A

• And finally I will say...(A. Petrov - B. Akhmadulina)
• Oh, why this night...(Nick. Bakaleinikov - N. Ritter)
• Oh those black eyes

B

• White acacia fragrant clusters- music by an unknown author, words by A. Pugachev (?). Published in 1902.
• Bells- music by A. Bakaleinikov, lyrics by A. Kusikov.
• Past joys, past sorrows

IN

• In the garden where we met
• At the hour when the flicker
• (gypsy waltz by S. Gerdal)
• You don't understand my sadness
• Come back, I will forgive everything!(B. Prozorovsky - V. Lensky)
• Evening bells- poems by Ivan Kozlov and music by Alexander Alyabyev, -
• (N. Zubov - I. Zhelezko)
• In the moonlight (Ding-ding-ding! The bell is ringing, words and music by Evgeny Yuryev)
• Here comes the postal troika
• Everything that was(D. Pokrass - P. Herman)
• You ask for songs, I don't have them(Sasha Makarov)
• (M. Lermontov)

G

• “Gas scarf” (Don’t tell anyone about love)
• Gaida, three(M. Steinberg)
• Eyes(A. Vilensky - T. Shchepkina-Kupernik)
• Looking at the purple sunset beam
• Shine, burn, my star- music by P. Bulakhov to words by V. Chuevsky, 1847.

D

• Two guitars- music by Ivan Vasiliev (to the tune of a gypsy Hungarian woman), lyrics by Apollon Grigoriev.
• Day and night the heart sheds affection
• You made a mistake(unknown - I. Severyanin)
• Dear long- music by B. Fomin, lyrics by K. Podrevsky
• Weeping willows are dozing
• Duma

E

• If you want to love(music: A. Glazunov, lyrics: A. Korinfsky)
• More than once you will remember me

AND

• (M. Pugachev - D. Mikhailov)
• My joy lives on- based on the poem by Sergei Fedorovich Ryskin (1859-1895) “Udalets” (1882), arr. M. Shishkina

Lark (M. Glinka - Puppeteer N)

Z

• For a friendly conversation (He came to us, he came to us)
• Stars in the sky (I dreamed of a garden in a wedding dress) (V. Borisov - E. Diterichs)
• winter road- poems by Pushkin, music by Alyabyev."

AND

• Emerald

TO

• How good
• Gate(A. Obukhov - A. Budishchev)
• Capricious, stubborn
• When you have a premonition of separation...(D. Ashkenazi - Y. Polonsky)
• You are my fallen maple (Sergei Yesenin in 1925)
• When with a simple and gentle gaze
• Red sundress

L

• Swan song(music and lyrics by Marie Poiret), 1901
• Calendar sheets
• Only the moon will rise (K. K. Tyrtov, dedication to Vyaltseva)

M

• My days are slowly passing by(music: N. Rimsky-Korsakov, lyrics by A. Pushkin)
• Honey, can you hear me- music by E. Waldteufel, lyrics by S. Gerdel
• My fire is shining in the fog(Ya. Prigogine and others - Yakov Polonsky)
• Hairy bumblebee(A. Petrov - R. Kipling, trans. G. Kruzhkov)
• Flies like black thoughts(Mussorgsky - Apukhtin)
• We went out into the garden
• We only know each other(B. Prozorovsky - L. Penkovsky)

N

• To the far shore...(words - V. Lebedev, music - G. Bogdanov)
• Don't wake her up at dawn(A. Varlamov - A. Fet)
• Don't scold me, dear. Words: A. Razorenov, music: A. I. Dyubuk
• Don't tell me about him(M. Perrottet)
• Spring will not come for me- based on the text of the poet A. Molchanov, created in 1838 in the Caucasus, music. and words by N. Devitte.
• Don't fool me
• Don't awaken memories(P. Bulakhov - N. N.)
• Don't leave, my darling(N. Pashkov)
• Don't go, stay with me(N. Zubov)
• No, he didn't love it!(A. Guerchia - M. Medvedev). A translation of the Italian romance, performed with great success by V.F. Komissarzhevskaya and introduced into the play “Dowry” by A.N. Ostrovsky on the stage of the Alexandria Theater as Larisa’s romance (premiere September 17, 1896).
• No, it’s not you I love so passionately (poems by M. Lermontov)
• I don't need anything in the world
• Beggar
• But I still love you
• Crazy nights, sleepless nights(A. Spiro - A. Apukhtin)
• The night is bright(M. Shishkin - M. Yazykov)
• The night is silent(A. G. Rubinstein)

ABOUT

• Oh, at least talk to me(I. Vasiliev - A. Grigoriev), 1857
• The bell rings loudly(K. Sidorovich - I. Makarov)
• The month turned crimson
• He left(S. Donaurov - unknown author)
• With a sharp ax
• Move away, don't look
• (first romance by Nikolai Kharito, 1910)
• Charming eyes(I. Kondratyev)
• Black eyes- lyrics by Evgeniy Grebenka (1843), performed to the music of F. Herman’s waltz “Hommage” (Valse Hommage) arranged by S. Gerdel in 1884.
• The golden grove dissuaded(to verses by S. Yesenin)

