremely cautious about topics that were somehow connected with the manifestation of impressionism. Until 1956 (XX Congress of the CPSU), negative perception of impressionism in all forms of art dominated in research work (S. P. Varshavsky, D. B. Kabalevsky, P. I. Lebedev, J. Reinhardt, etc.). Its positive evaluation ( B. V. Asafiev, Yu. V. Keldysh, Kremlev etc.) is condemned, and sometimes plays fatal role in the fate of researchers (dismissal D. V. Zhitomirsky from the Moscow Conservatory;). The turning point in the history of Russian thought about impressionism was the discussion in March 1957, where “one-sided, indiscriminately negative assessments of impressionism that took place in Soviet art history” are being revised. Before this discussion, I. Nestiev published a summary of his introductory remarks, in which he outlined key issues requiring revision. One of the important provisions of the article is the understanding of impressionism as a trend in Russian music. As a result, studies of the work of French Impressionist composers began in the late 1950s. But the features of impressionism in Russian music remain outside the attention of researchers. Apparently, the memory of the difficult circumstances of the activities of scientists under ideological pressure was the reason for their caution: they only mention impressionistic features in the “Russian” works of I. F. Stravinsky V. V. Smirnov and B. M. Yarustovsky, S. S. Prokofiev - I. V. Nestiev; the manifestation of impressionism in the “Magic Lake” by A. K. Lyadov is indicated N. V. Zaporozhets and M. K. Mikhailov; foresight of impressionism in the works of M. I. Glinka notes O. E. Levasheva, M. P. Mussorgsky - V. P. Bobrovsky, M. D. Sabinina etc. A landmark event for the study of impressionism in Russia was the defense of V.A. Filippov’s dissertation (1974), the subject of which was Russian impressionism in painting. The art historian traced the history of the development of impressionism in Russia, including the work of artists of the first half of XIX century and the Soviet period. The post-Soviet period was marked by the appearance of a number of studies by domestic culturologists (O. Yu. Astakhov, M. G. Dyakova), art historians (N. S. Dzhumaniyazova, O. I. Selivestrova), philologists (V. E. Fedotova), philosophers (Yu. A . Griber), musicologists ( T. N. Levaya), which gradually fill in the gaps in the study of the specifics of impressionism.

Materials of the dissertation of Aliya Saduova were used. 2002

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Musical Impressionism developed on the basis of the picturesque course of Impressionism. Traditionally, Claude Debussy and Maurice Ravel are considered representatives of impressionism in music.

In the music of impressionist composers, the main thing was the transmission of moods that acquire the meaning of symbols, the fixation of subtle psychological states caused by the contemplation of the outside world. Musical impressionism was also close to the art of symbolist poets with its cult of the "inexpressible".

The forerunner of musical impressionism was the late romanticism of the 19th century. Many musical finds of romantic composers were reflected in the music of the Impressionists.

Romantic composers have increased interest in the poetization of antiquity and distant lands, in timbre and harmonic brilliance, the resurrection of archaic modal systems, the miniature genre, the coloristic discoveries of E. Grieg, N. A. Rimsky-Korsakov, the freedom of voice leading and spontaneous improvisation by M. P. Mussorgsky.

One of the critics wrote: “Listening to the Impressionist composers, you mainly revolve in a circle of vague iridescent sounds, tender and fragile to the point that the music is about to suddenly dematerialize ... only in your soul for a long time leaving echoes and reflections of intoxicating ethereal visions” .

I. V. Nestyev in his article “Impressionism” writes: “Musical impressionism contributed to the development of many musical genres that replaced romanticism. In symphonic music, these are symphonic sketches, in piano music, compressed program miniatures, and in vocal music, vocal miniatures. In opera, this led to the creation of musical dramas of semi-legendary content, with an enchanting delicacy of sound atmosphere, avarice and naturalness of vocal recitation.

Musical discoveries and improvisation in the music of impressionist composers opened the way for new musical means expressiveness. The unusual harmony, the use of parallelisms, the combination of complex chord complexes weakened the clarity of the functional connection. All this allowed the Impressionists to saturate their works with unusual colors and harmonies.

