Антонин дворжак. игра-викторина по самым известным основным произведениям

ANTONÍN DVOŘÁK: HIS LIFE, HIS MUSIC, HIS LEGACY

By David R. Beveridge

During the last years of his life the Czech composer Antonín Dvořák (1841-1904) was considered by many throughout the Western world to be the greatest of all living composers. And his popularity has never waned: his music still speaks to us today and occupies a conspicuous position in performance repertoire.

In part this merely reflects the fact that his oeuvre is extraordinarily large and varied. He was one of the most prolific of all great composers of the nineteenth and twentieth centuries, and left substantial outputs in practically all major genres from short piano pieces to operas. Even within genres, moreover, we find an astonishingly broad range of style – in string quartets ♫, for instance, from the mind-boggling chromatic intensity of some passages in early and middle-period works to the Finale of the “American” Quartet ♫ with its down-home, rollicking barn dance.

However, the quantity and diversity of Dvořák’s output are complemented by its generally very high quality, with many of his works holding a place among the greatest musical achievements of their time – or perhaps any time. His music probes the depths and all the nooks and crannies of our emotions, making us cringe in agony and weep with sorrow, but also laugh and smile through tears of rapture. Further adding to his appeal is his life’s story as a ”self-made” man who, through talent, hard work, and indefatigable determination overcame poverty and low social standing to become an artist admired (and well compensated financially) all over the Western world.

Музыка

По завершении обучения в школе Дворжак мог стать сельским органистом, но остался в Праге. С 1850 года он работал альтистом в капелле Карела Комзака, а к 1862-му стал музыкантом оркестра «Временного театра». К 1866-му его главой стал Бедржих Сметана. Композитор исполнял произведения Ференца Листа, Гектора Берлиоза, Рихарда Вагнера, Михаила Глинки.

Бюст Антонина Дворжака / Petr Vodička, «Википедия»

Загоревшись идеей об опере, Дворжак уволился из оркестра. Премьера долгожданного «Короля и угольщика» состоялась в 1874-м. Опера оказалась невероятно успешной, и, вдохновленный успехом, Дворжак начал писать с большим трудолюбием. На свет появились оперы «Ванда», «Упрямцы», «Хитрый крестьянин», а также произведения малого формата, в числе которых и «Моравские дуэты». Впоследствии творения были высоко оценены Иоганнесом Брамсом.

Несмотря на творческий подъем, этот период биографии Дворжака оказался непростым. Трое его детей скончались, что сказалось на творчестве. Автор переносил в произведения скорбь, печаль и тоску, которые испытывал из-за потери. Лишь к 1878 году он смог справиться с тяжелой утратой. Жена подарила ему дочь, и радостное событие настроило музыканта на позитивный лад.

Музыкальный издатель Фриц Зимрок заказал Дворжаку сборник пьес «Славянские танцы». Его выход ознаменовался восторженной реакцией критиков. Меломаны скупали ноты, а от издательств хлынул поток заказов. Антонин оказался востребованным. В пражской газете появился перевод хвалебной статьи немецкого критика, и на концерт Дворжака собралось огромное количество гостей. Успех был оглушителен.

Антонина Дворжака избрали членом клуба творческих деятелей «Умелецкая беседа», и он возглавил музыкальное направление этого союза. Так композитор стал выступать в роли члена жюри на музыкальных конкурсах. Популярность его стала баснословной. Ни один концерт не обходился без исполнения его произведений, а за творения автора предлагали огромные гонорары.

Композитор Антонин Дворжак / «Википедия»

В 1884 году он получил приглашение в Великобританию, где также был тепло принят. В поездке Антонин познакомился с Петром Чайковским и после Англии посетил с гастролями Россию. Дворжака воспевали и здесь.

В 1901-м состоялась премьера знаменитой оперы «Русалка», вновь напомнившей о необъятном таланте автора. В числе последних произведений Дворжака, написанных перед смертью, оказалась и «Армида», которую автор закончил в 1904 году.

AN IMMORTAL LEGACY OF STRONG CONVICTION AND AFFIRMATION OF LIFE

Dvořák suffered plenty during his life, mainly during his difficult first thirty-six years of poverty and professional frustration capped by the deaths of his first three children, and his psyche had its share of foibles. In his music we find no lack of passages that are emotionally complex and sometimes deeply painful. Yet at root he appears to have been a man of strong mental disposition and great optimism, with a positive attitude toward life, strengthened by his firm religious conviction – as a Roman Catholic or perhaps, as his son Otakar asserted, a man of a broader religious outlook almost akin to pantheism; certainly he can be said to have virtually worshipped the beauty of nature. And one of his special talents was to write music that ‘snatches victory from the jaws of defeat’ – that leaves one with the feeling that, whatever pain and tragedy one might experience, in the last analysis the world is a wonderful place.

