Romances of poets of the 20th century. History of romance. City and gypsy romances

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Creative project on the topic: “Songs and romances based on poems by Russian poets of the 20th century.” Author: 9th grade student of the Ichalkovskaya Secondary School Mynova Margarita. Head: literature teacher Timrot N.N. MAOU "Ichalkovskaya Secondary School" 2018

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Goals: - present songs and romances based on poems by Russian poets; - arouse interest and instill love among listeners. Objectives: 1. Define what romances and songs are. 2. Find musical works created based on poems by poets. 3. Find out the themes and interesting facts of these romances. 4. Draw a conclusion.

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

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Okudzhava Bulat Shalvovich (1924-1997) “Smolensk Road” (song) The song was composed by him in 1960 and dedicated to the Soviet actress Zhanna Bolotova. B. Okudzhava himself recalled: “I was actually driving along the Smolensk road, in the winter in a car with the poet Yuri Levitansky. We were going on a business trip from Literaturnaya Gazeta, we had a guitar with us, and so first I had music, and then poetry.” [Bulat Okudzhava repeatedly performed this song in various concerts, and did not stick to one single text, but slightly changing it along the way. The song “On the Smolensk Road” not only outlived its author, it has long since become part of Russian musical culture. Elena Kamburova, Boris Grebenshchikov, and Zhanna Bichevskaya included it in their repertoire.

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Vladimir Semyonovich Vysotsky (1938-1980) “Song about a Friend” Vladimir Vysotsky wrote about life in his work, covering current issues. His work is also associated with such feelings as friendship and loyalty. Themes of friendship, courage, betrayal, and betrayal are covered in many of his works, including Vysotsky’s song “If a Friend Suddenly Appears.” Another composition on “Song about a Friend” was written for Stanislav Govorukhin’s film “Vertical.” The impetus for its creation was the story told by the film’s consultant, mountaineer Leonid Eliseev, about his ascent along the northern slope of the Main Caucasus Range in 1955.

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Nikolai Alekseevich Zabolotsky (1903-1958) “Confession” Zabolotsky was generally alien to intimate lyrics until 1957, when he created the “Last Love” cycle. He did not write about love for a woman either in his youth or in his more mature years. And suddenly - a wonderful lyrical cycle on its way out. Nikolai Alekseevich Zabolotsky’s poem “Confession” describes a man’s admiration for the mysterious female nature and the desire to unravel this very mystery. Perhaps the poet, with such a work, 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 Ian Frenkel with lyrics 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 are probably no such people anywhere... Just as the land is small in comparison with the “plain of the sea,” so small are the cities in comparison with the vastness of our fields. Fields... This unobstructed view of the edge of the world, because of which the sun rises in the morning and behind which it hides at night... The golden rustling field of poured ears of corn was the last peaceful vision of my adolescence... Muses. Yan Frenkel "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, it doesn’t have the demagogic grandiloquence that is so dear to 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 on such universal human 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 first performed this song. Music by E. Kolmanovsky

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, who turned out to be the daughter of Anna Kern), wrote music to these poems, which gave the romance a new impetus and allowed it to gain fame in wide circles.

4th place

"Nightingale"

The romance “The Nightingale” was 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. Nowadays, “The Nightingale” is one of the most famous Russian romances, occupying an honorable place in the collection of classics of Russian culture.

3rd place

V. Chuevsky
"Burn, burn, my star"

The romance “Shine, Shine, My Star” was written in 1846 by Moscow State University student Vladimir Chuevsky and the famous composer Pyotr Bulakhov ( on the picture) for the 700th anniversary of Moscow. The romance gained its greatest popularity during the First World War, but people did not have time to fully enjoy the patriotic motives, because after the revolution, the Bolsheviks, dubbing the romance White Guard, banned it from being performed, but by the end of the 1950s the ban was lifted, although they deprived Chuevsky and Bulakhov of authorship, crediting the people as the creators of the song, 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 composer Alexander Alexandrovich Alyabyev. Oddly enough, one of the most famous and widely loved romances among the people, considered Russian folk, is not actually such; the fact is that Ivan Kozlov simply translated into Russian the song of the Irish poet Thomas Moore - “Those evening Bells” . Over the entire period of its existence, the text of the romance has changed many musical accompaniments, but the most beloved and popular is still its classical version.

