Wedding ritual as a lyrical and dramatic genre. Studying the ritual and magical component of the main stages of the wedding game in elective classes in high school. Buying wedding rings
Now we need to turn to the travel of M. I. Glinka to Spain - a very important event in the formation of the “Spanish” style in Russian classical music. Fortunately, many documents about the journey have been preserved, and the most valuable are the composer’s “Notes,” where he not only described in detail what he saw and heard, but also recorded Spanish folk melodies. They formed the basis for some works by Russian composers about Spain. We will turn to two texts - the Spanish-language book by A. Canibano “Glinka’s Spanish Notes” (Cacibano, 1996), as well as the book by S. V. Tyshko and G. V. Kukol “Glinka’s Wanderings. Commentary on "Notes". Part III. Travel to the Pyrenees or Spanish arabesques" (Tyshko, Kukol, 2011). A. Canibano describes the ideas of Western Europeans about Spain in the 17th - 19th centuries. - and Spain appears here as an oriental country. Moreover, these ideas largely coincide with what Europeans thought about the East. The same situation is observed here as with E. Said’s book - a native of the East wrote about Orientalism (the West’s ideas about the East), and a native of Spain A. Canibano wrote about the West’s perception of Spain as an Oriental country.
The researcher points out that Jews, Moriscos, gypsies and blacks lived in Spain - and all of them in Orientalist discourse are united by the term “people of the East”. Already in the 17th century. Several ideas were formed that were oriental for Europeans: the harem, the bathhouse, abduction from the seraglio (just remember the opera by W. A. Mozart). Europe created a concert of Orientalism after the French Revolution, when it was preoccupied with the search for identity. There was a need for something distant, different, Other - in order to establish our own traditions. However, Europe did not seek to study other cultures, but merely fabricated a prototype that suited its needs. Andalusia, and especially Granada, was for European romantics (A. Canibano’s term - but it is known that orientalism was one of the main ideas in romanticism, so there is no contradiction with our concept here) the gateway to the oriental world. The East was a dream, a myth, distant and (therefore) desirable, a place of earthly paradise where one could calmly break all the taboos of “Western” man. However, this dream also had another side: the East is also something evil, mystical, cruel. And by defining the East in this way, a Western European encountered his own values. Europe invented the East for its own purposes. This fashion for orientalism was also expressed in music - however, here too Western Europe followed the path of invention and imitation. Eastern rhythms and melodies were adapted to the standards of Western European music (= spoiled), as a result musical means(“eastern scale”, chromaticism, increased seconds, certain rhythms, etc.), which indicated the oriental nature of the composition. Works about Spain have been created by Western European composers since the 17th century. (Cabano, 1996, 20 - 21).
Everything that has been said about the East also applies to Spain. M.I. Glinka arrived in an already orientalized Spain - and was inspired by this very image of it. To confirm this thesis, let us turn to the composer’s “Notes” and comments to them. Attention should be paid to what M.I. Glinka saw and heard in Spain, how he interpreted it and what explanation is given in the comments to his notes. The Russian composer's first impression of Spanish music was disappointment: the musicians sought to reproduce the Italian and French traditions - the most advanced traditions at the beginning of the 19th century. - but M.I. Glinka, like other travelers who visited Spain, expected to find exotic things, and not the already well-known Italy and France. The main thing here is that the Spaniards acted completely consciously. They could not be satisfied with the fact that in the eyes of Europeans Spain is a backward, wild country, so they wanted to represent themselves as part of (developed) Europe and created the music that (as it seemed to them) corresponded to leading European trends. However, this only caused irritation among the Europeans themselves. As a result, M.I. Glinka concluded that genuine, folk, authentic Spanish music should be sought not in the theaters of large cities, but somewhere else (Tyshko, Kukol, 2011, 125 - 127). If we describe this situation in terms of Orientalist discourse, we get the following: the Spaniards were somehow aware that their country was Orientalized by Europeans - and tried to fight it. Orientalization is not just a one-way process; it can meet with resistance.