The first mention of impressionism in relation to Debussy's music was made in the spring of 1887, moreover, the term was used rather in a negative context. It was about the suite "Spring" in two parts for female choir with an orchestra. Unfortunately, the score of this work has not survived to this day in its original form, but it is known that its performance excited the cultural community.

Critic in his Report to the Permanent Secretary of the Academy fine arts writes about Debussy: “One can state in him a sense of musical color, however, an excess of this feeling makes him easily forget about the significance of the accuracy of drawing and form. He should have avoided this vague Impressionism, one of the most dangerous enemies truth in works of art.

Comparison of the composer's music with the pictorial current led critics to analyze the musical innovations in his work. Another critic, Camille Mauclair, in his article "Musical Painting and the Fusion of the Arts" in the Revue Blue newspaper in 1902, called Debussy's music an "impressionism of sound spots".

The term "impressionism", used by music critics of the late nineteenth century. in a condemning or ironic sense, later became a generally accepted definition and began to cover a wide range of musical phenomena at the turn of the nineteenth and twentieth centuries. both in France and elsewhere in Europe.

Let us consider in more detail the innovative musical discoveries of the Impressionist composers Claude Debussy and Maurice Ravel.

Claude-Achille Debussy (1862-1918)

Grigory Mikhailovich Schneerson in his book "French Music of the 20th Century" calls Debussy "a French artist to the marrow of his bones." He writes that no foreign influences could change the national creative image of Debussy - this composer brought French music to one of the leading places in world musical culture.

Since 1872, studying at the Paris Debussy Conservatory, he stood out among his class as a well-formed artistic individuality. The piano class was taught by the famous pianist and teacher Antoine Marmontel, he studied solfeggio with Albert Lavignac. Most of all, the young composer did not like the lessons in harmony and accompaniment from Emile Duran. The teacher brought up the young man in line with the classical rules of harmony and could not cope with the artistic impulses of his student. Another teacher, O. Basil, encouraged the freedom of improvisation in the future composer. Debussy's composition was led by Ernest Guiraud from 1880, and then the first works of the composer began to appear.

A little earlier, traveling through Switzerland and Italy, Debussy met a wealthy Russian philanthropist, Nadezhda Filaretovna von Meck, who introduced him to the work of Pyotr Ilyich Tchaikovsky.

In her letters to Pyotr Ilyich, Madame von Meck wrote about Debussy as follows: “He is a Parisian from head to toe, a typical gamin (street boy), very witty, an excellent imitator, amusingly and quite characteristically represents Gounod Ambroise Thomas and others, always in the spirit, always and is pleased with everything and makes the whole audience laugh unimaginably; lovely character."

It should be noted that in 1883 Debussy received the second Rome Prize for the cantata "Gladiator". And a year later, the French Academy awards the composer the Grand Prize of Rome for the cantata The Prodigal Son.

From 1885, Debussy began to search for his original musical language. Then he stood in opposition to the classical traditions of harmony. At this time, the art of France, with all the variety of artistic trends, experienced a stagnation of academicism and respectable conservatism. This was welcomed by official institutions - the Academy of Fine Arts, annual exhibitions, salons, the conservatory.

The young generation of artists, writers, musicians of the late 19th century challenged the generally accepted norms in art and opened up new aesthetic horizons in their work. In this field, a current of symbolism arose in French literature, impressionism in painting.

Debussy's style gradually took shape from 1884 to 1889. The composer created a completely new piano language. His contemporaries noted that Debussy the pianist was very attentive to the nuances of his pieces, he attached special importance to the pedal, which created a special color and effect of the pieces. Here are some statements by musicologists: “Debussy did for the piano literature of the 20th century what Chopin did for the 19th century. He opened a new sound for the piano, made a revolution in pianistic technique, expanding the technical capabilities of the instrument.”

When composing his works, the composer could improvise at the instrument for a very long time, and his composing searches can be called “controlled improvisation”. This term was introduced into musical use by J. Barrake.

Teacher R. Godet noted: “Debussy only then began to record music, at least most often, when a long incubation period passed. Then he wrote as if under dictation and almost without blots.

