Introduction

ON THE. Rimsky-Korsakov (1844-1908) outstanding Russian composer, teacher, conductor, public figure, music critic.

In his work, the composer steadily followed the traditions of the founder of the Russian classical music school, M.I. Glinka, developing and updating them. Nikolai Andreevich was a deeply national artist and the words he expressed: “...music does not exist outside of nationality...” confirms this.

Rimsky-Korsakov's worldview and artistic beliefs developed during the era of the liberation movement of the 60s, among the advanced Russian intelligentsia, to whose progressive ideas he remained faithful until the end of his life. A democrat-educator, a humanist, a patriot, Nikolai Andreevich tirelessly fought for advanced Russian art. Integrity, strong will, high aesthetic consciousness, perseverance in work and struggle for his beliefs characterized his multifaceted activities.

Creative heritage of N.A. Rimsky-Korsakov extensively. It includes 15 operas, cantatas, romances, works for choirs, symphonies, and symphonic paintings. Operatic creativity is the most deeply and vividly represented part of his composer's heritage.

The purpose of the course work is to consider female images in the works of N.A. Rimsky - Korsakov. Based on this goal, we can highlight the tasks set in the course work:

1. Study the work of Nikolai Andreevich Rimsky - Korsakov.

2. Analysis of female images in the works of N.A. Rimsky-Korsakov.

The object of study of the course work is the opera and symphonic works of Nikolai Andreevich Rimsky - Korsakov.

The subject of research in the course work is female images in the works of N.A. Rimsky-Korsakov.

The methodological basis of the research in the course work was the works of outstanding musicologists and textbooks on Russian musical literature.

Creativity N.A. Rimsky-Korsakov

opera korsakov image female

ON THE. Rimsky-Korsakov occupies a special place in Russian musical culture. His creative path was long, and he always kept up with the times, was always a leader, a bright, extraordinary figure. His creative activity was multifaceted, and in each area he achieved great heights. The author of a huge composer's heritage; member of the “Mighty Handful” and leader of the “Belyaev Circle”; a major teacher, one of the first professors at the St. Petersburg Conservatory; major public figure (BMS, Singing Chapel, brass bands of the Naval Department); conductor; author of theoretical works (“Textbook of Harmony”, “Fundamentals of Orchestration”); editor of works by other authors; folklorist

The work of Rimsky-Korsakov completed the development of Russian musical classics in the 19th century, the evolution of the genre of opera, symphonic and chamber vocal music. At the same time, it marked the onset of a new historical stage, already at the beginning of the 20th century. Rimsky-Korsakov was one of the bearers and creators of the living, continuously developing tradition of Russian art. Relying on the deep layers of national musical culture and on the legacy of Glinka and Dargomyzhsky, absorbing the achievements of his contemporaries, he enriched Russian music with the achievements of advanced European art of the 19th century. With his works and all his diverse musical activities, Rimsky-Korsakov asserted the global significance of Russian musical culture.

The composer's legacy is very large, covering almost all genres:

Operas (15);

Symphonic works: 3 symphonies, “Overture on Russian Themes”, musical picture “Sadko”, Symphonic Suite “Antar”, fantasia on Serbian themes, “Spanish Capriccio”, “Scheherazade”, concert for piano and orchestra, etc.

Chamber instrumental: string quartet, sextet, quintet, pieces for piano;

Vocal and instrumental: 3 cantatas, choirs;

Chamber vocal: 79 romances, duets and trios;

Arrangements of folk songs: 2 collections - “100 Russian folk songs”, “40 Russian folk songs”.

FEDERAL EDUCATION AGENCY

State educational institution of higher professional education

Russian State Pedagogical University named after. A.I. Herzen

FACULTY OF MUSIC

Department of Musical Upbringing and Education

Coursework on the history of Russian music

Symphonic creativity of N.A. Rimsky-Korsakov

Performed

2nd year student

evening department

Kraineva Maria

Scientific director

Verba Natalya Ivanovna

St. Petersburg 2010

Introduction

This topic is relevant because: the creative heritage of Rimsky-Korsakov is very great. He wrote a large number of compositions in various musical genres. The creative path of Rimsky-Korsakov covers a complex, rich and diverse era of musical development in Russia. His music is loved and admired to this day.

Who wrote about the composer: N. A. Rimsky-Korsakov, “Chronicle of my musical life”, Moscow, “Music”, 1980; musicologist Abram Akimovich Gozenpud in an interview Petersburg theater magazine (2002) quoted a letter from Rimsky-Korsakov explaining his attitude towards his own work; Maslov A., Russian folk song in the works of Rimsky-Korsakov, “Music and Life”, 1909; Grachev P.V., Leitmotif in the operas of Rimsky-Korsakov, in the book: De musica, vol. 3, L., 1927; Rushanov V. A., N. A. Rimsky-Korsakov (1844-1908), L., 1928; Maggit S. D., Stylistic features of romances by N. A. Rimsky-Korsakov, in the collection: Russian romance, Experience of intonation analysis, ed. B.V. Asafieva, M.-L., 1930; Solovtsov A. A., N. A. Rimsky-Korsakov, M., 1948, 1958; Solovtsov A., Symphonic works of Rimsky-Korsakov, Moscow, State Musical Publishing House, 1953; Kabalevsky D.B., Rimsky-Korsakov and modernism, "SM", 1953, No. 6-8; Berkov V. O., Textbook of harmony by Rimsky-Korsakov, M., 1953; Tretyakova L.S., Pages of Russian music, Moscow, “Knowledge”, 1979; Ratskaya Ts., N.A. Rimsky-Korsakov, Moscow, “Music”, 1958; Barsova L., Nikolai Andreevich Rimsky-Korsakov, Leningrad, “Music”, 1986; Komissarskaya M.A., Russian music of the 19th century, Moscow, “Knowledge”, 1974; Keldysh Yu., History of Russian music, Moscow-Leningrad, State Musical Publishing House, 1947 (part 2); Rapatskaya L.A., History of Russian music from ancient Rus' to the “Silver Age”, Moscow, Vlados, 2001; Kobalevsky D.B., Ossovsky A.V., Tumanina N.V., Yankovsky M.O., Musical heritage. Rimsky-Korsakov, Moscow, Publishing House of the USSR Academy of Sciences, 1953; and many other authors.

The object is the symphonic work of Rimsky-Korsakov, the subject is the features of symphonic work.

The goal is to consider and study the symphonic work of N.A. Rimsky-Korsakov.

Objectives: 1. Familiarize yourself with the biography of Rimsky-Korsakov; 2. Study its main ideas, give a general description of creativity; 3. Familiarize yourself with the concept of “Russian classical symphonism” and consider the ways of development of Russian symphonic music in the 19th century; 4. Consider the program symphonic works of Rimsky-Korsakov using the example of the musical picture for the symphony orchestra “Sadko”, the symphonic suite “Antar” and the symphonic suite “Scheherazade”; 5. Consider symphonic works that do not have a program published by the author using the example of the first and third symphonies, and “Capriccio on Spanish Themes”; 6. Consider overtures, symphonic suites from operas and transcriptions of opera scenes for a symphony orchestra using the example of the overture to the opera “May Night”, the symphonic suite from the opera “The Snow Maiden” and the suite from the opera “The Night Before Christmas”; 7. Summarize all of the above and draw a conclusion: what are the features of Rimsky-Korsakov’s symphonic work.

Structure of the work: introduction, content (Part 1 - Brief biography, general characteristics of creativity and ideas; Part 2 - Symphonic creativity), conclusion, biography, table of contents.

short biography

Nikolai Andreevich Rimsky-Korsakov (March 6 (18), 1844, Tikhvin, Novgorod province - June 8 (21), 1908, Lyubensk estate, near Luga, St. Petersburg province) - Russian composer, teacher, conductor, public figure, music critic; representative of the “Mighty Handful”, headed the Belyaevsky circle. His compositions include 15 operas, 3 symphonies, symphonic works, instrumental concertos, cantatas, chamber instrumental, vocal and sacred music.

Childhood and youth

Rimsky-Korsakov was born in the small town of Tikhvin. The composer's father, Andrei Petrovich Rimsky-Korsakov (1784-1862), served for some time as the Novgorod vice-governor, and then as governor in Volyn, his mother, Sofya Vasilievna, was the daughter of a serf peasant woman and a wealthy landowner Skaryatin, a fairly educated woman. His older brother Voin Andreevich, a rear admiral and reorganizer of the naval education system, also had a strong influence on the future composer. The Rimsky-Korsakov family house was located on the banks of the Tikhvinka River, opposite the Tikhvin Great Bogoroditsky Monastery.

The composer learned to play the piano at home, and then at a boarding school, where music lessons were among other general education disciplines. It is known that from childhood the composer was passionate about music, became acquainted with the works of Rossini, Beethoven, Meyerbeer, Mendelssohn, but the music of M. I. Glinka made the greatest impression on him - his “Kamarinskaya”, “Spanish Overtures”, the opera “A Life for the Tsar” and "Ruslan and Lyudmila". In 1859-1869, feeling the need to acquire more professional musical skills, Rimsky-Korsakov took lessons from pianist F. A. Canille.

