Bright pages in the lives of many outstanding composers were travels to different countries of the world. The impressions received from the trips inspired great masters to create new musical masterpieces.

The Great Journey of F. Liszt.

The famous cycle of piano pieces by F. Liszt is called “The Years of Wanderings”. The composer combined in it many works inspired by visits to famous historical and cultural places. The beauty of Switzerland was reflected in the musical lines of the plays “At the Spring”, “On Lake Wallenstadt”, “The Thunderstorm”, “The Oberman Valley”, “The Bells of Geneva” and others. While staying with his family in Italy, Liszt met Rome, Florence, and Naples.

F. Leaf. Fountains of Villa d.Este (with views of the villa)

Piano works inspired by this journey are inspired by Italian Renaissance art. These plays also confirm Liszt's belief that all types of art are closely related. Having seen Raphael's painting "The Betrothal", Liszt wrote a musical play with the same name, and the severe sculpture of L. Medici by Michelangelo inspired the miniature "The Thinker".

The image of the great Dante is embodied in the fantasy sonata “After Reading Dante.” Several plays are united under the heading "Venice and Naples". They are brilliant transcriptions of popular Venetian melodies, including a fiery Italian tarantella.

In Italy, the composer's imagination was struck by the beauty of the legendary Villa d. Este of the 16th century, the architectural complex of which included a palace and lush gardens with fountains. Liszt creates a virtuosic, romantic play, “The Fountains of the Villa d. Este,” in which one can hear the trembling and flickering of water jets.

Russian composers and travelers.

The founder of Russian classical music M.I. Glinka managed to visit different countries, including in Spain. The composer traveled a lot on horseback through the villages of the country, studying local customs, manners, and Spanish musical culture. As a result, the brilliant “Spanish Overtures” were written.

M. I. Glinka. Aragonese jota.

The magnificent "Aragonese Jota" is based on authentic dance melodies from the province of Aragon. The music of this work is characterized by bright colors and rich contrasts. Castanets, so typical of Spanish folklore, sound especially impressive in the orchestra.

The cheerful, graceful theme of the jota bursts into the musical context, after a slow, majestic introduction, with brilliance, like a “stream of a fountain” (as one of the classics of musicology B. Asafiev noted), gradually turning into a jubilant stream of unbridled folk fun.

M. I. Glinka Aragonese jota (with dance)

M.A. Balakirev was delighted with the magical nature of the Caucasus, its legends, and the music of the mountain people. He creates the piano fantasy “Islamey” on the theme of Kabardian folk dance, the romance “Georgian Song”, the symphonic poem “Tamara” based on the famous poem by M. Yu. Lermontov, which turned out to be in tune with the composer’s plans. Lermontov's poetic creation is based on the legend of the beautiful and treacherous Queen Tamara, who invites knights to the tower and dooms them to death.

M. A. Balakirev “Tamara”.

The introduction of the Poem paints a gloomy picture of the Daryal Gorge, and in the central part of the work bright, passion-filled melodies in the oriental style sound, revealing the image of the legendary queen. The Poem ends with restrained dramatic music, indicating the tragic fate of the fans of the crafty Queen Tamara.

The world has become small.

The exotic East attracts C. Saint-Saens to travel, and he visits Egypt, Algeria, South America, Asia. The fruit of the composer’s acquaintance with the culture of these countries were the following works: the orchestral “Algerian Suite”, the fantasy “Africa” for piano and orchestra, “Persian Melodies” for voice and piano.

Composers of the 20th century there was no need to spend weeks shaking in a stagecoach off-road to see the beauty of distant countries. The English musical classic B. Britten went on a long journey in 1956 and visited India, Indonesia, Japan, and Ceylon.

The ballet-fairy tale “Prince of the Pagodas” was born under the impression of this grandiose voyage. The story of how the Emperor’s evil daughter Ellin takes away her father’s crown, and tries to take away her groom from her sister Rose, is woven from many European fairy tales, with plots from oriental legends interspersed there as well. The charming and noble princess Rose is taken by the insidious Jester to the mythical Kingdom of Pagodas, where she is met by the Prince, enchanted by the Salamander monster.

The princess's kiss breaks the spell. The ballet ends with the return of the Emperor's father to the throne and the wedding of Rose and the Prince. The orchestral part of the scene of the meeting between Rose and Salamander is full of exotic sounds, reminiscent of Balinese gamelan.

