Dargomyzhsky's works. Alexander Dargomyzhsky: biography, interesting facts, creativity. How Dargomyzhsky spent his early childhood

Russian composer Alexander Sergeevich Dargomyzhsky was born on February 14 (2 according to the old style) February 1813 in the village of Troitskoye, Belevsky district, Tula province. Father - Sergei Nikolaevich served as an official in the Ministry of Finance, in a commercial bank.
Mother - Maria Borisovna, nee Princess Kozlovskaya, composed plays for stage performance. One of them - "Chimney sweep, or a good deed will not remain without a reward" was published in the magazine "Blagonamerenny". Petersburg writers, representatives of the "Free Society of Lovers of Literature, Science and Art" were familiar with the composer's family.

In total, the family had six children: Erast, Alexander, Sophia, Lyudmila, Victor, Herminia.

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

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

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

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

In the early period of his creative work, a number of pieces for piano were written ("March", "Counterdance", "Melancholic Waltz", "Kazachok") and some romances and songs ("The Moon Shines in the Cemetery", "Amber Cup", "I Loved You" , "Night Marshmallow", "Youth and Maiden", "Vertograd", "Tear", "The fire of desire burns in the blood").

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

In 1835 Dargomyzhsky got acquainted with Mikhail Glinka, according to whose notebooks the composer began to study harmony, counterpoint and instrumentation.

In 1837 Dargomyzhsky began work on the opera Lucrezia Borgia, based on the drama of the same name by the French writer Victor Hugo. On the advice of Glinka, this work was abandoned and the composing of a new opera "Esmeralda", also based on the subject of Hugo, began. The opera was first staged in 1847 at the Bolshoi Theater in Moscow.

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

In 1849, work began on the opera "Mermaid" based on the work of the same name by Alexander Pushkin. The premiere of the opera took place in 1856 at the St. Petersburg Circus Theater.

Dargomyzhsky during this period focused on developing a natural recitation of melody. The compositor's method of creativity is finally formed - "intonation realism". For Dargomyzhsky, the main means of creating an individual image was the reproduction of the living intonations of human speech. In the 40s-50s of the 19th century, Dargomyzhsky wrote romances and songs ("You will soon forget me," quiet, quiet, ti "," I will light a candle "," Mad, no reason ", etc.)

Dargomyzhsky became close with composer Miliy Balakirev and critic Vladimir Stasov, who founded the creative association "The Mighty Handful".

From 1861 to 1867, Dargomyzhsky wrote successively three symphonic overtures-fantasies: "Baba-Yaga", "Ukrainian (Mal-Russian) Cossack" and "Fantasia on Finnish Themes" ("Chukhonskaya Fantasy"). During these years, the composer worked on chamber-vocal compositions "I remember deeply", "How often I listen", "We parted proudly", "What is in my name", "I don't care". The oriental lyrics, presented earlier by the romances "Vertograd" and "Eastern Romance", were replenished with the aria "Oh, maiden rose, I am in chains". A special place in the composer's work was taken by songs of social and everyday content "Old Corporal", "Worm", "Titular Counselor".

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

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

Since 1859, Dargomyzhsky was elected to the Russian Musical Society (RMO).

Since 1867, Dargomyzhsky was a member of the directorate of the St. Petersburg branch of the RMO.

On January 17 (5 old style), January 1869, Alexander Dargomyzhsky died in St. Petersburg. The composer did not have a wife and children. Buried at the Tikhvin cemetery of the Alexander Nevsky Lavra (Necropolis of Artists).

On the territory of the Arsenyevsky District of the Tula Region, the world's only monument to Dargomyzhsky, made by the sculptor Vyacheslav Klykov, has been erected.

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

1. Fyodor Chaliapin performs "Melnik's Aria" from Dargomyzhsky's opera "Mermaid". Recorded 1931.

2. Fyodor Chaliapin in the scene "Aria of the Miller and the Prince" from Dargomyzhsky's opera "Mermaid". Recorded 1931.

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

Alexander Dargomyzhsky is the author of four operas and many other works. He became a harbinger of realism in Russian academic music. His works were staged on the European stage at a time when almost all future Russian classics of The Mighty Handful were just beginning their careers. Dargomyzhsky's influence on composers lasted for decades. His "Mermaid" and "The Stone Guest" became an integral part of Russian art of the 19th century.

Roots

Alexander Dargomyzhsky was born on February 14, 1813 in the small village of Voskresensky, located in the Chernsky district of the Tula province. The boy's father, Sergei Nikolaevich, was the illegitimate son of a wealthy landowner Alexei Ladyzhensky. Mother Maria Kozlovskaya was a nee princess.

The Dargomyzhskys owned the Tverdunov family estate, in which little Sasha spent the first three years of his life. It was located in the Smolensk province - the composer returned there more than once already in adulthood. In the estate of his parents, Dargomyzhsky, whose biography was mainly associated with the capital, was looking for inspiration. The composer used motives of folk songs of the Smolensk region in his opera "Mermaid".

Music lessons

As a child, Dargomyzhsky spoke late (at the age of five). This affected the voice, which remained hoarse and high-pitched. However, such traits did not prevent the musician from mastering vocal technique. In 1817 his family moved to St. Petersburg. My father began to work in the office of the bank. The child, from early childhood, began to receive a musical education. His first instrument was the piano.

Alexander changed several teachers. One of them was the outstanding pianist Franz Schoberlechner. Under his leadership, Dargomyzhsky, whose biography as a musician began from an early age, began performing at various events. These were private gatherings or charity concerts.