1 place

"Black eyes"

“Black Eyes” is one of the most famous Russian romances not only in Russia, but also in the world. Written in the first half of the 19th century by the Ukrainian poet and writer - Evgeniy Pavlovich Grebenka, as a dedication to his future wife - Rastenberg Maria Vasilyevna. As a romance, the poem “Black Eyes” became popular only in the 1880s. Initially it was performed to the music of a waltz by the German composer Florian Hermann, but 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, by including it in his repertoire, raised the romance to world fame.

On a separate line:

Great news for all those who like to listen to music on VKontakte! Now, in order to save the track you like on your computer, you don’t need to run all over the Internet looking for some programs, just go to musicsig.ru, download a special application from the site, install and enjoy the ease of downloading your favorite song in one click.

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

The first Russian romances can be called the works of F. Dubyansky, O. Kozlovsky, D. Kashin, A. Zhilin, I. Rupin. They preserved the most important features of “Russian songs”:

proximity to the music of urban life;

wide chanting, flexibility and plasticity of the melodic line;

sensitive character.

The genre type of “Russian song” itself remains stable.

The main stylistic features of Russian everyday romance:

The melody of Russian everyday romance is specifically vocal. Its intonation softness and smoothness come from folk song origins. The leading role is played by sext intonations (often starting with an ascending sixth followed by a smooth descent, or a descending sixth jump to the introductory tone with further resolution into the tonic) and second delays;

the inclusion of declamatory phrases as a means of dramatization;

predominance of harmonic minor, deviations into related tonalities, increaseIV steps;

appeal to the rhythms of dances common in everyday life - waltz, mazurka, polonaise, Russian dance. One of the most popular rhythms in Russian everyday lyrics was the waltz rhythm, into which songs written in the so-called “Koltsov meter” - five syllables - easily fit;

“guitar” arpeggiated texture of piano accompaniment (less often chordal);

predominance of couplet, strophic form.

The genre of Russian romance was formed in an atmosphere of vibrant flourishing of amateur music-making. Russian cities, estates and estates are embraced by a universal craving for music. A piano, harp, violin or guitar acted as necessary household items; song writing became a widespread phenomenon among the nobility and common classes.

Played a fundamental role in the development of Russian romancerussian poetry, presented works of a brilliant generation of Russian poets: Zhukovsky, Baratynsky, Delvig, Batyushkov, Yazykov, Pushkin, and 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 associated with themes of deep thought, memories of the past, loneliness, unrequited love. A special feature of the melody is the characteristic combination of song-romantic and declamatory turns;

ballad - a romance in the free form of a monologue-story about dramatic, mysterious events. Often, a ballad is based on a folk legend and includes fantastic elements. Musical speech is distinguished by excited pathos and expressiveness of recitation. The piano part plays an important role. A.N. is considered the creator of the Russian vocal ballad. 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 officers. In their cheerful music one can often hear a clear march-like gait, indicating a connection with marching and battle songs. In the era of the Decembrists, the everyday theme of drinking songs gives way to civil statements, calls for freedom and “liberty”;

• "Russian song" - a romance song focused on folklore tradition. R The flowering of this genre is associated, first of all, with the poetry of A. Koltsov (“At the dawn of a foggy youth...”, “Oh, my steppe...”) and N. Tsyganov (“Don’t sew me, mother, a red sundress...”) ;

romances national genre plan, often called"eastern" (Spanish serenades, Caucasian songs, gypsy romances, Italian barcarolles).

The poetry of A.S. had a particularly profound impact on Russian vocal music. 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 emerged.

Alexander Alexandrovich Alyabyev (1787-1851)

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

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

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

A significant part of Alyabiev’s vocal lyrics, his “lyrical hero”, are autobiographical.The circumstances of the composer’s personal life developed in such a way that the romantic themes of loneliness, melancholy, separation, and exile turned out to be especially close to him . Songs of a gloomy, tragic nature, created during the years of Siberian exile (“Irtysh”, “Evening Bells”) make a strong impression.

