Alexander Sergeevich Dargomyzhsky biography. A. S. Dargomyzhsky - biography The life and creative path of Dargomyzhsky

Alexander Sergeevich Dargomyzhsky, whose brief biography is presented in the article, is a great Russian composer who introduced a lot of new things into Russian classical music. The years of his life are 1813-1869. Dargomyzhsky was born on February 14, 1813. His biography begins in the village. Troitsky (Dargomyzhe) Tula province, where he was born. His father served as an official, and Alexandra’s mother was an amateur poetess.

How Dargomyzhsky spent his early childhood

Biography, summary works, interesting facts about the composer - all this interests numerous fans of his work. Let's start from the very beginning and talk about the early childhood of the future composer.

Alexander Sergeevich spent it on his parents' estate, which was located in. After some time, the family moved to St. Petersburg. Alexander Dargomyzhsky was educated at home here. His biography of this time is marked by his studies in music, theater and literature. Alexander Dargomyzhsky's teachers were A. T. Danilevsky (pianist), P. G. Vorontsov (serf violinist), F. Schobernechler ( Viennese composer and pianist), B. L. Tseybikh (singer).

In addition, Dargomyzhsky met M.I. Glinka (his portrait is presented above), who gave him theoretical manuscripts brought from Professor Dehn from Berlin. They contributed to the expansion of Alexander Sergeevich’s knowledge in the field of counterpoint and harmony. At the same time, Dargomyzhsky began to study orchestration. His biography continues with the creation of his first independent works.

First works, students of Dargomyzhsky

The first piano plays and romances were published in the 1830s. The romances created to the words of Pushkin have the greatest artistic value: “Night Zephyr”, “Vertograd”, “Young Man and Maiden”, “I Loved You”, etc. And in subsequent years vocal music was one of the main creative interests of Alexander Dargomyzhsky, who happily gave vocal lessons, and for free. The number of his students is enormous. Among them, L.N. stands out. Belenitsyna (Karmalina), Bibibina, Shilovskaya, Girs, Barteneva, Purgolt (Molas), Princess Manvelova. Dargomyzhsky was always inspired by women's sympathy, especially singers. About the latter, he half-jokingly said that, without them, it would not have been worth becoming a composer.

Opera "Esmeralda"

The opera "Esmeralda" (years of creation - 1837-41) is considered the first serious work of Alexander Sergeevich. The libretto for it was previously created by Hugo himself, based on the famous novel. This work, despite all its immaturity (it was written according to the type French opera) testifies to Dargomyzhsky’s realistic aspirations. Esmeralda was never published. In St. Petersburg, in the library of the Imperial Theaters, the clavier, the handwritten score and Dargomyzhsky’s autograph are kept. A few years later this work was staged. The premiere took place in St. Petersburg in 1851, and in Moscow in 1847.

Romances by Dargomyzhsky

Alexander Sergeevich Dargomyzhsky was dissatisfied with the production of the opera. His biography is marked by a turn in creativity. "Esmeralda", apparently, disappointed the composer. Dargomyzhsky again began to compose romances, whose biography was marked by their writing before. Together with early works new ones (30 romances in total) were published in 1844. They brought Dargomyzhsky fame. The best romances of the 1840s are considered to be works based on poems by Pushkin: “Night Zephyr”, “Tear”, “Wedding”, “I Loved You”. In 1843, Dargomyzhsky’s cantata “The Triumph of Bacchus” was created based on the verses of the same poet. This work was presented in 1846 at the St. Petersburg Bolshoi Theater at a concert by the directorate. However, the author was denied the opportunity to stage The Triumph of Bacchus as an opera, created in 1848. Only much later, only in 1867, was the work created by the composer Dargomyzhsky presented in Moscow. His biography continues with the next period of creativity.

Travel and new trends in the composer’s work

New trends in Dargomyzhsky's work appeared in the second half of the 1840s - early 1850s. They were associated with the emergence and flourishing in our country of the so-called natural school in art and literature. Alexander Sergeevich began to be attracted mainly folk stories. In addition, his interest in folklore became even greater. Dargomyzhsky began processing a peasant song. We can say that the exacerbation national consciousness at this time is due to the fact that the composer was abroad in the period from 1844 to 1845. He visited Germany, Vienna, Brussels and Paris. Dargomyzhsky went there as a fan of everything French, and returned to St. Petersburg as an adherent of Russian, as in the case of Glinka.