In 1889, Debussy succumbed to new trends in art, directed against academicism, and changed his circle of friends. Now the composer was interested in the ideology of symbolism in literature and impressionism in painting. He met the poets S. Mallarme, P. Verlaine, P. Renier, artists: C. Monet, O. Renoir, P. Cezanne, E. Manet. We can say that Debussy was able to generalize and express all the ideas of symbolism and impressionism in music.

At the same time, the composer visited the Paris World Exhibition, where he heard Russian music by A. P. Borodin, N. A. Rimsky-Korsakov, M. A. Balakirev and M. P. Mussorgsky.

Another significant event in the life of the composer was his acquaintance with the culture of the East. Debussy was one of the first who turned to the theme of the East in his work. Being strongly impressed by her, Debussy wrote the cycle "Prints". The play "Pagodas", which is part of the cycle, is a vivid reflection of oriental culture.

Throughout his life, the composer's sources of inspiration were cultural events not only in France, but throughout the world. It should be noted that the mutual influence of French and Russian musical cultures was largely carried out due to the "Russian Seasons" organized by Sergei Diaghilev.

Results musical searches Debussy gave a strong impetus to the development of new styles in music. The main fundamental difference between Debussy's musical language was the freedom of self-expression and independence from the classical forms of musical works.

In the piano work of Debussy, influences of romanticism, as well as French harpsichordism, are visible. Almost all of Debussy's works are subject to such a principle as "controlled improvisation".

In the recording of his piano works, he is the first of the composers to use the third line in the common accolade, instead of the traditional two. This is one of the ways to convey the correspondence of the visual image to the auditory one. The third line was first used in the play "An Evening in Grenada" and the play "From the Sketchbook".

The innovation of the piano works of Claude Debussy is determined by the expansion of the piano's capabilities of the instrument and the new topography of the musical text.

Maurice Joseph Ravel (1875 -1937)

Ravel was a composer whose work combined two cultures - Spain and France. His father was French and his mother was Spanish. All his adult life Ravel lived in Paris.

In 1889 Ravel entered the Paris Conservatoire. His teachers were: in the piano class - Pessar, in the class of counterpoint - Gedal, in the class of composition, the outstanding teacher of France Gabriel Foret. During the years of study, the young composer stood out from his comrades by the originality of his composer's thinking. He was fascinated by modernism, the work of symbolist poets such as S. Mallarme, Vellier de Lille Adan, and others. The first steps in the composer's field were not easy for Ravel.

He made his debut in 1898 with Habanera for two pianos. Later, Ravel included "Habanera" as one of the movements in his "Spanish Rhapsody". But criticism met the new composer unfriendly. Failures in the competition at the Academy of Arts from 1901 to 1905 do not bring recognition to the cultural community of Ravel's composer talent.

After graduating from the conservatory, Ravel joined a group of talented young writers, musicians, artists, where he found true comrades and friends. In this group, the main idea was the struggle against routine, for the creation of new art. This group, with the ironic name "Apaches", included the excellent pianist Ricardo Viñes, music critics Emile Viyermoz and Mikhail Calvocoressi, the poet Leon Paul Farga and Tristan Klingsor, and others. Young people did not miss a single musical concert, expressed their admiration for Debussy's music, joined clash with musical conservatives.

Russian music was accepted by the "Apaches" with enthusiasm and enthusiasm. Tristan Klingsor writes: “We were all passionate about Russians. Borodin, Mussorgsky, Rimsky delighted us…”.

Ravel's early works "Pavane for the Death of the Infanta", the play "The Play of Water", the vocal cycle "Scheherazade" received recognition from his contemporaries. The play "The Play of Water" was taken as a model for the works of musical impressionism. French criticism was inclined to believe that Ravel is the successor of Debussy's ideas. Struggling with the constant comparison of his music with the music of Debussy, Ravel had to defend his author's findings.

From 1905 to 1915, Ravel wrote the Sonatina and the cycle of pieces for piano "Reflections", the vocal suite "Natural Stories", "Spanish Rhapsody" for orchestra, the opera "Spanish Hour", the ballet "Daphnis and Chloe", etc. In 1908 " Spanish Rhapsody" was warmly received by the public and the press. After this premiere in Paris, Ravel received recognition in wide musical circles.