So, M.I. Glinka’s goal was to search for “real” Spanish music. And he succeeded: on June 22, 1845, in Valladolid, the composer began recording in a special notebook Spanish melodies that he heard performed by local residents (not always professional musicians, but who had talent and, of course, knew national music). These melodies became the basis for the first works in the Spanish style. Thus, M.I. Glinka recorded the Aragonese jota (here - without quotes!), which Felix Castilla played on the guitar with him, and subsequently - in the fall of 1845 - created the play “Capriccio brillante” from the melody with variations. Prince Odoevsky advised calling it the “Spanish Overture,” and we know the play under the name “Aragonese Jota.” M.I. Glinka also recorded other chotas: Valladolid (to the melody of which the romance “Darling” was written), Asturian (Tyshko, Kukol, 2011, 160, 164 - 165). Regarding the Aragonese Jota, S. V. Tyshko and G. V. Kukol note one important point: in February 1845, F. Liszt, after finishing his own trip to Spain, wrote the Grand Concert Fantasia, where he used the Jota theme, which was recorded only a few months later by M.I. Glinka. F. Liszt was the first - but “Aragonese Jota” was created completely independently, without external influences (Tyshko, Kukol, 2011, 214 - 215). The development of the “Spanish” style in Western European music is a topic for a separate study, but at the moment we only want to note that the “Spanish” style is not only a Russian “invention”.
While recording Spanish melodies, M.I. Glinka encountered a difficulty - the music was unusual for him, different from what he knew, generally difficult to write, and therefore he identified the character of this music as ... Arabic (Tyshko, Kukol, 2011 , 217). On the one hand, the Russian composer was right - in the comments to the Notes it is repeatedly stated that Spanish music (jotas, seguidillas, fandango, flamenco - according to researchers, symbols of Spanish culture of that time) has Arabic (and not only) roots. On the other hand, it cannot be denied that M. I. Glinka thought like an Orientalist composer: he had not been to the countries of the Arab world and had not heard Arab national music, but this did not stop him from giving a similar definition to Spanish music. Moreover, the composer heard “Arabic” music more than once (in Madrid, in the fall of 1845; in Granada, in January 1846) (Tyshko, Kukol, 2011, 326). And in the winter of 1846 - 17847. he attended dance evenings where national singers, according to him, “sang in the oriental style” - this formulation allows us to confidently assert that Spain, in the minds of the Russian composer, was an oriental country (Tyshko, Kukol, 2011, 472 - 473). M.I. Glinka wrote to N. Kukolnik: “The national music of the Spanish provinces, which were under the rule of the Moors, is the main subject of my study...” (Tyshko, Kukol, 2011, 326) - that is, firstly, he understood and recognized that Spain is Orientalized, and secondly (therefore) had certain - Orientalist - expectations (the music will be “Arabic”). Expectations were confirmed.
In Granada, M.I. Glinka met a gypsy woman and, having learned that she could sing and dance, invited her and her comrades for the evening. According to the composer, the old gypsy danced too obscenely at the evening. The obscene dancing of the gypsies is another important element in the image of oriental Spain. S. V. Tyshko and G. V. Kukol note that gypsy culture has become an integral part of life in Andalusia, and the Spanish gypsy woman - gitana - has become a recognizable symbol of 19th-century art, including Russian. But further in the text there is a rhetorical exclamation: “What can we say about the world symbol embodied in Carmen ...” (Tyshko, Kukol, 2011, 366). This exclamation is not the only one, but they all cause bewilderment. Carmen is mentioned in a fairly large passage dedicated to Andalusian women. S.V. Tyshko and G.V. Kukol indicate that at the beginning of the 19th century. the attractiveness of Andalusian women was legendary. Literary critic V.P. Botkin wrote about the bewitching sparkle of the eyes, the bronze color of the skin, the delicate whiteness of the face, the naivety and audacity of the Andalusians, whose only need was the need to love; A. S. Pushkin admired the legs of Andalusian women (and the poet, unlike V. P. Botkin, had not been to Spain). Researchers note such traits in the character of Andalusians as ignorance, willfulness, indomitability - and evidence for them is the words of the hero of the short story “Carmen” Jose that he was afraid of Andalusians (Tyshko, Kukol, 2011, 355 - 360). This position may at least cause surprise - after all, there is an appeal to the work of a French writer (and then to the work of a French composer), where the Spanish gypsy Carmen is shown as the French wanted to see her - but this does not mean that the gypsies actually were like this! In our opinion, you cannot judge gypsies based on Carmen, you cannot base your conclusions on an Orientalist work, where you can only find the authors’ ideas, from which it does not follow that everything happened in reality. If a researcher acts in this way, then there is reason to call him an Orientalist.
