Musical culture of Spain in the 20th century. Western European music

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Architecture

Spain is the third country in the world in terms of the number of sites declared World Heritage by UNESCO, second only to Italy and China in this ranking. In a number of cities in Spain, entire historical quarters have become World Heritage Sites.

The development of architecture began with the arrival of the Romans in the Iberian Peninsula, who left behind some of the most impressive structures of Roman Spain. The invasion of the Vandals, Saii, and Visigoths that followed the fall of the Roman Empire led to a deep decline in the use of technology that had been introduced by the Romans, and brought with it a number of more rigorous building techniques with religious implications. The appearance of Muslims in 711 radically determined the development of architecture for many centuries to come and led to significant cultural progress, including in architecture.

At the same time, in the Christian kingdoms, original architectural forms gradually began to appear and develop, which at first were not subject to European influence, but eventually joined the major European architectural trends - Romanesque and Gothic, which reached an extraordinary flowering and left behind numerous examples of religious and civil construction throughout the Spanish territory. . Simultaneously, from the 12th to the 17th century, a kind of synthetic style developed, Mudéjar, combining European designs and Arabic decorative arts.

Painting

Main article: Spain painting

Literature

There are four major periods in the history of Spanish literature:

• the period of origin;
• heyday - the era of Cervantes, Lope de Vega, Calderon, Alarcon;
• period of decline and imitation.
• a period of renaissance that promises a renewal and re-blooming of Spanish literature.

Period of origin (XII-XV centuries)

The most ancient work of Spanish literature is “Song about my Side” (“El cantar de mío Cid”), in which the great national hero Rodrigo Diaz de Bivar, known in history under the Arabic nickname “Sid”, is sung. This poem by an unknown author was written no later than 1200. Typical genres of this period are historical romances, historical chronicles, court literature, chivalric novels. The political, military, religious and literary ties between Spain and Italy, which intensified in the second half of the 15th century, contributed to an increase in cultural exchange between both countries, within the framework of which the works of Spanish writers began to be translated and published in Italy, and in Spain - Italian ones. The presence of two Valencians, Calixtus III and Alexander VI, in the papal office further strengthened the relations of Castile, Aragon and Catalonia with Rome.

Heyday (XVI-XVII centuries)

period of decline

In the 20th century

With the establishment of Franco's dictatorship, cinematography came under severe administrative pressure. It became mandatory for all films shown in the country to be voiced in Castilian. In the 1940s-1950s, the most popular directors were Ignacio F. Iquino, Rafael Gil ("Huella de luz", 1941), Juan de Orduña ("Locura de amor", 1948), Arturo Roman, José Luis Saenz de Heredia ("Raza", 1942 - based on Franco's own script) and Edgar Neuville. The film "Fedra" (1956) directed by Manuel Moore Oti was also able to distinguish himself.

In the 1950s, two important film festivals began to take place in Spain. On September 21, 1953, the first Film Festival (El Festival de Cine) took place in San Sebastian, which has not been interrupted for a single year since then. And in 1956, the first International Film Week in Valladolid (Semana Internacional de Cine - SEMINCI) was held.

During the period of the Francoist regime, many Spanish directors emigrated from the country, some of them returned during Franco's lifetime. For example, Luis Buñuel Moncho Armendariz, the dark humor of Alex de la Iglesia and the raw humor of Santiago Segura, as well as the work of Alejandro Amenábar to such an extent that, according to producer José Antonio Félez, in 2004 " 5 films collected 50% of the box office, and 8-10 films gave 80% of all fees. In 1987, the Goya film award was founded in Spain, a kind of “counterweight” to the Oscar for Spanish cinema.

MOSCOW STATE CONSERVATORY them. P.I. TCHAIKOVSKY

DEPARTMENT OF INSTRUMENTATION

As a manuscript

BAYAKHUNOVA Leyla Bakirovna

THE IMAGE OF SPAIN IN THE MUSICAL CULTURE OF RUSSIA AND FRANCE OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES.

Specialty 17.00.02 - Musical art

MOSCOW, 1998

The work was performed at the Department of Instrumentation of the Moscow State Conservatory named after P.I. Tchaikovsky.

Supervisor - Official Opponents -

Lead organization -

Doctor of Art History, Professor Barsova I.A.

Doctor of Art History, Professor Tsareva E.M.

Doctor of Art History Shakhnazarova N.G.

Nizhny Novgorod State Conservatory named after M. Glinka.

The defense will take place "....."......... 1998 at ........ hours on

meeting of the specialized council D. 092. 08. 01 on awarding) academic degrees at the Moscow State Conservatory named after P.I. Tchaikovsky (103871, Moscow, B. Nikitskaya st., 13).

The dissertation can be found in the library of the Moscow State Conservatory. P.I. Tchaikovsky.

Scientific Secretary of the Specialized Council

Moscow Yu.V.

general description of work

Relevance of the topic.

The problem of intercultural interactions, one of the most important in humanitarian knowledge, is solved in the dissertation on the example of the Spanish theme, implemented in the musical art of Russia and France in the 19th - the first third of the 20th centuries. The available scientific literature mainly touches upon the points related to the musical style of a particular composer who turned to foreign material. However, the aspect we have chosen allows us to see the role of the Spanish theme in a different - culturological perspective, which is increasingly strengthening its position in modern musicology.

The goals and objectives of the study are to comprehend the nature of the reflection of the Spanish theme in the relationship between the aesthetic and artistic view and concrete implementation by means of composer technique; to analyze selected samples from the point of view of the relationship between the Spanish element and the individual composer's style. Try to penetrate into the creative laboratory of the composer who turned to foreign material. Thus, to focus on the "meeting" of the composer's and folklore consciousness in a piece of music.

Methodological work. The dissertation uses a comparative research method. The individuality of artistic solutions in each of the analyzed works, on the one hand, and the generality of the theme, on the other, allow us to compare a number of aspects. The author seeks not just a mechanical comparison of some phenomena with others, but to identify possible intersections, open influences that are found both in the direct rapprochement of Russia and France with the culture of Spain, and Russian and French cultures between themselves. The comparative method is used in the dissertation in two aspects:

a) Spanish folk music and its reflection in professional composer's work

b) different interpretations of the Spanish theme in Russia and France (be it aesthetic perception, or features of the musical language, or features of continuity).

Scientific novelty. A holistic view of the stated problem allows you to go beyond the statement of facts or issues related to a single work, to identify the features inherent in it as a whole, and finally, to conduct a number of cross-cutting ideas through the entire study, prompted by the study of artistic samples. Attention to Spanish music in its various aspects required a deepening of ideas about Spanish folklore. The comparative method we use makes it possible to discover the mechanism of penetration of Spanish folklore into the individual style of the composer.

Approbation. The practical value of the work. The dissertation was discussed at a meeting of the Instrumentation Department of the Moscow Conservatory and recommended for defense (12/19/1997). This dissertation can be useful for courses in the history of Russian and foreign music, folklore, cultural studies, music of non-European countries, the history of orchestral styles, as well as for further scientific research.

Structure and scope of work. The dissertation consists of an introduction, four chapters and a conclusion, notes, a list of references and musical examples. The first chapter is devoted to the image of Spain in European culture. The second is titled “Some Peculiarities of Spanish Folklore. Its perception in Russian and Western European musical culture. The third and fourth are devoted to the Spanish theme in Russian and French music and consist of several sections that consider this issue on the example of individual compositions.

