The origins of A. m. go back to the muses. the culture of the Celtic tribes that inhabited the British Isles from the 4th century. Samples of the ancient oral folk song tradition have been preserved, the bearers of which were bards - singers, performers and creators of epic songs. and heroic. songs. Surviving pictorial, lit. and folklore sources indicate that music has occupied the important place in everyday life and society. English life people. Among peasants, artisans, sailors, and warriors, songs of various genres have long existed: labor songs, related to agriculture. works, hunting, fishing, romantic sea songs, as well as lyrical, love, comic, and humorous songs. The most ancient genres include "carols" - originally unison religions. chorus hymns, the content of which over time took on a more secular character. Large group in English folklore consists of “songs-ballads” of an epic nature, glorifying the exploits of the national people. heroes, the people's struggle against feudal oppression. During the period of the peasant uprising, led by Wat Tyler (1381), freedom-loving songs arose, calling the people to resist the feudal lords and kings. mercenaries Mn. lyrical ballads are dedicated to people. hero, friend of the poor Robin Hood. Folk A. m. fed from plural. sources. Along with the British they created their own music. art-Scots, Irish, Welsh. Under national originality of music. language in the songs and dances of the peoples inhabiting Briton. islands, common features are preserved, manifested in modal intonation. and rhythmic melodic structure. For intonation building people A. m. is characterized by the use of ch. arr. Ionian, Dorian and Mixolydian modes. In ancient English music folklore is dominated by songs built on pentatonic scales; elements of polyphony are often present. As a rule, amusement (especially dance melodies) is subordinated to a clear metrical pattern. structure. Ch. are used. arr. simple sizes: 4/4, 6/8, 3/4; complex ones - 5/4, 7/8 - are relatively rare. The tool is widespread among the people. music that arose from shepherd's tunes, hunting signals, but ch. its source was dances and processions. Among the popular people. dances - giga, country dance, hornpipe. They were accompanied by playing the pipe (pipe), flute (recorder), primitive violin, drum (tabor), etc.

With adoption in the 6th century. Christianity is being developed by the church. music. Over the course of many centuries, the formation of prof. in England is associated with it. music lawsuit Bas-reliefs depicting angels and monks singing and playing music have been preserved. music instruments (primitive harps, lyres, zithers, pipes). Church ritual of the early Middle Ages, which developed under the influence of Catholicism. Rome and strictly regulated the forms of muses. everyday life, allowed only unison singing without regular meter - the so-called. plainsong. This tradition was introduced in the beginning. 6th century the first Archbishop of Canterbury monastery, Augustine, who arrived in England from Rome. In the 9th century Anglo-Saxon scientist A. Alcuin (nicknamed Flaccus) outlined in music theory. fragment of the theory of the 8th church. frets From the 10th century The unison chant of Gregorian chant is enriched with two-voice techniques with a predominance of parallel fourth-fifth movement of voices. The choir is developing. polyphony. About the character of the Middle Ages. chorus Polyphony is illustrated by non-neutral records (see Neums), the earliest of which date back to the 11th century. More recent data allows us to draw a conclusion about the intonation-modal nature of English. cult music. It was based on ancient churches. okay, ch. arr. Ionian, Mixolydian and Aeolian. To the choir. polyphony, along with the parallel movement of voices in a fourth-fifth ratio, freer forms of wok combinations are also becoming widespread. parts - Gimel, Faubourdon, allowing parallel movement of thirds and sixths (especially in cadences), crossing voices, melodic. ornaments. Judging by the handicraft. sources kept in Winchester Cathedral, in the beginning. 12th century in Catholic Liturgy there are 3- and 4-voice chants, using imitations. and harmonious means different from plainsong metric. melodic orderliness movements.

With the conquest of England by the Normans, the process of feudalization of the country intensified. The influence of Norman (French) culture is increasing, manifested in architecture, literature and music. In the 11th-12th centuries. a fief is being built. castles, cathedrals, liturgical development is being developed. music. At the same time, new forms of people penetrate into A. m. music creativity, in particular the art of minstrels. These traveling musicians were not only performers of popular songs and epic and romantic ballads. and satirical. content, but often also their authors. The products they created. passed down through oral tradition. Minstrels contributed to the spread of playing instruments (harp, lyre, lute, primitive violin, bagpipes, trumpet, various types of woodwinds, percussion), as well as their improvement. While in the service of large feudal lords, they participated in the execution of people. religious mysteries, and acted out scenes from gospel tales. The Anglican Church prohibited playing music. instruments and brutally persecuted the minstrels. The minstrels ridiculed priests and monks, and certain churches. establishments. In the treatise of the Bishop of Salisbury (1303), directed against the people. musicians, it is said that there is a direct threat that minstrels could pose to the strength of the foundations of the church and the state. However, as historians testify, there were exceptions. Thus, Bishop Oldham of Shernborne himself played the “pagan” harp to attract worshipers, and Bishop Dunstan for the same purpose constructed an Aeolian harp and placed it in the wall of the cathedral. Gradually, throughout the 12th-13th centuries, the attitude of the church. authorities to instr. music is changing. As the feud strengthened. building, the emergence of new crafts and the development of mountains. life in people everyday life begins to spread. forms of free voc.-instrument playing music. There is tolerance towards secular music and its speakers - bards and minstrels. Contrary to the harsh papal and episcopal edicts, the church was forced to allow instr. music into religious use. Playing the organ is introduced into the liturgy. One of the first large organs (400 pipes) built in the 10th century was the instrument installed in Winchester Cathedral. The British Museum contains records of two org. plays belonging to an anonymous author of the 13th century. Along with the organ in the church. stringed (harp, psalterium, dulcimer) and wind (trumpets, flutes) instruments began to be used in music. As the strict tutelage of the church weakens, all types of folk art and above all poetry. The bearers of secular artistic culture were often the clergy, who at that time represented the most educated segments of the population. Heroic poetry is developing significantly. and lyrical. content, the original forms of people are born. t-ra. Formation of national culture took place in the process of struggle against the pro-French tastes of the Norman nobility, who implanted the French in the conquered country. language and literature. At the same time, the expansion of cultural ties between England and France increased the mutual influence of muses. cultures of both countries. In Worcester Cathedral, Losminster Monastery, etc., muses have been preserved. manuscripts 13 - beginning 14th centuries, containing works borrowed from music. everyday life of the Notre Dame Cathedral in Paris. An excellent example of a choir. polyphony of the Middle Ages - the famous 6-voice “Summer Canon” (“Summer is icumen in”), the earliest (c. 1280) of the samples of folk music that have come down to us. polyphony; it testifies to the high professionalism of the unknown master. In this play of a lyrical-pastoral nature, according to the English. music historians, the influence of the French can be traced. polyphonists. In the 13th century Polyphonic is also developing. the form of a motet, usually in the form of a 3-voice chorale, in which Ch. The part is led by the middle voice (tenor). Non-nominal notation gives way to mensural notation.