B. Britten “Prince of the Pagodas” (Princess Rose, Scamander and the Fool).

It is known from history that Mikhail Ivanovich Glinka in 1845-47 traveled around Spain and studied folk music. He, in fact, studied not only Spanish music, but also Italian, learned to sing kanto (bel canto) and in the early period of his creativity he “absorbed” like a sponge all the music he heard. For example, his early nocturnes are close in style to Chopin's miniatures. This is quite normal, considering that there were no conservatories where music was taught in Russia at that time, and it was necessary to learn from someone. Later, in mature age, Glinka realized his dream - to combine Russian melos (peasant folklore, which he knew very well) with Western music.

“Spanish motives” can be heard not only in the works of Glinka, but also of other outstanding composers: Balakirev “Overture on a Spanish March”, , Liszt “Spanish Rhapsody”, “Jota from Seven Spanish Songs” Falla.

But before we set off to Spain on a musical journey in Glinka’s footsteps, let’s look into the depths of history and see where jota came from.

Jota is a Spanish folk dance in three-beat meter. Genetically, jota is associated with the cult of Our Lady of Pilar - the patron saint of Aragon - and with the festivities in her honor. IN early XIX centuries, jota spread throughout the peninsula, penetrated the Balkan and Canary Islands and was brought from Spain to America, Argentina, Mexico, and Peru. Researchers count up to one hundred varieties of jota in Spain.

The classic type of jota is Aragonese. It exists in three forms: as a dance with singing, as an independent song and as an instrumental piece. They dance jota in pairs, with castanets. For the Aragonese Jota, special castanets are used - the so-called “pulgarettes”, which sound stronger and sharper than usual.

Aragonese jota is a lively, agile, energetic dance that accompanies him instrumental ensemble"rondalia". Full jota also includes singing. The one who usually sings is the jota participant who is not dancing.

The classic Aragonese jota is a source of national pride. During the siege of Zaragoza by Napoleon's troops, the city's defenders, rushing into battle, inspired themselves by singing jota. Heroic-patriotic jotas have been preserved, for example, “Hota of the Pilar Maiden.” Almost every province in Spain has its own type of jota.

In addition to the jota, which combines dance, singing and rondalia music into a single whole, the jota, which is an independent song, is widespread. There is “Hota of the Recruits”, “Wedding Jota”, “Hota of the Reapers”, “Hota of the Grape Pickers”.

In Glinka’s work, the inviting ceremonial fanfare at the beginning invites everyone to join. And when everyone has gathered, an elegant three-beat melody lights up hearts and eyes, conveys the colorful world of folk Spain, southern nature and everyday life. Castanets in the orchestra, which are usually not included in the classical composition, brilliantly convey the fiery ardor and swiftness of Spanish dance. The main melody is not simply repeated several times in a variant development. It seems to convey different moods - dance, and combat, and solemn wedding, and mysterious. It’s as if all the varieties of traditional jota are passing before us, like an excursion to Spain. Glinka takes us through the places where he himself visited, showing us what he saw and heard, what he felt. And this journey, I must say, is very exciting.

Inna ASTAKHOVA

Jota is a Spanish folk dance, the beauty of which inspired the great Russian composer Glinka to create the uniquely colorful orchestral piece “Aragonese Jota”. But before starting to create his masterpiece, the composer carefully studied the history of the origin and development of this dance. A visit to Spain gave Glinka great inspiration. What can be judged by listening to his creation.

Emergence

This ancient Spanish folk dance dates back to the last decades of the eighteenth century. But there is an opinion that it arose much earlier.

The birthplace of this dance is considered to be the province of Aragon in northern Spain. The popularity of the dance quickly began to gain scale. Today, hota can be found in the cultures of many peoples. Also, the melody of this dance adorns the lists of works by many European composers.

The name “hota” (translated as “leap”) fully justifies itself. This movement is basic.

The essence

Khota is performed at all festivals dedicated to significant events in the life of every Spaniard. The dance unfolds to the accompaniment of colorful singing. The lyrics tell stories about patriotism, love, passion, fidelity, betrayal, and sexual victories. The interweaving of voice, melody and movement reflects the unity of the people and pride in the nation.

The dance floor is replete with the bright colors of national costumes. The mesmerizing atmosphere is fueled by the emotional movements of the couples. The rhythmic size of the jota is 7/8, and the steps themselves resemble waltz steps, but presented with Spanish ardor, passion and self-forgetfulness.

Varieties

Like all Spanish folk dances, jota has rhythm, grace and is filled with special energy. The majority of the inhabitants of Aragon are of Iberian origin. Despite this, the culture of the region was significantly influenced by Moorish traditions. But each region has put its own special shade on the overall picture of the dance.