Dvořák’s death on 1 May 1904 – of somewhat unclear causes, though apparently from a stroke due to complications of influenza and a kidney ailment – came as a shock to the musical world. But his rich legacy lived on and still lives today, provoking ever-new interpretations and insights.

Разум — в Америке, сердце — на родине

В 1892 году Дворжак принял должность директора недавно основанной Государственной Консерватории Музыки в Нью-Йорке. Там он познакомился с одним из афроамериканских композиторов – Харли Берли, который познакомил Дворжака с новым для него музыкальным стилем – спиричуэлс. Результатом этого знакомства стало сочинение его знаменитой симфонии №9 «Из Нового света». В ней композитор сумел сочетать национальное своеобразие своей музыки с негритянскими и индейскими мелодическими и ритмическими оборотами.

Во время пребывания в Соединённых Штатах он часто путешествовал на запад, до Айовы, где посещал чешскую диаспору. Несмотря на то, что Дворжак восхищался окружающей его средой Нового Мира, между тем он тосковал по родине. В 1895 году композитор вернулся в Богемию.

Последние годы своей жизни посвятил сочинению струнных квартетов, симфонических поэм и опер.

Бедржих Сметана за 17 лет до Дворжака заложил основы чешского национального движения в музыке. Дворжаку же досталась участь развить и расширить эти начинания впечатляющим рядом работ. Причины популярности лежат в мелодическом таланте Дворжака и в восхитительно свежей чешской природе его музыки, которая предлагала долгожданный контраст с тяжеловесностью некоторых из его современников.

Жанровое разнообразие творческого наследия композитора

Великолепное обладание техникой и богатое мелодическое вдохновение помогли ему создать множество разнообразных произведений. Он писал во всех музыкальных жанрах и оставил произведения, которые считаются классикой во всех из них. Все его симфонии зрелого периода отличаются высоким качеством, но только в мрачной Симфонии № 7 (ре-минор) соблюдена структура классической симфонии.

[peckplayer id=»2″ sound=»https://propianino.ru/wp-content/uploads/2015/05/Dvorzhak-Simfoniya-7-adagio.lite_.mp3″]

Симфония № 9 «Из Нового света» (ми-минор) остается самой известной работой Дворжака. Частично потому что она считается основанной на афро-американских спиричуэлсах и других влияниях продолжительного пребывания в Соединенных Штатах. Однако, Симфония № 9 ни в коей мере не превосходит Симфонию № 6 (ре-мажор) или Симфонию № 8 (соль-мажор) и, в действительности, менее характерна для композитора, нежели эти произведения.

Из четырех концертов, написанных Дворжаком, только Концерт для виолончели (си-минор) можно смело назвать классикой.

Хоровые произведения, столь популярные в момент своего появления, разделили судьбу большинства образцов хоровой музыки конца 19-го века, но «Stabat Mater» и «Te Deum» являются одними из лучших примеров в своем роде.

Опера осталась единственным жанром, не покорившимся гению композитора, хотя он написал 10 из них, в частности «Русалку».

Некоторые критики считают главными ошибками Дворжака несколько неразборчивую и повторяющуюся манеру, бессистемные стилистические промахи и слабость оформления крупных сочинений. Недостатки, однако, выглядят незначительными в свете удивительной плодовитости его мелодий, простоты и прямолинейности, с которыми он достигал своих целей. В музыке Дворжака яркое национальное своеобразие чешского фольклора сочетается с эмоциональным богатством, жизнерадостностью, ясностью музыкального мышления и стройностью формы. Музыка Дворжака рассказывает нам о том, что он был привлекательной личностью – скромным, глубоко религиозным семейным человеком, обладавшим хорошим и простым вкусом, — а также большим знатоком родной природы.

Biography

The son of a butcher and innkeeper, his parents recognised Antonín’s early musical talents and sent him to study in Prague’s Organ School, where he became an accomplished player of the violin and viola, playing the latter in the Bohemian Provisional Theatre Orchestra under their conductor Bedřich Smetana (1824-1884). He abandoned his performing career to become a professional composer in the early 1870s, and was encouraged by Johannes Brahms, who helped to promote his music. In 1888, he was appointed a professor at the Prague Conservatory, and embarked on a series of international tours. After gaining popularity in England and the United States, he accepted an invitation to become director of the National Conservatory of Music in New York from 1892, where he remained for three years. He was later director of the Prague Conservatory from 1901 until his death in 1904.