In 1856, his father took young Nikolai to the Naval Cadet Corps, from which he graduated with honors in the spring of 1862 (at that time the educational institution changed its name to the Naval School). By that time, the composer's father had died (in 1861) and the Rimsky-Korsakov family moved to St. Petersburg.

Meeting Balakirev, service on Almaz

In 1861, Canille introduced N. A. Rimsky-Korsakov to M. A. Balakirev. The young composer immediately became a member of the Balakirev circle (“The Mighty Handful”), which had a decisive influence on the formation of his personality and aesthetic views of the composer. At that time, the circle, in addition to its head - Balakirev - and Rimsky-Korsakov himself, included Caesar Cui and Modest Mussorgsky. Balakirev, who supervised the work of his younger colleagues, not only suggested the right compositional solutions for the works they created, but also helped his comrades with instrumentation.

In 1862-1865, Rimsky-Korsakov was assigned to naval service on the Almaz clipper, thanks to which he visited a number of countries - England, Norway, Poland, France, Italy, Spain, the USA, Brazil. Impressions of marine life were embodied after some time in amazing seascapes, which he managed to capture in his works using orchestral colors. Working on a clipper ship did not leave much time for improving musical skills, so the only work that appeared from the composer’s pen during this period was the second movement (Andante) of the First Symphony (late 1862), after which Rimsky-Korsakov abandoned composing for a long time.

Rim Korsakov symphonic composer

70s, 80s, 90s of creative life

Since the 70s The boundaries of Rimsky-Korsakov's musical activity expanded: he was a professor at the St. Petersburg Conservatory (from 1871, classes of practical composition, instrumentation, orchestral), inspector of brass bands of the Naval Department (1873-84), director of the Free Music School (1874-81), conductor of symphony concerts (from 1874), and later opera performances, assistant manager of the Court Singing Chapel (1883-94), headed the Belyaevsky Circle (from 1882). In the mid-70s. worked to improve his compositional technique. It was during this period in 1871 that he was invited to teach at the St. Petersburg Conservatory, with the award of the academic title of professor; and, having begun teaching at the Conservatory, Rimsky-Korsakov discovers serious shortcomings in his musical education, and he himself begins to enthusiastically study the disciplines taught at the Conservatory.

Rimsky-Korsakov wrote about his appointment as a professor at the conservatory as follows: “In the summer of 1871, an important event happened in my musical life. One fine day, Azanchevsky came to see me, who had just assumed the post of director of the St. Petersburg Conservatory instead of N.I. Zaremba, who had retired. To my surprise, he invited me to join the conservatory as a professor of practical composition and instrumentation, as well as a professor, i.e. leader, orchestra class." [N. Rimsky-Korsakov “Chronicle of my musical life”, Moscow, “Music”, 1980, p. 93]

In the 80s paid great attention to symphonic genres; it was during this period that he created his largest epic symphonic canvas - the symphonic suite “Scheherazade”.

In the early 90s. there was some decline in creative activity (during this period he studied philosophy, wrote articles, revised and edited some of his previous works). In the 2nd half of the 90s. creativity acquired exceptional intensity: the operas “Sadko” (1896) and “The Tsar’s Bride” (after May, 1898) appeared. During the Revolution of 1905-07, Rimsky-Korsakov actively supported the demands of the striking students and openly condemned the actions of the reactionary administration of the St. Petersburg Conservatory (he was fired from the conservatory, returning only after the conservatory was granted partial autonomous rights and a change of leadership). Rimsky-Korsakov died on June 11, 1908 from cardiac paralysis. He was buried at the Novodevichy cemetery in St. Petersburg.

General characteristics of creativity and ideas

Over the course of many years of activity (over 40 years), Rimsky-Korsakov’s work has undergone changes, reflecting the needs of the time; both the composer’s aesthetic views and his style have evolved. Rimsky-Korsakov developed as a musician in the atmosphere of social upsurge of the 60s. under the influence of the aesthetic principles of the "New Russian Music School". The most important of them - the desire for nationality, high content, and social significance of art - the composer carried throughout his life. At the same time, he was more interested in specific internal problems of art than other members of the Balakirev circle. Rimsky-Korsakov is characterized by identifying the aesthetic principle in each work, the desire for beauty, and perfection of execution. Hence, special attention to issues of professionalism and a unique aesthetics of craftsmanship, which brought Rimsky-Korsakov’s principles closer to the general trends in the development of Russian art of the late 19th and early 20th centuries. In the creative appearance of Rimsky-Korsakov there are many similarities with M. I. Glinka. First of all - a harmonious worldview, internal balance, subtle artistry, impeccable taste, a sense of artistic proportion, classical clarity of musical thinking.

The range of themes and plots embodied by Rimsky-Korsakov is wide and varied. Like all the “Kuchkists,” the composer turned to Russian history, pictures of folk life, images of the East; he also touched upon the area of ​​everyday drama and the lyrical-psychological sphere. But Rimsky-Korsakov’s talent was most fully revealed in works related to the world of fantasy and various forms of Russian folk art. A fairy tale, legend, epic, myth, ritual determine not only the theme, but also the ideological meaning of most of his works. Revealing the philosophical subtext of folklore genres, Rimsky-Korsakov reveals the worldview of the people: their eternal dream of a better life, of happiness, embodied in the images of bright fairy-tale countries and cities (Berendey’s kingdom in “The Snow Maiden”, the city of Lollipop in “The Tale of Tsar Saltan”, the Great Kitezh); his moral and aesthetic ideals, personified, on the one hand, by the captivatingly pure and gentle heroines of operas (the Princess in “Kashchei the Immortal”, Fevronia), on the other, by legendary singers (Lel, Sadko), these symbols of unfading folk art; his admiration for the life-giving power and eternal beauty of nature; finally, the ineradicable faith of the people in the triumph of the forces of light, justice and goodness is the source of optimism inherent in the work of Rimsky-Korsakov.

Rimsky-Korsakov’s attitude towards what he depicts is also akin to folk art. According to B.V. Asafiev, “...between the personal feeling of the composer and the object of his work there is a beautiful mediastinum: how do the people think about this and how would they embody their thought about this?...”. Such detachment of the author’s position determined the objectivity of tone characteristic of Rimsky-Korsakov and the predominance of epic principles of dramaturgy in most of his works. The specific features of his lyrics are also connected with this, always sincere and at the same time devoid of emotional tension - calm, integral and somewhat contemplative.

The work of Rimsky-Korsakov organically combines reliance on Russian musical folklore (mainly its most ancient layers) and on the traditions of national classics (Glinka) with the widespread development of pictorial and coloristic tendencies of romantic art, orderliness and balance of all elements of musical language. The composer introduces authentic folk songs into his works and creates his own melodies in the spirit of folk ones. (Particularly typical for him are archaized diatonic themes in complex odd meters, such as the final chorus from “The Snow Maiden” in 11/4). Song intonations also color Rimsky-Korsakov’s lyrical (mostly operatic) melodic music. But, unlike folk themes, it is more characterized by structural completeness, internal dissection and periodic repetition of motivic links. Typical of Rimsky-Korsakov are moving, richly ornamented melodies of an instrumental nature, often introduced into the vocal parts of fantastic opera characters (Volkhova, the Swan Princess).

The development of thematic material in Rimsky-Korsakov usually does not lead to fundamental intonational transformations. Like all “kuchka” artists, the composer widely and variedly uses variational techniques, supplementing them with polyphony - often subvocal, but often imitative.

Rimsky-Korsakov’s harmonic thinking is distinguished by strict logic and clarity, and there is a sense of rational organizing in it. Thus, the use of natural diatonic modes, coming from the style of Russian peasant song and Balakirev’s principles of its processing, is usually combined by Rimsky-Korsakov with simple triadic harmonization and the use of chords of secondary degrees. The composer's contribution to the development of the coloristic possibilities of harmony is significant. Based on the traditions of "Ruslan and Lyudmila", he created by the mid-90s. its system of mode-harmonic means (associated, first of all, with the sphere of fantastic images), which is based on complex modes: increased, chain and especially decreased, with a characteristic tone-semitone scale, the so-called “Rimsky-Korsakov scale”.

Coloristic tendencies are also manifested in the orchestration, which Rimsky-Korsakov considered as an integral part of the concept (“one of the aspects of the soul” of the work). He introduces numerous instrumental solos into the scores and, following Glinka’s precepts, prefers the sounds of pure timbres to thick mixed colors. The brightness and virtuoso brilliance of his orchestra are combined with transparency and lightness of texture, distinguished by impeccable clarity of vocal performance.