P

• A pair of bays(S. Donaurov - A. Apukhtin)
• Under your enchanting caress
• Lieutenant Golitsyn (song)- first dated performance in 1977.
• Really, I'll tell my mom
• Take a peek at me, my darling- music: A. I. Dyubuk
• Confession
• Farewell, my camp!(B. Prozorovsky - V. Makovsky)
• Farewell dinner
• Song of the Gypsy Poems by Yakov Polonsky
• The lark's song

R

• As she parted, she said
• Romance about romance- music by Andrei Petrov, lyrics by Bela Akhmadulina, from the film “Cruel Romance”, 1984.
• Romance(Words and music by Alexander Vasiliev)

WITH

• White tablecloth(F. Herman, sample by S. Gerdahl - unknown author)
• The night was shining
• Random and simple
• Nightingale- composer A. A. Alyabyev on poems by A. A. Delvig, 1825-1827.
• Good night gentlemen- music - A. Samoilov, poetry - A. Skvortsov.
• Among the worlds
• Faceted cups

T

• Your eyes are green Boris Fomin
• Dark cherry shawl(V. Bakaleinikov)
• Just once(words by P. German, music by B. Fomin)
• (lyrics by Anatoly Adolfovich Frenkel, music by Nikolai Ivanovich Kharito)

U

• On the high bank
• Alas, why does she shine?- poems by Pushkin, music by Alyabyev
• You are a true friend
• Go away, go away completely(L. Friso - V. Vereshchagin)
• Street, street, you, brother, are drunk- poetry: V. I. Sirotin, music: A. I. Dyubuk
• Foggy morning(E. Abaza, according to other sources Y. Abaza - Ivan Turgenev)

C

• The nightingale whistled to us all night- music by Veniamin Basner, lyrics by Mikhail Matusovsky. Romance from the film “Days of the Turbins”. 1976. Created under the influence of popular romance
• old noble romance, music. Sartinsky-Bey, words by unknown author

H

• Gull- music: E. Zhurakovsky, M. Poiret, lyrics: E. A. Bulanina
• Circassian song- poems by Pushkin, music by Alyabyev
• Black eyes. Words: A. Koltsov, music: A. I. Dyubuk
• What is this heart
• Wonderful rose

Sh

• musical arrangement by Boris Prozorovsky, lyrics by Konstantin Podrevsky

E

• Hey, coachman, drive to the Yar(A. Yuriev - B. Andrzhievsky)

I

• words and music by D. Mikhailov
• I loved you- poems by Pushkin, music by Alyabyev
• I met you(music by unknown author, edited by I. Kozlovsky - F. Tyutchev)
• I was driving home(lyrics and music by M. Poiret), 1905
• I won't tell you anything(T. Tolstaya - A. Fet)
• I'll leave, I'll leave, I'll leave
• Coachman, don't drive the horses- composer Yakov Feldman, poet Nikolai von Ritter, 1915
• based on poems by A. S. Pushkin

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An excerpt characterizing the List of Russian romances

- Well, when should we go, Your Excellency?
- Well... (Anatole looked at his watch) let’s go now. Look, Balaga. A? Will you be in time?
- Yes, how about departure - will he be happy, otherwise why not be in time? - Balaga said. “They delivered it to Tver and arrived at seven o’clock.” You probably remember, Your Excellency.
“You know, I once went from Tver for Christmas,” said Anatole with a smile of memory, turning to Makarin, who looked at Kuragin with all his eyes. – Do you believe, Makarka, that it was breathtaking how we flew. We drove into the convoy and jumped over two carts. A?
- There were horses! - Balaga continued the story. “I then locked the young ones attached to the Kaurom,” he turned to Dolokhov, “so would you believe it, Fyodor Ivanovich, the animals flew 60 miles; I couldn’t hold it, my hands were numb, it was freezing. He threw down the reins, holding it, Your Excellency, himself, and fell into the sleigh. So it’s not like you can’t just drive it, you can’t keep it there. At three o'clock the devils reported. Only the left one died.

