Download romances of Russian poets of the 19th century. What they listened to in pre-revolutionary Russia

By everyday romance here we mean Russian vocal lyrics, designed not only for professional performance, but also for amateur singers, that is, practicallypublicly available ... Performed to the accompaniment of a piano or guitar, it firmly entered urban life, just as inXviiicentury this happened with cants or Russian songs. The amateur tradition is also evidenced by the fact that in many cases the authorship was not recorded, the romances existed anonymously, the authorship was established only later.

The genre definition of "romance" in Russia came into use at the beginning of the 19th century, replacing the "Russian song". Lyrical in content, "Russian songs" were the forerunners of the Russian romance.

The first Russian romances were the works of F. Dubyansky, O. Kozlovsky, D. Kashin, A. Zhilin, I. Rupin. They retained the most important features of "Russian songs":

proximity to the music of urban life;

wide chanting, flexibility and plasticity of the melodic line;

sensitive nature.

The genre type of "Russian song" itself remains stable.

The main stylistic features of the Russian everyday romance:

the melody of the Russian everyday romance is specifically vocal. Its intonational softness and smoothness come from folk song origins. The leading role is played by sixth intonations (often - the beginning with an ascending sixth followed by a smooth descent, or a descending sixth jump to the opening tone with further resolution in the tonic) and second delay;

the inclusion of declamatory turns as a means of dramatization;

the predominance of a harmonic minor, deviations in related keys, an increaseIV steps;

an appeal to the rhythms of dances common in everyday life - waltz, mazurka, polonaise, Russian dance. One of the most popular in Russian everyday poetry was the rhythm of the waltz, which easily fit songs written by the so-called "Koltsovsky meter" - a five-syllable;

"Guitar" arpeggiated texture of the piano accompaniment (less often chord);

the predominance of the couplet, stanza form.

The genre of Russian romance was formed in the atmosphere of a bright flourishing of amateur music-making. Russian cities, estates and estates are embraced by a universal craving for music. Piano, harp, violin or guitar appear as necessary household items, songwriting is becoming a ubiquitous phenomenon in the noble and diverse environment.

A fundamental role in the development of Russian romance was played byRussian poetry, submitted by works of a brilliant generation of Russian poets: Zhukovsky, Baratynsky, Delvig, Batyushkov, Yazykov, Pushkin, later - Lermontov, Tyutchev.

Under the influence of poetry, several popular varieties of everyday chamber-vocal music were formed:

elegy - a romance of lyrical and philosophical content related to themes of deep meditation, memories of the past, loneliness, unrequited love. A feature of the melody is the characteristic combination of song-romance and declamatory turns;

ballad - a romance in a free form of a monologue-story about dramatic, mysterious events. Often, the ballad is based on folk tradition, fantastic elements are included. Musical speech is distinguished by excited pathetics, expressiveness of declamation. The piano part plays an important role. The creator of the Russian vocal ballad is considered A.N. Verstovsky ("Black Shawl" to the words of Pushkin, "Three Songs of the Skald" and "Poor Singer" to the words of Zhukovsky);

drinking songs. They were distributed mainly among the officers. In their cheerful music, a clear marching gait is often heard, indicating a connection with marching and fighting songs. In the era of the Decembrists, the everyday theme of drinking songs gives way to civic statements, calls for freedom and "liberty";

"Russian song" - a song-romance oriented to folklore tradition. R The bloom of this genre is associated, first of all, with the poetry of A. Koltsov ("At the dawn of foggy youth ...", "Oh, my steppe ...") and N. Tsyganov ("Don't you tell me, mother, a red sundress ...") ;

romances national genre plan, often referred to as"Eastern" (Spanish serenades, Caucasian songs, gypsy romances, Italian barcaroles).

The poetry of A.S. Pushkin. His poems elevated Russian romance to the level of truly classical art. It was during the Pushkin era that a number of talented masters of Russian romance came to the fore.

Alexander Alexandrovich Alyabyev (1787-1851)

Among older contemporaries of Glinka, Alyabyev stood out for his rare talent. In his works, he reflected the structure of feelings inherent in the art of the Decembrist era. In the formation of his worldview, an important role was played by communication with A. Griboyedov, the Decembrist poets, and the partisan poet Denis Davydov.

Alyabyev worked in a wide variety of genres: music for drama theater, opera, symphonic and chamber instrumental compositions. And yet, in the history of Russian culture, the name of Alyabyev is associated, first of all, with the genre of romance. His most famous song is"Nightingale" (text by AA Delvig, composed circa 1825) - from the masterpieces of Russian song lyrics and a classic example of the genre of "Russian song". In a simple lyrical melody pouring out from the top, they are attracted by the breadth, plasticity, close to the Russian lingering song. The melody is distinguished by its fretonal variability:d- F and C- a... At the same time, the same melodic turns acquire different harmonic colors.

