Rus Articles Journal

Romanticism music: what it? Jacques Offenbach and a cancan of

the Cancan as quite frivolous dance appeared not at will of the composer any more - but on his music. On music of the person who the whole 19th century amused Europe. And you know who initially danced this world famous cancan? Gods. Gods of the Olympus in Offenbach`s operetta “ Orpheus in hell “.

So, Offenbach did not write that cancan which all know. But he wrote music of “infernal gallop“. And this dance which already lived life perfectly “laid down“ on music of the composer. With Offenbach`s music it most often is also executed (still the option music of other master of the operetta - Lehar - from “The cheerful widow“ meets). Anyway - hardly anyone did not see these very vigorous moves legs of all corps de ballet built in a row. The quadrille element which was born in the Parisian working quarters lives two centuries. The same two centuries there lives Offenbach`s music - and not only a notorious Cancan which actually - Gallop of gods.

The French composer Jacques Offenbach was born on June 20, 1819 in the German Cologne in the Jewish family. It - “following on the birth“ after Charles Gounod if to continue the line of a cycle. The father was a cantor of a synagogue - that is the singing soloist, so music was a family part of the life. The father replaced a surname: the town Offenbach was his homeland, it also gave this surname to children. The love to music was family line too: all played musical instruments. And the younger son - Jacob (in the future Jacques) especially conceived a liking for a violoncello.

But the audio system of Europe then there was Paris. There the father also brought sons. With money the Cologne fans of music who well knew “trio“ of children of the cantor helped.

At first did not admit to the Parisian conservatory of Jacques - as foreigner. But then violated all rules and took. But Jacques Offenbach gives up study, begins to work as the cellist in different Parisian orchestras (and he is 15 years old) and already tries to compose slowly.

Family rest of Parisians consisted then in visit of musical theaters. It was the main entertainment of average and highest classes of society. In Paris the power was replaced, revolutions rattled, barricades were under construction and fell, and musical theaters burst with public. Such is there were specifics of life of the French capital throughout all 19th century.

Very few people think that the theater was once a cut of society even concerning “landing“ of public. Expensive places and boxes - for the high society, democratic “gallery“. Ladies - they in crinolines and in full rigging - sit, gentlemen stand behind, in opera glasses consider not only what occurs on a scene, but also each other first of all. In theaters even often selected brides and grooms. In a word, revolutionary performances, epidemics and other misfortunes could shake Paris, but fires lit up in the evening and from everywhere music sounded.

Jacques Offenbach joined society, passed into Catholicism, married the aristocrat - the daughter of the Spanish general who gave birth to it to 5 children. Marriage was long and happy, in the general opinion. And not to be refused from theatrical managements, it just founded own theater. On July 5, 1855 on the Champs Elysee the Buff - Parizyen theater was open, this day is often considered as birthday of the operetta. “ did not hear Paris yet how towers of its seventy churches punched midnight on July 5, 1855, - when this world city this sparkling, disgusting, dark, with the obvious past and very not clear present, Paris of millionaires and uncountable beggars, players va - bank and workers, Paris of ostentatious smiles and hidden tears - is shorter: Paris Napoleon III endured sensation... Opening of small theater “ (Otto Shnayderayt) was sensation which was endured tonight by the boulevard.

At the same time the administrator and the author of a huge number it is musical - theatrical works, Offenbach easily and easy conquered Paris. There were periods of take-off and financial difficulties - but Paris already became offenbakhovsky. And judging by “cancan“ - remains still.

There was also a word - “operetta“ soon. Both “tragedy“, and “comedy“ were necessary for mankind throughout all its history. Sources of these “genres“ go back to so archaic times that cannot be tracked. In any society, both the tragedy, and the comedy were present at any its stage of development, and is frequent and were played by all community. And music continuously accompanied all representations.

