What does the expression classic of the genre mean? Genres of classical music: history and modernity, description and interesting facts
Concept "classical music"(English) classic music) is very broad and multifaceted. Usually this term refers to music of the past that has stood the test of time and has an audience of listeners in the present. Classical music is the best examples of musical art of various genres. As a rule, they are based on “academic” genres and forms: symphony, opera, oratorio, sonata, prelude, suite, overture, etc. These genres were formed in Europe in the 17th-19th centuries and are based on melodic and harmonic principles.
The main instruments used in classical music appeared before the mid-19th century. Among them are solo instruments (organ, harpsichord, piano) and instruments intended for playing in an orchestra. The typical performance method in classical music is a symphony orchestra. It includes wood, strings, brass and percussion instruments.
Milestones in the history of classical music:
Antiquity(up to 400 years)
Middle Ages(400-1400 years)
At this time, the main musical figures were troubadours and trouvères (Adam de la Halle), minnesingers (Walter von der Vogelweide, Wolfram von Eschenbach) and clergy. The musical staff was invented (Benedictine Guido (Guido d'Arezzo).
Renaissance(XV-XVII centuries)
The main composers of that time are Giovanni Pierluigi da Palestrina, Thomas Tallis and Tomás Luis de Victoria. Are being invented different types bowed and keyboard instruments.
Baroque(XVII-mid-XVIII centuries)
Famous names: Johann Sebastian Bach, Antonio Lucio Vivaldi, George Frideric Handel and Henry Purcell. Based forms: opera, oratorio, toccata, fugue, sonata, suite, overture, concerto. The flourishing of organ music, plucked strings, and woodwind instruments.
Classicism(mid-18th-mid-19th centuries)
This period is associated with brilliant musical talents: Mozart (Wolfgang Amadeus Mozart), early Beethoven (Ludwig van Beethoven), Franz Joseph Haydn. Defined further development musical composition. The form of the symphony is standardized. A form of performance such as a string quartet appeared.
Romanticism(mid-19th to 20th centuries)
Beethoven (Ludwig van Beethoven), Chopin (Fryderyk Chopin), Franz Schubert (Franz Peter Schubert), Tchaikovsky, Franz Liszt (Liszt Ferenc), Wagner (Richard Wagner) appear. The rapid development of piano music during this period.
XX century
Famous names: Rachmaninoff, Stravinsky, Leonard Bernstein, Benjamin Britten and Philip Glass.
Contemporary academic music(conditionally since 1975)
Distinguished by the synthesis of elements classical music with electronic music. Some of the best contemporary composers: Alfred Schnittke, Karlheinz Stockhausen, S.A. Gubaidulina, Ligeti, E.V. Denisov, Hisaishi Joe, Nicholas Hooper , Jerry Goldsmith, Yann Tiersen, Ludovico Einaudi, David Arnold, John Barry, Steve Jablonsky, John Williams, Howard Leslie Shore, Hans Florian Zimmer, Akira Yamaoka and others.
Classical music continues to develop in modern times, influencing others musical genres. For example, rock musicians very often use classical tonality. Classics carry perfect harmony and integrity.
The concept of “classical music” is a very vague concept in terms of terminology. In the generally accepted understanding, classical music is music that has stood the test of time and remains popular for many years after its creation.
In historical terms, the concept of “classical music” includes the musical tradition of classicism, or more precisely of the 18th and 19th centuries. Another periodical, which we will focus on, limits the period of classical music when it originated, and the present time, when it still exists.
In the history of classical music, separate periods of development are distinguished.
Renaissance
The longest period in the history of classical music, spanning 1400-1600. I and the rapid development of art, which left in the world musical tradition the works of such composers as Thomas Luis de Victoria, Giovanni da Palestina, Thomas Tallis, and including the musical work of Shakespeare.
Baroque
The Baroque era (1600-1750), following the Renaissance, is characterized by more complex musical forms, the emergence of new genres, a variety of genres, and polyphony. It was during the Baroque era that opera and steel flourished, which are listened to and inherited to this day: Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel.
Classicism
The era of classicism in the development of classical music is limited to the period of the 1750-1830s, with which the names of the Vienna School - Mozart, Haydn, Beethoven - are invariably associated.
Franz Joseph Haydn
Within the era of classicism, a transitional period is distinguished, between the death of Johann Sebastian Bach in 1750 and the mature work of Mozart in the 1770s. This period has its own French name - "Galante".
In general, the music of classicism is characterized by harmony and balance, canonicity of forms, the emergence of sonata form and the development of symphonies, expansion of the orchestra, and greater emotionality of the works.
Romanticism
During the era of romanticism, the forms, genres and ideas of classical music actively developed. The works of this period are characterized by emotional expressiveness and drama. It was at this time that many song genres, in particular, ballads. Music was especially popular, for example, works by Chopin and Liszt.
Franz Liszt
Among the composers of Romantic music, Beethoven is distinguished, first of all, who is considered rather a predecessor of Romanticism along with Cherubini. Later, the musical traditions they established were inherited by Schubert, Wagner, Tchaikovsky...