It was at this time that the final design of “intonation realism” dates back to creative method composer (reproduction of speech intonations is the main means by which images are created). The composer said that he strives to ensure that the sound expresses the word. In the song "Melnik" the principle professed by Alexander Dargomyzhsky was put into practice. Brief biography it is marked by the active implementation of “intonation realism”. From “Melnik,” songs based on Pushkin’s poems, threads stretch to “The Stone Guest,” an opera in which the principles of musical declamation were embodied. “Musical speech” appears in the romances “You will soon forget me” and “Both boring and sad.”

Opera "Rusalka"

The opera "Rusalka", created in 1855 based on the drama by A.S. Pushkin, is central work of this period. It truthfully describes tragic fate a peasant girl who was deceived by the prince. Dargomyzhsky in this work created a genre that raised the problem of social inequality (folk musical drama). On May 4, 1856, “Rusalka” was first presented at the St. Petersburg Mariinsky Theater. It was staged with old scenery, sloppy performances, inappropriate costumes, and inappropriate notes. It is not surprising that this opera was not a success. By the way, the production took place under the direction of K. Lyadov, who did not like Dargomyzhsky. Until 1861, "Rusalka" had only 26 performances. However, in 1865 it was resumed by Komissarzhevsky and S. Platonova. In its new version, the opera was a huge success. It was included in the repertoire of many theaters and became one of the most beloved Russian operas.

Musical and social activities

How much do you know about such a composer as Dargomyzhsky? The biography in the table placed in textbooks contains only the most basic information about him. Meanwhile, Dargomyzhsky was not only a composer. The musical and social activities of Alexander Sergeevich Dargomyzhsky began in the late 1850s. In 1859, the composer became a member of the RMS (Russian Musical Society) committee. By participating in the commission that reviewed the compositions sent to the competition, he contributed to the development of Russian music. Dargomyzhsky also participated in the creation of the charter of the first conservatory in our country. At the same time, Alexander Sergeevich became close to composers who later became members of the " Mighty bunch"(Balakirevsky circle"). The result was mutual creative enrichment.

Cooperation with Iskra

Dargomyzhsky, whose biography and work were closely connected throughout his life, collaborated with Iskra in 1859. It was an influential satirical magazine at the time. The collaboration left an imprint on the composer’s further work. Alexander Sergeevich created music based on poems by P. I. Weinberg and V. S. Kurochkin, poets who were published in Iskra. Dargomyzhsky’s innovative romances dating back to this time are permeated with social content: “The Worm”, “The Titular Councilor”, “The Old Corporal”. At the same time, the composer continued his studies with amateur singers, and lyrical romances were created: “I remember deeply,” “What’s in your name,” “We parted proudly.”

Dargomyzhsky's last opera

Composer's attention recent years his life was again riveted to the opera. Having decided to carry out a radical reform, Dargomyzhsky in 1866 began working on “The Stone Guest” based on the work of A. S. Pushkin. He wanted to write music without changing Pushkin's text. Dargomyzhsky abandoned historically established opera forms: vocal ensembles, expanded arias. His goal was continuity of musical action. Recitative-ariosa recitation was taken as a basis, that is, the opera is almost entirely built on melodic recitative. The piece was almost completed several months later. Dargomyzhsky's death prevented him from creating music only for the last 17 verses. Ts. Cui completed “The Stone Guest” according to the composer’s will. He also created the introduction to this opera, which was orchestrated by N. Rimsky-Korsakov.

The meaning of "Stone Guest"

“The Stone Guest”, through the efforts of Alexander Dargomyzhsky’s friends, was staged on February 16, 1872 on the Mariinsky stage in St. Petersburg. In 1876, the opera was resumed, but did not remain in the repertoire. To this day, it is still not appreciated. Not only among Russian composers (Rimsky-Korsakov, Mussorgsky) did the innovative principles of Alexander Sergeevich’s final opera find followers. She was appreciated and foreign musicians. In particular, C. Gounod wanted to create his own opera, taking “The Stone Guest” as a model. In the work "Pelleas and Melisandre" C. Debussy relied on the principles of the reform that Dargomyzhsky carried out. His short biography would be incomplete if we did not talk about orchestral works Alexander Sergeevich.