Anatole left the room and a few minutes later returned in a fur coat belted with a silver belt and a sable hat, smartly placed on his side and suiting his handsome face very well. Looking in the mirror and in the same position that he took in front of the mirror, standing in front of Dolokhov, he took a glass of wine.
“Well, Fedya, goodbye, thank you for everything, goodbye,” said Anatole. “Well, comrades, friends... he thought about... - my youth... goodbye,” he turned to Makarin and the others.
Despite the fact that they were all traveling with him, Anatole apparently wanted to make something touching and solemn out of this address to his comrades. He spoke in a slow, loud voice and with his chest out, he swayed with one leg. - Everyone take glasses; and you, Balaga. Well, comrades, friends of my youth, we had a blast, we lived, we had a blast. A? Now, when will we meet? I'll go abroad. Long lived, goodbye guys. Here's to your health! Hurray!.. - he said, drank his glass and slammed it on the ground.
“Be healthy,” said Balaga, also drinking his glass and wiping himself with a handkerchief. Makarin hugged Anatole with tears in his eyes. “Eh, prince, how sad I am to part with you,” he said.
- Go, go! - Anatole shouted.
Balaga was about to leave the room.
“No, stop,” said Anatole. - Close the doors, I need to sit down. Like this. - They closed the doors and everyone sat down.
- Well, now march, guys! - Anatole said standing up.
Footman Joseph handed Anatoly a bag and a saber, and everyone went out into the hall.
-Where is the fur coat? - said Dolokhov. - Hey, Ignatka! Go to Matryona Matveevna, ask for a fur coat, a sable cloak. “I heard how they were taking away,” Dolokhov said with a wink. - After all, she will jump out neither alive nor dead, in what she was sitting at home; you hesitate a little, there are tears, and dad, and mom, and now she’s cold and back - and you take it in a fur coat right away and carry it to the sleigh.
The footman brought a woman's fox cloak.
- Fool, I told you sable. Hey, Matryoshka, sable! – he shouted so that his voice was heard far across the rooms.
A beautiful, thin and pale gypsy woman, with shiny black eyes and black, curly, bluish-tinged hair, in a red shawl, ran out with a sable cloak on her arm.
“Well, I’m not sorry, you take it,” she said, apparently timid in front of her master and regretting the cloak.
Dolokhov, without answering her, took the fur coat, threw it on Matryosha and wrapped her up.
“That’s it,” said Dolokhov. “And then like this,” he said, and lifted the collar near her head, leaving it only slightly open in front of her face. - Then like this, see? - and he moved Anatole’s head to the hole left by the collar, from which Matryosha’s brilliant smile could be seen.
“Well, goodbye, Matryosha,” Anatole said, kissing her. - Eh, my revelry is over here! Bow to Steshka. Well, goodbye! Goodbye, Matryosha; wish me happiness.
“Well, God grant you, prince, great happiness,” said Matryosha, with her gypsy accent.
There were two troikas standing at the porch, two young coachmen were holding them. Balaga sat down on the front three, and, raising his elbows high, slowly took apart the reins. Anatol and Dolokhov sat down with him. Makarin, Khvostikov and the footman sat in the other three.
- Are you ready, or what? – asked Balaga.
- Let go! - he shouted, wrapping the reins around his hands, and the troika rushed down Nikitsky Boulevard.
- Whoa! Come on, hey!... Whoa, - you could only hear the cry of Balaga and the young man sitting on the box. On Arbat Square, the troika hit a carriage, something crackled, a scream was heard, and the troika flew down Arbat.
Having given two ends along Podnovinsky, Balaga began to hold back and, returning back, stopped the horses at the intersection of Staraya Konyushennaya.
The good fellow jumped down to hold the horses' bridles, Anatol and Dolokhov walked along the sidewalk. Approaching the gate, Dolokhov whistled. The whistle responded to him and after that the maid ran out.
“Go into the yard, otherwise it’s obvious he’ll come out now,” she said.
Dolokhov remained at the gate. Anatole followed the maid into the yard, turned the corner and ran onto the porch.
Gavrilo, Marya Dmitrievna’s huge traveling footman, met Anatoly.
“Please see the lady,” the footman said in a deep voice, blocking the way from the door.
- Which lady? Who are you? – Anatole asked in a breathless whisper.
- Please, I've been ordered to bring him.
- Kuragin! back,” Dolokhov shouted. - Treason! Back!
Dolokhov, at the gate where he stopped, was struggling with the janitor, who was trying to lock the gate behind Anatoly as he entered. Dolokhov, with his last effort, pushed the janitor away and, grabbing the hand of Anatoly as he ran out, pulled him out the gate and ran with him back to the troika.

Marya Dmitrievna, finding a tearful Sonya in the corridor, forced her to confess everything. Having intercepted Natasha’s note and read it, Marya Dmitrievna, with the note in her hand, went up to Natasha.
“Bastard, shameless,” she told her. - I don’t want to hear anything! - Pushing away Natasha, who was looking at her with surprised but dry eyes, she locked it and ordered the janitor to let through the gate those people who would come that evening, but not to let them out, and ordered the footman to bring these people to her, sat down in the living room, waiting kidnappers.
When Gavrilo came to report to Marya Dmitrievna that the people who had come had run away, she stood up with a frown, folded her hands back, and walked around the rooms for a long time, thinking about what she should do. At 12 o'clock at night, feeling the key in her pocket, she went to Natasha's room. Sonya sat in the corridor, sobbing.
- Marya Dmitrievna, let me see her for God’s sake! - she said. Marya Dmitrievna, without answering her, unlocked the door and entered. “Disgusting, nasty... In my house... Vile little girl... I just feel sorry for my father!” thought Marya Dmitrievna, trying to quench her anger. “No matter how difficult it is, I’ll tell everyone to be silent and hide it from the count.” Marya Dmitrievna entered the room with decisive steps. Natasha lay on the sofa, covering her head with her hands, and did not move. She lay in the same position in which Marya Dmitrievna had left her.
- Good, very good! - said Marya Dmitrievna. - In my house, lovers can make dates! There's no point in pretending. You listen when I talk to you. - Marya Dmitrievna touched her hand. - You listen when I talk. You have disgraced yourself like a very lowly girl. I would do that to you, but I feel sorry for your father. I'll hide it. – Natasha did not change her position, but only her whole body began to jump up from silent, convulsive sobs that choked her. Marya Dmitrievna looked back at Sonya and sat down on the sofa next to Natasha.
- He’s lucky that he left me; “Yes, I will find him,” she said in her rough voice; – Do you hear what I’m saying? “She put her big hand under Natasha’s face and turned her towards her. Both Marya Dmitrievna and Sonya were surprised to see Natasha’s face. Her eyes were shiny and dry, her lips were pursed, her cheeks were drooping.
“Leave... those... that I... I... will die...” she said, with an angry effort she tore herself away from Marya Dmitrievna and lay down in her previous position.
“Natalya!...” said Marya Dmitrievna. - I wish you well. You lie down, just lie there, I won’t touch you, and listen... I won’t tell you how guilty you are. You know it yourself. Well, now your father is coming tomorrow, what will I tell him? A?
Again Natasha's body shook with sobs.

