Famous Russian composers of the 20th century. Contemporary classical composers

The 20th century is an era of great transformations in world culture, in particular music. On the one hand, both world wars and many revolutions influenced the overall turbulent situation in the world.

On the other hand, technological development progressing before our eyes has led to the creation of radically new genres, styles, trends, and methods of musical expression. Despite this, some composers of the 20th century did not abandon traditional classical forms and developed and enriched this type of art. Within the framework of this article we will talk about such innovative composition schools and composers as

• New Vienna School and its representatives
  • Composers of the "French Six"
    • Avant-garde composers

New Vienna School

One of the first innovators at the beginning of the 20th century was the Austrian composer Arnold Schoenberg, who led New Vienna school and created the dodecaphone system. His students followed - Alban Berg and Anton Webern - completely abandoned the tonal system, thus creating atonal music, which means the rejection of the tonic (main sound). The exceptions are latest works A. Berg. Atonalist composers mainly composed in an expressionist style, which bears the imprints of the cruel shocks of humanity from the loss of loved ones during war, famine, cold, and poverty. The atonal system has exhausted itself for some time, however, later, throughout the 20th century and to this day, many composers try their hand at using this technique.

"French Six"

Almost simultaneously with Schoenberg’s group, the composers of the “French Six” began to act in France, united by a common worldview. These are A. Honegger, D. Milhaud, F. Poulenc, J. Auric, L. Durey, J. Taillefer. The composers of "Six" wanted to make musical art accessible to representatives of all segments of the population. However, their music was on par with many classical works. The composers of “Six” in their works promoted the direction of urbanism associated with the growth of cities and high-tech progress of the 20th century. The use of various noise effects in the works (especially in the works of A. Honegger) - whistles, the rhythm of a steam locomotive, etc. - is a kind of tribute to the direction of urbanization.

Avant-garde 50s

In the 50s of the last century, avant-garde composers P. Boulez (France), K. Stockhausen (Germany), L. Nono and L. Berio (Italy) appeared on the scene. For these composers, music turns into a field for experimentation, where more attention is paid to the design of the sound series than to the very content of the musical canvas. A special place in their work is occupied by the serial technique, which originates from the dodecaphone system and is brought to its apogee. Total serialism is created - in this writing technique, seriality is reflected in all elements of the musical whole (rhythm, melody, dynamic shades and etc.). Avant-garde composers are also the founders of electronic, concrete, minimal music and pointillism techniques.

Above is a small list musical styles, trends, musical expression, therefore one can imagine the diversity this interesting, multi-layered and multi-faceted 20th century brings.

20-09-2006

Since I found myself “joining” the delightful anthology THE SWAN not from the very beginning of its appearance on the Internet, but five years later, I inadvertently became interested in the articles on musical themes, placed before my coming. I was interested in Dmitry Gorbatov’s article about Shostakovich in issue 194 of the almanac.

What was written in the article about Shostakovich was perceived by me normally, and the non-classification of him as one of the greatest composers of the 20th century, as well as the author’s explanations on this matter, did not cause rejection.

But Appendix 1 to the article contains a list greatest composers twentieth century, which caused my surprise and made me laugh until I colic. At the same time, not only me, but also my friend, a professional musician and composer.

From an article by D. Gorbatov

One glance at the list was enough to notice a title that did not correspond to the list. The fact is that we know the names of composers who are the greatest. And the definition greatest, i.e. the greatest, cannot be tied to any age. Bach, Mozart, Beethoven were and remained the greatest composers, but they lived in different centuries. Therefore, any composer of late times, in order to be called the greatest, must have merits that would allow him to stand on a par with the named composers. AND various kinds pygmy composers of the twentieth century, who found or discovered something ^new^ in Music, but did not make a revolution in it, but only left traces somewhere (sometimes dirty) the greatest calling is absolutely unauthorized and unfair.

In the above list, none of the named composers for the title greatest does not work, so each of them needs to be dealt with and assigned the appropriate status, starting from great and below.

But before we get down to this interesting matter, let's try to figure out the Russian composer Modest Mussorgsky, for some special merits the author was transferred from the 19th century to the 20th century with the assignment of the status greatest composer of the twentieth century.

