Dargomyzhsky Alexander Sergeevich works. General information. Life and creative path

Alexander Sergeevich Dargomyzhsky (1813-1869) together with M.I. Glinka is the founder of the Russian classical school. The historical significance of his work was very accurately formulated by Mussorgsky, who called Dargomyzhsky “the great teacher of truth in music.” The tasks that Dargomyzhsky set for himself were bold, innovative, and their implementation opened up new prospects for the development of Russian music. It is no coincidence that Russian composers of the 1860s generation, primarily representatives of the “Mighty Handful,” rated his work so highly.

A decisive role in the formation of Dargomyzhsky as a composer was played by his rapprochement with M. I. Glinka. He studied music theory from Glinka's notebooks with recordings of Siegfried Dehn's lectures, Glinka's romances Dargomyzhsky performed in various salons and circles, before his eyes the opera “Life for the Tsar” (“Ivan Susanin”) was composed, in the stage rehearsals of which he took a direct part. Dargomyzhsky perfectly mastered the creative style of his older contemporary, as evidenced by the similarities a number of their works. And yet, compared to Glinka, Dargomyzhsky’s talent was of a completely different nature. This is talent playwright and psychologist, who manifested himself mainly in vocal and stage genres.

According to Asafiev, “Dargomyzhsky sometimes possessed the brilliant intuition of a musician-playwright, not inferior to Monteverdi and Gluck...”. Glinka is more versatile, larger-scale, more harmonious, he easily grasps whole, Dargomyzhsky dives into details. The artist is very observant, he analytically studies the human personality, notices its special qualities, manner of behavior, gestures, intonations of speech.He was especially attracted to the transmission of subtle processes of inner, mental life, various shades of emotional states.

Dargomyzhsky became the first representative of the “natural school” in Russian music. He was close to the favorite themes of critical realism, images of the “humiliated and insulted”, akin to the heroesN.V. Gogol and P.A. Fedotova. The psychology of the “little man,” compassion for his experiences (“Titular Advisor”), social inequality (“Rusalka”), “prose of everyday life” without embellishment - these themes first entered Russian music thanks to Dargomyzhsky.

The first attempt to embody the psychological drama of “little people” was the opera “Esmeralda” based on the finished French libretto by Victor Hugo based on the novel “Notre Dame de Paris” (finished in 1842). “Esmeralda,” created on the model of a grand romantic opera, demonstrated the composer’s realistic aspirations, his interest in acute conflict and strong dramatic plots. Subsequently, the main source of such stories for Dargomyzhsky was the work of A.S. Pushkin, based on whose texts he created the operas “Rusalka” and “The Stone Guest”, more than 20 romances and choruses,cantata "The Triumph of Bacchus", later converted into an opera-ballet.

The originality of Dargomyzhsky’s creative style determines an original fusion of speech and musical intonations. He formulated his own creative credo in the famous aphorism:“I want the sound to directly express the word, I want the truth.” By truth, the composer understood the exact transmission of speech intonations in music.

The strength of Dargomyzhsky's musical declamation lies mainly in its amazing naturalness. It is closely connected with both native Russian chant and characteristic conversational intonations. Amazingly subtle sense of all the features of Russian intonation , melodica Dargomyzhsky’s love for vocal music-making and his studies in vocal pedagogy played a significant role in Russian speech.

The pinnacle of Dargomyzhsky’s quest in the field of musical recitation was histhe last opera is “The Stone Guest” (based on Pushkin’s little tragedy). In it, he comes to a radical reform of the operatic genre, composing music to the unchanging text of a literary source. Achieving continuity of musical action, he abandons historically established operatic forms. Only two of Laura’s songs have a finished, rounded form. In the music of The Stone Guest, Dargomyzhsky managed to achieve a perfect fusion of speech intonations with expressive melody, anticipating the opening of the opera house XX century.

The innovative principles of “The Stone Guest” were continued not only in the operatic recitative of M. P. Mussorgsky, but also in the work of S. Prokofiev. It is known that the great Verdi, while working on “Othello,” carefully studied the score of this masterpiece by Dargomyzhsky.

In the composer's creative heritage, along with operas, chamber vocal music stands out - more than 100 works. They cover all the main genres of Russian vocal lyrics, including new varieties of romance. These are lyrical and psychological monologues (“I’m sad”, “Both bored and sad” to the words of Lermontov), theatrical genre-everyday romances-sketch (“The Miller” to the poems of Pushkin).

Dargomyzhsky's orchestral fantasies - "Bolero", "Baba Yaga", "Little Russian Cossack", "Chukhon Fantasy" - together with Glinka's symphonic opuses marked the pinnacle of the first stage of Russian symphonic music. They show clear signs of genre-characteristic symphonism (national coloring of thematic, reliance on song and dance genres, picturesque images, programming).

Dargomyzhsky’s musical and social activities, which began in the late 50s of the 19th century, were multifaceted. He took part in the work of the satirical magazine "Iskra" (and from 1864 - the magazine "Alarm Clock"), was a member of the committee of the Russian Musical Society (in 1867 he became chairman of its St. Petersburg branch), and participated in the development of the draft charter of the St. Petersburg Conservatory.

Cui called Dargomyzhsky's last opera "The Stone Guest" alpha And omega Russian operatic art, along with Glinka's Ruslan.D he advised all vocal composers to study the declamatory language of “The Stone Guest” “constantly and with the greatest care” as code.

Dargomyzhsky was born on February 2 (14), 1813 in the village of Troitsky, Tula province. His father, Sergei Nikolaevich, was the illegitimate son of a wealthy nobleman Vasily Alekseevich Ladyzhensky. Mother, née Princess Maria Borisovna Kozlovskaya, married against the will of her parents; According to musicologist M.S. Pekelis, Princess M.B. Kozlovskaya inherited from her father the family estate of Tverdunovo, now the Vyazemsky district of the Smolensk region, where the Dargomyzhsky family returned from the Tula province after the expulsion of the Napoleonic army in 1813. Alexander Dargomyzhsky spent the first 3 years of his life on his parents' estate Tverdunovo. Subsequently, he came to this Smolensk estate several times: in the late 1840s - mid-1850s, while working on the opera "Rusalka", to collect Smolensk folklore, in June 1861 to free his peasants from serfdom in the village of Tverdunovo.

