An appeal to Russian musical folklore, as well as a detailed study of Glinka's opera scores in the process of preparing them for publication, helped the composer overcome the speculation of some of his compositions, which arose as a result of intensive studies in composition technique. Two operas written after The Maid of Pskov (1872) - May Night (1879) and The Snow Maiden (1881) - embodied Rimsky-Korsakov's love for folk rituals and folk song and his pantheistic worldview.
Creativity of the composer of the 80s. mainly represented by symphonic works: The Tale (1880), Sinfonietta (1885) and Piano Concerto (1883), as well as the famous Spanish Capriccio (1887) and Scheherazade (1888). At the same time, Rimsky-Korsakov worked in the Court Choir. But he devotes most of his time and energy to preparing for the performance and publication of the operas of his late friends - Mussorgsky's Khovanshchina and Borodin's Prince Igor. It is likely that this intense work on opera scores led to the fact that Rimsky-Korsakov's own work developed during these years in the symphonic sphere.
The composer returned to the opera only in 1889, having created the enchanting Mlada (1889-90). Since the mid 90s. one after the other is followed by "The Night Before Christmas" (1895), "Sadko" (1896), the prologue to the "Pskovite Woman" - the one-act "Boyar Vera Sheloga" and "The Tsar's Bride" (both - 1898). In the 1900s The Tale of Tsar Saltan (1900), Servilia (1901), Pan Governor (1903), The Tale of the Invisible City of Kitezh (1904) and The Golden Cockerel (1907) are created.
Throughout his creative life, the composer also turned to vocal lyrics. In 79 of his romances, the poetry of A. Pushkin, M. Lermontov, A. K. Tolstoy, L. May, A. Fet, and from foreign authors J. Byron and G. Heine are presented.
The content of Rimsky-Korsakov's work is diverse: it also revealed the folk-historical theme ("The Woman of Pskov", "The Legend of the Invisible City of Kitezh"), the sphere of lyrics ("The Tsar's Bride", "Servilia") and everyday drama ("Pan Governor"), reflected the images of the East ("Antar", "Scheherazade"), embodied the features of other musical cultures ("Serbian Fantasy", "Spanish Capriccio", etc.). But more characteristic of Rimsky-Korsakov are fantasy, fabulousness, diverse connections with folk art.
The composer created a whole gallery of unique in its charm, pure, gently lyrical female images - both real and fantastic (Pannochka in "May Night", Snegurochka, Martha in "The Tsar's Bride", Fevronia in "The Tale of the Invisible City of Kitezh") , images of folk singers (Lel in "The Snow Maiden", Nezhata in "Sadko").
Formed in the 1860s. the composer remained faithful to progressive social ideals all his life. On the eve of the first Russian revolution of 1905 and in the period of reaction that followed it, Rimsky-Korsakov wrote the operas Kashchei the Immortal (1902) and The Golden Cockerel, which were perceived as a denunciation of the political stagnation that reigned in Russia.
The creative path of the composer lasted more than 40 years. Entering it as a successor to the traditions of Glinka, he and in the XX century. adequately represents Russian art in world musical culture. Rimsky-Korsakov's creative and musical-public activities are multifaceted: composer and conductor, author of theoretical works and reviews, editor of works by Dargomyzhsky, Mussorgsky and Borodin, he had a strong influence on the development of Russian music.
Over 37 years of teaching at the conservatory, he taught more than 200 composers: A. Glazunov, A. Lyadov, A. Arensky, M. Ippolitov-Ivanov, I. Stravinsky, N. Cherepnin, A. Grechaninov, N. Myaskovsky, S. Prokofiev and others. The development of oriental themes by Rimsky-Korsakov (“Antar”, “Scheherazade”, “Golden Cockerel”) was of inestimable importance for the development of national musical cultures of Transcaucasia and Central Asia, and diverse seascapes (“Sadko”, “Sheherazade”, “The Tale of Tsar Saltan”, the cycle of romances “By the Sea”, etc.) determined a lot in the plein-air sound painting of the Frenchman C. Debussy and the Italian O. Respighi.