But let's return to our topic. Gypsy culture was indeed an important part of Spanish culture - and part of the oriental image of Spain. A. Piotrowska points out that the image of Spanish gypsies is, first of all, the image of attractive and obscene gypsy dancers (Piotrowska, 2013). The same was the opinion of M.I. Glinka. However, he was really interested in the gypsies and even, most likely, was in El Malecon - a place where the gypsies gathered. In addition, he met Antonio Fernandez “El Planeta” - a gypsy blacksmith, “national singer”, keeper of the oldest authentic traditions, from whom the first flamenco music notations in history were obtained (Tyshko, Kukol, 2011, 424, 483).
S. V. Tyshko and G. V. Kukol pay attention to the origins and characteristics of flamenco - and from their descriptions one can easily conclude that flamenco was also part of oriental Spanish culture. The origins of flamenco are found in Arab, Gypsy, Spanish (Andalusian) and Greco-Byzantine cultures. The first professional performers in the cante jondo style (the first flamenco style) appeared in Spanish patios, pubs, and taverns at the end of the 18th century, when public interest in oriental dances and songs increased, and the more they contained gypsy or Moorish, the more exotic they were ( Tyshko, Kukol, 2011, 478). Accordingly, in Spain at the end of the 18th century. Exactly the same situation was observed that took place in Europe XVII century, when Turkish music became relevant (Rice, 1999). The “Spanish” style was formed in the same logic as other Orientalist styles. Flamenco music is freely improvisational and sophisticatedly virtuosic. Melodies (“in the eastern style”) contain intervals of less than a semitone and a lot of decorations. Their modal structure is complex - there is a combination of Phrygian, Dorian, as well as Arabic “Maqam Hijazi” modes. Flamenco rhythms are also complex, and there is also a lot of polyrhythm in the music (Tyshko, Kukol, 2011, 479 - 480). All this was completely unusual for M.I. Glinka (as a European musician), which is why he experienced difficulties in recording and understanding flamenco music.
Finally, let's turn to the gypsy dances that the Russian composer saw. About them, he wrote the following: “But it is remarkable - and in our northern and western regions it is difficult to believe in such a thing - that all these strange, unfamiliar, unprecedented movements for us are voluptuous, but there is not the slightest sense of unbridledness in them...” (Tyshko, Kukol, 2011, 477 - 478). M.I. Glinka draws an imaginary border, dividing “his” “northern and western regions” and unfamiliar Spain, located, obviously, in the “south and east” - that is, being part of the oriental world. This is exactly how Spain appeared to M. I. Glinka, one of the founders of the “Spanish” style in Russian musical orientalism, oriental (and orientalized), with Arabic music and dances of beautiful gypsies.
M.I. Glinka was the first Russian composer to visit Spain (1845-1847). He studied the culture, customs, and language of the Spanish people; recorded Spanish melodies (from folk singers and guitarists), observed folk festivals. Since the secular music of Spain, sounded in theaters at that time, was largely influenced by Italian music, he was more interested in the “tunes of the common people.” Glinka recorded about 20 folk tunes with unaccompanied texts in Madrid and Granada. His Spanish impressions inspired him to create two symphonic overtures. These are “The Aragonese Hunt” (1845) and “Memories of summer night in Madrid" (1848-51), where pictures of the life of the Spanish people are reproduced.
Spanish folklore dictated to the composer a special approach to material, form, and orchestration. Both overtures are far from the usual genre processing folk melody. Glinka sought to reach a new level of artistic generalization, capturing the very spirit of the nation. Creating scenes from folk life, he strengthened the procedural-event nature of the sound. Both overtures use such a compositional technique as an extended introduction and coda (“beginning” and “end” of the dance scene), a sharp switch from one plane to another.
