A message about an 18th century composer. Italian composers of the 16th - 18th centuries
19. Becoming classical music. Great composers of the 17th and 18th centuries
Monteverdi. D. Frescobaldi`. A. Corelli. A. Vivaldi. A. Scarlatti. D. B. Pergolesi. Dynasties violin makers.
MUSIC OF ITALY
J.B. Lully. J.F. Rameau. F. Couperin.
MUSIC OF FRANCE
G.Purcell.
MUSIC OF ENGLAND
G. Schutz. D. Buxtehude. G. F. Handel. J.S.Bach.
MUSIC OF GERMANY
M.S.Berezovsky. D.S. Bortnyansky. E.I.Fomin.
MUSIC OF RUSSIA
At the turn of the 16th-17th centuries, polyphony, which dominated the music of the Renaissance, began to give way to homophony (from the Greek “homos” - “one”, “identical” and “phone” - “sound”, “voice”). Unlike polyphony, where all voices have equal rights, in homophonic polyphony there is one, performing main topic, and the rest play the role of accompaniment (accompaniment). The accompaniment is usually a system of chords (harmonies). Hence the name of the new way of composing music - homophonic-harmonic.
Works appeared that were written on religious texts or subjects, but were not intended for mandatory performance in church. (Such works are called spiritual, since the word “spiritual” has a broader meaning than “ecclesiastical.”) The main spiritual genres of the 17th-18th centuries. - cantata and oratorio. The importance of secular music increased: it was heard at court, in the salons of aristocrats, and in public theaters (the first such theaters were opened in the 17th century). Formed the new kind musical art- opera.
Instrumental music also marked by the emergence of new genres, and primarily instrumental concert. The violin, harpsichord, and organ gradually turned into solo instruments. The music written for them provided an opportunity to demonstrate the talent of not only the composer, but also the performer. First of all, virtuosity (the ability to cope with technical difficulties) was valued, which gradually became an end in itself for many musicians and artistic value.
Composers of the 17th-18th centuries usually not only composed music, but also masterfully played instruments and practiced pedagogical activity. The artist’s well-being largely depended on the specific customer. As a rule, every serious musician sought to obtain a place either at the court of a monarch or a wealthy aristocrat (many members of the nobility had their own orchestras or opera houses) or in a temple. Moreover, most composers easily combined church music with service for a secular patron.
21. Artistic movements of the 18th century and their characteristic features
Artistic direction - fundamental commonality artistic phenomena for a long time.
Baroque - direction to European architecture and art of the late 16th-18th centuries, which is characterized by:
Grandiosity, pomp and dynamics;
Pathetic elation;
Intensity of feelings;
Addiction to spectacular spectacles;
Combining the illusory and the real;
Strong contrasts of scale and rhythm, materials and textures, light and shadow.
Classicism - artistic direction V European art 17th-19th centuries. Artists of classicism:
Recognized as the highest example antique art;
Rely on tradition High Renaissance;
They strived to express the idea of a harmonious structure of society based on the eternal “laws of reason”
22. “Enlightenment” absolutism in Russia. Cultural reforms of Peter 1 and Catherine 2
Domestic history - one of the main national shrines of any country - has turned into a subject of fierce disputes and conflicts in Russia, often associated with opposing assessments of past events, both long-standing and those of the last twenty years. When, in a tense atmosphere of mutual irritation of opponents (not to say - deep mutual alienation, even contempt and hatred) you resort to the terms of disease, diagnosis, syndrome, etiology, you risk receiving accusations of blasphemy, from all sides. Accounting for social stratification. Under Catherine II, the rights of the nobles regarding estates and peasants expanded, but thereby aggravated the enslavement and hardships of the peasantry. The single parameter of “freedom” is not able to capture this “subtlety”. Arithmetic addition of the values of indicators for different social strata can only obscure the picture (like the notorious “average hospital temperature of patients”).
23. Romanticism as an artistic movement
Romanticism, an ideological and artistic movement that arose in European and American culture the end of the 18th century - the first half of the 19th century, as a reaction to the aesthetics of classicism. It initially developed (1790s) in philosophy and poetry in Germany, and later (1820s) spread to England, France and other countries. He predetermined the latest development of art, even those directions that opposed it.
New criteria in art were freedom of expression, increased attention to the individual, unique features of a person, naturalness, sincerity and relaxedness, which replaced the imitation of classical models of the 18th century. The Romantics rejected the rationalism and practicalism of the Enlightenment as mechanistic, impersonal and artificial. Instead, they prioritized emotional expression and inspiration. Feeling free from the decaying system of aristocratic rule, they sought to express their new views and the truth they had discovered. Their place in society has changed. They found their readership among the growing middle class, ready to emotionally support and even worship the artist - a genius and prophet. Restraint and humility were rejected. They were replaced powerful emotions, often going to extremes. Some romantics turned to mysterious, enigmatic, even terrible, folk beliefs and fairy tales. Romanticism was partly associated with democratic, national and revolutionary movements, although "classical" culture French Revolution actually slowed down the arrival of Romanticism in France.
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At the end of the 17th and 18th centuries. New musical canons are beginning to emerge, which composers and musicians will follow for a long time. This century gave the world music that made an invaluable contribution to the world cultural heritage. Composers of the 18th century are famous for such personalities as:
This is one of the greatest German composers, interest in whose personality and work does not fade over time, but, on the contrary, is increasing. But, unfortunately, he did not receive recognition during his lifetime. Johann had no choice of career other than music, because his ancestors were famous for their musicality.
The future genius was born in 1685 in the town of Eisenach. He owes his first steps in music to his father, who taught him to play the violin. Bach had beautiful voice, and he sang in the city school choir. Those around him had no doubt that the boy would become an excellent musician.