Ravel actively collaborated with the Russian Seasons. By order of Sergei Diaghilev, the composer wrote the ballet Daphnis and Chloe. Contrary to expectations, on June 8, 1912, the premiere of the ballet took place with great triumph and was accompanied by a tribute to the composer. The French press, admiring the ballet, wrote about the impossibility of performing this music outside the stage. One of the critics wrote: “Without dance, without actors, without light, without scenery, Daphnis will seem unbearably long…”.

Fortunately, the opinion of many critics turned out to be erroneous. Some pieces from this ballet are still performed separately by symphony orchestras and are included in their permanent repertoire.

In 1913, Ravel follows the stylistic trends of Western European music. In his music, a simplification of the musical texture can be traced, most of all this applies to the field of chamber music. Throughout his life, Ravel did not deviate from classical forms in music; his works are characterized by drawn-out melodies, observance of the clarity of rhythm and meter.

The musical language of Ravel reveals to the world a kind of "neoclassicism". During the war years, Ravel abandons the ideas of impressionism, social problems, everyday topics are touched upon in his work, his music is filled with philosophical reflections.

Most famous work Ravel - "Bolero". Initially, the composer conceived the performance, but its premiere was a failure. The audience did not accept the composer's new work, but the musical theme "Bolero" was easily picked up.

Ravel was one of the first composers to accept an offer to write music for a film - it was Don Quixote. The composer wrote three songs for the Russian bass Fyodor Chaliapin, these songs form a small cycle, which he called "Don Quixote to Dulcinea".

A. A. Alshvang notes that Ravel's work contributed to the definition of the main trends in Western European musical culture. main feature Ravel's creativity was finding a variety of harmonic musical solutions, the use of more complex harmonies, the frequent use of chords with delay, thereby the composer updated the traditionally established harmonic system.

Ravel's art, imbued with humanism, is imbued with national French flavor. Sergei Sergeevich Prokofiev correctly identified Ravel's place in the history of world music. He wrote: “At one time, after the war, a group of young musicians appeared in France: Honegger, Milhaud, Poulenc and others, who, in the heat of youthful enthusiasm, claimed that Ravel’s music had outlived its time, new people came, a new musical language came. But as the years passed, the said group took its rightful place in French music, and Ravel is still one of the greatest French composers and one of the most significant musicians of our time.

Application of the term " impressionism"to music is largely conditional - musical impressionism does not constitute a direct analogy to impressionism in painting and does not coincide with it chronologically (its heyday is the 90s of the 19th century and the 1st decade of the 20th century).

Impressionism arose in France, when a group of artists - C. Monet, C. Pissarro, A. Sisley, E. Degas, O. Renoir and others - performed with their original paintings at the Paris exhibitions of the 70s. Their art differed sharply from the smoothed and featureless works of the then academic painters: the Impressionists left the walls of the workshops in the open air, learned to reproduce the play of the living colors of nature, the sparkle of the sun's rays, the multi-colored glare on the moving surface of the river, the diversity of the festive crowd. The painters used a special technique of fleeting spots-strokes, which seemed chaotic up close, and at a distance gave rise to a real feeling of a lively play of colors, bizarre play of light. The freshness of an instant impression was combined in their canvases with the subtlety and sophistication of psychological moods.

Later, in the 1980s and 1990s, the ideas of impressionism and partly its creative techniques found expression in French music. Two composers - C. Debussy and M. Ravel - most clearly represent the current of impressionism in music. In their piano and orchestral sketch pieces, with a special harmonic and modal novelty, the sensations caused by the contemplation of nature are expressed. The noise of the surf, the splash of the stream, the rustle of the forest, the morning chirping of birds merge in their works with the deeply personal experiences of the musician-poet, in love with the beauty of the surrounding world. Both of them loved folk music - French, Spanish, Oriental, admired its unique beauty.

The main thing in musical impressionism is the transmission of moods, acquiring the meaning of symbols, subtle psychological nuances, an inclination towards poetic landscape programming. He is also characterized by refined fantasy, poetization of antiquity, exoticism, interest in timbre and harmonic brilliance. With the main line of impressionism in painting, he has in common an enthusiastic attitude to life; moments of intense conflict social contradictions cost in it.

