History of romance
The term "romance" originated in Spain during the Middle Ages, originally denoting a secular song in Spanish ("roman") rather than a religious hymn in Latin. Soon it came into use in other countries, although in some countries romance and song are still denoted by one word (German. Lied, English Song) .
In the 19th century, vibrant national schools of romance emerged: German and Austrian (Schubert, Schumann, Brahms, Wolf), French (G. Berlioz, J. Bizet, Massenet, Gounod), and Russian. Composers often combined romances into vocal cycles: an early example was L. Beethoven (“To a Distant Beloved,” 1816), a mature example was Schubert (“The Beautiful Miller’s Wife” and “Winterreise”), later Schumann, Brahms, G. . Mahler, Wolf and many other composers, including Russians: Glinka, Mussorgsky, Rimsky-Korsakov.
In the 2nd half of the 19th - early 20th centuries. examples of Czech, Polish, Finnish, and Norwegian national schools become noticeable. Along with chamber vocal classics, it developed everyday romance, designed for amateur singers.
In Russia
In Soviet times, especially since the late 1930s, romance was persecuted as a relic of the tsarist era, harmful to the builders of a socialist future. Leading performers fell silent or were repressed. The revival of the Russian school of romance occurred in the 1970s, when romances began to be performed by Nikolai Slichenko, Valentin Baglaenko, Valentina Ponomareva, Nani Bregvadze and other bright stage artists.
Features of vocal romance
The form of a romance is similar to a song; like the latter, it is written in a kneeling manner, but it does not necessarily have that quadrature, that evenness of bars that is pursued in the song. In the romance, deviations are allowed in the form of so-called extensions or insertions, transitions from one knee to another. The vocal part of the romance should have a clear and prominent melodic outline and be melodious. The refrain, or chorus, is most often absent in romance. (Although there are exceptions, such as the work of A. S. Dargomyzhsky “The Old Corporal” - a romance with a chorus in the form of a verse song). In a romance, you should pay more attention to conveying the general mood of the text than to a detailed illustration of its details. The interest should lie chiefly in the melody and not in the accompaniment.
The romance is written for singing with the accompaniment of one instrument, mainly the piano, and belongs to the category of chamber music, although some romances are accompanied by an orchestra. “Instrumental accompaniment in a romance is important, often being an equal element of a single whole with the vocal part.”
The main genre features of romance
- The content of the romance does not go beyond the lyric (exceptions: Mussorgsky, Dargomyzhsky). The text is dedicated to some experience, usually love.
- Romance is characterized by only one lyrical mood. However, the range of emotional states in the romance is so wide that each performer and listener has the opportunity to choose the one closest to him.
- In a romance, the melody is more closely connected with the verse than in a song, reflecting not only its general character and poetic structure, but also individual images, rhythmic and intonation details.
- Due to the fact that a romance usually expresses a love experience, it either has or implies an addressee, and therefore is initially dialogical in its very content.
- The presence of two heroes gives rise to one of the most important qualities of a romance - its intimacy and intimacy.
- Romance as a vocal and poetic genre is a three-faceted structure in which word, music and speech are equally significant.
Romance is also found in operas (for example, Raoul’s romance in the first act of “The Huguenots”).
The form of romance passed into instrumental music called "romance sans paroles"(= "song without words", "Lied ohne Worte", "song without words"): this is a knee-length piece with a predominant melodic meaning. Such romances are written for piano (see Mendelssohn) or for some other solo instrument, with accompaniment.
Text
Genre varieties of romance are ballad, elegy, barcarolle, romance in dance rhythms, etc. A romance poem is devoid of solid genre characteristics - it is usually a small lyrical work, strophic, rhymed, with verses of medium length, with a melodious type of intonation.
Famous romances
- Plaisir d'amour is a classic French romance written in 1784 by Jean-Paul Egide Martini with lyrics by Jean-Pierre Clary de Florian.
Notes
Wikimedia Foundation. 2010.