Orchestral works by Dargomyzhsky

The brightest among them can be considered “Baba Yaga”, “Chukhon Fantasy” and “Little Russian Cossack”. The everyday images of these works are aggravated by the composer with the help of a grotesquely exaggerated interpretation. This is precisely where the novelty of the artistic techniques. They were continued in the works of such Russian composers as A. Lyadov, M. Mussorgsky and others. On January 17, 1869, Dargomyzhsky died in St. Petersburg (his grave is shown in the photo below).

His short biography is studied today in all music schools Russia. And the works of Alexander Sergeevich are performed in the best theaters our country to this day. There are not many among our compatriots who have never heard of such a composer as Dargomyzhsky. The biography for children and adults presented in this article concerns only his main works and achievements. We will be glad if you would like to continue your acquaintance with Russian classical music. A very interesting representative of it is Dargomyzhsky (biography and creativity). Now you can tell us briefly about his life and legacy.

Alexander Dargomyzhsky is the author of four operas and many other works. He became a harbinger of realism in Russian academic music. His works were staged on the European stage at a time when almost all the future Russian classics of the “Mighty Handful” were just beginning their careers. Dargomyzhsky's influence on composers lasted for decades. His “Rusalka” and “The Stone Guest” became an integral part of Russian art of the 19th century century.

Roots

Alexander Dargomyzhsky was born on February 14, 1813 in the small village of Voskresensky, located in the Chernsky district of the Tula province. The boy's father, Sergei Nikolaevich, was illegitimate son to the wealthy landowner Alexei Ladyzhensky. Mother Maria Kozlovskaya was born a princess.

The Dargomyzhskys owned the Tverdunov family estate, where little Sasha spent the first three years of his life. It was located in the Smolensk province - the composer returned there more than once in adulthood. Dargomyzhsky, whose biography was mainly connected with the capital, looked for inspiration on his parents' estate. The composer used motives folk songs Smolensk region in his opera “Rusalka”.

Music lessons

As a child, Dargomyzhsky spoke late (at age five). This affected the voice, which remained hoarse and high-pitched. However, such traits did not prevent the musician from mastering vocal technique. In 1817, his family moved to St. Petersburg. My father began working in the bank office. The child began to receive from early childhood music education. His first instrument was the piano.

Alexander changed several teachers. One of them was the outstanding pianist Franz Schoberlechner. Under his leadership, Dargomyzhsky, whose biography as a musician began from the very early years, began performing at various events. These were private meetings or charity concerts.

At the age of nine, the boy began to master the violin and string quartets. His main love there was still a piano left, for which he had already written several romances and works of other genres. Some of them were even subsequently published when the composer had already gained wide fame.

Influence of Glinka and Hugo

In 1835, Dargomyzhsky, whose biography was closely connected with his colleagues in the creative workshop, met Mikhail Glinka. The experienced composer greatly influenced the novice comrade. Dargomyzhsky argued with Glinka about Mendelssohn and Beethoven, took from him reference materials which I studied music theory. Mikhail Ivanovich’s opera “A Life for the Tsar” inspired Alexander to create his own large-scale stage work.

In the 19th century, French music was extremely popular in Russia. fiction. Dargomyzhsky was also interested in her. The biography and work of Victor Hugo fascinated him especially strongly. The composer used the Frenchman's drama "Lucretia Borgia" as the plot basis for his future opera. Dargomyzhsky worked hard on the idea. Much did not work out, and the result was late. Then he (on the recommendation of the poet Vasily Zhukovsky) turned to another work of Hugo - “Notre Dame Cathedral.”

"Esmeralda"

Dargomyzhsky fell in love with the libretto written by the author himself historical novel for the production of Louise Bertin. For his opera, the Russian composer took the same name “Esmeralda”. He carried out the translation from French himself. In 1841, his score was ready. The completed work was accepted by the directorate of the Imperial Theaters.

If literature in Russia was in demand French novels, then the audience preferred opera exclusively Italian. For this reason, “Esmeralda” waited unusually for her appearance on stage. for a long time. The premiere took place only in 1847 at the Bolshoi Theater in Moscow. The opera did not last long on stage.

Romances and orchestral works

During the period when the future of “Esmeralda” remained in limbo, Dargomyzhsky made a living by giving singing lessons. He did not give up writing, but refocused on romances. In the 1840s, dozens of such works were written, the most popular of which were “Lileta,” “Sixteen Years,” and “Night Zephyr.” Dargomyzhsky also composed a second opera, “The Triumph of Bacchus.”

