The Miller's daughter Natasha is waiting for her passionately beloved Prince. She absentmindedly listens to the boring teachings of her old father (Melnik’s aria “That’s why you are all young girls” Listen - Miller's Aria.), telling her about the need to benefit from the Prince’s favor. The Prince appears. However, he came only to say goodbye forever: he will marry a girl of noble origin. The prince is trying to pay off with luxurious gifts to Natasha and cash gifts to her father. Shocked, Natasha admits to the Prince that she is soon to become a mother. The prince is leaving. An abandoned girl gives vent to her grief. She bitterly reproaches her father for the fact that, driven by greed, he indulged her affair. In despair, she throws herself into the river.
Act 2. Rich mansions. The prince celebrates the wedding. Majestic songs alternate with funny antics of the joker-matchmaker and cheerful dances. Suddenly the fun is broken: a woman’s voice is heard in the crowd, singing a sad song about an abandoned drowned girl. Everyone is depressed. The cause of the confusion could not be found. When the Prince tries to kiss his young wife, a woman’s moan is heard. The joyful mood can no longer be restored.
Act 3. (Occurs 12 years later). 1 picture. Princely tower. The princess is sad alone. Her husband has lost interest in her, he is unkind, and leaves home for a long time. The Princess's close friend, the girl Olga, tries to entertain her with a cheerful song. Having learned that the Prince decided to stay alone at night on the banks of the Dnieper, the Princess, together with Olga, goes in search of him.
2 picture. Night. The bank of the Dnieper near a destroyed mill. Mermaids dance in circles. The Prince arrives. He is tormented by the thought of Natasha's lost love. Suddenly, a scary figure in rags appears from behind the trees. This is the mad Miller, who leads a wandering life in the forest and imagines himself as a raven. The old man's delirium has a depressing effect on the Prince. The miller tries to strangle his daughter's killer. The hunters arrive in time and save their master.
4 action. 1 picture. Underwater tower. Dancing mermaids. The proud and powerful queen of mermaids (Natasha) sends her daughter to the shore and instructs her to lure the Prince into the water with affection and cunning. Left alone, she triumphs over the approaching hour of her long-planned revenge.
2 picture. Bank of the Dnieper. Accompanied by Olga, the Princess tracks down her husband. The little Mermaid comes out to meet the emerging Prince and calls him to the bottom of the river, assuring him that his old love awaits him there. Captivated by memories of Natasha, the Prince is ready to follow his daughter. The princess and Olga are trying to hold him back. From the Dnieper comes the alluring call of a mermaid. The girl carries the Prince away, and the Miller, who arrives in time, pushes him into the water. In response, the ominous laughter of the mermaids is heard. The underwater part of the Dnieper. The mermaids drag the corpse of the Prince to the feet of their queen.
Characters:
HISTORY OF CREATION
The idea for “Rusalka” based on the plot of Pushkin’s poem (1829-1832) arose in the late 1840s. The first musical sketches date back to 1848. In the spring of 1855 the opera was completed. A year later, on May 4 (16), 1856, the premiere took place in St. Petersburg on the stage of the Mariinsky Theater. “Rusalka” was staged carelessly, with large bills, which was reflected in the hostile attitude of the theater management towards the new, democratic direction in operatic creativity. He ignored opera and “high society.” Nevertheless, “Rusalka” endured many performances, gaining recognition among the general public. Advanced music criticism, represented by A. N. Serov, welcomed its appearance. But real recognition came in 1865. When it was resumed on the St. Petersburg stage, the opera met with an enthusiastic reception from a new audience - the democratically minded intelligentsia.
He left most of Pushkin's text untouched. They included only the final scene of the Prince’s death. Changes also affected the interpretation of images. The composer freed the image of the Prince from the features of hypocrisy that he was endowed with in the literary source. The emotional drama of the Princess, barely outlined by the poet, is developed in the opera. The image of the Miller was somewhat ennobled, in which the composer sought to emphasize not only selfishness, but also the power of love for his daughter. Following Pushkin, he shows profound changes in Natasha’s character. He consistently displays her feelings: hidden sadness, thoughtfulness, violent joy, vague anxiety, a premonition of impending disaster, mental shock and, finally, protest, anger, the decision to take revenge. An affectionate, loving girl turns into a formidable and vengeful Mermaid.