The cultural and historical significance of Rimsky-Korsakov’s editorial activities was great, thanks to which many masterpieces of Russian music were published and performed. Rimsky-Korsakov twice prepared Glinka’s opera scores for publication (together with Balakirev and Lyadov, 1877-81; with Glazunov, for the 100th anniversary of Glinka's birthday, 1904). Twice orchestrated Dargomyzhsky's "The Stone Guest" (1870 and 1897-1902). Together with Glazunov, he completed, edited and partially orchestrated Prince Igor (1887-90) and instrumentalized a number of Borodin's romances. Almost the entire creative legacy of Mussorgsky was subject to Rimsky-Korsakov’s editorial processing: he completed, edited and orchestrated “Khovanshchina” (1881-83), carried out his own edition and orchestration of “Boris Godunov” (1895-96, supplemented in 1906), as well as free processing and orchestrated the edition of the symphonic film “Night on Bald Mountain” (1886), edited and orchestrated a number of fragments of the unfinished opera “Salambo”, symphonic pieces (Intermezzo, Scherzo), choirs. Rimsky-Korsakov prepared for publication the manuscript of “Marriage” (1906) and most of the chamber vocal works (several of them instrumental). This enormous work, which contributed to the promotion of Mussorgsky’s work, is not without internal contradictions, since the editions made by Rimsky-Korsakov bear a deep imprint of his composer’s personality, aesthetic views and tastes. As a result, the characteristic features of Mussorgsky's style (primarily intonation, modal, harmonic) underwent significant changes.

An outstanding role in the development of Russian musical culture belongs to Rimsky-Korsakov, a teacher who trained St. 200 composers, conductors, musicologists. He was the creator of a school of composition. Among his students are A.K. Glazunov, A. K. Lyadov, A. S. Arensky, M. M. Ippolitov-Ivanov, I. F. Stravinsky, N. N. Cherepnin, A. T. Grechaninov, V. A. Zolotarev, N. Ya. Myaskovsky, S S. Prokofiev, M. F. Gnesin, B. V. Asafiev, A. V. Ossovsky. Rimsky-Korsakov made a significant contribution to the development of the musical culture of the peoples of Russia. Many of his students became prominent figures in national music schools - Ukraine (N.V. Lysenko, Y.S. Stenova, F.S. Akimenko), Latvia (A.A. Yuryan, J. Vitol, E. Melngailis), Estonia (R.I. Tobias, A.Y. Kapp), Lithuania (K.M. Galkauskas), Armenia (M.G. Ekmalyan, A.A. Spendiarov), Georgia (M.A. Balanchivadze). Rimsky-Korsakov paid great attention to the organization of the educational process: he wrote the articles “On Music Education” (1892), “Project for transforming the program of music theory and practical composition in conservatories” (1901). A partial generalization of Rimsky-Korsakov’s vast pedagogical experience were the manuals he created: “Textbook of Harmony” (parts 1-2, 1884-85; remade into “Practical Textbook of Harmony”, 1886) and “Fundamentals of Orchestration” (1908, ed. 1913) . Among Rimsky-Korsakov's literary works, a review of Napravnik's opera "Nizhegorodtsy" (1869), an article "Wagner and Dargomyzhsky" (1892), and an analysis of the opera "The Snow Maiden" stand out. The most valuable material on the history of Russian musical culture of the second half of the 19th century. contains his autobiographical book “Chronicle of My Musical Life” (1876-1906, published 1909), which contributed to the author’s awareness of his own creative path.

Rimsky-Korsakov's performances as a conductor had invaluable educational value. In concerts of the Free Music School, Russian Musical Society, "Russian Symphony Concerts" he promoted the works of Russian classics, the work of composers of the "Mighty Handful", works of his contemporaries - Glazunov, P. I. Tchaikovsky, S. I. Taneyev, S. V. Rachmaninov, etc. Rimsky-Korsakov's multifaceted activities left a deep mark on the history of world musical culture. His work influenced not only domestic composers (Glazunov, Lyadov, Spendiarov, Stravinsky, Prokofiev), but also significantly influenced Western European music (C. Debussy, M. Ravel, O. Respighi, A. Bax). In 1944, in connection with the 100th anniversary of the birth of Rimsky-Korsakov, a house museum was opened in the composer’s homeland in Tikhvin, and in 1971 in Leningrad - an apartment museum (in the apartment where the composer spent the last 15 years). The name of Rimsky-Korsakov was given to the Leningrad Conservatory; a monument to Rimsky-Korsakov by sculptors V. Ya. Bogolyubov and V. I. Ingal (1952) was erected in front of its building.

Symphonic creativity. Russian classical symphony

One of the most important features of Russian classical symphonism is that symphonic genres in Russia already at the very early stage of their development had a democratic orientation. This remarkable originality of Russian symphony was determined by the entire course of socio-historical development of Russia.

Since the early 60s of the 19th century, a new significant stage has emerged in the history of Russian classical symphonism. Glinka's followers - the Kuchka composers and Tchaikovsky, fulfilling the behests of the great "teacher", managed to raise Russian symphonic music to such a height that ensured it an honorable place in the development of world symphony.

The brilliant flowering of Russian classical symphonism was stimulated by an atmosphere of high social uplift. Under the influence of advanced revolutionary democratic ideas, Russian composers of the last century followed in their symphonic work, as well as in other genres, the high aesthetic principles of realism and nationalism; they constantly addressed the living problems of our time.

Very indicative of Russian symphonism in the classical period of its development was its amazing genre diversity. Here you can find a symphony that had a long tradition, which received a new, original appearance on Russian soil, and colorful symphonic overtures, suites, program symphonic fantasies, poems, paintings, and instrumental concerts of various types. This genre richness of Russian symphonic music was due to the desire of classical composers for a broad display of the phenomena of reality, for a multifaceted display of people's life, for a figurative and concrete embodiment of the national theme.

The realistic, democratic aspirations of classical composers were manifested in their constant inclination towards programmatic symphonism. Essentially, outstanding Russian composers of the last century were the creators of Russian classical program symphonism.

What is a software instrumental work? The basis of any programmatic composition is certainly a specific plot, borrowed either from the surrounding reality (for example, Glinka’s Spanish overtures), or from a literary work (for example, “Scheherazade” by Rimsky-Korsakov), or from painting (for example, “Pictures at an Exhibition” by Mussorgsky orchestrated by M. Ravel).

The revelation of the programmatic intent of the composition is carried out with the help of specific musical images, which are sometimes based on folklore origins, distinguished by a clearly expressed genre characteristic (i.e., the genre characteristics of a song, dance, march, etc. are clearly felt in the work). The musical thematic nature of the program works is marked by heightened figurative relief.

The accessibility and intelligibility of symphonic music of Russian composers of the 19th century for a wide audience is determined by its close connection with folk art. In classical symphonic works one can often find genuine folklore thematics, so close and understandable to a wide audience. “...” However, much more often classical composers used folk melodies indirectly, refracting them through the prism of their creative individuality.

Ways of development of Russian symphonic music

Russian classical symphonism of the last century included two main directions: lyric-dramatic, the brightest representative of which was P.I. Tchaikovsky, and narrative-epic, which received its most complete expression in the symphonic works of A.P. Borodin and N.A. Rimsky-Korsakov.

Lyrical-dramatic symphonism is characterized by vivid life conflicts, sharpness and intensity of development, and internal tension of musical and artistic images. The narrative-objective nature of artistic expression is typical of an epic symphony. In works of this kind, conflicting collisions are less pronounced. Images of the surrounding reality are illuminated by composers in calm, contemplative tones.

In the last third of the 19th century, a new stage in the history of Russian symphony was clearly outlined.

Composers now approach programming in music differently; they are not so much attracted by plot descriptiveness or pictorial representation, but by more generalized psychological and philosophical problems. We can already talk not only about the most important trends in Russian symphony, but also about individual, sometimes one-of-a-kind, symphonic works in the work of one or another composer.

Among the best achievements of Russian and world symphony of this period, one should name the Fourth, Fifth and Sixth symphonies of Tchaikovsky, symphonic works by Glazunov, Lyadov, Kalinnikov, Rachmaninov, Scriabin, Taneyev, Rimsky-Korsakov. The music of these composers, who developed Glinka’s symphonic traditions, clearly embodies the principles of nationality and achieves an organic combination of the philosophical and aesthetic principles with the ethical.

Symphonic works of Rimsky-Korsakov

Rimsky-Korsakov devoted significantly less time and effort to symphonic music than to opera. The number of his symphonic works is relatively small. But in terms of artistic power, depth and amazing originality, they occupy a place next to Korsakov’s operas. Rimsky-Korsakov is an undeniably brilliant opera composer, and equally undeniably a brilliant symphonist.