Topic: ON THE. Rimsky-Korsakov. Symphonic creativity.
Suite "Scheherazade".
This is a vast and important area in his legacy, mainly until the 90s. In terms of content and musical style, symphonic work has many parallels with opera (Sadko). It was here that dramatic techniques and expressive means were found, which will be implemented later.
Symphonic creativity is distinguished by genre diversity. This is determined by the versatility of interests and the richness of types and forms of Russian symphonic music of the second half of the 19th century. These are program and non-program cycles; Sinfonietta, symphonic pictures, overtures, fantasy, instrumental concerto, music for the drama ("Pskovityanka"). Rimsky-Korsakov developed the traditions of Glinka and Balakirev's folk-genre symphonism. The composer's symphonic style was also formed under the influence of the masters of the Western European symphonic school - Berlioz and Liszt. With Berlioz, he is related to the desire for plot, theatricality; with Liszt - the principle of monothematism.
Rimsky-Korsakov is Glinka's direct successor in the principles of orchestral writing: - perfect balance of texture elements;
Transparency and lightness of the orchestral fabric;
Brightness, juiciness, fullness of sound.
The composition of the orchestra is double and triple. Percussion instruments are used depending on the artistic need. The interpretation of the coloristic possibilities of the instruments, approved by Rimsky-Korsakov, was called virtuoso-coloristic, in contrast to Tchaikovsky's expressive one.
The symphonic suite "Scheherazade" (1888) is the crowning achievement of Rimsky-Korsakov's symphonic work. Here the features of European program symphonism were reflected in a peculiar way; the principles of monothematism, leitmotivity, and methods of variational development have merged. Each part of the suite is written in a large form, which synthesizes the features of sonata and poetry, variation and rondality, arched connections and leitmotifs. All 4 parts are united by themes and transformation of images.
Part 1 - "Sea" - written in sonata form without development. In the introduction, there are 2 leitmotifs: the theme of Shahriyar (terrible, warlike) and Scheherazade (elegant, ornamental, the violin solo). The main party is the theme of the sea, intonation built on the theme of King Shakhriyar; a side part is the theme of Sinbad's ship.
Part 2 - "The Story of Prince Calendr" - opens with the theme of Scheherazade. Part 2 is written in a complex 3-part form, its extreme sections are variations on the theme of the Calendra, the middle is a fantastic oriental scherzo march. The unhurried and calm theme of Calendra at the bassoon solo.
Part 3 - "The Tsarevich and the Princess" - was written in sonata form without elaboration. The tsarevich's theme is soft, calm, lyrical, for woodwinds; the theme of the princess is flirtatious, playful, for the strings.
Part 4 - "Baghdad Holiday" - a monumental folk-genre finale in the form of a rondo, uniting the thematic material of the previous parts. The theme of lezginka runs through the entire part - a refrain. The themes of Shahriyar, Sheherazade, the sea, the princess, the prince, Calendr sound here. The suite ends with the theme of Scheherazade.
3 course instrumentalists
ON THE. Roman-Korsakov Opera.
Rimsky-Korsakov's operas are very different in content and artistic appearance, in their forms and musical dramaturgy. He has historical, fairy tale, lyrical-dramatic, lyrical-comedy, satirical, lyrical-psychological operas. Monumental opera canvases and one-act chamber operas. Most of it is written in Russian subjects. The composer emphasized the connection of his operas with the genres of folk art in characteristic subtitles:
- "Spring Tale" ("Snow Maiden")
- "autumn fairy tale" ("Kashchei the Immortal")
- “carol opera” (“The night before Christmas”)
- “epic opera” (“Sadko”)
The main principle of Rimsky-Korsakov's operatic poetics is the division of what is happening into two worlds:
Life and fantasy;
human and natural;
Good and evil, light and darkness;
Paganism and Christianity.
The general trend towards the philosophical orientation of images. A special place is given to ritual, ritual scenes. A two-stage final is often used: a denouement for one or more heroes and a generalizing coda.
