Scenario for an evening of Russian romance dedicated to the year of literature “Russian poetry in music.” Material on the topic: Script for the evening "Russian Romance"

Leading: “This amazing phenomenon is romance. You will hear, and everything in you will turn upside down, embrace you with inexpressible tenderness, sadness, love. It is full of charm and light sadness. Meeting him is always pleasant and welcome.

Today we will take a closer look at the history of romance. Spain is considered the birthplace of romance. It was here in the XIII - XIV centuries. wandering poet-singers created a new musical genre. The songs were sung in the native Romance language. In Russia this genre appeared in early XIX centuries and immediately won everyone’s love. The first Russian romances were composed in French Over time, composers began to create romances based on poems by Russian poets.

The fate of the romance, which even in the last century was for some reason called “ancient,” largely depended on the performer, on his talent and culture.

Ancient romances! There is so much warmth and charm, melody and emotional excitement in them! They always found a way to human hearts. These works were the direct heirs of the romances of the 19th century, when masterpieces of romance lyrics were created by composers Alyabyev, Bulakhov, Gurilev, Varlamov, and the authors of the texts of the most famous romances were Pushkin, Lermontov, Tyutchev, Fet, Apukhtin, Turgenev, Polonsky, Pleshcheev...

TO mid-19th century, two types of romance crystallized - “professional” and everyday.

The first was created by professional composers based on poems by famous poets. The romances of Franz Schubert are based on the poetry of Johann Goethe, the work of Robert Schumann is associated with the works of Heinrich Heine, Mikhail Glinka wrote romances based on the poems of Alexander Pushkin, Pyotr Tchaikovsky - on the poems of Alexei Tolstoy, Nikolai Rimsky-Korsakov - on the poems of Apollo Maikov.

The second type of romance was born among the people. However, even among everyday romances, works of high artistic value appeared.

These two types of romance - professional and everyday - were not isolated, but, on the contrary, enriched each other.

“In the musical environment, amateurs are called half-contemptuous, but in fact they are great talents and true masters who have created amazing examples of art that still live in the hearts of thousands and thousands of people. “The bell rattles monotonously,” “Here comes the postal troika,” “My nightingale, nightingale,” “Don’t sew me, mother, a red sarafan”... I love the Russian romance of the pre-Glinka era...”, wrote G. Sviridov in the book “Music as fate".

Among the composers of the “pre-Glinka era” who wrote romances, Alexander Lvovich Gurilev, whose works were mentioned by Sviridov, occupies a prominent place. Alexander Lvovich Gurilev is the author of wonderful lyrical romances.”

Gurilev A. Sl. Makarova I. “Bell”

Performed by Katya Medunitsyna, accompanist T. G. Yakubovich.

Leading : “Many of Gurilev’s romances are written in the rhythm of the waltz, which was widespread in urban life at that time. At the same time, the smooth three-beat waltz movement is harmoniously combined with purely Russian poetic meter, so-called five-syllable, very characteristic of poems in the “Russian song” genre. These are the romances “The Sadness of a Girl.”

Gurilev A. Poems by Koltsov A. “The Sadness of a Girl”

Performed by Anya Sidorova, accompanist T. G. Yakubovich.

Leading: “Romance of Bulakhov P.P. “My bells”, lyrics. A. Tolstoy. Poems and melody in the romance are perceived in semantic and figurative continuity. In a single impulse, the melody, the measured “clatter” of the accompaniment with whirlwind passages of acting, the rider rushing, not knowing where, and the wind, under which the grasses and flowers bend, merge ... "

“My bells, steppe flowers,

Why are you looking at me, dark blue.

And what are you ringing about on the merry day of May,

Among the uncut grass, shaking your head?

The horse carries me like an arrow into the open field;

He tramples you under him, hits you with his hoof.

My bells, steppe flowers,

Don’t curse me, dark blue ones!”

Bulakhov P. Poems by Tolstoy A. “My bells, steppe flowers”

Performed by Zenina Vika, accompanist T. G. Yakubovich.

Leading: “Chamber vocal lyrics also occupied an important place in the work of A. Alyabyev. The romance “Beggar Woman” was written in the 40s of the 19th century.

During this period, the composer turns to plots social significance. He creates images of the disadvantaged, similar to the images of Russian literature of that time - Petersburg stories N. Gogol, early stories F. Dostoevsky and M. Turgenev. Alyabyev's songs of this period prepared the innovative works of A. Dargomyzhsky and M. Mussorgsky. These works include the romance “Beggar Woman”. This romance marks Alyabyev's transition from creating songs of a purely lyrical nature to dramatic works.

In Beranger's interpretation of the text, Alyabyev managed to find a generalizing musical image, to reveal the tragedy of a humiliated and disadvantaged person. The image of hopeless human grief, in subtle association with the atmosphere winter nature, aptly and succinctly conveyed in music. The initial melodic intonation, which forms the basis of the piano accompaniment, is further developed in the vocal part as a “leitmotif of sorrow.”

"Winter, blizzard, and in large flakes

When there is a strong wind, snow falls.

At the entrance to the temple, alone, in rags,

The old beggar woman is standing...

And waiting for alms,

She's still here with her stick,

Both in summer and in winter, blind!..

Give her alms!”

Alyabyev A. “Beggar”

Performed by Gunina Valya, accompanist T. G. Yakubovich.

Leading : “What I mysteriously dream about in the silence of the night,

What I think about all the time in the light of day,

It will be a secret to everyone, and even you, my verse,

You, my windy friend, are the delight of my days,

I will not convey to you the soul of my dreams,

Otherwise you will tell me whose voice is in the silence of the night

I hear whose face I find everywhere,

Whose eyes shine for me, whose name I repeat.”

I read Apollon Maykov’s poem “What in the silence of the night...”

Maykov's poetry is contemplative, idyllic and distinguished by a touch of rationality, but at the same time it reflects Pushkin's poetic principles: accuracy and specificity of descriptions, logical clarity in the development of the theme, simplicity of images and comparisons. For artistic method Maykov is characterized by the allegorical use of landscapes, anthological paintings, and plots to the thoughts and feelings of the poet. This feature makes him similar to the classic poets.

Many of Maykov’s poems were set to music (Tchaikovsky, Rimsky-Korsakov and others).”

Rimsky - Korsakov N. A. Poems by Maykov A. “What in the silence of the night...”

Performed by Anya Karpina, accompanist T. G. Yakubovich.

Leading: “On November 9, 1918, in Kuban, an absurd tragic incident cut short the life of a talented composer and poet, author of world-famous famous romance“The chrysanthemums have bloomed” by Nikolai Ivanovich Kharito.

According to legend, at that second when the shot was fired and Nikolai Kharito fell dead, struck by a bullet from the jealous officer Baron Bongarden, in the next hall of one of the restaurants in the city of Tikhoretsk, where the wedding was celebrated, someone sang quietly: “The chrysanthemums have long since faded in the garden". The author of this romance lay bleeding, and a smile forever froze on his beautiful face...

Nikolai Kharito was unusually handsome, courteous and talented. According to contemporaries, it was simply impossible not to fall in love with him. He was adored by regulars of fashionable noble salons and fashionable living rooms. It was there that the romances were performed outstanding masters this genre.

Nikolai Kharito was a favorite of the public visiting concert halls, where the then pop stars performed: Varya Panina, Anastasia Vyaltseva, Nadezhda Plevitskaya, Iza Kremer, Alexander Vertinsky. Their creativity was a striking phenomenon of domestic musical culture. Their voices contained pain and joy, sadness and... hope.

…Nikolai Kharito’s romance “The chrysanthemums in the garden have long since faded” has been heard for almost 100 years. It has stood the test of time. With an immense feeling of melancholy and nostalgic anguish, it was performed by Alla Bayanova and Valery Agafonov, Vadim Kozin and Pyotr Leshchenko. It sounds in one of the episodes of the movie “Lyubov Yarovaya”. Today they sing it opera singers and pop singers, pop stars and rock musicians. This romance takes a worthy place in the repertoire people's artist USSR Joseph Kobzon".