Classical music of the 20th century
In the 20th century, classical music is characterized by a penchant for experimentation, which is not limited by anything other than the will and imagination of the composer himself. Such concepts as atonalism (or atonality, that is, rejection of the logic of tonality) and aleatorics (a random sequence of elements in a composition) arose.
Among the composers of the 20th century, the works of Rachmaninoff, Britten, Glass, Stravinsky, and Bernstein are classified as classical music.
Contemporary classical music is often confused with post-classical music. Indeed, the boundaries between musical styles The 20th century is so blurred that it is sometimes very difficult to attribute a certain work to a particular style.
"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 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 creativity greatest composers peace. Works created in the distant past and modern works can be called classical.
Classics are often contrasted with new trends in art, the achievements of which have not yet stood the test of time. Contemporaries can often make mistakes in their assessment 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 direction.
The word style (from the Greek stylos, literally - a writing stick) means handwriting, including the author’s, a set of characteristic features, techniques, methods, 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 my introduction to music 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 singing characters(each individual, or together, or in chorus) and the forces of the orchestra in the infinitely varied use of these forces, starting with simple support of the voice 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 individual situations , but also connects all the elements of the drama together, reveals the hidden springs of the behavior of the characters, their complex internal relationships, often directly expresses the main idea of the production.
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 and today are significant for each of us.
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 began with opera musical art, 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 opera's plot is based on a patriotic poem 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. Character 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.
Classical music... Everyone understands this phrase in their own way. For some, these are the light, airy melodies of Mozart, for others, the cantatas and oratorios of Bach. Some immediately recall the cheerful waltzes of Strauss and fiery polkas of Chopin, and others the frantic symphonies of Shostakovich. So who is right? And everyone is equally right!
The word "classic" comes from the Latin classicus, which means exemplary. If we turn to competent sources, for example, the Encyclopedia of Music, we will find several definitions of classical music there.
In addition to the well-known and somewhat primitive definition of “serious music,” we learn what it is:
- exemplary musical works by outstanding composers of yesteryear that have stood the test of time;
- musical works written during a certain historical period in art (from Baroque to Modernism);
- musical works written according to certain rules and canons in compliance with the necessary proportions and intended for performancesymphony orchestra, ensemble or soloists.
Classical music is diverse in genres: symphonies, suites, sonatas, etudes, nocturnes, fantasies, fugues, operas, ballets, sacred music. The main instruments for performing classical music are strings, keyboards, winds and percussion instruments: violin, cello, piano, flute, oboe, clarinet, trumpet, timpani, cymbals, drum and, of course, organ. It is this instrument that can be called the founder of classical music, because it takes its origins back to the Renaissance, i.e. in the 16th century! And its heyday is the 17th century - the Baroque era. It was at this time that such musical genres as the sonata and opera arose, which are still relevant today. The greatest genius in the history of music, Johann Sebastian Bach, worked in the Baroque era; it was he who discovered new limitless possibilities for creating musical works. The music of that era was characterized by elaborate forms, complexity, pomp, and emotional fullness. Then Bach's fugues, Handel's oratorios, and Vivaldi's Four Seasons violin concertos were born.
But eras succeeded each other, times changed, people changed - and the music became different! Pretentiousness and pomp were replaced by beautiful, light, airy, elegant music. Have you guessed it yet? Of course, this is Mozart, the brilliant and inimitable Mozart! Beauty and harmony are synonyms of his melodies. He flew over the era of Classicism like a comet, forever illuminating it with bright light.
At the end of the 18th century, another star of classical music rose on the musical horizon- Ludwig van Beethoven. He began to write music in the classical style inherited from Mozart. But real talent always brings with it something new, which is why they say that Beethoven literally “split” the classical style with his music, becoming the founder new era- the era of Romanticism. Classical music of this era is more passionate, deep, emotionally expressive and individual. It's directed deep into human soul, showing depth and richness inner world. During this period, such outstanding composers as F. Chopin, J. Strauss, F. Liszt, P.I. Tchaikovsky and many others.
And the last period in the development of classical music is the period from 1910 to 1960, which went down in history under the name Modernism. Prominent representatives of this direction in music are A. Scriabin, D. Shostakovich and S. Rachmaninov. The music of this period is new and revolutionary. It is aimed at people of the new era and promotes absolute creative freedom of the individual and a call for self-realization.
To sum up all of the above, we can conclude that classical music is eternal. It is beautiful and harmonious, its main feature is the combination of the depth of conveyed experiences with diversity musical techniques. She has accompanied us for centuries. Its mysterious power lies in the fact that when we listen to it today, we experience the same feelings as the first listeners. The best thing is to go to a concert or listen to a CD of classical music and let everyone decide for themselves what this phrase means to them!
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 the number classical authors Only a few of the most successful are listed. 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 characteristics nations 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 creativity falls on 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 Ascension...”, “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.