French Nikolai Stepanov

Until the age of five, the boy did not speak; his late-formed voice remained forever high and slightly hoarse, which did not prevent him, however, from subsequently moving him to tears with the expressiveness and artistry of his vocal performance. In 1817, the family moved to St. Petersburg, where Dargomyzhsky’s father received a position as the head of the office in a commercial bank, and he himself began to receive a musical education. His first piano teacher was Louise Wolgeborn, then he began studying with Adrian Danilevsky. He was a good pianist, but did not share the young Dargomyzhsky’s interest in composing music (his short piano pieces from this period have been preserved). Finally, for three years Dargomyzhsky’s teacher was Franz Schoberlechner, a student of the famous composer Johann Hummel. Having achieved a certain skill, Dargomyzhsky began performing as a pianist at charity concerts and in private gatherings. At this time, he also studied with the famous singing teacher Benedikt Zeibig, and from 1822 he mastered the violin and played in quartets, but soon lost interest in this instrument. By that time, he had already written a number of piano works, romances and other works, some of which were published.

In the fall of 1827, Dargomyzhsky, following in his father’s footsteps, entered the civil service and, thanks to his hard work and conscientious attitude to work, quickly began to move up the career ladder. During this period, he often played music at home and visited the opera house, whose repertoire was based on the works of Italian composers. In the spring of 1835, he met Mikhail Glinka, with whom he played four-hand piano and analyzed the works of Beethoven and Mendelssohn. Glinka also gave Dargomyzhsky notes from the music theory lessons he received in Berlin from Siegfried Dehn. Having attended the rehearsals of Glinka’s opera “A Life for the Tsar” that was being prepared for production, Dargomyzhsky decided to write a major stage work on his own. The choice of plot fell on Victor Hugo’s drama “Lucretia Borgia”, but the creation of the opera progressed slowly, and in 1837, on the advice of Vasily Zhukovsky, the composer turned to another work by the same author, which in the late 1830s was very popular in Russia - “ Notre Dame Cathedral." Dargomyzhsky used the original French libretto written by Hugo himself for Louise Bertin, whose opera Esmeralda had been staged shortly before. By 1841, Dargomyzhsky completed the orchestration and translation of the opera, for which he also took the title “Esmeralda,” and handed over the score to the directorate of the Imperial Theaters. The opera, written in the spirit of French composers, waited for its premiere for several years, since Italian productions were much more popular with the public. Despite the good dramatic and musical design of Esmeralda, this opera left the stage some time after the premiere and was almost never staged in the future. In his autobiography published in the newspaper “Music and Theater”, published by A. N. Serov in 1867, Dargomyzhsky wrote:

Dargomyzhsky's feelings about the failure of Esmeralda were further aggravated by the growing popularity of Glinka's works. The composer begins to give singing lessons (his students were exclusively women, and he did not charge them any fees) and writes a number of romances for voice and piano, some of which were published and became very popular, for example, “The fire of desire burns in the blood...”, “I am in love, beauty maiden...”, “Lileta”, “Night Zephyr”, “Sixteen Years” and others.

In 1843, Dargomyzhsky resigned, and soon went abroad, where he spent several months in Berlin, Brussels, Paris and Vienna. He meets the musicologist François-Joseph Fety, the violinist Henri Vieutan and the leading European composers of the time: Auber, Donizetti, Halévy, Meyerbeer. Returning to Russia in 1845, the composer became interested in studying Russian musical folklore, elements of which were clearly manifested in romances and songs written during this period: “Darling Maiden”, “Fever”, “Miller”, as well as in the opera “Rusalka”, which the composer began writing in 1848.

“Rusalka” occupies a special place in the composer’s work. Written on the plot of the tragedy of the same name in the verses of A. S. Pushkin, it was created in the period 1848-1855. Dargomyzhsky himself adapted Pushkin's poems into a libretto and composed the ending of the plot (Pushkin's work is not finished). The premiere of “Rusalka” took place on May 4 (16), 1856 in St. Petersburg. The largest Russian music critic of that time, Alexander Serov, responded to it with a large-scale positive review in the “Theatrical Musical Bulletin” (its volume was so large that it was published in parts in several issues), which helped this opera for some time to remain in the repertoire of leading theaters in Russia and added creative confidence to Dargomyzhsky himself.

After some time, Dargomyzhsky became close to the democratic circle of writers, took part in the publication of the satirical magazine Iskra, and wrote several songs based on poems by one of its main participants, the poet Vasily Kurochkin.

In 1859, Dargomyzhsky was elected to the leadership of the newly founded Russian Musical Society, he met a group of young composers, the central figure among whom was Mily Balakirev (this group would later become the “Mighty Handful”). Dargomyzhsky plans to write a new opera, but in search of a plot he first rejects Pushkin’s “Poltava” and then the Russian legend about Rogdan. The composer's choice stops at the third of Pushkin's "Little Tragedies" - "The Stone Guest". Work on the opera, however, is proceeding rather slowly due to the creative crisis that began at Dargomyzhsky, associated with the withdrawal of “Mermaids” from the theater’s repertoire and the disdainful attitude of younger musicians. The composer travels to Europe again, visiting Warsaw, Leipzig, Paris, London and Brussels, where his orchestral play “Cossack”, as well as fragments from “The Mermaid”, are successfully performed. Franz Liszt speaks favorably of Dargomyzhsky’s work.

Returning to Russia, inspired by the success of his compositions abroad, Dargomyzhsky took up the composition of “The Stone Guest” with renewed vigor. The language he chose for this opera - built almost entirely on melodic recitatives with simple chord accompaniment - interested the composers of the Mighty Handful, and especially Cesar Cui, who at that time was looking for ways to reform Russian operatic art. However, Dargomyzhsky’s appointment to the post of head of the Russian Musical Society and the failure of the opera “The Triumph of Bacchus,” which he wrote back in 1848 and had not seen the stage for almost twenty years, weakened the composer’s health, and on January 5 (17), 1869, he died, leaving the opera unfinished. According to his will, The Stone Guest was completed by Cui and orchestrated by Rimsky-Korsakov.

Dargomyzhsky's innovation was not shared by his younger colleagues, and was condescendingly considered an oversight. The harmonic vocabulary of the style of the late Dargomyzhsky, the individualized structure of consonances, their typical characteristics were, as in an ancient fresco recorded in later layers, “ennobled” beyond recognition by Rimsky-Korsakov’s edition, brought into line with the requirements of his taste, like Mussorgsky’s operas “Boris Godunov” and "Khovanshchina", also radically edited by Rimsky-Korsakov.

Dargomyzhsky is buried in the Necropolis of Art Masters of the Tikhvin Cemetery, not far from Glinka’s grave.