Romance is a very definite term. In Spain (the birthplace of this genre), this was the name for a special kind of composition, intended primarily for solo performance to the accompaniment of a viol or guitar. As a rule, a romance is based on a small lyric poem of the love genre.

Origins of Russian romance

This genre was brought to Russia from France by aristocrats of the second half of the 18th century and was immediately accepted by the fertile soil of Soviet poetry. However, Russian romances, the list of which is known today to every lover of classical song, began to emerge somewhat later, when the Spanish shell began to be filled with truly Russian feelings and melodies.

The traditions of folk art, which so far were represented exclusively by anonymous authors, were organically woven into the fabric of the new song. Romances were re-sung, passing from mouth to mouth, lines were altered and “polished.” By the beginning of the 19th century, the first song collectors began to appear, driven by the idea of ​​preserving ancient Russian romances (their list by that time was already quite large).

Often these enthusiasts added to the collected texts, giving the lines depth and poetic power. The collectors themselves were academically educated people, and therefore, when going on folklore expeditions, they pursued not only aesthetic, but also scientific goals.

Evolution of the genre

Starting from the turn of the 18th-19th centuries, the artistic content of romance lyrics became increasingly filled with deep personal feelings. The hero’s individual world was given the opportunity for vivid, sincere expression. The combination of a high syllable with simple and lively Russian vocabulary made the romance truly popular and accessible to both the nobleman and his peasant.

The vocal genre was finally reborn and by the middle of the 19th century it became an integral part of a social evening within the framework of “languid” home music playing, beloved by all young ladies. The first romances also appeared. The list that made up their song repertoire included more and more original works.

The most famous in the first half of the 19th century were such famous composers as A. Alyabyev and A. Gurilev, who played an invaluable role in the development of Russian romance and its popularization.

City and gypsy romances

Urban romance absorbed the largest number of folklore motifs from Russia in the 19th and 20th centuries. Being an author's song, such a song, in its freedom of existence, resembled and was distinguished by its characteristic features:

• the magic of details;
• clearly defined images;
• step composition;
• powerful reflection of the main character;
• the image of ever-eluding love.

The characteristic features of urban romance from a musical point of view are the harmonic construction of the composition with minor tones, as well as its inherent sequence.

The gypsy romance was born as a tribute to Russian composers and poets in the manner of performance of the same name, beloved by many. Its basis was an ordinary lyrical song. However, its lyrics and melody included characteristic artistic expressions and techniques that were in use among the gypsies. It’s not surprising to recognize such a romance today. Its main theme, as a rule, is the experience of love in various gradations (from tenderness to carnal passion), and the most noticeable detail is “green eyes”.

Cruel and Cossack romances

There is no academic definition for these terms. However, their characteristic features are described quite fully in the literature. The peculiarity of cruel romance is a very organic combination of the principles of ballad, lyrical song and romance. Its individual features include the abundance of main plots, differing only in the causes of the tragedy. The result of the whole story is usually death in the form of murder, suicide or from mental anguish.

The birthplace of Cossack romance is the Don, which gave lovers of folk poetry the legendary song of an unknown author “Spring will not come for me...”. History also does not know the exact authorship of most highly artistic works that can be described as “classical Russian romances.” Their list includes songs such as: “Dear Long”, “Only Once”, “Eh, Friend Guitar”, “Come Back”, “We Only Acquaintances” and others, written in the first third of the 20th century.

Russian romances: list and their authors

According to one of the main versions, the Russian romances, the list of which was given above, belong to the pen of the most popular songwriters at the beginning of the last century: Boris Fomin, Samuil Pokrass, Julius Khait and others.

The most devoted connoisseur of classical romance in the 20th century was Valery Agafonov, who was the first to declare the high value of the cultural baggage leaving the Soviet listener. Russian romances, the list of which Agafonov compiled, owed their revival on new soil to the return to their homeland of their legendary performers - Alexander Vertinsky and Alla Bayanova.

Educational and methodological development "Romances in the works of Russian composers"

The work is intended for a wide range of readers, and can also be used for themed evenings dedicated to Russian romance for the age category starting from secondary schools, children's music schools and children's art schools.

INTRODUCTION

I love to listen, plunging into bliss,
Fiery romances, sighs of fire.
S. Danilov

Sometimes in concerts, on radio, television, and in playing music at home, we hear works that are distinguished by rare expressiveness, high poetic language, bright melody, and the merging of a poetic idea with a musical idea. These works are often short in volume, their voice is not loud and is addressed to a small audience of listeners.
These works are romances.
Romance... It is full of charm and light sadness.
Romances provide the greatest opportunities for expressing thoughts, feelings, moods...

The history of the creation of the romance.

