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Romance in music (Spanish romance, from Late Latin romanice, literally - “in Romanesque”, that is, “in Spanish”) -
a vocal composition written on a short poem of lyrical content, mainly love;
chamber musical and poetic work for voice with instrumental accompaniment.

1- We offer you 20 numbers with ready-made links to romances. This is for those who like to do assignments.

Please choose!

HOORAY! Numbers are out! But there are still a lot of romances!

2- The rest of the participants can do work with any romances performed by their favorite performers.

3- To help, we offer a list of Russian romances and famous performers.

4- To help you, we offer 3 links for listening and downloading large quantity romances and most
famous performers. Almost all the romances are collected here.

Famous performers of Russian romances -

Agafonov, Valery Borisovich (1941-1984)
Bayanova, Alla Nikolaevna (1914-2011)
Vertinsky, Alexander Nikolaevich (1889—1957)
Leshchenko, Pyotr Konstantinovich (1898-1954)
Labinsky, Andrey Markovich (1871-1941)
Malinin, Alexander Nikolaevich (b. 1958)
Morfessi, Yuri Spiridonovich (1882-1957)
Morozov, Mikhail Alexandrovich (b. 1972)
Pogudin, Oleg Evgenievich (b. 1968)
Ponomareva, Valentina Dmitrievna (b. 1939)
Plevitskaya, Nadezhda Vasilievna (1884-1940)
Slovtsov, Pyotr Ivanovich (1886-1934)
Utesov, Leonid Osipovich (1895-1982)
Figner, Nikolai Nikolaevich (1857-1918)
Khil, Eduard Anatolyevich (b. 1934)
Chaliapin, Fyodor Ivanovich (1873-1938)
Shtokolov, Boris Timofeevich (1930-2005)
Yukavsky, German Valerievich (b. 1970)
Yurieva, Isabella Danilovna (1899-2000)
DMITRY RYAHIN
LEONID SEREBRENNIKOV
TRIO "RELIKT"
ENSEMBLE “VELVET SEASON”
LARISA MAKARSKAYA
IVAN ILYCHEV
VIKTOR SVETLOV
NANI BREGVADZE
TATIANA RUZAVINA AND SERGEY TAYUSHEV

LIST OF RUSSIAN ROMANS

A
And finally, I’ll say... (A. Petrov - B. Akhmadulina)
Oh, why this night... (Nick. Bakaleinikov - N. Ritter)
Oh those black eyes
B
White acacia fragrant clusters - music unknown author, words by A. Pugachev (?). Published in 1902.
IN
In the garden where we met
At the fatal hour (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, 1827-28.
The look of your black eyes (N. Zubov - I. Zhelezko)
IN 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. German)
You ask for songs, I don’t have them (Sasha Makarov)
I go out alone on the road
G
“Gas scarf” (Don’t tell anyone about love)
Gaida, troika (M. Steinberg)
Eyes (A. Vilensky - T. Shchepkina-Kupernik)
Shine, burn, my star (romance) - music by P. Bulakhov to lyrics by V. Chuevsky, 1846.
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)
A long road - music by B. Fomin, lyrics by K. Podrevsky
E
If you want to love (music: A. Glazunov, lyrics: A. Korinfsky)
AND
The autumn wind moans pitifully (M. Pugachev - D. Mikhailov)
My joy lives on - based on the poem by Sergei Fedorovich Ryskin (1859-1895) “The Udalets” (1882), arr. M. Shishkina
Z
For a friendly conversation (He came to us, he came to us)
Stars in the sky (V. Borisov - E. Diterichs)
Winter road - poems by Pushkin, music by Alyabyev
TO
Wicket (A. Obukhov - A. Budishchev)


