What does the expression classic of the genre mean? Genres of classical music: history and modernity, description and interesting facts

Classical music... Everyone understands this phrase in their own way. For some, classical music is the cantatas and oratorios of Bach, while for others it is the airy, light melodies of Mozart. Some people immediately remember the fiery polkas of Chopin, some of the cheerful waltzes of Strauss, and some of the frantic symphonies of Shostakovich. So, what is classical music? Who is right?

The word “classic” comes from the Latin word “classicus”, which means exemplary. If you turn to the music encyclopedia, there are several definitions of classical music:

• a piece of music that was written in a certain historical period;
• musical exemplary works written by outstanding composers of the past and withstood the test of time;
• a musical work that was written according to certain rules and canons in compliance with all proportions, and intended for performance by an ensemble, symphony orchestra or soloists.

Classical music can be divided into genres: sonata, symphony, nocturnes, etudes, fugues, fantasies, ballets, operas and sacred music. Instruments used to perform classical music include keyboards, strings, brass and percussion, namely piano, violin, cello, oboe, flute, timpani, trumpet, drum, dulcimer and organ. And by the way, it is the organ that is the founder of classical music, because one of its origins dates back to the sixteenth century, that is, from the Renaissance, and its heyday is considered to be the Baroque era, that is, the seventeenth century. Since it was at that time that such musical genres as opera and sonata appeared, which are still relevant today. Johann Sebastian Bach, the greatest genius in the history of music, worked in the Baroque era. After all, it was this very talented person who opened up limitless new possibilities for creating musical works. The music of that era was characterized by complexity, elaborate forms, pomp and emotional fullness. At that time, Handel's oratorios, Bach's fugues and Vivaldi's "Seasons" violin concertos were born.

Epochs succeeded each other, times changed, and people changed along with them - the music became different. Pretentiousness and pomp were replaced by light, beautiful, elegant and airy music. And probably everyone has already guessed that these are works by Mozart, a brilliant and inimitable musician. Synonyms for his melodies are harmony and beauty. He, like a swift comet, flew over the era of Classicism, leaving it forever with a bright light.

In conclusion, we can say that classical music is eternal. This is harmonious and beautiful music, the main feature of which is the combination of the depth of conveyed experiences, excitement with a variety of musical techniques.

Very often you hear the term “classic” or “classic”. But what is the meaning of this word?

Classic is...

The word "classic" has several meanings. Most explanatory dictionaries offer one of them - works of the classics: literature, music, painting or architecture. This word is also used in relation to some examples of art, for example, “classics of the genre.” However, most often this term is mentioned as an indication of a specific time period in the development of this or that, not forgetting that only a few, the most successful ones, are considered classical authors. In literature, everything that was written in the 18th and 19th centuries is considered a classic. In the 20th century, classics give way to modernity. Many modernist writers sought to destroy the previous tradition and tried to find a new form, themes, and content. Others, on the contrary, used the works of their predecessors for their own purposes. Thus, postmodern works are full of allusions and reminiscences.

Classic is something that will always be in fashion. This is a certain sample that shapes our worldview, which reflects all the characteristic features of a nation of a particular time.

Which writers can be called classics?

As noted above, not every author is included in the ranks of classics, but only those whose work had a significant impact on the development of Russian culture. Perhaps the first classical writers who left a significant mark on the world are Lomonosov and Derzhavin.

Mikhail Vasilievich Lomonosov

His literary work dates back to the first half of the 18th century. He became the founder of such a movement as classicism, so it is impossible not to classify him as a classic of the time. Lomonosov made a huge contribution not only to literature, but also to linguistics (having identified three styles in his native language), as well as to chemistry, physics and mathematics. His most significant works: “Morning/Evening Reflection on the Majesty of God”, “Ode on the Day of the Accession...”, “Conversation with Anacreon”, “Letter on the Benefits of Glass”. It should be noted that most of Lomonosov’s poetic texts were imitative in nature. In his work, Mikhail Vasilyevich was guided by Horace and other ancient authors.