The main symphonic works were created by Rimsky-Korsakov in the 60s and 80s. The 1st symphony is chronologically the earliest example of the Russian national symphony. The musical picture played a pivotal role in the formation of the composer’s symphonic style Sadko (episode from the epic ) and symphonic suite Antar (2nd symphony, based on the oriental story of the same name by Osip Ivanovich Senkovsky). An appeal to the world of Russian folk fiction and oriental fairy tales revealed the most characteristic aspects of Rimsky-Korsakov’s artistic individuality - his gift for music and painting. The free composition of both works, with a relaxed change of episodes determined by the plot outline, reflects aesthetic principles New Russian school . The constructive unifying factor in Sadko serves Balakirev’s favorite framing device (the theme of the sea), in Antare - end-to-end implementation of the main character’s leitmotif through all parts of the symphony, akin to the principles of Berlioz’s program symphony.

The evolution of symphonic creativity in the 80s. manifested itself mainly in the rejection of detailed plot programs, in the pursuit of a generalized transfer of content and (as a consequence) to a stronger reliance on classical techniques of form-building, to a rounded and harmonious composition. New trends are partly visible already in fairy tale . Pushkin's text from the prologue to her Ruslan and Lyudmila is used not as a program, but as a poetic epigraph that allows for free interpretation of a series of fantastic images. A significant work of these years was a concert for piano and orchestra, the national theme of which (recruit song) is uniquely combined with principles coming from Liszt (poetic interpretation of a one-part, or rather monocyclic form; monothematic transformation of material; techniques of piano presentation).

The play is based on church themes in a unique way Holy holiday (Sunday Overture ), in which the composer sought (in his own words) to convey the legendary and pagan side of the holiday . Hence the genre nature of the main section (Allegro) of the overture with bell sounds, interpreted as dance church music .

The genre and program lines of Rimsky-Korsakov’s symphony are completed by two masterpieces - Spanish capriccio And Scheherazade . IN Capriccio bright temperamental sketches of the folk life of Spain, continuing the traditions of Glinka’s Spanish overtures, are combined with the original musical concept itself; this work is a kind of brilliant concerto for orchestra (the timbre and virtuoso-technical capabilities of each instrument are revealed in numerous solos and improvisational cadences). The score of the symphonic suite also has concert characteristics. Scheherazade . Unlike Antara , the images of the fabulous East in it are not associated with a specific plot. This is also answered by the generalized interpretation of the most important leitmotifs, which are not assigned to certain images and are subject to free reinterpretation (for example, Shahriar’s theme becomes the theme of the sea in the 1st part of the suite). Thematic unity, end-to-end symphonic development, and the synthesizing role of the finale give the suite exceptional integrity and make it similar to a symphony. The plastic beauty and relief of themes, rhythmic richness, brilliant orchestration and perfection of form make Scheherazade one of the outstanding works of Russian music dedicated to the East.

Rimsky-Korsakov's symphonic work is complemented and enriched by orchestral fragments of his operas. Following the traditions of Glinka, Rimsky-Korsakov from the very beginning of his creative activity followed the path of symphonization of the opera genre. The orchestra in Rimsky-Korsakov's operas is not limited to the modest role of accompanying vocal parts. This is an active, and in many cases, the dominant participant in the action. One can find in Rimsky-Korsakov's operas many orchestral and orchestral-vocal episodes in which the composer's thought develops with truly symphonic breadth. Some of them were included in the suites composed by Rimsky-Korsakov from Snow Maidens , Mlady , The Nights Before Christmas , Tales of Tsar Saltan , Pana voivode . Adjacent to them: music for Mei's drama Pskov woman (based on the 2nd, unpublished edition of the opera), Night on Mount Triglav (concert arrangement for orchestra of Act 3 Mlady ) and symphonic transcription of the Procession from Golden cockerel . Few images of dramatic symphonism in Rimsky-Korsakov’s work are also associated with opera music: overtures to operas Pskov woman , Vera Sheloga , The Tsar's Bride , epic-dramatic intermission Battle of Kerzhenets from act 3 Tales of the invisible city of Kitezh and the maiden Fevronia .

Program symphonic works

"Sadko"

Speaking about the musical film, one cannot help but recall the epic opera “Sadko”. Rimsky-Korsakov introduced the main themes of a youth symphonic play into the epic opera as the most important leitmotifs. Thanks to this, we can more clearly imagine the meaning and significance of each theme of the “first” “Sadko”. Thanks to this, it is easier to trace how the epic plot is revealed in the change and development of musical images.

The majestic soundscape opens up the musical picture. The waves of the Ocean-Sea of ​​blue rise steadily, slowly. But this calmness is full of hidden strength. It seems that a storm is about to arise, and the water element will appear in all its formidable power.

It is difficult not to admire the picturesqueness and poetry of this musical image, found by a young composer taking his first creative steps. In his truly brilliant “musical marina,” Rimsky-Korsakov does not follow the beaten path. He avoids direct onomatopoeia and does not imitate the sound of waves or splashes of a wave. Rimsky-Korsakov finds a different way to the listener's imagination. The intro music grows from a short (only three sounds) motive. The stern laconicism of this motif and the strict simplicity of the rhythm create the impression of restrained power. Enriched with new and new harmonic and timbre colors, the main motive does not lose its outline. It is from here that we get the impressions of infinity, vastness: the sea is eternally in motion, eternally changeable, and at the same time always the same.

The Sea King takes Sadko into the depths of the ocean. The pace changes dramatically. A short motif takes off rapidly, throwing itself from one instrument to another.

Sadko sinks to the bottom of the sea. Rimsky-Korsakov finds here a simple and at the same time a rare musical image. It's a chain of chords; their upper voices move along an unusual scale, in which intervals of tone and semitone alternate.

This music leaves an almost visually clear impression of a rapid fall.

One after another, the wonders of the sea kingdom are replaced. At the request of the King of the Sea, Sadko begins to play. Against the background of the leisurely plucking of the gusli (harp in the orchestra), a simple, clearly rhythmic dance melody appears. It gives way to another, very melodious theme - this is a majestic song that Sadko sings to the King of the Sea. It is easy to feel in her, as Rimsky-Korsakov himself noted, “a certain amount of Russian prowess.” Sadko's harp now sounds differently - with measured, solemn and ringing chords.

The dance is getting faster and faster (this part of Rimsky-Korsakov’s symphonic poem is based on the development of two melodies). A sharp blow from the entire orchestra - Sadko broke the string on the harp... And again the picture of a calm sea. This is the musical work “Sadko”, which fully corresponds to the author’s program.

With remarkable skill, Korsakov paints the water element, the sea in various states: now quiet and only slightly calmly swaying, now covered with some mysterious ominous ripples, now menacingly and furiously raging. To convey all this, the composer finds new and original musical and visual means. This, in particular, is the scale, consisting of a uniform alternation of tans and semitones, with the help of which Sadko’s immersion into the underwater depths is conveyed. This scale, called the “Rimsky-Korsakov scale,” serves as the basis for one of the characteristic modes that Rimsky-Korsakov used in his later work to depict the world of magical, mysterious fantasy.

“Sadko” is not Rimsky-Korsakov’s first work. “Sadko” was preceded by a symphony and “Serbian Fantasy” for orchestra. But only in “Sadko” does Rimsky-Korsakov emerge as a composer with a defined and extremely original symphonic style, as an artist with a clearly realized direction of creative thought. It was in “Sadko” that those most important trends were clearly outlined, which in the future can easily be traced in the work of Rimsky-Korsakov. These are, first of all, those features that have already been mentioned: programmatic nature, the folk character of musical speech and plots, taken mostly from poetry.

Rimsky-Korsakov's music also included images of nature. In “Sadko” it is the water element that captivated Rimsky-Korsakov in his early youth, during his circumnavigation of the world. Later, Rimsky-Korsakov introduced other phenomena and forces of Russian nature into his work.

Rimsky-Korsakov’s narratives of fantastic events often merge with soundscapes. At the same time, the very first sounds of Rimsky-Korsakov’s play introduce the listener to the mysterious and magically enchanting world of folk fantasy.

“Sadko” is a national work both in concept and in its implementation. In “Sadko,” Rimsky-Korsakov appears as a progressive Russian artist, glorifying the noble traits of the Russian person in his work.

"Antar"

"Antar" in its main trends, in its most important stylistic features, is adjacent to the traditions of Glinka. And in “Antara” there is the same “Ruslanov” epic dramaturgy, the same calm, narrative-pictorial development of the action as in “Sadko”.

“Antara” has an oriental flavor of music (a feature that is a feature of Russian musical art).

The suite consists of four parts. The second, third and fourth parts are titled: “The Sweetness of Revenge”, “The Sweetness of Power”, “The Sweetness of Love”.

In the Antar suite, Rimsky-Korsakov showed himself to be a mature and original master of the orchestra. In some episodes, Rimsky-Korsakov is content with a very small cast, liberally using instrumental solos. The orchestra is interpreted as a chamber ensemble, captivating the listener with a wealth of watercolor, delicate, transparent sounds.

Among Rimsky-Korsakov's symphonic works, Antar occupies a prominent place as a work of outstanding artistic merit. This is one of its author’s first experiments in the field of program music and a direct predecessor of the brilliant “Scheherazade”.