L
Swan Song (music and lyrics by Marie Poiret)
M
My days are slowly passing (music: N. Rimsky-Korsakov, lyrics by A. Pushkin)
Darling, can you hear me - music by E. Waldteifel, lyrics by S. Gerdel
My fire shines in the fog (Ya. Prigozhy and others - Yakov Polonsky)
The Shaggy Bumblebee (A. Petrov - R. Kipling, trans. G. Kruzhkova)
We only know each other (B. Prozorovsky - L. Penkovsky)
When there is a premonition of separation... (D. Ashkenazi - Ya. Polonsky)
When with a simple and gentle gaze
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 - it is based on a text by the poet A. Molchanov, created in 1838 in the Caucasus, music. and words by N. Devitte.
Don’t awaken memories (P. Bulakhov - N. N.)
Don't leave, my darling (N. Pashkov)
Don’t go, stay with me (N. Zubov - M. Poigin)
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 that I love so passionately
But I still love you
Crazy nights, sleepless nights (A. Spiro - A. Apukhtin)
The night is bright (M. Shishkin - M. Yazykov)
Silent Night (unknown author)
ABOUT
Oh, at least talk to me (I. Vasiliev - A. Grigoriev), 1857
The bell rattles monotonously (K. Sidorovich - I. Makarov)
The month turned crimson
He left (S. Donaurov - unknown author)
The chrysanthemums have long since faded
Charming eyes (I. Kondratiev)
Black Eyes - lyrics by Evgeny Grebenka (1843), performed to the music of F. Herman's waltz “Hommage” (Valse Hommage) arranged by S. Gerdel in 1884.
P
A pair of bays (S. Donaurov - A. Apukhtin)
Under your enchanting caress
Lieutenant Golitsyn (song) - first dated performance in 1977.
Dove me, my darling - music: A. I. Dubuk
Farewell, my camp! (B. Prozorovsky - V. Makovsky)
R
Romance about romance - music by Andrei Petrov, lyrics by Bela Akhmadulina, from the film “Cruel Romance”, 1984.
C
White tablecloth (F. Herman, design by S. Gerdal - unknown author)
I dreamed of a garden in a wedding dress
Nightingale (romance) - composer A. A. Alyabyev based on poems by A. A. Delvig, 1825-1827.
Good night, gentlemen - music - A. Samoilov, poetry - A. Skvortsov.
Faceted cups
T
Dark cherry shawl (unknown author)
Only once (words by P. German, music by B. Fomin)
U
Alas, why does she shine - poems by Pushkin, music by Alyabyev
Go away, go away completely (L. Friso - V. Vereshchagin)
Street, street, you, brother, are drunk - poetry: V. I. Sirotin, music: A. I. Dyubyuk
Foggy morning (E. Abaza, according to other sources Yu. 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. Influenced by popular romance"White acacia clusters are fragrant."
H
The Seagull - 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
E
Hey, coachman, drive to the Yar (A. Yuryev - B. Andrzhievsky)
I
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), 1901
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

1- Vintage romances performs
Anatoly TITOV

2-ROMANCES PERFORMED BY THE MOST FAMOUS PERFORMERS -

By entering this link, and then clicking on the name of any artist in the list,
You can listen, select and download any
the romance you like. Unfortunately, the names of the authors are not indicated everywhere
poetry and music, you will have to make up for it yourself.

3-Romance of the passing century performed by Margarita Korneeva

Dear friends!
All you have to do is choose romances and make castes with pleasure,

and we look forward to your work!

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Community “Do good, give love and tenderness”

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

The genre definition of “romance” in Russia came into use at the beginning of the 19th century, replacing the “Russian song”. Lyrical in content, " Russian songs"were the predecessors of Russian romance.

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

proximity to the music of urban life;

wide chanting, flexibility and plasticity of the melodic line;

sensitive character.

Remains stable genre view"Russian song".

The main stylistic features of Russian everyday romance:

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

the inclusion of declamatory phrases as a means of dramatization;

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

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

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

predominance of couplet, strophic form.