At the age of nine, the boy began to master the violin and string quartets. His main love still remained the piano, for which he had already written several romances and compositions of other genres. Some of them were even later published when the composer had already gained wide popularity.

The influence of Glinka and Hugo

In 1835 Dargomyzhsky, whose biography was closely connected with colleagues in the creative workshop, met Mikhail Glinka. An experienced composer greatly influenced the budding comrade. Dargomyzhsky argued with Glinka about Mendelssohn and Beethoven, took from him reference materials, which he used to study musical theory. Mikhail Ivanovich's opera "A Life for the Tsar" inspired Alexander to create his own large-scale stage work.

In the 19th century, French fiction was extremely popular in Russia. Dargomyzhsky was also interested in her. The biography and work of Victor Hugo fascinated him especially strongly. The composer used the French drama Lucrezia Borgia as the basis for his future opera. Dargomyzhsky worked hard on the idea. Much did not work out, and the result was late. Then he (on the recommendation of the poet Vasily Zhukovsky) turned to another work of Hugo - "Notre Dame Cathedral".

Esmeralda

Dargomyzhsky fell in love with the libretto written by the author of the historical novel himself for the production of Louise Bertin. For his opera, the Russian composer took the same title "Esmeralda". He translated from French independently. In 1841, his score was ready. The completed work was accepted by the Directorate of the Imperial Theaters.

If in literature in Russia French novels were in demand, then the audience preferred exclusively Italian opera. For this reason, "Esmeralda" has been waiting for its appearance on the stage for an unusually long time. The premiere took place only in 1847 at the Bolshoi Theater in Moscow. The opera did not last long on stage.

Romances and orchestral works

During the period when Esmeralda's future remained in limbo, Dargomyzhsky earned his living by singing lessons. He did not give up writing work, but reoriented to romances. In the 1840s, dozens of such works were written, the most popular of which were Lileta, Sixteen Years, and Night Marshmallows. Dargomyzhsky also composed the second opera, The Triumph of Bacchus.

The composer's vocal and chamber works have enjoyed particular success. His early romances are lyrical. Their inherent folklore will later become a popular technique, which will be used, for example, by Pyotr Tchaikovsky. Laughter is another emotion that Alexander Sergeevich Dargomyzhsky tried to provoke. A short biography shows: he collaborated with prominent satirical writers. Therefore, it is not surprising that the composer's works contain a lot of humor. Vivid examples of the author's wit were the works "Titular Counselor", "Worm" and others.

For the orchestra, Alexander Dargomyzhsky, whose brief biography is rich in various genres, wrote "Babu Yaga", "Cossack", "Bolero" and "Chukhonskaya Fantasy". Here the author continued the traditions laid down by his mentor Glinka.

Overseas travel

All Russian intellectuals of the 19th century strove to visit Europe in order to get to know better the life of the Old World. The composer Dargomyzhsky was no exception. The musician's biography changed a lot when he left Petersburg in 1843 and spent several months in major European cities.

Alexander Sergeevich visited Vienna, Paris, Brussels, Berlin. He met the Belgian violin virtuoso Henri Vietant, the French critic François-Joseph Feti and many outstanding composers: Donizetti, Aubert, Meyerbeer, Halévy.

Dargomyzhsky, whose biography, creativity and social circle were still much more connected with Russia, returned to his homeland in 1845. At a new stage in his life, he became interested in national folklore. Its elements began to appear more and more often in the works of the master. Examples of this influence can be considered songs and romances "Likhoradushka", "Darling Maiden", "Melnik" and others.

"Mermaid"

In 1848, Alexander Sergeevich began to create one of his main works - the opera "Mermaid". It was written on the subject of Pushkin's poetic tragedy. Dargomyzhsky worked on the opera for seven years. Pushkin did not finish his work. The composer completed the plot for the writer.

"Mermaid" first appeared on the stage in 1856 in St. Petersburg. Dargomyzhsky, whose short biography was already known to every music critic, received a lot of detailed praise and positive reviews for the opera. All leading Russian theaters tried to keep it in their repertoire as long as possible. The success of The Mermaid, which was strikingly different from the reaction to Esmeralda, spurred the composer. A period of prosperity began in his creative life.

Today "Rusalka" is considered the first Russian opera in the genre of psychological everyday drama. What plot did Dargomyzhsky suggest in this work? The composer, whose short biography is able to acquaint with a variety of subjects, created his own variation of the popular legend, in the center of which is a girl turned into a mermaid.

Iskra and the Russian Musical Community

Although the composer's work was music, he was also fond of literature. The biography of Alexander Sergeevich Dargomyzhsky was closely connected with the biographies of various writers. He became close and communicated with the authors of liberal views. With them Dargomyzhsky published the satirical magazine Iskra. Alexander Sergeevich wrote the music to the verses of the poet and translator Vasily Kurochkin.

In 1859, the Russian Musical Society was created. Dargomyzhsky was among its leaders. A short biography of the composer cannot do without mentioning this organization. It was thanks to her that Alexander Sergeevich met many young colleagues, including Mily Balakirev. Later, this new generation will create the famous Mighty Handful. Dargomyzhsky, on the other hand, will become a link between them and composers of the past era, such as Glinka.

"Stone Guest"

After "Mermaid" Dargomyzhsky did not return to composing operas for a long time. In the 1860s. he created sketches for works inspired by the legends of Rogdan and Pushkin's "Poltava". This work stalled at its infancy.

