Presentation "Musical art of classicism of the 18th century. Viennese classical school." Music Musical culture of the 18th century presentation

In the 30s A court opera was created, where Italian artists performed. Operas seria were staged on its stage. Gradually, Russian singers from the court chapel began to take part in the performances (professional musicians were trained here). Famous foreign composers worked in Russia; It was they who determined the musical life of the capital until the mid-18th century. The Italian Francesco Araya (1709 - around 1770) composed the first opera based on Russian text - "Cephalus and Procris". The opera premiered in 1755; it was performed by Russian singers. In the 60s domestic professional composers appeared, representing the national music school. They worked in the field of opera, choral and instrumental music.

The best masters of the choral concert of the 18th century. - Maxim Sozontovich Berezovsky (1745-1777) and Dmitry Stepanovich Bortnyansky (1751 – 1825).

Secular art, especially theater, was considered a sinful luxury. In 1660, the restoration (restoration) of the monarchy took place: Charles II Stuart ascended the throne. Artistic life centered (as in other states at that time) around the royal court. Charles II, having returned to his homeland from French emigration, sought to imitate Louis XIV. The activities of the Royal Chapel resumed; An Italian opera troupe gave performances at the English court, and famous singers and instrumentalists performed. English musicians again had the opportunity to become acquainted with the achievements of Italian and French masters.

Secular art, especially theater, was considered a sinful luxury. In 1660, the restoration (restoration) of the monarchy took place: Charles II Stuart ascended the throne. Artistic life centered (as in other states at that time) around the royal court. Charles II, having returned to his homeland from French emigration, sought to imitate Louis XIV. The activities of the Royal Chapel resumed; An Italian opera troupe gave performances at the English court, and famous singers and instrumentalists performed. English musicians again had the opportunity to become acquainted with the achievements of Italian and French masters.

French music, along with Italian, is one of the significant cultural phenomena of the 17th-18th centuries. The development of musical art was primarily associated with opera and chamber instrumental music. French opera was strongly influenced by classicism (from the Latin classicus - “exemplary”) - an artistic style that developed in France in the 17th century.
French music, along with Italian, is one of the significant cultural phenomena of the 17th-18th centuries. The development of musical art was primarily associated with opera and chamber instrumental music. French opera was strongly influenced by classicism (from the Latin classicus - “exemplary”) - an artistic style that developed in France in the 17th century.
At the court of the “Sun King” Louis XIV, opera occupied an important place. The Royal Academy of Music (the theater where opera performances took place) became one of the symbols of the luxury of the royal court and the power of the monarch.
Berezovsky Maxim Sozontovich 1745-1777 Russian composer of Ukrainian origin, also worked in
Italy.
Born on October 16, 1745 in Glukhov.
where he became a soloist in the Court Singing Chapel of Prince Peter
Fedorovich.
He performed as a singer-soloist (Italian opera in Oranienbaum).
In 1765-1774 he lived in Italy, where he was sent for
improvement. Wrote there the concert "Do not reject me during
old age" and Hymns of the Divine Liturgy.
1771 - Passed the exam at the Bologna Philharmonic Academy for
title of academician-composer.
1771 Wrote the opera “Demophon” (libretto by P. Metastasio),
delivered in 1773 in Livorno), and, as a result, became the first in
Russian Empire opera composer.
Died March 22, 1777.

Bortnyansky Dmitry Stepanovich 1751-1825

Pashkevich Vasily Alekseevich 1742 – March 9, 1797

Works

Fomin Evstigney Ipatievich 1761 - 1800

“Russia in the 18th century” - At the end of everything, a sweet dessert was served. The first vocational art schools also appeared. Nutrition. Since the 60s In the 18th century, the peasant theme would become leading in Russian literature. The main conflict of the 18th century in Russia was the conflict between landowners and serfs. The sleeves were decorated with gold embroidery and pearls.

“Russian culture of the 18th century” - XIX centuries). Architecture and sculpture. Novelty of the development: Section 3. Formation of Russian national culture (serial. Author's program of the special course. Level of sophistication of the development. Andrey Konstantinovich Nartov. Expected results from implementation: Content of the development. Purpose of the program: Program objectives:

“Russian culture of the 18th century” - In 1738, the first Russian ballet school was opened in St. Petersburg. Sculpture in Russia in the 18th century. RUSSIAN CULTURE IN THE 18th century. Shubin Fedot Ivanovich (1740-1805) - sculptor. The founder of the Russian violin school. D.I. Fonvizin is the author of the comedies “Brigadier”, “Minor”. Ivan Evstafievich Khandoshkin - (1747-1804, Russian virtuoso violinist, composer and teacher.