Alyabyev's vocal work significantly changed the entire appearance of early romance lyrics and introduced new features into it. Relying on the achievements of Russian literature, the composer expanded the content of the romance, going beyond the framework of traditional love and lyric themes.

A significant part of Alyabyev's vocal lyrics, his "lyrical hero" are autobiographical.The circumstances of the composer's personal fate developed in such a way that the romantic themes of loneliness, longing, separation, exile turned out to be especially close to him. ... A strong impression is made by the songs of a gloomy, tragic nature, created during the years of Siberian exile ("Irtysh", "Evening Bell").

Alyabyev was one of the first interpreters of Pushkin's lyrics (romances "If life deceives you", "I loved you", "Alas, why does it shine", "Awakening", "Winter road", "Two crows").

With Alyabyev's romances, themes of civic sound, ideas of patriotism, and love of freedom were included in Russian vocal lyrics. In later romances, created on the verses of N. Ogarev ("The Tavern", "Izba", "The Village Watchman") and P.Zh. Beranger ("The Beggar")the influence of the literature of the Gogol trend is clearly felt.The theme of social inequality was openly sounded in them, anticipating the searches of Dargomyzhsky and Mussorgsky.

Romance "Beggar" refers to the summit achievements of Alyabyev in the field of dramatic vocal music. Here an image emerges that anticipates the heroes of "impoverished Russia" -"Little people", powerless and crushed by fate. This is a poor old woman, in the past - a famous singer, in the present - a beggar,begging for alms at the temple. The repeated lines "Give, for Christ's sake, to her" call for compassion and love, give the composition a deep social meaning. The couplet form of the romance is complicated by the two-part structure of each stanza.

In the work of Alyabyev, images of the "Russian East" are also presented ("Kabardian song" to the words of AA Bestuzhev-Marlinsky, "Georgian song" to the words of LA Yakubovich).

Expanding the theme of Russian romance, Alyabyev enriches vocal music with new means of musical expression. The melody in his romances, usually restrained and not wide in range, is distinguished by subtle declamatory expressiveness ("Evening Bells", "Beggar", "Village Watchman").

The enrichment of the composer's vocal lyrics was largely facilitated by his instrumental skills. In a number of romances, the grain of the poetic image is contained precisely in the piano part ("Winter road" ).

Alexander Egorovich Varlamov (1801-1848)

If Alyabyev wasclose to the Decembrist trend in Russian art,then his contemporary Varlamov belonged to another, post-Decembrist generation. His vocal lyrics sincerely and truthfully reflected the moods of the new for Russia raznochnykh artistic intelligentsia.

Varlamov came from the family of a petty official, hence his closeness to the urban folk environment, his love for urban folk song intonations. The leading genre of his vocal creativity was "Russian song". Bringing the Russian romance closer to the folk origins, the composer reflected the characteristic features of the Russian song (variation-singing development, abundant intrasyllabic chants, modal variability, stately slowness of movement). We will not find such a direct connection with folk melody in any of Glinka's contemporaries, not excluding Alyabyev and Verstovsky. And only the touching lyrics of A. Gurilev just as naturally merged into the same stream of urban folk song.

Varlamov created about 200 romances. Bringing the genre of romance closer to folk song, he made it accessible to the widest circles of listeners. Among his favorite poets are M. Lermontov, A. Fet (who was just beginning his literary career), A. Pleshcheev. But most often he turned to the poems of songwriters - A.V. Koltsov and now forgotten N.G. Tsyganov. It was on the verses of Tsyganov that the famous Varlamovsky"Red sundress" , which, according to the composer A. Titov, "was sung by all classes - both in the living room of the nobleman and in the peasant's chicken hut."

The “red sundress” is constructed as a dialogue of a simple Russian girl with her mother, characteristic of ancient wedding ceremonies.The composer found simple but very precise means of musical expression. In the verses sung on behalf of his daughter, he uses a major mode, and in the answers of a wise mother - a minor one. In the development of the vocal melody, which begins with the characteristic "romance" sixth, Varlamov shows great ingenuity.

Among "Russian songs" Varlamov two types prevail. This is a lyrical drawn-out ("Red sundress", "Oh, you time, time", "What are you early, grass") and lively, energetic dance ("Blizzard sweeps along the street", "What kind of heart is this", "A flying nightingale" ). The composer's talent was especially vividly manifested in lyrical songs, in the cantilena of wide breathing, prompted by the sound of a human voice. He is a born melodist, which is undoubtedly associated with many years of work as a singer-performer and teacher. .

A special group is made up of Varlamov's "waltz" songs, usually associated with the elegiac theme of recollection, dreamy sadness ("At dawn, don't wake her up" on verses by A. Fet). The waltz rhythm widespread in urban life in his music naturally melts into the familiar intonations of Russian folk songs. Many other songs by Varlamov are also permeated with dance rhythms. (such is, for example, the energetic rhythm of the bolero in a romance"Sail" to verses by M. Lermontov).