The classic expression " musical impressionism" found in the work of C. Debussy; its features also appeared in the music of M. Ravel, P. Duke, F. Schmitt, J. J. Roger-Ducas, and other French composers.

Debussy is considered to be the initiator of musical impressionism, enriching all aspects of modern composer's skill - melody, harmony, orchestration, form. His innovative experiments are partly inspired by the outstanding discoveries of Russian realist composers, primarily M. P. Mussorgsky. At the same time, he embraced the ideas of new French painting and Symbolist poetry. Debussy wrote many piano and vocal miniatures, several pieces for chamber ensembles, three ballets, and the lyric opera Pelléas et Mélisande.

Musical impressionism inherited many features of the art of late romanticism and national musical schools XIX in. (“The Mighty Handful”, F. Liszt, E. Grieg and others). At the same time, the Impressionists contrasted the clear relief of contours, the purely materiality and oversaturation of the musical palette of the late romantics with the art of restrained emotions and transparent, stingy texture, and a fluent changeability of images.

The work of impressionist composers in many ways enriched the expressive means of music, especially the sphere of harmony, which reached great beauty and refinement; the complication of chord complexes is combined in it with the simplification and archaization of modal thinking; the orchestration is dominated by pure colors, whimsical reflections, rhythms unsteady and elusive. The brilliance of harmonic and timbre means comes to the fore: the expressive meaning of each sound, chord is enhanced, previously unknown possibilities for expanding the modal sphere are revealed. A special freshness to the music of the Impressionists was given by their frequent appeal to song and dance genres, to the elements of the musical language of the peoples of the East, Spain, and early forms of Negro jazz.

Spiritualized pictures of nature are conveyed with amazing, almost visible concreteness in his orchestral pieces: “Preludes to the Afternoon of a Faun”, in the cycle “Nocturnes” (“Clouds”, “Festivities” and “Sirens”), three sketches “Sea”, cycle “Iberia” (three sketches of the nature and life of southern Spain), as well as in piano miniatures “Island of Joy”, “Moonlight”, “Gardens in the Rain”, etc. The work of Maurice Ravel (1875-1937) reflected a later era. The drawing of his compositions is sharper, sharper, the colors are clearer and more contrasting - from tragic pathos to caustic irony.But in his composer's manner there is also a refined sound painting, a complex and colorful play of colors, typical of musical impressionism.In the best piano pieces of Ravel, whimsical iridescence dominates sounds inspired by wildlife ("The Play of Water", "Sad Birds", "Boat in the middle of the ocean"). Throughout his life, the composer developed the motifs of his beloved Spain. This is how the Spanish Rhapsody for orchestra, comic th opera "Spanish Hour", "Bolero".

Ravel paid great attention to the genres of dance music. Among several of his ballets, the fairy-tale ballet Daphnis and Chloe, created by him in collaboration with the Russian troupe of S. P. Diaghilev, stands out. Ravel knew the secrets of musical humor well, wrote music for children with love. Such are his pieces for pianoforte "Mother Goose", turned into a ballet, or the opera "Child and Magic", in which the Clock and the Couch, the Cup and the Teapot play amusingly as characters. AT last years In his life, Ravel turned to more modern, rhythmically sharpened musical means, in particular to the intonations of jazz (sonata for violin and piano, two piano concertos).

The traditions of impressionism, started by the French masters, found their continuation in the work of composers of various national schools. They were originally developed by M. de Falla in Spain, A. Casella and O. Respigi in Italy, S. Scott and F. Dilius in England, and K. Szymanowski in Poland. The influence of impressionism was experienced at the beginning of the 20th century. and some Russian composers (N. N. Cherepnin, V. I. Rebikov, S. N. Vasilenko). In A. N. Scriabin, independently formed features of impressionism were combined with fiery ecstasy and violent strong-willed impulses. Originally realized achievements of French Impressionism are noticeable in the early works of I. F. Stravinsky (the ballets "The Firebird", "Petrushka", the opera "The Nightingale").