The Introduction defines the scope, tasks and material of the dissertation. The topic of the research is related to the problems of comparative literature. Among its main areas, the Romanian literary critic A. Dima singles out the category of topics related to geographical places most often found in world literature: Rome, Venice, Italy, the Pyrenees, etc. The image of the "dead city", Venice, appears, for example, in tragedy T. Otuela "Saved Venice or Revealed Conspiracy", translated and revised by G. von Hofmannsthal ("Saved Venice"), in T. Mann's story "Death in Venice", by A. Barres in the work "Amori et dolori sacrum", in which he told about I.V.'s stay here. Goethe, Chateaubriand, J.G. Byron, A. de Musset, J. Sand, R. Wagner. "We are far from thinking that the identity of the place provides a basis for asserting the identity of the theme. (...) Only the motive of the influence of the spiritual climate of the Italian city on the corresponding heroes or authors remains common."

The image of Spain in European culture provides a well-known analogy for this category of themes. However, there are some peculiarities here as well. For Europeans, in particular for musicians, it was quite difficult to define what is Spanish. The folk art of Spain, with its many musical dialects, contains such a powerful originality of the musical language that European art, born in other traditions, is often unable to penetrate it completely, nor repeat it in all authenticity. The reason for this is the depth of the subject, which does not let in a person with a European consciousness and upbringing, often replaced by clichés of particular signs.

The essence of the question lies in the existence and meeting in each of these works of "two minds". Expressed in relation to literature, this idea of ​​M. Bakhtin, in our opinion, can be applied more widely to creativity in general, including music. If the people's consciousness did not indulge in the hope of understanding the professional, then the second (professional, composing), on the contrary, actively strives to master the people in the genres and forms accessible to it, discovering many solutions, individual

real "hacks" ("the inexhaustibility of the second consciousness, that is, the consciousness that understands and responds; it contains a potential infinity of answers, languages, codes. Infinity against infinity" - according to Bakhtin). The result is an objectively existing insoluble contradiction, the way out of which is different in each case. A certain "third" essence arises - the image of Spain in the auditory experience of a European.

The first chapter examines the image of Spain - a special ethnographic and cultural region of Europe, which goes beyond the European cultural, including musical tradition. The attractiveness of this country, located in the extreme southwest of the European continent, is due to several reasons. Connected by many threads with Europe (religion, language, government, education), Spain at the same time absorbed some features of Eastern cultures - Arab, Jewish, Gypsy: "All European countries differ from each other less than this country, lying on the very edge of our continent and already bordering on Africa,” wrote I. Stravinsky. Spain was an enigma within Europe, a country of civilized exoticism - European in location, but quite different in essence and spirit.

The perception of Spain in the culture of Europe had its own characteristics. The most attractive for European artists was the culture of the south of Spain - Andalusia with its exotic appearance, a peculiar culture that absorbed the influence of different cultural traditions. This is how the culture of Spain appears in most cases in the works of French writers - Merimee and Gauthier, Dumas and Musset, Hugo and Chateaubriand.

The image of Spain, formed by French literature, influenced the ideas about it in Russia. Dichotomous, at first glance, the division in the assimilation of Spanish culture: Russia -> Spain or France -> Spain, - often turned out to be a triangle, thanks to the constantly existing connection Russia -> France. Over time, French culture more than once turned out to be, for example, an intermediary in the perception and assimilation of the Spanish image, determining, in particular, the features of Pushkin's Spain.

True Spain opens to the eyes of Russian people a little later than in France - in the 1840s of the last century. Glinka's journey, carried out in the same year as the trip there by the Russian writer V.P. Botkin or choreographer M. Pstip seems natural against the background of the general enthusiasm for this country among the Russian intelligentsia. Equally characteristic is the way to Spain through Paris, which has become not just a convenient route, but a place where many Spanish travels were conceived and from where they were undertaken.

In the second half of the 19th century, the Spanish theme entered French painting (engravings by G. Doré, paintings by E. Manet) and became a constant in music.

Over time, stable themes and images inspired by the culture of this country have developed in European culture. For example, the image of Carmen received a powerful echo in Russian culture, which appeared in the paintings of M. Vrubel, K. Korovin, the poetic cycles of K. Balmont and A. Blok. Among the images that have become constant in music is Ispachi through the prism of the holiday, carnival and mysterious cool nights.

The time spent in Spain has become for many travelers one of the happiest moments in life, a time of forgetfulness from adversity, immersion in the fullness of life and an eternal holiday. All this gave rise to the most stable image of Spain in music - the image of the holiday and carnival. Russian, and then Western European composers were especially attracted to this side of Spanish life, inseparable from music, singing, and dancing. The culture of the holiday (fiesta) has a special place in Spain. Many of the holidays have their origins in religious festivities from medieval, renaissance and baroque times. The basis of the holidays is the departure of the church service. Almost every holiday in Spain was drunken and cheerful, accompanied by processions, the playing of folk orchestras and ensembles.

The beginning laid by Glinka's "Spanish Overtures" was continued by Rimsky-Korsakov ("Spanish Capriccio"), in the colorful and temperamental dances of Tchaikovsky and Glazunov, and Stravinsky's orchestral piece "Madrid". The same line can be traced in Vise's Carmen, Chabrier's España, parts of Debussy's Iberia and Ravel's Spanish Rhapsody.

The theme of the holiday is closely related to another image popular in music - the southern summer night.

The second chapter “Some Features of Spanish Folklore. Its perception in Russian and Western European musical culture.

European musicians adopted the folklore of different provinces of Spain: Castile, Basque Country, Aragon, Asturias. The development of each of them was uneven and sometimes had a single character, in contrast to the folklore of Andalusia, which formed the basis of the "Spanish" musical style.

In the statements of musicians (from Glinka to Debussy and Stravinsky) about Spanish music, the definition "Arabic" or "Moorish" is often found. Apparently, they should be understood not so much as the actual Arabic (Andalusian tradition), but simply southern Spanish music, many samples of which have an oriental flavor that is easily listened to. Nevertheless, one of the episodes of the "Spanish Overtures" allows us to make an assumption that Glinka recreated the color of the Andalusian ensemble music-making. A. Glazunov, who traveled through Spain and North Africa, came into contact with the same music.

Another folklore layer heard by European musicians is the style of cante hondo (deep singing). Deeply tragic, expressive images prevail in the figurative content of kange hovdo. Kange hondo is a solo art that is inseparable from the vocal style of performance. This feature was noted in the statements of Glinka, Chabrier, Debussy.

Another folklore layer of Andalusia, flamenco, turned out to be more accessible and developed in European musical Spanishiana. The flamenco style is inseparable from the dance, based on the plastic movement of the hands, on the flexible rotation of the body and on the possession of complex foot techniques. In flamenco, there is no usual division into performers and listeners, because everyone present in one way or another participates in the performance.

Spanish musical folklore and its figurative sphere turned out to be, on the whole, quite unapproachable for the European musical ear. Variant variability and elusive richness

rhythmic transformations, microgonality and specific harmonies of Andalusian music often came into conflict with the established norms of professional composer creativity. This led to the entry into European art of only individual elements of Spanish music, which over time became fixed in the minds of the European listener as auditory associations associated with this country. Among them - the use of rhythmic formulas of individual dances, imitation of the guitar texture, appeal to the "mi" mode. The peculiarity of this mode is that, coinciding mainly with the Phrygian, it has an obligatory major triad in the cadence and "fluctuating" second and third steps in the melody - sometimes natural, sometimes elevated.

At the same time, there are enough other folk samples in Spain, whose musical features do not come into such sharp conflict with European musical thinking as cante jondo and flamenco samples. They are characterized by diatonic melody and clear rhythm, symmetrical structure and harmonic character of the melody. Such, for example, is jota based on tone-dominant harmonies.

The third chapter, "Spain in the Music of Russian Composers", opens with a section on Glinka's Spanish Overtures. Attention to Glinka's Parisian impressions in it is explained by their significant role in determining the appearance of future "Spanish Overtures". Contact with the music of Berlioz, the great impression that it made on Glinka, coupled with a careful study of the scores, not only expanded Glinka's understanding of the achievements of his contemporary European creativity, but also became an incentive for his own experiments in the field of coloristic orchestration. The fine detailing of the texture characteristic of overtures, the search for original mixtures of different timbres, the interest in "surround", spatial sound and coloristic effects associated with niches, as well as a number of other features of overtures, for all their individuality, allow us to see in them the creative implementation of the achievements of the French master.