Gavrila Romanovich Derzhavin

Writers of the second half of the 19th century

Among the poets, F.I. Tyutchev and A.A. Fet should be especially highlighted. It was they who marked all the poetry of the second half of the 19th century. Among the prose writers are such bright figures as I. S. Turgenev, F. M. Dostoevsky, L. N. Tolstoy, A. P. Chekhov and others. The works of this period are full of psychological research. Each of the realistic novels opens up to us an extraordinary world, where all the characters are drawn vividly and vitally. It is impossible to read these books and not think about something. Classics are a depth of thought, a flight of fantasy, a role model. No matter how sophisticated the modernists are in saying that art should be kept apart from morality, the works of classical writers teach us the most beautiful things in life.

I think many will agree with me: the environment in which you grow up can largely influence your future. (I specifically wrote “may”, since it happens that a person overcomes all stereotypes and other obstacles and builds a completely new life)

What am I talking about? And what does classic have to do with it?

Classics of the genre- that’s what we call something characteristic in our family. So, for example, American Pie for us is a “classic of the genre” in American stupid comedies... But King for us, this is a classic of the genre in mysticism and horror films... (although I can’t stand horror films, that’s not what King takes advantage of)

And this has been ingrained in me since childhood. I can hardly believe that someone did not read Tolkien, King, Strugatsky, Doyle and Christie as a child. Therefore, it was almost a revelation for me when I asked twitter: which bloggers love King and which don’t. All answers were divided almost equally: those who read it and those who do not like it.

By the way, it seems quite logical to me that people around my age read King in childhood and adolescence. Because it was the 90s, the spirit of freedom. The time when almost all of King was published at once. Unfortunately, recently few new books have been published (compared to that period), so it is not so “fashionable” among the younger generation... But only if these guys don’t have the entire King collection gathering dust on their parents’ shelves (like my brother, for example:))

On the other hand, my “classics of the genre” also applies to music. I have always proudly said that I absorbed the music of The Beatles literally with my mother’s milk. I still remember those times when I myself played exclusive records with their albums in Vega, how a little later I learned English from their lyrics, and I still remember most of their lyrics :) And it’s hard for me to imagine that it was different for anyone! ...

As for cinema, then for some reason I remember films that modern children do not watch: June 31, Sorcerers, old Soviet films based on fairy tales, Gentlemen of Fortune, The Adventures of Shurik :)

Looking around, listening, taking a closer look, you can find out that people differ not just in their tastes, which they don’t argue about... Each of us had a picture of the world laid down from the first days (yes, I know that you know :))... But not always we ourselves we realize which of these touches were inflicted by life itself, the environment, and which became our more or less conscious choice... I don’t regret my picture of the world one bit :) And there is no need to send me to Freud - God forbid, I’ve heard a lot about him during my 5 years of study at the university...

...but for those who don’t like King, I want to ask a question: do you know that King is not just the king of horror? That he has works that are different from the rest of his work?... Maybe you just opened the wrong book the first time? ;)

What is a “classic of the genre” for you? What did you grow up with? What did you read and listen to? And when? It’s very interesting to learn such details about the people who surround you and read you...

***
Guard:
— I can definitely say that Scottish pounds are a classic, even in the UK!
- and the disc “Metallica greatest hits” remains a classic for us at home already... I’ve lost count of how many years!
— Do you remember Soviet cartoons? That's where the classics are! "

“Classical music” and “musical classics” are two absolutely equivalent formulations, free from the framework of terminology, reflecting a vast layer of musical culture, its historical significance and prospects for further development. Often the term “classical music” is replaced by the phrase “academic music”.