Varlamov had an undoubted influence on the further development of the Russian song cantilena, as well as on the birth of intonations that truly convey the psychological state of a person. .

The folk-everyday line of the Russian romance, vividly represented in the work of Varlamov, found its original continuation in the vocal lyrics of his close contemporary and friend, Alexander Gurilyov.

Alexander Lvovich Gurilyov (1803-1858)

Compared to the dynamic, emotionally rich style of Varlamov's music, Gurilev's lyrics are more chamber, “homely,” often tinged with elegiac mood. Much in the style of his vocal compositions reminds of the origins of the Russian romance - "Russian song": the general sensitive tone of the statement, the very vocabulary of the poetry ("darling", "girl", "heart-toy", "heart broke").

"Russian song" was Gurilev's favorite genre, which is explained by its origin: he was born in the family of a serf musician, and received his freedom only in 1831 (at the age of 28).The composer often introduces a waltz rhythm to the traditional genre of "Russian song" ("Bell", "Don't make noise, rye, with a ripe ear", "A gray-winged swallow is hovering", "Little house"). Many of the composer's songs became folk songs; they were sung to the accompaniment of a guitar or piano in urban life, they also penetrated into the peasant environment, into the repertoire of professional gypsy choirs.

The content of Gurilev's romances is dominated by themes of unrequited love, regrets about irreparable loss, ruined youth, dreams of happiness ("Little bell", "Swallow winds", "Don't make noise, rye"). Best of all, the composer succeeded in songs of a dramatized type, where his tendency to emphasize sensitive intonations is justified by the general character of the music ("The swallow is winding"). It is characteristic that in the work of his beloved poet Koltsov he was attracted, first of all, by Koltsov's melancholy, and not by "valiant daring."

One of the best songs by Gurilev to the words of Koltsov -"Parting" ("At the Dawn of Hazy Youth").In this work, you can find features of dramatization, which were later developed in the work of Dargomyzhsky. At the moment of the climax, the melody, melodious at first, develops into a dramatic recitative, conveying the pain of parting.

The composer was deeply concerned with the theme of the female share, akin to the paintings of Venetsianov and Tropinin ("Mother-dear", "The sadness of a girl", "Guess, my dear", "Sarafanchik").

Like Varlamov, Gurilev collected and processed authentic folk tunes. The collection "47 Russian folk songs" compiled by him was a valuable contribution to Russian musical folklore.

A distinctive feature of Gurilev's romances and songs is the masterful development of the piano part. For all its simplicity, it is marked by the purity of voice-leading, detailed and careful nuance. This testifies to the high professional culture of the composer, who perfectly mastered the expressive means of the piano. He was known to his contemporaries not only as a composer, but also as a gifted virtuoso pianist.

The epithet "soulful" (soulful tone, intonation, melody, and so on) clearly prevails in defining the characteristics of the Russian everyday romance, since it has always been addressed to the human soul.

Him with fishing was dramatic. Son of the Tobolsk governor, nobleman,A participant in the Patriotic War of 1812, awarded orders for military merit, Alyabyev was exiled to Siberia on false charges of murder. In exile, he had to experience all the hardships of a powerless existence.

He received his musical education in the St. Petersburg court singing chapel under the direction of D. Bortnyansky. Varlamov's great pedagogical experience is summarized in the "School of Singing" created by him - the first major work in Russia devoted to the methodology of teaching vocal art.

In this respect, the romance “Don't Wake Her Up at Dawn” is especially interesting, the opening phrase of which is clearly related to the first intonations of Tchaikovsky's romances “Amid the Noisy Ball,” “I Opened the Window”.

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Creative project on the theme: "Songs and romances on the verses of Russian poets of the 20th century." Author: 9th grade student of the Ichalkovskaya secondary school, Mynova Margarita. Leader: teacher of literature Timrot N.N. MAOU "Ichalkovskaya secondary school" 2018

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Objectives: - to present songs and romances on the verses of Russian poets; - arouse interest and instill love in the audience. Objectives: 1. Determine what romances and songs are. 2. Find pieces of music created on the poems of poets. 3. Learn the topics and interesting facts of these romances. 4. Make a conclusion.

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What is romance and song? Song is the simplest but most common form of vocal music, combining poetic text with melody. Sometimes accompanied by orchestration. Romance is a small piece of music for voice accompanied by an instrument, written on lyric poetry. Both the first and the second concept are small lyrical works of a literary and musical nature. But a song can be written on a folklore text without an author, and a romance only on a literary text created by a poet.

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Okudzhava Bulat Shalvovich (1924-1997) "Smolenskaya road" (song) The song was composed by him in 1960 and was dedicated to the Soviet actress Zhanna Bolotova. B. Okudzhava himself recalled: “I really drove along the Smolensk road, in the winter in a car with the poet Yuri Levitansky. We went on a business trip from Literaturnaya Gazeta, we had a guitar with us, and at first I got music, and then poems " along the way. The song "On the Smolensk Road" not only outlived its author, it long ago entered the flesh of Russian musical culture. Elena Kamburova, Boris Grebenshchikov, and Zhanna Bichevskaya also included her in their repertoire.