In the orchestra, Rimsky-Korsakov manifests himself primarily as a symphonist. Many operas have leitmotif systems. The orchestra is especially colorful in fantastic episodes, pictures of nature, mainly due to the use of unusual modes and harmonies: increased, decreased modes, whole-tone scale, tone-semitone scale. In other cases, the music has a national character.
When characterizing the heroes, both portrait arias and ensembles of through development are used. In vocals - ariose style, the composer uses recitatives infrequently. Particular attention is paid to the opposition of female images: Snow Maiden - Kupava, Marfa - Lyubasha, Volkhova - Lyubava. The former have coloratura, complex parts, and the latter have singsong melodies of a folk character.
3 course instrumentalists
Topic: ON THE. Rimsky-Korsakov. Opera "Snow Maiden".
The work of Rimsky-Korsakov has undergone changes over the course of many years of activity (over 40 years), reflecting the needs of the time, the aesthetic views of the composer and his style have evolved. Rimsky-Korsakov was formed as a musician in the atmosphere of the public upsurge of the 1960s. under the influence of the aesthetic principles of the "New Russian Musical School". The most important of them - the desire for nationality, high content, social significance of art - the composer carried through his whole life. At the same time, he was more interested in the specific internal problems of art than other members of the Balakirev circle. Rimsky-Korsakov is characterized by the identification of the aesthetic principle in each composition, the desire for beauty, perfection of performance. Hence the special attention to questions of professionalism and the peculiar aesthetics of craftsmanship, which brought Rimsky-Korsakov's principles closer to the general trends in the development of Russian art of the late 19th and early 20th centuries. In the creative appearance of Rimsky-Korsakov, there are many similarities with M. I. Glinka. First of all - the harmony of the worldview, inner balance, subtle artistry, impeccable taste, a sense of artistic proportion, classical clarity of musical thinking.
The range of themes and plots embodied by Rimsky-Korsakov is wide and varied. Like all "Kuchkists", the composer turned to Russian history, pictures of folk life, images of the East, he also touched on the area of everyday drama and the lyrical and psychological sphere. But with the greatest completeness, Rimsky-Korsakov's talent was revealed in works related to the world of fantasy and various forms of Russian folk art. A fairy tale, a legend, an epic, a myth, a ritual determine not only the theme, but also the ideological meaning of most of his works. Revealing the philosophical overtones of folklore genres, Rimsky-Korsakov reveals the worldview of the people: their eternal dream of a better life, of happiness, embodied in the images of bright fairy-tale countries and cities Kitezh); his moral and aesthetic ideals, which are embodied, on the one hand, by the captivatingly pure and gentle heroines of operas (The Princess in Kashchei the Immortal, Fevronia), on the other hand, by the legendary singers (Lel, Sadko), these symbols of the unfading folk art; his admiration for the life-giving power and eternal beauty of nature; finally, the indestructible faith of the people in the triumph of the forces of light, justice and goodness - the source of optimism inherent in the work of Rimsky-Korsakov.
The attitude of Rimsky-Korsakov to the depicted is also akin to folk art. According to B. V. Asafiev, "...between the composer's personal empathy and the object of his work there is a wonderful mediastinum: how do people think about it and how would the people embody their thought about it?" This detachment of the author's position determined the objectivity of tone characteristic of Rimsky-Korsakov and the predominance of the epic principles of dramaturgy in most of his works. The specific features of his lyrics are also connected with this, always sincere and at the same time devoid of emotional tension - calm, whole and somewhat contemplative.
The work of Rimsky-Korsakov organically combines reliance on Russian musical folklore (mainly its most ancient layers and on the traditions of national classics (Glinka) with the wide development of the pictorial and coloristic tendencies of romantic art, the orderliness and balance of all elements of the musical language. The composer introduces genuine folk songs and creates his own melodies in the spirit of folk songs, archaized diatonic themes in complex odd meters are especially typical for him, such as, for example, the final chorus from “The Snow Maiden” on 11/4.) -Korsakov. But, unlike folk themes, it is more characterized by structural completeness, internal dissection and periodic repetition of motive links. Typical for Rimsky-Korsakov are mobile, richly ornamented melodies of an instrumental nature, often introduced into the vocal parts of fantastic opera characters (Volkhova, the Swan Princess).