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

Played a fundamental role in the development of Russian romancerussian poetry, presented works of a brilliant generation Russian poets: Zhukovsky, Baratynsky, Delvig, Batyushkov, Yazykov, Pushkin, later - Lermontov, Tyutchev.

Under the influence of poetry, several popular varieties of everyday chamber vocal music were formed:

elegy - a romance of lyrical and philosophical content associated with themes of deep thought, memories of the past, loneliness, unrequited love. A special feature of the melody is the characteristic combination of song-romantic and declamatory turns;

ballad - a romance in the free form of a monologue-story about dramatic, mysterious events. Often, a ballad is based on a folk legend and includes fantastic elements. Musical speech is distinguished by excited pathos and expressiveness of recitation. Important role piano part plays. A.N. is considered the creator of the Russian vocal ballad. Verstovsky (“Black Shawl” to the words of Pushkin, “Three Songs of the Skald” and “Poor Singer” to the words of Zhukovsky);

drinking songs. They were distributed mainly among officers. In their cheerful music one can often hear a clear march-like gait, indicating a connection with marching and battle songs. In the era of the Decembrists, the everyday theme of drinking songs gives way to civil statements, calls for freedom and “liberty”;

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

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

The poetry of A.S. had a particularly profound impact on Russian vocal music. Pushkin. His poems elevated Russian romance to the level of authentic classical art. It was during the Pushkin era that a number of talented masters of Russian romance emerged.

Alexander Alexandrovich Alyabyev (1787-1851)

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

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

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

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

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

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

Romance "Beggar" refers to Alyabyev’s peak achievements in the field of dramatic vocal music. Here an image appears that anticipates the heroes of “poor Rus'” -“little people”, powerless and oppressed by fate. This is poor old woman, in the past - famous singer, in the present - a beggar,begging for alms at the temple. The repeated lines “Give, for Christ’s sake, to her” call for compassion and love, giving the composition a deep social meaning. The couplet form of the romance is complicated by the two-part structure of each stanza.

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

Expanding the theme of Russian romance, Alyabyev enriches vocal music with new means of musical expression. The melody in his romances, usually restrained and not wide in range, is distinguished by subtle declamatory expressiveness (“Evening Bells”, “Beggar Woman”, “Village Watchman”).

The enrichment of the composer's vocal lyrics was greatly facilitated by his instrumental skill. In a number of romances the grain poetic image contained precisely in the piano part ("Winter Road" ).

Alexander Egorovich Varlamov (1801-1848)

If Alyabyev wasclose to the Decembrist movement in Russian art,then his contemporary Varlamov belonged to a different, post-Decembrist generation. His vocal lyrics sincerely and truthfully reflected the mood of the diverse artistic intelligentsia, new to Russia.

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

Varlamov created about 200 romances. Bringing the romance genre closer to folk songs, he made it accessible to the most wide circles listeners. Among his favorite poets are M. Lermontov, A. Fet (who was just beginning his literary activity), A. Pleshcheev. But most often he turned to the poems of songwriters - A.V. Koltsov and the now forgotten N.G. Tsyganova. It was on Tsyganov’s poems that the famous Varlamov’s"Red Sundress" , which, according to the composer A. Titov, “was sung by all classes - both in the living room of a nobleman and in a peasant’s smoking hut.”

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

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

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

Varlamov had an undoubted influence on further development Russian song cantilena, as well as the birth of intonations that truthfully convey psychological state person .

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

Alexander Lvovich Gurilev (1803-1858)

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

“Russian song” was Gurilev’s favorite genre, which can already be explained by his origin: he was born into the family of a serf musician, and received his freedom only in 1831 (at the age of 28).The composer often introduces a waltz rhythm into the traditional genre of “Russian song” (“Bell”, “Don’t make noise, rye, with a ripe ear”, “The blue-winged swallow is hovering”, “Tiny house”). Many of the composer's songs have become folk songs; They were sung to the accompaniment of a guitar or piano in urban life; they also penetrated into the peasant environment and into the repertoire of professional gypsy choirs.