The beginning of a new movement in society. And cultural life England, marked by an anti-feud. uprisings and a wave of heretical religions. teachings that swept the country in the 14th century were reflected in all types of people. creativity and literature. In production forerunner of early English Renaissance outstanding writer and the poet J. Chaucer contain references to modern times. to him music, musicians, muses. instruments. The process of professionalization of musicians and the legalization of their civil rights is associated with the Renaissance. In 1469, a guild of minstrels was founded in London, which enjoyed the support of the mountains. authorities. With the king a wok is organized in the yard. and instr. chapels. Music creativity ceases to be anonymous. A school of prof. is being formed. composers, polyphonists, who rely in their work on the experience of people. polyphony and european masters of counterpoint. Amazing music is enriched with a variety of rhythms and music. forms that overcome the limitations of the cantus firmus style.

It means moving forward. composer, one of the first English masters of polyphony J. Dunstable, also known outside England (his works were in the libraries of Rome, Bologna, Modena). According to the few surviving works. Dunstable can be judged by the richness of his imagination and high contrapuntalism. the composer's skill. His work is an example of the bold development of expressive melodicism. style, full-sounding polyphony, contrasting forms using variations. music development material. Dunstable's work was appreciated by his contemporaries; he worked during the reign of Henry VI (1422-61), who not only patronized the muses. art, but also composed sacred music. The composers L. Power and G. Abingdon, who headed the king from 1455, worked at his court. chapel. Following the example of the king. courtyard, noble feudal lords created their own instruments. chapels, often attracting composers and performers from Italy, France and the Netherlands.

With the growth of national self-awareness, interest in people arises. creativity, national literature, which contributes to the gradual weakening of French. influence. Creativity is strengthened. English positions composers winning the sympathy of the middle strata by appealing to the national traditions, developed by prof. music of folklore motives. Vocal lyrics address living images and characters of people, free human personality, the joy of life. Tools are beginning to occupy an important place in the everyday life of city residents. music, new instruments are being developed. genres, church modes give way to the major-minor system, and a homophonic-harmonic system is formed. letter warehouse. At the same time, the development of polyphonics continues. art, enriched with new poetic. images, more juicy and at the same time refined means of muses. expressions. Outstanding musician a monument of this era is the handicraft. wok meeting prod. English composers of the 15th century, so-called "Old hall manuscript", which also includes Dunstable's works. Although not all plays in this collection are free from French influences. style of motet writing, it signified. A.M.'s achievements began to find recognition abroad. This was noted in French and German. and Italian music theorists of the time. In particular, J. Tinctoris associates with the name of Dunstable the emergence of ars nova, the aesthetic and ethical principles of which are based on humanistic principles. ideals of Renaissance art.

The era of the Reformation (16th century) put an end to the secular rule of the Catholics. churches. Mn. monasteries were abolished, churches. lands and property were confiscated in favor of the court, the new nobility and the bourgeoisie. The emerging new living conditions, morals and customs are reflected in the mountains. music folklore (songs of weavers, spinners, street vendors, etc.), as well as in all types of secular music, literature and theater. In the salons of the bourgeoisie and nobility, keyboard instruments appeared - small organ (portable), virginel, harpsichord. At Oxford and Cambridge high fur boots, the foundations of the theoretical are laid. musicology. High level of development of English. music life and music education attracts students from Europe to London. continent. In turn, some English. musicians improve their education in France, Italy, and Germany.

At the early stage of the Reformation, the Anglican Church had not yet developed clear liturgical norms. the use of music, as was the case in Germany, where M. Luther and his followers created hymns and psalms on it. lyrics for choir performance by parishioners. In England after the Reformation, religious music was performed for a long time by Prof. choirs, in which the treble parts were sung by specially trained boys, and the remaining parts by men. Only in 1549 the first collection was published. monophonic psalms in English. language compiled by J. Merbeck; in 1552 - second Sat. (it is still used in the musical practice of the Anglican Church).

Among the English composers of the 16th century outside the country, K. Tai, J. Taverner, T. Tallis (“three big Ts,” as English music historians call them) and W. Bird became famous outside the country. Developing the achievements of their predecessors, they sought to expand their expression. means, widely used complex imitation techniques, bold dynamic. contrasts, elements of chromaticism. To the church large forms appear in music - the mass, the magnificat, developed antiphonal works. Characteristic music. a monument of this period is Taverner's mass “The West Wind”, highly valued in England (after the name of the folk song melody used in it).

The general flourishing of English culture and art. The Renaissance, which began during the reign of Queen Elizabeth (1558-1603), manifested itself in music in to a lesser extent than in the theater that produced such masters as C. Marlowe, W. Shakespeare and B. Johnson. The largest composer of the “golden age of Elizabeth” was W. Bird, who enjoyed the constant patronage of the court, despite his commitment to Catholicism; however, he also composed religious music for the Church of England. IN multifaceted creativity Bird, who clearly manifested himself in both sacred and secular music, most fully reflected the new trends in Renaissance art - the rejection of the harsh asceticism of the Middle Ages, the establishment of the cult of beauty and pleasure. In the preface to the notebook "Psalmes, sonets and songs of sadnes and pietie" (1588), Bird expresses the desire that his music "happily bear a little tenderness, rest and amusement." Gravitation towards the emotional fullness of music. speech led Bird and his followers to the search for living expressive poetry. words. Along with numerous writings of the church. destination he created hundreds of woks. plays based on English poetry poets (songs, arias, sonnets). Bird is considered the founder of the school of English. madrigal. The publication of his first madrigals in London marked the beginning of a passion for English. public and composers with this new genre for England secular music, which was later developed in the works of T. Morley (his collection of madrigals was published in 1594), T. Wilkes and J. Wilby (all of them are also known as the authors of music for plays by W. Shakespeare and C. Marlowe).

The desire for freedom lyrical. statements characteristic of Renaissance art find expression in chamber instruments. genres. The Anglican Church, which sought to simplify religious music, demanded the abandonment of contrapuntal music. complexities that can only be performed by a professional. chapels. This was an incentive to search for ways to develop polyphonics. style in secular art. Many instruments are being created. fantasies, motets, duets, trios, variations on nar. themes, dance plays for various instr. compositions (often without indicating the composition of the ensemble). These plays are gaining popularity among the aristocracy. and bourgeois homes, often among artisans. Playing the virginel, harpsichord, viol, and lute is widespread. Along with Bird and Morley, J. Baldwin, T. Whitehorn, W. Daman and others write for these instruments. Home music playing is becoming fashionable. (In “The True Gentleman,” G. Peacham’s set of rules of “good manners,” it is recommended “... not only to be able to sight-sing your part with confidence, but also to play it on the viol or lute just for yourself.”)

Queen Elizabeth's successor, James I, continued to maintain the king's prestige. courtyard as a center of music. culture of the country, patronizing literature and art. This was a period of high growth in the art of art. At the end of the 16th century. Following W. Bird, the computers are advanced. J. Dowland (author of lyrical songs with lute accompaniment), J. Bull (organist and virginalist, who wrote over 150 works for these instruments), P. Philips, K. Simpson and others.

