All works by Dargomyzhsky. Composer A. S. Dargomyzhsky: biography, creative heritage. List of information resources used

Dargomyzhsky Alexander Sergeevich (1813-1869), composer.

Born on February 14, 1813 in the village of Troitsky (now in the Tula region) into a noble family. Received a comprehensive home education. The young Dargomyzhsky’s decision to devote himself to music was largely caused by his acquaintance with M. I. Glinka in 1835. Under Glinka’s influence, he began working on the first opera “Esmeralda” (1847) based on the novel “Notre Dame Cathedral” by V. Hugo.

In the 40s the romances “Young Man and Maiden”, “Night Marshmallow”, “I Loved You” (based on poems by A. S. Pushkin), “I’m Sad” (based on poems by M. Yu. Lermontov), ​​etc. were also written.

Dargomyzhsky's real success was brought to him by the opera "Rusalka" created in 1855, based on the plot of Pushkin's poem, the music of which is distinguished by deep psychologism.

In 1859, the composer was elected a member of the Russian Committee musical society, and in 1867 he became chairman of its St. Petersburg branch.

In his later work, he turned to the poetry of P. J. Beranger (“The Old Corporal,” “The Worm,” etc.).

In the last years of his life, Dargomyzhsky worked on the opera “The Stone Guest” based on one of Pushkin’s “little tragedies”. He worked enthusiastically, but never had time to finish the essay. The opera was completed by C. A. Cui, and instrumental by N. A. Rimsky-Korsakov. “The Stone Guest” was staged in St. Petersburg in 1872. The use of intonations of ordinary everyday speech in the music of this opera (the method of so-called intonational realism) was a bold innovation and gave impetus to the further development of the opera genre.

Why is it not written when Dargomyzhsky died?

Russian composer Alexander Sergeevich Dargomyzhsky born on February 2 (14), 1813 in the village of Troitsky, Belevsky district, Tula province, into an old noble family. This is where he spent his early childhood years. His father, Sergei Nikolaevich, was a poor nobleman. Mother, Maria Borisovna Kozlovskaya, was born a princess. She was well educated; her poems were published in almanacs and magazines. Some of the poems she wrote for her children were included in the collection: “A Gift to My Daughter” (“Children’s Almanac”, St. Petersburg, 1827).

In 1817, the Dargomyzhsky family moved to St. Petersburg, where the future composer spent his childhood. Alexander did not speak at all until he was 5 years old, and his late-formed voice remained hoarse and squeaky forever, which, however, did not prevent him from subsequently moving him to tears with the artistry and expressiveness of his vocal performance.

Alexander Sergeevich never studied at any educational institution, but received a thorough education at home, in which music occupied the main place. Creative skills he showed up in early age. Music was his passion. In 1822, the boy began to be taught to play the violin, and later the piano. Already at the age of eleven, Dargomyzhsky preferred his own plays. Having completed his piano training with the once famous musician F. Schoberlechner, at the age of seventeen Dargomyzhsky became known to the St. Petersburg public as a virtuoso musician. In addition, he studied singing with B.L. Zeibich and violin playing by P.G. Vorontsov, participating in a quartet ensemble from the age of 14.

By the age of eighteen, Dargomyzhsky was the author of many works in various genres. His earliest works - rondos, variations for piano, romances to words by Zhukovsky and Pushkin - were not found in his papers, but were published during his lifetime in 1824-1828. In the 1830s, Dargomyzhsky was known in the musical circles of St. Petersburg as a “strong pianist”, and also as the author of several piano pieces of brilliant salon style and romances: "I repent, uncle", "The Virgin and the Rose", "Oh, ma charmante" and others, not much different from the style of romances by Verstovsky, Alyabyev and Varlamov, with an admixture of French influence. Many of the young composer's musical works were published.

In 1831 Dargomyzhsky entered the public service at the Ministry of the Imperial Household. However, he does not forget about his music lessons. In 1834 he met M.I. Glinka. This acquaintance played a decisive role in the choice life path for Dargomyzhsky. It was Glinka who convinced him to seriously study theory and gave him theoretical manuscripts brought from Berlin from Professor Dehn, contributed to the expansion of knowledge in the field of harmony and counterpoint; At the same time, Dargomyzhsky began studying orchestration. Glinka's advice helped Dargomyzhsky master compositional technique. The works he wrote in the 1830s testify to his original implementation of Glinka’s musical traditions. In the 1830-40s, many romances and songs were written, among them a number of romances based on poems by A.S. Pushkin: "Wedding", "I loved you", "Vetrograd", "Night Marshmallow", "A tear", "Young Man and Maiden", “The fire of desire burns in the blood”, which had great success with the public. In this regard, in 1843 they were issued by a separate collection.

In 1839, Dargomyzhsky wrote his first opera "Esmeralda". The opera turned out to be weak and imperfect. However, already in this work Dargomyzhsky’s features were noticeable: the desire for expressive vocal style, drama. “Esmeralda” was staged only in 1847 in Moscow and in 1851 in St. Petersburg. “It was these eight years of vain waiting, even in the most intense years of my life, that laid a heavy burden on my entire artistic activity,” writes Dargomyzhsky. Not very bright in music, “Esmeralda” could not stay on stage. This failure suspended Dargomyzhsky's operatic work. He began writing romances, which were published in 1844.