Vocal and chamber works composer. His early romances are lyrical. Their inherent folkloric quality would later become a popular technique, used, for example, by Pyotr Tchaikovsky. Laughter is another emotion that Alexander Sergeevich Dargomyzhsky sought to provoke. A short biography shows: he collaborated with outstanding satirists. Therefore, it is not surprising that the composer’s works contain a lot of humor. Vivid examples of the author’s wit were the works “Titular Advisor”, “Worm” and others.

For the orchestra, Alexander Dargomyzhsky, whose short biography is rich in a variety of genres, wrote “Babu Yaga”, “Cossack Girl”, “Bolero” and “Chukhon Fantasy”. Here the author continued the traditions laid down by his mentor Glinka.

Travel abroad

All Russian intellectuals of the 19th century sought to visit Europe in order to become better acquainted with the life of the Old World. The composer Dargomyzhsky was no exception. The musician's biography changed greatly when he left St. Petersburg in 1843 and spent several months in major European cities.

Alexander Sergeevich visited Vienna, Paris, Brussels, and Berlin. He met the Belgian violin virtuoso Henri Vieuxant, the French critic Francois-Joseph Féty and many outstanding composers: Donizetti, Auber, Meyerbeer, Halévy.

Dargomyzhsky, whose biography, creativity and social circle were still much more connected with Russia, returned to his homeland in 1845. At a new stage in his life, he became interested in national folklore. Its elements began to appear more and more often in the master’s works. Examples of this influence include the songs and romances “Fever”, “Darling Maiden”, “Miller” and others.

"Mermaid"

In 1848, Alexander Sergeevich began creating one of his main works - the opera “Rusalka”. It was written on the plot of Pushkin's poetic tragedy. Dargomyzhsky worked on the opera for seven years. Pushkin did not finish his work. The composer completed the plot for the writer.

"Rusalka" first appeared on stage in 1856 in St. Petersburg. Dargomyzhsky, whose brief biography was already known to everyone music critic, received many detailed praises and positive reviews for the opera. All leading Russian theaters tried to keep it in their repertoire for as long as possible. The success of "Rusalka", which was strikingly different from the reaction to "Esmeralda", spurred on the composer. In his creative life a period of prosperity has begun.

Today “Rusalka” is considered the first Russian opera in the genre of psychological everyday drama. What plot did Dargomyzhsky propose in this work? The composer, whose short biography can introduce a variety of subjects, created his own variation of the popular legend, in the center of which is a girl turned into a mermaid.

"Iskra" and the Russian Musical Community

Although the composer’s life’s work was music, he was also interested in literature. The biography of Alexander Sergeevich Dargomyzhsky was closely connected with the biographies of a variety of writers. He became close and communicated with authors of liberal views. With them, Dargomyzhsky published the satirical magazine Iskra. Alexander Sergeevich wrote music based on poems by the poet and translator Vasily Kurochkin.

In 1859, the Russian musical community was created. Dargomyzhsky was among its leaders. A short biography of the composer cannot do without mentioning this organization. It was thanks to her that Alexander Sergeevich met many young colleagues, including Mily Balakirev. This new generation would later create the famous “Mighty Handful.” Dargomyzhsky will become a bridge between them and composers of the past era, such as Glinka.

"The Stone Guest"

After “Rusalka” Dargomyzhsky did not return to composing operas for a long time. In the 1860s. he created sketches for works inspired by the legends of Rogdan and Pushkin’s “Poltava”. These works stalled at the embryonic stage.

Dargomyzhsky’s biography, a brief summary of which shows how difficult the master’s creative research was sometimes, later became associated with “The Stone Guest.” This was the name of Pushkin’s third “Little Tragedy”. It was based on this that the composer decided to compose his next opera.

Work on “The Stone Guest” continued for several years. During this period, Dargomyzhsky went on his second major trip to Europe. Dargomyzhsky went abroad shortly after the death of his father Sergei Nikolaevich. The composer never married, he never had own family. Therefore, his father remained Alexander Sergeevich’s main adviser and support all his life. It was the parent who managed his son’s financial affairs and looked after the estate left after the death of Maria Borisovna’s mother in 1851.

