The song – the term is quite specific. In Spain (the birthplace of this genre) was the name of a special kind of composition, designed primarily for solo performance under the sound of the viola or guitar. At the core of romance, as a rule, is a small lyrical poem, a love of the genre.
In Russia this genre was imported from France aristocrats in the second half of the eighteenth century and was immediately adopted by the fertile soil of Soviet poetry. However, Russian romances, a list of which is today known to every fan of the classic songs began to emerge later, when a Spanish shell was filled with a truly Russian feelings and melodies.
In the fabric of the new songs seamlessly intertwined traditions of folk art, which has yet been presented only by anonymous authors. Romances were perebivalis, passing from mouth to mouth, reworked and “grind” line. By the early nineteenth century began to appear the first collectors of songs, driven by the idea to preserve old Russian romances (a list of them by that time it was large enough).
Often these enthusiasts was supplemented with collected lyrics, giving the lines the depth and poetic force. The collectors themselves were academically educated people, and therefore, going in a folklore expedition, pursued not only aesthetic but also scientific purposes.
Since the turn of XVIII-XIX centuries, artistic content romance lyrics became more and more filled with deep personal feelings. Individual the world had the opportunity for bright, sincere expression. The combination of high syllable with a simple and lively Russian vocabulary has made the song really popular and available for both nobleman and peasant.
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Vocal genre has been reborn and by the mid-nineteenth century became an integral part of the secular parties in the framework of the beloved ladies "languid" domestic music-making. There were also the first performers of Russian romances. The list, part of their song repertoire, it was said, more and more authors ' works.
The Most well-known in the first half of the nineteenth century were such famous composers as A. Alyabiev, A. Varlamov and A. guriljev, who played an invaluable role in the development of the Russian romance and promotion.
Urban romance has absorbed the greatest amount of folklore motives of Russia in the XIX-XX centuries. Being author, a song for the freedom of his existence resembled folklore and different characteristic features:
The Characteristic features of urban romance from a musical point of view, are the harmonic construction of a composition with minor tones, as well as its sequence.
Gypsy romance was born as a tribute to Russian composers and poets of the same name in a beloved manner. Its basis was a common lyrical song. However, in its texts and melody fit a distinctive artistic revolutions and techniques that were in Vogue at Roma. To find out this romance today, no wonder. Its main theme is usually a love experience in various shades (from soft to carnal passion), and the most noticeable detail – «green eyes".
The Academic definition of these terms exists. However, their characteristics are described in the literature adequately. Feature cruel romance is a very organic combination of the principles of ballads, lyrical songs and romances. To the individual traits of his include the abundance of basic plots that differ only in the causes of the tragedy. As a result of the entire history of death usually happens in the form of murder, suicide, or mental anguish.
The Birthplace of the Cossack romance was don that gave the fans of folk poetry of the legendary song by an unknown author, “Not for me the spring will come…”. Of history also do not know the exact authorship of the most highly artistic works, which can be described as “a classic Russian romances”. The list includes songs such as: “long way”, “once”, “Oh, man guitar”, “Back”, “We are only familiar with" and the other, written in the first third of the twentieth century.
One of the main versions, Russian romances, a list of which was given above, were written by the most popular at the beginning of the last century authors-singers: Boris Fomin, Samuel Pokrass, Julia Hite and others.
The Most devoted connoisseur of classical romance in the twentieth century was Valery Agafonov, who first reported a high value of the outgoing from the Soviet listener's cultural baggage. Russian romances, a list of which was Agafonov, his revival on new soil were obliged to return to the Homeland of their legendary performers – Alexander Vertinsky andAlla Lanovoy.
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