The biography of Dargomyzhsky, a summary of which shows how sometimes difficult the master's creative research went, later became associated with the "Stone Guest". This was the title of Pushkin's third "Little Tragedy". It was on her motives that the composer decided to compose his next opera.

Work on "The Stone Guest" lasted for several years. During this period, Dargomyzhsky set off on his second major trip to Europe. Dargomyzhsky went abroad shortly after the death of his father Sergei Nikolaevich. The composer never married, he did not have his own family. Therefore, his father all his life remained for Alexander Sergeevich the main adviser and support. It was the parent who managed the son's financial affairs and watched over the estate that remained after the death of Maria Borisovna's mother in 1851.

Dargomyzhsky visited several foreign cities, where the premieres of his "Little Mermaid" and the orchestral play "Kazachok" were sold out. The works of the Russian master aroused genuine interest. The outstanding representative of romanticism, Franz Liszt, spoke favorably of them.

Death

At the age of six, Dargomyzhsky had already undermined his health, which had suffered from regular creative stress. He died on January 17, 1869 in St. Petersburg. In his will, the composer asked Caesar Cui to complete The Stone Guest, who was helped by Nikolai Rimsky-Korsakov, who completely orchestrated this posthumous work and wrote a small overture for it.

For a long time, the last opera remained the most famous work of Dargomyzhsky. This popularity was due to the novelty of the composition. There are no ensembles and arias in his style. The opera is based on recitations and melodic recitations set to music, which has not yet happened on the Russian stage. Later, these principles were developed in "Boris Godunov" and "Khovanshchina" by Modest Mussorgsky.

Composer style

Dargomyzhsky turned out to be a harbinger of Russian musical realism. He took the first steps in this direction, abandoning the pretense and bombast of romanticism and classicism. Together with Balakirev, Cui, Mussorgsky and Rimsky-Korsakov, he created a Russian opera that departed from the Italian tradition.

What did Alexander Dargomyzhsky consider to be the main thing in his works? The biography of the composer is the story of the creative evolution of a person who carefully worked out each character in his works. With the help of musical techniques, the author tried to show the listener as clearly as possible the psychological portrait of the most diverse heroes. In the case of The Stone Guest, the main character was Don Juan. However, he is not the only one who plays a significant role in the opera. All the characters in the creative world of Alexander Sergeevich are not accidental and important.

Memory

Interest in Dargomyzhsky's work revived in the 20th century. The composer's works were extremely popular in the USSR. They were included in all kinds of anthologies and were performed at various venues. Dargomyzhsky's legacy has become the subject of new academic research. The main experts in his work are Anatoly Drozdov and Mikhail Pekelis, who wrote many works about his works and their place in Russian art.

Where children get the opportunity for creative development. And who Dargomyzhsky is and how he is connected with the Vyazemskaya land, you can find out by reading his biography.

Alexander Sergeevich Dargomyzhsky (1813-1869)- Russian composer who left a significant mark on the development of music, creating one of the new directions - the realistic. Dargomyzhsky Alexander Sergeevich once wrote in his autobiographical letter: “I want the sound to express the word directly. I want the truth ”and he did it very well, because it was not for nothing that Musorgsky called him“ the teacher of musical truth ”.

Alexander Sergeevich Dargomyzhsky short biography

The life path of Dargomyzhsky and his brief biography begins from birth. This happened in February 1913. It was then that the world saw a little boy who was born into a family of nobles, and they named him Alexander, whose glorious biography began in the Troitskoye village of the Tula region. Immediately, as Napoleon's troops were expelled from the territory of Russia, the Dargomyzhskys settled on the estate, which was inherited by Dargomyzhsky's mother, on the estate of Tverdunovo, in the Vyazemsky region. The first four years of the future composer passed there, after which the whole family moved to St. Petersburg. There, Alexander Sergeevich Dargomyzhsky is engaged in musical education. He learns to play the violin, piano, learns to sing, tried himself in writing his first romances, pieces for piano.

Among his acquaintances, there were many writers, among whom were Lev Pushkin, Zhukovsky Vasily, Pyotr Vyazemsky. An important role in the fate of Dargomyzhsky was played by the meeting and acquaintance with Glinka.

Alexander Sergeevich Dargomyzhsky created music and his first major work was work on the opera "Esmeralda", which was not immediately staged on stage, and when the author achieved its release, after the premiere, he quickly left the stage and was rarely staged. Such a failure with pain and worries affected Dargomyzhsky's state of mind, but he continues to create and write a number of romances.

Mermaid creation story

Composer Dargomyzhsky goes abroad, so to speak, for inspiration. There he met musicologists, world composers, and upon returning to his homeland, Alexander began to get carried away with folklore, whose echoes can be traced in many of his works, including his famous work, which brought great popularity to the author. And this is the work of Alexander Sergeevich Dargomyzhsky "Mermaid" on the plot of Pushkin's tragedy "Mermaid". If we talk about the work of Alexander Sergeevich Dargomyzhsky "Mermaid" and its history of creation, it should be said that it took about seven years to write the work of the composer. He began to write it in 1848, and completed the work in 1855.

The next opera, which Dargomyzhsky conceived, was The Stone Guest, but it is being written slowly because of the creative crisis experienced by the author, which was caused by the withdrawal of his work Rusalka from the theater repertoire. Again, Dargomyzhsky goes abroad for inspiration. Upon arrival, he takes up the "Stone Guest" again, but he could not complete it.