Addresses in St. Petersburg

autumn 1832-1836 - Mamontov's house, Gryaznaya street, 14.
1836-1840 - Koenig house, 8th line, 1.
1843 - September 1844 - apartment building of A.K. Esakova, Mokhovaya street, 30.
April 1845 - January 5, 1869 - apartment building of A.K. Esakova, Mokhovaya street, 30, apt. 7.

Creation

For many years, Dargomyzhsky’s name was associated exclusively with the opera “The Stone Guest” as a work that had a great influence on the development of Russian opera. The opera was written in a style that was innovative for those times: there are no arias or ensembles (not counting two small inserted romances by Laura), it is entirely built on “melodic recitatives” and recitations set to music. As the goal of choosing such a language, Dargomyzhsky set not only the reflection of “dramatic truth”, but also the artistic reproduction with the help of music of human speech with all its shades and bends. Later, the principles of Dargomyzhsky’s operatic art were embodied in the operas of M. P. Mussorgsky - “Boris Godunov” and especially vividly in “Khovanshchina”. Mussorgsky himself respected Dargomyzhsky and, in the dedications of several of his romances, called him “the teacher of musical truth.”

Another opera by Dargomyzhsky - “Rusalka” - also became a significant phenomenon in the history of Russian music - it is the first Russian opera in the genre of everyday psychological drama. In it, the author embodied one of the many versions of the legend about a deceived girl, turned into a mermaid and taking revenge on her offender.

Two operas from a relatively early period of Dargomyzhsky's work - "Esmeralda" and "The Triumph of Bacchus" - waited for their first production for many years and were not very popular with the public.

Dargomyzhsky's chamber vocal compositions enjoy great success. His early romances are in a lyrical spirit, composed in the 1840s - influenced by Russian musical folklore (later this style will be used in the romances of P. I. Tchaikovsky), finally, his later ones are filled with deep drama, passion, truthfulness of expression, appearing as such thus, the harbingers of the vocal works of M. P. Mussorgsky. The composer’s comic talent was clearly demonstrated in a number of works: “The Worm”, “Titular Advisor”, etc.

Dargomyzhsky wrote four works for the orchestra: “Bolero” (late 1830s), “Baba Yaga”, “Cossack” and “Chukhon Fantasy” (all early 1860s). Despite the originality of the orchestral writing and good orchestration, they are performed quite rarely. These works are a continuation of the traditions of Glinka's symphonic music and one of the foundations of the rich heritage of Russian orchestral music created by composers of later times.

In the 20th century, interest in Dargomyzhsky’s music was revived: his operas were staged in the leading theaters of the USSR, orchestral works were included in the “Anthology of Russian Symphonic Music” recorded by E. F. Svetlanov, and romances became an integral part of the singers’ repertoire. Among the musicologists who made the greatest contribution to the study of Dargomyzhsky’s work, the most famous are A. N. Drozdov and M. S. Pekelis, the author of many works dedicated to the composer.

Essays

"Esmeralda". Opera in four acts to its own libretto based on Victor Hugo's novel Notre-Dame de Paris. Written in 1838-1841. First production: Moscow, Bolshoi Theater, December 5 (17), 1847.
"The Triumph of Bacchus." Opera-ballet based on Pushkin's poem of the same name. Written in 1843-1848. First production: Moscow, Bolshoi Theater, January 11 (23), 1867.
"Mermaid". An opera in four acts to its own libretto based on Pushkin's unfinished play of the same name. Written in 1848-1855. First production: St. Petersburg, May 4 (16), 1856.
"Mazeppa". Sketches, 1860.
"Rogdana". Fragments, 1860-1867.
"The Stone Guest" An opera in three acts based on the text of Pushkin’s “Little Tragedy” of the same name. Written in 1866-1869, completed by C. A. Cui, orchestrated by N. A. Rimsky-Korsakov. First production: St. Petersburg, Mariinsky Theater, February 16 (28), 1872.

"Bolero". Late 1830s.
“Baba Yaga” (“From the Volga to Riga”). Completed in 1862, first performed in 1870.
"Cossack". Fantasy. 1864
"Chukhon fantasy". Written in 1863-1867, first performed in 1869.

Songs and romances for two voices and piano based on poems by Russian and foreign poets, including “St. Petersburg Serenades”, as well as fragments of the unfinished operas “Mazepa” and “Rogdana”.
Songs and romances for one voice and piano to poems by Russian and foreign poets: “The Old Corporal” (words by V. Kurochkin), “Paladin” (words by L. Uland, translated by V. Zhukovsky, “Worm” (words by P. Beranger, translated V. Kurochkin), “Titular Advisor” (words by P. Weinberg), “I loved you...” (words by A. S. Pushkin), “I’m sad” (words by M. Yu. Lermontov), “I have passed sixteen years” (words by A. Delvig) and others based on words by Koltsov, Kurochkin, Pushkin, Lermontov and other poets, including two insert romances by Laura from the opera “The Stone Guest”.

Five plays (1820s): March, Counter-Dance, “Melancholy Waltz”, Waltz, “Cossack”.
"Brilliant Waltz" Around 1830.
Variations on a Russian theme. Early 1830s.
"Esmeralda's Dreams" Fantasy. 1838
Two mazurkas. Late 1830s.
Polka. 1844
Scherzo. 1844
"Snuff Waltz" 1845
"Fierceness and composure." Scherzo. 1847
"Song Without Words" (1851)
Fantasia on themes from Glinka’s opera “A Life for the Tsar” (mid-1850s)
Slavic tarantella (four hands, 1865)
Arrangements of symphonic fragments of the opera “Esmeralda” and others.

Tribute to memory

Monument at the grave of A. S. Dargomyzhsky, installed in 1961 in the Necropolis of Masters of Arts on the territory of the Alexander Nevsky Lavra in St. Petersburg. Sculptor A. I. Khaustov.
The music school located in Tula is named after A. S. Dargomyzhsky.
In the composer’s homeland, near the village of Arsenyevo in the Tula region, his bronze bust was installed on a marble column (sculptor V. M. Klykov, architect V. I. Snegirev). This is the only monument to Dargomyzhsky in the world.
The composer's museum is located in Arsenyev.
A street in Lipetsk, Kramatorsk, Kharkov, Nizhny Novgorod and Alma-Ata is named after Dargomyzhsky.
A memorial plaque was installed at house 30 on Mokhovaya Street in St. Petersburg.
The Children's Art School in Vyazma bears the name of A. S. Dargomyzhsky. There is a memorial plaque on the facade of the school.
Personal belongings of A. S. Dargomyzhsky are kept in the Vyazemsky Museum of History and Local Lore.
The name “Composer Dargomyzhsky” was given to a motor ship of the same type as the “Composer Kara Karaev”.
In 1963, a USSR postage stamp dedicated to Dargomyzhsky was issued.
In 2003, in the former family estate of A.S. Dargomyzhsky - Tverdunovo, now a tract in the Vyazemsky district of the Smolensk region, a memorial sign was erected in his honor.
By decision of the Smolensk Regional Executive Committee No. 358 of June 11, 1974, the village of Tverdunovo in the Isakovsky village council of the Vyazemsky district was declared a historical and cultural monument of regional significance, as the place where the composer A.S. Dargomyzhsky spent his childhood.
In the village of Isakovo, Vyazemsky district, Smolensk region, a street is named after A.S. Dargomyzhsky.
On the Vyazma - Temkino highway, in front of the village of Isakovo, a road sign was installed in 2007 showing the road to the former estate of A.S. Dargomyzhsky - Tverdunovo.