Alyabyev was one of the first interpreters of Pushkin’s lyrics (the romances “If Life Deceives You,” “I Loved You,” “Alas, Why She Shines,” “Awakening,” “Winter Road,” “Two Crows”).

With Alyabyev’s romances, Russian vocal lyrics included themes of civic sound, ideas of patriotism, and love of freedom. In the later romances, created based on poems by N. Ogarev (“Tavern”, “Izba”, “Village Watchman”) and P.Zh. Beranger ("The Beggar Woman")The influence of Gogolian literature is clearly felt.They openly voiced the theme of social inequality, anticipating the quests of Dargomyzhsky and Mussorgsky.

Romance "Beggar" refers to Alyabyev’s peak achievements in the field of dramatic vocal music. Here an image appears that anticipates the heroes of “poor Rus'” -“little people”, powerless and oppressed 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, giving the composition a deep social meaning. The couplet form of the romance is complicated by the two-part structure of each stanza.

Alyabyev’s work also presents images of the “Russian East” (“Kabardian song” to the words of A.A. Bestuzhev-Marlinsky, “Georgian song” to the words of L.A. 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 Woman”, “Village Watchman”).

The enrichment of the composer's vocal lyrics was greatly facilitated by his instrumental skill. 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 movement in Russian art,then his contemporary Varlamov belonged to a different, post-Decembrist generation. His vocal lyrics sincerely and truthfully reflected the mood of the diverse artistic intelligentsia, new to Russia.

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

Varlamov created about 200 romances. By bringing the romance genre closer to folk songs, 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 the now forgotten N.G. Tsyganova. It was on Tsyganov’s poems that the famous Varlamov’s"Red Sundress" , which, according to the composer A. Titov, “was sung by all classes - both in the living room of a nobleman and in a peasant’s smoking hut.”

“The Red Sundress” is constructed as a dialogue between a simple Russian girl and her mother, typical of ancient wedding rituals.The composer found simple but very precise means of musical expression. In the verses sung on behalf of his daughter, he uses the major mode, and in the responses of the experienced mother, he uses the minor mode. In developing the vocal melody, which begins with a characteristic “romantic” sixth, Varlamov shows great inventiveness.

Among Varlamov’s “Russian songs,” two types predominate. This is a drawn-out lyrical (“Red Sundress”, “Oh, time, little time”, “Why are you early, little grass”) and a lively, energetic dance song (“A blizzard is sweeping along the street”, “What kind of heart is this”, “A flying nightingale” ). The composer's talent was especially evident in lyrical songs, in the cantilena of wide breathing, suggested by the sound of the human voice. He is a born melodist, which is undoubtedly due to many years of work as a singer-performer and teacher .

A special group consists of Varlamov’s “waltz” songs, usually associated with the elegiac theme of memory, dreamy sadness (“Don’t wake her up at dawn” to poems by A. Fet). The rhythm of the waltz, widespread in urban life, in his music naturally melts into the familiar intonations of Russian folk song. Many other romances of Varlamov are also permeated with dance rhythms. (such, for example, is the energetic rhythm of the bolero in the romance"Sail" based on poems 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 truthfully convey the psychological state of a person .

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

Alexander Lvovich Gurilev (1803-1858)

Compared to the dynamic, emotionally rich style of Varlamov’s music, Gurilev’s lyrics are more intimate, “homey,” often tinged with an elegiac mood. Much in the style of his vocal compositions recalls the origins of Russian romance - the “Russian song”: the overall sensitive tone of the statement, the very vocabulary of the poems (“darling”, “maiden”, “toy heart”, “broken heart”).

“Russian song” was Gurilev’s favorite genre, which can already be explained by his origin: he was born into 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 into the traditional genre of “Russian song” (“Bell”, “Don’t make noise, rye, with a ripe ear”, “The blue-winged swallow is hovering”, “Tiny house”). Many of the composer's songs have become folk songs; They were sung to the accompaniment of a guitar or piano in urban life; they also penetrated into the peasant environment and into the repertoire of professional gypsy choirs.