Opera by A.S.Dargomyzhsky The Mermaid

Alexander Sergeevich Dargomyzhsky music

Dargomyzhsky - Melnik, sheet music

Melancholic Waltz A. Dargomyzhsky

In 1869 Dargomyzhsky leaves our world. They buried him at the Tikhvin cemetery in the Necropolis of Artists.

Alexander Sergeevich Dargomyzhsky interesting facts from life

Studying the biography of Alexander Sergeevich Dargomyzhsky, one can note such an interesting fact of his life as the completion of the opera "The Stone Guest", which Caesar Cui completed.
After himself, Dargomyzhsky left many works, and these are operas, and chamber-vocal works, and songs of social and everyday content, and romances, and works for the piano.

During his life, Dargomyzhsky never met the only one with whom he would create a family and raise children. In Vyazma, next to the school of arts, A.S. A monument has been erected to Dargomyzhsky, and has recently appeared.

Well, we invite you to get to know the composer better. After looking at the photo of Alexander Sergeevich Dargomyzhsky, you can also touch the work of Alexander Sergeevich Dargomyzhsky by listening to his works.

Unrecognized geniuses are considered by many of those who have not smiled creative luck. But only time knows the true meaning of talent - it covers someone with oblivion, and gives immortality to someone. The unusual talent of Alexander Sergeevich Dargomyzhsky was not appreciated by his contemporaries, but it was his contribution to Russian music that turned out to be the most significant for the next several generations of Russian composers.

A short biography of Alexander Dargomyzhsky and many interesting facts about the composer can be found on our page.

Brief biography of Dargomyzhsky

On February 2, 1813, Alexander Dargomyzhsky was born. It is known for certain about the place of his birth that it was a village in the Tula province, but historians argue about its exact name to this day. However, it was not she who played a significant role in the fate of the composer, but the estate of Tverdunovo, owned by his mother, to which little Sasha was brought several months old. The estate was located in the Smolensk province, not far from the village of Novospasskoye, the ancestral home of the first Russian classical composer M.I. Glinka with whom Dargomyzhsky will be very friendly. As a child, Sasha did not spend much time at the estate - in 1817 the family moved to St. Petersburg. But later he repeatedly came there for inspiration and study of folk art.

According to the biography of Dargomyzhsky, in the capital, a seven-year-old boy began to learn to play the piano, which he mastered filigree. But writing became his real passion, at the age of 10 he was already the author of several plays and romances. Neither Sasha's teachers nor his parents took this hobby seriously. And already at the age of 14, he entered the service of the newly created Control of the Ministry of the Imperial Court. In his work, he was distinguished by diligence and quickly moved up the ranks. Without ceasing, at the same time, writing music. Romances composed during that period began to conquer the St. Petersburg salons and were soon performed in literally every living room. Having met M.I. Glinka, Dargomyzhsky independently studied the basics of composition and counterpoint from the manuscripts of Professor Z. Dena brought from Germany.

In 1843, Alexander Sergeevich resigned and spent the next two years abroad, communicating with prominent composers and musical figures of his era. Upon his return, he began to study Russian folklore, especially on the example of the songs of the Smolensk province. One of the results of this was the creation of the opera “ Mermaid". At the end of the 50s, Dargomyzhsky approached the circle of novice composers, which would later be called “ A mighty bunch". In 1859 he became a consultant for the Russian Musical Society.

In 1861, after the abolition of serfdom, Alexander Sergeevich became one of the first landowners who liberated the peasants, leaving them the land without collecting a monetary payment. Alas, human generosity did not make his creative destiny any more successful. Against this background, his health began to deteriorate steadily, and on January 5, 1869, the composer died.

Interesting facts about Dargomyzhsky

• Dargomyzhsky was short, thin, with a high forehead and small features. Modern witches dubbed him "sleepy kitten". From an illness he had suffered in childhood, he spoke late and his voice remained unusually high for a man for the rest of his life. At the same time, he sang magnificently, performing his own romances with such feeling that one day, listening to him, even L.N. Tolstoy. He impressed women with his charm, sense of humor and impeccable demeanor.
• The composer's father, Sergei Nikolaevich, was the illegitimate son of the landowner A.P. Ladyzhensky, and got his last name from the name of his stepfather's estate Dargomyzh. The composer's mother, Maria Borisovna Kozlovskaya, came from a noble family originating from the Rurikovichs. Her parents refused a petty official in the hand of their daughter, so they got married in secret. 6 children were born in the marriage, Alexander was the third. Sergei Nikolaevich had a chance to bury his beloved wife, four of his children, and even two granddaughters. Of the entire large family of Alexander Sergeevich, the only sister survived, Sofya Sergeevna Stepanova. She also raised two daughters of her younger sister Erminia, who died in 1860. Her son, Sergei Nikolaevich Stepanov, and two nieces became the only descendants of the Dargomyzhskys.

• Sergei Nikolaevich Dargomyzhsky highly appreciated a sense of humor in people and encouraged the development of this quality in his children, rewarding them with 20 kopecks for a successful wit or clever phrase.
• Dargomyzhsky's biography says that Alexander Sergeevich has never been married. There were rumors of his romantic relationship with Love Miller, whom he taught to sing. For many years he was bound by a tender friendship with his student Lyubov Belenitsyna (married to Karmalina), which is evidenced by the extensive correspondence that has survived. Several of his romances were dedicated to the latter.
• All his life, the composer lived with his parents. After the death of his father, he lived for several years in the family of his sister Sophia Sergeevna, and then rented an apartment in the same house.
• In 1827, a book of children's poems and plays by M.B. Dargomyzhskaya "A Gift to My Daughter". Poetry was dedicated to the composer's younger sister Lyudmila.