Having become an orphan early, at the age of 15, Johann began an independent life. Despite the fact that the young composer lived in cramped circumstances and frequently moved, Bach’s interest in music never waned; he constantly expanded his knowledge of music through self-education.
Unlike his fellow composers, who tried to imitate foreign musicians in everything, Bach actively used German folk songs and dances in his works. But Johann was not only a talented composer, but also an excellent performer on the organ and harpsichord. If he was not known as a composer, then everyone recognized his mastery of playing these instruments.
But court society did not like the composer’s music: it was considered too bright, emotional, and human. But despite the public’s lack of recognition of his works, he never adjusted to their tastes. Your best musical works Bach wrote in Leipzig, where he moved with his family and remained until the end of his life. There he created most cantatas, "St. John's Passion", "Matthew's Passion", Mass in B minor.
The composer's greatest joy, support and support was his family. The sons also became gifted musicians and gained fame during Bach's lifetime. His second wife and eldest daughter had very beautiful voice. Therefore, Johann continued to write musical works for his family.
IN last years During his lifetime, Bach began to have serious vision problems, and after an unsuccessful operation he became blind. But despite this, he did not abandon his creativity and continued to create compositions, dictating them for recording. His death went virtually unnoticed in the musical community, and he was soon forgotten. Interest in his music appeared only 100 years later, when, under the leadership of Mendelssohn, one of his most beautiful creations, “St. Matthew Passion,” was performed, and at the same time a collection of his musical compositions was released.
This genius of music was not appreciated by his contemporaries, who could not understand the full strength and depth of his talent, did not like him for his strong and independent character, but centuries later they are interested in his work and admire his talent. Wolfgang was born on January 27, 1756. His father was a court musician and, early on, noticed Mozart in his sister musical abilities, began to teach her music.
This marked the beginning of Wolfgang's work. The boy has early age exceptional abilities for music were revealed: at the age of 5-6 years, he had already created his first musical works, possessing a unique musical ear and amazing memory. The father, seeing that his son has rare musical talents, decides to start a concert tour so that Wolfgang gains fame and does not become a court musician.
But despite the fact that everyone admired the boy and at the age of 12 his works became famous, society could not fully appreciate his full potential young musician. Therefore, after returning from the tour, Wolfgang became a court musician and suffered greatly from the situation in which he found himself. But not wanting to put up with being disrespected and treated inappropriately, he left Salzburg for Vienna.
It was during his stay in Vienna that his talent flourished. Soon he married a beautiful girl named Constanze Weber, and even his parents' disapproval could not prevent their happiness. The years he spent in Vienna cannot be called easy; rather, on the contrary. Being in need, Mozart had to work very hard, which affected his health. Despite the fact that his operas “The Marriage of Figaro” and “Don Giovanni” are a success, society is still unable to understand the full genius of Wolfgang.
Shortly before his death, Mozart wrote his greatest work- opera " magical flute". At the same time, he creates "Requiem", but does not have time to complete it. On the night of December 4-5, 1791. genius composer died. The circumstances of his death still remain unknown, which gives rise to many disputes among experts. Only after his death musical society and the whole world recognized the genius of Mozart, and his works are still considered masterpieces in music.
His “Seasons” have been on a par with others for several centuries brilliant works. A virtuoso violinist who received recognition during his lifetime, who traveled a lot, an excellent teacher - all this is about the famous Italian composer Antonio Vivaldi.
Antonio was born on March 4, 1678 and became only child in a family that has chosen a musical career. His musical talent manifested itself very early, and his first teacher was Giovanni Batista, who by that time had gained fame as a virtuoso. Studying his performance style suggests that the boy took lessons from other famous musicians.
Young Antonio decides to choose a career as a priest and on December 18, 1693 receives the lowest church rank. Later, he received three more “lower” and two “higher” church titles necessary to receive the priesthood. But despite his spiritual career, Vivaldi continued to play music very successfully.
And his intensive studies brought results: Antonio was appointed teacher at one of the best “conservatories” in Venice. Its extensive and versatile musical activity made the “conservatory” one of the most prominent in the city. At the beginning of his work, the composer paid great attention to the instrumental direction, which can be explained by the fact that the northern part of Italy and Venice were considered the center of the best instrumentalists.
Antonio Vivaldi gained fame outside of Italy, his works were successful, and studying with him was considered a high honor. In Mantua, the composer meets Anna Giraud and her sister Paolina. Soon both girls became permanent residents of the Vivaldi house, which caused discontent among the church leadership, who already did not like the fact that Antonio was on frequent travel.
On November 16, 1737, on behalf of the cardinal, the composer was prohibited from entering Ferrara, which in those days was considered a disgrace. This meant that now Vivaldi's entire spiritual career was destroyed and caused quite significant material damage. His relationship with the leadership of the “conservatory” deteriorated more and more. And it wasn’t just his frequent travels - Vivaldi’s music had already begun to be considered old-fashioned.
At the end of 1740, Antonio parted with the “conservatory”, which owed him many years of fame. Getting ready for a long trip and experiencing financial difficulties, Vivaldi arranges a sale of his concerts at a low price. At the age of 62, the composer decides to leave Italy and find happiness in other countries. But, despite the fact that he was once accepted by everyone and his works were admired, at the end of his life Antonio Vivaldi was forgotten and abandoned by everyone. The famous Italian virtuoso died on July 28, 1741 in Vienna. He is one of the most prominent representatives of composers of that time, and his instrumental compositions occupy a worthy place in the world musical heritage.