The content of Gurilev’s romances is dominated by themes of unrequited love, regrets about irretrievable loss, lost youth, dreams of happiness (“Bell”, “Swallow”, “Don’t make noise, rye”). The composer was best at songs of the dramatized type, where his penchant for emphasizing sensitive intonations is justified by the general character of the music (“The Swallow is Floating”). It is characteristic that in the work of his favorite poet Koltsov, he was attracted, first of all, by Koltsov’s melancholy, and not by “valid prowess.”

One of Gurilev's best songs based on Koltsov's words -"Parting" (“At the Dawn of Foggy Youth”).In this work one can find features of dramatization, which were later developed in the work of Dargomyzhsky. At the moment of climax, the melody, initially melodious, develops into a dramatic recitative, conveying the pain of parting.

The composer was deeply concerned with the theme of the female lot, akin to the paintings of Venetsianov and Tropinin (“Mother Dove,” “The Sadness of a Girl,” “Guess My Dear,” “Sarafan”).

Like Varlamov, Gurilev collected and processed authentic folk tunes. A valuable contribution to Russian musical folklore was the collection “47 Russian folk songs” compiled by him.

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 purity of vocal performance, detailed and careful nuance. This testifies to the high professional culture of the composer, who had excellent command of 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 “sincere” (sincere tone, intonation, melody, etc.) clearly prevails in defining the characteristics of Russian everyday romance, since it has always been addressed to the human soul.

Him with fate turned out dramatically. 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 choir under the direction of D. Bortnyansky. Varlamov’s extensive pedagogical experience is summarized in the “School of Singing” he created - the first major work in Russia devoted to the methodology of teaching vocal art.

In this regard, 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 “Among the Noisy Ball” and “I Opened the Window.”

Romance is a chamber vocal work, which is characterized by a poetic form and lyrical content with a love theme. In other words, this is a poetic work for singing with instrumental accompaniment.

The form of a romance is close to a song, only with a limited theme of a love-lyrical nature. The romance is usually performed accompanied by one instrument, most often. The main emphasis in works of this kind is on melody and semantic load.

The birth of romance

The term "romance" itself originated in Spain, where it was used to name secular songs in Spanish that needed to be separated from religious hymns sung in Latin. The Spanish word “romance” or the late Latin “romanice” is translated as “in Romance” or “in Spanish,” which is actually the same thing. The term “romance” has taken root in many languages ​​in parallel with the term “song,” although in German and English these two concepts are still not separated, denoting them with the same word (German Lied and English Song).

So, romance is a type of song that took shape in the period of the 15th-19th centuries.

Western European romance

Since the mid-18th century, romance has gained particular popularity in Germany and France and has become a separate genre on the border of music and poetry. The poetic basis for the romances of this era were poems by such great poets as Heine and Goethe.

Already in the 19th century, national schools of romance were formed in Germany, Austria, France and Russia. During this period, the famous romances of the Austrians Schumann, Brahms and Schubert, and the French Berlioz, Bizet and Gounod were created.

It was also typical for European schools to combine romances into entire vocal cycles. The first such cycle, “To a Distant Beloved,” was created by Beethoven. His example was followed by Schubert (the romance cycles “Winterreise” and “The Beautiful Miller’s Wife”), Schumann, Brahms, Wolf... From the mid-19th century and in the 20th century, national schools of romance were formed in the Czech Republic, Poland, Norway, Finland.

Gradually, in addition to the classical chamber form of romance, a genre such as everyday romance is developing. It was designed for non-professional singers and was widely popular in society.

Russian romance

The Russian school of romance arose under the influence of romantic sentiments in art and was finally formed by the mid-19th century. Its founders are considered to be Alyabyeva, Gurilev, Varlamova, who often turned to gypsy themes in their work.

Alexander Alyabyev

Later, separate trends were formed in the genre of Russian romance - salon romance, cruel romance... Russian romance experienced its apogee of development at the beginning of the 20th century, in the era of the creativity of Vertinsky and Vyaltseva, Plevitskaya and Panina. The traditions laid down by these brilliant musicians were successfully continued by Alla Bayanova and Pyotr Leshchenko, and already in the era of the Soviet Union by Vadim Kozin, Tamara Tsereteli, Isabella Yuryeva.