History of appearance

Regardless of the terminology, classical music has a very definite historical origin associated with the late enlightenment period of the era of classicism. Poetry and drama of that time were based on the works of ancient authors, and this technique also affected musical culture. The trinity - time, action and place, was observed in the genre of opera and other musical styles associated with literary sources. Oratorios and cantatas bore the stamp of classicism, a kind of standard of the 17th-19th centuries. Opera performances were dominated by librettos based on the ancient period.

Becoming

Almost all genres of classical music are in one way or another connected with the era of classicism. Composer Gluck was one of the most prominent followers in music; he managed to comply with all the canons of that time in his works. The era of the past was distinguished by a clear balanced logic, a clear plan, harmony and, most importantly, the completeness of a classical musical work. At the same time, a distinction was made between genres, when polyphony was gently but persistently rejected, and an almost mathematically verified definition of the genre took its place. Over time, the genres of classical music received a high degree of academic character.

In the opera, solo parts began to noticeably prevail over accompanying voices, whereas previously everyone participating in the performance had equal rights. The principle of dominance enriched the sound, the libretto took on a completely different form, and the performance became theatrical and operatic. Instrumental ensembles were also transformed, with solo instruments moving forward and accompanying instruments in the background.

directions and styles

During the period of late classicism, new musical “samples” were created. The genres of classical music became widespread at the end of the 18th century. Orchestral, ensemble, solo-vocal and especially symphonic groups followed new canons in music, while improvisation was kept to a minimum.

What genres of classical music stand out? The list is as follows:

• variations;
• symphonies;
• opera;
• instrumental concerts;
• cantatas;
• oratorios;
• preludes and fugues;
• sonatas;
• suites;
• toccatas;
• fantasies;
• organ music;
• nocturnes;
• vocal symphonies;
• brass music;
• overtures;
• musical masses;
• psalms;
• elegies;
• sketches;
• choir as a musical form.

Development

By the mid-18th century, orchestras were assembled on a random basis, and their composition determined the composer's work. The author of the music had to build his work for specific instruments, most often these were strings and a small number of wind instruments. Later, orchestras appeared on a permanent basis, quite unified, contributing to the development of the genre of symphony and instrumental music. These orchestras already had a name, were constantly improving and touring within the nearest territories.

At the beginning of the 19th century, several new directions were added to the list of musical genres. These were concerts for clarinet and orchestra, organ and orchestra and other combinations. The so-called symphonietta also appeared, a brief one with the participation of the entire orchestra. Then the requiem became fashionable.

Composers of the classical era, Johann Sebastian Bach and his sons, Christoph Gluck, representatives of the Italian and Mannheim opera formed the Viennese classical school, which also included Haydn, Mozart and Beethoven. In the works of these masters, the classical forms of symphony, sonata, and instrumental pieces appeared. Later, chamber ensembles, piano trios, various string quartets and quintets arose.

The music of the end of the era of classicism smoothly transitioned into the next period, the time of romanticism. Many composers began to compose in a more free manner; their work continually went beyond the academic canons of the past. Gradually, the innovative aspirations of the masters were recognized as “exemplary”.

Test of time

The genres of classical music continued to develop, and in the end, evaluative criteria appeared to determine them, by which the degree of artistry of a work and its value in the future were determined. Music that has stood the test of time has always been included in the concert repertoire of almost all orchestras. This was the case with the works of Dmitry Shostakovich.

In the 19th century there was an attempt to classify certain categories of so-called light music as classical music genres. We were talking about an operetta, which they hastened to call a “semi-classic”. However, this genre soon became completely independent, and artificial assimilation was not needed.

"Classic and modern"

Classics (from the Latin classicus - perfect, exemplary, first-class) are those works of art that, regardless of when they were written, are the best and continue to excite many generations of people. They have received general recognition and have lasting value for national and world culture. These works meet the highest artistic requirements; they combine depth of content with perfection of form.

Classical art is called ancient art (the art of Ancient Greece and Ancient Rome), as well as the art of the Renaissance and classicism.