“Theatre of the 18th Century” - Thomas Gainsborough Unfinished portrait of the artist’s daughters Approx. 1759. The English theater of the 18th century was more concerned with income than with philosophical problems. Friedrich Schiller created a play about passionate love and unparalleled deceit. "Mary Stuart". The triumph of the new theatrical form required the construction of a new theater building.

“Culture of Russia in the 18th century” - Alexander Nikolaevich Radishchev (1749 – 1802). Russian State Academic Drama Theater named after Fyodor Volkov (Yaroslavl). Tatyana Vasilievna Shlykova - Granatova Proskovya Ivanovna Kovaleva - Zhemchugova. Mikhailovsky Castle. Winter Palace in St. Petersburg. Direction in literature. Painting and sculpture.

“Fashion of the 18th century” - Court ladies wore low-necked, fitted dresses with a frame base (corset and hoops). V. Borovikovsky Portrait of M.I. Lopukhina. Fashion under Catherine II (1762-1796). F. Rokotov I. Argunov Portrait of Markina L.A. Portrait of Sheremeteva V.P. The transformations of Peter I coincided with the dominance of French fashion in Europe.

There are a total of 24 presentations in the topic

Introduction

Baroque, Rococo, Classicism - the main trends in the art of the 18th century, manifested themselves in everything - in literature, in painting, in architecture and in music.

The evolution of music in the 18th century reaches a brilliant era. Forms that originated at the beginning of the 17th century reach the highest level of perfection.

At the beginning of the 18th century, the most popular style of music was sentimental classicism. It was slow, leisurely music, not particularly complex. It was played on string instruments. She usually accompanied balls and feasts, but people also liked to listen to her in a relaxed home atmosphere. Then, lute music began to incorporate Rococo features and techniques, such as trills and flageoets. It acquired a more intricate appearance, musical phrases became more complex and interesting. Music has become more detached from reality, more fantastic, less correct and, thus, closer to the listener.

Towards the second half of the 18th century, Rococo features became so integrated into music that it began to acquire a certain orientation. Thus, soon two directions clearly emerged in music: music for dancing and music for singing. Music for dancing accompanied balls, and music for singing was played in a confidential setting.

Classicism became the culmination of classical art.

This work highlights the musical art of the 18th century as the era of the creation of musical classics in its main phenomena and genres (opera, fugue, sonata, symphony), characterizes the work of Bach, Handel, Gluck, Haydn, Mozart and other composers; examines the work of outstanding composers. The work consists of an introduction, three chapters of the main part, a conclusion and a list of references.

1. Musical culture of the 18th century

In the history of musical art, the 18th century has gained enormous significance and is still of paramount interest. This is the era of the creation of musical classics, the birth of major musical concepts with essentially secular figurative content. Music not only rose to the level of other arts that had flourished since the Renaissance, to the level of literature in its best achievements, but in general surpassed what had been achieved by a number of other arts (in particular, visual arts) and by the end of the century was capable of creating a large synthesizing style of such high and lasting value, like a symphony of the Viennese classical school.

Bach, Handel, Gluck, Haydn and Mozart are the recognized peaks on this path of musical art from the beginning to the end of the century. However, the role of such original and searching artists as Jean Philippe Rameau in France, Domenico Scarlatti in Italy, Philip Emanuel Bach in Germany, not to mention the many other masters who accompanied them in the general creative movement, is also significant.

As is known, Germany, Italy and France with their creative schools occupied a leading position in the development of musical art of that time. But the participation of other countries in this process is also beyond doubt. The musical and social conditions of England, in which Handel's oratorios were created, the influence of Spanish musical culture on Scarlatti, the leading role of Czech masters in the formation of the Mannheim Chapel, the Slavic and Hungarian origins of a number of Haydn's themes are convincing examples of this.