In 1844-1845, Dargomyzhsky made a long trip to European countries (Berlin, Brussels, Paris, Vienna), where he met J. Meyerbeer, J.F. Halevi and G. Donizetti. Personal acquaintance with European musicians influenced his further development. Having left as an adherent of everything French, Dargomyzhsky returned to St. Petersburg much more than before, a champion of everything Russian (as happened with Glinka).

After a trip abroad in 1844-1845, Dargomyzhsky lived in St. Petersburg. In the 1840s he wrote a large cantata with choruses to a text by Pushkin "The Triumph of Bacchus". It was performed at a concert by the management at the Bolshoi Theater in St. Petersburg in 1846, but the author was refused to stage it as an opera, and only much later (in 1867) was it staged in Moscow. Distressed by the refusal to stage Bacchus, Dargomyzhsky closed himself into a close circle of his admirers and admirers, continuing to compose small vocal ensembles (duets, trios, quartets) and romances, which were then published and became popular.

Dargomyzhsky was engaged in a lot of private musical and pedagogical activities, teaching singing. Among his students, L.N. stood out. Belenitsyna, M.V. Shilovskaya, Girs, Bilibina, Pavlova, Barteneva, A.N. Purgolt, Princess Manvelova.

In 1848, Dargomyzhsky began work on a lyric-dramatic opera "Mermaid", based on Pushkin’s text, and lasted 8 years. It is worth noting that he conceived this opera back in 1843, but the composition progressed extremely slowly. This work opened new page in the history of Russian music. She is distinguished by psychological depth and accuracy in depicting characters. For the first time in Russian opera, Dargomyzhsky embodied not only social conflicts of that time, but also internal contradictions human personality. P.I. Tchaikovsky highly appreciated this work, believing that among Russian operas it ranks first after Glinka’s brilliant operas. In April 1853, in the hall of the Assembly of the Nobility in St. Petersburg, Dargomyzhsky gives big concert his works were enthusiastically received by the public, and in 1855 “The Mermaid” was completed.

In May 1956, the first performance of “Rusalka” took place at the Mariinsky Theater in St. Petersburg under the direction of K. Lyadov, but it was not successful. The opera lasted only 26 performances until 1861, but renewed in 1865 with Platonova and Komissarzhevsky, it was a huge success and has since been considered one of the most beloved Russian operas. “Rusalka” was first staged in Moscow in 1858. In this opera, Dargomyzhsky consciously cultivated Russian musical style, created by Glinka. It is known that after the initial failure of “Rusalka” Dargomyzhsky fell into depression. According to the story of his friend, V.P. Engelhardt, he intended to burn the scores of “Esmeralda” and “Rusalka”, and only the formal refusal of the management to hand them over to the author, supposedly for correction, saved the scores from destruction. During these years, Dargomyzhsky wrote a lot of romances based on Pushkin’s poems. But other genres also appeared: romances, lyrical monologues, comedy sketches.

The last period of Dargomyzhsky's work was perhaps the most significant and original. Its beginning is marked by the appearance of a number of original vocal pieces, distinguished by their comedy ( "Titular Advisor" 1859), drama ( "Old Corporal", 1858; "Paladin", 1859), subtle irony ( "Worm", based on the text by Beranger-Kurochkin, 1858) and always remarkable for the strength and truth of vocal expressiveness. These vocal pieces were a new step forward in the history of Russian romance after Glinka and served as models for the vocal masterpieces of Mussorgsky, who wrote a dedication to Dargomyzhsky, “the great teacher of musical truth,” on one of them. Dargomyzhsky's comic streak also manifested itself in the field of orchestral composition. His orchestral fantasies date back to the same period: “Baba Yaga, or From the Volga nach Riga” (1862), "Little Russian Cossack"(1864), inspired by Glinka’s “Kamarinskaya”, and "Fantasy on Finnish themes" ("Chukhon Fantasy", 1867).

Dargomyzhsky's new vocal verse influenced the development of the vocal style of young composers, which especially affected the work of Cui and Mussorgsky. Rimsky-Korsakov and Borodin were especially influenced by Dargomyzhsky’s new operatic techniques, which were the practical implementation of the thesis he expressed in a letter (1857) to Karmalina: “I want the sound to directly express the word; I want the truth." These words of Dargomyzhsky became his creative credo.

In the early 1860s, Dargomyzhsky began writing a magical comic opera "Rogdana", but wrote only five issues. A little later he conceived an opera "Mazepa", based on the plot of Pushkin’s “Poltava”, but having written a duet between Orlik and Kochubey ( "Here you are again, you despicable man"), and stopped there. I lacked the determination to expend energy on a large essay, the fate of which I was not sure of.

In the period from 1864 to 1865, Dargomyzhsky made another trip abroad. He visited Warsaw, Leipzig, Brussels, Paris. Concert performances of his works evoke indescribable delight from the public. But the main impetus for the extraordinary awakening of creativity was given to Dargomyzhsky by his young comrades, the composers of the “Balakirev circle,” whose talents he quickly appreciated. Dargomyzhsky played a very important role in their formation, had a great influence on their further work (especially on M.P. Mussorgsky), becoming “ godfather» « Mighty bunch" Young composers, especially Cui, Mussorgsky and Rimsky-Korsakov, discussed ideas together opera reform. Their energy was communicated to Dargomyzhsky himself; he decided to boldly embark on the path of operatic reform and began (as he put it) his swan song, beginning with extraordinary zeal to compose his last opera - "The Stone Guest", setting an innovative task - to write an opera in full text literary work, without changing a single line of Pushkin's text and without adding a single word to it.