A country

Russian empire

Professions

Alexander Sergeevich Dargomyzhsky (February 2 (14) ( 18130214 ) , Troitskoye village, Belevsky district, Tula province - January 5 (17), St. Petersburg) - Russian composer, whose work had a significant influence on the development of Russian musical art of the 19th century. One of the most notable composers of the period between the work of Mikhail Glinka and the “Mighty Handful”, Dargomyzhsky is considered the founder of the realistic trend in Russian music, the followers of which were many composers of subsequent generations.

Biography

Dargomyzhsky was born on February 2, 1813 in the village of Troitsky, Tula province. His father, Sergei Nikolaevich, was the illegitimate son of a wealthy nobleman Vasily Alekseevich Ladyzhensky. Mother, née Princess Maria Borisovna Kozlovskaya, married against the will of her parents; According to musicologist M. S. Pekelis, Princess M. B. Kozlovskaya inherited from her father (the composer’s grandfather) the family Smolensk estate of Tverdunovo, now in the Vyazemsky district of the Smolensk region, where the Dargomyzhsky family returned from the Tula province after the expulsion of the Napoleonic army in 1813. Alexander Dargomyzhsky spent the first 3 years of his life in the Smolensk estate of Tverdunovo. Subsequently, he came to this parental estate several times: in the late 1840s - mid-1850s to collect Smolensk folklore while working on the opera “Rusalka”, in June 1861 to free his Smolensk peasants from serfdom.

The composer's mother M. B. Kozlovskaya was well educated, wrote poetry and short dramatic scenes, published in almanacs and magazines in the 1820s - 1830s, and was keenly interested in French culture. The family had six children: Erast (), Alexander, Sophia (), Victor (), Lyudmila () and Erminia (1827). All of them were raised at home, in the traditions of the nobility, received a good education and inherited a love of art from their mother. Dargomyzhsky's brother, Victor, played the violin, one of his sisters played the harp, and he himself was interested in music from an early age. Warm friendly relations between the brothers and sisters remained for many years, so Dargomyzhsky, who did not have his own family, subsequently lived for several years with the family of Sophia, who became the wife of the famous cartoonist Nikolai Stepanov.

In the fall of 1827, Dargomyzhsky, following in his father’s footsteps, entered the civil service and, thanks to his hard work and conscientious attitude to work, quickly began to move up the career ladder. During this period, he often played music at home and visited the opera house, whose repertoire was based on the works of Italian composers. In the spring of 1835, he met Mikhail Glinka, with whom he played four-hand piano and analyzed the works of Beethoven and Mendelssohn. Glinka also gave Dargomyzhsky notes from the music theory lessons he received in Berlin from Siegfried Dehn. Having attended the rehearsals of Glinka’s opera “A Life for the Tsar”, which was being prepared for production, Dargomyzhsky decided to write a major stage work on his own. The choice of plot fell on Victor Hugo’s drama “Lucretia Borgia”, but the creation of the opera progressed slowly, and in 1837, on the advice of Vasily Zhukovsky, the composer turned to another work by the same author, which in the late 1830s was very popular in Russia - “ Notre Dame Cathedral." Dargomyzhsky used the original French libretto written by Hugo himself for Louise Bertin, whose opera Esmeralda had been staged shortly before. By 1841, Dargomyzhsky completed the orchestration and translation of the opera, for which he also took the title “Esmeralda,” and handed over the score to the directorate of the Imperial Theaters. The opera, written in the spirit of French composers, waited for its premiere for several years, since Italian productions were much more popular with the public. Despite the good dramatic and musical design of Esmeralda, this opera left the stage some time after the premiere and was almost never staged in the future. In his autobiography published in the newspaper “Music and Theater”, published by A. N. Serov in 1867, Dargomyzhsky wrote:

Esmeralda stayed in my briefcase for eight whole years. It was these eight years of vain waiting, even during the most intense years of my life, that laid a heavy burden on my entire artistic activity.

Manuscript of the first page of one of Dargomyzhsky's romances

Dargomyzhsky's feelings about the failure of Esmeralda were further aggravated by the growing popularity of Glinka's works. The composer begins to give singing lessons (his students were exclusively women, and he did not charge them any fees) and writes a number of romances for voice and piano, some of which were published and became very popular, for example, “The fire of desire burns in the blood...”, “I’m in love, beauty maiden...”, “Lileta”, “Night Zephyr”, “Sixteen Years” and others.

Returning to Russia, inspired by the success of his compositions abroad, Dargomyzhsky took up the composition of “The Stone Guest” with renewed vigor. The language he chose for this opera - almost entirely built on melodic recitatives with simple chord accompaniment - interested the composers of the "Mighty Handful", and especially Cesar Cui, who at that time was looking for ways to reform Russian operatic art. However, Dargomyzhsky’s appointment to the post of head of the Russian Musical Society and the failure of the opera “The Triumph of Bacchus,” which he wrote back in 1848 and had not seen the stage for almost twenty years, weakened the composer’s health, and on January 5 (17), 1869, he died, leaving the opera unfinished. According to his will, The Stone Guest was completed by Cui and orchestrated by Rimsky-Korsakov.

Dargomyzhsky is buried in the Necropolis of Art Masters of the Tikhvin Cemetery, not far from Glinka’s grave.

Addresses in St. Petersburg

autumn 1832-1836 - Mamontov's house, Gryaznaya street, 14.
1836-1840 - Koenig house, 8th line, 1.
1843 - September 1844 - apartment building of A.K. Esakova, Mokhovaya street, 30.
April 1845 - January 5, 1869 - apartment building of A.K. Esakova, Mokhovaya street, 30, apt. 7.