Synonyms:See what “Romance” is in other dictionaries:
Used in two meanings. 1. When applied to Spanish literature, R. from the Old Castilian adjective “romance” “romantic, common” denotes folk poems of a lyrical and epic nature, performed independently or under ... ... Literary encyclopedia
- (French). Song, lyric poem for singing with music; in music it occupies a place between song and ballad, having more melodic fluidity than song and less dramatic movement than ballad. Dictionary of foreign words included in ... Dictionary of foreign words of the Russian language
Romance to I... "ROMANCE TO I...", early verse. L. (1831), addressed to N.F. Ivanova, like a number of other verses. 1830 31. Included in the circle of youthful poems by L., united by “providential” motives: persecution, exile, premonition of tragedy. outcome... Lermontov Encyclopedia
Cm … Dictionary of synonyms
romance- a, m. romance f. it. romanza. 1. In various medieval Western European literatures and in the imitative poetry of later times, a lyrical love poem of a folk song type. BAS 1. The first inventors of troubadour romances... ... Historical Dictionary of Gallicisms of the Russian Language
- (Spanish romance), a work for voice with instrumental (mainly piano and guitar) accompaniment. The main genre of chamber vocal music. Popular in Russia (named since the beginning of the 19th century), including gypsy romance, in others... ... Modern encyclopedia
- (Spanish romance) a musically poetic work for voice with instrumental (mainly piano) accompaniment, the most important genre of chamber vocal music. Some instrumental plays of a melodious nature are also called romances... Big Encyclopedic Dictionary
"Music is the soul of poetry, it clarifies and opens it. It makes the poetic word deeper in meaning and easier to perceive. The spirit of music in the emotional aspect is the creative will that encourages gifted people to create a state of sounds and shape them as their worldview"
Romance in music is a vocal composition written on a short poem of lyrical content, mainly love.
The term " romance" originated in Spain in the Middle Ages and originally denoted a secular song in the Spanish (“Roman”) language. In Russia, the first examples of romance can be considered cants, which were widespread at the end of the 17th century. And in the 18th century. the poems of the most famous Russian poets - A. P. Sumarokov, A. F. Merzlyakov, M. V. Lomonosov - were immediately picked up by musicians and sung by amateur singers. Such works were called Russian songs.
What is the difference between a romance and a song? The line between these two genres is not always easy to draw, especially when it comes to early romances. But, as a rule, in romance we hear a closer, more detailed connection between music and poetic text. Music conveys not only the general mood of the verse, but also individual poetic images. Thus, in the lyrical romance by M. I. Glinka “I Remember a Wonderful Moment” to the poems of A. S. Pushkin the words:
Years passed. The rebellious gust of storms dispelled former dreams...
And life, and tears, and love. The main feature of romance - a more detailed connection between words and music - determines others. For example, greater content and imagery of the piano part, which develops from accompanying the voice into an equal participant in the ensemble. The beginning of the heyday of romance was the first half of the 19th century. This is a period generally characterized by a special interest in lyrical genres that express the world of a person’s personal experiences.
Thanks to their sincerity, sincerity and melodic beauty, the best works of Glinka and his contemporaries were sung throughout Russia, and some became folk songs: “A blizzard is blowing along the street” by A. E. Varlamov; “The bell rattles monotonously” by A. L. Gurilev.
Sometimes a romance goes beyond the lyric, acquiring drama and approaching an operatic aria. These are some of the romances by P. I. Tchaikovsky (“Does Day Reign”, “Don Juan’s Serenade”). And the vocal works of M. P. Mussorgsky can hardly even be called romances: these are living musical portraits that convey the appearance and character of specific characters (“Seminarist”, “Orphan”, “Mischief”). The traditions of classical romance continue in the works of Soviet authors: Yu. A. Shaporin, A. N. Alexandrov, D. D. Shostakovich, D. B. Kabalevsky, G. V. Sviridov, B. N. Lyatoshinsky, O. V. Taktakishvili.
Features of vocal romance
In its form, a romance is similar to a song; like the latter, it is written in a kneeling manner, but it does not necessarily have that quadrature, that evenness of bars that is pursued in the song. In the romance, deviations are allowed in the form of so-called extensions or insertions, transitions from one knee to another. The vocal part of the romance should have a clear and prominent melodic outline and be melodious. The refrain, or chorus, is most often absent in romance. In a romance, you should pay more attention to conveying the general mood of the text than to a detailed illustration of its details. The interest should lie chiefly in the melody and not in the accompaniment.
The romance is written for singing with the accompaniment of one instrument, mainly the piano, and belongs to the category of chamber music, although some romances are accompanied by an orchestra.
Genre characteristics of romance
- The content of the romance does not go beyond the lyrics. The text is dedicated to some experience, usually love.
- Romance is characterized by only one lyrical mood. However, the range of emotional states in the romance is so wide that each performer and listener has the opportunity to choose the one closest to him.
- Due to the fact that a romance usually expresses a love experience, it either has or implies an addressee, and therefore is initially dialogical in its very content.
- The presence of two heroes gives rise to one of the most important qualities of a romance - its intimacy and intimacy.
- Romance as a vocal and poetic genre is a three-faceted structure in which the word (text), music and speech (performance) are equally significant.
Romance is a chamber vocal work, which is characterized by a poetic form and lyrical content with a love theme. In other words, this is a poetic work for singing with instrumental accompaniment.
The form of a romance is close to a song, only with a limited theme of a love-lyrical nature. The romance is usually performed accompanied by one instrument, most often. The main emphasis in works of this kind is on melody and semantic load.