In addition, the concept of classical music is applied to the work of the world's greatest composers. Works created in the distant past and modern works can be called classical.

Classics are often contrasted with new movements in art, the achievements of which have not yet stood the test of time. Contemporaries can often make mistakes in their assessment of musical works. There are many examples of how works that did not receive recognition during the lifetime of the authors later became classics and entered the golden fund of world musical art. What yesterday was perceived as a daring challenge to classical art, today can be considered a classic. An example of this is the creativity of S. Prokofiev, R. Shchedrin, A. Schnittke and others.

There is also the concept of a classic of the genre. In this case, works of light music are called classical: jazz, pop, rock music. However

the life of many works that have gained wide popularity at some point may turn out to be short-lived if they do not have high artistic merit.

In order to learn to understand all the diversity of music, one must strive to understand the content of the work, its figurative structure, belonging to a certain style, artistic movement.

The word style (from the Greek stylos, literally a writing stick) means handwriting, including the author’s, a set of characteristic features, techniques, methods, and features of creativity. In art, there is a distinction between the style of the era (historical), the national style, and the individual style - the style of the composer and even a specific performer.

Nowadays, musicians' interest in the classical music of the past is growing. Its new versions, interpretations, and adaptations appear, which attract modern listeners to it. Thanks to our acquaintance with music of different styles, we have the opportunity to enter into dialogue both with our peers and with people of the distant past - as if to visit different times.

In musical theatre.

Dramaturgy, dramatic - these words are derived from the word drama. But they are also used to characterize music, which generally conveys a person’s experiences: suffering, confusion, anxiety, protest, indignation, etc. These feelings most often manifest themselves in people in clashes, disputes, and conflicts. This is what the dramaturgy and musical performance is based on.

Musical dramaturgy - the system will express. means and techniques for embodying dramatic action in musical and stage works. genre (opera, ballet, operetta). Musical dramaturgy is based on the general laws of drama as one of the art forms: the presence of a clearly expressed conflict, revealed in the struggle between the forces of action and reaction, a certain sequence of stages in the disclosure of dramas. concept (exposition, plot, development, climax, denouement), etc.

Opera (from Italian opera - work, composition) arose in Italy at the turn of the 16th-17th centuries. Opera, by definition, is “a stage performance in which the action taking place on stage is expressed by music, that is, by the singing of the characters (each individually, or together, or in chorus) and the forces of the orchestra in an infinitely varied application of these forces, starting with simple support voices and ending with the most complex symphonic combinations." Music is the main generalizing means, the bearer of end-to-end action; it not only comments on the department. situations, but also connects all the elements of the drama together, reveals the hidden springs of the action’s behavior. persons, their complex internal relationships, often directly expresses the main idea of ​​the work.

Operas can be epic, lyrical, dramatic, or comic.

Operas have a long life, based on an interesting libretto and expressive music that most fully reveals the characters' characters.

According to the laws of the theater, opera is divided into actions (acts), actions into pictures, and pictures into scenes.

Typically, an opera opens with an introduction, or overture, which expresses the idea of ​​the performance. The main characteristics of the main characters of the opera are aria, song, cavatina, duet, trio, etc., in which the feelings and experiences of the characters are embodied in memorable melodies. “Half-singing, half-speech” is called recitative.

One of the peculiarities of the opera is that its characters sometimes sing their own parts at the same time. This is how the composer reveals the thoughts and feelings of his characters in an ensemble - a harmonious joint sound. In crowd scenes there is a choir, which often acts as one of the main

characters of the opera or comments on what is happening on stage. Depending on the plot, the time of creation of the opera and the capabilities of the theater, the opera may contain dances and even ballet scenes.

The role of the orchestra in opera is extremely important. He accompanies the singers and chorus, acts as an equal partner of the characters in the opera, and sometimes as an independent character. The orchestral episodes (gnomeres) of the opera help listeners understand the main lines of development of the action.