Creation

For many years, Dargomyzhsky’s name was associated exclusively with the opera “The Stone Guest” as a work that had a great influence on the development of Russian opera. The opera was written in a style that was innovative for those times: there are no arias or ensembles (not counting two small inserted romances by Laura), it is entirely built on “melodic recitatives” and recitations set to music. As the goal of choosing such a language, Dargomyzhsky set not only the reflection of “dramatic truth”, but also the artistic reproduction of human speech with all its shades and bends using music. Later, the principles of Dargomyzhsky’s operatic art were embodied in the operas of M. P. Mussorgsky - “Boris Godunov” and especially vividly in “Khovanshchina”. Mussorgsky himself respected Dargomyzhsky and, in the dedications of several of his romances, called him “a teacher of musical truth.”

Its main advantage is a new, never used style of musical dialogue. All the tunes are thematic and the characters “speak the notes.” This style was subsequently developed by M. P. Mussorgsky. ...

Without “The Stone Guest” it is impossible to imagine the development of Russian musical culture. It was three operas - “Ivan Susanin”, “Ruslan and Lyudmila” and “The Stone Guest” that created Mussorgsky, Rimsky-Korsakov and Borodin. “Susanin” is an opera where the main character is the people, “Ruslan” is a mythical, deeply Russian plot, and “The Guest”, in which drama prevails over the sweet beauty of sound.

Dargomyzhsky's chamber vocal compositions enjoy great success. His early romances are in a lyrical spirit, composed in the 1840s - influenced by Russian musical folklore (later this style will be used in the romances of P. I. Tchaikovsky), finally, his later ones are filled with deep drama, passion, truthfulness of expression, appearing as such thus, forerunners of the vocal works of M. P. Mussorgsky. The composer’s comic talent was clearly demonstrated in a number of works: “The Worm”, “Titular Advisor”, etc.

Essays

Operas

"Esmeralda". Opera in four acts to its own libretto based on the novel “Notre Dame de Paris” by Victor Hugo. Written in 1838-1841. First production: Moscow, Bolshoi Theater, December 5 (17), 1847.
"The Triumph of Bacchus." Opera-ballet based on Pushkin's poem of the same name. Written in 1843-1848. First production: Moscow, Bolshoi Theater, January 11 (23), 1867.
"Mermaid". An opera in four acts to its own libretto based on Pushkin's unfinished play of the same name. Written in 1848-1855. First production: St. Petersburg, May 4(16), 1856.
"Mazeppa". Sketches, 1860.
"Rogdana". Fragments, 1860-1867.
"The Stone Guest". An opera in three acts based on the text of Pushkin’s “Little Tragedy” of the same name. Written in 1866-1869, completed by C. A. Cui, orchestrated by N. A. Rimsky-Korsakov. First production: St. Petersburg, Mariinsky Theater, February 16 (28), 1872.

Works for orchestra

"Bolero". Late 1830s.
“Baba Yaga” (“From the Volga to Riga”). Completed in 1862, first performed in 1870.
"Cossack". Fantasy. 1864
"Chukhon fantasy". Written in 1863-1867, first performed in 1869.

Chamber vocal works

Songs and romances for two voices and piano based on poems by Russian and foreign poets, including “St. Petersburg Serenades”, as well as fragments of the unfinished operas “Mazepa” and “Rogdana”.
Songs and romances for one voice and piano to poems by Russian and foreign poets: “Old Corporal” (words by V. Kurochkin), “Paladin” (words by L. Uland, translated by V. Zhukovsky, “Worm” (words by P. Beranger, translated V. Kurochkin), “Titular Advisor” (words by P. Weinberg), “I loved you...” (words by A. S. Pushkin), “I’m sad” (words by M. Yu. Lermontov), “I have passed sixteen years” (words by A. Delvig) and others based on words by Koltsov, Kurochkin, Pushkin, Lermontov and other poets, including two insert romances by Laura from the opera “The Stone Guest”.

Works for piano

Five plays (1820s): March, Counter-Dance, “Melancholy Waltz”, Waltz, “Cossack”.
"Brilliant Waltz" Around 1830.
Variations on a Russian theme. Early 1830s.
"Esmeralda's Dreams" Fantasy. 1838
Two mazurkas. Late 1830s.
Polka. 1844
Scherzo. 1844
"Snuff Waltz" 1845
"Fierceness and composure." Scherzo. 1847
"Song Without Words" (1851)
Fantasia on themes from Glinka’s opera “A Life for the Tsar” (mid-1850s)
Slavic tarantella (four hands, 1865)
Arrangements of symphonic fragments of the opera “Esmeralda” and others.

Tribute to memory

Monument at the grave of A. S. Dargomyzhsky, erected in 1961 in the Necropolis of Masters of Arts on the territory of the Alexander Nevsky Lavra in St. Petersburg. Sculptor A. I. Khaustov.
The music school located in Tula is named after A. S. Dargomyzhsky.
Not far from the composer’s homeland, in the village of Arsenyevo, Tula region, his bronze bust was installed on a marble column (sculptor V. M. Klykov, architect V. I. Snegirev). This is the only monument to Dargomyzhsky in the world.
The composer's museum is located in Arsenyev.
A street in Lipetsk, Kramatorsk, Kharkov, Nizhny Novgorod and Alma-Ata is named after Dargomyzhsky.
A memorial plaque was installed at house 30 on Mokhovaya Street in St. Petersburg.
The Children's Art School in Vyazma bears the name of A. S. Dargomyzhsky. There is a memorial plaque on the facade of the school.
Personal belongings of A. S. Dargomyzhsky are kept in the Vyazemsky Museum of History and Local Lore.
The name “Composer Dargomyzhsky” was given to a motor ship of the same type as the “Composer Kara Karaev”.
In 1963, a USSR postage stamp dedicated to Dargomyzhsky was issued.
By decision of the Smolensk Regional Executive Committee No. 358 of June 11, 1974, the village of Tverdunovo in the Isakovsky village council of the Vyazemsky district was declared a historical and cultural monument of regional significance, as the place where the composer A. S. Dargomyzhsky spent his childhood.
In 2003, in the former family estate of A. S. Dargomyzhsky - Tverdunovo, now a tract in the Vyazemsky district of the Smolensk region, a memorial sign was erected in his honor.
In the village of Isakovo, Vyazemsky district, Smolensk region, a street is named after A. S. Dargomyzhsky.
On the Vyazma - Temkino highway, in front of the village of Isakovo, a road sign was installed in 2007 showing the road to the former estate of A. S. Dargomyzhsky - Tverdunovo.