The development of thematic material by Rimsky-Korsakov usually does not lead to radical intonational transformations. Like all "Kuchkists", the composer widely and variedly uses variational techniques, supplementing them with polyphony - more often subvocal, but often imitative.
The harmonious thinking of Rimsky-Korsakov is distinguished by strict logic, clarity, and a rational organizing principle is felt in it. Thus, the use of natural diatonic modes, coming from the style of the Russian peasant song and the Balakirev principles of its processing, is usually combined in Rimsky-Korsakov with simple triad harmonization, using chords of side steps. The composer's contribution to the development of the coloristic possibilities of harmony is significant. Based on the traditions of "Ruslan and Lyudmila", he created by the mid-90s. its system of harmonic means (associated primarily with the sphere of fantastic images), which is based on complex modes: increased, chain and especially reduced, with a characteristic tone-halftone scale, the so-called. "Rimsky-Korsakov gamma".
Coloristic tendencies are also manifested in the orchestration, which Rimsky-Korsakov considered as an integral part of the idea (“one of the sides of the soul” of the composition). He introduces numerous instrumental solos into the scores and, following the precepts of Glinka, prefers the sound of pure timbres to thick mixed colors. The brightness and virtuoso brilliance of his orchestra are combined with the transparency and lightness of the texture, which is distinguished by the impeccable clarity of voice leading.
(I warn you - the ticket was made to make my dear fellow students smile inside the glow of exam preparation J, and also with the aim of making it clear to herself, “what’s the point of it.”)
General characteristics.
Almost the entire symphonic legacy of R.-K. was created by him before the 90s, some of the work was revised later, but this did not have the character of cardinal editions. The 1st Symphony underwent the most significant alteration, during which Rimsky-Korsakov worked on form, texture and instrumentation. (Of course, time passed, and as the baggage of knowledge and skills was enriched, Rimsky considered it necessary to correct early professional “errors” right there, for which he was pichenka!J)
In terms of imagery and stylistic features, symphonic his work is parallel to that of the opera. ( Well, it’s kind of understandable, a normal composer probably always has some songs influence others, whatever one may say, and as a result some kind of general mood food)
The genres of Rimsky's symphonic works are more than obvious: programmatic (the musical picture Sadko, the well-known Antar, Scheherazade) and non-programmatic (symphonies, suites, even a symphonietta (1884), concerts, overtures, he has more "Spanish Capriccio") Symphony. (that's right, in life you have to try to pee everything: both)
And now in more detail.
Non-program symp. t-in.
"Overture on Russian Themes" (1886) in D major
"Fantasy on Serbian Themes" (1867).
Stylistically they are very close to Balakirev's works of the 60s. ( It is possible that it was B. who harnessed Rimsky to write them, especially if you remember that he also has works of this kind (overtures in Russian - 2 pieces, and in Czech - 1 piece), well, Rimsky took the themes for these overtures, guess where from? - from the folklore collection of Balakirev, therefore we all know that the first collector of folklore with the publication of collections in Russia is Balakirev.)
Symphonies.
The 1st symphony (completed in 1865) is an example that to some extent marks the birth of the Russian symphony (as Cui noted), but, of course, is inferior to the early symphonies of Teanik, and the symphonies of Borodin. In general, the influence of Glinka's symphonism is felt. (there's nowhere to go, and that's more good than bad)
Symphony No. 3 (1873) Tchaikovsky seemed to like, but the Kuchkists, apparently, did not quite like it. And all why - because, they say, you see, it seemed to them an "academic" and "conservatory" work. This is strange, because there is plenty of epic that they love, especially in the extreme parts of the cycle, starting from the introduction to 1 hour, and ending with the final coda.