Alcaniz jota is a combination of fast tempo and traditional dance moves performed in a specific sequence. Such movements include:

• horse racing,
• jumping,
• batudas,
• greetings,
• hitting the ground while jumping.

The Albalate Jota has a smaller moveset and less dynamism.

The Calandan and Andorran jota are distinguished by their majestic character. Valencian - develops its tempo from slow to fast.

Jota from Zaragoza has a large set of figures, steps and a significant selection of tempos. http://finsekrret.ru

Jota from Huesca has several original, unique steps and figures. She to some extent inherits the traditions of French dance.

Jota de la Vendimia celebrates the wine harvest. It is often accompanied by a game percussion instruments, guitar picking and sensual melodies performed on bandurria.

Spanish folk dance is one of the greatest prides of this good-natured people with a fiery disposition.

"Aragonese Jota"

One of the greatest Russian composers, Glinka, traveled through the cities of Spain in the mid-nineteenth century. His leisure time consisted of walking along historical streets and horseback riding around the outskirts of cities. Glinka enthusiastically studied the culture, customs, traditions and morals of this sunny country. Folk art The Spaniards were deeply impressed by the composer. art, songs, poems, music - all this filled him inner world special light and peace.

And when Glinka first heard the jota played by one of the merchants on his guitar, the depth of his impressions knew no bounds. He tried to remember every shade of the melody in order to then recreate it in his creation, which was called Capriccio brilliante. Later, Glinka, following the advice of a friend, renamed the play “Spanish Capriccio”. But nevertheless, the work achieved world fame and recognition under the third version of the name - “Aragonese Jota”.

Music of "Aragonese Jota"

The work opens up to the listener a dynamic, majestic picture, with solemn notes in the sound. The main section gains expressiveness and brightness. The cheerful, cheerful pizzicato of the harp and strings gives way to a more expressive and serious theme from the woodwinds. The melodies come one after another and then give full attention to the theme, very reminiscent of the playful, gentle and graceful playing of the mandolin.

Municipal Autonomous educational institution secondary school with in-depth study of subjects of the artistic and aesthetic cycle No. 58, Tomsk Tomsk, st. Biryukova 22, (8-382) 67-88-78

“Spanish motifs in the works of M.I. Glinka”

music teacher Stotskaya N.V. Tomsk 2016

“I’m here, Inesilla...”

Romance by Mikhail Ivanovich Glinka to the poems of Alexander Sergeevich Pushkin “I am here, Inezilla...”, written in the style of a Spanish serenade!

"Where is our rose..."

Existence was brightened by the love of daughter Anna Petrovna Kern for Ekaterina Kern. Ekaterina Ermolaevna, born in 1818, graduated from the St. Petersburg Smolny Institute in 1836 and remained there as a class lady. Then she met Glinka’s sister and met the composer in her house.

“I remember a wonderful moment...”

In 1839

M.I. Glinka wrote a romance for Ekaterina Kern based on poems by A.S. Pushkin’s “Where is our rose...”, and a little later set to music “I remember a wonderful moment...”

“Only Spain can heal the wounds of my heart. And she really healed them: thanks to the journey and my stay in this blessed country, I begin to forget all my past sorrows and sorrows.” M. Glinka

Spanish tarantella

"Aragonese Jota"

“From the dance melody a magnificent fantastic tree grew, expressing in its wonderful forms both the charm of Spanish nationality and all the beauty of Glinka’s fantasy,” noted the famous critic Vladimir Stasov.

"Night in Madrid"

On April 2, 1852, it was performed for the first time in St. Petersburg new edition"Memories...", now known as "Night in Madrid".

"Andalusian dance"

With the assistance of Glinka, Spanish boleros and Andalusian dances came into Russian creativity. He gave Spanish themes to the then young Mily Alekseevich Balakirev. The themes of Rimsky-Korsakov, Glazunov, Dargomyzhsky, and Tchaikovsky were drawn from the “Spanish Album,” dotted with recordings of folk melodies.

Today, the living memory of the Russian composer is kept by the M.I. Trio. Glinka musical group of Madrid

"Night in Madrid"

"Waltz Come on"

1. How unnoticed day after day The year flies by: It's already March after February It will melt soon. It’s like there was a snowstorm yesterday, Blizzards howled And there is already snow on the fields Suddenly it went dark. Chorus: La-la-la... It's winter away from us Gone.

2. And spring will leave with the rain, With new leaves The sun will flood with its fire The sky is gray. Just wave your hand slightly, Remembering by chance, Like being woken up

river The birds were screaming. Chorus: La-la-la... It's spring already from us Gone.