At the turn of the 16th-17th centuries. in English music everyday life began to include the so-called consorts (a “commonwealth” of a group of players playing various instruments). The consorts consisted of various number of performers (up to 30-40). This is how the original ones arose. forms of orchestras at court and in the houses of wealthy nobles. Essays for advanced instruments appear. ensembles (polyphonic fantasies, variations, dance pieces). In 1599 T. Morley published “Consort lessons” - collection. instr. plays various authors. Major masters of tools are being promoted. genres using new performers. opportunities for large ensembles to create productions. developed form, with contrasting episodes, different. by the nature of the movement and pace. O. Gibbons in his instr. fantasies, distinguished by honed skill of presentation, contrasts dramatic images with humorous, everyday ones. This principle, close to Shakespearean dramaturgy, reflects new trend A. m. is a departure from the “conflict-free” content and uniformity of texture typical of the Middle Ages. motet. Significant contributions to consort literature were made by A. Ferrabosco, T. Lupo, W. Lowes, and J. Hilton (1st half of the 17th century).

To the beginning 17th century English is being formed. music t-r, leading its origin from the people. performances - mysteries. With the rise of English T. A. m. received a new incentive for development. Originally music in English. during this time it was of a subordinate nature, playing the role of a “revitalizing element” in Lent. extravaganza fairy tales or everyday comedies. Importance in the formation of English style. music t-ra had adv. performances - masks, along with dance and pantomime, included songs, and sometimes recitatives with instruments. accompaniment. Dramatic the functions of music in these representations were still extremely limited due to the underdevelopment of the homophonic principle. The authors of texts and scripts for certain masks were J. Shirley, B. Johnson, T. Carew and other prominent writers and playwrights. Among the composers who wrote music for masks, A. Ferrabosco, N. Lanier, and the brothers G. and W. Laws stand out.

The development of the mask genre did not stop even after the establishment of the spiritual power of the Puritans (1640-60), which followed the English. bourgeois revolution 17th century In the fight against “sinful temptations,” the Puritans expelled music from the church. everyday life, destroyed organs, destroyed muses. instruments, burned notes. The profession of a musician itself was declared “pagan,” which forced some composers to publicly renounce music. Pursuing the church music, the Puritans, however, were tolerant of mask performances that were not intended for a mass audience. Thus, during the period of the Republic, in 1653, there was a fast in London. mask "Cupid and Death" by Shirley with music by M. Locke and K. Gibbons and others. In 1656 post. first English opera - "The Siege of Rhodes" by playwright W. Davenant and comp. G. Lowes, G. Cook, J. Hudson and C. Coleman (music not preserved). Although the influence of the Puritans had a negative impact on the development of AM, it could not stop the overall process of its development - the traditions of the national humanistic were too strong. culture. At the end of the 17th century. Music publishing expanded widely, and music became widespread. clubs that brought together music lovers. In 1672, violinist J. Banister, for the first time in Europe, organized a public concert in London. paid concerts. English the yard again attracted the best masters, Charles II created, following the example of the French. string yard Orchestra "24 Violins of the King". Under hand Experienced musician G. Cook resumed the activities of the King. chapels. However, despite the king's attraction to the French. music culture, English were preserved in his chapel. national traditions.

As part of the boys' choir led by Cook under the King. The chapel was 9-year-old Henry Purcell, later a major composer. Purcell created great amount prod. all genres, marked by an amazing wealth of melody, inexhaustible imagination, technicality. freedom, decades ahead of modern times. him English composers (his immediate predecessors and contemporaries - P. Humphrey, the author of many choruses of spiritual and secular content, and J. Jenkins - contributed little new to the country's musical culture). The most means. Purcell's achievements are associated with the theater. music. The opera "Dido and Aeneas" (1689) is the largest phenomenon in English history. music t-ra. Her music is clearly national. the character of the folk song intonations was implemented, the plot itself was reworked in the spirit of English. adv. poetry. Purcell's innovations in the field of wok. monody, recitative, bold expansion of the expressive means of choral polyphony, and finally his universal mastery of instrumental writing raised AM to a new level of development. Purcell's work completes the brilliant period of literary art in the era of Shakespeare and subsequent decades. However, Purcell did not have worthy students or successors.

Music life in England at the turn of the 17th and 18th centuries. increasingly submits to the spirit of capitalism. entrepreneurship that influences various aspects of culture and art. Numerous emerge in London. music publishing companies; The organizers of concerts and patrons of musicians are the owners of theaters, clubs, and the owners of entertainment venues. gardens, for which music is primarily a source of income. Even during Purcell's lifetime, an influx of foreigners began to flow into England. musicians. Among them are the French - R. Camber, author of the opera "Pomona" (1671), L. Grabu, who became a 1665-handed. King chapels in London; Italians - violinist N. Matteis, comp. G. Draghi, castrato singer F. D. Grossi; Germans - violinist T. Baltsar and comp. J. Pepusch; Czech G. Finger. In 1705, a theater was opened in the center of London, and Italians began performing on stage every year. opera troupe. Under contract with Italy. composers - G. Bononcini, F. Amodei, A. Ariosti, F. Veracini, N. Porpora - the theater staged their new operas. Italian opera soon conquered English. audience, pushing aside interest in national opera and the works of English. composers who lost their most talented representative in Purcell. Thus ended the heyday of AM and began a period of its long crisis, which lasted until the end of the 19th century.

In English music culture of the 1st half. 18th century The activities of G. F. Handel played a major role. Handel lived in London ca. 50 years (1710-59). He easily adapted to tastes and arts. English requirements public, creating St. 40 operas in Italian. style (performed by the London Italian troupe in Italian). German the composer became the center of musical life in England. This was facilitated not only by the bright creativity. Handel's individuality will perform it. skill, but also the energy of the organizer, democratic. the direction of his quest. Handel's influence was especially evident in the choir. music. In his oratorios, main. in antiquity, historical and biblical heroes. stories ("Judas Maccabee", "Samson", "Israel in Egypt", etc.), for the first time in music. The struggle for the freedom-loving ideals of humanity was embodied in the images. Ch. the role in them is assigned to choirs representing the people. Handel's oratorio work summarizes the traditions of English. choral culture. At the same time, elements of operatic dramaturgy play an important role in these oratorios. Handel strove to establish people's democratic ideals in art and set himself ideological and moral goals.

A strong blow to Italian dominance. The opera was created by "The Beggar's Opera", London, 1728) by the English poet and playwright J. Gay and the German composer J. Pepusch, who lived in England. "The Beggar's Opera" is a parody of Italian opera and an evil satire on the morals of the English bourgeois society - it was a sensational success with the democratic audience (63 performances in the first season) and remained in the repertoire of the English theater for many years. stage and musical adaptations. new genre so-called "ballad opera", revived the traditions of the people. minstrel shows of the 15th century.

In number it means the most. English composers of the 18th century - T. Arn, who created many. prod. for music t-ra, incl. popular comic will conclude the opera "Thomas and Sally" and the music for the mask "Alfred". with the song "Rule, Britannia!" (“Rule Britannia”), which is widely popular in modern times. England; W. Boyce - the first English. composer who wrote the oratorio in English. text "David's lamentation over Saul and Jonathan", 1736); C. Dibdin - singer and composer, songwriter in the folk spirit; M. Arn, who wrote songs and music for the theater; T. Linley, who collaborated with the playwright R. Sheridan. These composers, who created music for the dramatic and entertaining gardens of London, were gifted musicians, but their art lagged significantly behind the achievements of the great composers of Germany, Austria. Italy and France; therefore, foreign musicians were invited to them, operas, oratorios, and symphonies were commissioned. Among the foreign composers of the 18th century, Bach", the son of J. S. Bach, who worked in England in 1762-82). Since 1767, the Italian pianist and composer M. Clementi, considered the head of the English keyboard school, lived in London. An important event in English music life were the visits of J. Haydn (1791-92 and 1794-95), who wrote 12 symphonies in England ("London Symphonies") and made 187 arrangements. shotl. songs. The only English composer who left England to work in Europe. continent, - J. Field (Irish by nationality), lived in Russia from the age of 20. Pianist and author plays and concerts for fp., Field is considered the creator romantic genre nocturne for fp.