Dargomyzhsky visited several foreign cities, where the premieres of his “The Little Mermaid” and the orchestral play “Cossack” were sold out. The works of the Russian master aroused genuine interest. The outstanding representative of romanticism, Franz Liszt, spoke approvingly of them.

Death

In his sixth decade, Dargomyzhsky had already undermined his health, suffering from regular creative stress. He died on January 17, 1869 in St. Petersburg. In his will, the composer asked Cesar Cui to complete The Stone Guest, who was assisted by Nikolai Rimsky-Korsakov, who completely orchestrated this posthumous work and wrote a short overture for it.

For a long time the last opera remained the most famous work Dargomyzhsky. Such popularity was caused by the innovation of the composition. There are no ensembles or arias in his style. OS new opera recitations and melodic recitatives began to be set to music, which had never happened on the Russian stage. These principles were later developed in Modest Mussorgsky's Boris Godunov and Khovanshchina.

Composer's style

Dargomyzhsky turned out to be a harbinger of Russian musical realism. He took the first steps in this direction, abandoning the affectation and pomposity of romanticism and classicism. Together with Balakirev, Cui, Mussorgsky and Rimsky-Korsakov, he created Russian opera, which departed from the Italian tradition.

What did Alexander Dargomyzhsky consider to be the main thing in his works? The composer's biography is the story of the creative evolution of a man who carefully worked out each character in his compositions. With the help of musical techniques, the author sought to show the listener as clearly as possible the psychological portrait of a variety of heroes. In the case of The Stone Guest, the main character was Don Juan. However, he is not the only one who plays a significant role in the opera. All characters creative world Alexander Sergeevich are not accidental and important.

Memory

Interest in Dargomyzhsky’s work was revived in the 20th century. The composer's works were extremely popular in the USSR. They were included in various anthologies and performed at a variety of venues. Dargomyzhsky's legacy has become the object of new academic research. The main experts on his work are Anatoly Drozdov and Mikhail Pekelis, who have written many works about his works and their place in Russian art.

Dargomyzhsky Alexander Sergeevich (1813-1869), composer.

Born on February 14, 1813 in the village of Troitsky (now in the Tula region) into a noble family. Received a comprehensive home education. The young Dargomyzhsky’s decision to devote himself to music was largely caused by his acquaintance with M. I. Glinka in 1835. Under Glinka’s influence, he began working on the first opera “Esmeralda” (1847) based on the novel “Notre Dame Cathedral” by V. Hugo.

In the 40s the romances “Young Man and Maiden”, “Night Marshmallow”, “I Loved You” (based on poems by A. S. Pushkin), “I’m Sad” (based on poems by M. Yu. Lermontov), ​​etc. were also written.

Dargomyzhsky's real success was brought to him by the opera "Rusalka" created in 1855, based on the plot of Pushkin's poem, the music of which is distinguished by deep psychologism.

In 1859, the composer was elected a member of the committee of the Russian Musical Society, and in 1867 he became chairman of its St. Petersburg branch.

In his late creativity he turned to the poetry of P. J. Beranger (“The Old Corporal”, “The Worm”, etc.).

In the last years of his life, Dargomyzhsky worked on the opera “The Stone Guest” based on one of Pushkin’s “little tragedies”. He worked enthusiastically, but never had time to finish the essay. The opera was completed by C. A. Cui, and instrumental by N. A. Rimsky-Korsakov. “The Stone Guest” was staged in St. Petersburg in 1872. The use of intonations of ordinary everyday speech in the music of this opera (the method of so-called intonational realism) was a bold innovation and gave impetus to the further development of the opera genre.

Why is it not written when Dargomyzhsky died?

Dargomyzhsky Alexander Sergeevich was born on November 14, 1813 in the Troitskoye estate, Belevsky district, Tula province. Since 1817 he lived in the capital, St. Petersburg. As a child, he received an excellent musical education. In addition to basic piano, he played the violin well and was successful in vocal performance. Contemporaries noted that the boy’s high, hoarse voice “touched him to tears.”

The future composer's teachers at different periods were Louise Wolgeborn, Franz Schoberlechner and Benedikt Zeibig. In his youth, Dargomyzhsky follows in his father’s footsteps, career ladder civil service, and for a while forgets about composition.