"Scheherazade"

The program “Scheherazade” has not reached us in all its details, but the general concept of the suite and many of its details are now well known.

Rimsky-Korsakov wrote that “Scheherazade” was based on “separate, unrelated to each other,” episodes and paintings from “The Arabian Nights.” Indeed, the paintings chosen by Rimsky-Korsakov are not united by a common plot, this is not a story about any of the heroes of One Thousand and One Nights.

The four parts of the suite are connected not only by the program, but also by several musical thoughts and common themes.

This is a fairy tale in music. And although it is “told” by a Russian composer, its music has a pronounced oriental character.

Each part has a subtitle and presents a coherent narrative about the amazing adventures of sailors and other wonderful events at sea and on land.

All four parts are not connected by a sequential story. This is a complete episode, each of which is a beautiful and magical picture of the East.

Two main images - Shahriar and Scheherazade - appear at the very beginning of the suite (in the prologue), and then appear in its other parts.

Rimsky-Korsakov does not describe all of Sinbad's adventures in Scheherazade. It is limited to a picture of the sea along which the ship of Sinbad the Sailor is sailing. The first part of the suite is dedicated to this painting.

A peculiarity of the structure of the first movement is the absence of the usual middle section in sonata form - the development. The reprise is separated from the exposition by only a small transition. But the second side theme (together with the final part) and the main theme in the reprise essentially perform the functions of development. The first side party appears - the storm subsides.

The reprise repeats the exposition without significant changes. A second side theme appears: the storm rises again.

The conclusion is based on the theme of the sea. It sounds even more affectionate and tender than at the beginning of the Allegro (this impression is achieved through emphatically transparent presentation). The first part ends with the last appearance of the ship.

The second part of the suite is the story of the Kalender-Tsarevich about his wonderful adventures. It is written in a developed three-part form with a variational construction of the outer, “framing” parts.

The musical images in “The Kalender's Tale” are abundant, colorful and contrasting. One is left with the impression that flowery oriental carpets are unrolled one after another in front of the listener, on which numerous magical fairy-tale scenes are depicted.

The third movement, like the first, is written in sonata-symphonic form without development. It develops two musical ideas; they are not contrasting, but on the contrary, they are rather close in general tone and melodic pattern. This is the theme of the Tsarevich and the theme of the Princess. Both of them have an oriental flavor.

The reprise repeats both themes in new colors. Scheherazade's theme appears here twice. The author of the suite once again reminds us that it is she who leads the magical narration.

The finale is the most complex part of the suite both in structure (“the finale is built on the principle of a rondo sonata”) and in terms of the abundance of images. A short introduction opens with the first theme of the prologue. She introduces us to the atmosphere of festive fun.

This music is interrupted twice by Scheherazade's melody. Then, her image is replaced by a musical picture of a holiday in Baghdad. A characteristic feature of this large episode is a sharp rhythm (rhythms of this type are not uncommon in oriental dance tunes), which does not change throughout almost the entire celebration scene. This rhythm gives the character of uncontrollable swiftness to the laconic, fiery motive (the main part of the first part of the finale), which opens the picture of festive revelry.

Themes from the second and third parts of the suite rush by in the same rhythm, at a whirlwind pace. First - the alarming fanfare that sounded during the battle scene. Then - echoes of the calendar theme, whimsically changing size. And finally, the captivatingly graceful melody of the Princess from the third part of the suite appears (as the main side part).

In addition to the thematic material of the exposition, two more themes were introduced in the development: the greatly modified “Shahriar’s theme” and the warlike cry from the battle scene in the Kalender story.

In the reprise, especially at the conclusion, the fun flares up, the noise of the celebration sets in, the incessant roar of the crowd is heard, loud exclamations, the stomping of the dancers... Suddenly, at the moment of climax, a change of scenes. And again, the sound picture of a sea storm, already familiar from the first part. But here she is even more formidable. A mighty orchestra chord with a booming tom-tom beat - the ship crashed on a rock.

The storm subsides, only light ripples disturb the vast expanses of water. The ship theme appears for the last time. This is a memory of brave travelers buried in the depths of the sea.

The story is finished. There remains only a short epilogue, echoing the prologue. The prologue topics have switched places here. Rimsky-Korsakov's suite ends with echoes of Scheherazade's melody - a musical story about fabulous miracles created by the poetic imagination of the peoples of the East.

Despite the fact that the music of “Scheherazade” does not contain a single truly oriental melody, it is perceived precisely as an oriental narrative.

Melodic turns, rhythms, orchestral colors, the characteristic use of percussion instruments - everything speaks of the composer’s deep penetration into the essence of the musical language of the peoples of the East.

Several independent parts, complete in form and content, clearly contrasting with each other, are united here by a common program and a common musical concept.

Such a unifying core is the musical image of Scheherazade. This image embodied the legend born of folk fantasy about the origin of the Arabian fairy tales “A Thousand and One Nights”.

Symphonic works that do not have a program published by the author

These include: the First Symphony, Fantasia on Serbian Themes, Overture on the Themes of Three Russian Songs, Third Symphony, Sinfonietta on Russian Themes, Capriccio on Spanish Themes, “Dubinushka” - works of genre symphony. It is characterized by a generalized program, without plots revealed in detail in the music.

First Symphony

The first symphony, Rimsky-Korsakov's first major work, was created under the direct supervision of Balakirev. The composition of the symphony took a long time, since work on it was interrupted by Rimsky-Korsakov’s long (two and a half years) voyage on one of the ships of the Russian navy.

In the dynamic main theme, echoes of the Russian song “Down along Mother, along the Volga” are heard. There is undoubtedly a lot of “Korsakov” in the side game. This is a warm, lyrical melody, akin to lyrical Russian songs.

The Andante is based on one of the versions of the song “About the Tatar Full”. At the beginning of the Andante, the folk chant sounds with austere simplicity. Developing this melody, Rimsky-Korsakov reveals the full depth of the poetic image created by the people, and Andante is perceived as a laconic, epically restrained narrative about the people's grief.

The scherzo is graceful and dynamic. At the beginning of the main theme, energetic exclamations bursting into light, rapid movement are effective.

The main theme of the finale is attractive for its determination and clear pattern of sweeping melody. There are interesting moments in the development of this (dominant in the finale) theme. However, it is not sufficiently contrasted by other images, and therefore the ending leaves the impression of some monotony.

Third Symphony

The third symphony is undoubtedly a more mature work than the first symphony, but at the same time less emotional. Not a single part of the third symphony rises to the fullness of feeling that conquers the second part of the first symphony - Andante on the theme of the song “About the Tatar is full”.

The main theme of the Allegro (which grew out of the theme of the introduction) - a moving melody of a festive nature - is not very typical for Rimsky-Korsakov. But one cannot deny the originality of the second theme. This is a light, gentle, feminine melody, very subtly harmonized. This kind of musical images can be found in operas and romances by Rimsky-Korsakov. Both themes receive rich development in the Allegro, which ends with an unusual, pastoral and dreamy coda. The idyllic lyricism of this short episode contrasts well with both the energy of the Allegro and the graceful swiftness of the next part of the symphony - the colorful scherzo.

The Andante theme sounds like a shepherd's pipe. The pastoral flavor of this theme determines the character of the entire Andante, which is perceived as a picture of summer nature with a storm scene in the central episode.

The Andante continues into the finale without interruption. At the end of the Andante, fanfares appear, at first barely audible, then increasingly sonorous. From them grows the main motive of the main part of the finale (Allegro con spirito).

The second motive of the main part is a lively Russian dance melody. This melody, anticipating the dance themes of “The Snow Maiden,” is the most striking, and the only one characteristic of Rimsky-Korsakov, of the musical images of the finale. The side party is insignificant.

The finale is the least successful part of the symphony. It was in the finale that the one-sided passion for technology clearly “dried up the immediate imagination” of the author. Numerous contrapuntal episodes, for the most part, do not sufficiently fulfill their task of enriching musical images. And only in the magnificent coda, which is full of epic power, is the combination of the initial intonations of the main part of the first movement with the motives of the main part of the finale very successful.

Like the first symphony, the third symphony is an uneven work. But the first symphony attracts with its freshness and spontaneity of creative thought, and only the immaturity of the author deprived him of the opportunity to fully develop the basic musical images. In the third symphony, with much greater creative maturity, there is less spontaneity, less stylistic integrity. Nevertheless, both symphonies, despite all their important shortcomings, have the “right to life”. And it is certainly unfair that for decades only a few musicians knew them. In recent years, a wide circle of music lovers have been able to become acquainted with Rimsky-Korsakov’s symphonies.

Capriccio on Spanish themes

“Capriccio Spanish” is a virtuosic orchestral piece in which the expressive properties and virtuoso capabilities of orchestral instruments are revealed with the utmost perfection. It is also a poetic musical story about the bright colors of southern nature and Spanish folk life.