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Vladimir Semyonovich Vysotsky (1938-1980) "Song of a Friend" Vladimir Vysotsky in his work wrote about life, highlighting topical issues. His work is connected with such feelings as friendship, loyalty. Themes of friendship, courage, betrayal, betrayal, are covered in many of his works, and among them is Vysotsky's song "If a friend suddenly turned out to be." The impetus for its creation was a story told by the film's consultant, climber Leonid Eliseev, about his ascent along the northern slope of the Main Caucasian ridge in 1955.

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Nikolai Alekseevich Zabolotsky (1903-1958) "Confession" Zabolotsky until 1957, when he created the cycle "Last Love", was generally alien to intimate lyrics. He did not write about love for a woman either in his youth or in more mature years. And suddenly - a marvelous lyric cycle on the decline. Nikolai Alekseevich Zabolotsky's poem "Confession" describes male admiration for the mysterious female nature and the desire to unravel this very secret. Perhaps, with such a work, the poet wanted to help other people see and begin to appreciate what they have, but they might not notice it. music by M. Zvezdinsky

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Inna Anatolyevna Goff (1928-1991) "Russian Field" "Russian Field" is a popular song by composer Jan Frenkel to verses by Inna Goff, created in 1968 for the film "New Adventures of the Elusive" directed by Edmond Keosayan. This song is also known under the shorter name "Field" Inna Goff recalled the history of the creation of the words of the song "Russian Field": I wrote it because I love the field. I love the Russian field because I was born in Russia. There is no such thing anywhere, probably ... As the land is small in comparison with the "plain of the sea", the cities are so small in comparison with the breadth of our fields. Fields ... This unobstructed view of the end of the world, because of which the sun rises in the morning and behind which it hides towards night ... The golden noisy field of poured ears was the last peaceful vision of my boyhood ... Muses. Jan Frenkela "The Musical Symbol of Our Fatherland." (Composer Rodion Shchedrin) “This is the best song about the Motherland. I would suggest making it the National Anthem of Russia. But the trouble is, there is no demagogic pompousness in it, so dear to the official structures. " (Poet Rasul Gamzatov)

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Konstantin Yakovlevich Vanshenkin (1925-2012) "I love you, life" One of the most famous poems and songs by Konstantin Vanshenkin is "I love you, life ...". All the main themes of the poet's work are collected in this romance. It is very deep in meaning. In it Vanshenkin touches upon such universal concepts as friendship, love, children, family, life. He writes about what worries and worries every person. This poem is dedicated to M. Bernes, a famous poet and performer. By the way, it was he who sang this song for the first time. Muz.E. Kolmanovsky

Musical and poetic evening "Songs and romances on the verses of Russian poets of the XIX-XX centuries" in the RCSC in Brussels
On January 22, 2011, the representative office of Rossotrudnichestvo and the Union of Soviet Citizens Living in Belgium held a joint musical and poetry evening “Songs and Romances on Poems by Russian Poets of the 19th-20th Centuries”.
The event was attended by teachers and students of the Russian language courses at the RCSC, employees of the representative office and the Embassy of Russia in Belgium. Among the guests of the evening - A.A. Pushkin and M.A. Pushkin - the descendants of the poet, who today live in Brussels.
The choir of the Union of Soviet Citizens "Kalinka" presented to the audience a musical program, which included works by P. Tchaikovsky, Ts. Cui, A. Dargomyzhsky, A. Varlamov, G. Ponomarenko to verses by A. Pushkin, M. Lermontov and S. Yesenin. O. Bobrovnikova performed “Waltz-Fantasy” by M. Glinka, arranged for piano. The choir's performances were complemented by poems read by the students of the courses.
The main goal of the event was to familiarize the listeners of Russian language courses - first of all, young people - with the culture of Russia, acquaintance with literature, music and national traditions of our country. An indescribably warm atmosphere was created at the evening by veterans of the Union of Soviet Citizens in Belgium - a unique organization of compatriots created by Soviet girls who came to Belgium after the war. Throughout their lives (many are already over 80) they maintain a connection with Russian culture and pass on their love for the Motherland to the younger generation.