"In that garden,

where we met,

Your favorite bush

chrysanthemums bloomed.

And in my chest

blossomed then

The feeling is bright

tender love..."

Kharito N. “The chrysanthemums in the garden have long since faded”

Performed by Julia Morozova, accompanist T. G. Yakubovich.

Leading:

“Not the wind, blowing from above,

The sheets touched the moonlit night;

You touched my soul -

She's as restless as the leaves

It is like a harp and has many strings.

The whirlwind of life tormented her

And a crushing raid,

Whistling and howling, he tore the strings

And it was covered in cold snow.

Your speech pleases the ear,

Your light touch

Like fluff flying from flowers,

Like a breath of May night..."

A poem by Alexei Tolstoy was read, based on the text of which Nikolai Andreevich Rimsky-Korsakov wrote a romance of the same name.

The romantic longing that sounds in the lines of the poem has its source not only in the abstract philosophical views Tolstoy, but also his social well-being, in particular, the understanding that the life of the socially close layers of Russian society is empty and meaningless.

The poem “It is not the wind that blows from above” was written in 1851.

In the same winter of 1850-1851, Tolstoy met the wife of the Horse Guards Colonel Sofya Andreevna Miller and fell in love with her. They got together, but their marriage was hindered, on the one hand, by Sofia Andreevna’s husband, who would not give her a divorce, and on the other, by Tolstoy’s mother, who treated her unkindly. Only in 1863 their marriage was officially formalized. Sofya Andreevna was an educated woman, she knew many foreign languages and apparently possessed an extraordinary aesthetic taste. Tolstoy more than once called her his best and most severe critic and listened to her advice. His entire being is addressed to Sofya Andreevna. love lyrics, starting in 1851.

Rimsky Korsakov N. A. Poems by A. Tolstoy “It is not the wind that blows from above”

Performed by: Vocal ensemble, accompanist Volkova I.A.

Leading: “Continuing the theme of love and romance, let’s talk a little about the creators of this magnificent music.

The 20th century showed the world a completely unique composer - Mikael Tariverdiev (1931-1996). He is loved for his films: “The Irony of Fate”, “Seventeen Moments of Spring”. But this is only part of the music that he left behind.

Tariverdiev’s music is special; his vocal works cannot be strictly divided into genre. This is “confession of the heart.”

And when the hearts of two geniuses unite in one work, the music of their souls begins to sound in unison.

Brodsky considered Bella Akhmadulina “the undoubted heir of the Lermontov-Pasternak line in Russian poetry,” a poet whose “verse reflects, meditates, deviates from the topic; the syntax is viscous and hypnotic and is largely a product of her authentic voice.”

"It's been a year on my street

Footsteps sound - my friends are leaving.

My friends are slowly leaving

I like that darkness outside the windows.

My friends' affairs have been neglected,

There is no music or singing in their houses,

And only, as before, the Degas girls

The little blue ones straighten their feathers.

Well, well, well, let fear not wake you up

You, defenseless, in the middle of this night.

There is a mysterious passion for betrayal,

My friends, your eyes are clouded.

Oh, loneliness, how cool your character is!

Shining with an iron compass,

How coldly you close the circle,

Not heeding useless assurances.

So call me and reward me!

Your darling, caressed by you,

I will console myself by leaning against your chest,

I will wash myself with your blue cold.

Let me stand on tiptoe in your forest,

On the other end of a slow gesture

Find foliage and bring it to your face,

And feel orphanhood as bliss.

Grant me the silence of your libraries,

Your concerts have strict motives,

And - wise one - I will forget those

Who died or are still alive.

And I will know wisdom and sorrow,

Mine secret meaning they will trust me with items.

Nature leaning on my shoulders

He will reveal his childhood secrets.

And then - out of tears, out of darkness,

From the poor ignorance of the past

My friends have beautiful features

They will appear and disappear again.”

Tariverdiev M. Poems by Akhmadulina B. “It’s been a year on my street”

Performed by Onuchina Galya, accompanist T. G. Yakubovich.

Leading : “And one more romance based on the poems of Bella Akhmadulina, the music for which was composed by Andrei Petrov “And finally, I’ll say...”

"And in the end I will tell:

Goodbye love is not obligatory.

I'm going crazy. Or I rise

TO high degree madness.

How you loved you sipped

Death. Not in this case.

How did you love? You ruined it.

But he ruined it so clumsily

Small temple work

Still doing it, but his hands have fallen,

And in a flock, diagonally

Smells and sounds go away.

And in the end I will tell:

Goodbye love is not obligatory.

I'm going crazy. Or I rise

To a high degree of madness"

Petrov A. Poems by Akhmadulina B. “And lastly, I’ll say...”

Performed by Natasha Goryainova, accompanist T. G. Yakubovich.

Leading : « Dear friends! Our evening has come to an end. I hope you enjoyed the captivating sounds of the ageless Russian romance.

I hope that our guys will be happy to include Russian romances in their repertoire. See you again."

Target: to open little-known pages of Russian literature for modern schoolchildren, to introduce them to the cultural heritage of the country, to help talented children reveal their organizational, vocal, and theatrical abilities from a side unknown to them, to strengthen the mutual understanding of schoolchildren and teachers.

Tasks:

Educational: acquaintance with a new literary genre, the work of A.K. Tolstoy, F.I. Tyutcheva, A.A. Feta; acquaintance with the works of Russian composers and gypsy romance; acquaintance with new trends in the development of literature in Russia after the reform of 1861.

Developmental: systematization of knowledge on literature of the second half of the 19th century; development of ideas about the genres of Russian literature; generalization of knowledge about the culture of post-reform Russia; expanding connections between literature and other areas of art - theater, music; development of communication skills and improvement of the ability to behave in public, preparation for successful socialization in society.

Educational: nurturing love for Russian national culture, getting to know its traditions; Russian influence literature of the 19th century centuries on the formation and development of the personality of the modern young generation; the discovery of a new layer of Russian national culture, little known to modern schoolchildren; patriotic education; development of organizational skills and self-government in a team of high school students; strengthening connections between schoolchildren and teachers, creating conditions for creative self-realization of the child’s personality.

Characters:

1. Leaders – 2 pairs
2. Dramatization based on the play by A.N. Ostrovsky “Dowry”:

Larisa Dmitrievna
Kharita Ignatievna
Knurov
Paratov

3. Dramatization based on the play by L.N. Tolstoy’s “The Living Corpse”:

Officer

4. Vocalists – 4 people, teachers and students
5. Vocal group
6. Guests in the salon

Decor:

Thematic wall newspapers with materials about composers, authors of romances, as well as performers of Russian and gypsy romances. Wall newspapers are posted a week before the Performance in the Russian language room or foyer.

The curtain is decorated with Pavlovo Posad shawls.

Living room in 19th century style: piano (if possible), sofa, tables, flowers, candles.

Two presenters appear at the curtain - a boy and a girl.
Music “Open the gate slowly...”.

As soon as the evening turns blue,
As soon as the stars light up the skies
And bird cherry silver frost
The dew will be removed with pearls.

Open the gate slowly
And go up into the quiet garden like a shadow,
Don't forget a darker cape,
Put lace on your head.

I dreamed of a garden in a wedding dress,
In this garden, you and I are alone.
Stars in the sky, stars on the sea,
The stars are in my heart too.

Are there whispers of leaves or gusts of wind?
With a sensitive soul I greedily catch.
The eyes are deep, the lips are silent:
Darling, oh darling, I love you.

Host: You, of course, recognized both these lines and this melody.

Presenter: We dedicate this evening to Russian romance of the second half of the 19th century.

