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Romance

“Music is the soul of poetry, it clarifies and opens it. It makes a poetic word deeper in meaning and easier to perceive. The spirit of music in the emotional aspect is a creative will that encourages gifted people to create a state of sound and design them as their own worldview”

Romance in music — a vocal composition written on a small poem of lyrical content, mainly love.

The term “romance” originated in Spain in the middle ages and originally referred to a secular song in Spanish (“romance”). In Russia, the first examples of romance can be considered Cantos, distributed at the end of the XVII century. and in the XVIII century. poems of the most famous Russian poets-A. p. Sumarokov, A. F. Merzlyakov, M. V. Lomonosov-were immediately picked up by musicians and sung by Amateur singers. Such works were called Russian songs.
What is the difference between a romance and a song? The line between these two genres is not always easy to draw, especially when it comes to early romances. But, as a rule, in romance we hear a closer, more detailed connection between music and poetic text. Music conveys not only the General mood of the verse, but also individual poetic images. So, in the lyrical romance of M. I. Glinka “I remember a wonderful moment” on the poems of A. S. Pushkin, the words:

The years went by. The storm’s rebellious gust dispelled the old dreams…

highlighted by energetic intonations of the voice, active movement in the piano part. Glinka emphasized intonation even such a tiny, but important detail as the word “tears” in the last line:

And life, and tears, and love. The main feature of romance — a more detailed connection between the word and the music-defines others. For example, the greater content and imagery of the piano part, which develops from accompanying the voice into an equal member of the ensemble. The beginning of the heyday of romance — the first half of the XIX century. This period is characterized by a special interest in lyrical genres that Express the world of personal experiences of a person.

Thanks to their sincerity, sincerity and melodic beauty, the best works of Glinka and his contemporaries were sung all over Russia, and some became folk songs: “along the street Metelitsa sweeps” by A. E. Varlamov; “the bell rattles monotonously” by A. L. Gurilev.

Sometimes the romance goes beyond the lyric, acquiring drama and approaching an operatic Aria. These are some of Tchaikovsky’s romances (“whether the Day reigns”, “don Juan’s Serenade”). And the vocal works of M. p. Mussorgsky can hardly even be called romances: they are live musical portraits that convey the appearance and character of specific characters (“Seminarian”, “orphan”, “mischief Maker”). The traditions of classical romance continue in the works of Soviet authors: Yu. a. Shaporin, A. N. Alexandrov, D. D. Shostakovich, D. B. Kabalevsky, G. V.. Sviridova, B. N. Lyatoshinsky, O. V. Taktakishvili.

The traits of a vocal romance

In its form, the romance is similar to the song; like the latter, it is written in a knee-length warehouse, but it does not require the quadrature, the parity of bars that are pursued in the song. In romance, deviations are allowed in the form of so-called extensions or inserts, transitions from one knee to another. The vocal part of the song needs to have a clear and textured melodic lines and a different melody. The refrain, or chorus, is most often absent from the romance. In a romance, attention should be paid more to the General mood of the text than to the detailed illustration of its details. The interest should mainly lie in the melody, not in the accompaniment.

The romance is written for singing with the accompaniment of a single instrument, mainly a piano, and belongs to the category of chamber music, although some romances are accompanied by an orchestra.

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