Delib biography

Such grace, such a wealth of melodies and rhythms, such excellent instrumentation has never happened in ballet. Tchaikovsky among French composers of the XIX century. Deliba stands out by the special purity of the French style: his music is concise and colorful, melodic and rhythmically bending, witty and sincere. The element of the composer was a musical theater, and his name became a synonym for innovative trends in ballet music of the 19th century.

Delib was born in a musical family: his grandfather B. Batista was the soloist of the Parisian Theater Opera-Comique, and Uncle E. Batista was an organist, a professor of Paris, a conservatory. Primary musical education was given to the future composer. The twelve -year -old teenager Delib came to Paris and entered the conservatory in the class of composition A.

At the same time, he was engaged in F. Le Cope in the piano class and F. Benoit in the organ class. The professional life of a young musician began in the city of the formation of artistic tastes Deliba in many ways determined the aesthetics of the French lyrical opera: its figurative system, saturated with domestic melodies of music. At this time, the composer “composes a lot.

He is attracted by musical and stage art-operetta, one-act comic miniatures. It is in these essays that the style is honed, the skill of the accurate, concise and mark of the characteristics, colorful, clear, lively musical presentation develops, and theatrical form is improved. In the middle of the x. He is invited to work as the second chormaster at Grand Opera at the same time he writes together with L.

Minkus the music of the Black Babel and the divertissement “The Way strewn with flowers” ​​to Adan’s ballet “Corsair”. These works, talented and inventive, brought Delib a well -deserved success. However, the next work of the composer Grand Opera accepted for production only after 4 years. They became the ballet “Coppelia, or a girl with enamel eyes”, according to T. Hoffmann's short story “Sand Man”.

It was he who brought Delibu European popularity and became a milestone work in his work. In this essay, the composer showed a deep understanding of ballet art. His music is characterized by laconicism of expression and dynamics, plasticity and colorfulness, flexibility and clarity of dance pattern. The fame of the composer strengthened even more after the creation of the ballet “Sylvia”, according to drama.

Tasso "Aminta". What a charm, what kind of grace, what kind of wealth is melodic, rhythmic and harmonious! The latter was the most significant operator of the composer. In Lakma, the traditions of the lyrical opera are developed, which so attracted listeners in the lyrical-dramatic works of Sh. Guno, J. Visa, J. Massna, K. written on the oriental plot, which is based on the story of the tragic love of the Indian girl Lakme and the English soldier Gerald, this opera is rich in true, realistic images.

The most expressive pages of the score of the work are devoted to the disclosure of the sincere world of the heroine. Along with the composition of Delib, he paid much attention to teaching. From G. a friendly and responsive person, a wise teacher - Delib rendered great assistance to composer youth. In the city of the last composition, Deliba was the opera "Cassia" is non -confessed.

She once again proved that the composer never cheated on his creative principles, sophistication and the elegance of style. The legacy of Deliba is mainly concentrated in the field of musical and stage genres. They have more than 30 works for the musical theater: 6 operas, 3 ballets and many operett. The composer reached the greatest creative heights in the ballet.

Having enriched the ballet music with the breadth of symphonic breathing, the integrity of drama, he proved himself as a bold innovator. This was noted by critics of that time. So, E. Ganshlika belongs to the statement: "He can be proud that he was the first to develop a dramatic beginning in the dance and surpassed all his rivals in this." Delib was an excellent master of the orchestra.

The scores of his ballets, in the words of historians, are a "sea of ​​colors." The composer took many methods of the orchestral letter of the French school. Its orchestra is distinguished by addiction to pure timbrees, a lot of the finest coloristic finds. Delib had an undoubted influence on the further development of ballet art not only in France, but also in Russia. Here, the achievements of the French master found a continuation in the choreographic works of P.

Tchaikovsky and A. Vetlitsyna Tchaikovsky wrote about Deliba: “The great Russian composer did not speak so warm even about the Guno, not to mention other modern French musicians. For democratic artistic aspirations of Deliba, inherent in his music, melody, emotional immediacy, naturalness of development and support on the existing genres were close to Tchaikovsky.

