The musical 18th century in Russia is a priceless treasure that we, people
of the 21st century, are privileged to discover afresh. At no other period
in Russian history were there so many world stars working in our country
as there were in the 18th century. I believe it would be easier not to
name someone, than attempt to mention all the celebrities that came here
to work. I am not referring to touring stars, but to those who came here
to live for many years at a time – running into decades even! While there
were some who chose to stay on in Russia for good.
There are a number of explanations for this fact. Russia, which had only
embarked on a dialogue with European culture in the end of the 17th century,
had actually imported a totally unfamiliar to it musical language, mentality,
instruments and genres. What took ages to form in Europe, here in Russia
emerged ready made. It was pointless reinventing things, if it was easier
to listen, learn and adapt. And the country invited the very best of teachers!
Take, for instance, the famous Italian Baldassare Galuppi. This composer
worked in Russia less than others  –
perhaps some three years, yet succeeded in writing here his opera “Ifigenia
in Tauride”, catching the typically Russian appreciation for choral music
(he even wrote several compositions to Orthodox texts!). As for the Choir
of the Royal Capella, he wrote: “I never heard anything like it anywhere
else in the world!”
Without a doubt, Russia’s financial possibilities were no minor factor
in attracting world celebrities. In the 18th century the Russian court
was one of the richest in Europe. The Russian Czars (rather, at the time
these were chiefly Czarinas) never begrudged the arriving stars generous
fees. The presence of world celebrities at Court was deemed a sign of ‘haut
ton’.
Another illustrious name – Giovanni Paisiello, who wrote twelve operas
especially for Russia. Among these was his “Mistress–Servant Girl”, the
predecessor of Rossini’s “Barber of Seville” – and no less famous!
World stars didn’t just come to Russia to work for some time. Italian Giuseppe
Sarti lived here for  seventeen
years! German Johan Hessler actually spent most of his life in Russia.
Moreover, having come here, he took a decision to begin a new countdown
of his opuses!
Famous Frenchman Andre Gretry was a true St.Petersburger! He wrote for
the Royal court the operas “Sun Maid” and “Cleopatra”. However, even after
leaving Russia, it was always present in his thoughts. In 2003 the score
of his opera “Peter I”, once staged in Paris, was discovered. One needn’t
look for historical authenticity there, yet the interest towards Russia
is obvious!
The musicians who worked in Russia weren’t just ‘physically’ present here,
they did their utmost to take in their surroundings, probe the ‘peculiar
mentality’ of the country. They observed, listened closely, and found huge
stimulus and inspirational ideas for their art. Thus, Gretry, for example,
wrote a great deal of instrumental music in Russia. This music is practically
brimming with Russian motifs. And not only because the composer quotes
Russian melodies. This music is permeated with a Russian melodic quality,
sentimentality, cordiality…
The principal heroes in 18th century Russia, just as in all of Europe,
were opera musicians – composers and performers. Domenico Cimaroza came
to work in Russia in the capacity of opera composer. However, very soon
his clavichord works blatantly outweighed – they were simply mad about
them in Russia. At the time, our country had quite a lot of performing
artists ready to play this kind of music: Russia had accumulated vast performing
resources, and many Russians who were by status ‘amateurs’, by the mid-18th
century were performing in the very best salons and concert halls of Europe.
Illustrations:
Y.Keldysh, O.Levasheva, “History of Russian Music”,
Moscow, “Musyka”, 1984 |