The element of joyful folk dance, full of life and fire, reigns in the “Spanish Capriccio”, which is a suite of five parts, performed without interruption. For all five movements, Rimsky-Korsakov chose simple dance melodies. They do not, for the most part, receive broad symphonic development, but are enriched with inexhaustibly diverse orchestral colors. Rimsky-Korsakov’s love for clear rhythm and percussion instruments was extremely appropriate here - in Spanish folk music the role of percussion is no less significant than in the music of eastern peoples.

The first part of "Capriccio" is Alborada (Spanish folk dance). A fast-paced dance melody sounds against the backdrop of an extremely simple, almost unchanged, repeating accompaniment. A crowd of young people appears - cheerful exclamations, the tramp of dancing...

In the fiery Alborade, Rimsky-Korsakov willingly uses the power and brilliance of the entire orchestral “array”. Only at the end of the play does the main dance motif sound in the roll call of wooden and stringed instruments; it seems that the noise of a dancing crowd is coming from somewhere far away.

In the second part - Variations - there are more colorful oppositions, dynamic contrasts. The general character of the Variations is determined by the main theme - a simple thoughtful melodious melody.

From the very first sounds, one can feel its kinship with Rimsky-Korsakov’s favorite oriental melodies. Freely varied, colored in different timbres, this theme does not lose its calm, somewhat idyllic character. The pastoral flavor is especially clearly felt in the “dialogue” of the English horn and horn; it seems as if two shepherd's pipes are calling to each other.

The fourth part of “Capriccio” is extremely unique. Its programmatic content is emphasized by the author in the title: “The Scene and Song of the Gitana.” This part is based on two dance themes. One is elegant, graceful and at the same time passionate. The listener’s imagination imagines a folk dancer dancing to the sounds of a tambourine, guitar and mandolin.

Another theme is also a dance theme, but of a completely different nature - impetuous, impetuous (author's note: feroce - fiercely). One can imagine that the graceful measured dance was replaced by a spontaneously wild dance.

The peculiarity of the fourth movement is the cadenzas that open it (small virtuoso episodes of an improvisational nature). They can be perceived as a kind of prelude before the performance of the dancer-singer. At the same time, this is a brilliant demonstration of the expressive and virtuosic capabilities of orchestral instruments and the skill of the performers. Almost all cadences are built on the intonations of the main theme of the gitana. The first cadence is a group of brass instruments; it is followed by a cadenza of solo violin. The second cadence is separated from the third by the appearance of the main theme of the gitana in the transparent sound of flute, clarinet and violins (accompanied by percussion). The third cadence is for the solo flute, the fourth is for the clarinet (with the participation of the oboe), the fifth and last is for the harp. Percussion instruments participate in all cadences, creating a soft “russling” sound background.

The final, fifth part of the “Spanish Capriccio” - Fandango (folk dance) - opens with a solemn exclamation, followed by graceful dance melodies. The third of the main musical images of Fandango is a light and smooth melody, a kind of waltz.

Rimsky-Korsakov also introduces musical images of the previous parts into Fandango. Both gitana themes appear. The coda is based on a slightly modified Alborada theme. Fandango is perceived as a picture of a folk festival, painted in rich colors and broad strokes, full of jubilation.

Overtures, symphonic suites from operas and transcriptions of opera scenes for symphony orchestra

Overture to the opera "May Night"

The overture to “A Night in May” does not provide a brief summary of the events developing in the opera - Rimsky-Korsakov alternates, compares and develops the musical images of the opera very freely. But with “May Night” the overture is united by both common themes and the joyful, bright tone of the music.

The overture begins with a thoughtful, melancholy tune taken from the beginning of the third act of the opera: Levko found himself at a pond at night and stopped, amazed by its beauty.

Dreamy and thoughtful music gives way to alarming music. This darkly mysterious musical image turned into an overture from the scene by the lake: the drowned lady is about to appear in front of Levko. Then a smooth melodious melody enters, in which the intonations of Ukrainian folk music are clearly heard. This is the song that Levko sings, remembering his beloved: “Sleep, my beauty, sleep sweetly.”

Echoes of the refrain of Levko's song (imitation of playing on a bandura) lead to a new, joyfully excited melody, this is Ganna's theme. The accompaniment (fast, uniform movement of sixteenth notes) grows in the overture to the value of an independent artistic image, creating a joyfully excited mood.

The fast movement subsides, and after calm, smooth chords, a new theme enters - the light, melodious melody of the final duet between Hanna and Levko.

New images burst in: a sharp, angular motif and a “patter” of sixteenth notes against the backdrop of an “angry” chromatic scale in the lower voice. This is the Sister-in-law, who fiercely attacked her roommate - the Head, who is ready to drag after all the pretty girls in the village.

The wistful melody that opens the overture reappears, replaced by Ganna's familiar melody; then the duet theme returns, this time with the powerful sound of the entire orchestra. Once again the angrily comic musical image of the Sister-in-law reminds of itself, the cheerful motif of the tipsy Kalenik flashes, and the joyful theme of the opera’s ending chorus, “Glory to the Red Sun,” enters.

The overture ends with a short, quick and solemn conclusion.

The abundance of musical images included in the overture does not give the impression of diversity due to the usual harmony of the structure for Rimsky-Korsakov, in which it is not difficult to detect elements of the classical sonata form. The first three themes can be considered as an introduction, Hanna's theme as the main part of the sonata Allegro, the duet theme as a side part, the central episode (after the duet theme) as a development, the return of the duet theme as a short reprise (with the main part omitted); The coda begins with the appearance of the choir theme “Glory to the Red Sun.”

Symphonic suite from the opera “The Snow Maiden”

The rather complex plot of The Snow Maiden is not revealed in the suite composed by Rimsky-Korsakov; The suite did not include a single episode related to the image of the Snow Maiden herself.

Of the four parts of the suite, the first two are fantastic, the next two are from Berendey life.

The first part of the suite is the Introduction to the Prologue of the opera. This is a picture of the gradual awakening of nature. Warm, bright motifs of Spring sound against the background of chirping birds. The motif of birds chirping grew out of the motif of Spring.

The light, idyllic coloring is also maintained in the second part of the suite - “The Dance of the Birds”. And here are the cries and chirping of birds, against the background of which two lively, graceful melodies sound. The first of them is a genuine folk song “The eagle is the governor, the quail is the clerk.” The second theme is a modified tune of the folk song “The Bell” (in the opera - with the text “The birds were gathering”).

In both fragments - especially in “Dance” - the “voices of nature” and Russian folk song intonations really merge.

The third part of the suite is a miniature symphonic picture “The Procession of Tsar Berendey”. The theme of the “Procession,” according to Rimsky-Korsakov, “in its first part is bizarre, playfully menacing, and in the second it is shaking, senile.” This theme, like the entire musical picture that grew from it, paints, according to the composer, “the general appearance of the king.”

The fourth and final part of the suite is “Dance of the Buffoons”. Feast of the Berendeys gathered in the reserved forest. Songs, round dances. By order of the king, the buffoons begin dancing, running out to the sounds of an energetic, “daring” tune. From this motive grows the first theme of the “Dance of the Buffoons” - a sharply rhythmic, cheerful melody.

The dancing character of the second, smoother melody is emphasized by the “stomping” accompaniment of double basses, cellos and bassoons.

Both themes, clearly national in intonation origins, develop in a variation typical of Russian folk music, with sharp dynamic contrasts and sudden changes in orchestral colors.

Suite from the opera "The Night Before Christmas"

The fantastic scenes of the opera “The Night Before Christmas” really gave Rimsky-Korsakov the opportunity to create a lot of “interesting” - poetic music. Fantastic scenes form the basis of the suite from “The Night Before Christmas.”

Already the first part of the suite - the Introduction to the opera - quite clearly tells the listener that fantastic events will unfold before him. This is a magical soundscape, depicting, as Rimsky-Korsakov explains, “a late frosty evening in Dikanka on the eve of Christmas.”

Indeed, the music of the introduction depicts both the winter cold and the winter landscape (“cold”, with a fantastic tint, the sounds of celesta, bells and harp, the roll call of horns, violins and clarinet), and the flashing lights of the stars (short “pricks” of the flute).

The introduction, without a break in the flow of music, gives way to magical scenes of the third act, also going on without a break. This unity of all parts of the suite gave the author the basis to call it “moving musical pictures.”

The picture of the starry sky, which opens a chain of fantastic scenes, is close to the Introduction in its general mood and visual means. The “magically cold” motif of celesta, bells and harp, familiar from the Introduction, also sounds. The stars gather in groups on the clouds. Games and dancing begin. A light, “fluttering” mazurka in the transparent chamber sound of a flute, pizzicato strings and soft sustained chords of bassoons and clarinet, the solemn steps of a comet, a round dance of stars, a czardash - these are the magical pictures that pass before the listener...

