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Л. Н. Толстой против оперы и программного (вагнеровского) направления в музыке

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Author(s)
Ахметова, Г.
Keywords
ПРОГРАММНАЯ МУЗЫКА, ОПЕРА, СИМФОНИЯ, Р. ВАГНЕР, «МОГУЧАЯ КУЧКА», А. ШОПЕНГАУЭР, Ф. НИЦШЕ, Э. ГАНСЛИК, R. WAGNER, “THE MIGHTY HANDFUL”, E. HANSLICK

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URI
http://hdl.handle.net/20.500.12424/679660
Online Access
http://cyberleninka.ru/article/n/l-n-tolstoy-protiv-opery-i-programmnogo-vagnerovskogo-napravleniya-v-muzyke
http://cyberleninka.ru/article_covers/15063367.png
Abstract
В статье рассматривается отношение Л. Н. Толстого к оперному искусству, в частности его восприятие вагнеровского направления в европейской музыкальной культуре второй половины ХIХ века. Романы «Война и мир», «Анна Каренина», поздний эстетический трактат «Что такое искусство?», письма и дневники Толстого, воспоминания о нем современников дают картину негативного в целом отношения писателя к программной музыке. «Новая» оперная и симфоническая музыка Р. Вагнера, Ф. Листа, Р. Штрауса и русских композиторов «Могучей кучки» отталкивала Толстого попыткой придать музыке программный, изобразительный характер. В современных операх и симфониях Толстой видел недопустимый, с его точки зрения, синтез искусства: музыки и драмы. В своей критике оперной реформы Р. Вагнера и его последователей Л. Толстой не был одинок. Его скепсис относительно программно-изобразительной музыки оказался близок позиции таких философов и эстетиков, как А. Шопенгауэр, Э. Ганслик, Ф. Ницше.
The article considers the relationship of Leo Tolstoy to the opera art, in particular his perception of the Wagner school in European musical culture of the second half of the 19 th century. Novels “War and Peace” and “Anna Karenina”, the late aesthetic treatise “What is art?”, Tolstoy's letters and diaries, memoirs of contemporaries, give a negative picture of the overall relationship of the writer to opera in general, and to program music in particular. In the novel “War and Peace”, in the episode of visiting the Moscow Opera by Natasha Rostova, Tolstoy condemned the opera in general as an inauthentic form of art and sees it as a violent combination of three different arts that destroy the necessary unity: drama, music and dance. In addition, the theater and opera in particular, according to Tolstoy, have the ability to “infect” the artificiality of the soul and deprive a person of moral guidelines. Parodic description of the opera in the novel “War and Peace” enters the atmosphere of turbulent musical disputes of the second half of the 19 th century, associated with the program, or Wagner, the direction of the music. With Richard Wagner Tolstoy rightly linked the development of the art of program music, music written for a specific example and a literary plot. The opera and program area in the fifth chapter is devoted to the music of the seventh section of the novel “Anna Karenina”. “Opera” episodes in the novels “War and Peace” and “Anna Karenina” by Tolstoy complement theoretical statements about music in his late treatise “What is art?” (1897). The “new” opera and symphonic music of Richard Wagner, Franz Liszt, Richard Strauss and Russian composers of the “Mighty Handful” repelled Tolstoy's attempt to give a music program, an iconic character. In modern operas and symphonies Tolstoy saw an invalid from his point of view, the synthesis of the arts: music and drama. In his critique of Wagner's operatic reforms and his followers Tolstoy was not alone. His skepticism about the program and iconic music was close to the position of philosophers and aestheticians, as Schopenhauer, E. Hanslick, F. Nietzsche.
Date
2013
Type
text
Identifier
oai:cyberleninka.ru:article/15063367
http://cyberleninka.ru/article/n/l-n-tolstoy-protiv-opery-i-programmnogo-vagnerovskogo-napravleniya-v-muzyke
http://cyberleninka.ru/article_covers/15063367.png
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