PLOT
An old Melnik lives on the banks of the Dnieper with his daughter Natasha. For some time now the Prince became a frequent guest with them. He loves Natasha and managed to evoke a reciprocal feeling in the girl’s heart. But lately the Prince appears less and less often. Natasha longingly awaits his arrival. The Prince and the Miller are waiting. In his own way, wishing his daughter well, he, with simple-minded, rude frankness, teaches her how to extract more benefit from the Prince’s love for himself and for his family. But Natasha does not listen to him. She is brought out of her reverie by the stomping of a horse. Natasha greets her lover with joy, affectionately reproaching him for his long absence. The prince refers to business and concerns. Wanting to calm the girl down, he gives her an expensive necklace. The Prince is sad. He cannot be entertained by the dances and games started by the peasants. He came to say goodbye to Natasha forever. No, it is not the war or the long journey that is the reason for their separation. “Princes are not free to take wives according to their hearts,” says the Prince. Neither the despair of the unfortunate girl, nor the news that she will soon become a mother stops him. Natasha, distraught with grief, tears off her precious gift and rushes into the Dnieper.
Princely wedding. The prince marries a rich and noble girl. The guests call the newlyweds. Among the wedding fun, someone's plaintive song about deceived girlish love is heard. The prince is frightened: he recognized Natasha’s voice. The matchmaker tries to restore the disturbed fun and proclaims “Honey is bitter!” But when the Prince bends down to kiss the Princess, a woman’s moan is heard in the silence. The wedding celebration is overshadowed; everyone is in confusion.
12 years have passed. The marriage did not bring happiness to the Prince. The Princess spends her days in dreary solitude. The hunter enters. He says that the Prince, having sent away his servants, was left alone on the banks of the Dnieper. The excited Princess, together with Olga, hurries to the river.
Night. On the banks of the Dnieper, mermaids play merrily under the cold light of the moon. Noticing the Prince, they disappear. The prince recognizes places where he visited many years ago: a dilapidated mill, an old oak tree. Memories of former happiness and repentance fill his soul. Suddenly a terrible, ragged old man appears before him. This is a miller. The death of his daughter deprived him of his sanity. The prince calls the unfortunate man to his mansion, but the Miller refuses. Suddenly he attacks the Prince, demanding that his daughter be returned to him. The hunters arrive in time and save the Prince from the mad old man.
Many years have passed since Natasha, throwing herself into the river, became the formidable ruler of the Dnieper waters. She still loves the Prince, but at the same time she cherishes a dream of revenge. Natasha tells her little mermaid daughter about her father, her unfaithful lover, instructing her to go ashore and lure him into the river.
Bank of the Dnieper. The Prince is drawn here by memories of days of past happiness. The Little Mermaid comes out of the water and tells the Prince that she is his daughter, calling him to follow her. He is ready to follow her. Princess and Olga, who appeared on the shore, try to hold him back. But Natasha’s voice is heard calling the Prince. Obeying him, the Prince follows the Little Mermaid into the water.
MUSIC
The drama underlying “The Mermaid” was recreated by the composer with great life truth and deep insight into the spiritual world of the characters. shows characters in development, conveys the subtlest shades of experiences. The images of the main characters and their relationships are revealed in intense dialogic scenes. Because of this, ensembles occupy a significant place in opera, along with arias. The events of the opera unfold against a simple and artless everyday background.
The opera opens with a dramatic overture. The music of the main (fast) section conveys the passion, impetuosity, determination of the heroine and, at the same time, her tenderness, femininity, and purity of feelings.
A significant part of the first act consists of extended ensemble scenes. Melnik’s comedic aria “Oh, all of you young girls” is at times warmed by a warm feeling of caring love. Terzetto music vividly conveys Natasha’s joyful excitement and sadness, the Prince’s soft, soothing speech, and the Miller’s grumpy remarks. In the duet of Natasha and the Prince, bright feelings gradually give way to anxiety and growing excitement. The music reaches a high level of drama with Natasha’s words “You’re getting married!” The next episode of the duet is psychologically subtly resolved: short, as if unspoken melodic phrases in the orchestra depict the heroine’s confusion. In the duet of Natasha and Melnik, confusion gives way to bitterness and determination: Natasha’s speech becomes more and more abrupt and agitated. The act ends with a dramatic choral finale.
The second act is a colorful everyday scene; Choirs and dances occupy a large place here. The first half of the act has a festive flavor; the second is filled with worry and anxiety. The majestic chorus “As in an upper room, at an honest feast” sounds solemnly and widely. The Princess’s soulful aria “Childhood Friend” is marked with sadness. The aria turns into a bright, joyful duet of the Prince and Princess. Dances follow: “Slavic”, combining light elegance with scope and prowess, and “Gypsy”, agile and temperamental. Natasha’s sad song “Over the pebbles, over the yellow sand” is close to peasant lingering songs.
The third act contains two scenes. In the first, the Princess’s aria “Days of Past Pleasures,” creating the image of a lonely, deeply suffering woman, is imbued with sorrow and mental pain.