From ser. 18th century In parallel with the school of composition, English began to take shape. school of musicologists, among whom the most famous are C. Burney, the author of the major work “A general history of music” ("A general history of music", t. 1-4, 1776-89), J. Hawkins, who wrote " General history music theory and practice" ("General history of the science and practice of music", t. l - 5, 1776), etc.

Music life in England in the 18th century. Ch. appeared arr. in organizing large choirs. festivals that brought together many amateurs and professionals singers to perform Handel's oratorios (since 1715). Since 1724, so-called events have been held alternately in Gloucester, Worcester and Hereford. "Festivals of three choirs" (church), from 1768 - in Birmingham, from 1770 - in Norwich, from 1772 - in Chester, from 1777 - in Manchester, from 1784 - in Liverpool, etc. In 1784 the first Handel Festival took place in London ( in Westminster Abbey, where the composer is buried). Many arise. conc. and other music. companies that influenced the further development of AM: Academy early music(since 1770, the first constituency in London); "Catch Club" (since 1761), uniting amateur choirs. singing, the largest "Royal Musical Society" (since 1762), "Concerts of Ancient Music" (since 1776; since 1783 - "Royal Concerts") and many others. etc. Due to the increased interest in playing the harpsichord and (later) the fp. (concerts by J. K. Bach, W. A. ​​Mozart, M. Clementi) the production of keyboard instruments is developing. In 1728 it was founded. the J. Broadwood company (the oldest in the world), which initially produced harpsichords, and from 1773 - grand pianos; in 1760 J. Hill founded a company that manufactured strings. instruments and bows (later Hill and Sons). In the 1st half. 19th century England did not produce a single major composer. Even the best from English. musicians could not rise above imitation of the music samples of other European composers. countries, mainly being followers of their mutes. and Italian teachers. None of them were able to express in their creativity the original features of the richest nation. culture of England. It is characteristic that outstanding muses. prod. based on the plots of English masterpieces. arts literature were created by foreigners. composers: "Oberon" by Weber, "Othello" by Rossini, "A Midsummer Night's Dream" by Mendelssohn, written based on works. Shakespeare; "Harold in Italy" by Berlioz, "Manfred" and "The Bride of Messina" by Schumann - after Byron; "Lucia di Lammermoor" by Donizetti - after W. Scott and others.

The repertoire of the London theater "Covent Garden" (founded in 1732) consisted mainly of from production foreign authors, as well as concert programs of the Philharmonic. society (founded in 1813), ch. arr. popularized the symphony. music of Beethoven and other Western-European composers.

English creativity composers ser. 19th century it was eclectic (G. Bishop and M. Balfe created unoriginal operatic works, W. S. Bennett imitated Schumann and Mendelssohn). They did not bring in the national originality in A.M. and C. H. Parry is one of the founders of societies. movement for the revival of English. national music culture, nor C. Stanford, who raised MP. English composers. Both are highly educated and talented musicians, but are better known as teachers and researchers than as composers.

The most striking examples of AM from the late 19th century. - operettas “The Mikado” by Sullivan (1885, author of 14 operettas based on libr. C. Gilbert) and “Geisha” by Jones (1896), which had big success and in other countries.

In the 19th century London is becoming one of the centers of Europe. music life. The following performed here: F. Chopin, F. Liszt, F. Mendelssohn, N. Paganini, G. Berlioz, R. Wagner, G. Verdi, C. Gounod, J. Meyerbeer, A. Dvorak, and later - P. I. Tchaikovsky , A.K. Glazunov and others. Italian played at the Covent Garden theater. a troupe renowned for its masters of bel canto. Concentration has received great development. life. In 1852 the New Philharmonic was organized. society, in 1857 - "Hull Society" in Manchester. Since 1857, London began to regularly hold

Handel festivals (since 1859 - in the Crystal Palace), in which the number of participants reached 4000. Music. festivals were also held in Leeds (since 1874) and other cities. Spirit competitions are organized. orchestras (the first - in Manchester, in 1853). From ser. 19th century There is a growing interest in performing and studying classical music. music, as well as to ancient classical music - the Handel (in 1843), Bach (1849) and Purcell (1861) societies, the society for the study of the Middle Ages, were organized. music art (Plainsong and medieval society, 1888).

In English music The lives of this period appear democratic. trends. In 1878 Nar was created. a concert society that organized popular concerts for residents of poor areas of London; in plural the cities of England arise likes. choirs performing in churches, clubs, and open stages. The student concerts were particularly successful. chorus teams. The choirs united in numerous numbers. chorus society - Society of Sacred Harmony (since 1832), Association of Choir Musicians (since 1833), King. choral society (since 1871), Bach Choir (since 1875) and many others. etc.

Expansion choir. The movement in England was facilitated by a system of simplified musical notation, the so-called. "tonic - sol-fa", which was introduced in all secondary schools. With the development of music. in life there was a growing need for educational institutions, Means. music expanded education. In London were opened: King. Academy of Music (1822), Trinity College (1872), King. music college (1883).

At the end of the 19th century. music is developing. science, incl. music lexicography: the 1st volume of "Grove's dictionary of music and musicians" is published, the works of classical music historian D. F. Tovey and theorist E. Prout.

Last decades of the 19th century. English Music historians consider it the beginning of the "English musical revival". A turning point in the history of musical performances was the performance of music for scenes from P. B. Shelley’s lyrical drama “Prometheus Unbound” (1880) by C. H. Parry for soloists, chorus and orchestra, in which he revives the traditions of English. chorus polyphony of the 17th century, and, ch. arr., E. Elgar's oratorio "The Dream of Gerontius" (" The dream of Gerontius", conductor G. Richter, Birmingham). The musical community of England proclaimed the latter the beginning of the formation of a new national school of composition. Elgar managed to overcome the "psychological. barrier" of the British distrust of Russian modern music. He created his own style and was recognized as the head of a new school. Elgar's works are marked by the freshness of musical language and living imagination. Along with "The Dream of Gerontius", the repertoire of many orchestras and soloists included his symphonies. variations on the original theme "Enigma", concertos for violin and cello, 2nd symphony.

In the beginning. 20th century Folklore motifs, which were neglected by English composers, were developed in American music. One of the first musicians to address the national sources, was F. Dilius - the opera “A village Romeo and Juliet” (1901) and rhapsodies for symphonies. orchestra "Brigg fair: an English rhapsody", 1907), "Dance rhapsody", 1908), etc. However, most of his colorful symphonies. poems of elegiac-pastoral content created under the influence of French. impressionists and E. Grieg.