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4. Marina Ivanovna Tsvetaeva 1892, Moscow - 1941, Elabuga), Russian poetess. Daughter of I. V. Tsvetaev, professor at Moscow University, director of the Rumyantsev Museum and founder of the Museum of Fine Arts (now - State Museum of Fine Arts named after A. S . Pushkin). The main theme of the early collections "Evening Album" (1910), "The Magic Lantern" (1912) - home life, walks with mother and sister, music lessons, reading; they imitate the "schoolgirl's diary", her growing up, becoming. The early poetry of Tsvetaeva was significantly influenced by the Symbolists: V. Ya. Bryusov, Ellis (L. L. Kobylinsky), M. A. Voloshin. In the collection "Versty" (1922) one can hear his own, original poetic voice. The verses are dominated by appeals to contemporaries - A.A. Blok, A.A. Akhmatova, to historical figures - Marina Mnishek, Don Juan, etc. equal to great people and historical figures. Tsvetaeva writes the plays "Snowstorm", "Fortune", "Phoenix", the fairy tale poem "Tsar Maiden" (1920). In 1918-22. Tsvetaeva lives in Moscow with her children, and her husband S. Ya. Efron fights in the White Army. Experiences for Russia, for their relatives became the subject of the collection Swan Camp (1922). In 1922 she left for Czechoslovakia, from 1925 she lived in France, published in émigré periodicals. The emigre, and especially the "Czech" period was the most successful in the poetic fate of Tsvetaeva; creative evenings were held, several books were published: "Craft", "Psyche" (both - 1923), "Well done" (1924), "After Russia" (1928). Tsvetaeva wrote tragedies on ancient subjects: "Ariadne" (1924), "Phaedra" (1927), essays about poets: "My Pushkin" (1937), "Living about the living" (1933); memoir sketches: "The House of Old Pimen" (1934), "Mother and Music" (1935), "The Story of Sonechka" (1938); poems - "Poem of the Mountain" and "Poem of the End" (both - 1926); lyrical satire "Pied Piper" (1925-26). In the 1930s. nostalgic sentiments intensified: "Poems to the Son", the anti-fascist cycle "Poems to the Czech Republic" (1938-39) was written. In 1937, Tsvetaeva's husband, who became an agent of the NKVD abroad for the sake of returning to his homeland, turns out to be involved in a political murder. He fled to Moscow with his daughter Ariadna, in 1939 Tsvetaeva followed him with his son Georgy. In August 1939 his daughter was arrested, in October her husband. Tsvetaeva unsuccessfully fusses about them. In August 1941 Tsvetaeva was evacuated with her son to Yelabuga, where she committed suicide.

5. Yesenin Sergei Alexandrovich (03.10.1895 - 28.12.1925) was born in the village of Konstantinov, Kuzminskaya volost, Ryazan district, Ryazan province, into a peasant family. He grew up and was brought up in the family of his maternal grandfather, rarely communicating with his parents who lived apart. Early spiritual impressions take shape in the atmosphere of deep folk Orthodoxy. At the same time, the street also brought up the poet, giving vent to mischief, the imbalance of his character. He studied at the Konstantinovskiy zemstvo four-year school (1904-1909), then at the Spas-Klepikovskaya closed church-teacher's school (1909-1912) and at the historical and philosophical department of the Moscow City People's University. A. L. Shanyavsky (1913-1914), which he did not graduate from. The first poetic experiences awaken early. For some time in his youth, he composed, by his own admission, "only spiritual poetry" and only at the request of his schoolmates decided to "try his hand at poetry of a different kind." Prepared in the summer of 1912 Sat. youthful poems "Sick Thoughts" remained unpublished during the poet's life. In the last period of his life, Yesenin deliberately moved away from the village - as from the Soviet "nova" alien to him. He still leaves life with a poetic gaze, more turned into his inner world than into outer reality. The theme of approaching death sounds more and more insistently in his poetry. Yesenin's life was tragically cut short in Leningrad, at the Angleterre hotel under unclear circumstances. The poet was buried in Moscow at the Vagankovskoye cemetery.

6. Boris Leonidovich Pasternak (1890, Moscow - 1960, Peredelkino), Russian poet, prose writer. Author of poetry collections "The Twin in the Clouds" (1913), "Over the Barriers" (1916), "My Sister Life" (1917, publ. in 1922), "Themes and Variation" (1923), "Two Books" (1927), "Second Birth" (1932), "On Early Trains" (1943), "Selected Poems and Poems" (1945), a number of poems , the novel in verse "Spektorsky" (1925-30), the autobiographical story "Security Letter" (1928-31) and the novel "Doctor Zhivago" (1946-56). Born into the family of the artist Leonid Osipovich Pasternak, whose house was visited by famous writers and artists. After graduating from the gymnasium, he studied at the Faculty of Law of the Moscow University, later transferred to the Philosophy Department of the Faculty of History and Philology. In the early poetic work of Pasternak, a closeness to symbolism is seen, but criticism was in no hurry to classify the author as one or another artistic direction, since he strove for synthesis. From 1909 to 1912 he joined the Serdarda circle of young poets. In the fall of 1913, Pasternak compiled the first collection of poetry "The Twin in the Clouds", which was published in 200 copies. In 1916-17. works at chemical plants in the Urals, at the same time creates collections "Above Barriers" and "My Sister Life". By the mid-1920s. passes to epic forms: "Spektorsky", "Lieutenant Schmidt" (1926-27), "Nine hundred and fifth year". The poem "The Nine hundred and fifth year" uses the method of retrospection, which is traditional for Russian classical literature. The central event is the revolution, but Pasternak is interested in the origins of this event. He died as a result of a severe, fleeting illness.