Подробности личной жизни композитора

В 1873 году композитор узаконил отношения с женщиной по имени Анна Чермакова. У неё была прекрасная родословная. Анна была дочерью знатного ювелира.

Личная жизнь маэстро складывалась очень удачно. Единственный нюанс заключался в том, что Антонин долго не мог наладить материальное положение. В семье быстро рождались дети, и, разумеется, вместе с этим траты увеличивались.

Когда семья оказалась фактически на мели, маэстро был вынужден подать прошение о стипендии для малоимущих творческих деятелей. Позже его вызвали в государственное учреждение, где он, для подтверждения творческой деятельности, сыграл несколько мелодий.

В конечном результате ему выдали помощь, и она оказалась очень даже кстати, поскольку в этот период времени один за другим умирали дети. Благо, со временем финансовое положение семьи наладилось, и они могли позволить себе нормальное существование.

Works

Bedřich Smetana, Dvořák’s senior by 17 years, had already laid the foundations of the Czech nationalist movement in music, but it was left to Dvořák to develop and extend this in an impressive series of works that quickly came to rank in popularity with those of his great German contemporaries. The reasons for Dvořák’s popularity lie in his great talent for melody and in the delightfully fresh Czech character of his music, which offered a welcome contrast to the heavier fare of some of his contemporaries.

Dvořák’s technical fluency and abundant melodic inspiration helped him to create a large and varied output. He composed in all the musical genres and left works that are regarded as classics in all of them, with the possible exception of opera. All Dvořák’s mature symphonies are of high quality, though only the sombre Symphony No. 7 in D Minor (1885) is as satisfactory in its symphonic structure as it is musically. (It should be explained that Dvořák’s mature symphonies were long known as No. 1 to 5, even though he had written four earlier ones. All nine of his symphonies have since been renumbered from the traditional order to their actual order of composition.) Dvořák’s Symphony No. 9 in E Minor (From the New World; 1893) remains his best-known work, partly, no doubt, because it was thought to be based on African American spirituals and other influences gained during his years in the United States. Although this may be true to some extent, the music is also characteristically Bohemian in its themes. However, the Symphony No. 9 is in no way superior to the Symphony No. 6 in D Major (1880) or the Symphony No. 8 in G Major (1889) and is actually less characteristic of the composer than these other works. Of the four concerti Dvořák wrote, only the Cello Concerto in B Minor (1895) can safely be called a classic.

In spite of the fact that his work in the medium is sometimes overstrained, Dvořák’s chamber music is also of high quality. The Piano Quintet in A Major (1887) is one of the glories of chamber music, and the string quartets, Opuses 51 (1879), 105 (1895), and 106 (1895), the String Sextet, Opus 48 (1878), and the Dumky Trio, Opus 90 (1891), also rank high. The choral works, so popular when they first appeared, have suffered the fate of most late 19th-century choral music, yet the Stabat Mater (1877) and Te Deum (1892) are among the better examples of their kind. Opera remained the one medium that proved recalcitrant to Dvořák’s genius, though he wrote 10 of them, notably Rusalka (1900). Many of Dvořák’s most attractive works are among his miscellaneous, less-ambitious ones—the Slavonic Dances (1878, 1886) and other piano duets, the Symphonic Variations (1877), the Bagatelles (1878), the Gypsy Songs (1880), and the Scherzo Capriccioso (1883).

Some critics have considered Dvořák’s chief faults to be an overly discursive and repetitive manner, occasional lapses in taste, and a weakness of design in his larger works. Such shortcomings, however, amount to little in the light of the astonishing fertility of his melody and the simplicity and directness with which he achieves his ends. As might be gathered from his music, Dvořák had an attractive personality. He was a humble and deeply religious family man of simple tastes and a great lover of nature.

Детство и юность

Антонин Леопольд Дворжак появился на свет 8 сентября 1841 года в деревне неподалеку от замка Нелагозевес в семье мясника. По национальности его родители были чехами. В семье высоко ценились традиции родной страны. Его отец держал трактир, работу в котором успевал совмещать с основной деятельностью. В минуты досуга он любил играть на цитре. Так Антонин познакомился с музыкой.

Антонин Дворжак в молодости / Anton Dvorak museum

Взрослея, мальчик приобщался к работе взрослых, помогал в развитии семейного дела, но его сердцем завладел интерес к мелодике. В 6 лет родители определили сына в школу. Помимо грамоты и вычислений, его научили и музыкальным азам. Первым педагогом мальчика стал Йозеф Шпиц, служитель церкви. Антонин избрал первым инструментом скрипку и спустя 2 года уже развлекал посетителей отцовского трактира лирическими мелодиями. Дворжак также солировал на службах в церкви.