Narrative elements were used more organically and creatively. A. m. in production G. Holst, orc master. letters. Study of folklore music gave him thematic. material for a number of vocals, symphony. and chamber-instrument. essays. Along with this, in his most famous work. - orc. suite (7 pieces) “The Planets” (1918) - the composer’s penchant for mysticism and passion for astrology emerged.

Negro themes. folklore developed in production. different genres S. Coleridge-Taylor, conductor and composer, author of “Song of Hiawatha” - a trilogy for soloists, choir and orchestra. G. Bantock showed interest in the East and Celtic themes.

Revival of the national music contributed to the appearance of works on music. folklore: J. Broadwood - recordings of melodies with lyrics of peasant songs, made by him in 1843 and published by L. Broadwood and J. A. Fuller-Maitland in folk collections. songs “English county songs” (1893) and “English traditional songs and carols” (1908), and ch. arr. works of S. Sharp, who recorded over 3,000 people during the period 1903-24. UK songs and 1600 English songs. settlers from the Appalachian Mountains (North America). These are different songs. genres - ritual, labor, lyrical, comic, fairy-tale or historical ballad songs. content. Music and poetic. the structure of these songs captured the character traits of the people, figurative and phonetic. features of English speech.

The research activities of S. Sharp and his followers (J. A. Fuller-Maitland, M. Karpeles and R. Vaughan-Williams), thanks to the cut, the ancient Scottish, Irish. and Welsh people. songs, aroused interest in music. traditions of the 15th-17th centuries. and to the ancient people. music lawsuit In 1898, Sharpe founded the People's Society in London. songs, engaged in the study and promotion of English. music folklore (existing until the 70s of the 20th century). In 1911 the Society of English was created. adv. dance (in 1932 transformed into the Society of English Folk Dance and Song). Later interest in national music led to the formation of societies that popularized the creativity of their fatherland. composers (British Musical Society, 1918, etc.).

Creative English achievements early composers 20th century, associated with art. implementation of national music traditions, appealing to the people. music, testified to the approval of the new English. composer school. The most prominent representative of the “English musical revival” was R. Vaughan Williams. Study of folklore art helped Vaughan Williams find his own style and express the features of the people. song art in symphony. and opera music.

Along with Vaughan Williams, staunch advocates and successors of the ideas of the “English musical revival” were J. Ireland, A. Bax, and P. Warlock, who sought to update the content and style of musical music through the development of folk music. national traditions. In the symphony and fp. writings of Ireland national. music the basis is combined with the influence of M. Ravel, C. Debussy and I. F. Stravinsky. Bucks recreated the images of Irl. and English adv. art in program symphonies, symphonies. poems and chamber songs. production; Warlock combined in his person the muses. scientist, English expert music antiquity and songwriter based on English poetry. poets. Based on ancient English stories. legends and operas by R. Boughton (for their production he organized a small theater in Glastonbury). Composers of this generation include F. Bridge (Britten's teacher), but his exquisite music. the language of works, which played a certain role in the development of chamber music, are addressed to a narrow circle of listeners.

Music life in England at the turn of the 19th and 20th centuries. is developing intensively, including provincial cities, where music is created. schools, orchestras, choirs. about-va; festivals are organized - in Cardiff (1892-1910), Sheffield (1896-1911), in London - Bach festivals (1895-1926), festivals dedicated to. Elgar (in 1904), F. Dilius (in 1929); competitions are held. The Association of Competitive Festivals was founded in 1905 (in 1921 it merged with the British Federation of Music Festivals). Great importance for the promotion of symphony. music had public “Promenade concerts” (held in London since 1838), which were headed by G. Wood in 1895-1944. Their program includes various types of music. schools, incl. contemporary works English composers. These concerts contributed to the development of the symphony. and oratorio A. m. beginning. 20th century

Along with the fruitful revival of the national movement for A. m. traditions in the music of certain composers of the 20s. The influences of expressionist aesthetics, constructivism, and neoclassicism were felt. A new stage in the development of English. music culture is characterized not only by the strengthening of national trends, but also by increasing prof. skill. The claim of A. Bliss, W. Walton, A. Bush, A. Benjamin, E. J. Moran, M. Tippett, C. Lambert, E. M. Maconkey, X. Ferguson, E. Rabra and others received recognition abroad. All of them continued to develop the traditions of the "English musical revival". Their experience, as well as the achievements of the composers, follows. generations - M. Arnold, J. Bush, J. Gardner, R. Arnell, A. Milner, P. Dickinson and others, confirm the presence of their own national in England. composer school.

A special place among modern English composers are occupied by B. Britten, who enjoys worldwide recognition as one of the greatest musicians of the 20th century. His operatic, oratorio and symphonic works are in the repertoire of the best theaters, orchestras and soloists in the world.

In the works of S. Scott and L. Berkeley, the influence of the French is noticeable. impressionists (the first studied in Germany, the second in France). Some composers of the younger generation (P.R. Fricker, H. Searle, R. Bennett, etc.) from the 2nd half. 40s show interest in the dodecaphonic school of A. Schoenberg (see Dodecaphony). These composers, and later A. Goehr, resorted to the technique of serial writing; their music the language is deprived of national originality. The desire for a compromise between the latest writing techniques and stylistics. features of ancient English. music is characteristic of the quest of P. M. Davis; D. Bedford is involved in experiments in the field of electronic music.

In the 20th century The circle of English has expanded. musicologists; Some of them specialized in a certain area of ​​music, others studied the work of one composer: R. Morris (problems of counterpoint of the 16th century), M. Scott (J. Haydn), S. B. Oldman (W. Mozart), E. . Newman (R. Wagner and H. Wolf), C. S. Terry (J. S. Bach), M. A. E. Brown (F. Schubert). Among the authors of the monographic. works and scientific Research - E. Dent, E. Evans, E. Lockspacer, J. A. Westrup, A. Robertson, S. Goldar, J. Mitchell, D. Cook. Studying Russian music was studied by R. Newmarch and J. Abraham. The works of musicologists were published by the King. music association (since 1874), work on the study of ancient instruments - Society named after. Golpin (since 1946). Great contribution to English. musicology were the "Oxford History of Music" by G. K. Colles ("Oxford history of music", 1934), as well as the works of E. Blom, editor of the 3rd and 4th editions. Grove Dictionary.

High artist The level of performance differs. English culture orchestras, including the London Philharmonic Orchestra and the London Symphony Orchestra, as well as the Symphony. Orchestra of the British Radio Corporation (BBC) and Symph. Manchester Orchestra.

She did a lot to popularize ancient instruments. music family Dolmech and especially A. Dolmech; in 1925 he organized an early music festival in Haslemere (Surrey).

To the music theater life of England 1st half. 20th century still the leading role belongs to opera TV"Covent Garden" (was closed during the 1st World War 1914-18 and only in 1925 resumed activities, again interrupted by the 2nd World War). Since the 20s 20th century his repertoire, as in the 19th century, consists of works. foreign (mainly Italian, French and German) composers, performed by foreigners. soloists. Only a few English the authors saw the post. his operas on the stage of this theater: R. Vaughan Williams - “Hugh the drover” (1924), “Sir John in love” (1930), etc.; G. Holst - "At the Boar's head", 1925); S. Scott - "The Alchemist", 1928), etc. However, none of them remained in the repertoire. New opera troupes were created in the Sadler's Wells Theater in London, along with Western and Russian classics. There was a post. "Dido and Aeneas" by Purcell (1931), "The devil take her" by Benjamin, "Macbeth" by Collingwood (1934), "Troilus and Cressida" by Walton (after Chaucer, 1954), " "The Traveling Companion" by C. Stanford (1935), opera by Vaughan Williams and Britten.