In general, creative ties between different European countries, noticeable earlier, at least in the 15th, 16th, and 17th centuries, grew stronger and intensified throughout the 18th century. This is expressed not only in the mutual enrichment of musical writing itself, musical genres, their thematism, principles of development in musical forms, but also the general ideological and aesthetic impact, which has intensified in new historical conditions. If one could theoretically imagine Johann Sebastian Bach or Gluck (and also Handel or Mozart) developing in the isolated environment of their country, then many of the main qualities of their great art would seem groundless, difficult to explain, almost paradoxical. Where does the high tragedy come from in Bach’s art, which, however, remains wise and harmonious? Where does this acute sense of the tragic, which did not reach such strength among the artists of the 17th century, come from? If it comes from an awareness of the difficult fate of one’s homeland, then why was it not embodied much earlier? Because it was precisely the historical conditions of the 18th century, the example of other countries, that awakened in the new generation a new acuteness of self-awareness, and with it new feelings, new assessments.

It is known that in the ruined and disunited feudal Germany the Enlightenment was somewhat late and did not have such an obviously revolutionary character there. But on the very eve of the Enlightenment, the musical art of German masters rises to the lofty heights of figurative generalizations and creative concepts in Bach and Handel, synthesizing the best of historical traditions and envisioning paths to the distant future. And as a result of the Enlightenment, the Austro-German creative school, represented by the Viennese classics, emerged, which at a new stage reaches the highest creative principle of symphonism. In this atmosphere, which, one way or another, is felt in all European countries, there is an intensive development of a number of national creative schools, gaining strength, independence, and gaining artistic authority precisely in the 18th century thanks to new achievements in the field of secular musical art.

The Russian creative school of a purely secular direction took shape precisely in the 18th century, although its origins go back centuries. The importance and creative influence of the Czech school of music, widely represented by instrumental genres and making a name for itself by creating operas, is growing.

The 18th century turns out to be fruitful for the Polish creative school, which has long traditions and is now mastering new major genres of instrumental and theatrical music.

On the general paths of musical development from the beginning to the end of the 18th century, much already unites or brings together the countries of Western Europe (which becomes most obvious in the last third of the century). In France and Italy, a controversy begins around the old opera genres, which are subject to serious and sharp criticism of a social and aesthetic order. In a number of countries, new progressive operatic trends are emerging, associated with the emergence of comic, comedy opera genres: opera buffa in Italy, comic opera in France, Singspiel in Germany and Austria, comedic musical performances in Spain. And what is especially significant is that all the countries of Western Europe are, in one way or another, participating in the movement towards the new style of the Viennese school, which marks the triumph of the homophonic-harmonic structure and sonata-symphonic forms. No matter how different the traditions and creative possibilities of each country are, the stylistic turning point around the middle of the century and the further development of sonata-symphonic principles were prepared by a whole system of creative efforts of many masters from Italy, France, Germany, not to mention the folk-national origins coming from everywhere.

The fine arts and architecture of this period were characterized by very elaborate forms, complexity, pomp and dynamics, and later this word was applied to the music of that time. Composing and performing techniques of the Baroque period became an integral and significant part of the classical musical canon. Musical ornamentation became very sophisticated, musical notation changed greatly, and ways of playing instruments developed. The scope of genres has expanded, and the complexity of performing musical works has increased. A large number of musical terms and concepts from the Baroque era are still used today.

Composers of the Baroque era worked in various musical genres. Opera, which appeared during the late Renaissance, became one of the main musical forms. One can recall the works of such masters of the genre as Alessandro Scarlatti (1660-1725), Handel, Claudio Monteverdi and others. The oratorio genre reached the peak of its development in the works of I.S. Bach and Handel. The Baroque era saw the birth of such brilliant works as fugues by Johann Sebastian Bach, the Hallelujah chorus from the oratorio Messiah by George Frideric Handel, The Seasons by Antonio Vivaldi, and Vespers by Claudio Monteverdi.

Instrumental sonatas and suites were written both for individual instruments and for chamber orchestras. The concerto genre appeared in both its forms: for one instrument with an orchestra and as a concerto grosso, in which a small group of solo instruments contrasts with a full ensemble. Works in the form of the French overture, with their contrasting fast and slow parts, added pomp and splendor to many royal courts. Works for keyboards were quite often written by composers for their own amusement or as educational material. Such works are the mature works of I.S. Bach, generally recognized as the intellectual masterpieces of the Baroque era: The Well-Tempered Clavier, The Goldberg Variations and The Art of Fugue.