The word romance takes us back to the distant Middle Ages in Spain. It was there, in the 13th-14th centuries, that a new song genre was established in the works of traveling poet-singers, combining the techniques of recitative, melodic, melodic and mimic dance. The songs of the troubadour singers were performed in their native Romance language. This is where the name “romances” came from, which determined not only a special genre of poetic text and performing traditions, but also a characteristic type of melody accompanied by a musical instrument.
In the 15th century, with the development of lyric poetry, especially court poetry, the publication of romance collections - the so-called romanceros - began to be published in Spain. From Spain, romance migrated to England and France.
Romance first penetrated into the countries of Western Europe as a literary and poetic genre, but gradually penetrated as a musical genre, forming an independent direction in the vocal music of various countries.
The English called romances not only vocal compositions, but also large chivalric poems, and the French called lyrical love songs. Moving closer to folk art, romance was enriched with folk features and became a popular democratic genre, preserving, unlike Spanish folk songs, its specific features.
As a musical genre, romance expanded its scope over time and was filled with love, humorous, and satirical content.

Russian romance

In the 18th century, the romance genre took shape in Russian musical art, becoming one of the outstanding phenomena of Russian culture. Romance became a genre in which poetry and music most closely merged.
In Russia, romance initially appears in the metropolitan nobility, and then in the provincial environment. It is specially adapted for a narrow circle of people who visit salons and gather for evenings. A warm, homely atmosphere is created there, and this promotes the expression of heartfelt feelings.
The first romances were predominantly of a salon nature; they were characterized by the artificiality of both the experiences themselves and their expression. But over time, romances became simpler, love feelings began to be conveyed openly and more clearly. Romance spread widely not only among the educated strata of society, but also became the property of commoners, philistines, and ordinary people, who appreciated its depth of feeling, sincerity and cordiality. Romance was addressed to every person who experienced ardent and strong love or was disappointed in love. The eternal feeling in its diversity and conflicts, exciting and making the human heart suffer, remaining the content of the romance, opposes the coldness, indifference and alienation that a person often feels in real life.
Romance consolidates a memorable moment in the history of relationships and in the fate of people, one way or another separating them from the bustle world and taking them to the realm of eternal truths, to the realm of truly human values.

Types of romance in Russia:

The wide dissemination of romance in different strata of society in Russia also caused the emergence of its varieties: “estate”, “city” romance, which penetrated into the city among the raznochinsky environment. A special variety is bourgeois, or “cruel,” romance. He was distinguished by extremely intense passions, strain, exaggerated and extreme intonations.
The “gypsy” romance is also close to the “cruel”, with a cult wave that knows no boundaries of love passion.
Romance combines such genre varieties as ballad, elegy, barcarolle, and romances in dance rhythms.
An elegy is a lyrical and philosophical poem. An example of a romance that resembles an elegy is the beautiful romance “Foggy Morning” to the words of I. S. Turgenev. It captures with poetic charm the aching feeling of longing for bygone happiness.
A romance, which is similar to a ballad, is characterized by images inspired by ancient traditions and legends. An example is the romance “Black Shawl” by A. N. Verstovsky based on poems by A. S. Pushkin.
Many composers have created vocal and instrumental pieces in the barcarolle genre. Barcarolle - (Italian barcarola, from barca - boat), the song of the Venetian gondoliers is typical of the soft, swinging movement of the melody and lyrical character. Traits of folk barcarolle also appear in Russian romances.
Currently, the term “romance” refers to the whole variety of chamber vocal forms (solo and ensemble) with instrumental accompaniment, most often piano.
Such options as accompaniment on guitar and harp are also possible:

(picture of a girl playing the harp)
(picture of a young man playing the guitar)

Composers Alyabyev, Varlamov, Gurilev, Verstovsky, Bulakhov played an important role in the development of Russian romance in the first half of the 19th century. The genre of romance and chamber song also occupies a prominent place in the works of classical composers - Dargomyzhsky and Glinka.
(Portrait of M.I. Glinka)
The romances of Mikhail Ivanovich Glinka are the pride of Russian classics. The composer wrote them throughout his life. Some of them depict pictures of Russian nature and life, and lyrical romances are a kind of confession.
Everything captivates in M. I. Glinka’s romances: sincerity and simplicity, modesty and restraint in expressing feelings and moods, classical harmony, severity of form, beauty of melody.
M.I. Glinka is the founder of the Russian school of vocal singing. His romances are an inexhaustible spring of beauty and perfection.
The composer composed romances based on poems by contemporary poets - Zhukovsky, Delvig, Pushkin, close friends, for example I.V. Puppeteer.
Romances to the words of A.S. occupy a special place in the composer’s vocal lyrics. Pushkin. Among them is the pearl of Russian vocal lyrics “I remember a wonderful moment.” The genius of the poet and composer merged in this romance.
In 1838 M.I. Glinka met Ekaterina, daughter of Anna Petrovna Kern, to whom A.S. Pushkin dedicated the poem “I Remember a Wonderful Moment.”
“She was not pretty,” the composer later recalled, “even something painful was reflected on her pale face, but her clear, expressive eyes, an unusually slender figure and a special kind of charm and dignity, spilled throughout her entire person, attracted me more and more.” .
M.I. Glinka’s feelings were divided: He wrote: “I felt disgusted at home, but there was so much life and pleasure on the other side. Fiery poetic feelings for E.K., which she fully understood and shared...”
The meeting with Ekaterina Kern brought great joy to the composer. The girl’s sensitivity, spirituality, and education amazed M. I. Glinka. Thanks to the composer’s deep, pure feeling for Catherine Kern, the inspired poetic romance “I Remember a Wonderful Moment” appeared.
(Portrait of A.S. Dargomyzhsky)
More than a hundred songs and romances were written by the famous Russian composer A. S. Dargomyzhsky.
Romances deeply and psychologically truthfully reveal the inner world of a person, his feelings and thoughts.