English interest composers to the ballet genre, caused by the tour of Russian. ballet ("Russian Seasons" under the direction of S. P. Diaghilev, held annually in London in 1911-29), contributed to the creation of a national ballet.

In 1931 N. de Valois founded the English. ballet troupe "Vic Wells Ballet", since 1942. "Sadler's Wells Ballet" (its artistic council includes composers A. Bliss and H. Searle). Here's the post. pl. ballets english composers - “Job” by Vaughan Williams (1931), “The Rake’s Progress”, based on the paintings of W. Hogarth, 1935) by G. Gordon, etc.

In 1934, at the expense of philanthropist J. Christie, a theater with 400 seats was built on his Glyndebourne (Sussex) estate, where opera festivals were held every summer with the participation of the best soloists. Originally Ch. The conductor and director of the festival's performances were F. Busch and K. Ebert, who emigrated from Germany. Basic The repertoire consisted of operas by W. A. ​​Mozart, then K. Gluck, G. Verdi and other composers of the 19th century, and occasionally modern ones. authors. The Glyndebourne Festivals played a significant role in enhancing the operatic culture of England. Spiritual competitions are becoming increasingly popular. orchestras. In 1930, 200 spirits took part in the London competition. teams.

In the 30-40s. intensive development of music. life manifested itself in the creation of numerous. loves. and prof. music societies and associations: Association chamber music(1934), Nat. Federation of Music Society (1935), Society of Performers Recording on Records (1937), Commission for the Promotion of New Music (1943), Society "Renaissance" (1944), Society of Viola da Gamba (1948) and many others. etc. Several people work in England. international music organizations: Int. society of modern music (since 1922), Int. Council on Folklore (since 1947).

Mass music Work among the working people of England is carried out by the Workers' Music. association (Workers Music Association, created in 1936), uniting amateur choirs, orchestras, publishing specials. repertoire of popular songs, often political. content. Chairman of the association (since 1941) and author of many others. mass choirs and songs - prof. King Academy of Music composer A. Bush.

During the 2nd World War 1939-45 music. activities in the country were not interrupted. On the initiative and with the participation of pianist M. Hess, concerts were organized in the basement of the National. arts galleries. After the best conc. was destroyed by a bomb in 1941. London's Queens Hall, symphony. concerts were moved to other premises. In 1951 a new large concentrator was opened in London. "Festival Hall" (refurbished in 1965). New conc. halls were also built in the provinces. cities of England. Means. revival in music The life of the country is brought about by annual music. festivals held in Cheltenham (since 1945, dedicated to modern music), Edinburgh (since 1947, International Festival of Music and Theater - a show of foreign opera troupes and symphony orchestras), in London (since 1947), in Aldborough (since 1948, organized by B. Britten and represented by modern A.M.), in Bath (I. Menuhin Festival, since 1948), in Oxford (since 1948), the Mystery Festival and the Art Festival in York (since 1951) , in Coventry (since 1958; in 1962 - festival in Coventry Cathedral), as well as international. music competitions in Leeds, etc.

Means. impact on the development of music. modern culture England is provided with music. radio and television programs. In the 60s pop vocal-instrument was popular. quartet of young singers, so-called the Beatles, who performed characteristic melodies (a combination of elements of black jazz and blues), which inspired imitation in other countries. In the field of entertainment music (musicals, musical revues, jazz), the influence of the USA is noticeable; Jazz music, which has become widespread, is displacing the muses. life of part of the British national. English songs and dances, which negatively affects the formation of their tastes. Creativity pl. modern composers are characterized by various hobbies. avant-garde movements, testifying to the ideological crisis of bourgeois culture in England.

On high level The production of gramophone records is located in England, the gramophone industry is united into large corporations, and in 1936 the National Society was organized. Federation of Gramophone Society

Among the English musicians of the 20th century: conductors - J. Barbirolli, T. Beecham, A. S. Boult, G. Wood, R. Kempe, A. Coates, M. Sargent, C. Halle; pianists - L. F. Kentner, F. A. Lamond, J. Moore, T. Mattei, B. Moiseevich, J. Ogdon, M. Hess, M. Limpani, X. Cohen; violinists - A. Campoli, G. Temyanka; violists - U. Primrose, L. Tertis; harpists - E. Parish-Alvars; guitarists - J. Williams; singers - J. Vivien, J. Hammond, K. Shacklock, K. Ferrier, K. A. Novello; singers - J. McCormack, P. Pierce; musicologists and musicians writers - E. Blom, E. Loxpeiser, M. Montagu-Nathan, E. Newman, H. F. Redlich and others.

Literature: Ivanov-Boretsky M.V., Materials and documents on the history of music, vol. 2, M., 1934; Gruber R.I., History of musical culture, vol. 1, part 2, M.-L., 1941; Shneerson G. M., Modern English music, M., 1945; Konen V.D., Ralph Vaughan Williams, M., 1958; Fuller-Maitland J. A., English music in the 19th century, L., 1902; Sharp C. J., English folk song, L., 1907; Warren Ch., The sources of keyboard music in England, L., 1913; Kidson F. and Neal M., English folk-song and dance, Camb., 1915; Davey N., History of English music, L., 1921; Walker E., History of music in England, N. Y., 1924, Oxf., 1952; Dent E. J., The foudations of English opera, Camb., 1928, L., 1949; Hadow H. English music, L., 1931; Scholes F. A., The puritans and music in England, L., 1934; his, The mirror of music. 1844-1944 A century of musical life in Britain... v. 1-2, L., 1947; Gagey E. M., Ballad opera, N Y., 1937: Mayer E. H., English chamber music, L., 1946; Vasharash A. L., (ed.), Britich music of our time, L., 1946; Blom E., Music in England, Harmondsworth, 1947, Feliоwes E. H., The English madrigal composers, L., 1948, Oxf., 1949; Westrup J. A., British music, L., 1949; his, Domestic music under the Stuarts, in the book: Proceedings of the musical associations, LXVII, 1953; Nettel R., Seven centuries popular song, L., 1956; same, The orchestra in England: a social history, L., 1962; Knepler G., Musikgeschichte des XIX. Jahrh., Bd 1, B, (DDR), 1961; Schafer M., British composers in interview, L., 1963; Mackernes E. D., A social history of English music, L., 1964; Austin W. W., Music in 20th century, N. Y., 1966; Mitchell D., The language of modern music, L., 1966; Howes F., Folk music in Britain and beyond, L., 1969; Lee E., Music of the people, L., (1970).

G. M. Shneerson

The concept of “composer” first appeared in the 16th century in Italy, and since then it has been used to refer to a person who composes music.

19th century composers

In the 19th century Vienna music school imagined this outstanding composer like Franz Peter Schubert. He continued the traditions of Romanticism and influenced an entire generation of composers. Schubert created more than 600 German romances, taking the genre to a new level.