Notes

Literature

Karmalina L.I. Memoirs of L.I. Karmalina. Dargomyzhsky and Glinka // Russian antiquity, 1875. - T. 13. - No. 6. - P. 267-271.
A. S. Dargomyzhsky (1813-1869). Autobiography. Letters. Memoirs of contemporaries. Petrograd: 1921.
Drozdov A. N. Alexander Sergeevich Dargomyzhsky. - M.: 1929.
Pekelis M. S. A. S. Dargomyzhsky. - M.: 1932.
Serov A. N. Mermaid. Opera by A. S. Dargomyzhsky // Selections. articles. T. 1. - M.-L.: 1950.
Pekelis M. S. Dargomyzhsky and folk song. On the problem of nationality in Russian classical music. - M.-L.: 1951.
Shlifshtein S. I. Dargomyzhsky. - Ed. 3rd, rev. and additional - M.: Muzgiz, 1960. - 44, p. - (Music lover's library). - 32,000 copies.
Pekelis M. S. Dargomyzhsky and his entourage. T. 1-3. - M.: 1966-1983.
Medvedeva I. A. Alexander Sergeevich Dargomyzhsky. (1813-1869). - M., Music, 1989. - 192 pp., incl. (Russian and Soviet composers). - ISBN 5-7140-0079-X.
Ganzburg G. I.

I don't intend to reduce...music to fun. I want the sound to directly express the word. I want the truth.
A. Dargomyzhsky

At the beginning of 1835, a young man appeared in the house of M. Glinka, who turned out to be a passionate music lover. Short, outwardly unremarkable, he was completely transformed at the piano, delighting those around him with his free playing and excellent sight-reading of notes. It was A. Dargomyzhsky, in the near future the largest representative of Russian classical music. The biographies of both composers have a lot in common. Dargomyzhsky's early childhood was spent on his father's estate not far from Novospasskoye, and he was surrounded by the same nature and peasant way of life as Glinka. But he came to St. Petersburg at an earlier age (his family moved to the capital when he was 4 years old), and this left its mark on his artistic tastes and determined his interest in the music of urban life.

Dargomyzhsky received a home-based, but broad and varied education, in which poetry, theater, and music occupied the first place. At the age of 7 he was taught to play the piano and violin (later he took singing lessons). Early on he discovered a desire for musical writing, but it was not encouraged by his teacher A. Danilevsky. Dargomyzhsky completed his pianistic education with F. Schoberlechner, a student of the famous J. Hummel, studying with him in 1828-31. During these years he often performed as a pianist, took part in quartet evenings and showed increasing interest in composition. Nevertheless, Dargomyzhsky still remained an amateur in this area. There was not enough theoretical knowledge, and besides, the young man plunged headlong into the whirlpool of social life, “he was in the heat of youth and in the claws of pleasure.” True, even then there was not only entertainment. Dargomyzhsky attends musical and literary evenings in the salons of V. Odoevsky, S. Karamzina, and hangs out with poets, artists, performers, and musicians. However, a complete revolution in his fate was accomplished by his acquaintance with Glinka. “The same education, the same love for art immediately brought us closer together... We soon became friends and sincerely became friends. ...For 22 years in a row, we were constantly on the shortest, most friendly terms with him,” Dargomyzhsky wrote in his autobiographical note.

It was then that Dargomyzhsky first truly faced the question of the meaning of composer’s creativity. He was present at the birth of the first classical Russian opera “Ivan Susanin”, took part in its stage rehearsals and was convinced with his own eyes that music is intended not only to delight and entertain. Music playing in salons was abandoned, and Dargomyzhsky began to fill the gaps in his musical theoretical knowledge. For this purpose, Glinka gave Dargomyzhsky 5 notebooks containing notes of lectures by the German theorist Z. Dehn.

In his first creative experiments, Dargomyzhsky already showed great artistic independence. He was attracted by images of the “humiliated and insulted”; he strives to recreate various human characters in music, warming them with his sympathy and compassion. All this influenced the choice of the first opera plot. In 1839, Dargomyzhsky completed the opera “Esmeralda” to the French libretto by V. Hugo based on his novel “Notre Dame Cathedral”. Its premiere took place only in 1848, and “these eight years vain expectations,” wrote Dargomyzhsky, “laid a heavy burden on my entire artistic activity.”

Failure also accompanied the next major work - the cantata "The Triumph of Bacchus" (at the station by A. Pushkin, 1843), revised in 1848 into an opera-ballet and staged only in 1867. "Esmeralda", which was the first attempt to embody a psychological drama " little people”, and “The Triumph of Bacchus”, where it took place for the first time as part of a large-scale composition of the windy with the brilliant Pushkin poetry, with all the imperfections they were a serious step towards “Rusalka”. Numerous romances also paved the way to it. It was in this genre that Dargomyzhsky somehow immediately easily and naturally reached the top. He loved vocal music and was involved in teaching until the end of his life. “...By constantly being in the company of singers and singers, I practically managed to study both the properties and bends of human voices and the art of dramatic singing,” wrote Dargomyzhsky. In his youth, the composer often paid tribute to salon lyricism, but even in his early romances he came into contact with the main themes of his work. Thus, the lively vaudeville song “I repent, uncle” (Art. A. Timofeev) anticipates the satirical songs and skits of later times; the urgent topic of freedom of human feeling is embodied in the ballad “Wedding” (Art. A. Timofeev), so beloved later by V. I. Lenin. In the early 40s. Dargomyzhsky turned to Pushkin’s poetry, creating such masterpieces as the romances “I Loved You,” “Young Man and Maiden,” “Night Zephyr,” and “Vertograd.” Pushkin's poetry helped to overcome the influence of the sensitive salon style and stimulated the search for more subtle musical expressiveness. The relationship between words and music became ever closer, requiring the renewal of all means, and first of all, melody. Musical intonation, capturing the bends of human speech, helped to sculpt a real, living image, and this led to the formation in Dargomyzhsky’s chamber vocal work of new varieties of romance - lyrical and psychological monologues (“I’m sad”, “Both boring and sad” in Art. M Lermontov), theatrical genre-everyday romances and sketches (“Melnik” at Pushkin Station).

An important role in Dargomyzhsky’s creative biography was played by a trip abroad at the end of 1844 (Berlin, Brussels, Vienna, Paris). Its main result is an irresistible need to “write in Russian,” and over the years this desire acquires an increasingly clear social orientation, echoing the ideas and artistic quests of the era. The revolutionary situation in Europe, the tightening of political reaction in Russia, growing peasant unrest, anti-serfdom tendencies among the advanced part of Russian society, increasing interest in folk life in all its manifestations - all this contributed to serious shifts in Russian culture, primarily in literature, where by the mid-40s. The so-called “natural school” is emerging. Its main feature, according to V. Belinsky, was “a closer and closer rapprochement with life, with reality, a greater and greater proximity to maturity and manhood.” The themes and plots of the “natural school” - the life of a simple class in its unvarnished everyday life, the psychology of a small person - were very consonant with Dargomyzhsky, and this was especially evident in the opera “Rusalka” and the revealing romances of the late 50s. (“Worm”, “Titular Councilor”, “Old Corporal”).