In the ode-symphony "Desert" by Felicien David Glinka could hear one of the first examples of French Orientalism. Is-

the use of themes recorded during a trip to the Arab East, an attempt to convey a specific intonation in pictorial music also met the interests of Glinka of that time. Watching the Parisian audience during concerts, the composer comes up with the idea of ​​combining professionalism with showiness and accessibility, creating vivid “picturesque fantasies” based on folk material.

The first overture, written in Spain under the direct influence of folk music, is dedicated to Aragonese jota. Gradually discovering the folklore of other regions of Spain, listening to the variety of its musical dialects, Glinka gradually comes to the idea of ​​recreating her "musical portrait" by combining in one composition the music of different provinces of Spain (in this case - Aragon, Castile, Andalusia).

Without strictly following the structure of the dance, the composer retains in the Aragonese Jota the alternation of vocal and instrumental principles characteristic of this genre. It is possible that Glinka uses not one theme, but several, giving a generalized portrait of this genre. The timbre effect achieved in the first performance of the Aragonese jota makes it possible to hear in it a possible folklore prototype - the playing of an ensemble of bandurrias and guitars.

According to the composer, the main object of his study in Spain was "the music of the provinces under the rule of the Moors." Probably, Glinka was able to somehow hear samples of the Arab Andalusian musical tradition, capturing this in the “Moorish episode (“Risho togipo”) of the second “Spanish Overture”. It is possible that Glinka's heterophony grows out of the monodic nature of thinking in Arabic music and observations of ensemble music-making, the specific coloring of which he reproduces in this episode.

A distinctive feature of the form of the overture "Memories of a Summer Night in Madrid" is the combination of external independence from classical architectonic principles with their original adaptation. The new requirements for form that arose as a result of the Parisian impressions, the attention to the sound impression and the unusual idea of ​​​​the composition lead to such properties as the unpredictability of the alternation of tunes, the appearance of a theme that begins

from the middle, a mirror reprise, etc. The essence of this overture

In brevity, conciseness, fine writing and thoughtfulness of every moment and detail.

Touching upon the issue of orchestration in the "Spanish Overtures", the author dwells, first of all, on the moments that reveal the innovative features of these works. The scores of the "Spanish Overtures" testify to the mastery of the techniques of both classical and contemporary orchestral writing. However, one of the remarkable qualities of the "Spanish Overtures" is the desire to overcome the traditional techniques of European orchestration. The textural features in them are closely related to the author's aesthetic attitude to folklore.

The main texture types in the orchestration of these works

One-voice, octave and multi-octave ushgeons, two-voice, represented by a theme with harmonic undertones, pedal or counterpoint. A departure from the traditional methods of European orchestral writing and in an effort to get closer to the methods of performance on folk instruments. So in the jota from the second "Spanish Overture" you can hear the effect of sliding the thumb along the neck of the guitar (bariolage technique). In the recapitulation, the violin's pulsating pedal is built around alternating between open and closed string sounds, emulating guitar picking, with a brighter tone on the downstroke and less richness on the upstroke.

Autographs, drafts or sketches of the "Spanish Overtures", unfortunately, have not been preserved. Only a number of handwritten copies by unidentified individuals exist. Three of them are kept in the Glyng-ga fund! at the Russian National Library in St. Petersburg. These are the score of "Jota of Aragon" (f. 190, no. 6) and two copies of "Memories of Castile"1. One of them has Glinka's dedication to A. Lvov (f. 190, no. 27), the other is a manuscript of an unidentified person with notes by the author, V. Stasov and V. Engelhardt (f. 190, no. 26). Both manuscripts date back to 1852. Co-

1 Once, in a letter to V. Engelhardt, he called his work “Reminiscence of a summer note in Madrid”, Glinka in all known manuscripts puts out with his own name the title that coincides with the first edition (“Reminiscence of Castile”).

there was also a handwritten copy (score and orchestral voices) of the first edition of this overture, found at one time by V. Shebalin in the archives of the Glinka State Museum of Musical Culture (f. 49; No. 4,) and published by him in the second volume of the complete works of the composer .

The author of this work also has photocopies of the "Spanish Overtures" from the music department of the Paris National Library (M8.2029, Mb.2030). We are talking about handwritten copies, donated by Glinka to his Spanish friend dou Pedro in 1855 in St. Petersburg before the latter's departure for Paris. Dated 1855, the manuscripts are valuable in revealing the final creative intentions of the author.

The original text in all its details is not heard and has not been published. The exception is the publication of overtures with comments by V. Shebalin in the Complete Works (vol. 2, M., 1956). Modern musicians have an idea about them mainly from the editions of: M. Balakirev and N. Rimsky-Korsakov (published by Jurgenson, Moscow, 1879); N. Rimsky-Korsakov and A. Glazunov (published by Belyaev, Leipzig, 1901; M. Balakirev and S. Lyapunov (published by Jurgenson, Moscow, 1904).

All editors treated the original text with care and their changes, at first glance, may seem insignificant, mainly concerning strokes, tempos, and dynamics. One of the open questions of the second overture is the problem of the use of castanets in it. Having written out in "Memories of a Summer Night in Madrid" the name of the instrument on the first page of the score by the chord, Glinka actually never uses them. Nevertheless, all editors include the part of castanets in the score, considering them to be an obligatory "attribute" of Spanish. However, the departure from open genreism, the refinement of the idea in this overture makes it natural for Glinka to refuse this instrument, the function of which is performed by the triangle with its light, "silver" sonority.

Turning to the manuscripts reveals a difference in the nature of articulation between different orchestral parts in unison

and heterophonic episodes. Each of the unison voices in the "Moorish episode" of the second "Spanish Overture" has its own articulation due to different leagues that do not coincide with each other. A likely source of this articulation is Spanish music itself. This gives the unison an unevenness, some roughness, which involuntarily arises in the process of folk music-making. The unison of the second seguidilla also has different strokes. In all editions, Glinka's strokes have been smoothed out and brought to uniformity.

Both "Spanish Overtures" combined a careful study of Spanish music, a sense of nature, space, color, refined composing skills and the uniqueness of the author's vision of the Spanish theme.

Rimsky-Korsakov's "Spanish Capriccio" (second section of the chapter) is based on melodies he borrowed from the Spanish composer José Insenga's collection "Ecos de España". The rarest copy of the collection with Rimsky-Korsakov's notes is in the Institute of Art History in St. Petersburg (f. 28; G-273) 2 .

Unlike Glinka, Rimsky-Korsakov did not attach any importance to local differences in Spanish folklore. It is possible that Spain seemed to him to be something united. Choosing after Glinka a number of contrasting themes, he did not seek to recreate the folklore of different provinces of Spain, guided by other considerations: melodic brightness, imagery, potential for orchestral development, etc. Therefore, probably, he easily combines in Capriccio three melodies from the section of Asturian songs (Alborada, Dansa prima and Fandango asturiano) and one Andalusian (Canto gitano).

Summarizing the principles of the composer's work with folk themes, we can draw the following conclusions: Rimsky-Korsakov preserved

1 The absence of authentic autographs of the works forces one to speak of Glinka's innovations with great caution, taking into account such points as, for example, the inaccuracy of the copyist.

2 The find of the collection and its first description belongs to E. Gordeeva (sg. "Folklore sources" Antara "and" Spanish capriccio ", SEE, 1958 No. 6).