Franz Peter Schubert

Another Austrian, Johann Strauss, became famous for his operettas and light musical forms dance character. It was he who made the waltz the most popular dance in Vienna, where balls are still held. In addition, his heritage includes polkas, quadrilles, ballets and operettas.

Johann Strauss

A prominent representative of modernism in music of the late 19th century was the German Richard Wagner. His operas have not lost their relevance and popularity to this day.

Giuseppe Verdi

One can contrast Wagner with a majestic figure Italian composer Giuseppe Verdi, who remained faithful to operatic traditions and gave Italian opera a new breath.

Peter Ilyich Tchaikovsky

Among the Russian composers of the 19th century, the name of Pyotr Ilyich Tchaikovsky stands out. He is characterized by a unique style that combines European symphonic traditions with Glinka's Russian heritage.

Composers of the 20th century

Sergei Vasilyevich Rahmaninov

Sergei Vasilievich Rachmaninov is rightfully considered one of the most brilliant composers of the late 19th and early 20th centuries. His musical style was based on the traditions of romanticism and existed in parallel with avant-garde movements. It was for his individuality and lack of analogues that his work was highly appreciated by critics all over the world.

Igor Fedorovich Stravinsky

The second most famous composer of the 20th century is Igor Fedorovich Stravinsky. Russian by origin, he emigrated to France and then the USA, where he showed his talent in full force. Stravinsky is an innovator who is not afraid to experiment with rhythms and styles. His work shows the influence of Russian traditions, elements of various avant-garde movements and a unique individual style, for which he is called “Picasso in music.”

What would our life be like without music? For many years, people have asked themselves this question and come to the conclusion that without the beautiful sounds of music, the world would be a very different place. Music helps us feel joy more fully, find our inner self and cope with difficulties. Composers, working on their works, were inspired by a variety of things: love, nature, war, happiness, sadness and much more. Some of the ones they created musical compositions, will forever remain in the hearts and memories of people. Here is a list of ten of the greatest and most talented composers of all time. Under each composer you will find a link to one of his most famous works.

10 PHOTO (VIDEO)

Franz Peter Schubert was an Austrian composer who lived only 32 years, but his music will live on for a very long time. Schubert wrote nine symphonies, about 600 vocal compositions, and a large amount of chamber and solo piano music.

"Evening Serenade"

German composer and pianist, author of two serenades, four symphonies, as well as concerts for violin, piano and cello. He performed at concerts from the age of ten, and gave his first solo concert at the age of 14. During his lifetime, he gained popularity primarily due to the waltzes and Hungarian dances he wrote.

"Hungarian Dance No. 5".

George Frideric Handel was a German and English composer of the Baroque era; he wrote about 40 operas, many organ concerts, and chamber music. Handel's music has been played at the coronations of English kings since 973, it is also heard at royal wedding ceremonies and is even used as the anthem of the UEFA Champions League (with a small arrangement).

"Music on the water"

Joseph Haydn- a famous and prolific Austrian composer of the classical era, he is called the father of the symphony, as he made significant contributions to the development of this musical genre. Joseph Haydn is the author of 104 symphonies, 50 piano sonatas, 24 operas and 36 concertos

"Symphony No. 45".

Pyotr Ilyich Tchaikovsky is the most famous Russian composer, author of more than 80 works, including 10 operas, 3 ballets and 7 symphonies. He was very popular and known as a composer during his lifetime, and performed in Russia and abroad as a conductor.

"Waltz of the Flowers" from the ballet "The Nutcracker".

Frédéric François Chopin is a Polish composer who is also considered one of the best pianists of all time. He wrote a lot musical works for piano, including 3 sonatas and 17 waltzes.

"Rain waltz".

Venetian composer and virtuoso violinist Antonio Lucio Vivaldi is the author of more than 500 concertos and 90 operas. He had a huge influence on the development of Italian and world violin art.

"Elf Song".

Wolfgang Amadeus Mozart is an Austrian composer who amazed the world with his talent with early childhood. Already at the age of five, Mozart was composing short plays. In total, he wrote 626 works, including 50 symphonies and 55 concertos. 9.Beethoven 10.Bach

Johann Sebastian Bach - German composer and organist of the Baroque era, known as a master of polyphony. He is the author of more than 1000 works, which include almost all significant genres of that time.

"Musical joke"

1. Short story English Music
2. Listen to music
3. Prominent representatives of English music
4. About the author of this article

A Brief History of English Music

Origins
  The origins of English music are in the musical culture of the Celts (the people who lived in the first millennium in the territory of modern England and France), the carriers of which, in particular, were bards (singer-storytellers of ancient Celtic tribes). Among the instrumental genres are dances: jig, country dance, hornpipe.

6th - 7th centuries
  At the end of the 6th century. - early 7th century church is developing choral music, which is associated with the formation of professional art.

11th - 14th centuries
  In the 11th-14th centuries. The musical and poetic art of minstrels spread. Minstrel - in the Middle Ages, a professional musician and poet, sometimes a storyteller, who served a feudal lord. In the 2nd half of the 14th century. Secular musical art is developing, vocal and instrumental court chapels are being created. In the first half of the 15th century. the English school of polyphonists, led by John Dunstable, emerges

16th century
  Composers of the 16th century
K. Tai
D. Taverner
T. Tallis
D. Dowland
D. Bull
The royal court became the center of secular music.

17th century
 At the beginning of the 17th century. English musical theater was formed, originating from mystery plays (a musical and dramatic genre of the Middle Ages).

18th-19th centuries
  18th–19th centuries – crisis in English national music.
 To the national musical culture foreign influences penetrate, Italian opera conquers English audiences.
Prominent foreign musicians worked in England: G. F. Handel, I. K. Bach, J. Haydn (visited 2 times).
  In the 19th century, London became one of the centers of European musical life. The following people toured here: F. Chopin, F. Liszt, N. Paganini, G. Berlioz, G. Wagner, G. Verdi, A. Dvorak, P. I. Tchaikovsky, A. K. Glazunov and others. The Covent Theater was created -Garden (1732), Royal Academy of Music (1822), Academy of Ancient Music (1770, first concert society in London)

The turn of the 19th – 20th centuries.
  The so-called English musical revival, that is, a movement for the revival of national musical traditions, manifested in an appeal to English musical folklore and the achievements of the masters of the 17th century. These trends characterize the work of the new English school of composition; its prominent representatives are composers E. Elgar, H. Parry, F. Dilius, G. Holst, R. Vaughan Williams, J. Ireland, F. Bridge.