Presenter: Romance has occupied a certain place in the musical life of Russia since the second half of the 18th century. Gradually, this genre seemed to split into two streams: classical, “professional” romance and everyday, amateur romance (that is, created by amateur musicians).

Presenter: Classic romance, occupying a prominent place in concert activities many performers, was formed in the works of such great composers as Glinka, Dargomyzhsky, Tchaikovsky, Rimsky-Korsakov, Borodin, Mussorgsky, Rachmaninov.

Presenter: Everyday romance in its nature and greater simplicity of form was closer to songs. Although classical composers turned to everyday romance, it was mostly amateurs who created in this genre. The fact that everyday romance has remained popular for almost 250 years speaks of the high level of amateur music-making of past eras. The best examples of the Russian romance collection are truly masterpieces.

Presenter: For many present, the romance is associated primarily with the play by A.N. Ostrovsky “Dowry”.

The presenters leave.
appear on the right characters first dramatization
to the music “No, he didn’t love...”

Larisa sits down in a chair. Knurov and Ogudalova sit down on the sofa at the table.
Paratov stands at the podium with a vase and flowers.
The men are holding glasses of champagne.

Paratov: Why did you leave us, Larisa Dmitrievna?

Larisa: I’m not feeling well.

Paratov: Allow me, Larisa Dmitrievna, to ask you to make us happy! Sing us some romance or song! I haven’t heard from you for a whole year, and I probably won’t hear from you again.

Knurov: Let me repeat the same request.

Larisa: Really, gentlemen, please forgive me, I’m really not feeling well.

Ogudalova: Sing, Larisa, respect our dear guests.

Paratov: (brings up the guitar and kneels) Please!

Knurov, Paratov, Ogudalova: Please! Please!

Larisa: Play along with me.

Sings the romance “No, he didn’t love”
(Accompanied by O.N. Boyko, a music school teacher.)

The presenters come out - the second pair.

Presenter: The best examples in the romance genre of the second half of the 19th century are represented primarily by the works of Pyotr Ilyich Tchaikovsky based on the poems of Alexei Konstantinovich Tolstoy, Lev Mey, and Grand Duke Konstantin Romanov.

Presenter: Sergei Rachmaninov’s romance “Spring Waters” based on poems by F.I. is rightfully considered a vocal masterpiece. Tyutcheva.

Presenter: Poems by A.K. Tolstoy was inspired to write magnificent romances by Nikolai Andreevich Rimsky-Korsakov.

Presenter: Turgenev often said that his biography is contained in works of art. He told about this story in the novel “The Noble Nest”.

Presenter: Among the servants in the mother’s house there was one girl - seamstress Avdotya Ermolaevna Ivanova. From the first time, Ivan Sergeevich liked her with her clear and gentle eyes, delicate facial features, and modesty.

Presenter: The news of this love reached Varvara Petrovna herself, who had long held a grudge against her son. She rejoiced at the opportunity to shame the “Berlin sage.” There was a lot of noise in the house. They locked Avdotya in a closet, and demanded the young master to see his mother.

Presenter: She flew at her son like a hawk, reproaching him for immorality and godlessness. Ivan Sergeevich announced his intention to marry Avdotya. The last words caused real hysterics. She kicked her son out of the house and promised to deprive him of his inheritance. Avdotya was sent to Moscow.

Presenter: There, Avdotya Ermolaevna gave birth to a girl, Pelageya, very similar to her father. The girl was taken from her mother, and Varvara Petrovna settled her in Spassky. Here the girl grew up as a servant, pushed around by everyone and loved by no one. She did the dirtiest work.

Host: It was a bad joke with my mother: she promised to send her around the world - she will keep her word. Turgenev left Spasskoye with sad, heavy thoughts. Recent events weighed heavily on my heart. The road was covered with the first snow powder, scanty fields with sparse stubble stretched to the very sky, elegiac poems formed by themselves...

The vocal group performs the romance “Foggy Morning”

The presenters come out - the first couple

Presenter: Romance is a piece for voice with instrumental accompaniment, usually piano. The texts of romances can be lyrics, narrative, satire. The content and musical and expressive features of romances are more complex than songs, but these genres are often quite difficult to distinguish between. The peak of the development of romance in Russia occurred in the 19th – 20th centuries.

Host: The roots of romance as a vocal genre go back to musical life Western Europe, in particular, Spain of the 13th – 14th centuries. Love songs were sung by wandering singers of that time in Romanesque languages, which later led to the name of works of this kind - “romance”.

Presenter: The romance genre, thanks to its chamber-lyrical, intimate nature, has found fertile ground in the work of Russian composers.

Host: In the romances they were able to manifest themselves most successfully spiritual qualities and requests of the Russian people.

The romance “I remember the lovely sound of a waltz” sounds.
During the performance, two pairs - cadets and girls
from the choreography department - dancing a waltz.

The presenters come out - the second pair

Host: In the second half of the 19th century, performances by gypsy artists - soloists, singers and choirs - became widespread, first in restaurants, and then often in concert halls. Many of the gypsy musicians were excellent arrangers, in particular, of Russian romances and songs, and also composed themselves.

Presenter: There was a whole large gypsy musical family Shishkins. Probably, the representative of this dynasty, Andrei Shishkin, wrote a brilliant concert romance based on the poems of M.Yu. Lermontov “No, it’s not you that I love so passionately.” Singer and guitarist Nikolai Shishkin is the author of romantically sublime romances with a noble melody “Listen if you want” (poems by him) and “The Night is Bright” based on poems by Nikolai Yazykov.

Presenter: The works of arrangers and authors close to the gypsy circles N. Pashkov, N. Zubov, Y. Prigozhego date back to the same period. The artless song-romance by N. Pashkov (based on his own poems) “Don’t leave, my darling” combines the melodic intonations of romances from the early 19th century. N. Zubov’s romance “Stay with me,” which received a “rebirth” at the end of the 20th century, is also in line with the gypsy song traditions.

Presenter: Gypsy romances performed by Vera Panina evoked real emotions in listeners and immersed them in an atmosphere of passionate love. An amazing image of a gypsy romance singer was created by Lev Nikolaevich Tolstoy in his play “The Living Corpse”.

Second reenactment. Masha, Officer, Fedya Protasov.
Gypsy women and gypsies are sitting around.
The music is playing - the romance “Passia Pre Char (Led by the River)” - audio recording.
Protasov sits with his eyes closed.

Officer: Fedya! Are you sleeping?

Fedya: Don't talk! This is the steppe, this is the tenth century, this is not freedom, but freedom... Sing again, Masha!

Officer: Sing my funeral song!

Fedya: Why a funeral?!

Officer: And this is because when I die... you see, I die, I’ll lie in a coffin, the gypsies will come... This is what I bequeath to my wife. And they start singing - so I’ll jump out of the coffin. Understand?

Fedya: Oh, Masha, Masha, how you open up everything inside me.

Masha: What are you saying, Fyodor Vasilyevich?

Fedya: You open up the sky for me. You yourself don’t understand what you’re doing!

Masha: How can I not understand, I understand that whoever I love is why I try and sing better.

Sings the romance “Don’t tell me about him...”

The presenters come out - the first couple.

Host: There are many wonderful works, famous romances by unknown authors, whose names have been forgotten over time. Among these works are “Dark Eyes”, “Dark Cherry Shawl”.

Presenter: I would especially like to note one anonymous masterpiece - a romance based on poems by F.I. Tyutchev “I Met You”. Only due to the fact that it was preserved in the memory of the great singer I.S. Kozlovsky, who made the arrangement of the tune, we have the opportunity to rejoice at this wonderful composition.

The romance “I Met You...” is performed.

The presenters come out - all four

Presenter 1: Our evening has come to an end.

Presenter 1: For some of you, this was a meeting with good old friends.