It eliminates such features as the non-squareness of some themes (Alborada), or long stops at the last sound (canto gitano), actively uses Insenga's processing techniques. At the same time, he strengthens the national element with his own methods. So the tonal plan of "Capriccio" is conditioned by the structure and expressive possibilities of the mode "mi" (from the sound "la"), which underlies the fourth movement and projects the collapse of the possibilities on the whole work (the return of "Alborada" (Zch.) in the key of B-dur, for example, it forms in relation to the main key of the Capriccio A-dur one of the characteristic combinations of I-Ilb for this mode).

The first two trips of I. Stravinsky to Spain (1916, 1921) (the third section of the chapter) are connected with the creative collaboration of the composer with the troupe of Sergei Diaghilev. In the future, the composer repeatedly visited Spain.

The appeal to the Spanish theme became for Stravinsky a continuation of the established tradition: "Probably in order not to lag behind their predecessors, who, returning from Spain, consolidated their impressions in works devoted to Spanish music - this applies most of all to Glinka, with his incomparable" Aragonese Jota" and "A Night in Madrid" - I enjoyed and paid tribute to this tradition. The result of this was "Española" from the "Five Easy Pieces for Piano" written in 1915 in four hands (published in 1917), later orchestrated and included in the First Suite (1917 - 1925), Etude "Madrid" (1917), created especially for the pianola and released in the form of a roller by the Aeolian firm in London.In 1929, Stravinsky orchestrated it, including it among the Four Etudes for a symphony orchestra.

The play "Madrid", according to the author, was inspired by "funny and unusual combinations of melodies that were played on mechanical pianos and jukeboxes and sounded in the streets of Madrid, its small night taverns." The original idea determined the general spirit of the play, in which the author is far from a romantically enthusiastic attitude towards the observed. The image of Spain is rather objective, urbanized. At the same time, some moments allow us to recall the predecessors, whose tradition he continued.

The first theme reproduces the "rich graces of a drawn-out Arabic melody heard by Stravinsky in Spain, sung by a singer with a low chest voice and endless breathing." This example, however, deserves special attention, because it allows us to make an assumption about the influence in individual episodes of the composition of M. Glinka's "Spanish Overtures". It is quite probable that in these works of Glinka, about which Stravinsky speaks with admiration, they could appreciate the boldness and novelty of the texture and, in particular, the heterophonic presentation of thematism. In this case, however, we are talking about the coincidence of objects of composer interest - the Arabic or, as Glinka sometimes says, the "Moorish" layer in Spanish music. Creating a contrast between voices, Stravinsky, like Glinka, enhances it by using different strokes.

In Andalusian music, Stravinsky heard a phenomenon approaching, in its essence, an irregular-accented rhythm. Episodes using this feature are found in Stravinsky's Madrid and his play Española.

The use of "the most familiar, habitually erased song intonations" in "Madrid" evokes the mass scenes of "Petrushka", where the same principle is used. The inclination towards variant coverage of this turnover can probably be explained by the coincidence of one of the main principles of Spanish folk music and variance as Stravinsky's fundamental compositional method. Stravinsky reproduces the playing of a brass band in his play, giving it a grotesque character. The appearance of new contrasting images occurs without any preparation, whimsical change of texture.

The fourth chapter is "Spain in the music of French composers". It opens with a section dedicated to the orchestral rhapsody "Spain" by E. Chabrier.

Among the compositions on the Spanish theme "Spain", what distinguishes, first of all, is the very "tone" of the work - emphatically lightweight, a little eccentric, on the verge of entertaining music. Chabrier deliberately enhances that element of folk culture, which is associated with spontaneity, full-bloodedness, sometimes deliberate rudeness of images.

Such an unusual refraction of the Spanish image by Chabrier allows us to find an explanation in the artistic environment that surrounded the composer. Like E. Manet, Chabrier does not look for the romantic in Spain, does not poeticize it. The clear outline, the accuracy of the drawing in Manet, evokes associations with the enlargement of the melodic line, its relief in Chabrier. The spirit of the “cafechantan”, the entertaining nature of the music of “Espana” brings to mind the role of the cafe, a meeting place for Parisian bohemia and an inexhaustible source of observations of human faces and characters, through the prism of which the world appeared in the paintings of Manet and Cezanne, Degas and Toulouse-Lautrec.

The second section of the chapter is devoted to Iberia and other works by Debussy. Debussy saw in Spanish folklore a rich source of new ideas that delighted him with their freshness and originality - be it unconventional modes for European music, a variety of rhythms, unexpected timbre combinations, or a different temporal organization. Many of these features were not previously present in "academic", composer music.

Spain for Debussy is synonymous with Andalusia. According to Yu.A. Fortunatov, Spain attracted Debussy's attention precisely as a country with a strong oriental element in its culture. In this regard, the Spanish theme can also be considered as one of the facets of the embodiment of the image of the East in his work.

Debussy is an artist who managed to hear in different world cultures something more than just exotic or national flavor. In the folklore of different countries, he finds elements that attract him in search of his own style. Perhaps that is why the principle of the composer's attitude to the entire heterogeneous field of folklore in Debussy reveals similarities.

Creativity Debussy is an original turn of the Spanish theme in European art. A new stage in the development of musical art, together with the artist's individual views on folklore, led to a different quality, the development of deeper layers of Spanish music. Debussy gives the opportunity to enter into the fabric of his compositions untouched, almost unmastered features of cante jondo. He frees the Andalusian melody from the power of the barline, reproduces its inherent progressive ornamental

development. The composer makes wider use of the expressive possibilities inherent in the various modal structures of folk music and even seeks to go beyond the temperamental scale, creating a feeling of microtonality.

The organic penetration of folklore features into the composer's style became a natural reason for the appearance of some "Spanish" features in works written "without any Spanish intention". M. De Falla, who first noted this feature, pointed to Debussy's frequent use of certain modes, cadences, chord sequences, rhythms and even melodic turns, in which a clear relationship with Spanish music is found. This allows us to consider from this point of view such works by the composer as the suite “Pour piano”, “Secular dance” for harp and string orchestra, the second rhapsody for saxophone and orchestra, called in one of the variants “Moorish”, the second part of the string quartet, romance "Mandolin", the piano piece "Masks" and fragments of some other works by Debussy.

In Debussy's modal system, the importance of "non-traditional" modes for European professional music significantly increases, which become "ordinary" modes, intertwining with major and minor. This is a bright original feature of the style of the composer, who saw in these modal systems a rich world of possibilities undiscovered by professional music.

In "Iberia" Debussy creates diverse variants of the sevillana rhythm. An important role in this is played by the recognition of Spanish rhythms, their expressiveness and energy. Debussy also reflected other features of Spanish rhythm that are not so obvious on the surface. For example - the uncertainty between two- and three-part size. The use of the rhythmic diversity of Spanish music led to the multi-layered orchestral fabric, its special polyphony, different from classical counterpoint and with a clear timbre selection of lines.

The novelty of Debussy's musical language was manifested to a large extent in a different understanding of the orchestral texture. Rejecting the usual division of orchestral functions into bass, melody, figuration, Debussy comes to a multi-element and thematically rich texture. In Iberia, this manifested itself, in particular, in one

temporal connection of different material, contrasting modally, timbre, rhythmically. “One has only to look,” Myaskovsky writes, “how richly woven his (Debussy - L.B.) works are, how free, independent, and interesting their voices are, how, finally, different thematic elements are skillfully intertwined there, often up to three completely unconnected topics at once. Isn't this contrapuntal skill!

The spatiality of the sound is one of the characteristic features of "Iberia". The role of figurations-backgrounds is invaluable in this. In the second part of "Iberia" Debussy uses the idea of ​​gradual filling of space: from the emptiness of unison sounds - to glissanding sixth chords, and, finally, ■ - to a chord.