• In the Dargomyzhsky family, music sounded constantly. In addition to Maria Borisovna and Alexander, who played the piano, brother Erast owned violin, and sister Herminia - harp.
• The opera "Esmeralda" was written to a libretto by V. Hugo, translated into Russian by Dargomyzhsky himself.
• The composer has taught singing to amateur singers for several years without charging any tuition fees. One of his students was A.N. Purgold, wife's sister ON THE. Rimsky-Korsakov.
• Dargomyzhsky was a great sensitive accompanist, reading sheet music like a book. He practiced parts from his own operas with singers. As a composer, he always made sure that the piano accompaniment of arias or romances was extremely simple to perform and did not overshadow the performer's voice.
• In 1859, the St. Petersburg Opera House burned down, where the claviers of operas by Russian composers were kept. " Mermaid”Was one of them. And only by chance the score was not irretrievably lost - two weeks before the fire it was copied before being sent to Moscow to be performed at the benefit performance by singer Semyonova.
• The part of the Miller was one of the most beloved by F.I. Chaliapin, he often performed arias from "Mermaid" at concerts. In 1910, at one of the performances, the conductor tightened the pace, because of which the singer had to beat them with his own foot so as not to suffocate in the arias. During the intermission, seeing the director's approval of the conductor's actions, he went home in anger. He was returned to the theater, and he finished the performance, but a big scandal erupted in the press, the director of the imperial theaters had to urgently leave for Moscow to correct the situation. As a solution to the conflict, Chaliapin was allowed to direct the performances in which he participated. So "Mermaid" gave art to Chaliapin as a director.
• Some Pushkin scholars believe that the poet originally conceived The Mermaid as an opera libretto.

• The money for the production of "The Stone Guest" was collected by all of St. Petersburg. The composer set the price for his opera at 3,000 rubles. The imperial theaters did not pay such money to Russian authors, the limit was 1,143 rubles. Ts.A. Cui and V.V. Stasov appeared in the press with coverage of this fact. Readers of St. Petersburg Vedomosti began sending money to buy the opera. Thus it was delivered in 1872.
• Today, the composer is rarely performed at home and is almost unknown in the world. The West has its own "Mermaid" A. Dvorak having popular arias. "The Stone Guest" is difficult to grasp, in addition, the translation largely loses the connection between music and Pushkin's verse, and hence the very idea of ​​an unusual opera. Every year in the world, Dargomyzhsky's operas are performed only about 30 times.

Creativity of Alexander Dargomyzhsky

The first works by Sasha Dargomyzhsky are dated to the 1820s - these are five different-character piano pieces. From the biography of Dargomyzhsky, we learn that by the age of 19 the composer already had several editions of chamber works and romances, and was popular in salon circles. A chance intervened in his creative destiny - a rapprochement with M.I. Glinka... Assistance in preparing for the performance " Lives for the king"Kindled in Dargomyzhsky the desire to write an opera himself. But his focus was not on epic or heroic themes, but on personal drama. He first turned to the history of Lucrezia Borgia, drawing up an opera plan and writing several numbers. However, on the advice of his inner circle, he parted with this idea. Another plot was given to him by the most popular novel of the time, Notre Dame Cathedral by V. Hugo. The composer called his opera “ Esmeralda”, It was completed by 1839, but saw the stage only in 1847. For 8 years the opera lay in the Directorate of the Imperial Theaters without movement, receiving neither approval nor rejection. The premiere in Moscow was very successful. In 1851, "Esmeralda" was shown in the capital's Alexandrinsky Theater, withstanding only 3 performances. Music circles received the opera favorably, but critics and the public received it coolly. This was largely due to both the sloppy staging and poor performance.

Dargomyzhsky writes romances, including unique works of the comic genre, and the cantata “ Triumph of Bacchus"On the verses of Pushkin. It was performed only once, then reworked into an opera-ballet, but in this form it lay in the sheet music for about 20 years, without receiving approval for the production. Dejected by this fate of his great works, the composer barely set about writing a new opera, also based on a Pushkin story. " Mermaid»Was created over 7 years. Alexander Sergeevich received a creative impulse from a concert in 1853, at which the audience grandiosely received his works, and he himself was awarded a silver bandmaster's rod, decorated with precious stones. "Mermaid" was staged pretty soon - in 1856, a year after its completion. But she left the stage just as quickly - after only 11 performances, although in general the audience liked it. The production was again extremely bad, with old costumes and scenery from the selection. The Mariinsky Theater turned to her again in 1865, a very successful renewal was directed by E.F. Guide.

The 1860s brought a new round to the composer's work. Several symphonic works were created, with which he traveled to Europe. The overture from "Mermaid" and the symphonic fantasy " Kazachok". Returning to St. Petersburg, Dargomyzhsky again turns to the plot of his great namesake - Pushkin. V " Stone guest»There is no libretto of its own, the music is written directly on the text of the poet. Additionally, two songs by Laura have been added, one of which is also on the verses of Pushkin. The composer did not manage to finish this work, bequeathed to complete his last work by C. Cui, and to orchestrate - N. Rimsky-Korsakov... The premiere of "The Stone Guest" took place three years after the death of Alexander Sergeevich. As has happened on several occasions, opinions differed about this innovative work. First of all, because few people could discern behind the unusual form of recitatives that replaced arias and ensembles, the exact correspondence of music to the rhythm of Pushkin's verse and the drama of his heroes.