Clouds are rolling in, the stars are hiding behind the clouds. A sharp, short and fast motive of evil spirits is heard. Witches fly in on brooms, sorcerers in pots, cauldrons and mortars. The evil spirits gathered on the last night before Christmas to fight the bright spirits. Rimsky-Korsakov retains the good-natured humorous flavor of Gogol’s story in this scene. Witches and sorcerers armed themselves with frying pans, grips and pestles in order to “scare, frighten” Kolyada and Ovsenya - the bright spirits who should appear at the Christmas morning dawn.

Vakula appears in the distance riding a devil. The evil spirit decides to help his comrade and prevent Vakula from reaching St. Petersburg. Witches and sorcerers set off in pursuit of the blacksmith.

There is also little “demonic” in the expressive, colorful picture of the chase. Here you can feel the same good-natured fairy-tale humor that colors both Gogol's story and Rimsky-Korsakov's opera.

The evil spirits fail to block Vakula’s path, and he safely reaches St. Petersburg.

From the scene in the royal palace, a solemn and spectacular polonaise entered the suite.

The final scene of the suite. Airspace again. The evil spirits have disappeared, only cauldrons, pots, grips and brooms are flying by, on which sorcerers and witches were flying. A choir can be heard praising Kolyada and Ovsenya. It's getting light. Kolyada and Ovsen disappear. In the depths you can see Dikanka, illuminated by the sun. Bells and church singing can be heard from afar.

Conclusion

Features of Rimsky-Korsakov's symphonic creativity.

The characteristic features of the symphonic work of Rimsky Korsakov can be considered: program symphonism, genre symphonism, appeal to the music of the East, depiction of the sea in all its manifestations, nationality of musical speech and plots, taken mostly from poetry, glorification of the noble traits of the Russian person, clear rhythm, development of Russian folk song themes, colorful and graphic programming of a fabulous nature, harmonious worldview, subtle artistry, impeccable taste, a sense of artistic proportion, classical clarity of musical thinking.

Rimsky-Korsakov is “one of the greatest masters of Russian classical music of the last century.”

List of sources

1.Keldysh Yu., History of Russian music, Moscow-Leningrad, State Musical Publishing House, 1947 (part 2)

.Komissarskaya M.A., Russian music of the 19th century, Moscow, “Knowledge”, 1974

.Rapatskaya L.A., History of Russian music from ancient Rus' to the “Silver Age”, Moscow, Vlados, 2001

.Ratskaya Ts., N.A. Rimsky-Korsakov, Moscow, “Music”, 1958

.Rimsky-Korsakov N. A., “Chronicle of my musical life”, Moscow, “Music”, 1980

.Solovtsov A., Symphonic works of Rimsky-Korsakov, Moscow, State Musical Publishing House, 1953

.Tretyakova L.S., Pages of Russian music, Moscow, “Knowledge”, 1979

.#"justify">9. http://dic.academic.ru/dic.nsf/enc_music/6482/Rimsky

Over the course of many years of activity (over 40 years), Rimsky-Korsakov’s work has undergone changes, reflecting the needs of the time; both the composer’s aesthetic views and his style have evolved. Rimsky-Korsakov developed as a musician in the atmosphere of social upsurge of the 60s. under the influence of the aesthetic principles of the “New Russian Music School”. The most important of them - the desire for nationality, high content, and social significance of art - the composer carried throughout his life. At the same time, he was more interested in specific internal problems of art than other members of the Balakirev circle. Rimsky-Korsakov is characterized by identifying the aesthetic principle in each work, the desire for beauty, and perfection of execution. Hence, special attention to issues of professionalism and a unique aesthetics of craftsmanship, which brought Rimsky-Korsakov’s principles closer to the general trends in the development of Russian art of the late 19th - early 20th centuries. Rimsky-Korsakov’s creative image has many similarities with M.I. Glinka. First of all - a harmonious worldview, internal balance, subtle artistry, impeccable taste, a sense of artistic proportion, classical clarity of musical thinking.

The range of themes and plots embodied by Rimsky-Korsakov is wide and varied. Like all the “Kuchkists,” the composer turned to Russian history, pictures of folk life, images of the East; he also touched upon the area of ​​everyday drama and the lyrical-psychological sphere. But Rimsky-Korsakov’s talent was most fully revealed in works related to the world of fantasy and various forms of Russian folk art. A fairy tale, legend, epic, myth, ritual determine not only the theme, but also the ideological meaning of most of his works. Revealing the philosophical subtext of folklore genres, Rimsky-Korsakov reveals the worldview of the people: their eternal dream of a better life, of happiness, embodied in the images of bright fairy-tale countries and cities (Berendee’s kingdom in “The Snow Maiden”, the city of Ledenets in “The Tale of Tsar Saltan”, the Great Kitezh); his moral and aesthetic ideals, personified, on the one hand, by the captivatingly pure and gentle heroines of operas (the Princess in “Kashchei the Immortal”, Fevronia), on the other, by legendary singers (Lel, Sadko), these symbols of unfading folk art; his admiration for the life-giving power and eternal beauty of nature; finally, the ineradicable faith of the people in the triumph of the forces of light, justice and goodness is the source of optimism inherent in the work of Rimsky-Korsakov.

Rimsky-Korsakov’s attitude towards what he depicts is also akin to folk art. According to B.V. Asafiev, “...between the personal feeling of the composer and the object of his work there is a beautiful mediastinum: how do the people think about this and how would they embody their thought about this?” Such detachment of the author’s position determined the objectivity of tone characteristic of Rimsky-Korsakov and the predominance of epic principles of dramaturgy in most of his works. The specific features of his lyrics are also connected with this, always sincere and at the same time devoid of emotional tension - calm, integral and somewhat contemplative.

Rimsky-Korsakov’s work organically combines reliance on Russian musical folklore (mainly its most ancient layers and the traditions of national classics (Glinka) with the widespread development of pictorial and coloristic tendencies of romantic art, orderliness and balance of all elements of musical language. The composer introduces genuine folk songs and creates his own melodies in the spirit of folk ones. Archaic diatonic themes in complex odd meters are especially typical for him, such as the final chorus from “The Snow Maiden” on 11/4.) Song intonations also color Rimsky’s lyrical (mainly operatic) melodic -Korsakov. But, unlike folk themes, it is more characterized by structural completeness, internal dissection and periodic repetition of motivic links. Typical of Rimsky-Korsakov are moving, richly ornamented melodies of an instrumental nature, often introduced into the vocal parts of fantastic opera characters (Volkhova, the Swan Princess).

The development of thematic material in Rimsky-Korsakov usually does not lead to fundamental intonational transformations. Like all “kuchkists,” the composer widely and variedly uses variational techniques, supplementing them with polyphony - often subvocal, but often imitative.

Rimsky-Korsakov’s harmonic thinking is distinguished by strict logic and clarity, and there is a sense of rational organizing in it. Thus, the use of natural diatonic modes, coming from the style of Russian peasant song and Balakirev’s principles of its processing, is usually combined by Rimsky-Korsakov with simple triadic harmonization and the use of chords of secondary degrees. The composer's contribution to the development of the coloristic possibilities of harmony is significant. Based on the traditions of “Ruslan and Lyudmila,” he created by the mid-90s. its system of mode-harmonic means (associated primarily with the sphere of fantastic images), which is based on complex modes: increased, chain and especially decreased, with a characteristic tone-semitone scale, the so-called. “Rimsky-Korsakov gamma”.

Coloristic tendencies are also evident in the orchestration, which Rimsky-Korsakov considered as an integral part of the design (“one of the aspects of the soul” of the work). He introduces numerous instrumental solos into the scores and, following Glinka’s precepts, prefers the sounds of pure timbres to thick mixed colors. The brightness and virtuoso brilliance of his orchestra are combined with transparency and lightness of texture, distinguished by impeccable clarity of vocal performance.

Russian composer, teacher, musical and public figure, conductor. In 1859-1960 he took lessons from pianist F.A. Canille. A graduate of the St. Petersburg Naval Corps, he participated in the voyage on the clipper "Almaz" (1862-65) and visited a number of countries in Europe, North and South America. In 1861 he became a member of the Balakirev circle "The Mighty Handful", which had a decisive influence on the formation of the composer's personality and aesthetic views. Under the influence and leadership of M. A. Balakirev, the 1st Symphony (1865), “Serbian Fantasy” (1867), a number of romances, etc. were created. Rimsky-Korsakov's creative individuality was manifested primarily in program instrumental works, including: the symphonic musical picture "Sadko" (1867), the 2nd symphony "Antar" (1868). During these same years, he turned to the operatic genre, which later became the leading genre in his work (in 1872 he completed the opera “The Pskov Woman”, based on the drama by L. A. Mei). Since the 70s The boundaries of Rimsky-Korsakov's musical activity expanded: he was a professor at the St. Petersburg Conservatory (from 1871, classes of practical composition, instrumentation, orchestral), inspector of wind bands of the Naval Department (1873--84), director of the Free Music School (1874--81), conductor of symphony concerts (from 1874), and later opera performances, assistant manager of the Court Singing Chapel (1883---94), headed the Belyaevsky circle (from 1882). In the mid-70s. worked to improve his compositional technique. In the 80s paid great attention to symphonic genres. In the early 90s. there was some decline in creative activity (during this period he studied philosophy, wrote articles, revised and edited some of his previous works). In the 2nd half of the 90s. creativity acquired exceptional intensity: the operas “Sadko” (1896) and “The Tsar’s Bride” (after May, 1898) appeared. During the Revolution of 1905–07, Rimsky-Korsakov actively supported the demands of the striking students and openly condemned the actions of the reactionary administration of the St. Petersburg Conservatory (he was fired from the conservatory, returning only after the conservatory was granted partial autonomous rights and a change of leadership).