Beginning in 1908, in the West, for almost a quarter of a century, leading opera houses in many countries staged performances of “Boris Godunov” by Modest Mussorgsky with the participation of the great Chaliapin in the role of Tsar Boris. The weak orchestration of the composer himself was unsuccessful and the opera was performed in the brilliant orchestration of the composer Nikolai Rimsky-Korsakov. The success of the opera has always been enormous everywhere. And when the opera was also performed in luxurious settings in some opera houses, there was a sensation.

In the Soviet post-Chaliapin era there were also magnificent performances of “Boris Godunov” in Bolshoi Theater with Alexander Pirogov in leading role and Ivan Kozlovsky in the role of the Holy Fool.

But suddenly, in some musical spheres, through the efforts of intriguers and speculators, Rimsky-Korsakov’s wonderful orchestration began to be criticized, and some pygmy composers began to offer their own versions. At the same time, they began to accuse Rimsky-Korsakov that with his orchestration he emasculated wonderful music Musogsky: music, better than which there is supposedly nothing in Russian music.

In the forefront, of course, was Shostakovich, who even made two orchestrations of “Boris Godunov.”

He leaned towards “Boris” with orchestration -
Blasphemous Soviet perestroika
And he crippled the opera pretty much,
Putting shackles on in a row to the music.

Time has passed, and many things have been sorted out. And only operatic donkeys can afford to turn to Shostakovich’s editors during the next production of Boris. Even Rostropovich, with all his celebrity, would hardly have been able to push something like this through.

Now about the true greatness of Mussorgsky as a Russian composer.

I offer my own version.

Without a doubt, the great Russian composer Modest Mussorgsky is not superior to Glinka, Dargomyzhsky, Rimsky-Korsakov, Tchaikovsky, or Rachmaninov. But in my opinion, he is significantly inferior to Tchaikovsky.

It should not be considered for the music in the operas “Boris Godunov” and “Khovanshchina”. innovator. In these operas, as will become clear from further discussions, Mussorgsky showed himself to be outstanding and of good quality. compiler.

Mussorgsky knew well innovative Alexander Dargomyzhsky’s opera “The Stone Guest”, and when the composer composed it, he actively participated as a singer. He also knew Verdi’s opera “Il Trovatore,” as evidenced by N. Rimsky-Korsakov in his book “Chronicle of My musical life" It should be assumed that the opera “Rigoletto” was also known to Mussorgsky.

A very long acquaintance (50 years) and frequent listening to the opera “Boris Godunov” gave me the idea that Godunov’s excellent recitatives are a creative artistic Russian-Italian fusion of the recitative styles of “The Stone Guest” and

"Rigoletto". Thus, traces of Rigoletto’s monologue Pari siamo, when carefully listening repeatedly to Boris’s recitatives, can be found throughout the entire opera, starting with Boris’s monologue “I have reached the highest power.”

Turning with a similar analysis to Mussorgsky’s next opera, Khovanshchina,” one can notice a significant departure of the composer from the musical structure of “Boris Godunov” towards greater ariosity of the vocal flesh. Moreover, some arias, monologues and even individual fragments, even more than in “Boris Godunov,” are similar to some arias from Verdi’s Troubadour.” For example, Marfa’s aria (^fortune telling^) in the first movement resembles Azucena’s aria Stride la vampa, and in cantilena (“you are in danger of disgrace”) is close in structure to Azucena’s solo in the last act Si; la stanchezza mopprime; and the melody of Shaklovity’s aria ^...you are unfortunate in fate, native Rus'^ close to the melody of Manrico's aria Ah! Si, ben mio.

But it turns out I’m not the only one so smart: in the Soviet libretto with full text“Khovanshchina,” published in 1929 (with an introductory article and notes by Sergei Bugoslavsky), there are two interesting notes. One is before the text of the cantilena from Martha’s ^fortune telling: ^a broad mournful melody in the Russian-Italian style^, and the other is a footnote relating to the text of Shaklovity’s aria: ^An aria of Italian-Russian style in the manner of Glinka from the period of “Ivan Susanin”^.

To everything written, one can also add that Mussorgsky became so keen on composing phrases with melodies in the Italian style that Martha’s solo in the monastery (address to Andrei Khovansky): “Did you hear in the distance, behind this forest” - a brilliant example of Italian recitative, which could well would organically fit into the role of Azucena in “Il Trovatore”.

In connection with my version of the Mussorgsky phenomenon stated above, I completely reject the author’s assertion that Musical science and aesthetics in many respects rightly attribute the work of M.P. Mussorgsky to the twentieth century. as well as all the author’s arguments on this matter set out in the article.