3. So unnoticed day after day Life flies by: It's already March after February Quietly melted away. It’s like there was a snowstorm yesterday, Blizzards howled... What to understand long ago then We didn't have time? Chorus: La-la-la... Life was like a dream -

and no... Was…

Mikhail Ivanovich Glinka.
"Aragonese Jota"
(Brilliant capriccio on the theme of Aragonese jota)
Spanish Overture No. 1 (1845)
Evgeny Svetlanov, conductor

"Night in Madrid"
(Memories of a summer night in Madrid)
Spanish Overture No. 2
Evgeny Svetlanov, conductor
U.S.S.R. Symphony Orchestra

History of creation

In 1840, Glinka spent several months in Paris. In his “Notes” he recalled: “...I learned that Liszt had gone to Spain. This circumstance aroused my long-standing desire to visit Spain so strongly that, without delay, I wrote about it to my mother, who did not suddenly or even soon agree to this venture of mine, fearing for me. Without wasting any time, I got down to business.”

The “business” consisted of hastily mastering the Spanish language and went very successfully. When the composer went to Spain in May 1845, he already spoke almost fluent Spanish. He visited Burgos and Valladolid. He got a horse and traveled around the area. “In the evenings, neighbors, neighbors and acquaintances gathered with us, sang, danced and talked,” Glinka continues her memoirs in “Notes.” - Among acquaintances, the son of a local merchant... smartly played the guitar, especially the Aragonese jota, which I retained in my memory with its variations and then in Madrid, in September or October of the same year, I made a piece out of them under the name “Capriccio brilliante” , which later, on the advice of Prince Odoevsky, he called the Spanish Overture." Even later, the work became known as the Spanish Overture No. 1, but it became best known as the Aragonese Jota. The first performance took place on March 15, 1850. Odoevsky’s response to this concert has been preserved: “The miracle worker involuntarily takes us into the warm southern night, surrounds us with all its ghosts, you hear the jingling of a guitar, the cheerful knock of castanets, a black-browed beauty dances before your eyes, and the characteristic melody is then lost in the distance, then appears again in all its glory."

From Valladolid, Glinka went to Madrid. “Soon after arriving in Madrid, I started working on Jota. Then, having finished it, he carefully studied Spanish music, namely the tunes of common people. One zagal (a stagecoach mule driver) came to visit me and sang folk songs, which I tried to catch and put to notes. I especially liked the two Seguedillas manchegas (airs de la Mancha) and subsequently served me for the second Spanish Overture.”

It was created later, in Warsaw, where the composer lived in 1848-1851. Glinka originally titled his work “Memories of Castile.” It was performed in St. Petersburg on March 15, 1850, in the same concert as the Aragonese Jota. Not completely satisfied with the result, in August 1851 the composer worked on the second edition. It was she who began to be called “Night in Madrid”, or “Memory of a Summer Night in Madrid”, was dedicated to the St. Petersburg Philharmonic Society and was first performed in St. Petersburg under the direction of K. Schubert on April 2, 1852 in a concert of this Society; The concert program was composed entirely of Glinka's works. This edition was later published, and remained as the only correct one.
Music

“Aragonese Jota” opens with a slow introduction, full of restrained strength and grandeur, with solemn fanfares, alternating fortissimo and secretly quiet sounds. In the main section (allegro), first in a light pizzicato of strings and plucking of the harp, and then the bright, cheerful theme of jota sounds more and more richly and fully. It is replaced by an expressive melodious melody from the woodwinds. Both themes alternate in a bright bloom of orchestral colors, preparing the appearance of another theme - an elegant and graceful melody with a touch of playfulness, reminiscent of mandolin strumming. Subsequently, all topics become more excited and intense. Their development brings drama, even severity, to the music. One of the jota motifs is repeated in a low register against the background of the introduction fanfare, which acquires a menacing character. Anticipation builds. With the roar of timpani, fragments of dance appear, gradually the theme of jota takes on more and more clear outlines, and now again it sparkles in full splendor. A stormy, uncontrollable dance absorbs everything in its whirlwind. All themes, intonationally drawing closer, rush through in a jubilant flow. The majestic, triumphant tutti completes the picture of folk fun.

“Night in Madrid” begins as if gradually, as if the future melody is being felt in individual motifs, interrupted by pauses. Gradually the theme of jota is born, it becomes more and more distinct and now, flexible, graceful, it sounds in a brilliant orchestral outfit. The second theme is close in nature to the first and seems to be its continuation. Both melodies are repeated, varied, intricately intertwined in a subtle and colorful orchestral sound, creating an almost visible picture of a warm, aromatic southern night.