Presenter 2: For others - immersion in a new, almost unknown world of Russian romance.

Presenter 2: I would like to hope that this evening will leave you with pleasant memories and attract new fans of the genre.

EVENING OF RUSSIAN ROMANCE

Batrakova Irina Aleksandrovna,
teacher of Vokhtomsk secondary school
Parfenyevsky district, Kostroma region

An evening of Russian romance is an opportunity for students to get acquainted with Russian musical culture, for a dialogue of feelings and emotions between students and teachers, and for enriching their spiritual world.

Scenario of the evening:

The romance “Enchanted, Bewitched...” sounds.
(lyrics by N. Zabolotsky, music by M. Zvezdinsky)

Presenter 1: Romance...It is full of charm and light sadness. Meeting him is always pleasant and welcome. Today we will get acquainted with the history of the emergence of romance and the development of this musical genre in Russia.

Many of you enjoy listening to romances or singing them yourself. Where did romance first appear? Where did he come to us on Russian soil from? What does this word mean?

Presenter 2: Spain is considered the birthplace of romance. It was here in the XIII - XIV centuries. wandering poet-singers created a new musical genre. The word "romance" comes from the Spanish "romance", that is, performed in the "Roman" language (as Spanish was then called), and not in Latin - the official language of the Catholic Church. What does it mean? Very simple. At that time in Spain, all church songs were sung in Latin, and the so-called secular songs were sung in the national language. Therefore, a work written in the Romance language was called a novel, and poems set to music were called romances. Later, a romance in Spain began to be considered any solo song performed accompanied by a musical instrument, most often a guitar or piano.

So, a romance is a short poem set to music for solo performance, which is performed accompanied by a musical instrument, most often a guitar or piano.

Presenter 1: In the book by B.V. Afanasyev “Guide to Concerts” it is said: “Romance is a complicated type of “room”, “home”, salon song, which has become more intimate, responsive in terms of conveying ... the best spiritual moods and therefore closely fused with lyrical poetry "

Presenter 2: Lyrical songs about love have existed in all countries at all times. They were sung by both city young ladies and village girls. Aristocrats of the 17th century treated common folk songs with contempt. Even the word “song” itself seemed plebeian to them. It was then that works with love content and a sensitive melody began to be called throughout Europe by the beautiful Spanish word “romance”, in contrast to common folk songs.

Presenter 1: This genre appeared in Russia at the beginning of the 19th century and immediately won universal love. The first Russian romances were composed in French, not only by composers, but also by amateur singers. Their names often remained unknown.

Presenter 2: But the names of those who are known throughout the world: Alexander Sergeevich Dargomyzhsky, Modest Petrovich Mussorgsky, Nikolai Andreevich Rimsky-Korsakov, Alexander Alexandrovich Alyabyev, Dmitry Dmitrievich Shostakovich, Mikhail Ivanovich Glinka and others. How many amazing romances were created by great composers! Pyotr Ilyich Tchaikovsky alone wrote more than 100 romances. They are close and understandable to us today, just as they were close and understandable people XIX and XX centuries.

The romance “The Chrysanthemums Have Bloomed” sounds
(lyrics by V. Shumsky, music by N. Kharito)

Presenter 1: Beautiful and smooth melodies, soulful words of romances are easy to remember. They contain words about friendship, love, unrequited feelings, jealousy, separation, beauty native nature, longing for the Motherland - words about what touches the soul of every person.

They take your breath away - powerful sounds!

They contain the rapture of painful passions,

They contain 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. (V.I. Krasov “Sounds”, 1835)

Nikolai Andreevich Rimsky-Korsakov created unusually heartfelt romances that reveal human feelings, images of nature, and reflections on art. The most famous of the cycle “By the Sea” is the romance “Crushes and Splashes”.

The romance “Crushes and Splashes” sounds
(music by N. A. Rimsky-Korsakov).

Presenter 2: Over time, the romance expanded its scope and was filled with love, comic, and satirical content. Its varieties appeared: elegy, ballad, dramatic monologue, urban, gypsy and folk romance.

Let's talk about each of them and start with folk romance. Its melody is similar to a drawn-out folk song. It resembles a kind of lyrical statement. A wonderful illustration would be the well-known romance “My Joy Lives.”

The romance “My joy lives on” sounds
(lyrics by S. Ryskin, music by D. Shishkin)

Presenter 1: Next, our conversation will focus on elegy. An elegy is a lyrical and philosophical poem. An example of an elegy is the romance “Foggy Morning” to the words of Ivan Sergeevich Turgenev. Poem “Foggy Morning” by I.S. Turgenev wrote in November 1843 under the impression of a break with Tatyana Bakunina, the sister of the famous anarchist revolutionary Mikhail Bakunin. In the work one can hear a nagging feeling of longing for the past happiness, the homeland, which the author voluntarily left and lived on the edge of someone else's nest in the family of Pauline Viardot. The music for these beautiful words was written by the officer of the Life Guards Hussar Regiment, Erast Abaza, a gifted musician with a keen sense of beauty. A talented young man died during Crimean War in besieged Sevastopol in June 1855. And we still love the romance “Foggy Morning.”

The romance “Foggy Morning” sounds
(lyrics by I.S. Turgenev, music by E. Abaza)

Presenter 2: The romance, which is similar to the ballad, is characterized by images inspired by ancient traditions and legends. They tell about historical events and heroes, reveal their experiences and deeds. Thus, the romance “Because of the Island to the Core” tells about the dashing ataman Stenka Razin and his squad.

The romance “Because of the island to the core” sounds
(folk lyrics and music).

Presenter 1: The gypsy romance arose like this. The gypsies, not having beautiful lyrics, began to perform works by Russian authors so masterfully that listeners perceived them as gypsy romances. The romance “Shine, Shine, My Star” became gypsy. The life of its author, the talented Russian composer Pyotr Petrovich Bulakov, was spent in dire need. Out of mercy, the composer was sheltered by Count Sheremetyev in his Moscow estate Kuskovo. More than 100 years have passed since then, and the melodies of P.P. Bulakov sound, helping people survive adversity.

The romance “Shine, Shine, My Star” sounds
(lyrics by V. Chuevsky, music by P. Bulakov)

Presenter 2: Examples of urban romance include the works “I remember the lovely sound of the waltz”, “Coachman, don’t drive the horses!”, “I like that it’s not me that’s sick of you.” They convey shades of the lyrical experiences of urban young ladies, depth and subtlety romantic relationships. We will now hear all this in the words and music of the romance “Dark Cherry Shawl”

The romance “Dark Cherry Shawl” sounds
(authors unknown)

Presenter 1: Romance is a dramatic monologue performed in the first person, and allows its author to express all the feelings and thoughts that overwhelm him. It can be a kind of confession that reveals the soul of its hero. Now we will hear a romance - a dramatic monologue “There is only once a meeting in life.”

The romance “Only once in a life does a meeting happen” sounds?
(lyrics by P. German, music by B. Fomin)

Presenter 2: Romance in Russia has become so popular that it has its own biography. The fate of many famous romances is unusual. They were created in the bright moments of the lives of poets and composers, and preserved part of their lives and souls.

1823 Munich. Russian diplomatic mission. It was here that 20-year-old diplomat Fyodor Tyutchev met Countess Amalia Lerchenfeld, the half-sister of the Russian Empress Alexandra Feodorovna, wife of Nicholas 1, illegitimate daughter Prussian King Frederick William III. In a year of dating young countess Tyutchev was so charmed that the young diplomat decided to marry her. But the Russian nobleman did not seem to be a very profitable match for Amalia’s parents, and preference was given to Tyutchev’s colleague, embassy secretary Baron Krudener. But neither Amalia nor Tyutchev forgot their youthful affection and carried it through their entire lives. Over the years they met less and less often. One of their meetings took place in 1870 in the German resort town of Carlsbad, where the poet wrote his confession poem:

I met you and everything is gone

In the obsolete heart came to life;

I remembered the golden time -

And my heart felt so warm...