Composers of the 18th century had a huge influence on the future development of music, although they did not always receive recognition and fame during their lifetime. It’s just that the society of that era could not appreciate the full power of their talent, their beauty and depth. The framework imposed on them was too narrow for their talent; for them, music was the meaning of life. But their descendants were able to appreciate their work, and their brilliant works continue to be performed at all concerts to this day.
BONONCINI - family of Italian musicians:
Giovanni Maria (1642 – 1648) – composer, violinist, theorist. Op. 9 collections of sonatas and dance pieces. He owns a treatise on counterpoint. In recent years he has written a chamber opera, a number of madrigals, and solo cantatas.
Giovanni Batista (1670 – 1747) – his son, composer and cellist. His legacy includes 40 operas, over 250 solo cantatas, about 90 symphonies, concerts, and trio sonatas. The success of some of his operas in London surpassed that of his main rival, Handel.
Antonio Maria (1677 – 1726) – composer and cellist. Author of works for musical theater and churches. In terms of texture and harmony, his music was more refined than that of his older brother, but it never enjoyed the same success.
Giovanni Maria Jr. (1678 – 1753) – half-brother, cellist, then violinist in Rome, author of vocal works.
VIVALDI ANTONIO (1678 – 1741)
The highest achievements belong to the instrumental concert genre. Significant place Vocal music occupies a heritage. Striving for success in op. genre and traveled a lot directing his productions. Worked in op. theaters in Vicenza, Venice, Mantua, Rome, Prague, Vienna, Ferrara, Amsterdam. Op. OK. 50 operas(20 preserved), incl. "Titus Manlius", "Justin", " Furious Roland", "The Faithful Nymph", "Griselda", "Bayazet". OK. 40 solo cantatas, oratorio “Judith Triumphant”).
Giordani Giuseppe (c.1753 – 1798)
DUNI EGIDIO (1708 – 1775)
He studied in Naples with Durante. Author of 10 opera series based on texts Metastasio, about 20 op. in the French genre comic opera. He introduced ariettas and recitatives into it Italian style. This genre is called Comedy with Ariettas.Operas:“Nero”, “Demophon”, “The Artist in Love with His Model” (comic op.).
DURANTE FRANCESCO (1684 – 1755)
Italian composer. He studied in Naples, then became the first conductor of several Neapolitan conservatories. He was considered the best composition teacher in Naples. Among his students are Duni, Pergolesi, Piccini, Paisiello. Unlike other it. composers did not write operas. The most valuable part of his heritage is sacred music. Interesting and instrumental works– 12 sonatas for harpsichord, 8 concertos for quartet, pieces from the pedagogical repertoire.
CAVALLI FRANCESCO (1602 – 1676)
Nicknamed Bruni. He was a choirmaster and organist at St. Stamp in Venice. He began to write operas that were shown in opera houses Italy. After Paris, where his opera “Hercules the Lover” was staged with singing and dancing written for this performance by the young Lully, all further activities Cavalli was associated with the Cathedral of St. Brand. He is the author of about 30 operas. Thanks to him, Venice of the 17th century. became the center of IT. opera art. Like the later op. Monteverdi, op. Cavalli is rich in contrasts and psychological nuances; pathetic, even tragic climaxes in them are often replaced by episodes of a comic and everyday nature.
Operas: “The Love of Apollo and Daphne”, “Dido”, “Ormindo”, “Jason”, “Calisto”, “Xerxes”, “Hercules the Lover”
Spiritual music: Mass, 3 vespers, 2 Magnificats, Requiem
Secular music: cantata arias.
CALDARA ANTONIO (1670 – 1736)
He played the viola, cello, and clavier. He composed almost exclusively vocal music - oratorios, cantatas, opera seria. Served as church and theater bandmaster. Later he composed a number of works for the Vienna carnival and court festivities, as well as for Salzburg. In total, he wrote 3,000 vocal compositions. Metastasio was the first to set many of Metastasio's librettos to music.
CARISSIMI GIACOMO (1605 – 1674)
He was a choirmaster, organist, bandmaster of the Jesuit Collegiate Germanico, and was ordained. The most significant part of the heritage is the oratorios, designed in a narrative-recitative style. Individual fragments By the nature of the letters they are close to arias. An important role is given to choral scenes. Among his students are A. Chesti, A. Scarlatti, M.-A. Charpentier.
Works: 4 Masses, about 100 motets, 14 oratorios incl. “Belshazzar”, “Jeuthae”, “Jonah”, about 100 secular cantatas.
CACCINI GIULIO (1545 – 1618)
Had a nickname - Roman. Composer, singer, lutenist. He was patronized by Duke Cosimo I de' Medici, who took him to Florence, where he attended meetings of the Camerata and developed a new style of singing - stile recitativo. He published the collection “New Music”, where he most fully reflected his innovative aspirations. The collection includes madrigals and strophic arias for voice and basso continuo. The most popular song collection – Amarilli. In 1614, the composer’s second collection, “New Music and new way write them." The name is Caccini, outstanding composer and the innovative singer was not forgotten throughout the 17th century. Many composers created collections of vocal pieces based on his model. Caccini's two daughters, Francesca and Settimia, became famous as singers and composed music.
MARTINI (1741 – 1816)
Nickname Il Tedesco ("Italian German" real name Schwarzendorf Johann Paul Egidius). German composer. Before moving to Paris (1764), he was in the service of the Duke of Lorraine. He taught at the Paris Conservatory, directed the court orchestra. Author of 13 operas, vocal miniatures (including the popular song “Plaisir d’amour”).