Sinfonietta (1884) by the way was also composed, sort of, on folk themes. (“There is fog in the field” - GP of the 1st part, “The green pear sways in the garden” - a theme from 2 hours, and the finale contains “Does my husband have a water drinker”, “And the leaves are thick on the birch”). In short, the symphonietta is genre to the marrow.
"Spanish Capriccio" (1887) - pale continues the line of Glinkin's "Jota of Aragon" and "Nights in Madrid"! Pictures of folk life in five parts: Alborada - Variations - Alborada - Scene and gypsy song - Fandango). But Rimsky did not go to Spain, like Glinka, but rolled up themes from José Inseng's Collection of Songs and Dances. Here. The principle of development of thematism, of course, is variational. All in all, it seems to be the same everywhere.
Piano Concerto (1882) one-movement. It is built on a folk theme, again taken from Balakirev's collection, "Get yourselves together, brothers and boys."
Form with features of sonata and tripartite, free variations.
Pianistically, there is a lot here, like in Balakirev, there are also some pretensions for Liszt's tricks, such as large equipment, etc.
features of program symphonism R.-K.
Imagery is fabulous, beautiful pictures of “Russianness” or “Russian East” or simply “East”, if desired, the introduction of all sorts of fantastic beginnings there, as, for example, at least in “The Tale” (1880) for orchestra.
Takes place picturesque presentation, from which the method of matching images is understandable, and therefore suite. Suites and paintings - not sonata-symphony cycles! - here, I hope, you can not explain further.
Dramaturgy wears narrative character, it is clear that in "Scheherazade" - this is generally a program: Sh. tells fairy tales. Formative decision in this regard in "Sh." witty: sonatas without r-ki (parts 1 and 3), rondo variations (part 4) - where is the conflict to screw in? everything here is objective, beautiful and safe.J
Well late dark – God himself commanded, it's Roman! How can you show images? And late-themes form here just a factor of the integrity of development.
P.S. Helped in any way she could. J Don't hit hard.
The Romans wanted to be art and architecture benefit people. They planned well in advance the construction of cities, bridges, aqueducts, public baths, markets, residential buildings and harbors. By order of a Roman official, a sculpture was built in the center of the city square, which was supposed to tell the future generation about the greatness of Ancient Rome. Even though art ancient rome borrowed from the ancient Greeks and Etruscans, and had an artistic beginning among these peoples, its practical use was purely Roman.
At the end of 600 BC. e. The most influential people in Italy were the Etruscans, who came from Asia Minor and settled in Tuscany, in the north of Rome. Although the Etruscans borrowed the Greek style in art, they also achieved a lot on their own. They developed a very realistic type of portrait sculpture and were the first to introduce the use of stone arches in ancient architecture.
Architecture
The Romans put the lessons of the Etruscans into practice. Baths and arenas are a tribute to the skill of the great builders of Rome. Using arches, the Romans could build their cities over large areas, unlike the Greeks, who used a bar and a crossbar (beams supported by two columns) instead of arches. The arch could support much more weight than the bar and crossbar. Roman aqueducts were often built with three levels of arches piled on top of each other. And their buildings, called the baths of Caracalla, occupied vast territories.
In the 1st century BC e. The Romans were the first to use concrete in construction. They poured concrete into molds, depending on what they wanted to build: arches, vaults or domes. The use of concrete allowed architects to build structures of enormous proportions. One of these gigantic structures was the Temple of Fortune at Praeneste, built by the ruler Sulla around 80 BC. e. During the construction, the architects used concrete to support the terrace and built a building that in our time would resemble a skyscraper. For the construction of outdoor theaters, the Greeks used the areas between the hills, using their slopes as support for tiers of seating spectators. But Roman engineers used concrete to support the three giant tiers of the Colosseum, their main stadium for mass recreation and public spectacle. At all three levels there were visual places for more than 45 thousand people.
Sculpture
The Romans used sculptures to decorate their architectural structures. The walls of buildings for decoration were often decorated with columns and in fact were not a means of supporting the structure. Many of these columns were copied from columns erected in Greece. In fact, many Greek architectural forms were placed on the facades of the buildings of Ancient Rome just for decoration and did not carry any practical use.