The third section of the chapter examines the influence of Spanish music on Ravel's work. The Spanish theme entered the composer's work through two different branches - Basque and Andalusian. The first of them became a tribute to the origin of the composer, the second - to the passion for Andalusian culture in Europe. The images of Spain, Ravel's "second musical homeland", accompanied him throughout his creative work: from "Habanera" from "Auditory Landscapes" (1895-96) to "Three Songs of Don Quixote" (1931). In 1903, a quartet was written, in which we see one of the first borrowings of Basque elements. Later this line was continued by the Trio a-to11 (1914) and the Concerto S-sir (1929 - 1931), which partially absorbed the material of the unfinished piano fantasy on Basque themes "Zarpiag-Bat" (1914). Among the compositions that use the flavor of Andalusian music are "Alborada" from the cycle "Reflections" (1905) (later orchestrated), written in the same year 1907 "Spanish Rhapsody", the opera "Spanish Hour" and "Vocalise in the form of a habanera ", the famous "Bolero" (1928), as well as "Three Songs of Don Quixote" (1931), in which, however, there are features of the style of both Aragonese and Basque music.

Located on opposite points of the Iberian Peninsula, the Basque Country and Andalusia are musically very special areas of Spain. Unlike the Andalusian, the Basque element entered the works of Ravel, which were not directly related to Spain. The only one completely

based on the idea of ​​Basque material, remained unfinished: realizing that he was "unable to subdue the proud, unyielding melodies", Ravel left work on the piano fantasy "Zagpyat Bat". The composer included part of the music intended for fantasy in the Trio and the piano concerto G-dur.

Among the expressive means of Basque music included in Ravel's music, in the first place is the peculiar rhythm of Basque songs, in which simple two- and three-part sizes coexist with mixed ones: 5/8, 7/8, 7/4. In the second part of the string quartet, the composer introduces "interruptions" of meter, arising from the bar-by-bar alternation of a two-part, laid down in a time signature of 6/8, and a three-part one in a time signature of 3/4.

The finale of Ravel's string quartet has a meter of 5/8, characteristic, in particular, of the characteristic Basque sortsico genre. The first part of the a-moll trio has an unusual meter 8/8, which can be decomposed into 3/8+2/8+3/8. By adding another 3/8 to the traditional 5/8, Ravel creates his own sortsico - it is no coincidence that Ravel himself called this theme "Basque".

Compared to "Andapusian", Ravel's "Basque" themes are usually syllabic, with a small range, usually not exceeding an octave. The theme of the second part of the quartet consists of short two-bar phrases and is based on the repeated intonations of the fifth. The same interval gives a specific coloring to the initial theme of the G-dur concerto.

However, most of Ravel's Spanish-themed writings derive from Andalusian folklore. Among them is Alborada del Gracioso. Written in 1905, it was orchestrated by Ravel in 1912. The sharp, grotesque nature of this play, the idea of ​​a kind of scene in the Spanish spirit, makes it partly related to Debussy's Interrupted Serenade.

Ravel, with a certain freedom, assimilated a special way of forming a chord vertical, born from the harmonic features of the flamenco guitar. A notable feature of this music is the use of highly dissonant chords with a major seventh and a diminished octave, containing two variants of one step, freely refracting the specifics of the Spanish chord.

"Spanish Rhapsody" is one of the variants of the picture of the Spanish summer night, just as it was with Glinka and Debussy. In this four-part cycle, everything begins with the "Prelude of the Night", into which the dance "Malagenya" bursts "from a distance". The third part, "Habanera", introduces something new, but also continues the mood of the previous parts, partly prepared by them. The basis of dynamics in all three parts is rrrr. Moments of forte are separate bursts or the only increase in Malaguena (ts.11-12), which suddenly breaks off, plunging into the atmosphere of Spanish-Arab melos.

Let's single out "Habanera" here. Its peculiarity lies in the subtlety and sophistication of colors (and not the usual openness of feelings inherent in this genre), a certain stiffness of intonations. Seemingly unique in its charm, "Habanera" is in this respect on a par with other works: the similarity of two habanera ("Evenings in Grenada" by Debussy and "Habanera" from "Auditory landscapes" by Ravel, included in the "Spanish Rhapsody") , as you know, caused at one time a dispute about priority.

Ravel turned the typical drawing of the melodic line of the folklore habanera into a pulsating orchestral pedal, and left the rhythm accompanying the dance in the form of ghostly, multi-tiered chords of strings with mutes (harps) and two harps. As a result, the two main features of the habanera are almost imperceptible in Ravel's score.

The free author's vision of folklore, its rethinking through the prism of an individual plan is also inherent in "Bolero", in which constructive logic prevails, organizing everything by the principle of orchestral crescendo. At the same time, the signs of a genuine bolero turn out to be very conditional.

The conclusion of the dissertation once again emphasizes the role of the comparative method, which allows, in particular, to visualize the relationship of cultures and different forms of their interaction: direct contacts, influences, borrowings, to trace the similarities and specific processes of development of national musical traditions.

The origin and development of musical Hispaniana allows us to see the ever-existing intermediary role of one tradition.

diction for the other, carried out, as noted, not only in the direct rapprochement of the cultures of Russia and France with the culture of Spain, but also Russian and French with each other.

In the evolution of musical Hispaniana, an important role was played by the composers' acquaintance with already known samples, which gave rise to the desire to look for new ways. Glinka's stay in Paris at one time enriched him with impressions and new creative ideas. Later, the concerts of the World Exhibitions allowed Debussy and the young Ravel to hear a number of works directly performed by the authors themselves (Rimsky-Korsakov conducts Glinka's Spanish Overtures, etc.). The influence of Russian music on the work of French musicians is, of course, much wider than the actual Spanish compositions. At the same time, already on the example of the Spanish theme, one can see how fruitful the communication between Russian and French musicians was at different times. Recalling the significance of Rimsky-Korsakov's work for Debussy and Ravel, especially his orchestral style, one can assume that such a vivid composition as the Spanish Capriccio did not go unnoticed by French musicians.

The predominant appeal to the southern Spanish (Andalusian) style was another feature common to many works. The activity of the composer's consciousness, the search for the most acceptable ways for the author to enter the Spanish element into the general context of the work reveals a variety of ways: from an attempt to literally reproduce the features of the original - to the language of allusions, allusions. The nature of acquaintance with the primary source was also different.

In general, on the example of the analyzed works, three different methods can be distinguished in working with Spanish folklore. This is a) an active study of Spanish music in its live sound; b) work with collections; c) reproduction of auditory impressions from Spanish folklore through the free use of its essential rhythmic and harmonic features. The question of the degree of closeness to folklore material and the artistic persuasiveness of the work is covered by individual statements of the composers - M. de Falla and I. Stravinsky. Both musicians consider narrow ethnography unacceptable for modern

art, preferring the free reproduction of the essential elements of Spanish music. Ravel and Debussy freely combine the features of different Spanish styles. A new facet of understanding of Spanish manifested itself in the penetration of elements borrowed from Spanish music into works that are not related to Spain.

The appearance of a rhythmic-ingonal vocabulary, which includes a number of clichéd devices in European "Spanish" music, allowed Stravinsky to refer to them as a kind of conventional language. A new stage in the development of the Spanish theme was the work of C. Debussy. National origins, the specific color of Spanish music (for all the subtlety of the reproduction of its elements) are not in the foreground for Debussy, sometimes they are simply smoothed out, veiled. Returning to Bakhtin's idea of ​​the coexistence of "two minds", one can make the assumption that Debussy does not oppose two minds at all - rather, he brings together, makes one or another folklore element part of his own style. Noting the dissonant contradiction of Spanish folklore with the dogmas of the "academic" classics, Debussy, on the contrary, seeks to find other ways that would make it possible to closely recreate the essence of the main elements of Spanish musical creativity. National color is not an end in itself for an artist. This is an attempt to create (supplement) on the basis of the auditory ideas acquired by him in one way or another, the image of the country that excites his imagination.