MARCELLO ALESSANDRO (1669 – 1747)
Brother B. Marcello. An amateur musician, he organized concerts in his Venetian house. He composed solo cantatas, arias, canzonettas, violin sonatas and concertos. Concertos for oboe and strings (6 in total) belong to the latest examples of the Venetian baroque variety of the genre. Concerto for oboe and strings in d minor (c. 1717) is known in J. S. Bach's arrangement for clavier.
MARCELLO BENEDETTO (1686 – 1739)
Composer, music writer, lawyer, brother of A. Marcello. Ranked high government positions in Venice. The collection of psalms for 1 – 4 voices with digital bass (50 in total) brought wide popularity. He also owns other compositions for church, oratorios, operas, over 400 solo cantatas, duets, as well as sonatas and concertos, marked by the influence of Vivaldi. His music combines polyphonic mastery with sensitivity to the new gallant style. An interesting treatise by Marcello is a satire on opera seria.
PAISIELLO GIOVANNI (1740 – 1816)
He studied in Naples with Durante. He gained a reputation as one of the leading masters of the opera buffa genre. He served as bandmaster at the court of Catherine II in St. Petersburg. Among this period, op. " Barber of Seville" Upon returning to Naples he began to write opera sevenseries(semi-serious) - “Nina, or Crazy in Love.” He served briefly in Paris as the personal bandmaster of Napoleon I. The quality of Paisiello's operas influenced Mozart - the art of the muses. character sketches, mastery of orchestral writing, melodic inventiveness. Operas:“Don Quixote”, “The Maid-Madam”, “King Theodore in Venice”, “The Miller’s Wife”, “Proserpina”, “The Pythagoreans” and at least 75 more operas.
PERGOLESI GIOVANNI BATISTA (1710 – 1736)
He studied in Naples and at the same time worked as a violinist in an orchestra. Wrote stage works in the genre sacred drama. He died of tuberculosis at the age of 26. Go down in history as the founder of the genre opera buffa. The masterpiece of this genre was op. "Servant Mistress." He wrote works for the church: “Stabat mater” for soprano, contralto and orchestra, 2 Masses, Vespers, 2 “Salve Regina”, 2 motets.
PERI JACOPO (1561 – 1633)
Composer and singer, priest. Served as a composer and singer at court Medici. He was also known as a performer on kitarrone –(string plucked instrument, a type of bass lute, up to 2 m long, used mainly for accompaniment solo singing). Attended meetings Cameras. He composed in a new recitative style, imitating the ancient practice of solo singing with accompaniment. Wrote operas " Daphne", "Eurydice". He also composed a collection of vocal pieces containing several examples of recitative style.
PICCINI NICCOLO (1728 – 1800)
He studied in Naples with Durante. He not only composed operas, but also taught singing, was a bandmaster and organist. Having settled in Paris, he wrote a number of serious and comic French works. oper. Serious competition from Gluck did not prevent his success lyrical tragedies"Roland", "Iphigenia in Tauris", "Dido". The opera “Cecchina, or the Good Daughter” (1760) brought him international fame.
SARRI DOMENICO (1679 – 1744)
He studied in Naples, where he also served as court conductor. Early operas, oratorios, and serenata are designed in the same baroque style as the vocal music of A. Scarlatti. At the same time, his work contributed to the development of a simpler and more melodic Neapolitan style.
SCARLATTI ALESSANDRO (1660 – 1725)
Kapellmeister of theatres, the Royal Chapel and the Conservatory of Naples, where he taught. Among the students are D. Scarlatti, F. Durante, I. A. Hasse. One of the founders and the largest representative Neapolitan Opera School. Under him, such forms as the aria da capo, the Italian overture, and recitative with instrumental accompaniment arose. Op. more than 125 opera seria , incl. “Whims of Love or Rosaur”, “The Corinthian Shepherd”, “The Great Tamerlane”, “Mithridates Eupator”, “Telemachus”, etc. Over 700 cantatas, 33 serenata, 8 madrigals.
SCARLATTI DOMENICO (1685 – 1757)
Son of A. Scarlatti. He wrote operas, sacred and secular music, but gained fame as a virtuoso harpsichordist. The main place in his work was occupied by one-part keyboard works, which he called “exercises”. Innovator in the field of keyboard technology. Op. more than 550 keyboard sonatas, 12 operas, 70 cantatas, 3 Masses, Stabat Mater, Te Deum
STRADELLA ALESSANDRO (1644 – 1682)
Italian composer, composed music commissioned by Queen Christina. Among his works of the Roman period, prologues and intermezzos predominate, incl. to the operas Cavalli and Cesti. His life was replete with scandals and loud love stories. In 1677 he fled to Genoa. Among several operas staged in Genoa, the comic “Guardian of Trespolo” stands out. Stradella was killed out of revenge by mercenaries of the Lomellini family.
One of the most talented and versatile composers of his time. In total, he composed about 30 stage works and about 200 cantatas. 27 instrumental works have survived.
HONOR ANTONIO (1623 – 1669)
The real name of this Franciscan monk is Pietro. In his youth he served as a church choirmaster in Arezzo, then became a novice in the Florentine monastery of Santa Croce. Cathedral organist, then conductor at Voltaire, where he was patronized by his family Medici. Cesti's career as an opera composer began in 1649, when his opera Orontea was successfully performed in Venice. In 1652 he became court musician of Archduke Ferdinand Charles in Innsbruck and was deprived ordination. From 1665 he served at the Viennese imperial court. During the short time spent in Vienna, he created many operas, incl. grandiose " Golden Apple» , the production of which was timed to coincide with the wedding of Leopold I. Shortly before his death, he was appointed conductor at the Tuscan court in Florence.