The organ became the main musical instrument of the Baroque in sacred and chamber secular music. Also widely used were the harpsichord, plucked and bowed strings, as well as woodwind instruments: various flutes, clarinet, oboe, bassoon.

The decline of the Baroque was accompanied by a long period of coexistence of old and new techniques. In many cities in Germany, the Baroque practice of performance was preserved until the 1790s, for example, in Leipzig, where J.S. worked at the end of his life. Bach. In England, Handel's enduring popularity brought success to lesser-known composers who wrote in the now fading Baroque style: Charles Avison, William Boyce and Thomas Augustine Arne. In continental Europe this style has already begun to be considered old-fashioned; mastery of it was required only for composing sacred music and graduating from those that appeared at that time in many conservatories. But, because Much in Baroque music became the basis of musical education; the influence of the Baroque style remained even after the departure of Baroque as a performing and composing style.

Music of the classical period, or music of classicism, refers to the period in the development of European music approximately between 1730 and 1820. An outstanding achievement of the second half of the 18th century. is the formation of the Vienna Classical School, whose representatives are J. Haydn, W. Mozart and L. van Beethoven, called the Viennese classics and who determined the direction of the further development of musical composition.

It was during this period that the composition of the modern symphony orchestra, the genres of symphony, sonata, trio, quartet and quintet, were mainly formed. In the sonata allegro, a new method of musical thinking - symphonism - was born, and later, in Beethoven's work, a new method of musical thinking was formed. Significant reforms in the work of V.A. Mozart and C.F. Gluck tests the operatic genre, overcoming the ossified conventions of aristocratic opera. In the works of K.F. Gluck and L. Van Beethoven are separated as an independent genre of ballet.

The aesthetics of classicism was based on the belief in the rationality and harmony of the world order, which was manifested in attention to the balance of parts of the work, careful finishing of details, and the development of the basic canons of musical form. It was during this period that the sonata form was finally formed, based on the development and opposition of two contrasting themes, and the classical composition of the sonata and symphony movements was determined. During the period of classicism, a string quartet appeared, consisting of two violins, a viola and a cello, and the composition of the orchestra expanded significantly.

So, with all its difficulties, aesthetic contradictions and even shocks, with its contrasts and its highest unity, the 18th century was the great century of musical art, the time of its wonderful ascent. With all the stylistic and genre diversity in the musical culture of the 18th century, the main development trends can be identified:

Secular music is gradually replacing spiritual music, and the previously clear boundary between these poles of musical culture is being erased.

Instrumental music is becoming increasingly widespread.

A symphony orchestra and fundamental techniques of orchestral writing are formed.

The next stages in the development of opera. The emergence of new genres, classical and romantic.

The heyday of classicism - sonata, symphony, concerto. Sonata form.

New harmony and new images in romanticism.

The emergence of national schools.

The cultural heritage of the 18th century still amazes with its extraordinary diversity, richness of genres and styles, depth of understanding of human passions, greatest optimism, faith in man and his mind.

Bach baroque classicism composer

2. Outstanding composers of the 18th century

The most famous names of this period I.S. Bach, G.F. Handel. Their works can be assessed differently: the assessment depends on tastes and trends. But each in his own field they fulfilled their mission with equal perfection. The power of their creativity concentrated around itself everything significant that had been achieved until then by European music.

Johann Sebastian Bach (1685 - 1750) is one of the greatest composers in the history of music. During his life, Bach wrote more than 1000 works. His work represents all the significant genres of that time, except opera; he summarized all the achievements of musical art of this period.

The musical culture of German Protestantism played an important role in the formation of Bach's personality and creativity. It is no coincidence that most of the composer’s heritage is sacred music. He did not turn to the most popular genre of the 18th century, opera.

Bach never left Germany; moreover, he lived mainly not in capital cities, but in provincial cities. However, he was familiar with all the significant developments in music of the time. The composer managed to combine in his work the traditions of the Protestant chorale with the traditions of European music schools. Bach's works are distinguished by their philosophical depth, concentration of thought, and lack of vanity. The most important feature of his music is his amazing sense of form. Everything here is extremely precise, balanced and at the same time emotional. Various elements of musical language work to create a single image, resulting in harmony of the whole.