All last years During his lifetime, Dargomyzhsky worked on “The Stone Guest”. There are no arias or choruses in this opera; it consists exclusively of talented and original melodic recitatives. Their purpose is not only to reproduce psychological truth, but also to reproduce artistically with the help of music human speech with all its shades. Dargomyzhsky’s illness (a rapidly developing aneurysm and hernia) did not stop his creativity. In recent weeks he wrote while lying in bed, using a pencil. Young friends, gathering at the patient’s place, performed scene after scene of the opera as it was created and with their enthusiasm gave the fading composer new strength. Dargomyzhsky did not stop working, the opera was almost finished. The death of the composer prevented the completion of music only for the last seventeen verses. According to Dargomyzhsky’s will, he completed Cui’s “The Stone Guest”; he also wrote the introduction to the opera, borrowing thematic material from it, and orchestrated the opera by Rimsky-Korsakov. Through the efforts of Dargomyzhsky’s young friends, members of the “Mighty Handful,” the opera “The Stone Guest” was staged in St. Petersburg on the Mariinsky stage on February 16, 1872 and resumed in 1876. “The Stone Guest” was received coldly and seemed too complex and dry. However, the significance of “The Stone Guest,” which logically completes Dargomyzhsky’s reform ideas, cannot be overestimated.

Alexander Sergeevich Dargomyzhsky is one of the founders of the Russian classical school of composition, the creator of lyrical opera drama. He died on January 5 (17), 1869 in St. Petersburg. He was buried at the Tikhvin Cemetery of the Alexander Nevsky Lavra.

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Introduction

The main stages of life and creative path

Characteristics of creativity

Conclusion

Introduction

Alexander Sergeevich Dargomyzhsky is the first Russian composer to continue the basic creative principles of M.I. Glinka.

Dargomyzhsky's worldview, his aesthetic principles formed in 30-40. XIX century. These were the years of a new direction in literature, painting, and music, when Russian culture developed rapidly, striving for a period of its greatest prosperity. What united the works of leading artists of that time was ardent sympathy “for the humiliated and insulted” and contempt for their oppressors. That movement in art was called “critical realism.” The first representative of “critical realism” in music was Dargomyzhsky.

In his work there were huge changes that took place in social, ideological, artistic fields found their response. Already in early works The composer's creative connection with the progressive ideas of the era is visible. Dargomyzhsky in his work was close to advanced writers - Pushkin, Gogol, Lermontov. The influence of M.I.’s creativity on the future composer was great. Glinka. Having absorbed Glinka’s creative principles, Dargomyzhsky, being an artist of his time, implements them in his own way. If Glinka shows the people as one whole, his heroes express individual features of the national character, then Dargomyzhsky gives a true picture modern life in its inconsistency. It shows various people of different social classes (prince, peasant, soldier, official). A.S. also played an exceptional role in shaping Dargomyzhsky’s worldview. Pushkin. The entire work of the composer is inextricably linked with the work of the poet. Members of the Balakirev circle called Dargomyzhsky “Teacher of musical truth.” His creative principles played a big role in the further development of Russian musical art.

The main stages of life and creative path

Dargomyzh composer romance opera

A.S. Dargomyzhsky was born on February 2, 1813 in the village of Troitsky, Tula province. In 1817, the Dargomyzhsky family moved to St. Petersburg, with which the composer’s entire life was connected. He received his education at home. The composer's parents developed in their children a thoughtful attitude to life, observation, purposefulness, a critical approach to others, and instilled in their children a love of art and literature.

Dargomyzhsky began studying music at the age of 6. The basics of piano playing were given to him by his first teacher Danilevsky, a talented and educated musician. Later Dargomyzhsky began to learn to play the violin and also took singing lessons. At the age of 10, the boy began to compose rondos, romances, and variations. Of the children's compositions, the most interesting are “Melancholy Waltz” and “Cossack”.

Dargomyzhsky became a high school of piano playing with the famous pianist F. Schoberlechner, a student of Hummel. Over three years of study, Schoberlechner had a significant influence not only on the pianistic development of his student, but also on musical performances and tastes. By 1831 Dargomyzhsky had become an excellent pianist.

His other teacher, vocalist B. Tseybikh, also studied classical traditions with Dargomyzhsky, who also introduced his student to the elements of music theory.

Thus, by the beginning of the 30s, the general education of the future composer was completed. Dargomyzhsky was considered a strong pianist and violinist; in the future, all famous singers studied with him and took his advice.

By this time, Dargomyzhsky was the author of many works for violin, piano, romances, and quartets. Some of them have been published. Of course, in these works one can feel the immaturity of the composer's technique. As a composer, Dargomyzhsky was self-taught. In the future, he achieves mastery through hard work, studying folk music and classics, and communicating with other composers.

In 1834, Dargomyzhsky was enrolled as a clerical official of the State Treasury, in 1836 he was promoted to collegiate secretary, and in 1843 he retired with the rank of titular councilor.