The cinema turned to the work of Alexander Sergeevich only twice. In 1966, Vladimir Gorikker made a film of the same name based on the opera The Stone Guest. V. Atlantov, I. Pechernikova (sings T. Milashkina), E. Lebedev (sings A. Vedernikov), L. Trembovelskaya (sings T. Sinyavskaya) starred. In 1971 the film-opera "Mermaid" was released with E. Suponev (sung by I. Kozlovsky), O. Novak, A. Krivcheni, G. Koroleva.

Not the first, like Glinka, not brilliant, like Mussorgsky not prolific like Rimsky-Korsakov... Grieved and disappointed by the difficulties he faced when trying to present his operas to the audience. What is the main significance of Dargomyzhsky for Russian music? By the fact that, having moved away from the powerful influence of the Italian and French composing schools, he went in art in a unique way, following only his own aesthetic tastes, not indulging the public. By making sound and word inextricably linked. Quite a little time will pass, and both Mussorgsky and Richard Wagner... He was honest and did not betray his ideals, and time has shown the significance of his work, placing the name of Dargomyzhsky among the best Russian composers.

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

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

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

In 1834 Dargomyzhsky met with Glinka, who was working on his first opera. This acquaintance turned out to be decisive for Dargomyzhsky. If earlier he did not give serious importance to his musical hobbies, now in the person of Glinka he saw a living example of artistic feat. Before him was a man not only talented, but also devoted to his work. And the young composer reached out to him with all his heart. With gratitude he accepted everything that an older friend could give him: his knowledge of composition, notes on music theory. The communication of friends also consisted in joint music-making. They played and analyzed the best pieces of classical music.

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

In the late 1930s, Dargomyzhsky planned to write an opera based on the plot of the novel by V. Hugo "Notre Dame Cathedral in Paris". Work on the opera lasted 3 years and was completed in 1841. At the same time, the composer composes the cantata "Triumph of Bacchus" on the verses of Pushkin, which he soon remade into an opera.

Gradually Dargomyzhsky is gaining more and more fame as a major, original musician. In the early 40s, he headed the St. Petersburg Society of Lovers of Instrumental and Vocal Music.

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

At the end of the 50s, great social changes were ripe in Russia. And Dargomyzhsky did not stay away from public life, which had a noticeable influence on his work. Elements of satire are reinforced in his art. They are manifested in the songs: "Worm", "Old Corporal", "Titular Counselor". Their heroes are humiliated and insulted people.

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

The role of Dargomyzhsky in the history of Russian music is very great. Continuing the assertion of the ideas of nationality, realism, begun by Glinka in Russian music, with his work he anticipated the achievement of subsequent generations of Russian composers of the 19th century - members of the Mighty Handful and PI Tchaikovsky.

The main works of A.S. Dargomyzhsky:

Opera:

- Esmeralda. Opera in four acts on its own libretto based on the novel Notre Dame de Paris by Victor Hugo. Written in 1838-1841. First production: Moscow, Bolshoi Theater, 5 (17) December 1847;

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

- "Mermaid". Opera in four acts on its own libretto based on the unfinished play of the same name by Pushkin. Written in 1848-1855. First production: St. Petersburg, May 4 (16), 1856;

- "The Stone Guest". Opera in three acts on the text of the eponymous "Little Tragedy" by Pushkin. Written in 1866-1869, completed by C.A. Cui, orchestrated by N. A. Rimsky-Korsakov. First production: St. Petersburg, Mariinsky Theater, 16 (28) February 1872;

- "Mazepa". Sketches, 1860;

- "Rogdan". Fragments, 1860-1867.

Works for orchestra:

- "Bolero". Late 1830s .;

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

- "Kazachok". Fantasy. 1864

- "Chukhonskaya fantasy". Written in 1863-1867, first performed in 1869.

Chamber vocal works:

Songs and romances for one voice and piano to the verses of Russian and foreign poets: "Old Corporal" (words by V. Kurochkin), "Paladin" (words by L. Uhland, translated by V. Zhukovsky), "Worm" (words by P. Beranger in translation by V. Kurochkin), “Titular Counselor” (words by P. Weinberg), “I loved you ...” (words by A. Pushkin), “I'm sad” (words by M. Yu. Lermontov), ​​“I am sixteen years old "(Words by A. Delvig) and others to the words of Koltsov, Kurochkin, Pushkin, Lermontov and other poets, including two inserted romances of Laura from the opera" The Stone Guest ".

Works for piano:

Five Pieces (1820s): March, Contrdance, "Melancholic Waltz", Waltz, "Cossack";

- "Brilliant Waltz". Around 1830;

Variations on a Russian Theme. Early 1830s .;

- "Esmeralda's Dreams". Fantasy. 1838

Two mazurkas. Late 1830s .;

Polka. 1844

Scherzo. 1844

- "Tobacco Waltz". 1845

- "Ardor and composure." Scherzo. 1847 year;

Fantasy on themes from Glinka's opera A Life for the Tsar (mid-1850s);

Slavic tarantella (four hands, 1865);

Transcriptions of symphonic excerpts from the opera "Esmeralda" and others.