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

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

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

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

A distinctive feature of Gurilev's romances and songs is the masterful development of the piano part. For all its simplicity, it is marked by the purity of vocal performance, detailed and careful nuance. This indicates high professional culture composer, who had excellent command expressive means piano. He was known to his contemporaries not only as a composer, but also as a gifted virtuoso pianist.

The epithet “sincere” (sincere tone, intonation, melody, etc.) clearly prevails in defining the characteristics of Russian everyday romance, since it has always been addressed to the human soul.

Him with fate turned out dramatically. Son of the Tobolsk governor, nobleman,A participant in the Patriotic War of 1812, awarded orders for military merit, Alyabyev was exiled to Siberia on false charges of murder. In exile, he had to experience all the hardships of a powerless existence.

He received his musical education at the St. Petersburg court singing choir under the leadership of D. Bortnyansky. Varlamov’s extensive pedagogical experience is summarized in the “School of Singing” he created - the first major work in Russia devoted to the methodology of teaching vocal art.

In this regard, the romance “Don’t wake her up at dawn” is especially interesting, the opening phrase of which is clearly related to the first intonations of Tchaikovsky’s romances “Among the Noisy Ball” and “I Opened the Window.”

Romance is a 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 sound 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 XVIII 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.

Into the fabric new song traditions were organically woven folk art, which has so far been presented exclusively by anonymous authors. Romances were re-sung, passing from mouth to mouth, lines were altered and “polished.” By the beginning of the 19th century, the first collectors of songs began to appear, driven by the idea of ​​preserving ancient Russian romances (the list of them 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 has finally been reborn and mid-19th century century has become an integral part social evening within the framework of “languid” home music playing, beloved by all young ladies. The first romances also appeared. The list that compiled them song repertoire, contained 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 has absorbed the greatest amount folklore motifs Russia XIX-XX 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 love experience 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 described in the literature quite fully. Feature cruel romance is a very organic combination of ballad principles, lyrical song and romance. TO individual traits it is attributed to 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 folk poetry legendary song 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, Russian romances, the list of which was given above, belong to the pen of the most popular at the beginning last century songwriters: Boris Fomin, Samuil Pokrass, Yuli 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 was compiled by Agafonov, owed their revival on new soil to the return to their homeland legendary performers- Alexander Vertinsky and Alla Bayanova.

A romance is similar to a song, but at the same time differs from it in some features, which, in fact, makes a romance a romance.

But first, a little about the history of romance and the origin of the term itself.

The term "romance", which originated in medieval Spain, originally referred to a common song in the Spanish (Roman) language. Romance –in Spanish. The content of the poem set to music was usually love and lyrical. This term later spread to other countries, but in some there remains one designation for the song and for the romance: for example, in Germany - Lied (song).

As a matter of fact, romance as a genre was formed later, and therefore did not require special term, although it is obvious that it evolved from a song. The first romances appeared around XV century, but the real flowering of the romance began in the second half XVIII V. Moreover, the lyrical creativity of poets contributed to this Goethe And Heine, which in their lyrics expressed the depth of feelings and experiences that could not be expressed in a simple song: deep music was needed to express deep feelings. And such music appeared. National schools of romance also appeared, especially famous in Germany, France and Russia. But we will talk about the authors of romances in the next article, and in this one we will continue the story about the romance genre.

Signs of romance

As we have already said, a romance is similar to a song. But its difference from a song is its special melodiousness and clear, prominent melody. A romance usually does not have a chorus (refrain), although there are exceptions. In romance music, unlike songs, more attention is paid to mood (rather than rhythm, for example); the essence of romance is in the content of the poems and melody, and not in the accompaniment. Usually romances are chamber music(singing with the accompaniment of one instrument, usually the piano). But here, of course, there are exceptions - orchestral accompaniment.