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Berezovsky Maxim Sozontovich 1745-1777
- Russian composer Ukrainian origin, also worked in Italy.
- Born on October 16, 1745 in Glukhov.
- He received his higher education at the Kiev-Mohyla Academy, where he began to write his own works.
- In 1758, for his exceptional vocal abilities, he was sent to St. Petersburg, where he became a soloist in the Court. singing choir Prince Pyotr Fedorovich.
- He performed as a singer-soloist (Italian opera in Oranienbaum). In 1765-1774 he lived in Italy, where he was sent for improvement. There he wrote the concert “Do not reject me in my old age” and the Hymns of the Divine Liturgy.
- 1771 - Passed the exam at the Bologna Philharmonic Academy for the title of academician-composer.
- 1771 He wrote the opera “Demophon” (libretto by P. Metastasio), staged in 1773 in Livorno), and, as a result, became the first Russian Empire opera composer.
- Died March 22, 1777.
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Bortnyansky Dmitry Stepanovich 1751-1825
Slide 4
- Outstanding Russian spiritual composer.
- Born in Ukraine, in the city of Glukhov.
- As a boy he was taken into the court singing choir. He studied music in St. Petersburg, then was sent to study in Venice. He lived in Italy in 1769-1779, his operas were staged in Italian interpretations.
- Operas: "Creon" 1776, "Alcides" 1778, "Quintus Fabius", 1778.
- Upon returning to St. Petersburg, he was appointed “composer of the court singing choir”, from 1796 - “director vocal music" and manager of the Court Choir.
- Created about 100 compositions. in the genre choral concert“a cappella”, Lenten chants (“Let my prayer be corrected”, “Now are the powers of heaven”, etc.), Easter chants (“Angel is crying”, “Shines, shines”), the hymn “How Glorious is Our Lord in Zion”, many departments chants from the church. services (including seven “Cherubim”).
- Bortnyansky was the largest and most popular composer of his time, his works were performed church choirs, fortress chapels, ensembles.
- Bortnyansky paid attention and secular music(operas "The Feast of the Lord" 1786, "The Falcon" 1786, "The Rival Son, or the New Stratonica" 1787.
- He also wrote as a chamber instrument. ensembles; romances; choir "Singer in the camp of Russian warriors" 1812, to the words of V. A. Zhukovsky).
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Pashkevich Vasily Alekseevich 1742 – March 9, 1797
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Pashkevich Vasily Alekseevich1742 – March 9, 1797
- Russian composer, conductor, teacher, violinist, singer, one of the creators of Russian national opera.
- Vasily Pashkevich entered the court service in 1756, and was assigned to the staff of the court chapel.
- In 1763 he began playing in the “ballroom music” orchestra (the second court orchestra of Catherine II).
- In 1783, after success three operas in a row Pashkevich was awarded the title of “chamber musician”, and in 1789 - “accompanist of ballroom music” with the rank of collegiate assessor.
- Vasily Pashkevich also led musical part"Free Theatre", was engaged in teaching activities.
- Paul I, after the death of his mother, dismissed the composer from court service. Left without work and livelihood, Vasily Pashkevich died on March 9 (March 20), 1797, leaving a widow with a one-year-old daughter.
Slide 7
Works
- “Misfortune from the Coach” 1779
- "The Miser" 1782
- "Tunisian Pasha" 1783
- "Fevey", libretto by Catherine II 1786
- “Fedul with Children”, libretto by Catherine II 1791
- “As you live, so will you be known” 1792
- “The clerk unhappy in love” 1795
- "Temple of Universal Rejoicing", music for the "theater festival"
- "Oleg's Initial Administration", dramatic performance 1790
- 4-voice spiritual concerts “Now is the time to appear”, “Come, let us rise”, “Rejoice people and be merry”, “Glory to God in the highest”, “Lord hear my voice”
- Chorus “Cupid and Psyche” 1793
Slide 8
Fomin Evstigney Ipatievich 1761 - 1800
Slide 9
- Fomin is one of the first professional Russian composers, whose work had a significant influence on further development Russian opera. Fomin's legacy, however, remained little known until the mid-20th century, when some of his operas were staged in theaters in Moscow and Leningrad.
- Born on August 5, 1761 in St. Petersburg.
- At the age of six he was sent to the Educational School at the Imperial Academy of Arts, then studied at the academy itself, where he mastered playing the harpsichord, music theory and composition.
- After graduating from the academy in 1782, Fomin was sent to Bologna to improve his musical skills.
- In 1785, under the name Eugenio Fomini, Fomin was elected a member of the Bologna Philharmonic Academy.
- In 1786, Fomin returned to St. Petersburg, where he wrote his first opera, “The Novgorod Bogatyr Vasily Boeslavich” to the libretto of Empress Catherine II. The opera in five acts, completed by the composer unusually quickly - within one month - was already staged at the Hermitage Theater in St. Petersburg in the same year.
- In 1786–1788 he served in the office of G. R. Derzhavin.
- In Tambov in 1788, the libretto of Fomin’s opera “Coachmen on a Stand” was published anonymously.
- In 1788, Fomin wrote one of his most famous operas, “The Americans,” to a libretto by 19-year-old Ivan Krylov. Directorate imperial theaters did not accept it for production, and only in 1800 did this opera see the stage.
- Another famous work of Fomin is the melodrama Orpheus and Eurydice, written in 1791.
- In 1797, Fomin was hired as a tutor at court theaters, where he helped singers learn opera parts.
- He died on April 28, 1800 in St. Petersburg.
- The scores of “Coachmen on a Stand”, “The Americans”, “Orpheus and Eurydice”, as well as the chorus from the music for the play “Yaropolk and Oleg” (1798) have survived to this day.