В 9 лет он завершил обучение в школе и был отправлен в городок Злоницы. Здесь Антонину предстояло учиться на мясника. Мальчик жил у дяди, который определил племянника в школу с изучением немецкого языка. Кантор Антонин Леман был педагогом класса. Он заметил творческие способности подростка и начал давать ему уроки игры на фортепиано и органе.

Памятник Антонину Дворжаку в Праге

Юный Дворжак совмещал тяжелую работу на бойне с вдохновляющими занятиями и в 1856 году получил документ для работы в качестве подмастерья. К тому моменту вся его семья переехала в Злоницы, и отец решил отправить сына на учебу в чешский Каменец. После этого Антонин стал учеником органной школы в Праге.

Первые профессиональные мечты юноши были связаны с работой органиста в костеле. Постепенно он знакомился с произведениями великих композиторов и все сильнее ощущал в себе силы к созданию значимых вещей. Изучив гармонию, построение фуг и прелюдий, контрапункт, музыкант оттачивал мастерство игры на струнных.

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1887-89: DVOŘÁK TAKES A LOOK BACK AT EARLIER WORKS; HIS OWN NEW PROJECTS, AND REQUESTS FROM FRIENDS AT HOME

In 1887 Dvořák quite abruptly ceased accepting commissions from abroad, and through the end of 1889 he composed mainly to satisfy his own inner urgings – e.g. the famous Piano Quintet ♫ (his second, B. 155, in A major as was also the first, B. 28 from 1872), the opera The Jacobin ♫ (B. 159), and the Eighth Symphony (B. 163) – or at the request of personal friends as in the case of the Mass in D ♫ with organ accompaniment for the architect, builder, and philanthropist Josef Hlávka and his wife Zdenka (B. 153, later orchestral version B. 175).

During this same period he took a nostalgic look back at the many works from his early adulthood that lay unpublished and were performed only rarely if at all, several of which he now resuscitated in revised form and added to the canon of his works, most notably his magnificent Fifth Symphony ♫ from 1875 (B. 54).

AGORAPHOBIA, RELATIVE INACTIVITY IN FINAL YEARS

Many of those who knew Dvořák well recalled that during the last decades of his life he suffered from certain symptoms of neurosis; his close friend Jindřich Kàan (1852-1926) identified the disorder, accurately enough it seems, as agoraphobia – the experience of unreasonable anxiety in situations perceived as dangerous or uncomfortable, often in association with crowds. This condition may have first arisen in 1885-86 when he was composing St. Ludmila on commission for the English: he felt himself to be under almost unbearable pressure and, as he himself recalled, was nearly driven to insanity. In the last few years before his death in 1904, four months short of his sixty-third birthday, we observe a rather drastic and unexplained slowdown in all his activities. After Rusalka, completed in November 1900, his only work composed during the more than three years he had remaining was Armida ♫.

He virtually ceased travelling. After conducting the world premiere of the Cello Concerto during his ninth and last visit to London in 1896 he never left continental Europe. After attending a concert in Berlin in 1899 he never left the Austro-Hungarian Empire. After appearances as conductor in Prague in the spring of 1900 he never again took up the baton in public. And after visits to Vienna in 1901, then possibly in May 1902, he never left Bohemia. Even his known correspondence becomes ever more sparse during his last few years. However his close friend Leoš Janáček, who saw him during the final months of his life, recalled that he was searching for a new opera libretto and predicted that had he lived he would have embarked on a new style.

Antonín Dvořák’s multiple influences

Inquisitive, honest and wayfaring, Dvořák preferred to assimilate different influences poetically and emotionally rather than attempt to revolutionise musical language. He subtly integrated into his music the Slavic tones of his homeland, Smetana’s opera being one of his references. Of a romantic disposition, he analysed and played Richard Wagner’s scores, which he knew off by heart. His classical nature and fascination for great musical forms lead him to adopt Johannes Brahms as master and mentor. Their admiration was mutual as Brahms recommended him to all the greatest European conductors. Dvořák thus led his life as a composer and left touching, magnificently orchestrated works coloured with the lyricism of popular folklore and rhythms sparkling with evidence.

1878-86: GRAND PROJECTS OF A MAJOR PLAYER ON THE INTERNATIONAL SCENE

Over the course of the next few years after 1878, Dvořák’s biggest single project by far was the grand opera Dmitry ♫ (B. 127), to a story that is a sequel to Boris Godunov.