A big event in the life and work of Dargomyzhsky was his acquaintance with Glinka in 1834. Despite the age difference of 9 years, the young musicians became friends. The composition of “Ivan Susanin,” the first Russian opera, took place before Dargomyzhsky’s eyes. In Glinka, he saw an artist who already knew a lot and chose his own path in art. Acquaintance with Glinka forced Dargomyzhsky to seriously study the fundamentals of composition and was the impetus for the emergence of great creative ideas.

30-40s - firstDargomyzhsky's creative period

In 1839, he wrote the opera “Esmeralda” based on the novel “Notre Dame de Paris” by the French writer Hugo. WITH with great difficulty managed to achieve the production of “Esmeralda”, which took place only 8 years later. Such was the attitude of the leaders of the imperial theaters towards Russian art.

After Esmeralda, Dargomyzhsky wrote many separate vocal plays, romances, songs, arias, duets, trios, quartets, and the cantata “The Triumph of Bacchus” in 1843, which was later converted by the author into an opera-ballet.

High artistic skill Dargomyzhsky achieved in the group of romances based on the words of Pushkin - “I loved you”, “Night marshmallow”, “The fire of desire burns in the blood”, “Sixteen years” and others.

In the early 40s, Dargomyzhsky devoted a lot of time musical gatherings which took place in his house. Dargomyzhsky is a recognized singing teacher in St. Petersburg. Singers and female singers are grouped around him, many of whom later became famous artists. At the evenings, works by Russian composers and mainly works by Glinka and Dargomyzhsky were performed. Dargomyzhsky wrote about the singers’ performance: “Russian music is performed furiously, efficiently, without any pretentious showmanship.” Until the end of his life, his studies with students and female students did not stop; Dargomyzhsky sought to develop Glinka’s traditions in creativity and in the education of an actor-singer. When staging his operons, he himself learned the parts with the singers; he taught them to sing artistically truthfully, simply and expressively.

In 1843, his first collection of romances and songs was published. Romances brought him fame.

Dargomyzhsky’s first symphonic play “Bolero” dates back to the end of the 30s.

In 1844 Dargomyzhsky travels abroad. He visited Leipzig, Vienna, Brussels, and Paris. The purpose of his trip was Paris, which was considered the center of world culture. Abroad, the composer meets many musicians and composers. He attends the opera, theater, and concerts. His statements about musical culture abroad speak of his clear, critical mind, maturity and independence of views. Abroad, Dargomyzhsky, like Glinka in Italy, had a heightened sense of homeland, he was drawn to Russia, he wanted to write Russian music. In 1845 he returned to his homeland.

INthe second period of his work, the period of maturity of the realist artist

He begins to write an opera of a socially accusatory nature, “Rusalka,” based on Pushkin’s story. At the same time, he writes romances based on poems by Pushkin and Lermontov. From romances to Lermontov's poems, a critical direction in Dargomyzhsky's work begins to develop. These are the romances “Both Bored and Sad”, “I’m Sad” and many others.

In 1853, a large concert was organized from the works of Dargomyzhsky, which was a great success. Dargomyzhsky's recognition as a composer caused a surge of creative energy in him. The composer considers himself obligated to create national work. With great enthusiasm, he worked on the opera “Rusalka”, which was completed in 1855. Its production took place in 1856. The opera was not a success. A famous Russian spoke in defense of Dargomyzhsky musical critic Serov. His analysis of the opera "Rusalka" to our time is best work about this opera.

The end of the 50s in Dargomyzhsky’s life is associated with active work in the satirical magazine Iskra. At this time, he created such wonderful songs of a socially accusatory nature as “Old Corporal” and “Worm”. His orchestral plays “Baba Yaga”, “Cossack”, “Chukhon Fantasy” date back to the early 60s.

At the same time, Dargomyzhsky is engaged in educational activities, being a member of the committee of the Russian Musical Society.

In 1864, Dargomyzhsky again traveled abroad. He visited Leipzig, Paris, Brussels, London. This trip showed that he is known as a composer not only in his homeland. He was especially enthusiastically received in Brussels, where the overture to the opera “Rusalka” and the symphonic play “Cossack” were performed.

Upon Dargomyzhsky’s return to St. Petersburg in 1865, the production of “Rusalka” was resumed. The new democratically minded youth who came to the theater in the 60s enthusiastically accepted the opera. Dargomyzhsky received full recognition in his homeland.

During these years, composers Balakirev, Cui, Borodin, Rimsky-Korsadov, and music critic Stasov became regular visitors to Dargomyzhsky’s house. They play works by Rimsky-Korsakov in 4 hands, and perform a new work by Dargomyzhsky - the opera “The Stone Guest”. It is his last piece was not finished. He died on January 5, 1869 from severe heart disease. He was buried next to M.I. Glinka.

Characteristics of creativity

Dargomyzhsky's legacy is not great, but he introduced new themes, images, artistic principles. Therefore, the significance of his work turned out to be enormous for the subsequent development of Russian music. Dargomyzhsky strove for great ideological art. “I want the sound to directly express the word. I want the truth,” wrote the composer. In music, the composer conveys various shades of emotional experiences. He conveys the feeling not in general forms, but shows the process of emergence and development of feelings. Dargomyzhsky creates a variety of characters. By the manner of speaking, the “intonation” of words, the composer determined the character of a person and his belonging to a particular social circle. His musical portraits bright and convincing, he subtly conveys mental states heroes.