The work of Bach, a universal musician, summarized the achievements of musical art of several centuries on the verge of Baroque and Classicism. A distinctly national artist, Bach combined the traditions of the Protestant chorale with the traditions of the Austrian, Italian, and French musical schools.

The leading genre in Bach's vocal and instrumental work is the spiritual cantata. Bach created 5 annual cycles of cantatas, which differ in their belonging to the church calendar, in text sources (psalms, choral stanzas, “free” poetry), in the role of the chorale, etc.

Of the secular cantatas, the most famous are “Peasant” and “Coffee”. The principles developed in cantated dramaturgy were implemented in the masses and the “Passion”. The “High” Mass in h-minor, “St. John’s Passion,” and “Matthew Passion” became the culmination of the centuries-long history of these genres.

Organ music occupies a central place in Bach's instrumental work. Synthesizing the experience of organ improvisation inherited from his predecessors (D. Buxtehude, J. Pachelbel, G. Böhm, I.A. Reincken), various variational and polyphonic composition techniques and contemporary principles of concertoing, Bach rethought and updated the traditional genres of organ music - toccata, fantasy, passacaglia, chorale prelude.

A virtuoso performer and one of the greatest experts on keyboard instruments of his time, Bach created an extensive literature for the clavier. Among the keyboard works, the most important place is occupied by “The Well-Tempered Clavier” - the first experience in the history of music of artistic application developed at the turn of the 17th-18th centuries. tempered system.

The greatest polyphonist, Bach created unsurpassed examples in fugues, a kind of school of contrapuntal mastery, which was continued and completed in “The Art of Fugue,” which Bach worked on over the last 10 years of his life. Bach is the author of one of the first keyboard concertos - the Italian Concerto (without orchestra), which fully established the independent significance of the clavier as a concert instrument.

Bach's music for violin, cello, flute, oboe, instrumental ensemble, orchestra - sonatas, suites, partitas, concertos - marks a significant expansion of the expressive and technical capabilities of instruments, reveals a deep knowledge of instruments and universalism in their interpretation.

Among Bach's works for other instruments, the main place belongs to the violin sonatas, partitas and concertos. Being an excellent violinist from a young age, Bach the composer perfectly comprehended the capabilities of the instrument, its “style,” just as he mastered the “style” of the organ and clavier. The new type of violin music at that time served as a model for him when creating not only violin works, which was already noted in the example of concerts. At the same time, Bach sought to transfer the developed polyphony developed in the forms of organ and clavier music to violin sonatas, placing extremely high demands on this instrument. “In essence, all his works were created for an ideal instrument, borrowing from the keyboard the possibilities of polyphonic playing, and from the strings - all the advantages in producing sound,” Albert Schweitzer rightly concludes 6 Brandenburg Concertos for various instrumental compositions, which implemented the genre and compositional principles of the concerto grosso , were an important step on the path to the classical symphony.

During Bach's lifetime, a small part of his works was published. Bach's work is so deep and multifaceted that his contemporaries were unable to appreciate it at its true worth. The true scale of Bach's genius, which had a strong influence on the subsequent development of European musical culture, began to be realized only after his death. A whole century had to pass before Bach received recognition as a great composer.

The development of opera and oratorio is associated with the name of George Frideric Handel (1685-1759). Already at the age of twelve, Handel wrote church cantatas and organ pieces. In 1702, he took the post of organist of the Protestant cathedral in his hometown of Halle, but soon realized that church music was not his calling. The composer was much more attracted to opera.

Handel made his mark as an opera composer in Italy. His fame was brought to him by the production of Agrippina (1709) in Venice, and the opera Rinaldo (1711), staged in London, made Handel the largest opera composer in Europe. He participated in opera enterprises (so-called academies), staged his own operas, as well as works of other composers; Particularly successful for Handel was his work at the Royal Academy of Music in London. Handel composed several operas a year. In the 1730s. the composer is looking for new ways in musical theater - strengthening the role of the choir and ballet in operas ("Ariodante", "Alcina", both - 1735).

Handel's operatic work was influenced by the musical dramaturgy of R. Kaiser. An artist of the Enlightenment, Handel summarized the achievements of the musical Baroque and paved the way for musical classicism. Without completely breaking with the canons of opera seria, through a contrasting comparison of dramatic layers, Handel achieved intense development of the action.