Impressionism in painting and music

The Impressionists believed that the task of art is to correctly reflect the impressions of the surrounding world - a living and ever-changing one. Life is a series of unique moments. That is why the task of the artist is to reflect reality in its incessant variability. Objects and creatures need to be depicted not as they are, but as they look at the moment. They may look different due to distance or angle of view, due to changes in the air environment, time of day, lighting. In order to correctly reflect his impressions, the artist must work not in the studio, but in nature, that is, in the open air. And in order to correctly convey the fast ones in the surrounding landscape, you need to write quickly and complete the picture in a few hours or even minutes, and not as in old days in a few weeks or months. Since the surrounding reality appears before the artist in a new light, the moment captured by him is a document of the minute.

The new direction, which manifested itself so clearly in painting, also influenced other types of art: poetry and music. Musical impressionism was most fully embodied in the work of two French composers: Claude Debussy and Maurice Ravel.

Musical impressionism grew out of the national traditions of French art. Colorfulness, decorativeness, interest in folk art, ancient culture, a large role of programming has always been characteristic of French music. All this was clearly manifested in the work of Debussy and Ravel. But the most direct and fruitful influence on the new direction in music, of course, was pictorial impressionism.

There is much in common in the work of Impressionist artists and composers. First of all, this is a related topic. The leading theme islandscape».

The focus of painters is the urban landscape, where the city attracts artists in interaction with general natural processes, nuances of the atmosphere. In the painting “Capuchin Boulevard in Paris” by C. Monet, the composition is built on the contrast of the continuous movement of pedestrians and the static forms of houses and tree trunks; on the contrast of warm and cold colors; in an expressive temporal contrast - two frozen figures are, as it were, turned off from the fast-flowing time. The image is given blurry and elusive, there is a feeling of overlapping several images taken from one point on one frame. Much attention was paid to artists and images of nature. But they have such a landscape in which the subject itself recedes into the background, and the main character of the picture becomes a changeable and fickle light. Claude Monet introduced the practice of working on a series of canvases depicting the same motif in different lighting. Each picture of the series is unique, because it is transformed by changing light. Unusual attitude to the landscape and impressionist composers.

None of the composers of the past embodied such a variety and richness of subjects associated with pictures of nature. Moreover, Debussy and Ravel in the images of nature are attracted, first of all, by what moves: rain, water, clouds, wind, fog, and the like. For example, such plays by Debussy: “Wind on the Plain”, “Gardens in the Rain”, “Fogs”, “Sails”, “What the West Wind Saw”, “Heather”, “The Play of Water” by Ravel. In such works, some techniques of sound representation, characteristic of the music of the Impressionists, were clearly manifested. They can be described as “running of waves” (“Playing water” by Ravel, “Sails” by Debussy), “falling leaves” (“Dead Leaves” by Debussy), “flickering of light” (“Moonlight” by Debussy), “breath of the night” (“ Prelude of the Night" by Ravel, "Fragrances of the Night" by Debussy), "Rustle of Leaves" and "Blow of the Wind" ("Wind on the Plain" by Debussy).

Common features in the work of impressionist artists and composers are found not only in the field of content, themes, but also in the artistic method.

An unusual view of the world around him determined the technique of painting by the Impressionists. Plein air is the main key to their method. They did not pass by the main scientific discoveries in optics about the decomposition of color. The color of an object is the impression of a person, which is constantly changing from lighting. The Impressionists applied paints to the canvas only of those colors that are present in the solar spectrum, without neutral tones of chiaroscuro and without pre-mixing these colors on the palette. They applied paint in small separate strokes, which at a distance cause the impression of vibration, while the contours of objects lose their sharpness.

The Impressionists updated not only the light-color system of painting, but also compositional techniques. In the Impressionists, we see the most diverse points of contemplation - from above, from a distance, from the inside, and others. In contrast to the canons of academic art, which included the obligatory placement of the main characters in the center of the picture, the three-dimensionality of space, the use of historical plots, the Impressionists put forward new principles for the perception and reflection of the surrounding world. They stopped dividing objects into main and secondary. The Impressionists focused on the study of the nature of light, the careful observation of specifically colored light. The Impressionists for the first time entered the realm of transformations of reality, barely noticeable to the ordinary eye, which proceed so quickly that they can only be noted by a trained eye and are carried out at a pace incomparably greater than the pace of creating a picture.