“Rusalka,” on which Dargomyzhsky worked intermittently from 1845 to 1855, opened a new direction in Russian opera. This is a lyrical and psychological everyday drama, its most remarkable pages are the extensive ensemble scenes, where complex human characters enter into acute conflict relationships and are revealed with great tragic force. The first performance of “The Mermaid” on May 4, 1856 in St. Petersburg aroused the interest of the public, but high society did not honor the opera with its attention, and the management of the imperial theaters treated it unkindly. The situation changed in the mid-60s. Revived under the direction of E. Napravnik, “Rusalka” was a truly triumphant success, noted by critics as a sign that “the views of the public... have radically changed.” These changes were caused by the renewal of the entire social atmosphere, the democratization of all forms of public life. The attitude towards Dargomyzhsky became different. Over the past decade, his authority in the musical world has increased greatly; a group of young composers led by M. Balakirev and V. Stasov have united around him. The composer's musical and social activities also intensified. At the end of the 50s. he took part in the work of the satirical magazine Iskra, from 1859 he became a member of the RMO committee, and participated in the development of the draft charter of the St. Petersburg Conservatory. So when in 1864 Dargomyzhsky undertook a new trip abroad, the foreign public in his person welcomed a major representative of Russian musical culture.

Alexander Sergeevich Dargomyzhsky was born on February 2, 1813 in the village of Troitskoye, Tula province. The first four years of his life he was away from St. Petersburg, but it was this city that left the deepest mark on his consciousness.

There were six children in the Dargomyzhsky family. Parents made sure that they all received a broad humanitarian education. Alexander Sergeevich was educated at home; he never studied in any educational institution. The only source of his knowledge were his parents, large family and home teachers. They were the environment that shaped his character, tastes and interests.

Alexander Sergeevich Dargomyzhsky

Music occupied a special place in raising children in the Dargomyzhsky family. Parents attached great importance to her, believing that she was the beginning that softened morals, acted on feelings and educated hearts. Children learned to play various musical instruments.

Little Sasha at the age of 6 began learning to play the piano from Louise Wolgeborn. Three years later, the then famous musician Andrian Trofimovich Danilevsky became his teacher. In 1822, the boy began to be taught to play the violin. Music became his passion. Despite the fact that he had to learn a lot of lessons, Sasha, at about 11-12 years old, began to compose small piano pieces and romances himself. An interesting fact is that the boy’s teacher, Danilevsky, was categorically against his writing, and there were even cases when he tore up manuscripts. Subsequently, the famous musician Schoberlechner was hired for Dargomyzhsky, who completed his education in the field of piano playing. In addition, Sasha took vocal lessons from a singing teacher named Zeibich.

At the end of the 1820s, it became completely clear that Alexander had a great passion for composing music.

In September 1827, Alexander Sergeevich was assigned to the control of the Ministry of the Court for the position of clerk, but without salary. By 1830, all of St. Petersburg knew Dargomyzhsky as a strong pianist. It was not for nothing that Schoberlechner considered him his best student. From that time on, the young man, despite departmental responsibilities and music studies, began to pay more and more attention to secular entertainment. It is unknown how the fate of Dargomyzhsky the musician would have developed if providence had not brought him together with Mikhail Ivanovich Glinka. This composer managed to guess Alexander's real calling.

They met in 1834 at Glinka’s apartment, spent the entire evening talking animatedly and playing the piano. Dargomyzhsky was amazed, fascinated and stunned by Glinka’s playing: he had never heard such softness, smoothness and passion in sounds. After this evening, Alexander becomes a frequent guest in Glinka’s apartment. Despite the age difference, the two musicians developed a close friendship that lasted 22 years.

Glinka tried to help Dargomyzhsky master the skill of composition as best as possible. To do this, he gave him his notes on music theory, which Siegfried Dehn taught him. Alexander Sergeevich and Mikhail Ivanovich met just at the time when Glinka was working on the opera “Ivan Susanin”. Dargomyzhsky helped his older friend a lot: he got the instruments needed for the orchestra, learned the parts with the singers and rehearsed with the orchestra.

In the 1830s, Dargomyzhsky wrote many romances, songs, duets, etc. Pushkin’s poetry became a fundamental moment in the artistic formation of the composer. Such romances as “I Loved You,” “Young Man and Maiden,” “Vertograd,” “Night Marshmallow,” and “The Fire of Desire Burns in the Blood” were written based on the poems of the brilliant poet. In addition, Alexander Sergeevich also wrote on civil and social topics. A striking example of this is the fantasy song “Wedding,” which has become one of the favorite songs of student youth.

Dargomyzhsky was a regular at various literary salons and often appeared at social parties and in art circles. There he played the piano a lot, accompanied singers, and sometimes sang new vocal pieces himself. In addition, he sometimes participated in quartets as a violinist.

At the same time, the composer decided to write an opera. He wanted to find a plot with strong human passions and emotions. That is why he chose V. Hugo’s novel “Notre Dame de Paris.” By the end of 1841, work on the opera was completed, which was reported in the newspaper “Miscellaneous News”. In a short note, the author wrote that Dargomyzhsky graduated from the opera “Esmeralda”, which the directorate of St. Petersburg theaters accepted from him. It was also reported that the opera would soon be staged on the stage of one of the theaters. But one year passed, then another, a third, and the opera score still lay somewhere in the archive. No longer hoping for his work to be staged, Alexander Sergeevich decided to go abroad in 1844.

In December 1844, Dargomyzhsky arrived in Paris. The purpose of his trip was to get to know the city, its people, way of life, and culture. From France, the composer wrote many letters to his relatives and friends. Alexander Sergeevich regularly visited theaters, where he most often listened to French operas. In a letter to his father, he wrote: “French opera can be compared to the ruins of an excellent Greek temple... and yet the temple no longer exists. I can be fully convinced that French opera could compare and surpassed any Italian one, but I still judge by fragments alone.”

Six months later, Dargomyzhsky returned to Russia. During these years, socio-political contradictions intensified in the homeland. One of the main tasks of art has become the truthful disclosure of irreconcilable differences between the world of rich and ordinary people. Now the hero of many works of literature, painting and music is a person who comes from the middle and lower strata of society: an artisan, a peasant, a petty official, a poor tradesman.