Opera "Ivan Susanin".

The opera () "Ivan Susanin" ("Life for the Tsar") evokes in many generations of listeners a feeling of involvement in the history of their people. It reveals the greatness of the soul of Ivan Susanin - a citizen devoted to the Motherland, a father who loves his family. These human qualities are still significant for each of us today.

The dramaturgy of the opera is based on the conflictual confrontation between two forces, the development of contrasting musical themes: Russian song and Polish dance and instrumental music.

The opera consists of four acts and an epilogue.

The action takes place in the autumn of 1612 and winter of 1613.

(Act 1 - in the village of Domnino, Act 2 - in Poland, Act 3 - in Susanin’s hut, Act 4 - in the forests, epilogue - in Moscow on Red Square).

In the introduction (introduction to the opera), the chorus “My Motherland” sounds, which embodies the unyielding will of the Russian people to victory.

Act 1: A picture of the peaceful life of the villagers and Susanin’s family unfolds on stage. The peasants of the village of Domnino joyfully greet the militia. Only Antonida is sad. She is waiting for the return of her fiancé, Bogdan Sobinin, who has gone with his retinue to destroy the Polish gentry. Her cavatina is full of sincerity and tenderness, and her elegant, lively rondo reveals the bright, joyful world of girlish dreams: “Every morning, every evening, I look forward to meeting my dear friend.” Susanin understands his daughter’s feelings, but he wants to prepare her for the trials that this difficult time brings. Now is not the time to think about marriage. Suddenly a song comes from the river. This is Sobiin returning with his squad. He brought good news: Minin and Pozharsky led the Russian army, and military people were flocking to them from all over. The peasants are rejoicing: the hour of liberation is near. Susanin's decision to postpone the wedding upsets Sobinin: after all, he returned to his native village for the wedding. At first Susanin is adamant, but upon learning that the enemies are besieged in Moscow, he agrees.

Act 2: Here a generalized image of the Polish conquerors anticipating victory is revealed. In the ancient Polish castle of King Sigismund III, the arrogant nobility, confident in their victory, blithely feasts. The brightly lit hall is full of enjoying guests. Suddenly the dancing is interrupted by the appearance of a messenger. He reports on the defeat of the mercenary troops and the siege of the Polish detachment in Moscow. The nobility is in turmoil. The knights are getting ready for battle, boastfully rattling their weapons, vowing to conquer the “hated smerds.”

Act 3: In Susanin’s house they are preparing for the wedding of Antonida and Sobinin. Susanin's adopted son Vanya dreams of going with Sobinin against the Poles. The peasants who entered congratulate the bride and groom, Susanin invites them to the wedding. Suddenly a horse's tramp is heard. The door swings open and the Poles enter the hut. They need a guide to get to Moscow. It is in vain that Susanin’s enemies persuade him - he will not become a traitor. Then the Poles offer Susanin gold. Unexpectedly, Susanin agrees: he is struck by the idea of ​​leading the Poles into an impenetrable forest thicket. Secretly from his enemies, he sends Vanya to warn Minin about the danger and leaves with the Poles. Having learned about what happened, Sobinin and his squad rush off in pursuit of their enemies.

The drama of emotional experiences is conveyed by Antonida’s romance (“I’m not mourning for that, girlfriends”), which is woven into the simple melody of the wedding choir of girlfriends.

Vanya informs the Russian soldiers about the arrival of the Polish detachment. The warriors are determined to defeat the enemies and save Susanin. Led by Minin, they advance to meet the enemy.

Act 4: Tired, frozen Poles wander through a dense, impenetrable forest. Enemies suspect that Susanin has lost his way. Finally the detachment stops for a rest, the Poles fall asleep. Susanin is not sleeping. He knows that death awaits him: the Poles sense the truth. It was hard to die, but he fulfilled his duty. Susanin's recitative and aria sound. A blizzard rises, and in the whistle of the wind Susanin imagines the voices of children. It's getting brighter. The awakened Poles are horrified to realize that they will not be able to get out of the deep forest wilds. Susanin, triumphant, reveals the terrible truth to the panam. The enraged Poles kill him.