Picturesque impressionism has greatly influenced music in the field of means of expression. The search touched on mode, harmony, melody, metro-rhythm, texture, instrumentation. Debussy and Ravel create a new, impressionistic musical language.

The value of the melody, as the main expressive element of music, is weakened, it dissolves into a harmonic background. There are no bright, wide melodies, only short melodic phrases flicker. But the role of harmony is unusually increasing.

The art of Debussy and Ravel, like the canvases of impressionist artists, sings of the world of natural human experiences, conveys a joyful feeling of life, opens up a wonderful poetic world nature, drawn with subtle, original sound colors.

Since antiquity, the world aesthetics was dominated by the theory of imitation in art, the Impressionists approved a new concept, according to which the artist should embody on his canvases not the objective world around him, but his subjective impression of this world. Many trends in the art of the subsequent, 20th century, appeared thanks to the new methods of impressionism.

Let's take a mini quiz.

In the first stage, it is proposed to choose: from three piano, and then from three symphonic musical fragments, works belonging to impressionist composers. In the second - from the proposed cards with fragments of artistic analysis of paintings, you need to choose those that belong to impressionist artists.

1. The charm of the young model seems most expressive against the backdrop of clear greenish distances of the landscape and the gentle blue sky. This endless landscape seems fabulous, evoking a feeling of the immensity of the world.

2. A sense of scale, a sense of the immensity and scope of what is happening. The allegorical figure is the semantic center of the picture: a classical antique profile, a powerful sculptural torso. The idea of ​​freedom seems to be visibly embodied in a beautiful woman.

3. With small strokes of paint, the artist recreates on the canvas the game of the midday sun, generating many color shades. Bright flowers tremble in the light, long shadows fluctuate. White dress lady is written in a blue tone - the color of the shadow that fell on him from a yellow umbrella. A short moment of the life of a blooming garden lives on this canvas.

4. A pink ball without rays floats out of the cloud, coloring the sky and the bay, reflecting in a fluttering path on the surface of the water. Wet fog softens the silhouettes of objects. Around everything is unsteady, the boundaries between the sky and the river are barely perceptible. Another minute - the morning fog will dissipate, and everything will take on a different look.

5. The musical variation of the shining colored spots of the face, hairstyle, dress, background, played by the artist in this exquisite canvas, repeated in an unfolded fan, forms the image of a dreamy and tender girl, like a beautiful flower.

6. The space of the landscape, in which a slight asymmetry is emphasized, is formed by tree lines, contours of figures and color spots of white, green, blue, trembling shadows on the ground. Blinding sunlight deprives the figures of volume, which turn into silhouettes. The freedom of the stroke, the dazzling freshness of the palette, the illusion of light, the tranquility of the mood become the main features of the new painting style. The picture, endowed with the unique charm of the atmosphere, seems unusually decorative and major.

7. Cut off by the frame, in a slight diagonal shift, it appears as a mysterious phantom of the past. The midday sun ignites the plane of the facade with a light golden flame, but the glow also comes, as it were, from inside the stone.

Jean Auguste Dominique Ingres, portrait of Mademoiselle Riviere, 1805, Paris, Louvre.

E. Delacroix, "Freedom leads the people", 1831, Paris, Louvre.

C. Monet, Lady in the Garden, 1867, St. Petersburg, State Hermitage.

C. Monet, “Impression. Sunrise”, 1873, Paris, Marmotan Museum.

O. Renoir, "Girl with a fan", 1881, St. Petersburg, State Hermitage.

C. Monet, "Women in the Garden", 1886, Paris, Museum d'Orsay.

C. Monet, "Rouen Cathedral at noon", 1892, Moscow, GIII im. A.S. Pushkin.

C squeak literature

1. John Rewald. History of Impressionism.416 p. Republic Publishing House, Moscow, 2002.

2. Andreev L.G. Impressionism. M. MGU, 1980

3. Vlasov V.G. “Styles in Art.” St. Petersburg, “Lita”. 1998

4. Koretskaya I.V. Impressionism in the Poetics and Aesthetics of Symbolism. - In the book: Literary and aesthetic concepts in Russia in the late XIX - early XX centuries. M., 1975

5. Claude Monet. Patin Sylvie. - M.: Astrel Publishing House, 2002. - 175 p.