The evolution of composing technique allowed more complex elements of Spanish music to enter European art over time. The contradiction between the modes of the Andalusian songs and their compositional development at one time prompted Glinka to leave his sketches on folk themes unfinished. Debussy already freely uses the specific modes of Spanish music. The appearance of a heterophonic texture in Glinka is of a single nature. With Stravinsky, this is an integral feature of style.

Therefore, we can assume that the composer's work, relying on the professionally conscious musical element and the rules of "classical" art, created a fundamentally new musical consciousness, which is vividly expressed through folk-national origins. The "ethnographic" in it is subordinated to the value (axiological) level. That is, the folklore element is

used as a form that carries the content of the consciousness of the new time. Understanding belonging to a certain national culture always provides a basis for further cultural synthesis and development. This is enrichment due to the identification of "one's own and someone else's", expressed in other musical cultures by similar or opposite means.

The relationship between the cultures of Russia and Spain, located on the extreme, opposite points of the European continent, is notable for recognizing "one's own" in a different culture (especially from Russia), as well as an attempt to explain the secret similarity, the closeness of such different countries. Hence, perhaps, the desire to comprehend the inexplicable kinship between Russia and Spain, referring to history, features of economic development, mentality (in particular, the similarity of characters, worldview) and other features. This thought goes on and on. among artists who have visited Spain and who have come into contact with this culture outside of it - K. Korovin, L. Tolstoy, M. Glinka, P. Dubrovsky and others. In music, this similarity has acquired almost tangible contours: “Some Andalusian songs remind me of melodies our Russian regions and awaken atavistic memories in me, ”wrote Stravinsky.

Trying to find common ground between two different cultures, one can really hear the related features between the "infinity" of the melody in the Russian lingering song or cante hondo, their sad, somewhat hysterical tone, the richness of the rhythm, the constant variant changes in the melody and the repetition "to the point of obsession" of one sound , the use of microingervals. In Russian music, as in Spanish, there is a contrast between chant, hysteria and unbridled gaiety. A possible explanation for this is the mutual attraction of the poles. One understanding of this closeness contributes to rapprochement, mutual attraction.

The attraction to Spanish culture in Russia and France has its own characteristics. The immediate neighborhood of France and Spain added additional color to the process of rapprochement between these countries. Ethnic ties have existed between them for a long time. Spain of that time is included in the circle of exotic countries that actively interested French artists. This explains, for example, the predominant attraction to the culture of its south, and not others no less

peculiar provinces. Unlike the eastern countries, Spain was different, close exotic, but peculiar enough to be perceived as part of the eastern world.

Thus, not only similarity, but also difference turned out to be fruitful in this respect. Attraction and repulsion, based on the similarity of historical destinies and cultures, has absorbed value positions (truth, goodness, beauty), affirmed not only in their own, but also in a foreign language.

Consequently, the Europeans sought and found in the Spanish folk musical culture those life-giving forces, that support for the trends that can be traced in their national cultures, which they so needed. Through Spain there was penetration into a different emotional essence (love of freedom, spiritual emancipation, humanity, etc.), other rhythmic, intonational, timbre features, ultimately expressing the inner structure of the national character.

Spanish music opened up new values ​​for European composers, enriching the musical language with unique rhythms, instrumental color, texture features.

The Spanish theme in music is only a part of the composer's work, inscribed in the context of his era. Therefore, the creation of many compositions on the Spanish theme is difficult to imagine without experiments with other national material. Also, the impact of these works is far from limited to the Spanish theme.

The cultural ties between Russia and France with Spain, marked by the appearance of a number of masterpieces of musical art, enter the orbit of the global cultural process, being evidence of the positive role of the openness of cultures, their interaction and exchange. l

The provisions and conclusions of the dissertation are reflected in the author's works:

1. "Spanish Overtures" by Glinka (to the problem of "composer and folklore") // Collection of articles by young scientists of the Conservatory. Alma-Ata 1993. (0.5 pp)

2. Overcoming the boundaries of time (Russian-Spanish creative ties) And Russian culture beyond borders. M, 1996, "Informkultura", no. 4. (0.8 p.l.).

3. "Sounds and colors of Spain" // Image of Russia in Spain. The image of Spain in Russia (in print). St. Petersburg (1 p.l.).

There are so many different cultures in the world, but many culturologists agree that Spain is one of the most amazing countries in the whole world: from cuisine to traditional annual festivals that can only be seen on the streets of this country. Many traditions are common throughout Spain, but there are also unique ones that are inherent in each particular province or region.

The culture of Spain at one time was influenced by several countries and peoples - thanks to an interesting geographical position at the junction of Europe and Africa and some historical events. The Romans left a great imprint on the language and religion: in the period from 1000 to 1492, Spain was a Roman Catholic country. Many words in Spanish are also borrowed from the Arabs. Jews are also involved in the mixture of cultures.

Spanish architecture

It is worth going to Spain for architectural ensembles alone.

It is a mixture of styles and times, the simultaneous existence of pompous pomp and aristocratic restraint, grandeur and modest simplicity. Spain holds the lead in the number of famous cathedrals among all countries in the world. These are the Gothic temples of Seville,

and Moorish Nazareth in Granada,

and also the ascetic Escorial near Madrid,

Renaissance cathedrals of Valencia

the Romanesque Cathedral of Santiago de Compostela,

house Terrades (Casa de les Punches) or "house with spikes" in Barcelona and many others.

It is impossible not to mention the great Spanish architect Antonio Gaudi, who laid the foundation for the development of Spanish modernism.

Batlo or "house of bones" was designed from an old house for the textile magnate Josep Batllo y Casanovas by the architect Gaudí

His work is mainly concentrated in Barcelona, ​​where every building is the creation of this Catalan genius.

Gaudí's last work La Pedrera or "quarry"

Art

Spanish painting has left an indelible mark on the world history of fine arts. Salvador Dali is a famous Spanish artist of the 20th century, whose talent is known all over the world for his whimsical and mind-blowing surrealist paintings.

The talented engraver and painter Francisco Goya, considered the first of the modern masters of the Romantic era, created a model and paved the way for subsequent works by artists such as Monet and Pablo Picasso. We can confidently conclude that Spain is the cradle of talent.

music and dancing

Music is an important part of Spanish culture. The country has a long history of dressing up various forms of Andalusian and Western classical music as well as pop music. Spain is rich in various styles of folk music. Moreover, modern Spain has a number of rock, heavy metal, punk and hip-hop artists.

However, the most popular form of Spanish folk music is flamenco.

Even those who do not know anything about Spain, having heard the word "flamenco", will quickly answer you that we are talking about this country. Sensual and incendiary flamenco dance from Andalusia. This unity of dance, guitar playing and song is one of the oldest ways of entertaining the Spaniards. It is a complex pattern of body and leg movements accompanied by a fervent rhythm set by handclaps and castanets. The role of the singer is extremely important in this dance, for which a special guitar was created in 1790.

Festivals and fiestas

If you look at the Spanish calendar of holidays, then almost everyone wants to stay here forever: there are a huge number of them, about 200 to be exact. The explanation for this abundance is very simple: the Spaniards are cheerful and temperamental people. The love for fireworks, the roar of firecrackers, bright outfits, noisy music and rhythmic flamenco is in their blood. The most striking are the festivals held during the New Year and Easter week. The main Spanish holiday is the national day of the Hispanidad, celebrated annually on October 12th.

Dance carnivals with mind-blowing costumes add more interest to the hearts of lovers of Spanish culture.

Siesta

Siesta is a very glorious and unusual tradition for the Slavs of obligatory afternoon rest, which usually lasts from 14.00 to 15.00. Spaniards spend this time at home with their families or for an afternoon nap.

Most shops and public institutions close during these hours. In the summer, when it is especially hot, the siesta is used as an opportunity to cool off (under a cold shower or by the sea) to return to work at the end of the day in a more cheerful spirit.