Epilogue: In Moscow, on Red Square, people welcome Russian troops. Vanya, Antonida and Sobinin are also here. The people celebrate the liberation and glorify the heroes who gave their lives for the victory over the enemy. The final chorus “Glory!”, written in the spirit of a victorious folk cant, radiates light and conveys the triumph and jubilation of the people.

Premiere - November 27 (December 9), 1836 at the St. Petersburg Bolshoi Theater.

A new era in Russian musical art began with opera, and the entire path of development of the opera genre in Russia was determined.

Opera "Prince Igor"

The opera "Prince Igor" (), a member of the community of Russian composers The Mighty Handful, is also dedicated to the pages of Russian history. The plot of the opera is based on the patriotic poem of Ancient Rus' "The Tale of Igor's Campaign", supplemented by other historical documents and chronicles. It is dedicated not to victories, of which Russian weapons had many, but to defeat, as a result of which the prince was captured and his squad was destroyed.

The dramaturgy of the opera is based on a comparison of two opposing worlds, two forces: the Russians - Prince Igor with his son Vladimir and his squad, Princess Yaroslavna, her brother Vladimir Galitsky, and the Polovtsians - Khan Konchak, his warriors.

The action takes place: in the prologue, in the first and fourth acts - in the city of Putivl, in the second and third acts - in the Polovtsian camp.

Time: 1185

Prologue. In the ancient Russian city of Putivl, Prince Igor and his retinue are preparing to go on a campaign against the Polovtsians. The people solemnly glorify the prince - the chorus “Glory to the Red Sun!” Suddenly the earth is enveloped in darkness - a solar eclipse begins. Seeing this as an unkind omen, the people and boyars dissuade Igor; His wife Yaroslavna also begs the prince to stay. But Igor is adamant. Having entrusted the care of his wife to her brother Vladimir Galitsky, he leads his friends into battle with the enemy.

Act 1: Galitsky took advantage of Igor’s departure. Together with his servants, he reveles and riots; The riotous feast is dominated by the drunken whistlers Skula and Eroshka, the troops who fled from Igor. Galitsky cherishes the dream of becoming a prince in Putivl, but in the meantime he oppresses the residents in every possible way. Having boldly kidnapped the girl, the prince drives away his girlfriends who came to ask for her release.

The girls seek protection from the arrogant offender from Yaroslavna. But, despite all her determination and firmness, the princess is unable to cope with her brother. The boyars bring bad news: in an unequal battle the entire army was killed, Igor was wounded and taken prisoner along with his son, and hordes of Polovtsians were approaching Putivl. An alarm bell is heard, announcing an enemy invasion.

Act 2: Evening in the Polovtsian camp. Polovtsian girls entertain the khan's daughter Konchakovna with songs and dances. But only a joyful meeting with her beloved prince Vladimir dispelled the beauty's sadness. Igor is in deep thought.

The image of Prince Igor is most clearly revealed by the composer in his aria. Nothing pleases the prince; he is tormented by thoughts of an inglorious defeat, the fate of people close to him, and thoughts about his Motherland. Prince Igor's aria opens with a short introduction by the orchestra. Heavy chords convey the hero’s mental torment. The introduction is followed by a recitative-meditation (“No sleep, no rest for the tormented soul...”). Pictures flash before Prince Igor's mind's eye: an eclipse of the sun (a harbinger of misfortune), the bitterness of defeat, the shame of captivity. A passionate appeal sounds in the music of the aria (“Oh, give, give me freedom...”). A noble melody, full of deep soulfulness and warmth, is connected in Prince Igor’s aria with memories of his wife, Yaroslavna, a faithful and beloved friend (the middle section of the aria). All of the listed episodes of the aria allow us to feel the tragedy experienced by Prince Igor. He, like the simple peasant Ivan Susanin, is concerned about the fate of his Motherland and strives to protect it with all his might.