Features of the romance genre

In a romance, words, music, and vocals are important at the same time.

A romance is a more intimate work than a song, so it can only be lyrical, while a song can be patriotic, heroic, etc.

Due to the fact that a romance usually expresses a feeling of love, the addressee is always present or implied in it, i.e. a romance, in a sense, must have a dialogue, even if it is an internal one.

Instrumental works “songs without words” are close to romance, in which the melodic line predominates. The most famous are “Songs without Words” by F. Mendelssohn.

Romance verses are usually melodic, melodious, touching and tender, or tragic.

Russian romance

Russian romance emerged as a genre in the first half XIX century, this was associated with the flourishing of romanticism in world, including Russian, literature. Composers played an important role in the development of Russian romance A. Alyabyev, A. Varlamov and A. Gurilev.

Among the best and most famous works Alyabyeva One can name the romance “The Nightingale” (1826) to the words of A. Delvig, “Winter Road”, “Two Crows” to the poems of A. Pushkin, “Evening Bells” to the words of I. Kozlov.

A. Varlamov created about 200 romances. Among them the most famous are “ mountain peaks"to the verses of G. Heine, "A blizzard is blowing along the street", "A lonely sail is turning white" to the verses of M. Lermontov.

Romances A. Gurilyova imbued with romantic, sentimental moods, subtle lyricism, they are strongly influenced by Russian folk tradition. The most famous are “No, it’s not you that I love so passionately” to the verses of M. Lermontov, “The bell rattles monotonously” to the verses of I. Makarov, “Mother Dove” to the verses of S. Nirkomsky, etc.

I. Yuryeva

Many Russian romances had a gypsy flavor both in content and in music. From classical Russian literature we know that gypsy singing was a favorite pastime of the Russian nobility.

Beginning of the 20th century called the “golden age” of Russian romance. Then listeners were captivated by the talent of A. Vertinsky, V. Panina, A. Vyaltseva, N. Plevitskaya, and later by Pyotr Leshchenko, Isabella Yuryeva, Tamara Tsereteli and Vadim Kozin.

Alexander Nikolaevich Vertinsky (1889-1957)

A. Vertinsky

Outstanding Russian pop artist, film actor, composer, poet and singer, pop idol in the first half of the 20th century. Father of actresses Marianna and Anastasia Vertinsky.

The life of A. Vertinsky is reflected in his era: acquaintance with the artists K. Malevich, M. Chagall, poets V. Mayakovsky, I. Severyanin, actress V. Kholodnaya, participation as an orderly in the First World War. He traveled all over the country with pop performances, and in 1920 he emigrated first to Constantinople, and then began wandering around the world.

He himself explained the reasons for emigration as follows: “What pushed me to do this? Did I hate Soviet power? Oh no! Soviet power She didn't do anything bad to me. Was I a follower of some other system? Not either: obviously, it was a passion for adventure and travel. Youthful carelessness." He lived and worked in Romania, Bessarabia, Poland, Germany, Paris, which he called his second home, here he met Charlie Chaplin, Marlene Dietrich, Greta Garbo. During these years, Vertinsky became friends with Anna Pavlova, Tamara Karsavina and Ivan Mozzhukhin. Close friendship bound him to for many years and with Fyodor Chaliapin. Then there was the USA, China, Lebanon, Palestine... And only in 1943, after numerous appeals and requests, he was able to return to his homeland, Russia. Here he worked actively on the stage, including at the front. But, despite the singer’s enormous popularity, the official Soviet press treated his work with restrained hostility - soon after the end of the war, a campaign was launched against lyrical songs, allegedly leading listeners away from the tasks of socialist construction.

But his numerous songs and romances became a new word in art, laying the foundation for Russian art song. Vertinsky's romances are still popular, but not every performer can convey their charm and aristocracy. Let’s name the most famous: “Your fingers smell like incense”, “Tango “Magnolia”, “Grey-Eye”, “Marlene”, etc.