Opera "Mermaid"

Characters:

Miller (bass);

Natasha (soprano);

Prince (tenor);

Princess (mezzo-soprano);

Olga (soprano);

Swat (baritone);

Hunter (baritone);

Singer (tenor);

The Little Mermaid (no singing).

History of creation:

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

The production of Rusalka was carelessly, with large cuts, which reflected the hostile attitude of the theatrical management to the new, democratic direction in opera work. I ignored Dargomyzhsky's opera and "high society". Nevertheless, "Rusalka" has withstood many performances, gaining recognition from the general public. Leading musical criticism in the person of A. N. Serov and C. A. Cui welcomed her appearance. But real recognition came in 1865. Upon its resumption on the St. Petersburg stage, the opera met with an enthusiastic reception from a new audience - the democratic-minded intelligentsia.

Dargomyzhsky left most of Pushkin's text intact. He introduced only the final scene of the death of the Prince. The changes also affected the interpretation of images. The composer freed the image of the Prince from the features of hypocrisy with which he is endowed in the literary source. Developed in the opera is the Princess's emotional drama, barely outlined by the poet. The image of the Miller was somewhat ennobled, in which the composer strove to emphasize not only greed, but also the power of love for his daughter. Following Pushkin, Dargomyzhsky shows profound changes in Natasha's character. He consistently displays her feelings: hidden sadness, thoughtfulness, stormy joy, vague anxiety, a presentiment of impending disaster, emotional shock and, finally, protest, anger, a decision to take revenge. Affectionate, loving girl turns into a formidable and vindictive Mermaid.

Opera characteristic:

The drama underlying "Mermaid" was recreated by the composer with great life truth, deep penetration into the spiritual world of the heroes. Dargomyzhsky shows characters in development, conveys the subtlest shades of experiences. The images of the main characters, their relationships are revealed in tense dialogical scenes. Because of this, ensembles, along with arias, occupy a significant place in opera. The events of the opera unfold against a simple and artless everyday background.

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

A significant part of the first act consists of expanded ensemble scenes. Melnik's comedy aria “Oh, that's it, all of you young girls” is warmed with a warm feeling of caring love in moments. The music of terzet vividly conveys Natasha's joyful excitement and sadness, the Prince's soft, soothing speech, and Melnik's grumpy remarks. In the duet of Natasha and the Prince, bright feelings gradually give way to anxiety and growing excitement. The music achieves a high drama with Natasha's words "You are getting married!" The following episode of the duet is psychologically subtly resolved: short, as if unspoken melodic phrases in the orchestra depict the heroine's confusion. In the duet between Natasha and Melnik, confusion is replaced by bitterness, decisiveness: Natasha's speech becomes more and more abrupt, agitated. The act ends with a dramatic choral finale.

The second act is a colorful everyday scene; choirs and dances occupy a large place here. The first half of the act has a festive flavor; the second is filled with worry and anxiety. The majestic choir "As in the upper room, at an honest feast" sounds solemnly and widely. The intimate aria of the Princess "Friends of the Childhood" is marked with sadness. Aria turns into a light, joyful duet of the Prince and Princess. Dances follow: "Slavic", which combines light elegiacity with sweep and daring, and "Gypsy", mobile and temperamental. The melancholy, sad song of Natasha "Over the pebbles, over the yellow sand" is close to peasant lingering songs.

There are two pictures in the third act. In the first - the Princess's aria "Days of Past Pleasures", which creates the image of a lonely, deeply suffering woman, imbued with grief and heartache.

The prince's cavatina "Involuntarily to these sad shores", which opens the second picture, is distinguished by the beauty and plasticity of the melodic melody. The duet of the Prince and the Miller is one of the most dramatic pages of the opera; sadness and entreaty, rage and despair, caustic irony and unreasonable gaiety - comparing these contrasting states reveals the tragic image of the mad Miller.

In the fourth act, fantastic and real scenes alternate. The first picture is preceded by a small colorfully pictorial orchestral introduction. Natasha's aria "The long-desired hour has come!" sounds majestic and menacing.

The Princess's aria in the second film "For Many Years Already in Heavy Suffering" is full of hot, sincere feelings. A charmingly magical shade is given to the melody of the Mermaid's call "My Prince". Tercet is imbued with anxiety, a presentiment of impending disaster. In the quartet, the tension reaches its highest limit. The opera ends with the enlightened sound of the melody of the call of the Mermaid.

Women's choir "Svatushka »

In it, the composer very colorfully conveyed the comic and everyday scene of the wedding ceremony. The girls sing a song in which they make fun of the hapless matchmaker.

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

Svatushka, svatushka, stupid svatushka;

They drove around the bride, drove into the garden,

We spilled a barrel of beer, watered all the cabbage.

They bowed to Tynu, prayed to faith;

Vereya l vereyushka, show the path,

Show the path for the bride yakhati.

Svatushka, guess, get down to the scrotum

The money moves in the bag, strives for red girls,

The money moves in the bag, strives for red girls,

Strives, strives for red girls, strives for red

girls, strives.

The Svatushka choir is humorous. This wedding song is played in act 2.

Piece genre: comic wedding song, accompanied by accompaniment. The Svatushka choir is close to folk songs, as chants can be found here.

Musical theoretical analysis

The piece is performed with accompaniment.

Musical form:

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

1 part

1st verse - 12 tons; loss 2nd verse - 12 tons.

1 pound 2 tablespoons 1 pound 2 tablespoons

4 v. 8 v. 4 v. 8 v.