Sport

Football is not only a sport for many Spaniards, but also a passion. The club's top teams such as Real Madrid and Barcelona can draw crowds of over 100,000 fans.

The national team found a place among the world elite, and also won the 2008 European Championship, and in 2010 the World Cup.

Traditional bullfight - bullfighting, a sporting spectacle in Spain that has existed for many centuries, still takes place in Plaza de Toros throughout the country, although its popularity varies from region to region.

Language

Although almost the entire population of Spain can speak Spanish fluently, there are several other common languages ​​that operate within the same region.

For example: "Basque" in the Basque Country and Navarre, "Catalan" in Catalonia, the Bolearic Islands and Valencia, and "Galician" in Galicia. All of them have the official status of a second language, and even some newspapers are published only in them.

Religion in Spain

The bulk of the Spanish population is Catholic. However, they treat religion in their own way and not fanatically.

And even despite the fact that in each month of the Spanish calendar there are about a dozen days in honor of the saints, this is most likely just another reason for another feast. Holidays here have a mixture of spiritual values ​​with pagan honors.

Spain is a country where same-sex marriages are legal. Such couples have the legal right to adopt children. By the way, the adoption of the law on the conclusion of same-sex marriages was supported by 67% of the Catholics themselves.

No matter how multifaceted a country is with its various regions, traditions, customs and languages, music will always be its mirror. The gloomy monasteries of Galicia, the singing of the cantaor spreading in the sweet air of Andalusia, the magnificent halls of the palaces of Madrid - a short journey through the history of Spanish music will open Spain to us from a previously unknown side.

Through the monasteries of Catalonia and Galicia

The professional music of Spain, like that of other European countries, was born in monasteries, which in ancient times were not only a stronghold of spiritual life, but also major centers of science and art. Santa Maria de Ripoll (Vic), Santa Maria del Mar (Barcelona), the Cathedral of Santiago de Compostela become the centers of Gregorian chant - monophonic accompaniment of the Catholic service by chanters.

Later, on its basis, the first theatrical performances, liturgical dramas, which were staged during the service, were created. Some of them continue to exist today, for example, the Song of the Sibyl can be heard in the Cathedral of Mallorca on Christmas night from December 24 to 25. In the XIII century, poetry in national languages ​​began to develop, and with it the work of minstrels - court singers and wandering musicians.

Their monophonic songs told about unrequited love for a beautiful lady, talked about military campaigns and friendship. Often the image of the beloved in medieval poetry was transformed into the image of the Virgin Mary, and earthly love into heavenly love. The most famous monument of Spanish medieval lyrics, Cantigas de Santa María, reflects this trend: about 420 cantigas (songs), written, according to legend, by King Alfonso the Wise in the Galician-Portuguese dialect, contain wonderful stories about the Holy Virgin and prayers in her honor.

Bas-reliefs above the portals of cathedrals are famous for scenes from the musical life of medieval Spain, for example, El Pórtico de la Gloria above the entrance to the Cathedral of Santiago de Compostela, where you can see images of musical instruments of that time. In the 14th century, vernacular languages ​​penetrated into worship, diluting the dry and incomprehensible Latin for ordinary people. There are spiritual songs on a religious subject, which were performed by believers outside the church. A valuable collection is the Red Book of Montserrat, or Llibre Vermell, still kept in the library of the monastery: it includes songs in Catalan, Latin, which were performed by pilgrims in honor of the main shrine of this place - the Black Virgin Mary. Some of the songs in this book were accompanied by circle dances.

The Arabs had a great influence on the culture of Spain: until 1492, the fall of Granada, they were full rulers of the southern territories of the state. During the period of the Caliphate of Cordoba, such musical genres as zajal and muwashshah flourished - couplet songs, in which the couplet was often performed by a soloist, and the chorus by the choir. The special sophistication of melodies, fine ornamentation and improvisation will not only become the hallmarks of Arabic music, but will also have a great influence on the musical culture of Christian Spain.

Later, in the 19th century, passionate and attractive flamenco was born in these southern lands - a synthesis of dance, guitar and voice. Having absorbed various elements of Andalusian, Gypsy, Jewish, Arab cultures, this genre reached unprecedented popularity by the end of the century. Cafes and salons have appeared in which such flamenco stars as La Macarrona, La Cuenca, Rita Ortega, Lamparilla perform.

In the 20th century and to this day, the popularity of flamenco does not fade away: elements of this dance are used in classical ballet, experimental venues appear that combine traditional Andalusian dance with jazz, new stars continue to appear, such as Isabel Baylon and others.

"Golden age"

The period from the middle of the 16th century to the middle of the 17th century is rightfully considered the heyday of Spanish culture in painting, literature and music. A national school of strict-style composers is taking shape, national genres of polyphonic music are developing, opera shines on the court stage, and the king of instruments - the organ - reaches its peak of popularity. Religious music continues to play an important role; Cristobal Morales, Francisco Guerrero, Thomas Luis de Victoria are famous for their sublime polyphonic compositions.

On the other hand, secular compositions are gaining strength, rooted in folk genres - villancico and ensalada. Villancico, born from a simple folk song (no wonder its name comes from the word "villan", a peasant), in the XV-XVI it becomes an important theme in the work of such composers as Juan del Encina, Pedro de Escobar, Juan de Anchieta, Juan de Triana and many others. The music was preserved in the songbooks of that time - cancioneros (“cancioneros”), in particular, Cancionero musical de Palacio, Cancionero de la Colombina, and Cancionero de Uppsala, where Christmas villansico appear. In the 17th century, the love theme of Villancico was completely replaced by a religious one.

Ensalada (literally "salad") is a genre no less interesting than villancico. A little grotesque and sarcastic, he allowed a combination of different texts, styles and even languages ​​within one work. Composers such as Mateo Flecha (Senior and Junior), Bartolome Cáceres and others became famous for composing ensalads.

At the same time, the Spanish guitar was created - it is established in professional music along with other instruments. A large number of works by Lucas de Ribaillas, Antonio de Santa Cruz, Gaspar Sanz are published. Organ music is dominated by the tiento genre, whose brilliant authors are Juan Cabanilles and Francisco Correa de Arraujo.

On the stage of the Royal Theater in Madrid, with the collaboration of two outstanding figures of the era, Juan Hidalgo and Pedro Calderon, an opera appears: created according to the Italian model, on the Spanish stage it acquires national features. Such masterpieces as "Jealousy Kills with Just a Look" and "Purple Roses" were famous not only for the nobility of music and the metaphorical language of poetic language, but also for the spectacular theatrical machinery invented and implemented by the court architect of Italian origin Antonio Antonozzi.

From Enlightenment to Romanticism

In the 18th century, Spain was influenced by Italian music. Outstanding composers Domenico Scarlatti, Luigi Boccherini, Gaetano Brunetti and others work at the royal court. They bring new genres to Spanish music: the oratorio and cantata begin to develop.

At this time, the zarzuela enters the arena of musical life in Spain. It originates in the 17th century as a small experiment in the combination of theater, music and jokes. Its obligatory components were a comical uncomplicated plot and conversational dialogues, interspersed with music. In the 18th century, the zarzuela approaches Italian opera in the work of José de Nebra and Antonio Zamora. But already at the end of the century, this genre begins to acquire independence and national features, moving away from Italian influences towards Spanish plots and heroes from everyday life, as well as the use of Spanish folklore genres - seguidilla, fandango.