Rimsky-Korsakov's work is deeply original and at the same time based on classical traditions. The harmony of his worldview, the clarity of musical thinking, and subtle artistry make him similar to M. I. Glinka. Associated with the progressive ideological and artistic movements of the 1860s, Rimsky-Korsakov showed great interest in folk art (compiled the collection “One Hundred Russian Folk Songs”, 1877: harmonized songs collected by T. I. Filippov - “40 folk songs ". 1882). Passion for folklore, ancient Slavic mythology, folk rituals was reflected in the operas “May Night” (after N.V. Gogol. 1879), “Snow Maiden” (after A.N. Ostrovsky, 1881), “Mlada” (1890), “The Night Before Christmas” (after N.V. Gogol, 1895). Rimsky-Korsakov’s 15 operas demonstrate a variety of genre (epic, fairy tale, legend, historical-everyday drama, lyrical-everyday comedy), stylistic, dramatic, compositional solutions (works tending to number structure and continuous development, operas with crowd scenes and chamber , with and without expanded ensembles). Rimsky-Korsakov's talent was most fully revealed in works related to the world of fairy tales, with various forms of Russian folk art. Here his pictorial gift and the purity of his lyrics are revealed - sincere, but somewhat contemplative, without increased emotional tension. Attention to the inner world of a person, to the psychological disclosure of images was manifested in the chamber opera "Mozart and Salieri" (text by A. S. Pushkin, dedicated to A. S. Dargomyzhsky, 1897), in the one-act opera "Boyaryna Vera Sheloga" (prologue to " Pskovite", 1898) and especially in the drama on a historical and everyday plot, "The Tsar's Bride" (1898). New trends characteristic of Russian art of the early 20th century were reflected in the opera “The Tale of Tsar Saltan” (according to Pushkin, 1900) with its emphatically theatrical conventions and elements of stylization of folk popular print, in the “autumn fairy tale” “Kashchei the Immortal” (1902 ), in which fairy tale themes are interpreted symbolistically and allegorically. High moral and philosophical problems are raised in the opera-legend “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” (1904). The composer's last opera - "a fable in the faces" "The Golden Cockerel" (after Pushkin, 1907) - is a merciless satire on the tsarist autocracy.

Rimsky-Korsakov considered singing to be the basis of operatic expressiveness. The orchestra also plays an important dramatic role in his operas, which is often entrusted with independent symphonic scenes and intermissions, for example, “Three Miracles” (“The Tale of Tsar Saltan”), “The Battle of Kerzhenets” (“The Tale of the Invisible City of Kitezh...”) . Considering opera primarily as a musical work, Rimsky-Korsakov attached great importance to its literary basis - the libretto. The composer’s collaboration with librettist V.I. Belsky was fruitful.

Rimsky-Korsakov's symphonic work is not so multifaceted compared to opera. The imaginative concreteness of the composer's musical thinking determined his penchant for programmatic and genre symphonism. Hence the predominance of such types and forms as overture (fantasy), symphonic picture, suite. Rimsky-Korsakov's top works for orchestra are "Capriccio Espagnol" (1887) and "Scheherazade" (1888). Chamber-vocal lyrics occupy a significant place in Rimsky-Korsakov’s creative heritage. He wrote 79 romances, including the vocal cycles “In Spring”, “To the Poet”, “By the Sea”.

Rimsky-Korsakov's work is clearly national. The composer uses authentic examples of musical folklore and organically transforms song intonations into his own melodies. His contribution to the field of harmony and instrumentation is significant: he expanded and enriched their coloristic capabilities, created his own system of mode-harmonic means, which is based on complex modes (including the characteristic scale - the Rimsky-Korsakov scale, the orchestration combines colorfulness, shine with clarity, transparency.

The conducting activities of Rimsky-Korsakov, who promoted the works of Russian composers, had an important educational significance. His editorial work played a major role, thanks to which many works of Russian music were published and performed (Dargomyzhsky's "The Stone Guest", "Prince Igor", "Boris Godunov", "Khovanshchina"; Rimsky-Korsakov also prepared and published, together with Balakirev and A.K. Lyadov, Glinka’s opera scores). His pedagogical activities were of exceptional importance. The creator of the school of composition, Rimsky-Korsakov trained 200 composers, conductors, musicologists, among whom are A. K. Glazunov, A. K. Lyadov, A. S. Arensky, M. M. Ippolitov-Ivanov, I. F. Stravinsky , N. Ya. Myaskovsky, S. S. Prokofiev, M. A. Balanchivadze, Y. Vitol, N. V. Lysenko, A. A. Spendiarov. A partial generalization of his pedagogical experience were his textbooks on harmony and orchestration, and his autobiographical book “Chronicle of My Musical Life” (1906) was a valuable historical document. In 1944, the House Museum was opened in the city of Tikhvin, and in 1971, the Rimsky-Korsakov Museum-Apartment was opened in Leningrad.

The Romans wanted them art And architecture brought benefits to people. They planned well in advance the construction of cities, bridges, aqueducts, public baths, markets, residential buildings and harbors. By order of a Roman official, a sculpture was built in the center of the city square, which was supposed to tell the future generation about the greatness of Ancient Rome. Even though art Ancient Rome borrowed from the ancient Greeks and Etruscans, and had an artistic origin among these peoples, its practical use was purely Roman.

At the end of 600 BC. e. The most influential people in Italy were the Etruscans, who came from Asia Minor and settled in Tuscany, in the north of Rome. Although the Etruscans borrowed the Greek style in art, they also achieved a lot on their own. They developed a very realistic type of portrait sculpture and were the first to introduce the use of stone arches in ancient architecture.

Architecture

The Romans used the lessons of the Etruscans in practical form. The baths and arenas are a tribute to the skill of the great builders of Rome. Using arches, the Romans were able to build their cities over large areas, unlike the Greeks, who used a rod and crossbar (beams supported by two columns) instead of arches. The arch could support much more weight than the barbell and crossbar. Roman aqueducts were often built with three levels of arches piled on top of each other. And their buildings, called the Baths of Caracalla, occupied vast territories.

In the 1st century BC. e. The Romans were the first to use concrete in construction. They poured concrete into molds, depending on what they wanted to build: arches, vaults or domes. The use of concrete allowed architects to build structures of enormous size. One of these gigantic structures was the Temple of Fortune in Praeneste, built by the ruler Sulla around 80 BC. e. During construction, the architects used concrete to support the terrace and built a building that today would resemble a skyscraper. To build open theaters, the Greeks used the areas between the hills, using their slopes to support tiers of seating. But Roman engineers used concrete to support the three giant tiers of the Colosseum, their main stadium for mass recreation and public spectacle. There were seats for more than 45 thousand people on all three levels.

Sculpture

The Romans used sculptures to decorate their architectural structures. The walls of buildings were often decorated with columns for decoration and were not actually a means of supporting the structure. Many such columns were copied from columns erected in Greece. In fact, many Greek architectural forms were placed simply for decoration on the facades of buildings in Ancient Rome and did not carry any practical benefit.

In the images of gods, the Greeks used the ideas of giving them shape and beauty. Roman sculptors largely used the ideas of the Greeks. However, the Romans showed their skill and originality in creating portraits. They portrayed their emperors, generals and senators with a degree of realism unknown to the Greeks. Thinning hair, double chins, crooked noses and other flaws in physical features that distinguish one person from another can be found in Roman portraits and paintings.

Painting

In 79 AD e. The eruption of Mount Vesuvius destroyed the cities of Pompeii, covering it with layers of lava that eventually turned into rock. The frescoes preserved in these rocks can tell us a lot about Roman painting.

Paintings are usually created as decoration. In Pompeii, for example, pictures were painted on the walls of houses in fresco (painting on wet plaster). Often such frescoes were used to make a room appear larger, creating the illusion of depth or pastoral landscapes in rooms that did not have a single window.

Columns and other forms of architecture were often painted in different compositions to add a sense of depth. The dot image system was known and used in Ancient Rome. Red, black and creamy white were some of the most popular and loved colors.

Roman painting achieved a high degree of naturalism through the artists' understanding of the perspective of using light and shadow. The Romans painted many charming images of nature, portraits of children, beautiful young men and women. Religion also brought inspiration to art of ancient rome.