The person needs to empathize the tragedy - and here degree of prescription of “event“ is not even of great importance. The person needs to laugh at the comedy - and here degree of prescription can matter. Plots of comedies are updated more often - finally to approach the present, to “here and now“. Though subjects - all the same old, as the world: love, unexpected situations, someone`s intrigues or bad traits of character (envy, greed and other). When the subject is absolutely topical when it ordinary and everyday becomes socially - significant - then the comedy can become sharp satire. Such satire - at the same time social and musical steel of the operetta of Offenbach.

It was the satire on modern to it society - when via “filter“ of the ancient myth, and often and directly, it took the bark off from life of the Parisian beau monde of an era of Napoleon III.

By the way in spite of the fact that Offenbach derided the emperor and its brought closer, Napoleon III samolichno granted to the composer the French citizenship and very honourable Award of the French legion. But Offenbach remained Offenbach. Cheerful, even a little foolish, the person who loved draws and did not love hypocrisy. All this can be tracked on plots and music of its operettas.

The famous myth about Orpheus and Eurydice was so parodied ancient and all. The musician Orpheus, however, still remains the musician, but already the director of conservatory. And it loses the wife, apparently, with pleasure, finding long-awaited freedom: (“If I try to return to it, I am not worth it that to lose it “). There is also a heroine under the name of Public Opinion - she demands from Orpheus that he immediately restored is exemplary - an indicative family, having taken away the wife from Pluto which tempted her - god of the Shallow kingdom, that is the Aida. But this family - for a long time not an example for imitation. And Orpheus not the one-woman man, but Eurydice also hates music of the husband - the musician.

The Olympic gods were bothered by their Olympic tranquility. And the status orders to listen it to Public Opinion. The Supreme god abuses Jupiter Pluto for the fact that that kidnapped foreign wife. On what the last reasonably asks: and - that you what, Jupiter? Nevertheless gods participate in the history of “rescue of a family“ and appear in hell. And there they rage in gallop - a cancan - read, there are no authorities, there is no indisputable.

Also the French criticism at once understood it: “ in Such way it is possible to come to undermining all authorities and cultural values “, - wrote newspapers. Besides there was (and will exist) an immortal opera of the Glitch “Orpheus and Eurydice“ who was parodied too by Offenbach. Not only that Offenbach “svyatotatstvenno“ treated mythology, but still “humiliated“ the well-known opera, and also mocked at French “inhabitants of heaven“. Newspapers swore, the public laughed loudly and flocked on performances.

Jacques Offenbach always had a tendency to mischief and grotesque. And music he liked to parody too - including music of the great contemporaries. Those, generally did not take offense.

Other genius - Gustave Dora whose illustrations to the Bible are known to much - even just “by sight“ was a graphic designer of that performance, by the way. The success of offenbakhovsky “Orpheus“ was huge, it is put and now. And than myths are good - even if to put them upside down, different treatments are all the same admissible, so - different statements.

Other example - the operetta “ Great duchess Gerolshteynskaya “. There is already any antiquity, but a continuous political implication. The small invented German duchy. And this tiny country likes to pobryatsat the weapon, and the ruler likes to sing a song about “a saber of my father“. The Duchess has even an own Favourite - the soldier Fritz. It raises its all the time in ranks - up to the general. When it becomes clear that Fritz all the same loves the peasant Wanda, ranks consistently are removed. An operetta essence - satire on militarism. This Parisian performance was visited by all European and many Asian monarchs. Also the Russian emperor Alexander II visited.

Across Europe there passed war - free - Prussian. Germans accused Offenbach of treachery, French - of blasting foundations. But Offenbach remained Offenbach. And its music itself won the world. And all this occurred in the natural way. There is some acquaintance all aurally a melody - it can be used. Then suddenly it became clear, for example, that Voyenno`s Anthem - naval forces of the USA are a Duet of two gendarmes from Offenbach`s operetta “Genevieve the Brabant“.

How it is possible to put everything upside down as to make the comedy and vice versa - it will be possible to read next time of the tragedy.