Set to music, this poem became a popular romance. Last meeting occurred in March 1873, when Amalia Maximilianovna appeared at the bed where the poet, broken by paralysis, lay. Tyutchev's face brightened, tears appeared in his eyes. He looked at her for a long time, without uttering a word out of excitement...

The romance “I Met You” sounds
(lyrics by F. Tyutchev, music by unknown author)

Presenter 1: The pride of Russian classics can be called the romances of Mikhail Ivanovich Glinka. The composer wrote them throughout his life based on poems by contemporary poets and close friends. Special place the author's vocal lyrics include works based on the words of Alexander Sergeevich Pushkin. A real pearl that unites the geniuses of the poet and composer is the romance “I Remember wonderful moment" This romance has an amazing story.

Imagine St. Petersburg, 1819. One of the noisy social evenings. Pushkin followed with his eyes a very young, charming woman. “It was as if a heavy load was pressing on her, and there was hidden sadness in her huge eyes.” This is how the poet Anna Kern was remembered. As a 16-year-old girl, she was married to a rude man who was a complete stranger to her. Six years have passed. Pushkin was in exile in the village of Mikhailovskoye. How great was the poet’s joy when he unexpectedly met Anna Kern at the Osipovs’, friends of neighbors on the estate. She stopped while passing through with her relative, the mistress of the estate. Every evening Alexander Sergeevich listened to Kern’s singing, and each time the poet’s passion grew. The last day has arrived. Anna Petrovna was leaving for Pskov to visit her husband. Pushkin came to see Kern off and presented her with the recently published second chapter of the novel “Eugene Onegin.” When Anna opened the uncut pages of the donated book, a small piece of paper fell out with the poem “I Remember a Wonderful Moment,” dedicated to her. This poem will forever go down in the history of Russian poetry as one of the masterpieces.

Presenter 2: In 1838, at one of his sister’s family parties, Mikhail Ivanovich Glinka met Ekaterina, the daughter of Anna Petrovna Kern. That evening Glinka was not in a good mood. Quarrels with his wife deprived him of sleep and appetite. He could not create selflessly and enthusiastically as before. For several years now, a quarrelsome, stupid, pompous woman had lived nearby - his wife, whose interests did not go beyond balls, cards and horses. He knew that this couldn't go on any longer. The composer was distracted from his gloomy thoughts by the sounds of a waltz, and then he saw Ekaterina Ermolaevna. He listened to her voice, followed the movements of her hands, and something unusually bright, not yet conscious, was born in his soul. For the first time in many years, Glinka felt that he was young, strong and happy no matter what. And soon Ekaterina Kern had the notes of Glinka’s romance based on Pushkin’s poems “I Remember a Wonderful Moment.” And again, like fifteen years ago, when Pushkin presented the poems to Anna Kern, they sounded like recognition.

The romance “I Remember a Wonderful Moment” sounds
(lyrics by A.S. Pushkin, music by M.I. Glinka).

Presenter 1: Russian romance... How many secrets of broken destinies and trampled feelings does it keep! But how much tenderness and touching love he sings! Listen to the story of another romance.

They first met at a masquerade ball at the St. Petersburg Bolshoi Theater. For some reason, he immediately drew attention to her. She was slender and graceful. The mask hid his face, but grey eyes looked intently and sadly. Beautiful ashen hair crowned her head. They did not speak for long - the bustle of the masquerade separated them. Soon he wrote the poem “Among the Noisy Ball.”

In the midst of a noisy ball, by chance,

In the anxiety of worldly vanity,

I saw you, but it's a mystery

Your features cover...

This poem will be one of the best in Russian love lyrics, but it will become famous when it turns into a romance to the music of Pyotr Ilyich Tchaikovsky. And the words to it were written by Alexei Konstantinovich Tolstoy. He dedicated it to his future wife, Sofya Andreevna Miller. In her he found not only his only woman, but also an intelligent friend. Now let's listen to this romance.

The romance “Among the Noisy Ball” sounds
(lyrics by A.K. Tolstoy, P.I. Tchaikovsky).

Presenter 2: The love for romance is enduring. 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"performed by the amazing singer Valentina Ponamareva.

The romance “And in the end I will say” sounds
(lyrics by B. Akhmadulina, music by A. Petrov)

Presenter 1:

The romance is sad, alarming and bright,

And to you it is incomprehensible in every word.

Comes revelation itself,

How you once entered my destiny.

Romance entered our lives. It touches the most invisible strings of the beautiful, lofty, inexplicable in the soul. Of course, today we didn’t have time to talk about all the romances, their authors and performers. Yes, this is impossible. Therefore, we will not say goodbye, we will just say: “See you again at the evening of Russian romance!”

The main preliminary preparation for the evening is related to vocal numbers, since the evening involves the performance of romances. Pupils can act as performers classroom teacher and other school teachers, parents and guest performers. The use of audio recordings of romances is possible, but undesirable, since it may be dissonant with the “live” musical dialogue. Both teachers and students can act as hosts of the evening.

The evening requires the creation of a lyrical, slightly mysterious, contemplative atmosphere. Consequently, participants can be placed in a circle with a clearly highlighted center of attention - an impromptu stage. IN decoration In the evenings, draperies and candlesticks with candles are used. On the walls there are portraits of poets and writers (F.I. Tyutchev, I.S. Turgenev, A.A. Delvig, A.S. Pushkin, M.Yu. Lermontov, A.N. Tolstoy, B. Akhmadulina), composers (P. Bulakhov, S. Rachmaninov, P.I. Tchaikovsky, A. Dargomyzhsky, A.A. Alyabyev, M. Glinka, N. Rimsky - Korsakov, G. Sviridov), portrait of A.P. Kern.

To perform romances, a guitar/piano and other musical instruments are required. For organization musical arrangement during the conversation, as well as to create the necessary mood at the beginning and at the end of the evening, audio recordings of romances or classical music can be used.

References:

“Your favorite songs”, compiled by G. V. Pavlenko.

“I look into the blue lakes”, compiled by E.B. Sirotkin.

“Russian songs and romances”, compiled by V. Gusev.

“Russian Romance”, compiled by V. Rabinovich.

magazine “Education of Schoolchildren” No. 5/95. "Evening of Russian romance."

magazine “Education of Schoolchildren” No. 3-4/92, No. 6/94.

Rabinovich V. Notes on Russian romance // Russian romance

Romance has been one of the most popular genres in our country for more than two centuries. The history of romance in Russia in the context of a concert-conversation.

Municipal state-financed organization additional education

"Novgorod Children's Music School No. 1 named after. S.V. Rachmaninov"

Instead of a preface.

The proposed scenario for a school evening allows new form meet this one again popular genre what romance is. IN this text contains a large amount of information; it undoubtedly involves adjustments depending on the composition of the concert numbers, the number of participants and the age of the listeners. We found it interesting to trace the history of the development of romance in our country outside the framework of the subject “Musical Literature,” but more broadly.

“When the old tune sounds,

It's like he's calling us
Follow him on a long road
Where romance will meet us.

He will tire and enchant,
Will make you believe and love,
Where the heart yearns again,
And don’t forget the wonderful evening...”

Dear friends!

I). Introduction

Imagine a person you have known well for many years. Imagine that every time you learn something new about him, and your meetings become more and more exciting. The same can be said about romance.

No musical genre has been as popular in Russia as romance, and interest in it has not waned to this day.

II). A little history.

Term « romance » arose in Spain in the Middle Ages and originally denoted a poem in the local “Romanesque” dialect, and not in Latin, adopted in church hymns. Romance was also called folk song lyrical or heroic content, describing, for example, historical events, exploits of the legendary national heroes, disasters of war, battles with the Moors, etc. Collections of such songs, sometimes united by a common plot, were called “romancero” ».