"Aragonese Jota"
Spanish Overture No. 1 (1845)
In “Aragonese Jota,” the composer turned to the most popular Spanish folk theme. Hearing it performed by Spanish guitarists, he was delighted with its unique, cheerful grace. This is the melody of jota (Spanish jota) - the national Spanish three-beat dance, which has become one of the musical symbols of Spain. It was with this that Glinka’s very first impressions of Spanish culture were connected.
"Aragonese Jota" opens slowly introduction in the character of a severe march-procession (Grave). His music, with solemn fanfares and contrasting changes in dynamics, is full of restrained strength and grandeur. This is an image of harsh and beautiful Spain. After characterizing the “scene of action,” development switches to a “specific event” plan. In the sonata section, in bright contrast to the introduction, a picture of festive folk fun emerges.
The instrumentation masterfully conveys the flavor of Spanish folk music. Light pizzicato of the strings and plucking of the harp reveal the poetic image of the guitar strumming ( 1st theme of the main part- an authentic Aragonese jota melody), woodwinds imitate singing in the vocal part of the dance ( 2nd theme of the main part- copla).
Using the sonata form, Glinka does not abandon the method of variation. He combines motivic development with varying material. Already within the framework of the main part (double tripartite form ababa) there is a variation of themes. IN side party, elegant and graceful, reminiscent of the strumming of a mandolin, Glinka brilliantly realizes the characteristic compositional feature of folk hota. The harmonic plan of all melodies of this genre is the same - TD D T. On this basis, the melodies themselves can be heard as variants of each other. This is exactly how both topics of the side game are perceived. They are added to the original rhythmic formula of the jota of two sounds (TD DT) as counterpoints, thereby forming a series of variations (8 bars up to number 10).
The development is based on the principle of a gradual increase in dynamics, with constant switching of plans: solo scenes, as if “snatched” from the general mass, are replaced by the brilliant sound of the entire orchestra. Before the central climax, the sound of the jota is interrupted by the secretly alarming timpani tremolo and brass fanfare, recalling the theme of the introduction - this is Spain, the land of unbridled passions.
The highest point of development is marked by the dazzlingly bright theme of jota, carried out by the entire orchestra. It almost tangibly reveals the picture of nationwide rejoicing.
Reprise(ts. 18) is a true apotheosis of variation in sonata form. The main and secondary themes, which seemed to be different themes in the exhibition, look here as a single sequence of variations on a given harmony.
Syncopated fanfare codes form a thematic arc to the introduction, but are painted in bright, festive colors.
So, the uniqueness of Glinka’s jota is that the sonata dynamism of its form is enhanced thanks to the commonality of themes that opens up in the process of variation.
In this overture, Glinka uses a large orchestra. A special role is played by castanets - a Spanish instrument that emphasizes the national flavor, as well as the harp.
"Memory of a Summer Night in Madrid" (or "Night in Madrid")
Spanish Overture No. 2 (1848-1851)
The image of a summer southern night is one of the most characteristic symbols of Spain. It was widely developed in European poetry. The landscape here often becomes the backdrop for the intense life of human emotions, revealed in the mysterious “rustles” of the night.
The dramaturgy of Glinka's “Nights in Madrid” is in many ways unconventional for the 19th century, which is due to the peculiarities of the artistic concept: the embodiment of images of Spain as if through the haze of passing time. The composition creates a feeling of randomness of musical pictures that spontaneously arise in the mind of the traveler. After a little introductions, depicting a night landscape, four authentic Spanish themes follow one after another. They alternate according to the principle of contrast: the graceful jota is replaced by a colorful Moorish melody, then the rapid first seguidilla sounds, followed by a more melodious, smooth second seguidilla. In the second part of the overture, all themes occur in reverse, mirror order. The letter diagram of the essay - A B C D D C B A - reflects the concentric shape.
The apparent randomness of phenomena following each other does not at all deprive “Night in Madrid” of its compositional harmony. As in the first overture, the composer managed to translate folk elements into the form of a purely symphonic development.
Compared to the first “Spanish Overture,” there are fewer external contrasts, but more unique timbre discoveries. Glinka uses the most subtle, airy, watercolor-transparent nuances of the orchestral palette: divisi of strings in the high register, harmonics of violins and cellos, staccato passages of woodwind instruments. It is interesting that “A Night in Madrid” does not use the harp at all, which was so prominent in “Aragonese Jota”. The guitar flavor here is embodied more indirectly, through a subtle stylization of the ornamental techniques of folk music. With its refinement of orchestral writing, Glinka's score anticipates the trends of musical impressionism.