7. Igor Severyanin (real name Igor Vasilyevich Lotarev; 1887, St. Petersburg - 1941, Tallinn), Russian poet, son of a military engineer. Since 1904, at his own expense, he published 35 poetic brochures, but he considered his debut the publication in 1905 of the poem "The Death of" Rurik ". The first collection of poems is Zarnitsy Thought (1908). Considering himself one of the followers of the "pure lyricists" KM Fofanov and MA Lokhvitskaya, especially popular at the turn of the 19th and 20th centuries, he performed as a singer of grotesquely elegant urban life, whose graceful idleness and salon aestheticism he portrayed not without ironic distance , calling himself "not a lyricist, but an ironic." He introduced a number of formal innovations into the poetic language, his neologisms are mediocrity, to distort, screen, disfigure, etc., suggested the ways of word-creation to V.V. Mayakovsky. Severyanin used rare poetic dimensions, created new poetic forms: a garland of triolettes, a square of squares, diesel, etc. Severyanin's poetry aroused L. N. Tolstoy's indignation and V. Ya. Bryusov's greeting. Denying the "restaurant-boudoir" theme of Severyanin, M. Gorky appreciated the melody of his poetry. In 1911 Severyanin headed a group of ego-futurists (R. Ivnev and others), then for a short time joined the cubo-futurists (V. V. Mayakovsky, D. D. Burliuk, V. V. Kamensky). Collections "Rocking the Grözerki", "The Eyes of Your Soul" (both - 1912), "Loud Boiling Cup" (1913), "Zlatolira" (1914), "Pineapples in Champagne", "Victoria Regia", "Poetry Anthract" (all - 1915) were distinguished by deliberate pretentiousness. In February 1918, at a poetry evening at the Moscow Polytechnic Museum, Severyanin was elected “the king of poets”. In emigration he toured a lot with the reading of his poems: Lithuania, Latvia, Germany, Finland, Poland, Czechoslovakia, Yugoslavia, France, Bulgaria, Romania. From 1935 he lived in Tallinn. The "contradictions" of the "individualist artist, captured by the mood of the masses" (Northerner), were reflected in the collections "Vervin" (1920), "Mirralia", "Minstrel" (both - 1922), "Nightingale", "Tragedy of the Titan" (both - 1923), "Classic Roses" (1931) and others. Northerner from the end. 1910s responded to current political events in Russia and the world, yearned for his homeland, which was expressed in autobiographical novels in the poems "Bells of the Cathedral of the Senses", "Dew of the Orange Hour" (both - 1925), "Royal Leandre" (1935), in the collection of sonnets " Medallions. Plots and variations about poets, writers and composers ”(1934). Severyanin's later poems were set to music by S. V. Rachmaninov, A. N. Vertinsky.

8. Anna Andreevna Akhmatova, real name Gorenko, after the marriage of Gorenko-Gumilyov (born June 23, 1889), 11th in the old style, in the summer cottage area Big Fountain near Odessa; died March 5, 1966 in the sanatorium "Podmoskovye" near the city of Domodedovo, Moscow region) - a classic of Russian poetry. Anna Akhmatova was born near Odessa to the engineer-captain of the 2nd rank Andrei Antonovich Gorenko and his wife Inna Erasmovna (nee Stogova), who soon moved to Tsarskoe Selo (1891), where in 1900 Anna Gorenko entered the Tsarskoye Selo Mariinsky gymnasium. During her studies, she met her future husband, Nikolai Gumilyov (1903). In 1906-1907 Anna lived in Kiev, where, after graduating from the gymnasium, she entered the Higher Courses for Women. In 1909, she accepted Gumilyov's official offer to become his wife, and on April 25, 1910, they got married. In 1911, Anna arrived in St. Petersburg, where she continued her education at the Higher Courses for Women. During this period, her acquaintance with Blok took place, and the first publication appeared under the pseudonym Anna Akhmatova. Fame came to Akhmatova after the publication of the poetry collection "Evening" in 1912, after which the next collection "Rosary" was published in 1914, and in 1917 "White flock". In the fall of 1918, after a break with Gumilev, who had returned from London to Petrograd, Anna Akhmatova married the orientalist V.K. Shileiko.
Here, on the morning of March 5, 1966, at the age of 76, Anna Akhmatova died. On March 10, after a funeral service at the St. Nicholas Naval Cathedral of Leningrad, she was buried in the cemetery in Komarovo.