Favorite poets A.S. Dargomyzhsky were A. S. Pushkin, M. Yu. Lermontov, A. Delvig, Beranger. Their genius served as a source of inspiration for many composers of the time.
Dargomyzhsky’s romance “I’m Sad” to the words of M. Yu. Lermontov is imbued with deep lyricism. Such romances as “I have passed 16 years old”, “Titular Councilor”, “Old Corporal” are famous.
Pyotr Ilyich Tchaikovsky wrote his romances (more than a hundred of them) throughout his life. They are very diverse in genres, moods, and characters.
Pyotr Ilyich's romances are characterized by sincerity of lyrical feeling, spiritual openness and simplicity of expression.
(Portrait of P.I. Tchaikovsky)
About the romances of P. I. Tchaikovsky, composer B. V. Asafiev wrote:
“...In the monstrous conditions of Russian reality, especially provincial ones, among people suffering from a petty and vulgar life, there was a need for music... of immediate, sincere feeling, which would make it possible... to “unwind your soul”...
Tchaikovsky’s music came at the right time and opened up the full possibility of this kind of intense emotional communication.”
It is difficult to find a person who has not heard the romances of P. I. Tchaikovsky. Here are some of them:
“Among the noisy ball” to the words of A. N. Tolstoy It is written in the rhythm of a waltz, which corresponds to the content of the poem (memories of meeting with his beloved during the ball). This romance is a subtle, heartfelt, lyrical miniature, an intimate confession of one’s feelings.

One of the composer’s most radiant romances is “Does the Day Reign” to the words of A. N. Tolstoy. Everything in him reflects stormy delight, the ardor of a boundless, all-consuming feeling.

The romance “I bless you, forests” based on words from A. N. Tolstoy’s poem “John of Damascus”, by its nature, can be classified as one of the philosophical pages of P. I. Tchaikovsky’s vocal lyrics. Its main idea is the glorification of the beauty and power of nature, with which human life is inextricably linked.
(Portrait of N.A. Rimsky-Korsakov)
It is impossible not to mention one more composer who enriched the treasury of Russian romance - Nikolai Andreevich Rimsky-Korsakov.

Romances occupy a special place in the composer’s multifaceted work, and he created 79 of them.
Nikolai Andreevich's vocal lyrics are characterized by deep poetry and impeccable artistic form.
The main content of his romances is love feelings, images of nature, motifs of oriental poetry, reflections on art.
The poems that attracted N. A. Rimsky-Korsakov indicate his delicate taste.
The composer's favorite poets are Pushkin, Maikov, Nikitin, Fet, Koltsov, A. Tolstoy.
The most famous romances: “Anchar”, “My Voice for You”, “To the Yellow Fields”, the vocal cycle “By the Sea”.
(Portrait of P.P. Bulakhov)
Everyday music, closely related to Russian folk songs, sounded widely and freely in Moscow. Therefore, it is not surprising that it was in Moscow that Russian everyday romance found refuge, the brightest representative of which in the second half of the 19th century was the composer and singer Pyotr Petrovich Bulakhov (1822-1885).

The son of opera artist P. A Bulakhov, brother of the famous Russian tenor Pavel Bulakhov, Pyotr Bulakhov became famous as the creator and performer of Russian songs and everyday romance.
The art of Pyotr Petrovich was admired by such famous representatives of Russian culture as playwright A. N. Ostrovsky, founder of the art gallery P. M. Tretyakov, philanthropist, connoisseur of Russian music S. I. Mamontov.
In the romances and songs of Bulakhov and in the work of the authors of everyday romance at the beginning of the century, melodic alloys of urban Russian songs, gypsy songs were combined with forms of salon music, romance creativity of Western and Russian composers.
Contemporaries of P.P. Bulakhov called him the predecessor of Pyotr Ilyich Tchaikovsky in the romance genre. Bulakhov knew how to express his feelings sincerely and simply.
This can be seen in the famous romance “Shine, Shine, My Star,” inspired by autobiographical motifs. This romance, very popular today, was included in their performing repertoire by such famous singers as Anna German and Joseph Kobzon:
"Shine, burn, my star
Shine, welcome star,
You are my only treasured one,
There will never be another..."

The famous song “My bells, steppe flowers” ​​reveals Russian roots and features close to urban romance.

And in the romance “No, I don’t love you,” the influence of salon music is noticeable:

No, I don't love you
Yes, and I won’t love,
Your treacherous eyes
I don't believe the deception.
The fire of the soul has cooled down
And my heart grew cold!
You are very good
Who cares!

An elegant, fluttering waltz, with a flexible soaring melody, with pauses, sighs, playing, changing major and minor, with lively, figurative musical speech, in which much of Bulakhov’s own style is a reflection of his creative quest.
One of his best elegies, “Do not awaken memories,” is filled with the same expressiveness. Every sound, every word sings here. Everything from the heart and soul:

"Don't awaken memories
Days gone by, days gone by
You won't get back your old desires
In my soul, in my soul..."

Accompaniment! Luxury or necessity?