In the images of the gods, the Greeks used the ideas of giving them form and beauty. Roman sculptors largely used the ideas of the Greeks. However, the Romans showed their skill and originality in creating portraits. They portrayed their emperors, generals and senators with a degree of realism unknown to the Greeks. Thinning hair, double chins, crooked noses, and other flaws in physical features that distinguish one person from another can be found in Roman portraits and paintings.
Painting
In 79 A.D. e. The eruption of Mount Vesuvius destroyed the cities of Pompeii, covering it with layers of lava, which eventually turned into rocks. The frescoes preserved in these rocks can tell us a lot about Roman painting.
Painting is usually created as decoration. In Pompeii, for example, paintings were painted on the walls of houses in fresco (painting on wet plaster). Often such frescoes were used to make a room look larger, creating the illusion of depth or pastoral scenery, in rooms where there were no windows.
Columns and other forms of architecture were often painted in various compositions to add a sense of depth. The dot-image system was known and used in ancient Rome. Red, black and creamy whites were some of the most popular and loved ones.
Roman painting achieved a high degree of naturalism through the artists' understanding of the perspective of the use of light and shadow. The Romans painted many charming images of nature, portraits of children, beautiful young men and women. Religion also provided inspiration for art of ancient rome.
Russian composer, teacher, musical and public figure, conductor. In 1859-1960 he took lessons from the pianist F. A. Canille. A graduate of the St. Petersburg Naval Corps, participated in the voyage on the clipper "Almaz" (1862--65) and visited a number of countries in Europe, North and South America. In 1861 he became a member of the Balakirev circle "The Mighty Handful", which had a decisive influence on the formation of the personality and aesthetic views of the composer. Under the influence and guidance of M. A. Balakirev, the 1st Symphony (1865), Serbian Fantasy (1867), a number of romances, etc. were created. The creative individuality of Rimsky-Korsakov manifested itself primarily in program instrumental works, among which are: the symphonic musical picture "Sadko" (1867), the 2nd symphony "Antar" (1868). In the same years, he turned to the operatic genre, which later became the leading one in his work (in 1872, the opera The Maid of Pskov, based on a drama by L. A. Mey, was completed). From the 70s. the boundaries of Rimsky-Korsakov's musical activity expanded: he was a professor at the St. concerts (since 1874), and later opera performances, assistant manager of the Court Singing Chapel (1883---94), headed the Belyaevsky circle (since 1882). In the mid 70s. worked on perfecting his composing technique. In the 80s. paid great attention to symphonic genres. In the early 90s. there was a certain decline in creative activity (during this period he studied philosophy, wrote articles, revised and edited some of his previous works). In the 2nd half of the 90s. creativity acquired exceptional intensity: the operas "Sadko" (1896), "The Tsar's Bride" (according to May, 1898) appeared. During the Revolution of 1905-07, Rimsky-Korsakov came out with active support for the demands of the striking students, openly condemned the actions of the reactionary administration of the St. Petersburg Conservatory (he was fired from the conservatory, returned only after the conservatory was granted partial autonomous rights and a change in leadership).