An interesting technique is the “anticipation” of themes: first the accompaniment appears, and only then against its background the outlines of the dance itself are revealed.
The Spanish theme has repeatedly attracted the attention of European composers. They developed it in works of different genres and in some cases they managed not only to preserve the originality of national character, but even to anticipate the searches of Spanish composers and help them find new paths. In other words, in other countries they wrote not only about Spain, but also for Spain. This is how European musical Spanish studies was created. Composers from different countries turned to Spanish folk genres. In the 17th century, Corelli wrote violin variations "La folia" on Spanish theme, which was subsequently processed by many composers, including Liszt and Rachmaninoff. “La folia” by Corelli was not only an outstanding work that has retained its popularity to this day, but also one of the cornerstones of European musical Spanish studies. On this basis were created best pages European musical Spanish studies. They were written by Glinka and Liszt, Bizet, Debussy and Ravel, Rimsky-Korsakov and Chabrier, Schumann and Wolf. The listing of these names speaks for itself, recalling works known to every music lover and introducing the world of images of Spain, for the most part romantic, full of beauty and poetry, captivating with the brightness of their temperament.
They all found in Spain a living source of creative renewal; they lovingly reincarnated the poetic and musical folklore of Spain in their works, as, for example, happened with Glinka’s overtures. The lack of direct impressions was compensated by communicating with Spanish musicians, especially performers who performed in many countries. For Debussy, an important source were the concerts at the 1889 World Exhibition in Paris, of which Rimsky-Korsakov was an assiduous visitor. Excursions into the field of Spanish were especially frequent among composers from Russia and France.
First of all, in Russian music, because its Spanish pages received worldwide recognition and were a manifestation of the wonderful tradition laid down by Glinka - a tradition of deep respect and interest in the creativity of all peoples. The public of Madrid, Barcelona and other cities warmly accepted the works of Glinka and Rimsky-Korsakov.
Spanish dance from the ballet "Raymonda" by Glazunov.
Spanish dance from the ballet "Swan Lake" by Tchaikovsky.
Glinka's scores meant a lot to her masters. “Aragonese Jota” and “Night in Madrid” were created under the impression of acquaintance with the living folklore tradition - Glinka received his themes directly from folk musicians, and the very specificity of their performance suggested to him certain methods of development. This was correctly understood and appreciated by composers such as Pedrel and Falla. Russian composers continued to show interest in Spain in the future; they created many diverse works.
Glinka's example is exceptional. The Russian composer lived in Spain for more than two years, communicated widely with its people, became deeply imbued with the peculiarities of the country's musical life, and became acquainted locally with the songs and dances of different regions, including Andalusia.
Capriccio on the theme "Aragonese Jota" by Glinka.
Spanish dance from the film "The Gadfly" by Shostakovich.
Based on a comprehensive study of folk life and art, the brilliant “Spanish Overtures” arose, which meant so much for the music of both countries - Russia and Spain. Glinka arrived in Spain having already created several works on a Spanish theme - these were his romances based on the words of Pushkin, in whose work the theme of Spain is also represented by a number of wonderful works - from lyrical poems to tragedy " Stone Guest" Pushkin's poems awakened Glinka's imagination, and he - even before visiting Spain - wrote brilliant romances.
Romance "I'm here, Inezilla"
Spanish overture "Night in Madrid" by Glinka.
Spanish dance from the opera "A Short Life" by de Falla.
Spanish dance from the ballet "Don Quixote" by Minkus.
From Glinka’s romances a thread subsequently extended to the Spanish pages of Dargomyzhsky, to Tchaikovsky’s Don Juan’s Serenade, romantic in nature, marked by the depth of poetic insight, which makes them true masterpieces of Russian vocal lyricism.
"Serenade of Don Juan" by Tchaikovsky.
Bright pages in the lives of many outstanding composers were travels to different countries of the world. The impressions received from the trips inspired great masters to create new musical masterpieces.
The Great Journey of F. Liszt.