9. Anton Antonovich Delvig (1798, Moscow - 1831, St. Petersburg), Russian poet, journalist. He studied at the Tsarskoye Selo Lyceum (1811-17), where he became friends with A.S. Pushkin, friendship with whom determined his literary and aesthetic position. After graduating from the Lyceum, he served in various departments, but devoted most of his time to literary creativity. In the 1820s. actively participated in the literary struggle, publishing since 1825 the almanac "Northern Flowers", and since 1830 - "Literaturnaya Gazeta", which opposed the publications of F.V. Bulgarin, which served the interests of the government. Far from political radicalism, Delvig was not afraid to publicly express his independent opinions and was one of the few who attended the execution of the Decembrists. The poet died suddenly during an epidemic of cholera. Delvig's artistic techniques did not change throughout his work. He promoted the image of the poet - "a young sloth." Its ideal is the "peaceful life" of a "natural person". This natural way of life, according to cyclical laws, close to nature, is portrayed by him in two genres: "Russian song" and an idyll, which recreates the image of the "golden age" by Dr. Greece. Delvig created 12 poems with the title "Russian Song", many of them became popular romances: "My nightingale, nightingale ..." (A. A. Alyabyev), "The bird sang, sang ..." (A. G. Rubinstein), "Not frequent autumn rain ... ”(MI Glinka) and others. A similar role was played by“ antique ”idylls:“ Tsefiz ”,“ Bathing girls ”,“ End of the Golden Age ”,“ Invention of Sculpture ”. In the innovative content of the "Russian idyll" "Retired Soldier", Delvig depicted modern peasant life as a modern "golden age." Delvig describes a romantic hero using plots dating back to the ballad genre (Moon, Dream). The characteristic features of this hero are “disappointment” (“Elegy” (“When, my soul, you asked ...”), “Disappointment”) and premature death as a sign of the special fate of the chosen person (“Romance” (“Today I am feasting with you, friends ... ")," To death *** ")

10. Nikolai Stepanovich Gumilev (1886-1921) - poet. Was born in Kronstadt. His father was a naval doctor. All his early childhood Gumliev spent in Tsarskoe Selo. He began his high school education in St. Petersburg, finished in Tsarskoe Selo (the director here was I. Annensky). After graduating from secondary education in 1906, Gumliev went to Paris. In parallel with listening to lectures at the Sorbonne, he studies French literature and art. Returns to Tsarskoe Selo in 1908, becomes close to I.F.Annensky and Viach. Ivanov; participates in the organization of the Apollo magazine. In 1910 he married the poetess A.A.Gorenko (Anna Akhmatova). In 1912 he entered the Faculty of History and Philology of St. Petersburg University (studied Old French poetry). In the same year he founded the literary group "Acmeists". The period of time since 1907 is all crossed by travels: Egypt, Africa, Abyssinia, Italy. In 1913 - the head of the African expedition to the Somali Peninsula (on a business trip of the Academy of Sciences). In 1914 he volunteered for the active army (hussar regiment). In 1917 he left for Paris (in connection with the transfer to the Thessaloniki front). In the spring of 1918 he returned to Russia. Arrested and shot in 1921 as an active participant in the Tagantsev counter-revolutionary conspiracy. And Gumilyov quite consistently ended his life as an active participant in a counter-revolutionary conspiracy against the Soviet regime.

Romance is a definite term. In Spain (in the homeland of this genre), this was the name of a special kind of compositions intended mainly for solo performance with the accompaniment of a viola or guitar. The romance is usually based on a small lyric poem of the love genre.

The origins of the Russian romance

This genre was brought to Russia from France by aristocrats of the second half of the 18th century and was immediately adopted by the fertile soil of Soviet poetry. However, Russian romances, the list of which is known today to every lover of classical songs, began to emerge somewhat later, when the Spanish shell began to be filled with truly Russian feelings and melodies.

The traditions of folk art, which were still represented exclusively by anonymous authors, were organically interwoven into the fabric of the new song. Romances were re-chanted, passing from mouth to mouth, the lines were altered and "polished". By the beginning of the 19th century, the first collectors of songs began to appear, driven by the idea of preserving old Russian romances (the list of them by that time was already quite large).

Often these enthusiasts supplemented the collected texts, giving the lines depth and poetic power. The collectors themselves were academically educated people, and therefore, going on folklore expeditions, they pursued not only aesthetic, but also scientific goals.

Evolution of the genre

Starting from the turn of the 18th-19th centuries, the artistic content of romance lyrics became more and more filled with deep personal feelings. The individual world of the hero was given the opportunity for vivid, sincere expression. The combination of a high syllable with a simple and lively Russian vocabulary made the romance truly popular and accessible to both the nobleman and his peasant.

The vocal genre was finally reborn and by the middle of the 19th century it became an integral part of a secular evening within the framework of the "languid" home music-making, beloved by all young ladies. The first romances also appeared. The list that made up their song repertoire included more and more author's works.

The most famous in the first half of the 19th century were such famous composers as A. Alyabyev and A. Gurilyov, who played an invaluable role in the development of Russian romance and its popularization.