A new approach to depicting characters led to the use of new media musical expressiveness. One of Dargomyzhsky’s means of vocal, dramatically truthful expressiveness is a melodious recitative, enriched with new speech intonations, an individualized recitative.

In Dargomyzhsky's works one can feel a closeness to folk music, mainly urban songs and everyday romances, and there are also genuine folk melodies.

Harmonic language is distinguished by the mobility of tonal planes. Declamatory speech intonations combined with song forms formed new type melodica.

Dargomyzhsky wrote more than 100 romances and many vocal ensembles. Romances laid the foundations of the style and formed the musical language. In the romance genre, Dargomyzhsky proved himself to be the greatest innovator and brilliant artist.

Already in the first collection of romances and songs by Dargomyzhsky, along with the everyday romance of those years and the romance where the influence of Glinka’s romances is felt, features of the future are visible individual style composer. These romances introduce the circle of artistic demands that lived in Russian metropolitan society.

Romances such as “You're Pretty,” “Liletta,” and “Blue Eyes” are close to superficial salon music-making.

In his romances, Dargomyzhsky relied on the intonations and means of expression of the “Russian song”, the vaudeville couplet, the everyday lyrical romance,

From Glinka, Dargomyzhsky borrows certain compositional techniques, types of romances - oriental, Spanish, sublimely lyrical. A number of romances were written based on Pushkin’s texts, which Glinka used. These are romances “The fire of desire burns in the blood.” "Night Zephyr" There are many romances based on poems by Pushkin, who was the composer’s favorite poet.

Already in the 40s, the composer's style became more and more confident. There is an interest in topics and subjects of social significance. All efforts are made to ensure that word and sound organically merge together.

The late vocal style is characterized by restraint of expression, lack of melodrama, and economical selection of expressive means.

The characteristic features of Dargomyzhsky’s writing appeared in the early romance “I Loved You” based on Pushkin’s poems. Romance has similarities to elegy. Verse form. The melody of the verse represents a single line, which consists of short phrases-chants. These phrases differ in length and structure, and in the meaning of the words they are separated by pauses.

The song melody, full of restraint, starting with the low sound “D” of the first octave, expands and reaches highest point- “to” the second octave. The background is a calm arpeggiated accompaniment.

With the romance “I loved you,” the composer anticipates the form of some lyrical monologues of his mature period.

Along with Pushkin, Dargomyzhsky's favorite poet was Lermontov. The best romances based on Lermontov’s poems in Dargomyzhsky’s work are the lyrical monologues “I’m sad”, “Both boring and sad”. The vocal part of these romances is based on expressive melodious recitation. The melody in them is clearly divided depending on the text, individual pathetic exclamations and intonations are clearly emphasized.

“Both boring and sad.” For Lermontov, this is a lyrical reflection, a monologue with questions and answers.

In accordance with the text, the melody of the romance is of a declamatory nature. The melody follows all the bends of the text, rich in speech intonations. At the same time, the composer strives for integrity and unity of the entire romance. The flexible and dissected melody is united by a single accompaniment texture, similar to the vocal part, introduction and conclusion. Given the unity of the entire romance and its seemingly end-to-end development, its three-part form is unremarkable.

The line of the lyrical romance-monologue “Both Bored and Sad” was continued in the romances “I’m Sad”, “You’ll Soon Forget Me” and a number of other romances.

A number of Dargomyzhsky's romances are written in the spirit of “folk songs”. These are the romances “Crazy, Without Reason” to the words of Koltsov, “Fever” to folk words, “The Miller” based on Pushkin’s poems.

One of the peaks of Dargomyzhsky’s vocal creativity are romances and songs of a socially accusatory nature. Caustic satire sounds in them. These are romances about “little people”. The texts of Iskrist poets, especially Kurochkin, are mainly used. They combine the significance of the content with the simplicity of the form - a verse form with a chorus. Vivid images were created using modest means little man from the bureaucratic environment with his servility and flattery in the songs “Worm” and “Titular Advisor”.

The song “Worm” uses two contrasting intonations, conveying the obsequious, ingratiating tone of the official when he talks about himself, and enthusiasm when he talks about the count.

The most vivid technique of contrasting comparison of images is given in the song “Titular Advisor” to the words of the Iskra poet P.I. Weinberg. IN satirical story On behalf of the author, the appearance of two participants in the action is outlined - a modest titular adviser and the general’s daughter, who pushed him away with indignation. From the very beginning, they are characterized by contrasting intonations: the words “he was a titular councilor” sound humbly and timidly on a repeated sound; the words “she is a general’s daughter” sound authoritatively and decisively. The phrase begins with an active fourth leap, then sounds wider, in the range of fifths.

At the words “the titular councilor has gone,” the rhythm changes, betraying a dancing gait; the melody is more melodious and has a somewhat hysterical character - the person is rejected, offended.

The dramatic song “Old Corporal” sounds like an angry accusation against the social system. French poet P. Beranger. This is a dramatic scene - a monologue. The story of an old soldier sentenced to death for insulting an officer. The song is written in verse form with a chorus. But the verse form is enriched by end-to-end development. Each verse sounds new. The soldier, turning to his comrades, talks about life, about feelings of resentment, remembers the past, his home. Main theme song, the characteristic of the old corporal, is given in the chorus; during all performances, it sounds courageous and collected in the rhythm of the march.