N. Slichenko

IN Soviet era, especially since the late 1930s, romance was persecuted as a relic of the tsarist era, harmful to the builders of the socialist future. Many famous performers were silenced, some were repressed.

The revival of Russian romance began only in the 1970s. At this time bright performers romances have become Valentin Baglaenko, Nikolay Slichenko, Valentina Ponomareva, Nani Bregvadze, Boris Shtokolov and others.

N. Bregvadze

Varieties of romance

Simultaneously with the Russian chamber-vocal classical romance, the everyday romance, designed for amateur singers. Here we can highlight cruel romance And urban romance.

Cruel romance

I. Pryanishnikov “Cruel Romances”

It arose approximately in the middle of the 19th century, and its heyday was the last quarter of the 19th - beginning of the 20th century.

A cruel romance was born in the urban and suburban environment where the “philistines” lived: peasants, workers, poor traders, artisans. They began to create their own subculture, emerging from ditties, romance, dance (for example, quadrille), popular prints, etc. In the 20th century cruel romance gradually replaced the ancient song and became a favorite genre. Subsequently, the cruel romance served as one of the sources urban romance.

There is no single definition of the cruel romance genre. But it has special features that make it stand out from the genre of classical romance: limited plot, everyday tragedy, ending mainly in murder, suicide, death from grief or unrequited love, etc.

Urban romance

It was formed almost at the same time as the cruel romance. The differences from cruel romance are also insignificant: urban romance is more harmonious from a literary point of view, performed mainly in a minor key. He was more influenced gypsy romance, as well as operettas.

Evolved from urban romance thug song, author's song, and also Russian chanson.

Thieves song

A song genre that glorifies the difficult life and morals of the criminal environment, designed for prisoners and people close to the criminal world. It became widespread in the Soviet Union and subsequently in the CIS countries. For the first time, criminal songs were published on gramophone records in the 1930s. They were performed by the famous Leonid Utesov.

L. Utesov

In the 1930s and 1940s, songs appeared about the suffering of convicts in the Gulag. A song about people held in difficult conditions in camps on Kolyma in the Magadan region, “Vanino Port,” whose authorship has not yet been precisely established, appeared in the late 1940s and became the anthem of prisoners.

Musicologists find individual motives of the thieves' song in early works Vladimir Vysotsky And Alexandra Rosenbaum.

A. Rosenbaum

In the 90s in Russia, many musicians and groups performed the criminal song on the stage. Famous songwriter Mikhail Tanich, who was in the camp during Stalin's time, created group "Lesopoval", who performed criminal songs and became popular.

The first composition of the group "Lesopoval"

Over time, songs began to appear in the genre of criminal music that went beyond the criminal theme, but retained its characteristic features: melody, jargon, worldview. This kind of music began to be called “Russian chanson”.

Russian chanson

Katya Ogonyok

IN beginning of XXI V. The criminal song that plays on radio and television is usually called Russian chanson. She became a phenomenon popular culture. The symbol of the new Russian “chanson” is the song “Vladimir Central” Mikhail Krug, its author has never been to prison, but uses stylization of the genre.

Willy Tokarev

In addition to the named artists, performers of Russian chanson are Katya Ogonyok, Vika Tsyganova, Willy Tokarev, the Butyrka group, Ivan Kuchin, Lyubov Uspenskaya, Mikhail Shufutinsky and many others.

In addition to the indicated varieties of romances, one can also distinguish noble romance, response romance, ironic, acting, White Guard, etc.

But let's return to the classic romance. It was and is included in their repertoire by many outstanding modern singers and actors: Yuri Gulyaev, Evgeny Dyatlov, Sergei Zakharov, Lyudmila Zykina, Alexander Malinin, Lyudmila Ryumina, Valentina Tolkunova, Klavdiya Shulzhenko, Dmitry Hvorostovsky and others.