He also worked in the genre of Italian opera seria. The music of extraordinary beauty made a huge impression on the listeners. In total, the master created more than forty works of this genre. However, not everyone accepted the opera seria in England. It is no coincidence that The Beggar's Opera (1728; music by Johann Christoph Pepusch, libretto by John Gay), which parodied Italian operas, which, as some believed, interfered with the development of the national theater, was a huge success.

He brought the Italian opera seria to the threshold of reform. Gluck will begin to implement it only more than twenty years later, when the necessary historical conditions have developed. Handel himself will continue his quest in the oratorio genre.

Handel's works are characterized by a monumental-heroic style, an optimistic, life-affirming principle that combines heroism, epic, lyricism, tragedy, and pastoralism into a single harmonious whole. Having absorbed and creatively rethought the influence of Italian, French, and English music, Handel remained a German musician in the origins of his creativity and way of thinking.

In the 40s, after the failure of the opera “Deidamia” (1741), Handel no longer turned to this type of musical art and devoted all his time to the oratorio - the highest creative achievement of G.F. Handel.

The composer's new works were warmly received by the public. Handel created thirty-two oratorios. In the oratorio, not bound by strict genre restrictions, Handel continued his search in the field of musical drama, in plot and composition.

This turn will not remain without consequences in the composer’s future path. Creating truly heroic oratorios, he will turn to themes and images associated with the idea of ​​sacrifice, sacrifice in the fate of a person, the irresistible doom of a hero or heroine. And everything that Handel achieved over many years in the art of opera, all the best that he found here, will not pass by the oratorio. Among Handel's most popular works are the oratorios “Israel in Egypt” (1739) and “Messiah” (1742), which, after a successful premiere in Dublin, met with sharp criticism from the clergy. The success of later oratorios, incl. Judas Maccabee (1747), contributed to Handel's participation in the struggle against the attempted restoration of the Stuart dynasty. Using the material of biblical tales and their refraction in English poetry, Handel revealed pictures of national disasters and suffering, the greatness of the people’s struggle against the oppression of enslavers. Handel was the creator of a new type of vocal and instrumental works that combine scale (powerful choirs) and strict architectonics. Handel's oratorios amaze with the power of the choir's sound, the virtuoso use of polyphony, and the soft and flexible, expressive melodies of the arias. The chorus is designed to emphasize the monumentality of the event, its enormous significance for humanity, and the arias are intended to emphasize the strength of the hero’s feelings.

In the oratorio genre, like no other, Handel could freely dispose of the choral masses, involving the chorus in an epic narrative or dramatic action. He did not even think of imitating Italian models of oratorio, which in his time gravitated towards operatic forms much more than towards choral monumentality. Like Bach, Handel apparently always had a deep creative interest in large polyphonic forms.

Throughout his career, Handel also worked in instrumental genres; His concerti grossi are of greatest importance. The motivic development, especially in orchestral works, and the homophonic-harmonic style prevail in Handel over the polyphonic development of the material; the melody is distinguished by its length, intonation and rhythmic energy, and clarity of pattern. Only in comparison with Handel's operas and oratorios can his instrumental music seem less significant. But in itself it is very indicative of him, tightly connected with the main areas of his work and full of artistic interest. Although on the composer's thorny path instrumental works were more of a rest than an extreme effort, he managed to write a lot of them: more than 50 concertos, more than 40 sonatas and about 200 pieces for clavier, clavier or organ, as well as various instrumental compositions. So, if Handel had created nothing but oratorios, his creative legacy would still be considered grandiose. But he also owns more than forty operas, including countless pages of beautiful music. Despite all the significant genre differences, with a different relationship between music and text, Handel’s Italian operas in the musical sense itself prepared a lot for the range of images in his oratorios. In turn, the continuous evolution of his oratorio creativity and multifaceted research in this area were of invaluable importance both for the history of oratorio and for the further history of opera. His works had a significant influence on artists of subsequent generations, especially on representatives of the Viennese classical school. Handel's work had a significant influence on J. Haydn, V.A. Mozart, L. Beethoven, M.I. Glinka.