The key to the composer’s work was his acquaintance with. Since 1835, Dargomyzhsky has been studying music theory from his notes, and has repeatedly traveled to European countries. By the age of forty, Dargomyzhsky’s creativity reaches its peak. In 1853, a concert consisting only of his works was held in St. Petersburg with great success. In parallel with the composition, Dargomyzhsky is published in the popular satirical magazines “Iskra” and “Alarm Clock”, and takes an active part in the creation of the Russian Musical Society. From 1867 he became the head of the St. Petersburg branch of the Society.

“The Mighty Handful” and the work of Dargomyzhsky

Alexander Sergeevich Dargomyzhsky is one of the inspirers and organizers of the “Mighty Handful”. Like other members of society, he professed the principles of nationality, national character and the tone of the music. His work is characterized by warm sympathy for simple, “small” people, revelation peace of mind person. Not only in music, but also in the life of A.S. Dargomyzhsky followed his principles. One of the first nobles in Russia, he freed his peasants from serfdom, left them all the land and forgave their debts.

The foundation for the emergence of new techniques and means musical expressiveness became the main one aesthetic principle Dargomyzhsky: “I want the sound to directly express the word. I want the truth."

The principle of “musical truth” is most clearly visible in the recitatives of Dargomyzhsky’s works. Flexible, melodic musical techniques convey all the shades and colors of human speech. The famous “Stone Guest” not only became the embodiment of the declamatory form of singing, but also played a significant role in the development of Russian classical music.

They were appreciated by both contemporaries and descendants. Another Russian summed up the work of Alexander Sergeevich very accurately musical classic Modest Petrovich Mussorgsky:

“Dargomyzhsky is a great teacher of musical truth!”

Alexander Sergeevich Dargomyzhsky passed away on January 17, 1869, having previously made a long foreign tour (Berlin, Leipzig, Brussels, Paris, London). He was buried in the Alexander Nevsky Lavra, not far from M. Glinka.

Dargomyzhsky.The most famous works:

• opera "Esmeralda" (1838-1841);
• opera-ballet “The Triumph of Bacchus” (1848), “The Mermaid” (1856), “The Stone Guest” (1866-1869, the work was completed after the death of the composer C. Cui and N. Rimsky-Korsakov in 1872);
• unfinished operas “Rogdana” and “Mazeppa”;
• fantasies “Baba Yaga, or from the Volga nach Riga”, “Little Russian Cossack”, “Chukhon fantasy”;
• works for piano “Brilliant Waltz”, “Snuffbox Waltz”, Two Mazurkas, Polka, Scherzo and others;
• vocal works. Dargomyzhsky is the author of more than a hundred songs and romances, including “Both Bored and Sad,” “Sixteen Years,” “I’m Here, Inezilya,” “Miller,” “Old Corporal,” etc., and choral works.

A.S. Dargomyzhsky. "The Stone Guest" Broadcast from the Mariinsky Theater

Russian composer Alexander Sergeevich Dargomyzhsky was born on February 14 (2 according to the old style) 1813 in the village of Troitskoye, Belevsky district, Tula province. Father - Sergei Nikolaevich served as an official in the Ministry of Finance, in commercial bank.
Mother Maria Borisovna, née Princess Kozlovskaya, composed plays for production on stage. One of them, “A chimney sweeper, or a good deed will not go unrewarded,” was published in the magazine “Blagomarnenny”. St. Petersburg writers and representatives of the “Free Society of Lovers of Literature, Science and Art” were familiar with the composer’s family.

In total, there were six children in the family: Erast, Alexander, Sofia, Lyudmila, Victor, Erminia.

Until three years, the Dargomyzhsky family lived on the Tverdunovo estate in the Smolensk province. The temporary move to the Tula province was associated with the invasion of Napoleon's army in 1812.

In 1817, the family moved to St. Petersburg, where Dargomyzhsky began studying music. His first teacher was Louise Wolgenborn. In 1821-1828, Dargomyzhsky studied with Adrian Danilevsky, who was opposed to composing music by his student. During the same period, Dargomyzhsky began to master playing the violin together with the serf musician Vorontsov.

In 1827 Dargomyzhsky was assigned as a clerk (without salary) to the staff of the Ministry of the Court.

From 1828 to 1831, Franz Schoberlechner became the composer's teacher. To develop his vocal skills, Dargomyzhsky also works with teacher Benedikt Zeibich.