Romance developed thanks to a large number wandering poet-singers in the 13th-14th centuries, performing their works to the accompaniment of a violin, flute, guitar or harp.

Having spread to other countries, the term “romance” began to designate, on the one hand, a particularly melodious lyric poem, and on the other, a genre of vocal music.

Starting from the 18th century in France, then in Germany and others European countries The word “romance” began to be used to describe a small musical and poetic composition for a soloist and an accompanying instrument, most often guitar, harpsichord and, finally, piano. Sometimes the singer was accompanied by an instrumental ensemble and even an orchestra. The content of the romances also expanded: along with love lyrics, poems of a sentimental nature were used, evoking tears and the delight of tenderness in listeners, scenes from a shepherd’s life appeared, and comic situations were played out.

In the 19th century, vibrant national schools of romance emerged: German, Austrian, French. True, abroad these works were called the word “lied” - song. It would not be an exaggeration to say that the most famous composer, who created more than 600 vocal compositions, is the Austrian Franz Schubert. Unrecognized during his lifetime, the composer gained worldwide fame after his death.

We will listen to a piano arrangement of a fragment of the vocal cycle “The Beautiful Miller's Wife”. And although we will not hear a single word, the music will tell us how the young apprentice told the stream the story of his unhappy love.

Listening: Schubert “The Miller and the Stream”, Spanish. Maksimov Alexander

III). Russia

In Russia, romance appeared later than in Europe, in the second half of the 18th century, after the reforms of Tsar Peter I, which affected all aspects of life. Russian state and music as well. Music was divided into spiritual and secular (entertainment). The predecessor of the romance was the lyric cant - a special type of three-voice choral singing. The first romances were written exclusively in French, and works with Russian text were called “Russian songs.”

Since the end of the 18th century, the creativity of amateur composers has flourished in Russia. Who composed romances in Russia? Surprisingly, among them are senator, active privy councilor, full member of the Academy of Sciences and Arts Grigory Teplov, Major General Alexey Titov, banker Fyodor Dubyansky, lawyer Mikhail Yakovlev, official Alexey Verstovsky. The texts of romances most often became popular lyric poems by contemporary poets.

Romances gradually became more complex, and later they were divided into several types: urban, classical, cruel, gypsy, Cossack, etc. Romances were intended for home music playing, and duets were especially loved. Imagine the scene: evening, cozy living room, candles are burning, two young ladies are singing a duet to the accompaniment of a piano. What could be more poetic?

Listening: G. Gladkov “Diana’s Romance” from the film “Dog in the Manger”,

Spanish Daria Volnova and Daria Bezruchko.

Curious historical fact: the development of the urban romance genre was greatly influenced by three Alexanders: the singing teacher Varlamov, the serf Gurilev, and the officer Alyabyev. The popularity of the romances of these authors is explained by the simplicity of the content, a well-remembered melody, and a simple accompaniment suitable for playing music at home.

A. Varlamov graduated from the court singing choir in St. Petersburg, sang beautifully himself, and published the first in Russia tutorial in vocals "School of Singing", held the position of "composer of Moscow music imperial theaters" His romances are melodic, easily recognizable and enjoyed great success among listeners.

We will listen to an arrangement for flute of Varlamov’s romance “At dawn, don’t wake her up.” It is about a girl who dreamed of love all night under the moon and fell asleep only in the morning.

Listen: A. Varlamov “Don’t wake her up at dawn”, Spanish. Ksenia Senina

A. Gurilev was the son of the once famous composer Lev Gurilev - the serf musician of Count V. Orlov. From the age of six he began studying music under the guidance of his father. Then he studied with famous Moscow teachers - J. Field and I. Genishta. WITH youth Gurilev played violin and viola in the count's orchestra, one of the best serf orchestras of that time. Throughout his childhood, adolescence and youth, the composer remained a serf. After the death of Count Orlov, the Gurilev family received freedom and settled in Moscow. Gurilev was then 28 years old.

From this time on, intensive composing and pedagogical activity Gurilev. Soon his works become popular, many of his romances literally “go to the people.” Gurilev also gained fame as a prominent piano teacher. However, popularity did not save the composer from the cruel need that oppressed him throughout his life. Difficult living conditions broke the musician and led him to severe mental illness.

Gurilev's romances have their own special features: hopeless sadness, a desperate impulse for happiness, the theme of loneliness, sad reflections on women's lot.

Listen: A. Gurilev, lyrics. Polezhaeva “Sarafanchik”, author of the words unknown “You will not understand my sadness”, Spanish. Galina Ivanova

The fate of A. Alyabyev, the hero, is tragic Patriotic War 1812. He was wounded, decorated for bravery, and retired with the rank of lieutenant colonel. At the age of 38, he was arrested on suspicion of murder and, despite the lack of proof of the accusation, was sentenced to exile to Siberia with deprivation of all rights and the title of nobility. The exile lasted 18 years.

All sources adhere to the version that the most famous romance “The Nightingale” based on the words of Delvig was written by Alyabyev in prison. And the piano was delivered to him as a prisoner directly to his cell. In the dampness of the dungeon, the composer fell ill with rheumatism and began to go blind; the only salvation was musical instrument. According to some reports, the composer dedicated this romance to Ekaterina Rimskaya-Korsakova, with whom he fell in love at first sight. New Year's ball and with whom I did not have time to explain. Many years later they met again and got married.

The image of the nightingale is those invisible ties that bind those forcibly separated - whether lovers, relatives, friends - it doesn’t matter. This is separation from those who are dear to a person.

Listen: Alyabyev “Nightingale”, arrangement for piano, Spanish. Karina Kun

IV). M.I. Glinka

A new page in the history of romance opens with the work of Mikhail Ivanovich Glinka. Friends called Glinka a “lazy gentleman” because, in their opinion, he composed few songs, but the composer had 80 romances! Mikhail Ivanovich was one of the first to turn to the works of Pushkin, with whom he was personally familiar. Two geniuses gave the world such masterpieces as the romances “Adele”, “Mary”, “I Remember a Wonderful Moment”.

Glinka traveled a lot. Before his next trip abroad, Mikhail Ivanovich wrote the vocal cycle “Farewell to St. Petersburg” based on the words of his friend Nestor Kukolnik. One of the most famous romances of this cycle is “The Lark”.

Listen: M. Glinka, lyrics. Puppeteer "Lark", Spanish. Alexander Sipailo.

“Do not tempt me unnecessarily”, arrangement for clarinet, Spanish. Ivan Pushkin and Nikolai Zanin

What new did Glinka bring to the romance genre? This is, first of all, Attentive attitude by the way, the desire for beauty, magnificent melodicism, a more complex level of accompaniment. Mikhail Ivanovich himself was a vocal teacher, he knew the possibilities singing voices, therefore, despite their apparent simplicity, his romances are difficult to perform. One of the most prestigious vocal competitions considered a competition named after Glinka. Among its laureates are such names as Elena Obraztsova, Evgeny Nesterenko, Dmitry Hvorostovsky, Anna Netrebko.

V). There are many mysteries in the history of romances. One of them is associated with the very popular romance “I Met You.” The poems were written by Fyodor Ivanovich Tyutchev, but many questions arose regarding the authorship of the music.

S. Donaurov was the first to write music based on Tyutchev’s poems. Then these poems were set to music by A. Spiro and Y. Shaporin. But none of them is the author of the now extremely popular version of the romance “I Met You,” which was performed by the outstanding singer Ivan Semenovich Kozlovsky. Kozlovsky heard the melody of this version from the wonderful Moscow Art Theater actor I.M. Moskvina himself arranged the tune. Until recently, records were released with a recording of a romance performed by Kozlovsky, and the labels read: “The author of the music is unknown.” But thanks to the research of musicologist G. Pavlova, it was possible to prove that the composer who wrote the music very close to what Kozlovsky sings is Leonid Dmitrievich Malashkin.