The birth of romance
The term "romance" itself originated in Spain, where it was used to name secular songs in Spanish that needed to be separated from religious hymns sung in Latin. The Spanish word “romance” or the late Latin “romanice” is translated as “in Romance” or “in Spanish,” which is actually the same thing. The term “romance” has taken root in many languages in parallel with the term “song,” although in German and English these two concepts are still not separated, denoting them with the same word (German Lied and English Song).
So, romance is a type of song that took shape in the period of the 15th-19th centuries.
Western European romance
Since the mid-18th century, romance has gained particular popularity in Germany and France and has become a separate genre on the border of music and poetry. The poetic basis for the romances of this era were poems by such great poets as Heine and Goethe.
Already in the 19th century, national schools of romance were formed in Germany, Austria, France and Russia. During this period, the famous romances of the Austrians Schumann, Brahms and Schubert, and the French Berlioz, Bizet and Gounod were created.
It was also typical for European schools to combine romances into entire vocal cycles. The first such cycle, “To a Distant Beloved,” was created by Beethoven. His example was followed by Schubert (the romance cycles “Winterreise” and “The Beautiful Miller’s Wife”), Schumann, Brahms, Wolf... From the mid-19th century and in the 20th century, national schools of romance were formed in the Czech Republic, Poland, Norway, Finland.
Gradually, in addition to the classical chamber form of romance, a genre such as everyday romance is developing. It was designed for non-professional singers and was widely popular in society.
Russian romance
The Russian school of romance arose under the influence of romantic sentiments in art and was finally formed by the mid-19th century. Its founders are considered to be Alyabyeva, Gurilev, Varlamova, who often turned to gypsy themes in their work.
Alexander Alyabyev
Later, separate trends were formed in the genre of Russian romance - salon romance, cruel romance... Russian romance experienced its apogee of development at the beginning of the 20th century, in the era of the creativity of Vertinsky and Vyaltseva, Plevitskaya and Panina. The traditions laid down by these brilliant musicians were successfully continued by Alla Bayanova and Pyotr Leshchenko, and already in the era of the Soviet Union by Vadim Kozin, Tamara Tsereteli, Isabella Yuryeva.
Unfortunately, during the Soviet era, the romance genre was not welcomed by the party leadership, since it was considered a non-proletarian genre, a relic of tsarism. and performers of romances were subjected to persecution and repression.
Only in the 70s. In the 20th century, romance experienced a revival when romances performed by Valentina Ponomareva and Nani Bregvadze, Nikolai Slichenko and Valentin Baglaenko gained popularity.
History of romance
The term "romance" originated in Spain during the Middle Ages, originally denoting a secular song in Spanish ("roman") rather than a religious hymn in Latin. Soon it came into use in other countries, although in some countries romance and song are still denoted by one word (German. Lied, English Song) .
In the 19th century, vibrant national schools of romance emerged: German and Austrian (Schubert, Schumann, Brahms, Wolf), French (G. Berlioz, J. Bizet, Massenet, Gounod), and Russian. Composers often combined romances into vocal cycles: an early example was L. Beethoven (“To a Distant Beloved,” 1816), a mature example was Schubert (“The Beautiful Miller’s Wife” and “Winterreise”), later Schumann, Brahms, G. . Mahler, Wolf and many other composers, including Russians: Glinka, Mussorgsky, Rimsky-Korsakov.
In the 2nd half of the 19th - early 20th centuries. examples of Czech, Polish, Finnish, and Norwegian national schools become noticeable. Along with chamber vocal classics, it developed everyday romance, designed for amateur singers.
In Russia
In Soviet times, especially since the late 1930s, romance was persecuted as a relic of the tsarist era, harmful to the builders of a socialist future. Leading performers fell silent or were repressed. The revival of the Russian school of romance occurred in the 1970s, when romances began to be performed by Nikolai Slichenko, Valentin Baglaenko, Valentina Ponomareva, Nani Bregvadze and other bright stage artists.
Features of vocal romance
The form of a romance is similar to a song; like the latter, it is written in a kneeling manner, but it does not necessarily have that quadrature, that evenness of bars that is pursued in the song. In the romance, deviations are allowed in the form of so-called extensions or insertions, transitions from one knee to another. The vocal part of the romance should have a clear and prominent melodic outline and be melodious. The refrain, or chorus, is most often absent in romance. (Although there are exceptions, such as the work of A. S. Dargomyzhsky “The Old Corporal” - a romance with a chorus in the form of a verse song). In a romance, you should pay more attention to conveying the general mood of the text than to a detailed illustration of its details. The interest should lie chiefly in the melody and not in the accompaniment.
The romance is written for singing with the accompaniment of one instrument, mainly the piano, and belongs to the category of chamber music, although some romances are accompanied by an orchestra. “Instrumental accompaniment in a romance is important, often being an equal element of a single whole with the vocal part.”