- The operas “Novgorod Bogatyr Vasily Boeslavich” and “The Golden Apple” (the last of famous works composer) are preserved in the form of orchestral parts.
The world's greatest composers of all time: lists in chronological and alphabetical order, reference books and works
100 Great Composers of the World
List of composers in chronological order
1. Josquin Despres (1450 –1521)
2. Giovanni Pierluigi da Palestrina (1525 –1594)
3. Claudio Monteverdi (1567 –1643)
4. Heinrich Schütz (1585 –1672)
5. Jean Baptiste Lully (1632 –1687)
6. Henry Purcell (1658 –1695)
7. Arcangelo Corelli (1653 –1713)
8. Antonio Vivaldi (1678 –1741)
9. Jean Philippe Rameau (1683 –1764)
10. George Handel (1685 –1759)
11. Domenico Scarlatti (1685 –1757)
12. Johann Sebastian Bach (1685 –1750)
13. Christoph Willibald Gluck (1713 –1787)
14. Joseph Haydn (1732 –1809)
15. Antonio Salieri (1750 –1825)
16. Dmitry Stepanovich Bortnyansky (1751 –1825)
17. Wolfgang Amadeus Mozart (1756 –1791)
18. Ludwig van Beethoven (1770 –1826)
19. Johann Nepomuk Hummel (1778 –1837)
20. Nicollo Paganini (1782 –1840)
21. Giacomo Meyerbeer (1791 –1864)
22. Carl Maria von Weber (1786 –1826)
23. Gioachino Rossini (1792 –1868)
24. Franz Schubert (1797 –1828)
25. Gaetano Donizetti (1797 –1848)
26. Vincenzo Bellini (1801 –1835)
27. Hector Berlioz (1803 –1869)
28. Mikhail Ivanovich Glinka (1804 –1857)
29. Felix Mendelssohn-Bartholdy (1809 –1847)
30. Fryderyk Chopin (1810 –1849)
31. Robert Schumann (1810 –1856)
32. Alexander Sergeevich Dargomyzhsky (1813 –1869)
33. Franz Liszt (1811 –1886)
34. Richard Wagner (1813 –1883)
35. Giuseppe Verdi (1813 –1901)
36. Charles Gounod (1818 –1893)
37. Stanislav Moniuszko (1819 –1872)
38. Jacques Offenbach (1819 –1880)
39. Alexander Nikolaevich Serov (1820 –1871)
40. Cesar Frank (1822 –1890)
41. Bedřich Smetana (1824 –1884)
42. Anton Bruckner (1824 –1896)
43. Johann Strauss (1825 –1899)
44. Anton Grigorievich Rubinstein (1829 –1894)
45. Johannes Brahms (1833 –1897)
46. Alexander Porfirievich Borodin (1833 –1887)
47. Camille Saint-Saens (1835 –1921)
48. Leo Delibes (1836 –1891)
49. Mily Alekseevich Balakirev (1837 –1910)
50. Georges Bizet (1838 –1875)
51. Modest Petrovich Mussorgsky (1839 –1881)
52. Pyotr Ilyich Tchaikovsky (1840 –1893)
53. Antonin Dvorak (1841 –1904)
54. Jules Massenet (1842 –1912)
55. Edvard Grieg (1843 –1907)
56. Nikolai Andreevich Rimsky-Korsakov (1844 –1908)
57. Gabriel Fauré (1845 –1924)
58. Leos Janacek (1854 –1928)
59. Anatoly Konstantinovich Lyadov (1855 –1914)
60. Sergei Ivanovich Taneyev (1856 –1915)
61. Ruggero Leoncavallo (1857 –1919)
62. Giacomo Puccini (1858 –1924)
63. Hugo Wolf (1860 –1903)
64. Gustav Mahler (1860 –1911)
65. Claude Debussy (1862 –1918)
66. Richard Strauss (1864 –1949)
67. Alexander Tikhonovich Grechaninov (1864 –1956)
68. Alexander Konstantinovich Glazunov (1865 –1936)
69. Jean Sibelius (1865 –1957)
70. Franz Lehár (1870 –1945)
71. Alexander Nikolaevich Scriabin (1872 –1915)
72. Sergei Vasilievich Rachmaninov (1873 –1943)
73. Arnold Schoenberg (1874 –1951)
74. Maurice Ravel (1875 –1937)
75. Nikolai Karlovich Medtner (1880 –1951)
76. Bela Bartok (1881 –1945)
77. Nikolai Yakovlevich Myaskovsky (1881 –1950)
78. Igor Fedorovich Stravinsky (1882 –1971)
79. Anton Webern (1883 –1945)
80. Imre Kalman (1882 –1953)
81. Alban Berg (1885 –1935)
82. Sergei Sergeevich Prokofiev (1891 –1953)
83. Arthur Honegger (1892 –1955)
84. Darius Milhaud (1892 –1974)
85. Carl Orff (1895 –1982)
86. Paul Hindemith (1895 –1963)
87. George Gershwin (1898 –1937)
88. Isaac Osipovich Dunaevsky (1900 –1955)
89. Aram Ilyich Khachaturian (1903 –1978)
90. Dmitry Dmitrievich Shostakovich (1906 –1975)
91. Tikhon Nikolaevich Khrennikov (born in 1913)
92. Benjamin Britten (1913 –1976)
93. Georgy Vasilievich Sviridov (1915 –1998)
94. Leonard Bernstein (1918 –1990)
95. Rodion Konstantinovich Shchedrin (born in 1932)
96. Krzysztof Penderecki (born 1933)
97. Alfred Garievich Schnittke (1934 –1998)
98. Bob Dylan (b. 1941)
99. John Lennon (1940–1980) and Paul McCartney (b. 1942)
100. Sting (born 1951)
MASTERPIECES OF CLASSICAL MUSIC
The most famous composers in the world