3. Russian music of the 18th century

Before its heyday and the formation of the first national schools of composition at the beginning of the 19th century, it went through a long path of development. Until the mid-18th century, secular music was not professional; the main musical genres lay in the areas of folklore and sacred music. The main genres were cant and choral concerto. The choral concert was an important transitional stage from church to professional secular music. The most complex form of Russian musical art of the 18th century is considered to be the “spiritual concert for choir.” In the 18th century, a decisive turning point occurred in the entire structure of Russian music. Secular music begins to predominate, modern forms of professional music are introduced - symphonic and chamber concerts, and home music-making develops. Music of the European type with musical notation was successfully established.

Russian musical theater was born, which relied on the traditions of choral singing, the use of various troparions, and cants. In the last third of the 18th century, real musical theater appeared in Russia. The fortress theaters of the Sheremetevs and Vorontsovs were especially famous. Since the 1730s, there was an Italian court theater in St. Petersburg, for which composers such as Baltassare Galuppi and Domenico Cimarosa worked. In 1780, the first musical theater in Russia, the Petrovsky Theater, was founded in Moscow. Since 1783, musical performances were staged in St. Petersburg at the Stone Theater. Provincial cities followed this example. In the last quarter of the 18th century, a national school of composition was formed, which absorbed freedom-loving educational ideas and interest in folk song, for which the main genres were comic opera, lyrical romance and variations on Russian themes. Among the various genres of professional music of the late 18th century, opera ranks first. It is opera in this era that becomes the most developed, most professional and at the same time the most widespread type of musical creativity. It is not surprising that it was in the opera genre that the creative capabilities of Russian composers of the 18th century subsequently manifested themselves most clearly. Opera attracts both a wide audience and the best creative forces. The opera evokes lively responses in public opinion, in poetry, literature and criticism. With great spontaneity and completeness, it reflects the advanced, democratic tendencies of Russian art.

Along with opera, various genres of chamber music are gaining popularity in Russia. In the mid-18th century, chamber concerts at court became commonplace. Chamber music playing enjoyed great success in aristocratic amateur circles. By this time, the role of the court orchestra had grown noticeably. In the early 60s, the orchestra was divided into two independent groups of musicians - performers of opera, symphony and ballroom music. Such differentiation was an undoubted sign of the growth of performing forces.

Maxim Berezovsky and Dmitry Bortnyansky were brilliant operatic and instrumental composers. Evstigney Fomin became famous in the genre of “song” opera based on Russian motifs (“Coachmen on a Stand” to the text by N.A. Lvov) and in the genre of opera-tragedy (“Orpheus” to the text by Ya.B. Knyazhnin). Violin virtuoso Ivan Khandoshkin is the author of charmingly melodic sonatas and variations on Russian folk themes. Osip Kozlovsky gained popularity with his patriotic polonaises (“The thunder of victory, ring out!”) and “Russian songs.”

Thus, Russian music of the 18th century reflected the sharp and rapid rise that took place in all spheres of public life in post-Petrine Russia.

A peculiar interweaving of national and pan-European, somewhat naive and mature, old and new, spiritual and secular - all this together makes up the unique appearance of Russian music of the Age of Enlightenment.

Conclusion

Concluding this work, let us briefly note the following. In the 18th century, the musical language that all of Europe would later speak began to take shape; forms reached the highest level of perfection. Great masters working in various countries define with their creativity the entire musical art of a given period.

In the composer's work, this period is represented by such artistic styles as classicism, baroque, and rococo. Along with the already existing monumental genres of mass and oratorio, a fundamentally new genre - opera - emerged during this period and soon became the leading one. The dominance of secular music is finally consolidated. Its content covers a wide range of themes and images; public musical life is developing; permanent musical institutions are opened - opera houses, philharmonic societies; string and wind musical instruments are being improved; music printing is developing.

The music of the 18th century put forward two gigantic, unattainable peaks - Handel and Bach. More than two hundred years have passed, and interest in their music is only growing.

At the end of this period, the formation of the symphony and ballet begins. In parallel with the flourishing of free-style polyphony, which replaced strict-style polyphony, a homophonic-harmonic composition emerged in everyday dance music, and later in professional music. In countries where the process of formation of nations continues at this time, highly developed national musical cultures are being formed. This is how opera, oratorio and cantata were born in Italy, instrumental music was renewed, in France - opera-ballet, new forms of keyboard miniatures, in England - the keyboard school of virginalists.