The work of Rimsky-Korsakov is deeply original and, at the same time, is based on classical traditions. The harmony of the worldview, the clarity of musical thinking, subtle artistry make him related to M. I. Glinka. Associated with the progressive ideological and artistic trends of the 1860s, Rimsky-Korsakov showed great interest in folk art (compiled the collection "One Hundred Russian Folk Songs", 1877: harmonized the songs collected by T. I. Filippov, - "40 Folk Songs ". 1882). Passion for folklore, ancient Slavic mythology, folk rituals was reflected in the operas "May Night" (after N.V. Gogol. 1879), "Snow Maiden" (after A.N. Ostrovsky, 1881), "Mlada" (1890), "The Night Before Christmas" (after N.V. Gogol, 1895). 15 operas by Rimsky-Korsakov demonstrate a variety of genre (epic, fairy tale, legend, historical drama, lyrical comedy), stylistic, dramatic, compositional solutions (works gravitating towards the number structure and continuous development, operas with mass scenes and chamber , with and without extended ensembles). The most complete talent of Rimsky-Korsakov was revealed in the works connected with the world of fabulousness, with various forms of Russian folk art. Here his picturesque and pictorial gift is revealed, the purity of the lyrics - sincere, but somewhat contemplative, without increased emotional tension. Attention to the inner world of a person, to the psychological disclosure of images manifested itself in the chamber opera Mozart and Salieri (based on the text by A. S. Pushkin, dedicated to A. S. Dargomyzhsky, 1897), in the one-act opera Boyar Vera Sheloga (prologue to " Pskovityanka", 1898) and especially in the drama on the historical and everyday plot "The Tsar's Bride" (1898). The new tendencies characteristic of Russian art in the early 20th century were reflected in the opera The Tale of Tsar Saltan (after Pushkin, 1900) with its emphatically theatrical conventionality and elements of stylization of a popular popular print, in the "autumn fairy tale" Kashchei the Immortal (1902 ), in which the fairy-tale theme is interpreted symbolically and allegorically. High moral and philosophical problems are raised in the legendary opera The Legend of the Invisible City of Kitezh and the Maiden Fevronia (1904). The composer's last opera is a "fable in the faces" The Golden Cockerel (after Pushkin, 1907) is a merciless satire on the tsarist autocracy.
Rimsky-Korsakov considered singing to be the basis of operatic expressiveness. An important dramatic role in his operas is played by the orchestra, which is often entrusted with independent symphonic paintings, intermissions, for example, "Three Miracles" ("The Tale of Tsar Saltan"), "The Battle of Kerzhents" ("The Legend of the Invisible City of Kitezh...") . Considering the opera primarily as a piece of music, Rimsky-Korsakov attached great importance to its literary basis - the libretto. The collaboration between the composer and the librettist V. I. Belsky was fruitful.
The symphonic work of Rimsky-Korsakov is not so multifaceted compared to the opera. The figurative concreteness of the composer's musical thinking determined his inclination towards programmatic and genre symphonism. Hence the predominance of such types and forms as overture (fantasy), symphonic picture, suite. Rimsky-Korsakov's top works for orchestra are the Spanish Capriccio (1887) and Scheherazade (1888). A significant place in the creative heritage of Rimsky-Korsakov is occupied by chamber-vocal lyrics. He wrote 79 romances, including the vocal cycles "Spring", "To the Poet", "By the Sea".
The work of Rimsky-Korsakov is brightly national. The composer uses authentic examples of musical folklore and organically translates song intonations into his own melodies. His contribution to the field of harmony and instrumentation is significant: he expanded and enriched their coloristic possibilities, created his own system of modal-harmonic means, which is based on complex modes (including the characteristic scale - the Rimsky-Korsakov scale, orchestration combines brilliance, shine with clarity, transparency.
The conductor activity of Rimsky-Korsakov, who promoted the works of Russian composers, was of great educational value. An important role was played by his editorial work, thanks to which many works of Russian music were published and performed ("Stone Guest" by Dargomyzhsky, "Prince Igor", "Boris Godunov", "Khovanshchina"; Rimsky-Korsakov also prepared and published, together with Balakirev and A. K. Lyadov, opera scores by Glinka). His pedagogical activity was of exceptional importance. The founder of the composer school, Rimsky-Korsakov educated 200 composers, conductors, musicologists, among them - A. K. Glazunov, A. K. Lyadov, A. S. Arensky, M. M. Ippolitov-Ivanov, I. F. Stravinsky , N. Ya. Myaskovsky, S. S. Prokofiev, M. A. Balanchivadze, Ya. Vitol, N. V. Lysenko, A. A. Spendiarov. His textbooks on harmony and orchestration were a partial generalization of his pedagogical experience, and his autobiographical book Chronicle of My Musical Life (1906) was a valuable historical document. In 1944, the House-Museum was opened in the city of Tikhvin, and in 1971 in Leningrad, the Rimsky-Korsakov Museum-Apartment.