Unfortunately, in the Soviet era, the romance genre was not welcomed by the party leadership, since it was considered a non-proletarian genre, a relic of tsarism. and performers of romances were subjected to persecution and repression.

Only in the 70s. In the 20th century, romance experienced a revival when romances performed by Valentina Ponomareva and Nani Bregvadze, Nikolai Slichenko and Valentin Baglaenko gained popularity.

Evening of Russian romance of the 19th – 20th centuries “How delightful are the evenings in Russia”

Goal: to create conditions for the development of students’ creative abilities and personal self-realization.

Tasks:

To develop research skills in the process of preparing for the evening: searching for material and forms of its presentation; skills of aesthetic and stage culture.

To develop tolerance in students, the desire to help others, to please others through the creation of a festive atmosphere; partnerships through joint preparation and holding of events with parents, cultural workers and schools.

Equipment: computer, projector, presentations on the topics “Nature of Russia”, “Russian Garden”, “Gypsy”, “Russian poets”; tables for guests: tablecloth, tea set, refreshments, candlesticks with candles. On the stage: a table covered with a knitted tablecloth, a cup of tea, a candelabra with candles, a bench with a blanket thrown over it, a curtain in the background, an open “window” in which a branch of a blossoming apple tree can be seen. Tape recorder, CDs with recordings of romances, guitar, piano, accordion.

Progress of the event

The composition of the White Eagle group “How delightful are the evenings in Russia” sounds. Slide show “Nature of Russia”. Guests enter and take their seats

Presenter: No matter how life has changed in recent times, eternal values ​​always remain. Songs, romances, ballads - these and other genres of musical and poetic creativity have been and remain an indispensable part of Russian and artistic culture. Hello, dear guests. Welcome to our evening dedicated to Russian romance.

(Sounds like “Romance of Romance”)

Host: This amazing phenomenon is Russian romance. You will hear, and everything in you will turn upside down, embrace you with inexpressible tenderness, sadness, love.

Presenter: The roots of romance as a vocal genre go back to the musical life of Western Europe, in particular Spain of the 13th-14th centuries. Songs of love were sung by wandering singers of that time in Romanesque languages, which subsequently led to the name of works of this type - “romance”.

(Neapolitan romance sounds.)

Leading: (Slide show “Russian poets”). Romances were written by such world musical classics as Beethoven, Schubert, Schumann, Liszt. The romance genre found fertile ground in the works of Russian composers Glinka, Dargomyzhsky, Rimsky-Korsakov, Rachmaninov, Shostakovich, Sviridov. Romances were probably the most successful way to express the spiritual qualities and needs of the Russian people. The founders of the Russian romance genre are considered to be N.S. Titov, A. A Lyabiev, M. Yakovlev, A. Varlamov, A. Gumilyov, whose work dates back to the first half of the 19th century. They wrote romances based on poems by A.S. Pushkin, A.A. Delvig, M.Yu. Lermontov, A. Koltsov.

Presenter: There is a romance based on the poems of A.S. Pushkin “I loved you...” performed by Ivan Kozlovsky.

Host: It would seem that there are many varieties of everyday romance: “philistine”, “sentimental”, “gypsy”, “antique”. However, “philistine romance” is nothing more than an arrogant attitude towards ordinary, everyday romance. The oldest of the ancient romances is no more than 150 years old. And most of them were composed at the beginning of the 20th century.

Presenter: Only a few Russian poets wrote poems intended for singing, they were songwriters - M. Popov, Y. Neledinsky - Meletsky, A. Merzlyakov, A. Delvig, N. Tsyganov, A. Koltsov... There are many more such poets whose the poems became popular romances, although the authors themselves did not predict a song fate for them.

(And now romances based on poems by Marina Tsvetaeva will be performed)

Host: The fact that everyday romance has remained popular for almost 250 years speaks of the high level of music-making of past eras. The best examples of the Russian romance collection are truly masterpieces.

White acacia fragrant clusters

Full of aroma again

The nightingale's song resounds again

In the quiet glow of the moon!