Silver Age of Spanish Art

At the end of the 19th and beginning of the 20th centuries, the music of Spain is experiencing a "new birth", or Renacimiento. Under the leadership of Felipe Pedrell, a musicologist and composer, a national school of composition is being organized. Musicians are increasingly turning to national sources: ancient folklore (“cante jondo”), flamenco music. Poetic musical sketches of Spain appear in the works of Isaac Albeniz (piano suite "Iberia"), Enrique Granados ("Spanish Capriccio", "Spanish Dances" for piano), and in the operas and ballets of Manuel de Falla, for the first time, flamenco dancers and folk singers ("Love is a sorceress", "Short life"). The poetic miniatures of the Catalan composers Frederic Mompou and Javier Montsalvatje are influenced by romanticism, and Joaquin Rodrigo creates the famous Aranjuez Concerto for guitar and orchestra.

The historical and cultural heritage of Spain is rich and varied. The color of this country, its unique beauty inspired Picasso, Goya, Velasquez, Dali... The influence of various peoples, religions and cultures, the border position between Europe and Africa, the isolation of the Mediterranean and the vastness of the Atlantic Ocean - all this is reflected in majestic monuments and interesting traditions Spain.
The architecture of Spain is a bizarre interweaving of the traditions of bygone civilizations that left the memory of their existence precisely in the monuments of monumental creativity and the dynamically developing art of modern architects.
On Spanish soil, ancient amphitheaters and aqueducts coexist with powerful fortifications of Visigothic fortresses. Magnificent examples of Moorish architecture from the Caliphate era have survived - the Alcazar in Seville and the Nazareth Palace in the Alhambra castle complex in Granada.
In terms of the number of world-famous cathedrals, no other country in the world can compare with Spain. Among them are the majestic Romanesque cathedral in the city of Santiago de Compostela and the Gothic temples of Seville, Burgas, Toledo, Tarragona. Cathedral in the city of Teruel, built in the unique Spanish style "Mudéjar", formed as a result of the fusion of Gothic and Renaissance elements in architecture with Moorish traditions. Strict monastery-palace (residence of the Spanish kings) - Escorial near Madrid, built in the ascetic style of "herreresco" and intricately decorated Baroque-Renaissance cathedrals of Granada, Murcia and Valencia.
The emergence of Spanish modernism, which established itself as one of the main trends in painting and architecture at the turn of the 19th and 20th centuries, is closely connected with the activities of the brilliant Catalan Antonio Gaudí, whose hands created such wonderful creations as the Sagrada Familia Cathedral and Park Güell in Barcelona.
The creative potential of the younger generation is evidenced, in particular, by the postmodern buildings of the architects Ricard Bofil (Barcelona), Santiago Calatrava (Seville, Valencia) and Rafael Moneo (Madrid).

Spanish painting has left a significant mark in the world history of fine arts. The brilliant flowering of painting begins with the appearance in Spain in 1576 of the painter Domenico Theotokopuli, nicknamed El Greco, since he was of Greek origin and was born on the island of Crete (1541-1614). El Greco becomes the founder and head of the Toledo school and writes mainly on commission from the monasteries and churches of Toledo.
The golden age of Spanish painting is represented by the names of José de Ribera, Francisco Zurbaran, B. E. Murillo and D. Velazquez, who already in his youth became the court painter of Philip IV; his famous paintings "Las Meninas" or "Ladies of Honor", "Surrender of Breda", "Spinners" and portraits of royal jesters are in the Prado Museum in Madrid.
Political and social upheavals of the 18th and 19th centuries. reflected in the work of Francisco Goya, for example, his "Shooting of the rebels on the night of May 3, 1808", as well as the series "Disasters of War". The fear-inducing "black paintings" created shortly before the death of the master are not only an expression of his own despair, but also evidence of the political chaos of that time.
The period of the 18th and 19th centuries is generally characterized by the decline of Spanish art, closed in imitative classicism, and the revival of the great Spanish tradition takes place in the first half of the 20th century. New paths in world art were blazed by Salvador Dali (1904-1989), one of the founders of cubism, Juan Gris (1887-1921), abstract artist Juan Miro (1893-1983) and Pablo Picasso (1881-1973), the founder and prominent representative of surrealism in painting. , who contributed to the development of several areas of contemporary art.

Literature of Spain is one of the brightest phenomena of world artistic culture. At least the fact that the two most famous universal types - Don Quixote and Don Juan - were created by the Spaniards, testifies to her significant contribution.
The most famous literary work describing the reconquista is the epic poem "Song of my Sid" (circa 1140), created by an unknown author, which tells about the exploits of Rodrigo Diaz de Bivar, better known as Sid (from the Arabic "sit") - Lord.
The classics of the Spanish theater, the founders of the "golden age" of literature - Felix Lope de Vega and Pedro Calderon de la Barca are known to the Russian reader and viewer for their brilliant productions on the Russian stage. Tirso de Molina created the image of Don Giovanni in literature. The knight of the Sad Image Don Quixote Lamanchesky by Miguel de Cervantes became the same immortal.
At the end of the 19th century, the “generation of 1998”, disillusioned with politics, faced the task of spiritual renewal of Spain. Miguel de Unamuno and Ramon Maria del Valle-Inclan joined this movement. In 1927, a group of young avant-garde artists was formed, which entered the history of literature as the "Group of the 27th". Its most famous member was the poet and playwright Federico Garcia Lorca; the cycle of poems "Gypsy romances" and the dramas "Ierma" and "Blood Wedding" are closely connected with his native Andalusia. Garcia Lorca was killed near Granada by the Francoists.
In 1989, the Nobel Prize was awarded to Camilo José Sela, whose novel The Beehive (1943) was translated into Russian. The novel "Special Signs" by Juan Goitisolo, which led the generation of Spanish writers of the 50s, like all his works, has a clear social position. One of the most significant writers, Miguel Delibes, his famous novel Saints without Sins (1981) is also translated into Russian. Widely popular today are Carmen Martin Gaite (born 1925; Literary Prize of Spain 1994) and Manuel Vasquez Montalbán (born 1939; Literary Prize 1995). His novel "The Loneliness of a Manager", whose hero is the private detective Pepe Corvalho, is also known outside of Spain.

Music of Spain
The heyday of Spanish musical culture, especially in the genre of church music, began in the 16th century. The leading composers of that era were the master of vocal polyphony Cristobal de Morales (1500-1553), his student Thomas Luis de Victoria (c. 1548-1611), nicknamed the "Spanish Palestrina", and Antonio de Cabezon (1510-1566), who became famous for his compositions for harpsichord and organ.
In the 19th century, after a long era of stagnation, Felipe Pedrel (1841–1922), the founder of the new Spanish school of composition and the creator of modern Spanish musicology, became the initiator of the revival of national musical culture.
In the late 19th and early 20th century, Spanish music gained European prominence thanks to composers such as Enrique Granados (1867–1916), Isaac Albéniz (1860–1909) and Manuel de Falla (1876–1946). Modern Spain has produced such world famous opera singers as Placido Domingo, José Carreras and Montserrat Caballe.

Film art of Spain
In cinema, Spain has a long tradition. Luis Buñuel shocked audiences in the 1920s with surreal films like Andalusian Dog; up until the 80s. he continued to stigmatize bourgeois hypocrisy, for example, in the film "The Discreet Charm of the Bourgeoisie".
Outstanding directors of modern cinema Carlos Saura ("Carmen") and Pedro Almodovar Fernando Trueva Julio Medel in the post-Franco period contributed to the strengthening of the world fame of Spanish cinema.

Festivals in Spain
Every year, dozens of major festivals are held in Spain. Admirers of any genre of art will be able to find an interesting event for themselves throughout the year.
For example, the music festival in Granada, starting in June, brings together bright representatives of classical and modern dance, flamenco performers. The July jazz festival in San Javier is visited by world stars of this musical direction.
Theater lovers will be interested in the festival in Merida, where they can watch the program. classical Greco-Latin and Mediterranean theatres.
In August, the Habaneras International Vocal Festival takes place in Torrevieja.
The program of the autumn Madrid music festival is very rich.
Cinema fans know the San Sebastian International Film Festival.