Since the 30s. XIX century Russian opera is entering its classical period. The founder of Russian opera classics M. I. Glinka (1804--1857) He laid the foundation for two the most important areas Russian musical theater: historical opera and magical epic. Glinka's creative principles were implemented and developed by the subsequent generation of Russian composers.

After Glinka, A. S. Dargomyzhsky (1813-1869), a typical artist of the era of the 40-50s, spoke. XIX century Glinka had a great influence on Dargomyzhsky, but at the same time, new qualities appeared in the latter’s work, born of new social conditions, new themes that came to Russian art. Warm sympathy for a humiliated person, consciousness of harmfulness social inequality, a critical attitude towards the social order is reflected in Dargomyzhsky’s work, associated with the ideas of critical realism in literature.

Dargomyzhsky's way opera composer began with the creation of the opera “Esmeralda”, based on V. Hugo (performed in 1847), and the composer’s central operatic work should be considered “The Mermaid” (based on the drama by A. S. Pushkin), staged in 1856. This opera contains completely Dargomyzhsky’s talent was revealed and the direction of his work was determined. The drama of social inequality loving friend the friend of the miller's daughter Natasha and the Prince were attracted by the relevance of the theme. Dargomyzhsky enhanced the dramatic side of the plot by diminishing the fantastic element. "Rusalka" is the first Russian everyday lyrical and psychological opera. Her music is deeply folk; on a song basis, the composer created living images of heroes, developed a declamatory style in the parts of the main characters, developed ensemble scenes, significantly dramatizing them. Dargomyzhsky’s last opera, “The Stone Guest,” after Pushkin (posted in 1872, after the composer’s death), belongs to another period in the development of Russian opera. Dargomyzhsky set in it the task of creating a realistic musical language that reflects speech intonations. The composer here abandoned traditional operatic forms - aria, ensemble, chorus; vocal parts operas prevail over the orchestral part, “The Stone Guest” marked the beginning of one of the directions of the subsequent period of Russian opera, the so-called chamber recitative opera, later represented by “Mozart and Salieri” by Rimsky-Korsakov, “The Miserly Knight” by Rachmaninov and others. The peculiarity of these operas is that they are all written on the unaltered full text of Pushkin’s “little tragedies”.

Conclusion

Dargomyzhsky’s activities were also of great importance for the further development of Russian vocal performing culture. Like Glinka, Dargomyzhsky was an outstanding performer of vocal music, although he did not have singing voice. He also constantly worked with vocalists - amateurs and professionals, thereby strengthening the foundations of the Russian performing school. He passed on to his students the ability to “play” with a voice, that is, to create bright, lively characters even without the help of a stage and costume. He demanded from the performer simplicity and sincerity in the transfer human feeling, resolutely fighting against meaningless virtuosity. “Our brother needs music, not singers,” he said at the same time.

During Dargomyzhsky’s lifetime, the contradictions between the tastes of the aristocratic public and the desire of advanced Russian composers for great ideological art, which had such a heavy impact on Glinka’s fate, especially intensified. Dargomyzhsky countered the uncritical passion of the “tops” for low-quality foreign music and fashionable virtuosos with a desire for truth and faith in the great future of Russian music. He fought against the view of music, widespread among the St. Petersburg aristocracy, as easy, thoughtless entertainment. He wrote: “I do not intend to reduce music to entertainment for them. I want the sound to directly express the word. I want the truth."

In the last decade of his life, Dargomyzhsky received; the opportunity to see the fruits of the work to which Glinka and he devoted their undivided mental strength. He witnessed the unprecedented flowering of the Russian national school in music, represented by the composers of the Mighty Handful and Tchaikovsky. During this period, he himself experienced a new surge of creative powers and took a further step along the path of musical progress.

This is how he went down in history: a brave innovator, a living link between the era of Glinka and Pushkin and the 60s – the era of the great rise of the democratic forces of Russia.

Bibliography

1. Dargomyzhsky A.S. "Selected Letters". M., Muzgiz, 1952

2. Kann-Novikova E. “I want the truth. The Tale of Alexander Dargomyzhsky. M. “Music”, 1983

3. Pekelis M.S. "A.S. Dargomyzhsky and his entourage." M., 1985

4. Remizov I.A. "WITH. Dargomyzhsky. M., Muzgiz, 1963

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Alexander Sergeevich Dargomyzhsky was born on February 2, 1813 in the village of Troitskoye, Tula province. The first four years of his life he was away from St. Petersburg, but it was this city that left the deepest mark on his consciousness.

There were six children in the Dargomyzhsky family. Parents made sure that they all received a broad humanitarian education. Alexander Sergeevich was educated at home; he never studied in any educational institution. The only source of his knowledge were his parents, large family and home teachers. They were the environment that shaped his character, tastes and interests.

Alexander Sergeevich Dargomyzhsky

Music occupied a special place in raising children in the Dargomyzhsky family. Parents attached great importance to her, believing that she was the beginning that softened morals, acted on feelings and educated hearts. Children learned to play various musical instruments.