Alexander Sergeevich also devoted his work to showing the life and everyday life of ordinary people, realistically revealing their spiritual world, and exposing social injustice.

Not only lyrics are heard in Dargomyzhsky’s romances to Lermontov’s words “Both boring and sad” and “I’m sad.” In order to fully understand and comprehend the meaning of the first of the above-mentioned romances, you need to remember how these poems by Lermontov sounded in these years. The composer sought to emphasize in the work the significance and weight of not only every phrase, but almost every word. This romance is an elegy that resembles an oratorical speech set to music. There have never been such romances in Russian music. It would be more accurate to say that this is a monologue of one of Lermontov’s lyrical heroes.

Another lyrical monologue by Lermontov, “I’m sad,” is built on the same principle of combining songwriting and recitation as the first romance. These are not reflections of the hero alone with himself, but an appeal to another person, filled with sincere warmth and affection.

One of the most important places in Dargomyzhsky’s work is occupied by songs written to the words of the songwriter A.V. Koltsov. These are sketch songs showing the lives of ordinary people, their feelings and experiences. For example, the lyrical song-complaint “Crazy, Without Reason” tells the story of the fate of a peasant girl who was forcibly married to an unloved man. The song “Fever” is almost the same in nature. In general, most of Dargomyzhsky’s songs and romances are dedicated to the story of a woman’s difficult lot.

In 1845, the composer began work on the opera “Rusalka”. He worked on it for 10 years. The work proceeded unevenly: in the first years the author was busy studying folk life and folklore, then he moved on to drawing up a script and libretto. The writing of the work progressed well in 1853 - 1855, but at the end of the 1850s the work almost stopped. There were many reasons for this: the novelty of the task, creative difficulties, the tense socio-political situation of that era, as well as indifference to the composer’s work on the part of theater management and society.

Excerpt from the romance “I'm Sad” by A. S. Dargomyzhsky

In 1853, Alexander Sergeevich wrote to V.F. Odoevsky: “To the best of my ability and ability, in my “Rusalka” I am working on the development of our dramatic elements. I’ll be happy if I succeed in this even half as much as Mikhaila Ivanovich Glinka...”

On May 4, 1856, the first performance of “Mermaids” was given. The then young L.N. Tolstoy was present at the performance. He sat in the same box with the composer. The opera aroused wide interest and attracted the attention of not only musicians, but also listeners of all ranks. However, the performance was not visited by members of the royal family and high society in St. Petersburg, and therefore, from 1857, it began to be performed less and less often, and then was completely removed from the stage.

An article dedicated to Dargomyzhsky’s opera “Rusalka” appeared in the magazine “Russian Musical Culture”. Here is what the author said in it: ““Rusalka” is the first significant Russian opera to appear after Glinka’s “Ruslan and Lyudmila”. At the same time, this is an opera of a new type - a psychological, everyday musical drama... Revealing the complex chain of relationships between the characters, Dargomyzhsky achieves special completeness and versatility in depicting human characters..."

Alexander Sergeevich, according to contemporaries, for the first time in Russian opera embodied not only the social conflicts of that time, but also the internal contradictions of the human personality, that is, a person’s ability to be different in certain circumstances. P. I. Tchaikovsky praised this work very highly, saying that among Russian operas it ranks first after Glinka’s brilliant operas.

The year 1855 became a turning point in the life of the Russian people. The Crimean War had just been lost, despite the 11-month defense of Sevastopol. This defeat of Tsarist Russia revealed the weakness of the serf system and became the last straw that overflowed the cup of people's patience. A wave of peasant revolts took place across Russia.

During these years, journalism reached its greatest prosperity. The satirical magazine Iskra occupied a special position among all publications. Almost from the moment the journal was created, Dargomyzhsky was a member of the editorial board. Many in St. Petersburg knew about his satirical talent, as well as about his socially accusatory orientation in his work. Many notes and feuilletons about theater and music were written by Alexander Sergeevich. In 1858 he composed a dramatic song, "The Old Corporal", which was both a monologue and a dramatic scene. It contained an angry denunciation of a social system that allows human violence against human beings.

The Russian public also paid much attention to Dargomyzhsky’s comic song “The Worm,” which tells about a petty official groveling before the illustrious count. The composer also achieved vivid imagery in “The Titular Councilor.” This work is nothing more than a small vocal picture showing the unsuccessful love of a modest official for an arrogant general’s daughter.

In the early 60s, Alexander Sergeevich created a number of works for the symphony orchestra. Among them we can name “The Ukrainian Cossack”, which echoes Glinka’s “Kamarinskaya”, as well as “Babu Yaga”, which is the first programmatic orchestral work in Russian music, containing sharp, florid, sometimes simply comic episodes.

At the end of the 60s, Dargomyzhsky began composing the opera “The Stone Guest” based on the verses of A. S. Pushkin, which, in his opinion, became the “swan song”. Having chosen this work, the composer set himself a huge, complex and new task - to preserve Pushkin’s complete text intact and, without composing the usual operatic forms (arias, ensembles, choruses), to write music for it that would consist of only recitatives . Such work was within the capabilities of a musician who had perfect mastery of the ability to musically transform a living word into music. Dargomyzhsky coped with this. He not only presented a work that had an individual musical language for each character, but also managed, with the help of recitative, to depict the characters’ habits, their temperament, manner of speech, change of mood, etc.

Dargomyzhsky more than once told his friends that if he died without finishing the opera, Cui would finish it, and Rimsky-Korsakov would instrument it. On January 4, 1869, Borodin's First Symphony was performed for the first time. Alexander Sergeevich at this time was already seriously ill and did not go anywhere. But he was keenly interested in the successes of the new generation of Russian musicians and wanted to hear about their work. While rehearsals for the First Symphony were underway, Dargomyzhsky asked everyone who came to visit him about the progress of preparations for the performance of the work. He wanted to be the first to hear how it was received by the general public.

Fate did not give him this chance, because on January 5, 1869, Alexander Sergeevich died. On November 15, 1869, the opera “The Stone Guest” was performed in its entirety at a regular evening with his friends. According to the author's will, Cui and Rimsky-Korsakov took away the manuscript of the opera immediately after his death.

Dargomyzhsky was a bold innovator in music. He was the first of all composers to capture in his compositions a theme of great social urgency. Since Alexander Sergeevich was a subtle psychologist, distinguished by remarkable observation, he was able to create a wide and varied gallery of human images in his works.

From the book Encyclopedic Dictionary (P) author Brockhaus F.A.

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