In my opinion, at some point in Soviet musicology there developed a pathologically unhealthy attitude towards the great Russian composer Mussorgsky, attributing to him some special musical merits and innovative talent, which he did not have. According to D. Gorbatov, some musicologists even “found” traces of Mussorgsky’s work in Verdi’s operas and in Hindemith’s music, which certainly could not have needed any borrowing.

An analysis of the music of “Khovanshchina” shows that in it the composer sharply deviated from the recitative style of constructing the monologues of “Boris Godunov,” which successfully suited Pushkin’s text. Mussorgsky probably felt the inappropriateness of repetition.

And this confirms the absence of an innovative principle of composition, once mastered, there is no need for cardinal changes when moving on to the next composition of the same profile and scale.

An interesting definition emphasizing the difference between “Khovanshchina” and “Boris Godunov” is found in the aforementioned introductory article by S. Bugoslavsky to the libretto of the opera: ^ “Khovanshchina” in its musical structure is not a “musical drama”, but an opera in the old sense: here the melodic, more precisely, dominates , song beginning…^. Such a composer's “step back” also refutes attempts to present Mussorgsky as an innovative composer who stepped from the nineteenth to the twentieth century.

I will welcome those musical figures who are able to agree with my version, which also contains a call to abandon fictions regarding the past of Russian music, and absurd attempts to pervert real cultural values, by analogy with attempts to present Russia as the homeland of elephants.

And in accordance with this, recognition of the enormous and brilliant work of the great Russian composer Nikolai Rimsky-Korsakov, as the ONLY thing necessary for the operas of Modest Mussorgsky, and no longer subject to anyone's ^creative^-fraudulent interference.

Based on the above, I will allow myself to exclude Mussorgsky from the list of composers of the twentieth century. But at the same time, let me note that in the nineteenth century the composer still created, and, moreover, greatest, who, if necessary(?) would be worthy more than any other, with all his works, to be among the composers of the twentieth century. This is Richard Wagner.

Now I will allow myself to consider the list of the remaining 18 ^greatest^ composers of the twentieth century in order to establish the level of their reasonable greatness: from great and below. I’ll try to assess the level of compliance of each of these composers with one of three values: great, especially distinguished and distinguished.

In my opinion, when establishing the level of greatness of any composer, one cannot ignore his popularity among classical music lovers. At the same time, one should be sure that the composer’s popularity is not artificial, inflated, akin to Shostak’s, which will undoubtedly gradually fade over the course of the 21st century. For truly great composers, popularity should only increase over the centuries.

Great composers of the 20th century

• Bela Bartok (1881–1945) Hungary
• Benjamin Britten (1913-1976) England
• Claude Debussy (1862–1918) France
• Maurice Ravel (1875-1937) France
• Alexander Scriabin (1871–1915) Russia
• Igor Stravinsky (1882–1971) Russia
• Arnold Schoenberg (1874–1951) Austria
• Richard Strauss (1864-1949) Germany

(I took the liberty of adding the names of three great composers omitted by D. Gobatov, probably due to the inappropriateness of classifying them as “the greatest.”).

Particularly outstanding composers of the 20th century

• Charles Ives (1874–1954) USA
• Alban Berg (1885–1935) Austria
• Anton Webern (1883–1945) Austria
• Paul Hindemith (1895–1963) Germany

(Here I decided not to expand the list, although I would like to add the name of Hans Pfitzner to them).

These composers I named particularly outstanding, in my opinion, cannot be called great only due to lack of popularity. Is it possible to consider and call composers great when the bulk of classical music lovers do not know either their names or their compositions?

Outstanding composers of the 20th century

• Witold Lutoslawski (1913–1994) Poland
• Olivier Messiaen (1908–1992) France
• Sergei Prokofiev (1891–1953) Russia

(Here I decided to limit myself to the names from D. Gorbatov’s list, although it would be quite possible to add another 2-3 dozen names).

Witold Lutosławski's music is good, although it does not shine with much originality (the influence of Debussy, Bartók or Stravinsky is sometimes felt).

He wrote a concerto for baritone and orchestra especially for Fischer-Dieskau.

Olivier Messiaen, the teacher of the “creators” of anti-music (Xenakis, Stockhausen, Boulez), was a highly gifted musician and inventor of new technological systems of sound matter. His musical compositions, mainly of a religious nature, are specific and very popular in France. For inexperienced classical lovers, listening to Messiaen's music is a difficult task. In his opera-oratorio “St. Francis of Asis” was recorded by Fischer-Dieskau.