D. Hvorostovsky

Its main characteristics and components, as well as the history of the origin and development of the ancient genre. The role of Mikhail Glinka in the development of Russian romance.

Beautiful lyrical performances accompanied by live music have always touched the hearts of listeners and connoisseurs of the classics. It's amazing how such a short piece of music can touch the deepest strings of our soul. Romance is amazing combination poetry and music, which found many admirers. In the melodic-poetic genre, there are three varieties: barcarolle (rhythmic song), elegy (reflective song), ballad (plot song).

Romance is an ancient genre

Its history goes back to the Middle Ages. The term “romance” itself originated in medieval Spain. During that period of history, a genre of secular songs appeared, usually these were poems by famous poets of the Romantic era, set to music and conveying deep feelings. By the way, today the words “romance” and “song” are identical in many languages.

Over time, this gained such popularity that single works began to be combined into whole vocal loops. It is symbolic that the first such cycle was created by the genius of world music and the father of classics - Beethoven. His idea was picked up and continued no less famous musicians such as Brahms, Schumann and Schubert.

Main characteristics of romance

A romance is a musical poem similar to a song. But still there are significant differences in the construction of the work itself. For example, there is absolutely no chorus, or, as it is also called, a refrain. Although practice shows that there are exceptions to the rules. It is interesting that the romance is usually performed solo, less often by a duet, and almost never by a choir.

Special hallmark This genre is its semantic load. His lines always carry a certain story that is close to both the author and his listeners. This could be an autobiographical story about an unhappy love story, or the author’s reflections on one or another life theme. Romance is not an exclusively melancholic genre. There are many examples of satirical and funny poetic narratives set to music.

A little about Russian romance

After a while, with the appearance in houses wealthy people musical instruments, romance seeped into Russian culture. Perhaps this was inspired by the spirit of romanticism that permeated the entire early nineteenth century. It was very much to the taste of the demanding public, and it was immediately picked up by such composers as Varlamov ("At dawn, don't wake her up"), Gurilev ("The bell sounds monotonously"), Alyabyev ("The Nightingale"). Some of them considered it necessary to introduce a spirit of freedom and cheerfulness into Russian romance and at the same time allowed the performer to demonstrate his vocal abilities. The accompaniment here is just a background, but organically connected with the poetic basis.

It's sad, but Soviet era his cultural development was suspended because severe censorship believed that the ideology propagated in romances had a detrimental effect on the worker Soviet man. Ancient romances were not welcomed; their themes were considered “decadent.” The trend was patriotic, folk and humorous songs with simple melody.

Nevertheless, romances in some of their forms, for example, “urban”, continued to exist, passed on from mouth to mouth ordinary people. It was thanks to them that over time the long-awaited revival of this genre took place, which occurred around the seventies.

Russian composer Mikhail Ivanovich Glinka

Mikhail Ivanovich Glinka made an invaluable contribution to the history of Russian romance. As is known, he wrote more than eighty works different directions. Glinka's romances are unique masterpieces, the creation of which only such talented and gifted individuals as Mikhail Ivanovich can create. His favorite romances were based on poems by Alexander Sergeevich Pushkin. He always appreciated good poetry and realized that true romance could not exist without it.

The most significant work- opera "Ruslan and Lyudmila" based on poem of the same name Pushkin, which did not receive universal recognition, but revealed the composer’s full potential. And Glinka’s famous romances based on the poems of the great Russian poet - “I remember wonderful moment", "I'm here, Inesilya", "Here's a healthy cup", "Here's to health, Mary."

Today there are millions of fans of the world-famous genre. Thanks to the love and support of the public, he does not stand still, but develops and moves forward every day. Of course, no matter how much time passes, romance will remain one of the leading and most important areas of chamber music.

An increasing number of people find in it something close to themselves, some kind of outlet in their experiences and problems. It is comforting to know that romance has not faded into the background over time; it continues to remain a favorite vocal genre.