Urban and gypsy romances

Urban romance absorbed the largest number of folklore motifs of Russia in the 19th-20th centuries. Being the author's, such a song, by the freedom of its existence, resembled and was distinguished by its characteristic features:

the magic of details;
clearly delineated images;
stepped composition;
powerful reflection of the protagonist;
the image of constantly escaping love.

The characteristic features of an urban romance from a musical point of view are the harmonious construction of the composition with minor tones, as well as its inherent sequence.

Gypsy romance was born as a tribute to Russian composers and poets in the beloved manner of performance of the same name by many. It was based on an ordinary lyric song. However, characteristic artistic turns and techniques that were in use among the gypsies fit into her lyrics and the melody. It is not surprising to find out such a romance today. Its main theme, as a rule, is a love experience in various gradations (from tenderness to carnal passion), and the most noticeable detail is "green eyes".

Cruel and Cossack romances

There is no academic definition for these terms. However, their characteristic features are described in the literature quite fully. A feature of a cruel romance is a very organic combination of the principles of ballad, lyric song and romance. Its individual features include an abundance of main plots, differing only in the causes of the tragedy. The result of all history is usually death in the form of murder, suicide, or from mental anguish.

The birthplace of the Cossack romance is Don, who presented the legendary song of an unknown author to lovers of folk poetry "Spring will not come for me ...". History also does not know the exact authorship of most of the highly artistic works that can be described as "classical Russian romances." Their list includes such songs as: "Long Dear", "Only Once", "Eh, Guitar Friend", "Come Back", "We Are Just Familiar" and others, written in the first third of the XX century.

Russian romances: a list and their authors

According to one of the main versions, Russian romances, the list of which was given above, belong to the pen of the most popular songwriters at the beginning of the last century: Boris Fomin, Samuil Pokrass, Yuli Khayta and others.

The most devoted connoisseur of classical romance in the 20th century was Valery Agafonov, who was the first to declare the high value of the cultural baggage leaving the Soviet listener. Russian romances, the list of which Agafonov compiled, owed their revival on a new basis to the return to their homeland of their legendary performers - Alexander Vertinsky and Alla Bayanova.

5th place

"I remember a wonderful moment ..."

“I remember a wonderful moment ...” is one of the most famous poems by Alexander Sergeevich Pushkin, written in 1825 and addressed to Anna Kern. A significant contribution to the popularization of these lines was made by the famous Russian composer Mikhail Ivanovich Glinka, who in 1840, inspired by the beauty of his beloved Catherine (ironically, turned out to be the daughter of Anna Kern), wrote music on these verses, which gave the romance a new impetus and made it possible to gain fame in wide circles.

4th place

"Nightingale"

Romance "Nightingale" - written in the 1820s by the famous Russian poet and publisher - Baron Anton Antonovich Delvig and the popular composer, pianist and conductor - Alexander Alexandrovich Alyabyev. The unprecedented popularity of the romance is primarily due to the fact that the poems and music were written in the genre of Russian songs, which gave reason to perceive it as a folk song. In our time, "Nightingale" is one of the most famous Russian romances, which occupy an honorable place in the treasury of the classics of Russian culture.

3rd place

V. Chuevsky
"Burn, burn, my star"

The romance "Burn, burn, my star" - was written in 1846 by a student of Moscow State University Vladimir Chuevsky and famous composer Pyotr Bulakhov ( on the picture) to the 700th anniversary of Moscow. The romance gained the greatest popularity during the First World War, however, the people did not have time to fully enjoy the patriotic motives, because after the revolution, the Bolsheviks, christening the romance White Guard, banned it from being performed, but by the end of the 1950s the ban was lifted, however, depriving Chuevsky and Bulakhov of authorship, writing the people to the song creators, which in turn gave rise to many legends in the USSR about the true authors of the romance.

2nd place

"Evening call, evening Bell"

The romance "Evening Bells" was written in the mid-20s of the 19th century by the famous Russian poet and translator of the Romantic era Ivan Ivanovich Kozlov and the composer Alexander Alexandrovich Alyabyev. Strange as it may seem, but one of the most famous and widely beloved romances among the people, considered a Russian folk song, is not really that, the fact is that Ivan Kozlov simply translated into Russian the song of the Irish poet Thomas Moore - "Those Evening Bells" ... Throughout its existence, the text of the romance has changed many musical accompaniments, but its classical version is still the most beloved and popular.

1st place

"Black eyes"

Black Eyes is one of the most famous Russian romances not only in Russia, but in the world as well. Written in the first half of the 19th century by the Ukrainian poet and writer - Yevgeny Pavlovich Grebenka, as a dedication for the future wife - Maria Vasilievna Rastenberg. As a romance, the poem "Black Eyes" became popular only in the 1880s. Initially performed to the music of a waltz by the German composer Florian Hermann, however, it gained the greatest popularity thanks to the music of the Italian composer Ferrari. The most famous performer, so far, is the legendary singer Fyodor Chaliapin, who, having included him in his repertoire, raised the romance to world fame.

On a separate line:

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