The prolific Russian-Soviet composer Sergei Prokofiev, along with human symphonies, piano concertos and plays, composed a lot of, in my opinion, colorless, irritating and anti-vocal music (operas “ Fire Angel", "Semyon Kotko", "Player" and Classical symphony), as well as the now unnecessary Soviet politicized musical rubbish.

Now about the avant-garde composers remaining on Gorbatov’s list:

Edgar Varese, who ^updated^ musical language using modern production technology and musical noises;

John Cage, who created sonic anarchy;

Iannis Xenakis, who used. techniques of aleatorics, the abstract nature of sound combinations (his music was intended for unusual instrumental composition and tape recorders);

Györde Ligeti, who experimented in the field of musical and instrumental “theater of the absurd”;

Luigi Nono, who used serial technique and aleatorics;

Steve Reich, a minimalist composer who ^created^ music using two tape recorders turned on at different times - should they be classified into any groups at all? real composers of the twentieth century? (Aleatorics is the principle of chance in the process of ^creativity^ and performance).

In 1951, Cage organized concerts in New York that used 12 radios tuned to 12 different radio stations.

Stravinsky called aleatoric composers “the walking enemies of art.”

This is a very correct remark, according to which they, presumably, should neither be considered nor qualified as composers of the twentieth century.

Concluding the article, I would like to draw the readers’ attention to one significant circumstance: when compiling a list of the “greatest” composers of the twentieth century, D. Gorbatov for some reason missed the name of the only real greatest composer of this century: Giacomo Puccini (1858-1924).

Giacomo Puccini is, of course, the greatest of all composers of the 20th century.

Puccini is an innovator. His highly artistic principle of organic fusion of the sound of the orchestra and voices had not been achieved by any composer before him.

Puccini is the greatest melodist of the twentieth century. He is the composer of the most beautiful melodies of the century.

Puccini is the creator of the most popular operas of the twentieth century, and his operas will always bring joy to people. His “Tosca” is the most popular opera among all operas staged by major opera houses peace.

Puccini is a true composer of the 20th century, and the quartet from Bohème and the terzets from Turandot are harmonic masterpieces of 20th-century music.

Puccini is the composer of the most beautiful ensembles in his operas.

Puccini, better than any of all foreign composers, managed to capture the national flavor and create bright music in the opera “Madama Butterfly” (in gratitude for its creation, a monument was erected in Japan in honor of the composer) and his own, typically Puccini, but absolutely American country music in the opera “Girl from the West”.

Many of us managed to get from the 20th century to the 21st without a time machine. As they say, we live at the junction of two centuries. Therefore, when talking about who modern composers are and what century they belong to, we must take this into account. More recently, modernity was considered the 20th century. But when the 21st century arrived, the previous century automatically became the past.

Terminology

Before you start talking about the stated topic, you should decide on the necessary terminology. Firstly, what is classical music as such? Secondly, who are modern composers? An interesting opinion from Stephen Fry will help you understand these issues. His books on the history of classical music are so delightful that sometimes it is impossible to tear yourself away from them. He defines the issues posed very clearly and very clearly.

Classical music. If we consider this term in the narrow sense of the word, it becomes clear that it refers to a fairly short period of classicism that dominated from 1750 to 1830. In a broad sense, classical music refers to any serious music that requires listening attention and some emotional effort.

Modern composers. It is generally accepted that classical music has stood the test of time. Accordingly, how can it be modern? A certain metamorphosis occurred precisely when we moved into the 21st century, leaving the 20th in the past. So it turns out that modern classical composers belong to the 20th century. What then to do with classical music in the 21st century? What is meant here is that it is used in the broad sense of the word - as serious music that makes you think and requires some kind of emotional effort.

Great Russian composers of the 20th century. List

The list below is not chronological, but alphabetical. Of course, it is possible to single out or point out particularly outstanding ones. But since all these individuals are the brightest representatives of their century, they can safely be called so - the great modern composers of the 20th century. It's not just composers born at the turn of the 20th century that are listed. Their works were already known during this period of time, or their creativity flourished in the 20th century.