One of the features of the romance, in contrast to the song, is the presence of piano accompaniment. In a song it is not always necessary. Let's remember how often we have to sing songs without accompaniment - one melody. Of course, if the singing is accompanied by a piano or accordion, then the sound becomes fuller, richer, and more colorful. But it is quite possible to do without instrumental accompaniment, especially if the song is performed by a choir. Simplicity, accessibility, performance is one of the advantages of the song.
But the performance of a romance is often completely impossible to imagine without accompaniment.
In romances, the vocal and instrumental parts are closely connected. Here, both the melody and instrumental accompaniment closely interact, participating in the creation of a musical image.
Take, for example, Tchaikovsky’s romance “Among the Noisy Ball”:
(Note example)
The voice sings phrase by phrase; the melody unfolds slowly, like a gradually emerging vision, the outlines of which become clearer and clearer. Heartfelt, thoughtful intonations with sadly drooping endings of phrases, intermittent breathing with pauses convey the trepidation of the first, timid and tender feeling and paint the image of the heroine - poetic, fragile.
But no less important is the accompaniment, weightlessly transparent, almost airy. Maintained in the rhythm of a waltz, it seems to bring to us echoes of a distant ball.
And the uniform pattern of the accompaniment, fascinating in its monotony, further contributes to the fact that the entire romance sounds like a memory and appears in a romantic haze...
And if you listen to “Spring Waters” by Rachmaninov! Is it possible to imagine this romance without piano accompaniment?
When listening to this romance, you can immediately understand that the joyfully upbeat melody with its jubilant exclamations and the seething streams of the continuously raging piano passages make up a single artistic whole.
Continuing the work of S. Rachmaninov, many examples can be given.
One of the most remarkable is the romance “Spring Waters” based on poems by F. Tyutchev:
“The snow is still white in the fields, and the waters are already noisy in spring...”
There is so much light and hope in this sunny hymn, so much youthful strength and joy conveyed in the accompaniment!
Another example: “Island” to the words of K. Balmont.
Here the music conveys the soundscape. The melody seems to flow silently and transparently, without disturbing the silence.

Words and Music form a single whole!

Let's look at some of the differences between a romance and a song. We know that songs are usually written in verse form. When you learn a song, you only remember the music of the first verse, because in all subsequent verses the words change, but the melody remains the same.
If a song has a chorus, then we are dealing with two different melodies: the chorus and the chorus. Alternating, they follow one after another. And, despite the fact that in the text of the song the words in each next verse are new, the music of the chorus remains unchanged.
The text and music must be in full harmony. The melody perfectly reflects the main idea of ​​the text as a whole and corresponds to its general mood.
It's in the song. But what about romance?
If the composer, creating a romance, wants to reflect the general mood of the poetic text, then he resorts to a generalized song melody, to the verse form.
These are many of the romances of Schubert, Glinka, Alyabyev, Varlamov. Often they are even difficult to distinguish from the song. But in most romances, music gives not only a general mood, reflects not only the main idea of ​​the test, but reveals all the diversity of its content, explains the meaning of stanzas and phrases, and focuses the listener’s attention on some individual words and details. The composer can no longer limit himself to the song verse form; he chooses more complex musical forms, often based on the structure and content of the poem itself.
Thus, the main task of romances is to convey the artistic meaning of the music and text, as well as the creative idea of ​​the composer. Then any romance will find a soul and will “live” forever!

Conclusion

Listening to chamber and vocal works of Russian musical culture, we penetrate into the innermost creativity of great masters, follow their affections and hobbies, and become witnesses to the birth of certain artistic movements, reflected in the intonational language of literary and musical speech.
Listening to romances, we clearly see and feel the techniques, strokes, and features of the artistic method characteristic of its time, and in this regard, the role of romance is invaluable.
The tradition of composing and singing romances continues to live.
And, if we listen to the incessant voice of today, to the mighty stream of sound impressions, then even today we can discern the gentle voice of our friend, the good old romance, which is not at all going to give up its position,
and gradually, unobtrusively, but steadily and beautifully, he captivates more and more young and young, old and elderly people into his special and beautiful world of real feelings, deep thoughts, genuine passions and life ideals!

Collection of ancient Russian romances
Anthology
authors compiled by E.L. Ukolova, V.S. Ukolov
"MAI", Moscow, 1997.
Volume II
Romances of a Moscow reveler
(pdf, 51.1 MB)

The book “Romances of a Moscow Reveler” is part of the anthology “Collection of Ancient Russian Romances,” a publication begun by the volume “Romances of Pushkin’s Era.” The author-compilers, famous researchers and performers of Russian romance, present here for the first time the romance heritage (more than 100 romances) and the biography of the outstanding musician of the 19th century, the “Moscow Frenchman” A.I. Dubuc (1812-1898) is a fascinating and dramatic story about the fate and work of a talented composer, pianist, teacher, his friends and contemporaries.

The biography of A.I. Dubuk “in the scenery of the century” is an unusually interesting, colorful, replete with curious everyday details, a story about the cultural life of Moscow for almost a whole century.