I met you - and everything is gone
In the obsolete heart came to life;
I remembered the golden time -
And my heart felt so warm...

Like after a century of separation,
I look at you as if in a dream, -
And now the sounds became louder,
Not silent in me...

There is more than one memory here,
Here life spoke again, -
And we have the same charm,
And that love is in my soul!..

Listen to: “I Met You”, arrangement for flute, Spanish. Anastasia Yakovleva and Nikita Vikhrov

VI). Tchaikovsky, Rachmaninov, Rimsky-Korsakov

IN late XIX century, classical romance undergoes significant changes, the role of accompaniment has increased significantly. This is especially clear in the works of Pyotr Ilyich Tchaikovsky. Pyotr Ilyich created romances of a very different nature throughout his entire life. creative life. Tchaikovsky found sources of texts mainly from Russian poets of the 19th century, his contemporaries; even the Tsar’s brother was among the authors Grand Duke Konstantin Romanov, some of the romances were written using his own poems. He hid his name behind the pseudonym N.N. Music critics wrote that the composer was not picky about the choice of text. But Tchaikovsky emphasized: “The main thing in vocal music is the truthfulness of the reproduction of feelings and moods.”

Now the romance “Serenade” will be performed. A serenade is an evening song in someone's honor; serenades are often found in romance lyrics, this is not surprising, because we're talking about about love.

Listen: P. Tchaikovsky, lyrics. Turchetti "Serenade", Spanish. Galina Ivanova

Among Tchaikovsky's romances, romances of a lyrical nature predominate, with the theme of love in all the richness of feelings and moods. His romances, of which there are more than 100, often approach operatic arias. The singers reproached the composer for the fact that the attention of the listeners was directed not only to the singing, but also to the accompaniment.

This type of romance is also characteristic of Sergei Vasilyevich Rachmaninov. By the way, Rachmaninov first presented a romance in the form of a musical play, the famous “Vocalise”, written for the singer Antonina Nezhdanova. Romance gradually goes beyond the chamber genre and approaches the vocal-symphonic direction. But this form is more difficult both to perform and to perceive; these romances resonate with a prepared, not a mass audience. So, gradually the classic romance becomes intellectual, elite, while losing its lightness and simplicity.

Listen: S. Rachmaninov, lyrics. Beketova “Lilac”, Spanish. girls choir vocal ensemble

In 1862, the first Russian conservatory was opened in St. Petersburg, and 4 years later a conservatory was opened in Moscow. There is still an unspoken rivalry between them.

Tchaikovsky and Rachmaninov are representatives of the Moscow school of composers. And now we will hear the music of the composer of the St. Petersburg school - Nikolai Andreevich Rimsky-Korsakov. Rimsky-Korsakov is known mainly as the author of symphonic and opera music, but he also turned to the romance genre. The romance “Not the Wind, Blowing from Heights” is recognized as the composer’s vocal masterpiece.

Listen: lyrics Tolstoy “Not the wind, blowing from above”, Spanish. girls choir vocal ensemble

VII). Movie

The twentieth century gave the world the great invention of the Lumiere brothers - cinema. In the thirties, sound appeared in cinema, the heroes of films began to speak and sing. Through songs and romances they expressed their feelings, experiences, and dreams. Composers became full-fledged filmmakers along with screenwriters, directors, cameramen and artists. Outstanding film music was created by Dunaevsky, Shostakovich, Sviridov, and among modern authors - Rybnikov, Krylatov, Gladkov. Eldar Ryazanov’s famous film “Cruel Romance” is literally filled with beautiful music, both the main characters and the gypsy choir sing in it.

Listen: A. Petrov, words by M. Tsvetaeva “Under the caress of a plush blanket”, Spanish. Anna Galvas

VIII). Conclusion

Over the 3 centuries of its development, romance has gone beyond the chamber vocal genre. We will meet romances in operas, in dramatic performances, in symphonic suites. Romances are often called plays of a lyrical nature. There are no words in them, but we will feel the poetic content in the music. Composers XIX and the 20th centuries created many similar instrumental works for piano, strings and wind instruments.

Listen: R. Glier “Romance”, Spanish. Nikita Vikhrov

-The “Golden Age” of Russian romance on the stage occurred at the beginning of the 20th century, when such large and original performers as Alexander Vertinsky, Varvara Panina, Anastasia Vyaltseva worked. Later, the traditions of romance were continued by Pyotr Leshchenko, Isabella Yuryeva, Vadim Kozin.

IN Soviet time, especially since the late 1930s, romance was persecuted as a relic of the tsarist era. Leading performers fell silent or were repressed. Nevertheless, a variation of the urban romance continued to exist, becoming widespread during the Great Patriotic War, and later gave rise to the activities of bards, performers of original songs by Bulat Okudzhava, Yuri Vizbor, Veronika Dolina, Novella Matveeva.

The revival of the Russian school of romance occurred in the 1970s, when romances began to be performed by Nikolai Slichenko, Valentina Ponomareva, Nani Bregvadze and other prominent stage artists.

Nowadays, interest in romances has increased incredibly. Every Saturday on the Kultura TV channel there is a program called “Romance of Romance” - a series of concerts dedicated to the world of songs and romances. Each program is an introduction to new or well-forgotten old romances and songs performed by both seasoned and young artists. In addition to the traditional classical romance performed by academic vocal singers, bard songs, jazz improvisations, art songs and rock compositions are performed.

At the end of our meeting, one of the most famous instrumental romances will be performed.

Listen: D. Shostakovich, romance from the film “The Gadfly”, Spanish. violin ensemble.

Today we will take a closer look at the history of romance. Spain is considered the birthplace of romance. It was here in the XIII - XIV centuries. wandering poet-singers created a new musical genre. The songs were sung in the native Romance language. This genre appeared in Russia at the beginning of the 19th century and immediately won universal love. The first Russian romances were composed in French. Over time, composers began to create romances based on poems by Russian poets.

The fate of the romance, which even in the last century was for some reason called “ancient,” largely depended on the performer, on his talent and culture.

By the middle of the 19th century, two types of romance crystallized - “professional” and everyday.

The second type of romance was born among the people. However, even among everyday romances, works of high artistic value appeared.

These two types of romance - professional and everyday - were not isolated, but, on the contrary, enriched each other.

Gurilev A. Sl. Makarova I. “Bell”

Performed by Katya Medunitsyna, accompanist T. G. Yakubovich.

Leading : “Many of Gurilev’s romances are written in the rhythm of the waltz, which was widespread in urban life at that time. At the same time, the smooth three-beat waltz movement is harmoniously combined with a purely Russian poetic meter, the so-called. five-syllable, very characteristic of poems in the “Russian song” genre. These are the romances “The Sadness of a Girl.”

Gurilev A. Poems by Koltsov A. “The Sadness of a Girl”

Performed by Anya Sidorova, accompanist T. G. Yakubovich.

“My bells, steppe flowers,

Why are you looking at me, dark blue.

And what are you ringing about on the merry day of May,

Among the uncut grass, shaking your head?

The horse carries me like an arrow into the open field;

He tramples you under him, hits you with his hoof.

My bells, steppe flowers,

Don’t curse me, dark blue ones!”

Bulakhov P. Poems by Tolstoy A. “My bells, steppe flowers”

Performed by Zenina Vika, accompanist T. G. Yakubovich.

Leading: “Chamber vocal lyrics also occupied an important place in the work of A. Alyabyev. The romance “Beggar Woman” was written in the 40s of the 19th century.

During this period, the composer turns to subjects of social significance. He creates images of the disadvantaged, similar to the images of Russian literature of that time - the St. Petersburg stories of N. Gogol, the early stories of F. Dostoevsky and M. Turgenev. Alyabyev's songs of this period prepared the innovative works of A. Dargomyzhsky and M. Mussorgsky. These works include the romance “Beggar Woman”. This romance marks Alyabyev's transition from creating songs of a purely lyrical nature to dramatic works.