Foreign composers of the 20th century. List

Russian composers of the 21st century

It is impossible to assign some music creators to a particular century. After all, many works modern composers came out and deserved it worthy of attention both in the 20th century and in the 21st. This is especially true for living composers who managed to become famous for their highly artistic creations in the last century and continue to compose music in the current one. It's about about Rodion Konstantinovich Shchedrin, Sofia Asgatovna Gubaidulina and others.

However, there are also little-known Russian composers of the 21st century who created wonderful compositions, but their names did not manage to become popular.

• Batagov Anton.
• Bakshi Alexander.
• Ekimovsky Victor.
• Karmanov Pavel.
• Korovitsyn Vladimir.
• Markelov Pavel.
• Martynov Vladimir.
• Pavlova Alla.
• Pekarsky Mark.
• Savalov Yuri.
• Savelyev Yuri.
• Sergeeva Tatyana.

This list can be significantly expanded.

About contemporary composers

Pekarsky Mark (b. 1940). He became famous for his ensemble percussion instruments. The atmosphere at his concerts is conducive to laughter, since the composer can make good jokes while performing music (and during breaks).

Martynov Vladimir (b. 1946) - minimalist composer. It combines religiosity and “advancement.” The modern master of serious music is able to convey a lot with minimal means.

Ekimovsky Victor (b. 1947). His programmatic works with bright titles attract attention. These are “B” (music written for flutes and phonogram), “Siamese Concerto” (intended for two pianos), “Sublimation” (for symphony orchestra), "27 Destructions" (for percussion instruments) and many others.

(b. 1951). In her works one can feel the influence of A. Scriabin's music. Lots of flight, vibrations, fire. The second piano concerto attracts the attention of listeners with its dynamic development and sudden finale, which takes the listener to the Middle Ages and then brings him back.

Alla Pavlova (b. 1952) - emigrant composer. IN present period lives in America for a long time. Her music is melodic and sad and sorrowful at the same time. She wrote six symphonies in minor keys, which are entire tragedies.

As we can see, the music of modern composers is diverse, amazing and attractive. Many of the creators love experiments and are looking for new forms. These include Bakshi Alexander (b. 1952). Among his works, “Unanswered Call”, written for violin, especially stands out, 6-7 mobile phones and string orchestra.

Markelov Pavel (b. 1967). One of his favorite areas is sacred music. He wrote symphonies for orchestra, free verse sonatas for piano, and 20 bell symphonies.

Children's contemporary composers

Prominent representatives are Yuri Savalov, Vladimir Korovitsyn, Yuri Savelyev.

Yuri Savalov was talented composer, an excellent teacher and a wonderful arranger. He enthusiastically led the orchestra at the Children's Music School. He was and good performer. He played keyboards and wind instruments. Each of his nine piano pieces has a subtitle: “Mother”, “Confession”, “Wind of Wandering”, “Inspiration”, “Ball in the Prince’s Castle”, “Prelude”, “March”, “Waltz”, “Lullaby”. They are all very interesting, diverse and beautiful.

Vladimir Korovitsyn was born in 1955. His work consists of music written in various romances, spiritual works written for choir, chamber and symphony orchestra. For children, he wrote a collection of children's songs called "Rejoice in the Sun" and "Children's Album" for piano. The plays are an excellent addition to the students' repertoire. The names of the plays accurately reflect their character and mood: “Thumbelina”, “Wooden Shoes”, “Variations of a Peasant with an Accordion”, “Emelya Rides on the Stove”, “Sad Princess”, “Girls’ Round Dance”.

Songs for children

Children's songs by modern composers are filled with optimism and cheerfulness. Despite the fact that some of them were created half a century ago, they remain not only relevant, but also quite modern. V. Shainsky, I. Dunaevsky, D. Kabalevsky, G. Gladkov are considered the most. We listen to their cheerful and playful songs with great pleasure, sing them ourselves and together with the children.

Not everyone knows that it was G. Gladkov who created the melodies from such popular films and cartoons as “Little Red Riding Hood”, “About Fedot the Archer”, “Children of Captain Grant”, “Po pike command", "Plasticine Crow" and others.

Another legendary creator modern songs for children - V. Shainsky. He has over three hundred of them. It is enough to listen to “The Blue Carriage”, “Piggy”, “Chunga-Changa”, “Antoshka” and many others to understand how talented a composer he is.

So, modern composers are considered to be not only living or recently deceased composers of the 21st century, but also masters of the 20th century. Both of them created music of different genres and character, worthy of attention from listeners and musicologists.