Do you remember summer: under the white acacia

Have you listened to the song of the nightingale?..

The wonderful, bright one quietly whispered to me:

“Darling, believe me!.. forever yours.”

The years have long passed, the passions have cooled,

The youth of life has passed,

White acacia with a delicate scent,

Believe me, I will never forget...

Presenter: Presumably these lines were written by A. Pugachev in 1902 or 1916, we invite you to listen to the romance from the film “Days of the Turbins”.

Presenter: In the second half of the 19th century, a new genre emerged - gypsy romance. The gypsies, not having beautiful lyrics, began to perform works by Russian authors so masterfully that listeners perceived them as gypsy romances.

Host: The whole large gypsy family of the Shishkins was known. Gypsy romances performed by Vera Panina evoked real emotions in listeners and immersed them in an atmosphere of passionate love.

(The “Gypsy” slide show starts).

My fire is shining in the fog,

The sparks go out on the fly...

No one will meet us at night,

We'll say goodbye on the bridge.

The night will pass - and early

Far away into the steppe, my dear,

I'll leave with a crowd of gypsies

Behind the nomadic tent.

(The romance “We rode in a troika with bells” sounds).

Presenter: Today it is difficult for us to even imagine the song and romance boom that erupted in the second half of the 19th and early 20th centuries. An everyday romance is best recognized by its content. The romance has only one theme - “love”. Nature, the city, and friendship are not needed by romance in themselves. Nature only helps or hinders love, the city is only the background of love. And a romantic friend is always a dear friend.

Host: This is where the difference between a romance and a song comes to light. The song can be historical or patriotic, satirical or lyrical. Romance does not notice social processes at all. The romance world focuses on the state of love, or more precisely on the state of falling in love.

(View slides “Russian Garden”).

The night was shining. The garden was full of moonlight. were lying

Rays at our feet in a living room without lights.

The piano was all open, and the strings in it were trembling,

Just like our hearts follow your song.

You sang until dawn, exhausted in tears,

That you are alone - love. That there is no other love,

And I so wanted to live without making a sound,

To love you, hug you and cry over you.

(The romance “The Night is Bright”, “You Are My Fallen Maple” sounds).

Presenter: The most important thing in a romance is a confidential, but not familiar atmosphere towards the listener; she is the dignity of Russian romance.

Host: A surge of romance lyrics occurs in moments of unusually close attention to personal, intimate aspects of life. In Russia there were two such eras - the end of the 19th century and the years of the Great Patriotic War in the 20th century.

Presenter: During the war years, a person’s life depended entirely on chance, on fate. Even the lyrics turned into a letter, into correspondence.

Host: It was at this time that the Soviet song underwent a rapid transformation into a romance. “Dark Night”, “Wait for Me”, “In the Forest at the Front”, “Dugout” - all these are typical everyday romances of the Soviet era.

(The romance “Dark Night” plays).

Presenter: Beautiful and smooth melodies, soulful words of romances are easy to remember. Words about what touches the soul of every person.

They take away the spirit - powerful sounds!

They contain the rapture of painful passions,

They are the joy of my youth!

The excited heart skips a beat,

But I have no power to quench my longing.

The mad soul languishes and desires -

And sing, and cry, and love...

(A romance is played based on poems by B. Okudzhava.)

Presenter: Love for romance is not transitory. It sounded many years ago and still sounds today. He stirred the souls of great people and mere mortals. But romance would not be so popular without wonderful performers who bring awe, excitement, and depth of feelings into our hearts. Let's listen to the romance from Eldar Ryazanov's film "Cruel Romance".

Presenter: Russian romance... How many secrets, broken destinies and trampled feelings does it keep! But how much tenderness and touching love he sings!

(The romance “I will never forget you...” from the opera “Juno” and “Avos” sounds.)

Presenter: Throughout life, people from time to time turn to lyrical works as a way of expressing their feelings and thoughts.

GOUST "Klyukvinskaya boarding school"

"How delightful evening in Russia…"

(Evening of Russian romance)

Prepared by:

teacher of Russian language

and literature

Balakina L.V.

2011-2012 academic year