In Beranger's interpretation of the text, Alyabyev managed to find a generalizing musical image and reveal the tragedy of a humiliated and disadvantaged person. The image of hopeless human grief, in subtle association with the atmosphere of winter nature, is aptly and laconically conveyed in music. The initial melodic intonation, which forms the basis of the piano accompaniment, is further developed in the vocal part as a “leitmotif of sorrow.”

"Winter, blizzard, and in large flakes

When there is a strong wind, snow falls.

At the entrance to the temple, alone, in rags,

The old beggar woman is standing...

And waiting for alms,

She's still here with her stick,

Both in summer and in winter, blind!..

Give her alms!”

Alyabyev A. “Beggar”

Performed by Gunina Valya, accompanist T. G. Yakubovich.

Leading : “What I mysteriously dream about in the silence of the night,

What I think about all the time in the light of day,

It will be a secret to everyone, and even you, my verse,

You, my windy friend, are the delight of my days,

I will not convey to you the soul of my dreams,

Otherwise you will tell me whose voice is in the silence of the night

I hear whose face I find everywhere,

Whose eyes shine for me, whose name I repeat.”

I read Apollon Maykov’s poem “What in the silence of the night...”

Maykov's poetry is contemplative, idyllic and distinguished by a touch of rationality, but at the same time it reflects Pushkin's poetic principles: accuracy and specificity of descriptions, logical clarity in the development of the theme, simplicity of images and comparisons. Maikov's artistic method is characterized by the allegorical application of landscapes, anthological paintings, and subjects to the poet's thoughts and feelings. This feature makes him similar to the classic poets.

Many of Maykov’s poems were set to music (Tchaikovsky, Rimsky-Korsakov and others).”

Rimsky - Korsakov N. A. Poems by Maykov A. “What in the silence of the night...”

Performed by Anya Karpina, accompanist T. G. Yakubovich.

Leading: “On November 9, 1918, in Kuban, an absurd tragic incident cut short the life of the talented composer and poet, author of the world-famous romance “The Chrysanthemums Have Bloomed” Nikolai Ivanovich Kharito.

Nikolai Kharito was unusually handsome, courteous and talented. According to contemporaries, it was simply impossible not to fall in love with him. He was adored by regulars of fashionable noble salons and fashionable living rooms. It was there that romances were performed by outstanding masters of this genre.

Nikolai Kharito was a favorite of the public visiting concert halls where the then pop stars performed: Varya Panina, Anastasia Vyaltseva, Nadezhda Plevitskaya, Iza Kremer, Alexander Vertinsky. Their work was a striking phenomenon of Russian musical culture. Their voices contained pain and joy, sadness and... hope.

…Nikolai Kharito’s romance “The chrysanthemums in the garden have long since faded” has been heard for almost 100 years. It has stood the test of time. With an immense feeling of melancholy and nostalgic anguish, it was performed by Alla Bayanova and Valery Agafonov, Vadim Kozin and Pyotr Leshchenko. It sounds in one of the episodes of the movie “Lyubov Yarovaya”. Today it is sung by opera singers and pop performers, pop stars and rock musicians. This romance occupies a worthy place in the repertoire of People’s Artist of the USSR Joseph Kobzon.”

"In that garden,

where we met,

Your favorite bush

chrysanthemums bloomed.

And in my chest

blossomed then

The feeling is bright

tender love..."

Kharito N. “The chrysanthemums in the garden have long since faded”

Performed by Julia Morozova, accompanist T. G. Yakubovich.

Leading:

“Not the wind, blowing from above,

The sheets touched the moonlit night;

You touched my soul -

She's as restless as the leaves

It is like a harp and has many strings.

The whirlwind of life tormented her

And a crushing raid,

Whistling and howling, he tore the strings

And it was covered in cold snow.

Your speech pleases the ear,

Your light touch

Like fluff flying from flowers,

Like a breath of May night..."

A poem by Alexei Tolstoy was read, based on the text of which Nikolai Andreevich Rimsky-Korsakov wrote a romance of the same name.

The romantic longing that sounds in the lines of the poem has its source not only in Tolstoy’s abstract philosophical views, but also in his social well-being, in particular, the understanding that the life of the socially close layers of Russian society is empty and meaningless.

The poem “It is not the wind that blows from above” was written in 1851.

In the same winter of 1850-1851, Tolstoy met the wife of the Horse Guards Colonel Sofya Andreevna Miller and fell in love with her. They got together, but their marriage was hindered, on the one hand, by Sofia Andreevna’s husband, who would not give her a divorce, and on the other, by Tolstoy’s mother, who treated her unkindly. Only in 1863 their marriage was officially formalized. Sofya Andreevna was an educated woman, she knew many foreign languages and apparently possessed an extraordinary aesthetic taste. Tolstoy more than once called her his best and most severe critic and listened to her advice. All his love lyrics, starting in 1851, are addressed to Sofya Andreevna.

Rimsky Korsakov N. A. Poems by A. Tolstoy “It is not the wind that blows from above”

Performed by: Vocal Ensemble, accompanist I.A. Volkova

Leading: “Continuing the theme of love and romance, let’s talk a little about the creators of this magnificent music.

Tariverdiev's music is special; his vocal works cannot be strictly divided according to genre. This is “confession of the heart.”

And when the hearts of two geniuses unite in one work, the music of their souls begins to sound in unison.

"It's been a year on my street

Footsteps sound - my friends are leaving.

My friends are slowly leaving

I like that darkness outside the windows.

My friends' affairs have been neglected,

There is no music or singing in their houses,

And only, as before, the Degas girls

The little blue ones straighten their feathers.

Well, well, well, let fear not wake you up

You, defenseless, in the middle of this night.

There is a mysterious passion for betrayal,

My friends, your eyes are clouded.

Oh, loneliness, how cool your character is!

Shining with an iron compass,

How coldly you close the circle,

Not heeding useless assurances.

So call me and reward me!

Your darling, caressed by you,

I will console myself by leaning against your chest,

I will wash myself with your blue cold.

Let me stand on tiptoe in your forest,

On the other end of a slow gesture

Find foliage and bring it to your face,

And feel orphanhood as bliss.

Grant me the silence of your libraries,

Your concerts have strict motives,

And - wise one - I will forget those

Who died or are still alive.

And I will know wisdom and sorrow,

Objects will trust me with their secret meaning.

Nature leaning on my shoulders

He will reveal his childhood secrets.

And then - out of tears, out of darkness,

From the poor ignorance of the past

My friends have beautiful features

They will appear and disappear again.”

Tariverdiev M. Poems by Akhmadulina B. “It’s been a year on my street”

Performed by Onuchina Galya, accompanist T. G. Yakubovich.

Leading : “And one more romance based on the poems of Bella Akhmadulina, the music for which was composed by Andrei Petrov “And finally, I’ll say...”

"And in the end I will tell:

Goodbye love is not obligatory.

I'm going crazy. Or I rise

To a high degree of madness.

How you loved you sipped

Death. Not in this case.

How did you love? You ruined it.

But he ruined it so clumsily

Small temple work

Still doing it, but his hands have fallen,

And in a flock, diagonally

Smells and sounds go away.

And in the end I will tell:

Goodbye love is not obligatory.

I'm going crazy. Or I rise

To a high degree of madness"

Petrov A. Poems by Akhmadulina B. “And lastly, I’ll say...”

Performed by Natasha Goryainova, accompanist T. G. Yakubovich.

Leading : "Dear friends! Our evening has come to an end. I hope you enjoyed the captivating sounds of the ageless Russian romance.

I hope that our guys will be happy to include Russian romances in their repertoire. See you again."