In the early period of his creativity, a number of works were written for piano ("March", "Counter Dance", "Melancholic Waltz", "Cossack") and some romances and songs ("The Moon Is Shining in the Cemetery", "Amber Cup", "I Loved You" , “Night Zephyr”, “Young Man and Maiden”, “Vertograd”, “Tear”, “The fire of desire burns in the blood”).

The composer takes an active part in charity concerts. At the same time, he met the writers Vasily Zhukovsky, Lev Pushkin (brother of the poet Alexander Pushkin), Pyotr Vyazemsky, Ivan Kozlov.

In 1835, Dargomyzhsky met Mikhail Glinka, from whose notebooks the composer began studying harmony, counterpoint and instrumentation.

In 1837, Dargomyzhsky began work on the opera "Lucretia Borgia", based on the drama of the same name French writer Victor Hugo. On Glinka’s advice, this work was abandoned and the composition of a new opera, “Esmeralda,” also based on Hugo’s plot, began. The opera was first staged in 1847 Bolshoi Theater in Moscow.

In 1844-1845, Dargomyzhsky went on a trip to Europe and visited Berlin, Frankfurt am Main, Brussels, Paris, Vienna, where he met many famous composers and performers (Charles Beriot, Henri Vieutan, Gaetano Donizetti).

In 1849, work began on the opera “Rusalka” based on the work of the same name by Alexander Pushkin. The opera premiered in 1856 at the St. Petersburg Circus Theater.

During this period, Dargomyzhsky focused his attention on developing a natural recitation of the melody. The composer’s method of creativity – “intonation realism” – is finally being formed. For Dargomyzhsky, the main means of creating an individual image was the reproduction of the living intonations of human speech. In the 40-50s of the 19th century, Dargomyzhsky wrote romances and songs (“You will soon forget me”, “I’m sad”, “Both boring and sad”, “Fever”, “Darling maiden”, “Oh, quiet, quiet, quiet, quiet”, “I’ll light a candle”, “Crazy, crazy”, etc.)

Dargomyzhsky became close to the composer Mily Balakirev and the critic Vladimir Stasov, who founded the creative association “The Mighty Handful”.

From 1861 to 1867, Dargomyzhsky wrote three successive symphonic fantasy overtures: “Baba Yaga”, “Ukrainian (Malarossian) Cossack” and “Fantasy on Finnish Themes” (“Chukhon Fantasy”). During these years, the composer worked on the chamber vocal works “I Remember Deeply,” “How Often I Listen,” “We Parted Proudly,” “What’s in Your Name,” “I Don’t Care.” The oriental lyrics, previously represented by the romances "Vertograd" and "Oriental Romance", were replenished with the aria "Oh, Virgin Rose, I am in chains." A special place in the composer’s work was occupied by songs with social and everyday content “Old Corporal”, “Worm”, “Titular Councilor”.

In 1864-1865, Dargomyzhsky’s second trip abroad took place, where he visited Berlin, Leipzig, Brussels, Paris, and London. The composer's works were performed on the European stage ("Little Russian Cossack", overture to the opera "Rusalka").

In 1866, Dargomyzhsky began work on the opera “The Stone Guest” (based on the small tragedy of the same name by Alexander Pushkin), but did not have time to finish it. According to the author's will, the first picture was completed by Cesar Cui, and Nikolai Rimsky-Korsakov orchestrated the opera and composed an introduction to it.

Since 1859, Dargomyzhsky was elected to the Russian Musical Society (RMS).

Since 1867, Dargomyzhsky was a member of the directorate of the St. Petersburg branch of the Russian Medical Society.

On January 17 (5 old style), Alexander Dargomyzhsky died in St. Petersburg. The composer did not have a wife or children. He was buried at the Tikhvin Cemetery of the Alexander Nevsky Lavra (Necropolis of Art Masters).

On the territory of the municipal formation Arsenyevsky district of the Tula region, the world's only monument to Dargomyzhsky, made by sculptor Vyacheslav Klykov, was erected.

The material was prepared based on information from open sources

1. Fyodor Chaliapin performs "The Miller's Aria" from Dargomyzhsky's opera "Rusalka". Entry 1931.

2. Fyodor Chaliapin in the scene “Aria of the Miller and the Prince” from Dargomyzhsky’s opera “Rusalka”. Entry 1931.

3. Tamara Sinyavskaya performs Laura's song from Dargomyzhsky's opera "The Stone Guest". Orchestra of the State Academic Bolshoi Theater. Conductor: Mark Ermler. 1977