Premiered in 1882, this work was given sixty-six performances during his lifetime. But he also composed numerous works on a more modest scale including many requested by well-known musicians outside the Czech lands, such as the Sixth Symphony in D major ♫ (B. 112) for Hans Richter, conductor of the Vienna Philharmonic, and the Gypsy Melodies ♫ (or Gypsy Songs, B. 104, including as No. 4 the famous ”Songs My Mother Taught Me”) for the Viennese tenor Gustav Walter.

Antonín Dvořák, from Prague to New York

The composer of the New World Symphony, Antonín Dvořák, was a gifted child. He made a difficult start; his father rejected his vocation, money was scarce, his violin tuition was bad and he played in a second-rate orchestra. Despite all, he was a passionate student who would not give up on his music. He was to have a brilliant career successively as an instrumentalist in the Prague Orchestra, Director of the New York Conservatory and above all as one of the most prominent composers, highly acclaimed by the Austrian emperor.

Antonín Dvořák’s multiple influences

If Dvořák’s operas follow in the steps of Smetana, (the freshness of Rusalka in 1901 and the ambition of formal grandeur in 1903 in Armida), this master will, however, be principally remembered for his nine symphonies, granddaughters of Brahms, or his chamber music with its refined nostalgia evoking the melodic gifts of a Franz Schubert. Dvořák’s Slavic charm can be placed somewhere between nationalism and timeless Romanticism.

BREAKTHROUGH IN 1878

In December 1877 Brahms took the crucial step that opened the way to Dvořák’s international fame when he recommended to his own publisher, Fritz Simrock in Berlin, one of the works Dvořák had submitted with his grant application: a set of duets for soprano and alto with piano accompaniment to texts of Moravian folk songs (B. 60 and 62), composed at the request of a successful Moravian merchant in Prague, Jan Neff, whose children were Dvořák’s piano pupils.

Simrock issued them under the somewhat misleading but attractive title of Klänge aus Mähren(Sounds from Moravia, later known in English as Moravian Duets) ♫, and Germans were enchanted by their fresh, spontaneous-sounding music, relatively simple yet highly imaginative. Even more successful was a work Dvořák then wrote early in 1878 at Simrock’s behest: the first of his two sets of Slavonic Dances ♫ for piano four-hands (B. 78), which he orchestrated later the same year (B. 83).

By October 1879 the orchestral version had been performed in Dresden, Hamburg, Berlin, Nice, London, and New York, assuring Dvořák an international reputation that has never dwindled to this day. Now more and more of his works, mostly new but also some from earlier years, were published not only by Simrock but by other publishers in Germany then, starting in 1884, by Novello in London. And for the first time he received payment from publishers. After decades of living in tight financial straights he now saw a marked and permanent improvement in his financial situation.

Worth noting is that Dvořák’s first two publications outside Prague both marketed him as a Slavic composer and displayed the traits Germans most admired in music of the Slavs: something fresh, spontaneous-sounding, and a bit exotic, with lively dance rhythms. The same was true of many more works that helped to establish his reputation. This was felt to be Dvořák’s niche – the type of music for which he supposedly had the greatest talent and felt the greatest affinity. It is also important to note, however, that almost all these works were composed not on his own initiative but at the request of somebody else, that their Czech or Slavic titles were usually not his own, and that they almost never use actual folk melodies: in the case of the Moravian Duets Dvořák explicitly rejected Neff’s request that he arrange the melodies of Moravian folk songs – he took only their texts. Dvořák proved to be extremely skilled at writing this kind of music, but it is certainly not hisonly style nor even the style to which he felt the greatest natural inclination. All the while he also composed, in fact mainly composed, works in a cosmopolitan style often of great sophistication and profundity, comparable in some cases with the works of the greatest German masters.

Another fact generally overlooked is that Dvořák’s international stardom launched by the Moravian Duets and Slavonic Dances came simultaneously with his first really penetrating and long-lasting success on the domestic front, which he achieved in the genre of opera: premiered in February 1878, The Peasant a Rogue ♫ (B. 67, Šelma sedlák, translated by Burghauser as The Cunning Peasant) was given fourteen times by the end of that year and more than eighty times within the composer’s lifetime.

This work, too, made a contribution to his international reputation to some extent, with performances in Dresden, Hamburg, and Vienna during the 1880s.

To make the turnabout in Dvořák’s fortunes in 1878 complete, Anna gave birth to the first of the couple’s remaining six children, all of whom outlived the composer. This was Otilie, who in 1898 would marry Dvořák’s composition pupil Josef Suk.