List of composers in alphabetical order
| N | Composer | Nationality | Direction | Year |
| 1 | Albinoni Tomaso | Italian | Baroque | 1671-1751 |
| 2 | Arensky Anton (Antony) Stepanovich | Russian | Romanticism | 1861-1906 |
| 3 | Baini Giuseppe | Italian | Church music - Renaissance | 1775-1844 |
| 4 | Balakirev Miliy Alekseevich | Russian | "Mighty Handful" - nationally oriented Russian music school | 1836/37-1910 |
| 5 | Bach Johann Sebastian | German | Baroque | 1685-1750 |
| 6 | Bellini Vincenzo | Italian | Romanticism | 1801-1835 |
| 7 | Berezovsky Maxim Sozontovich | Russian-Ukrainian | Classicism | 1745-1777 |
| 8 | Beethoven Ludwig van | German | between classicism and romanticism | 1770-1827 |
| 9 | Bizet (Bizet) Georges | French | Romanticism | 1838-1875 |
| 10 | Boito Arrigo | Italian | Romanticism | 1842-1918 |
| 11 | Boccherini Luigi | Italian | Classicism | 1743-1805 |
| 12 | Borodin Alexander Porfirievich | Russian | Romanticism - “The Mighty Handful” | 1833-1887 |
| 13 | Bortnyansky Dmitry Stepanovich | Russian-Ukrainian | Classicism - Church music | 1751-1825 |
| 14 | Brahms Johannes | German | Romanticism | 1833-1897 |
| 15 | Wagner Wilhelm Richard | German | Romanticism | 1813-1883 |
| 16 | Varlamov Alexander Egorovich | Russian | Russian folk music | 1801-1848 |
| 17 | Weber Carl Maria von | German | Romanticism | 1786-1826 |
| 18 | Verdi Giuseppe Fortunio Francesco | Italian | Romanticism | 1813-1901 |
| 19 | Verstovsky Alexey Nikolaevich | Russian | Romanticism | 1799-1862 |
| 20 | Vivaldi Antonio | Italian | Baroque | 1678-1741 |
| 21 | Villa-Lobos Heitor | Brazilian | Neoclassicism | 1887-1959 |
| 22 | Wolf-Ferrari Ermanno | Italian | Romanticism | 1876-1948 |
| 23 | Haydn Franz Joseph | Austrian | Classicism | 1732-1809 |
| 24 | Handel George Frideric | German | Baroque | 1685-1759 |
| 25 | Gershwin George | American | - | 1898-1937 |
| 26 | Glazunov Alexander Konstantinovich | Russian | Romanticism - “The Mighty Handful” | 1865-1936 |
| 27 | Glinka Mikhail Ivanovich | Russian | Classicism | 1804-1857 |
| 28 | Glier Reingold Moritsevich | Russian and Soviet | - | 1874/75-1956 |
| 29 | Gluk (Gluk) Christoph Willibald | German | Classicism | 1714-1787 |
| 30 | Granados, Granados y Campina Enrique | Spanish | Romanticism | 1867-1916 |
| 31 | Grechaninov Alexander Tikhonovich | Russian | Romanticism | 1864-1956 |
| 32 | Grieg Edward Haberup | Norwegian | Romanticism | 1843-1907 |
| 33 | Hummel, Hummel (Hummel) Johann (Jan) Nepomuk | Austrian - Czech nationality | Classicism-Romanticism | 1778-1837 |
| 34 | Gounod Charles Francois | French | Romanticism | 1818-1893 |
| 35 | Gurilev Alexander Lvovich | Russian | - | 1803-1858 |
| 36 | Dargomyzhsky Alexander Sergeevich | Russian | Romanticism | 1813-1869 |
| 37 | Dvorjak Antonin | Czech | Romanticism | 1841-1904 |
| 38 | Debussy Claude Achille | French | Romanticism | 1862-1918 |
| 39 | Delibes Clément Philibert Leo | French | Romanticism | 1836-1891 |
| 40 | Destouches Andre Cardinal | French | Baroque | 1672-1749 |
| 41 | Degtyarev Stepan Anikievich | Russian | Church music | 1776-1813 |
| 42 | Giuliani Mauro | Italian | Classicism-Romanticism | 1781-1829 |
| 43 | Dinicu Grigorash | Romanian | 1889-1949 | |
| 44 | Donizetti Gaetano | Italian | Classicism-Romanticism | 1797-1848 |
| 45 | Ippolitov-Ivanov Mikhail Mikhailovich | Russian-Soviet composer | 20th-century classical composers | 1859-1935 |
| 46 | Kabalevsky Dmitry Borisovich | Russian-Soviet composer | 20th-century classical composers | 1904-1987 |
| 47 | Kalinnikov Vasily Sergeevich | Russian | Russian musical classics | 1866-1900/01 |
| 48 | Kalman Imre (Emmerich) | Hungarian | 20th-century classical composers | 1882-1953 |
| 49 | Cui Caesar Antonovich | Russian | Romanticism - “The Mighty Handful” | 1835-1918 |
| 50 | Leoncovallo Ruggiero | Italian | Romanticism | 1857-1919 |
| 51 | Liszt (Liszt) Ferenc (Franz) | Hungarian | Romanticism | 1811-1886 |
| 52 | Lyadov Anatoly Konstantinovich | Russian | 20th-century classical composers | 1855-1914 |
| 53 | Lyapunov Sergey Mikhailovich | Russian | Romanticism | 1850-1924 |