Little Sasha at the age of 6 began learning to play the piano from Louise Wolgeborn. Three years later, the then famous musician Andrian Trofimovich Danilevsky became his teacher. In 1822, the boy began to be taught to play the violin. Music became his passion. Despite the fact that he had to learn a lot of lessons, Sasha, at about 11-12 years old, began to compose small piano pieces and romances himself. An interesting fact is that the boy’s teacher, Danilevsky, was categorically against his writing, and there were even cases when he tore up manuscripts. Subsequently, Dargomyzhsky was hired famous musician Schoberlechner, who completed his education in the field of piano playing. In addition, Sasha took vocal lessons from a singing teacher named Zeibich.

At the end of the 1820s, it became completely clear that Alexander had a great passion for composing music.

In September 1827, Alexander Sergeevich was assigned to the control of the Ministry of the Court for the position of clerk, but without salary. By 1830, all of St. Petersburg knew Dargomyzhsky as a strong pianist. It was not for nothing that Schoberlechner considered him his best student. From that time on, the young man, despite departmental responsibilities and music studies, began to pay more and more attention to secular entertainment. It is unknown how the fate of Dargomyzhsky the musician would have developed if providence had not brought him together with Mikhail Ivanovich Glinka. This composer managed to guess Alexander's real calling.

They met in 1834 at Glinka’s apartment, spent the entire evening talking animatedly and playing the piano. Dargomyzhsky was amazed, fascinated and stunned by Glinka’s playing: he had never heard such softness, smoothness and passion in sounds. After this evening, Alexander becomes a frequent guest in Glinka’s apartment. Despite the age difference, the two musicians developed a close friendship that lasted 22 years.

Glinka tried to help Dargomyzhsky master the skill of composition as best as possible. To do this, he gave him his notes on music theory, which Siegfried Dehn taught him. Alexander Sergeevich and Mikhail Ivanovich met just at the time when Glinka was working on the opera “Ivan Susanin”. Dargomyzhsky helped his older friend a lot: he got the instruments needed for the orchestra, learned the parts with the singers and rehearsed with the orchestra.

In the 1830s, Dargomyzhsky wrote many romances, songs, duets, etc. Pushkin’s poetry became a fundamental moment in the artistic formation of the composer. For poetry genius poet such romances as “I loved you”, “Young man and maiden”, “Vertograd”, “Night marshmallow”, “The fire of desire burns in the blood” were written. In addition, Alexander Sergeevich also wrote about civilians, social topics. A striking example This can be illustrated by the fantasy song “Wedding,” which has become one of the favorite songs of student youth.

Dargomyzhsky was a regular at various literary salons, often appeared at social parties and art circles. There he played the piano a lot, accompanied singers, and sometimes sang new vocal pieces himself. In addition, he sometimes participated in quartets as a violinist.

At the same time, the composer decided to write an opera. He wanted to find a plot with strong human passions and emotions. That is why he chose V. Hugo’s novel “Notre Dame de Paris.” By the end of 1841, work on the opera was completed, which was reported in the newspaper “Miscellaneous News”. In a short note, the author wrote that Dargomyzhsky graduated from the opera “Esmeralda”, which was accepted from him by the management of St. Petersburg theaters. It was also reported that the opera would soon be staged on the stage of one of the theaters. But one year passed, then another, a third, and the opera score still lay somewhere in the archive. No longer hoping for his work to be staged, Alexander Sergeevich decided to go abroad in 1844.

In December 1844, Dargomyzhsky arrived in Paris. The purpose of his trip was to get to know the city, its people, way of life, and culture. From France, the composer wrote many letters to his relatives and friends. Alexander Sergeevich regularly visited theaters, where he most often listened to French operas. In a letter to his father, he wrote: “French opera can be compared to the ruins of an excellent Greek temple... and yet the temple no longer exists. I can be fully convinced that French opera could compare and surpassed any Italian one, but I still judge by fragments alone.”

Six months later, Dargomyzhsky returned to Russia. During these years, socio-political contradictions intensified in the homeland. One of the main tasks of art has become the truthful disclosure of irreconcilable differences between the world of the rich and ordinary people. Now the hero of many works of literature, painting and music is a person who comes from the middle and lower strata of society: an artisan, a peasant, a petty official, a poor tradesman.

Alexander Sergeevich also devoted his work to showing the life and everyday life of ordinary people, realistically revealing their peace of mind, exposing social injustice.

Not only lyrics are heard in Dargomyzhsky’s romances to Lermontov’s words “Both boring and sad” and “I’m sad.” In order to fully understand and comprehend the meaning of the first of the above-mentioned romances, you need to remember how these poems by Lermontov sounded in these years. The composer sought to emphasize in the work the significance and weight of not only every phrase, but almost every word. This romance is an elegy that resembles an oratorical speech set to music. There have never been such romances in Russian music. It would be more accurate to say that this is a monologue of one of Lermontov’s lyrical heroes.

Another lyrical monologue by Lermontov, “I’m sad,” is built on the same principle of combining songwriting and recitation as the first romance. These are not reflections of the hero alone with himself, but an appeal to another person, filled with sincere warmth and affection.

One of the most important places in Dargomyzhsky’s work is occupied by songs written to the words of the songwriter A.V. Koltsov. These are sketch songs that show life. ordinary people, their feelings and experiences. For example, the lyrical song-complaint “Crazy, Without Reason” tells the story of the fate of a peasant girl who was forcibly married to an unloved man. The song “Fever” is almost the same in nature. At all, most of Dargomyzhsky's songs and romances are dedicated to the story of a woman's difficult lot.