The main genre features of romance
- The content of the romance does not go beyond the lyric (exceptions: Mussorgsky, Dargomyzhsky). The text is dedicated to some experience, usually love.
- Romance is characterized by only one lyrical mood. However, the range of emotional states in the romance is so wide that each performer and listener has the opportunity to choose the one closest to him.
- In a romance, the melody is more closely connected with the verse than in a song, reflecting not only its general character and poetic structure, but also individual images, rhythmic and intonation details.
- Due to the fact that a romance usually expresses a love experience, it either has or implies an addressee, and therefore is initially dialogical in its very content.
- The presence of two heroes gives rise to one of the most important qualities of a romance - its intimacy and intimacy.
- Romance as a vocal and poetic genre is a three-faceted structure in which word, music and speech are equally significant.
Romance is also found in operas (for example, Raoul’s romance in the first act of “The Huguenots”).
The form of romance passed into instrumental music called "romance sans paroles"(= "song without words", "Lied ohne Worte", "song without words"): this is a knee-length piece with a predominant melodic meaning. Such romances are written for piano (see Mendelssohn) or for some other solo instrument, with accompaniment.
Text
Genre varieties of romance are ballad, elegy, barcarolle, romance in dance rhythms, etc. A romance poem is devoid of solid genre characteristics - it is usually a small lyrical work, strophic, rhymed, with verses of medium length, with a melodious type of intonation.
Famous romances
- Plaisir d'amour is a classic French romance written in 1784 by Jean-Paul Egide Martini with lyrics by Jean-Pierre Clary de Florian.
Notes
Wikimedia Foundation. 2010.
Synonyms:- Chivilikhin, Vladimir Alekseevich
- Live Cream Volume II
See what “Romance” is in other dictionaries:
Romance- used in two meanings. 1. When applied to Spanish literature, R. from the Old Castilian adjective “romance” “romantic, common” denotes folk poems of a lyrical and epic nature, performed independently or under ... ... Literary encyclopedia
ROMANCE- (French). Song, lyric poem for singing with music; in music it occupies a place between song and ballad, having more melodic fluidity than song and less dramatic movement than ballad. Dictionary of foreign words included in ... Dictionary of foreign words of the Russian language
"Romance to I..."- Romance to I... "ROMANCE TO I...", early verse. L. (1831), addressed to N.F. Ivanova, like a number of other verses. 1830 31. Included in the circle of youthful poems by L., united by “providential” motives: persecution, exile, premonition of tragedy. outcome... Lermontov Encyclopedia
romance- Cm … Dictionary of synonyms
romance- a, m. romance f. it. romanza. 1. In various medieval Western European literatures and in the imitative poetry of later times, a lyrical love poem of a folk song type. BAS 1. The first inventors of troubadour romances... ... Historical Dictionary of Gallicisms of the Russian Language
ROMANCE- (Spanish romance), a work for voice with instrumental (mainly piano and guitar) accompaniment. The main genre of chamber vocal music. Popular in Russia (named since the beginning of the 19th century), including gypsy romance, in others... ... Modern encyclopedia
ROMANCE- (Spanish romance) a musically poetic work for voice with instrumental (mainly piano) accompaniment, the most important genre of chamber vocal music. Some instrumental plays of a melodious nature are also called romances... Big Encyclopedic Dictionary
A romance is both a musical and a literary work of art. In simple terms, a romance is a poetic work that is recited measuredly either with music or without it. Romances are a favorite genre of poets of the 18th-19th centuries in Russia. Many poems, written in a certain rhythm and most often on a love theme, were then set to music, turning into musical romances.
Now many people know what a romance is, but few people remember where this word even came from in the Russian language. In fact, it came from Spanish and in this hot country meant a secular song. In European countries, romance, as we know it today, was a type of ordinary song that was sung by society ladies with a guitar or piano, and by ordinary peasant women. The poets of the 18th century had a great influence on European romances: Goethe, Heine. The greatest composers of those centuries wrote musical romances: Beethoven, Schubert and Brahms created measured sad melodies to accompany beautiful poetic romances.
Romances in music
Every person who has ever watched old Soviet films knows what romance is in music. Romance came to our region in the 19th century, when rich estates became impoverished and the country was preparing for war. Against the backdrop of all this shrunken and impoverished population, serious love passions were still seething. The more difficult the situation of previously wealthy families was, the more tense the situation became: they tried to marry girls off more profitably, interrupted true love relationships, etc. Therefore, most musical Russian romances are rather dreary works. Their main features are unobtrusive musical accompaniment in the form of a guitar, violin or piano, a large number of verses and an almost complete absence of choruses. Romance, so to speak, is a protracted cry from the soul, when the song expresses all the pain and all the experiences of the singer.