In Russian music in the 18th century, a decisive turning point occurred: secular music began to predominate, modern forms of professional music were introduced - symphonic and chamber concerts, home music-making developed, music of the European type with musical notation was successfully established, and the first operas appeared.

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18th century music

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Johann Sebastian Bach
Johann Sebastian Bach was born in 1685 in Germany. From 1723 until his death he lived in Leipzig. There he creates his best works, one of the most famous is the grandiose work for choir, soloists and orchestras “St. Matthew Passion”. The basis for it was the text of the Gospel, according to legend, written by the disciple of Christ the Apostle Matthew, telling about the last days of Jesus, his suffering and death. Bach fills this text with new meaning and turns the Gospel legend into a folk drama in which the Hero sacrifices himself for the salvation of people, through his own suffering, atoning for human sins and opening the way to salvation for them. Johann Sebastian Bach died 1750.

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Wolfgang Amadeus Mozart
. Wolfgang Amadeus Mozart was born on January 27, 1756 in Salzburg and was baptized on the second day of his life in St. Rupert's Cathedral. Mozart showed a penchant for music in early childhood, when he was about three years old. His father Leopold was one of the leading European music teachers of the time. He taught his son the basics of playing the harpsichord, violin and organ. From 1770 to 1774, Mozart lived in Italy. In 1771 and 1772, Mozart's operas Mithridates, Rex Pontus and Lucio Sulla were performed in Milan with great success. By the composer’s seventeenth birthday, his works already included 4 operas, several spiritual poems, 13 symphonies, 24 sonatas and many small compositions.

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In 1779, the composer received the position of court organist in Salzburg. On January 26, 1781, the opera “Idomeneo” was staged with great success, with which the reform of lyrical and dramatic art began. The opera "The Rape from the Seraglio" was written in 1782 and was widely distributed in Germany. Mozart wrote it during his romantic relationship with Constance Weber, who became his wife. In 1786, the composer's very prolific activity began, which became the cause of his health problems. He wrote the opera “The Marriage of Figaro” in just 6 weeks and immediately after writing it began work on the opera “Don Giovanni”, which had even greater success in Prague in 1787. Mozart died on December 5, 1791. To this day, no one knows what caused the composer’s death.

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Ludwig van Beethoven (1770-1827) – great German composer, pianist, conductor. Beethoven was born on December 17, 1770 in Bonn into a musical family. From childhood he was taught to play the organ, harpsichord, violin, and flute. The composer Nefe began to work seriously with Ludwig for the first time. Already at the age of 12, in the biography of Ludwig van Beethoven, he received his first musical job - assistant organist at court. Beethoven studied several languages ​​and tried to compose music.
Ludwig van Beethoven

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After his mother's death in 1787, he took over the family's financial responsibilities. Ludwig Beethoven began playing in an orchestra and listening to university lectures. Having accidentally encountered Haydn in Bonn, Beethoven decides to take lessons from him. For this he moves to Vienna. After some attempts, Haydn sent Beethoven to study with Albrechtsberger. Haydn noted that Beethoven's music was dark and strange. However, in those years, Ludwig's virtuoso piano playing brought him his first fame. Beethoven's works differ from the classical playing of claven players. There, in Vienna, the future famous works were written: Beethoven's Moonlight Sonata, Pathétique. In 1802-1812, Beethoven wrote sonatas with special desire and zeal. Then entire series of works for piano, cello, the famous Ninth Symphony, and the Solemn Mass were created. In the biography of Ludwig van Beethoven in those years, the glory and popularity of the composer were very great. Even the authorities, despite his frank thoughts, did not dare to touch the musician. However, strong feelings about his nephew, whom Beethoven took into custody, quickly aged the composer. Beethoven died on March 26, 1827.

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Thank you for your attention, now questions:
1In what year was Bach born? 2Where did he live all this time? 3What year did he die? 4In what year and where did Mozart live? 5In what year was “Idomenius” staged? 6 When did he die? 7 when was Beethoven born? 8 who worked with him? 9When did your mother die? 10 when did Beethoven die?
1685
In Leipzig
1750
January 27, 1756 in Salzburg
In 1781
On December 5, 1791
In 1770
Nehe
In 1787
In 1827