The famous cycle of piano pieces by F. Liszt is called “The Years of Wanderings”. The composer combined in it many works inspired by visits to famous historical and cultural places. The beauty of Switzerland was reflected in the musical lines of the plays “At the Spring”, “On Lake Wallenstadt”, “The Thunderstorm”, “The Oberman Valley”, “The Bells of Geneva” and others. While staying with his family in Italy, Liszt met Rome, Florence, and Naples.
F. Leaf. Fountains of Villa d.Este (with views of the villa)
Piano works inspired by this journey are inspired by Italian Renaissance art. These plays also confirm Liszt's belief that all types of art are closely related. Having seen Raphael's painting "The Betrothal", Liszt wrote a musical play with the same name, and the severe sculpture of L. Medici by Michelangelo inspired the miniature "The Thinker".
The image of the great Dante is embodied in the fantasy sonata “After Reading Dante.” Several plays are united under the heading "Venice and Naples". They are brilliant transcriptions of popular Venetian melodies, including a fiery Italian tarantella.
In Italy, the composer's imagination was struck by the beauty of the legendary Villa d. Este of the 16th century, the architectural complex of which included a palace and lush gardens with fountains. Liszt creates a virtuosic, romantic play, “The Fountains of the Villa d. Este,” in which one can hear the trembling and flickering of water jets.
Russian composers and travelers.
The founder of Russian classical music M.I. Glinka managed to visit different countries, including in Spain. The composer traveled a lot on horseback through the villages of the country, studying local customs, mores, and Spanish musical culture. As a result, the brilliant “Spanish Overtures” were written.
M. I. Glinka. Aragonese jota.
The magnificent "Aragonese Jota" is based on authentic dance melodies from the province of Aragon. The music of this work is characterized by bright colors and rich contrasts. Castanets, so typical of Spanish folklore, sound especially impressive in the orchestra.
The cheerful, graceful theme of the jota bursts into the musical context, after a slow, majestic introduction, with brilliance, like a “stream of a fountain” (as one of the classics of musicology B. Asafiev noted), gradually turning into a jubilant stream of unbridled folk fun.
M. I. Glinka Aragonese jota (with dance)
M.A. Balakirev was delighted with the magical nature of the Caucasus, its legends, and the music of the mountain people. He creates the piano fantasy “Islamey” on the theme of Kabardian folk dance, the romance “Georgian Song”, symphonic poem“Tamara” based on the famous poem by M. Yu. Lermontov, which turned out to be in tune with the composer’s plans. Lermontov's poetic creation is based on the legend of the beautiful and treacherous Queen Tamara, who invites knights to the tower and dooms them to death.
M. A. Balakirev “Tamara”.
The introduction of the Poem paints a gloomy picture of the Daryal Gorge, and in the central part of the work bright, passion-filled melodies in the oriental style sound, revealing the image of the legendary queen. The Poem ends with restrained dramatic music, indicating tragic fate fans of the crafty Queen Tamara.
The world has become small.
The exotic East attracts C. Saint-Saens to travel, and he visits Egypt, Algeria, South America, Asia. The fruit of the composer’s acquaintance with the culture of these countries were the following works: the orchestral “Algerian Suite”, the fantasy “Africa” for piano and orchestra, “Persian Melodies” for voice and piano.
Composers of the 20th century there was no need to spend weeks shaking in a stagecoach off-road to see the beauty of distant countries. The English musical classic B. Britten went on a long journey in 1956 and visited India, Indonesia, Japan, and Ceylon.
The ballet-fairy tale “Prince of the Pagodas” was born under the impression of this grandiose voyage. The story of how the Emperor’s evil daughter Ellin takes away her father’s crown, and tries to take away her groom from her sister Rose, is woven from many European fairy tales, with plots from oriental legends interspersed there as well. The charming and noble princess Rose is taken by the insidious Jester to the mythical Kingdom of Pagodas, where she is met by the Prince, enchanted by the Salamander monster.
The princess's kiss breaks the spell. The ballet ends with the return of the Emperor's father to the throne and the wedding of Rose and the Prince. The orchestral part of the scene of the meeting between Rose and Salamander is full of exotic sounds, reminiscent of Balinese gamelan.
B. Britten “Prince of the Pagodas” (Princess Rose, Scamander and the Fool).