Faithful Ovlur offers him escape. Igor dreams of breaking out of captivity, but hesitates - it is not proper for a Russian prince to escape secretly. The warlike Khan Konchak admired his nobility and courage. He receives Igor as an honored guest. Khan is even ready to let him go if Igor gives his word not to raise a sword against the Polovtsians. But Igor boldly declares that, having gained freedom, he will again assemble regiments for the khan. To dispel the prince’s gloomy thoughts, Konchak orders the slave girls to sing and dance.

With special skill, the composer reproduces the oriental flavor of music, creating melodies colored with intricate patterns and memorable rhythms. The mesmerizing melody of the choir of Polovtsian slave girls sounds, which gives way to the warlike melody of men. IT is picked up by a chorus of Polovtsians praising the Khan (Polovtsian dances)

Act 3: The Khan’s army returns with rich booty. Having learned from them about the misfortune that befell his native Putivl, Igor decides to escape and, when the guards fall asleep, he comes to an agreement with Ovlur. Konchakovna, who overheard this conversation, begs Vladimir not to leave her. But love fights in the prince’s soul with a sense of duty. Then Konchakovna awakens the sleeping camp and detains Vladimir; Igor manages to escape. The angry khans demand the death of the prince, but Konchak declares Vladimir his son-in-law.

Act 4: Early in the morning in Putivl, Yaroslavna is crying bitterly on the city wall (Yaroslavna's Lament). In the musical characterization of Yaroslavna, the composer did not use truly folk melodies, but it is permeated with folk intonations of the ancient song genres of lamentation and lamentation.

Yaroslavna turns to the wind, the sun, and the Dnieper with a prayer to return dear Igor to her. Riders appear in the distance. This is Igor, accompanied by Ovlur. The stunned Skula and Eroshka see them. The resourceful Skula offers to ring the bell to be the first to notify the people of the prince’s return. The trick succeeds. To celebrate, the honkers are forgiven. Together with the people they greet Igor.

In musical theatre.

Ballet (from Italian balleto - dance) arose during the Renaissance in the 14th - 15th centuries. in Italy. At this time, they begin to distinguish between everyday dances as part of the way of life, intended for entertainment, and stage dances.

Ballet is a musical and dramatic work in which the action is conveyed through dance and pantomime. They perform a role similar to singing in opera. In both opera and ballet, the sound of a symphony orchestra is of great importance: the music connects all the elements of the drama together and, revealing the complex internal relationships of the characters, expresses the main idea of ​​the work.

While reading the program of a ballet performance, spectators can come across such French words as pas de deux (dance for two), pas de trois (dance for three), grand pas (big dance). This is what individual ballet numbers are called. And the beautiful Italian word adagio, which denotes the tempo of the music, is used in ballet to describe the slow lyrical dance of the main characters.

The main types of dance in a ballet performance are classical and character. Characteristic dances include movements common in folk and everyday culture. Classical dance is more conventional, rich in figurative symbolism; its peculiarity is that it is performed on pointe shoes.

The director of a ballet performance is a choreographer (from German - balletmeister), who develops the overall dramaturgy of the performance, thinks through the “drawing” of the dance, gestures and plastic solutions for the images.

An important role in a ballet performance belongs to the conductor of a symphony orchestra. The main thing in his work is the ability to realize the composer’s plan, reveal the style of the work, combining them with the idea of ​​the choreographer, the individuality of the solo dancers and the skill of the corps de ballet performing mass dance scenes.

A modern ballet performance differs in many ways from a classical one. It may include rhythmic dances, pantomime, elements of acrobatics, light and sound effects, original scenery and costumes, and even singing (choirs). This is required by the new musical language of modern ballet.