Leo Delib was born in the province of February 21, arrived in Paris in; After graduating from the conservatory in the year, he entered the Pianist-concertmaster at the Lyric Theater, and ten years later-the chormaster at Grand Opera.Delib composes a lot, more in the command of feelings than following certain artistic principles. At first, he wrote mainly operettas and one -act miniatures in a comic gender of only about thirty works.

Here, his skill was honed with accurate and marking characteristics, clear and living presentation, a bright and intelligible theatrical form was improved. Deliba’s democracy, as well as Bizet, was formed in direct communication with the household genres of urban folklore. Delib was the number of close friends of Bizet. In particular, together with other other other composers, they wrote to Operetta “Malbrook gathered on a campaign” Wide musical circles paid attention to Deliba, when he, together with Ludwig Minkus, a composer, who later worked in Russia for many years, gave the premiere of the “stream”, the success was hardened by Deliba and Sylvia’s ballets among many of his other works stand out: unpretentious comedy, charming in music, especially the I act, - “the king said”, the opera “Jean de Nivel”; “It is light, elegant, romantic to the highest degree,” Tchaikovsky and Opera Lakme, a professor of the Paris Conservatory, wrote about her about her.

To everyone, a friendly, sincere and responsive, he rendered a great help to youth. Delib died on January 16 of the year. The most interest are the ballet scores of Deliba: here he acts as a bold innovator. For a long time, still starting with the Opera Balets of Lully, choreography was given a significant place in the French musical theater. This tradition has been preserved in the performances of Grand Opera.

So, in the year, Wagner was forced to write the ballet scenes of the grotto of Venus specifically for the Parisian production of Tangayzer, and the Guno when the Faust was transferred to the stage “Grand Opera” - “Walpurga Night”; For the same reason, the divertissement of the last act was added to Carmen, etc.

However, independent choreographic performances became popular only from the 19ths of the 19th century, when a romantic ballet was established. In the poetic and genre characteristics of the music of this ballet, the achievements of the French comic opera are used. Hence the support on existing intonations, the overall accessibility of expressive means with some failure of drama.

Parisian choreographic performances of the 50s, however, were increasingly saturated with romantic contrasts, sometimes melodramatism; They were endowed with elements of entertainment, magnificent monumentality The most valuable works - Esmeralda C. Puni, and the “Corsair” by A. Adan, the music of these performances, as a rule, did not meet high artistic requirements - she lacked the integrity of dramaturgy, the breadth of symphonic breathing.

In the X years, Delib brought this new quality to the ballet theater. Contemporaries noted: "He may be proud that he was the first to develop a dramatic beginning in the dance and surpassed all his rivals in this." Tchaikovsky wrote in the year: “I have recently heard a genius in my kind music for the ballet Delib“ Sylvia ”. I had already met Claviralsugu with this wonderful music, but in the magnificent performance of the Vienna Orchestra it simply fascinated me, especially in the first part.

” In another letter, he added: “What kind of charm, for grace, what kind of wealth is melodic, rhythmic and harmonious.” With his characteristic modesty and demanding claim to himself, Tchaikovsky unflatterly spoke about his recently finished ballet "Swan Lake", giving the palm of the Sylvia championship. However, one cannot agree with this, although Deliba’s music undoubtedly has great virtues.

In the scenario-dramaturically, his work is vulnerable, especially “Sylvia”: if the “Coppelia” according to the short story of E. Hoffmann “Sand Man” relies on the household plot, although not consistently developed enough, then in “Sylvia” according to the dramatic pastorals T. TASSO "Aminta", mythological motifs are developed very conditionally and chaotic.

Moreover, the merit of the composer, who created contrary to this far from reality, the dramatic weak scenario, is a vital schedule, integral in terms of expression. In the Soviet Union, both ballets were going on. But if in “Coppelia” the script only partially changed to identify more real content, then for the music of “Sylvia”, renamed Fadetta in other editions - “The savage”, a different plot was found - it was borrowed from the story of Georges Sand Premier “Fadetta” -