Part 2

12 vol. 10 vol. 12 vol.

The texture of the presentation of the work is homophonic-harmonic. The main theme is soprano, while altos and accompaniment provide harmonic support.

The main key is B-dur. But in part 2 there is a deviation in g-minor, then E-dur, and then again a return to B-dur.

The harmony in the work is simple

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

There are many short durations in the work, which gives a light and playful character.

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

The accompaniment plays a supporting role, it also emphasizes the liveliness of the stage, the girls' joke and the awkwardness of a drunk matchmaker. The dynamics of the accompaniment vary from p to f. Sometimes a pictorial moment is included in the accompaniment. So, for example, in the play between verses, the accompaniment resembles the playing of a flute, which accompanies a festivities (wind instruments are played in the orchestra). Self-accompaniment in the play recreates the mood, connects the parts, serves as a "thematic bridge".

Vocal and choral analysis.

The score "Svatushka" was written for a female 3-voice choir: soprano I and II and alto.

Choir type: homogeneous female.

The Svatushka choir is performed in a moderate manner, the method of sound science is non legato. The main type of attack is soft, non legato, it assumes clear diction, clear, close articulation.

Breathing in a work runs through phrases, and in a network of phrases - chain breathing, it is intended to get the continuous sounding of the phrase and to achieve development in the phrases, and, therefore, to accurately convey the concept of the work, the population.

The tempo ensemble will depend on the conductor. He must clearly show with a conductor's gesture the removal and overs, especially overs to the second beat, as well as at the end of the piece, where the syncopated rhythm is used. The tempo ensemble is continuously linked to the rhythmic ensemble. Its difficulty is in the movement of rhythm. The tempo is moderate, but small durations visually accelerate it, you need to develop accurate intonation, the diction ensemble depends on it, you need to clearly pronounce and pronounce all the words, you can work on diction using tongue twisters. You can also use the text of the work itself. The dynamics are mainly mf and f. The general climax, which is at the end of the piece, is expressed in ff. There are also private climaxes in the work. In a dynamic ensemble, it is important to show development, although it is narrow, there must be contrast.

The timbre ensemble assumes performance with a light, light sound. The low sounds of the alto should be sung in a high position without “loading” the sound. It should be noted that the tessitura of the piece is very convenient.

The melodic line of the parties is peculiar. The predominance of jumps brings their own difficulties in performance. There are jumps at ch 4, ch 5, m 6, b6, ch 8. And not only in the lead voice, but also in the soprano 2 and altos.

In addition to the horizontal melodic structure, it is necessary to create, build in the work a vertical harmonic structure, which is the correct intonation of consonances, chords in their sequential movement. The parties should listen, “adjust” to each other, align the chords, that is, create a harmonic ensemble. In order for the parts in a piece to work, you can sing with your mouth closed or to the syllable "lyu", so that all parts are well heard.

The creation of a unison ensemble is somewhat difficult. In the work "Svatushka" there are few such places and nevertheless one should not turn a blind eye to this. When all parts are singing in unison, try to remove the sound of all parts, because otherwise this sound will stand out from the general sound.

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

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

Another vocal difficulty is chromaticism, which occurs in part 2. You need to pay attention to them. The semitones should be intoned as closely as possible. The difficulty lies in the fact that semitones are intoned next to whole tones, you need to switch your hearing in time.

A jump to ch8 in viola should be chanted actively, but in one position. The altos should not "fill up", sing low low sounds, they need to sing them in a high vocal position, then there will be no gap between the lower sound and the upper one, the jump will be smoothed out.

Diction: The Svatushka choir is light, playful; to emphasize this, a clear diction is needed. Good, understandable pronunciation of words, active articulation is required for all parties.

Singing correctly involves drawing out the vowels and pronouncing the consonants quickly. In the work "Svatushka" there are such words as "bowed down", "prayed", "get started", "move", "strive". Instead of the syllable "sya" it is necessary to sing the syllable "sa", and instead of the combination "tsya" - "tsa".

It is also necessary to exaggerate some consonants in the words "take", "red".

The work is performed in moderation, but the text should be pronounced clearly, although in character - softly.

It is necessary to focus the attention of the chorus on the intonation of the consonants, they are pronounced in a high position, at the height of the vowels to which they are adjacent.

Dynamics: the complexity will represent the dynamic development in the work, because the dynamics in the work "Svatushka" is very flexible and varied from p to ff. The most striking dynamics in 2 parts. ffpfpf, this alternation makes the piece brighter. The climax of the piece sounds in 2 movements on ff after the introduction to the 2nd beat. The conductor must lead the choir, clearly show the development in the phrases and towards the climax, the choir must simultaneously do cresc and dim, i.e. create a dynamic ensemble.

Conducting difficulties: The successful performance of this work depends mainly on the conductor, on how the chorus will understand his gesture.

The gesture should be light, nonlegato, in line with the character and mood of the piece. Particular attention should be paid to overrides and withdrawals. Overrides and withdrawals are given in the character gently, calmly, at the climax with a more elastic gesture.

Conclusion:

The end result of the work on this work is the disclosure of the ideological concept to the audience, the reflection of the mood of the work and the scene in the opera.

The work "Svatushka", in addition to being performed in the opera, can be performed at creative evenings, at thematic evenings dedicated to the opera or the works of composers. The performance of the "Svatushka" choir is within the power of both a highly professional choir and an amateur, amateur choir.