CREATIVITY AND FATE OF ALEXANDER DUBUK
ROMANCES
A river flows through the sand. Words by N. Tsyganov
Unbuttoned sundress. Words by A. Lolezhaev
What are you, little nightingale? Words by N. Tsyganov
Was it not you, invisible, it seemed. Words by F. Blagonravov
Darling darling. Words by F. Blagonravov
I loved him. Words by A. Koltsov
Birdie. Words by V. Chuevsky
I love playful caresses. Words by V. Chuevsky
Dove Masha. Words by N. Tsyganov
The weather has picked up. Words by I. Lazhechnikov
He loved me. Words by I. Yavlensky
Not for the scattering of curls. Words by V. Chuevsky
I will love forever. Words by E. Rostopchina
Do you remember how it used to be. Words by A. Zharkov
There is a snowstorm and blizzard outside. Words by A. Zharkov
Black eyes. Words by A. Koltsov
The garden is blooming over the Don. Words by A. Koltsov
Flower. Words by A. Koltsov
Shut up, don't sing in vain. Words by E. Rostopchina
If I meet you. Words by A. Koltsov
Marriage of Paul. Words by A. Koltsov
Sadness. Words by M. Svoekhotov
Two goodbyes. Words by A. Koltsov
Darling. Words meizv. author
Happy hour. Words by A. Koltsov
Ah, frost, frost. Words by Vanenko (I. Bashmakova)
Oh, don't show a passionate smile. Words by A. Koltsov
Sit, stay with me. Words by S. Selsky
Life in the world is boring without her. Words by S. Sslsky
Here in warlike excitement. Words by V. Alferyev
It’s both painful and sweet. Words by E. Rostopchina
No... no... no! He doesn't love me. Words by A. Grigoriev
I'm a gypsy, be a princess. Words by S. Selsky
Rejuvenators. Folk words
The guys were traveling from Nova Gorod. Folk words
Bitter share. Words by A. Koltsov
I will fly into her arms. Words by A. Koltsov
Oh, I can’t sleep, I can’t sleep. Words by S. Selsky
Feel it, darling. Words by S. Mitrofanov
Not like that at all. Words unknown author
You are Nastasya, you are Nastasya. Folk words
Krambambuli. Words unknown author
Call. Words by Ya. Polonsky
How sweet my Manola. Words by N. Berg
I want to break out of the iron cage. Words by S. Selsky
Thought. Words by A. Koltsov
You and you. Words by P. Beranger, trans. D. Lensky
Your luxurious wreath is fresh and fragrant. Words by A. Fet
Divination. Words by Ya. Polonsky m."""
Rose. Translation from Persian by Vasiliev
Amber cup. Words by A. Lushkan and I. Bashmakov
Don't scold me, dear. Words by A.A. Batasheva
Serenade. Words by A. Fet
Oh, you years, my years. Words by L.A. Meya
Ah, love me without thinking. Words by A. Maikov
Heart, heart! Why are you crying? Words by A. Maikov
Willow. Folk words
Don't tempt me unnecessarily. Words by E. Baratynsky
Love me, my darling. Words by I. Yavlensky
Don't follow me. Words by N. Tolstoy
From under the mask the eyes are black. Words by B. Golitsyn
The heart aches and languishes. Words by D. Izhoshev
Fortune telling on cards on Christmas Eve. Words by A Fet
Lonely tear. Words by A. Maikov
It was not spring that breathed life then. Words by A. Koltsov
Three beauties. Words by Ya. Polonsky
She never loved him. Words by N. Ogarev
Look, my beauty. Words by I. Yavlensky
Hair. Words unknown author
How meek you are, how obedient you are. Words by N. Nekrasov
Drummer's song. Words by G. Heine, trans. A. Pleshcheeva
Kiss me, my darling! Sl, S. Pisareva
Street, street. Words unknown author
I'm walking between the flowers. Words by G. Heine
I'm cleaning my entire hut about someone. Words by A. Timofeev
Don't leave me, my friend. Words by V. Chuevsky
Kiss me to death. Sl, A. Andreeva
This is the life of a gypsy. Words by A. Andreev
Don't tell me why I'm looking at you. Words by P. Muratov
Don't lie. Words by G. Heine
Should I forget you? Words by N.D. Ivanchina-Pisareva
How sweet you are. Words by V. Chuevsky
My black-browed, black-browed girl. Words by V. Chuevsky
I'm bored without you. Words by V. Chuevsky
All my soul hurts. Words by V. Chuevsky
The heart cannot love anymore. Words by V. Chuevsky
Tell me. Words by V. Chuevsky
No, you didn't love me. Words by V. Chuevsky
You are always incomparably good. Words by N. Nekrasov
Kumanechek, come visit me. Folk words
A lot of good guys. Words by V. Sollogub
Believe me, love has no higher right than to forgive and forget everything. Words by A. Pleshcheev
Love while you can love. Words by A. Pleshcheev
Night serenade. Words by A. Fet
I hid behind a cloud for a month. Words by V. Chuevsky
Remember, in the grove. Words by N. Zverev
In the whole universe there is only you and me. Words by S. Spiglazov
I want to listen to you. Words by A. Beshentsev
Love, love, my child. Words by I. Yakunin
Render-vous, Words by A. Beshentsev
Flowers grow in the fields. Words by A. Komarov
No, I couldn't pray for you. Words by A. Grigoriev
Love me, for which you yourself don’t know. Words by N. Lebedev
Don't confuse me with fiery speech. Words by I. Yakunin
Ah, wormwood, wormwood grass. Words by Val. Anneyakova
I went to the forest to buy nuts. Words by T. Shevchenko
The moon floats high above the earth. Words by I. Turgenev