In 1845, the composer began work on the opera “Rusalka”. He worked on it for 10 years. The work proceeded unevenly: in the first years the author was busy studying folk life and folklore, then he moved on to drawing up a script and libretto. The writing of the work progressed well in 1853 - 1855, but at the end of the 1850s the work almost stopped. There were many reasons for this: the novelty of the task, creative difficulties, the tense socio-political situation of that era, as well as indifference to the composer’s work on the part of theater management and society.

Excerpt from the romance “I'm Sad” by A. S. Dargomyzhsky

In 1853, Alexander Sergeevich wrote to V.F. Odoevsky: “To the best of my ability and ability, in my “Rusalka” I am working on the development of our dramatic elements. I’ll be happy if I succeed in this even half as much as Mikhaila Ivanovich Glinka...”

On May 4, 1856, the first performance of “Mermaids” was given. The then young L.N. Tolstoy was present at the performance. He sat in the same box with the composer. The opera aroused wide interest and attracted the attention of not only musicians, but also listeners of all ranks. However, the performance was not visited by members of the royal family and high society in St. Petersburg, and therefore, from 1857, it began to be performed less and less often, and then was completely removed from the stage.

In the magazine "Russian musical culture» an article appeared dedicated to Dargomyzhsky’s opera “Rusalka”. Here is what the author said in it: ““Rusalka” is the first significant Russian opera to appear after Glinka’s “Ruslan and Lyudmila”. At the same time, this is a new type of opera - a psychological, everyday musical drama... Revealing the complex chain of relationships between actors“Dargomyzhsky achieves special completeness and versatility in depicting human characters...”

Alexander Sergeevich, according to contemporaries, for the first time in Russian opera embodied not only the social conflicts of that time, but also the internal contradictions of the human personality, that is, a person’s ability to be different in certain circumstances. P. I. Tchaikovsky praised this work very highly, saying that among Russian operas it ranks first after Glinka’s brilliant operas.

The year 1855 became a turning point in the life of the Russian people. The Crimean War had just been lost, despite the 11-month defense of Sevastopol. This is defeat Tsarist Russia revealed the weakness of the serf system and became the last straw that overflowed the cup of people's patience. A wave of peasant revolts took place across Russia.

During these years, journalism reached its greatest prosperity. The satirical magazine Iskra occupied a special position among all publications. Almost from the moment the journal was created, Dargomyzhsky was a member of the editorial board. Many in St. Petersburg knew about his satirical talent, as well as about his socially accusatory orientation in his work. Many notes and feuilletons about theater and music were written by Alexander Sergeevich. In 1858, he composed a dramatic song, "The Old Corporal", which was both a monologue and a dramatic scene. She sounded an angry denunciation social order which allows human violence against human beings.

The Russian public also paid much attention to Dargomyzhsky’s comic song “The Worm,” which tells about a petty official groveling before the illustrious count. The composer also achieved vivid imagery in “The Titular Councilor.” This work is nothing more than a small vocal picture showing the unsuccessful love of a modest official for an arrogant general’s daughter.

In the early 60s, Alexander Sergeevich created a number of works for symphony orchestra. Among them we can name “The Ukrainian Cossack”, which echoes Glinka’s “Kamarinskaya”, as well as “Babu Yaga”, which is the first programmatic orchestral work in Russian music, containing sharp, florid, sometimes simply comic episodes.

At the end of the 60s, Dargomyzhsky began composing the opera “The Stone Guest” based on the verses of A. S. Pushkin, which, in his opinion, became the “swan song”. Having chosen this work, the composer set himself a huge, complex and new task - to preserve Pushkin’s complete text intact and, without composing the usual operatic forms (arias, ensembles, choruses), to write music for it that would consist of only recitatives . Such work was within the capabilities of a musician who had perfect mastery of the ability to musically transform a living word into music. Dargomyzhsky coped with this. He not only presented a work with individual musical language for each character, but also managed, with the help of recitative, to depict the characters’ habits, their temperament, manner of speech, change of mood, etc.

Dargomyzhsky more than once told his friends that if he died without finishing the opera, Cui would finish it, and Rimsky-Korsakov would instrument it. On January 4, 1869, Borodin's First Symphony was performed for the first time. Alexander Sergeevich at this time was already seriously ill and did not go anywhere. But he was keenly interested in the successes of the new generation of Russian musicians and wanted to hear about their work. While rehearsals for the First Symphony were underway, Dargomyzhsky asked everyone who came to visit him about the progress of preparations for the performance of the work. He wanted to be the first to hear how it was received by the general public.

Fate did not give him this chance, because on January 5, 1869, Alexander Sergeevich died. On November 15, 1869, the opera “The Stone Guest” was performed in its entirety at a regular evening with his friends. According to the author's will, Cui and Rimsky-Korsakov took away the manuscript of the opera immediately after his death.

Dargomyzhsky was a bold innovator in music. He was the first of all composers to capture in his compositions a theme of great social urgency. Since Alexander Sergeevich was a subtle psychologist, distinguished by remarkable observation, he was able to create a wide and varied gallery of human images in his works.

Menshikov Alexander Sergeevich Menshikov (Alexander Sergeevich, 1787 - 1869) - admiral, adjutant general, his serene prince. First he joined the diplomatic corps, then moved to military service and was the adjutant of Count Kamensky. In 1813 he was in the retinue of Emperor Alexander I and