| 54 | Mahler Gustav | Austrian | Romanticism | 1860-1911 |
| 55 | Mascagni Pietro | Italian | Romanticism | 1863-1945 |
| 56 | Massenet Jules Emile Frederic | French | Romanticism | 1842-1912 |
| 57 | Marcello Benedetto | Italian | Baroque | 1686-1739 |
| 58 | Meyerbeer Giacomo | French | Classicism-Romanticism | 1791-1864 |
| 59 | Mendelssohn, Mendelssohn-Bartholdy Jacob Ludwig Felix | German | Romanticism | 1809-1847 |
| 60 | Mignone to Francis | Brazilian | 20th-century classical composers | 1897 |
| 61 | Monteverdi Claudio Giovanni Antonio | Italian | Renaissance-Baroque | 1567-1643 |
| 62 | Moniuszko Stanislav | Polish | Romanticism | 1819-1872 |
| 63 | Mozart Wolfgang Amadeus | Austrian | Classicism | 1756-1791 |
| 64 | Mussorgsky Modest Petrovich | Russian | Romanticism - “The Mighty Handful” | 1839-1881 |
| 65 | Napravnik Eduard Frantsevich | Russian - Czech nationality | Romanticism? | 1839-1916 |
| 66 | Oginski Michal Kleofas | Polish | - | 1765-1833 |
| 67 | Offenbach Jacques (Jacob) | French | Romanticism | 1819-1880 |
| 68 | Paganini Nicolo | Italian | Classicism-Romanticism | 1782-1840 |
| 69 | Pachelbel Johann | German | Baroque | 1653-1706 |
| 70 | Planquette, Planquette (Planquette) Jean Robert Julien | French | - | 1848-1903 |
| 71 | Ponce Cuellar Manuel Maria | Mexican | 20th-century classical composers | 1882-1948 |
| 72 | Prokofiev Sergey Sergeevich | Russian-Soviet composer | Neoclassicism | 1891-1953 |
| 73 | Francis Poulenc | French | Neoclassicism | 1899-1963 |
| 74 | Puccini Giacomo | Italian | Romanticism | 1858-1924 |
| 75 | Ravel Maurice Joseph | French | Neoclassicism-Impressionism | 1875-1937 |
| 76 | Rachmaninov Sergei Vasilievich | Russian | Romanticism | 1873-1943 |
| 77 | Rimsky - Korsakov Nikolai Andreevich | Russian | Romanticism - “The Mighty Handful” | 1844-1908 |
| 78 | Rossini Gioachino Antonio | Italian | Classicism-Romanticism | 1792-1868 |
| 79 | Rota Nino | Italian | 20th-century classical composers | 1911-1979 |
| 80 | Rubinstein Anton Grigorievich | Russian | Romanticism | 1829-1894 |
| 81 | Sarasate, Sarasate y Navascuez (Sarasate y Navascuez) Pablo de | Spanish | Romanticism | 1844-1908 |
| 82 | Sviridov Georgy Vasilievich (Yuri) | Russian-Soviet composer | NeoRomanticism | 1915-1998 |
| 83 | Saint-Saëns Charles Camille | French | Romanticism | 1835-1921 |
| 84 | Sibelius Jan (Johan) | Finnish | Romanticism | 1865-1957 |
| 85 | Scarlatti by Giuseppe Domenico | Italian | Baroque-Classicism | 1685-1757 |
| 86 | Skryabin Alexander Nikolaevich | Russian | Romanticism | 1871/72-1915 |
| 87 | Smetana Bridzhikh | Czech | Romanticism | 1824-1884 |
| 88 | Stravinsky Igor Fedorovich | Russian | Neo-Romanticism-Neo-Baroque-Serialism | 1882-1971 |
| 89 | Taneyev Sergey Ivanovich | Russian | Romanticism | 1856-1915 |
| 90 | Telemann Georg Philipp | German | Baroque | 1681-1767 |
| 91 | Torelli Giuseppe | Italian | Baroque | 1658-1709 |
| 92 | Tosti Francesco Paolo | Italian | - | 1846-1916 |
| 93 | Fibich Zdenek | Czech | Romanticism | 1850-1900 |
| 94 | Flotow Friedrich von | German | Romanticism | 1812-1883 |
| 95 | Khachaturian Aram | Armenian-Soviet composer | 20th-century classical composers | 1903-1978 |
| 96 | Holst Gustav | English | - | 1874-1934 |
| 97 | Tchaikovsky Pyotr Ilyich | Russian | Romanticism | 1840-1893 |
| 98 | Chesnokov Pavel Grigorievich | Russian-Soviet composer | - | 1877-1944 |
| 99 | Cilea Francesco | Italian | - | 1866-1950 |
| 100 | Cimarosa Domenico | Italian | Classicism | 1749-1801 |
| 101 | Schnittke Alfred Garrievich | Soviet composer | polystylistics | 1934-1998 |
| 102 | Chopin Fryderyk | Polish | Romanticism | 1810-1849 |
| 103 | Shostakovich Dmitry Dmitrievich | Russian-Soviet composer | Neoclassicism-NeoRomanticism | 1906-1975 |
| 104 | Strauss Johann (father) | Austrian | Romanticism | 1804-1849 |
| 105 | Strauss Johann (son) | Austrian | Romanticism | 1825-1899 |
| 106 | Strauss Richard | German | Romanticism | 1864-1949 |
| 107 | Schubert Franz | Austrian | Romanticism-Classicism | 1797-1828 |
| 108 | Schumann Robert | German | Romanticism | 1810-1 |