You can listen to music

1. Purcell (Giga)
2. Purcell (Prelude)
3.Purcell (Didonna's Aria)
4.Rolling Stones "Rolling Stones" (Kerol)
5. Beatles "The Beatles" Yesterday

Prominent representatives of English music

G. Purcell(1659-1695)

  G. Purcell is the largest composer of the seventeenth century.
  At the age of 11, Purcell wrote his first ode dedicated to Charles II. From 1675, Purcell's vocal works were regularly published in various English music collections.
  Since the late 1670s. Purcell is the Stuart court musician. 1680s - the heyday of Purcell's creativity. He worked equally successfully in all genres: fantasies for string instruments, music for the theater, odes - welcome songs, Purcell's collection of songs "British Orpheus". Many of the melodies of his songs, close to folk tunes, gained popularity and were sung during Purcell’s lifetime.
  In 1683 and 1687 Trio collections were published - sonatas for violins and bass. The use of violin works was an innovation that enriched English instrumental music.
  The pinnacle of Purcell's work is the opera "Dido and Aeneas" (1689), the first national English opera (based on Virgil's "Aeneid"). This is the biggest phenomenon in the history of English music. Its plot is reworked in the spirit of English folk poetry– the opera is distinguished by the close unity of music and text. Purcell's rich world of images and feelings finds varied expression - from the psychologically profound to the rudely provocative, from the tragic to the humorous. However, the dominant mood of his music is soulful lyricism.
 Most of his creations were soon forgotten, and Purcell's works became famous only in the last third of the 19th century. In 1876 The Purcell Society was organized. Interest in his work increased in Great Britain thanks to the activities of B. Britten.

B.E. Britten (1913 - 1976)

  One of the greatest masters of English music of the 20th century - Benjamin Britten - composer, pianist and conductor. He started composing music at the age of 8. Since 1929 he has studied at the Royal College of Music in London. Already in his youthful works his original melodic gift, imagination, and humor were evident. In his early years, solo vocal and choral works occupied an important place in Britten's work. Britten's individual style is associated with the national English tradition (the study of the creative heritage of Purcell and other English composers of the 16th - 17th centuries). Among the best works of Britten, which have received recognition in England and other countries, are the operas “Peter Grimes”, “The Dream of summer night" and others. In them, Britten appears as a subtle musical playwright - an innovator. “War Requiem” (1962) is a tragic and courageous work dedicated to pressing modern problems, condemning militarism and calling for peace. Britten toured the USSR in 1963, 1964, 1971.

Music bands 20th century
"Rolling Stones"

  In the spring of 1962, guitarist Brian Jones organized a group whose name was the Rolling Stones. The Rolling Stones consisted of Mick Jagger (vocals), Brian Jones and Keith Richards (guitars), Bill Wyman (bass - guitar) and Charlie Watts (drums).
  This group brought hard and energetic music, aggressive performance style and relaxed behavior to the British stage. They neglected stage costumes and wore long hair.
 Unlike the Beatles (who aroused sympathy), the Rolling Stones became the embodiment of the enemies of society, which allowed them to gain lasting popularity among young people.

"The Beatles"

  In 1956, a vocal and instrumental quartet was created in Liverpool. The band consisted of John Lennon, Paul McCartney, George Harrison (guitars), Ringo Starr(drums).
  The group gained wild popularity by performing songs in the “big beat” style, and from the mid-60s, the Beatles’ songs became more complex.
  They were honored to perform in the palace in front of the queen.

About the author of this article

In my work I used the following literature:
- Musical encyclopedic dictionary. Ch. ed. R.V.Keldysh. 1990
- Magazine “Student Meridian”, 1991 Special issue
- Music Encyclopedia, Ch. Ed. Yu.V.Keldysh. 1978
- Modern encyclopedia “Avanta plus” and “Music of our days”, 2002 Ch. ed. V. Volodin.

English composers, like many others, gave us something wonderful - music. Of course, many composers other than English ones have done this, but now we will talk about English ones. Their music has a certain charm, and each composer has his own special approach to his works.

The beginning of the development of music in England

Until the 4th century, England, from the point of view of art historians, was considered one of the “least musical” countries. Based on this fact, we can say that the works of English composers classical music, and indeed any other, did not seem to connoisseurs of beauty to be something worthy of attention and respect. But even despite the opinion of skeptics and art critics, England had and has great and talented composers, whose names are known to everyone, and whose melodies and works are valued not only in the country itself, but also beyond its borders.

The first fame of composers of those times

Famous English composers began to appear and become famous somewhere in the X-XV centuries. Of course, music appeared there much earlier, but the works were not very famous, and the names of the composers have not survived to this day, just like their works. English classical music composers first appeared and became somewhat famous in the 11th century. The first works appeared almost at the same period as the European ones. English composers of classical music conveyed stories about Celtic or simply military campaigns in their works. The works described the life of ordinary, or not quite, people living or having any connection with the Celtic islands and tribes.

After the adoption of Christianity, at the end of the 6th century, English composers of classical music began to actively develop their skills in the field of music, using church themes, and a little later, at the beginning and middle of the 7th century, household and state themes. Thus, it becomes clear that English music was dedicated to religion and the various military services of the country.

Popularity of English classical composers in our time

As you can see, music composers were not very popular in the fifth and seventh centuries, but how popular are similar composers now? Of course, in our time we do not pay due attention to such music and often the latest musical novelties happen instead of the works of great composers. But the music of famous English composers can be heard in our time - in opera houses or simply by finding something beautiful musical phenomenon in the Internet. Today you will get acquainted with several of the most famous composers, whose works are known in many countries and on many continents. The music of English composers, of course, is widespread in England itself and abroad, but does not have such a large number of admirers as it did then.

Who is Edward Benjamin Britten?

Benjamin Britten is a British composer of classical English music born in the twentieth century. Benjamin was born in 1913 in Lowestoft. Benjamin is not only a composer, but also an excellent musician, namely a conductor and professional pianist. He also tried out many musical styles as a composer; his repertoire included vocal and piano pieces, as well as opera performances. By the way, it was the third repertoire that became one of his most basic. Like any other famous composer, Edward Benjamin Britten has behind him many different masterpieces of operatic music and plays.

The plays of Benjamin Britten and his popularity

The most famous play, which is staged in theaters in our time, is “Noah’s Ark.” Judging by the title, and also by the plot of the play, it is easy to understand that the title itself confirms the fact that many works written before the twentieth century and at its beginning often had religious themes. Speaking about Benjamin, it is impossible not to mention his significance among composers of the mid-twentieth century. He was the most famous composer twentieth century, one might even say that it was he who exalted the significance and beauty of English musical masterpieces"to the heavens" After Edward's death, England did not “see” such talents for a long time.

Who is Gustav Holst?

Gustav Holst is one of the most famous English composers of the nineteenth and twentieth centuries. Gustav was born in 1830 and to this day he has retained his popularity, and his creations are still famous among lovers of beauty. Symphonies and melodies by Gustav Holst are now not at all uncommon, they are very easy to obtain in our time: there are many works on the Internet in in electronic format, and purchasing a disc with a collection of works by the great master is as easy as shelling pears.

Plays and works of Gustav Holst, their role in cultural institutions

You say: “He was great and talented, but is he popular and are his creations popular now?” It is impossible to give a definite answer to your question, because, like any musician, and especially the famous English composer of those times, he did not remain a favorite of the public, and people preferred musical novelties to his works. And no matter how famous and beloved by the public Gustav was, in our time few people remember his name. But he cannot but be included in our list, because once upon a time his example was the ideal for aspiring English composers dreaming of world fame and fame.

In conclusion, I would like to say that even though English classical composers and their music are not popular now and almost no one prefers such a magnificent genre as classics, genres, works and their authors still have admirers, the number of which is incredibly pleasing to beginners and Not only classical composers. And remember: classics are eternal and unchanging, because as they have remained for many centuries, they still are.