The opening of the second picture of the Prince’s cavatina, “Involuntarily to these sad shores,” is distinguished by the beauty and plasticity of the melodious melody. The duet of the Prince and the Miller is one of the most dramatic pages of the opera; sadness and prayer, rage and despair, caustic irony and causeless gaiety - in the comparison of these contrasting states, the tragic image of the mad Miller is revealed.
In the fourth act, fantastic and real scenes alternate. The first scene is preceded by a short, colorfully graphic orchestral introduction. Natasha’s aria “The long-desired hour has come!” sounds majestic and menacing.
The Princess’s aria in the second scene, “For many years already in grave suffering,” is full of ardent, sincere feeling. A charmingly magical tone is given to the melody of the Mermaid’s call “My Prince”. Terzet is imbued with anxiety, a premonition of approaching disaster. In the quartet, the tension reaches its highest limit. The opera ends with the enlightened sound of the melody of the Mermaid's call.
An old Melnik lives on the banks of the Dnieper with his daughter Natasha. For some time now the Prince became a frequent guest with them. He loves Natasha and managed to evoke a reciprocal feeling in the girl’s heart. But lately the Prince appears less and less often. Natasha longingly awaits his arrival. The Prince and the Miller are waiting. In his own way, wishing his daughter well, he, with simple-minded, rude frankness, teaches her how to extract more benefit from the Prince’s love for himself and for his family. But Natasha does not listen to him. She is brought out of her reverie by the stomping of a horse. Natasha greets her lover with joy, affectionately reproaching him for his long absence. The prince refers to business and concerns. Wanting to calm the girl down, he gives her an expensive necklace. The Prince is sad. He cannot be entertained by the dances and games started by the peasants. He came to say goodbye to Natasha forever. No, it is not the war or the long journey that is the reason for their separation. “Princes are not free to take wives according to their hearts,” says the Prince. Neither the despair of the unfortunate girl, nor the news that she will soon become a mother stops him. Natasha, distraught with grief, tears off her precious gift and rushes into the Dnieper.
Princely wedding. The prince marries a rich and noble girl. The guests call the newlyweds. Among the wedding fun, someone's plaintive song about deceived girlish love is heard. The prince is frightened: he recognized Natasha’s voice. The matchmaker tries to restore the disturbed fun and proclaims “Honey is bitter!” But when the Prince bends down to kiss the Princess, a woman’s moan is heard in the silence. The wedding celebration is overshadowed; everyone is in confusion.
12 years have passed. The marriage did not bring happiness to the Prince. The Princess spends her days in dreary solitude. The hunter enters. He says that the Prince, having sent away his servants, was left alone on the banks of the Dnieper. The excited Princess, together with Olga, hurries to the river.
Night. On the banks of the Dnieper, mermaids play merrily under the cold light of the moon. Noticing the Prince, they disappear. The prince recognizes places where he visited many years ago: a dilapidated mill, an old oak tree. Memories of former happiness and repentance fill his soul. Suddenly a terrible, ragged old man appears before him. This is a miller. The death of his daughter deprived him of his sanity. The prince calls the unfortunate man to his mansion, but the Miller refuses. Suddenly he attacks the Prince, demanding that his daughter be returned to him. The hunters arrive in time and save the Prince from the mad old man.
Many years have passed since Natasha, throwing herself into the river, became the formidable ruler of the Dnieper waters. She still loves the Prince, but at the same time she cherishes a dream of revenge. Natasha tells her little mermaid daughter about her father, her unfaithful lover, instructing her to go ashore and lure him into the river.
Bank of the Dnieper. The Prince is drawn here by memories of days of past happiness. The Little Mermaid comes out of the water and tells the Prince that she is his daughter, calling him to follow her. He is ready to follow her. Princess and Olga, who appeared on the shore, try to hold him back. But Natasha’s voice is heard calling the Prince. Obeying him, the Prince follows the Little Mermaid into the water.
Premiere - May 4 (16), 1856, in St. Petersburg on the stage of the Mariinsky Theater. For the libretto of the opera, see this address http://libretto-oper.ru/dargomyjsky/rusalka.
“The more I study our folk musical elements, the more I discover their various sides,” is how A. S. Dargomyzhsky described his work on the opera “Rusalka”. The literary source was the drama of the same name by A. S. Pushkin - more precisely, the publishers called this drama “Rusalka”; the author did not have a title. The drama did not have an ending. “What a pity that this play is not finished!” - V. G. Belinsky complained... why this happened is very difficult to answer: the poet returned to this work several times, but never completed it. Perhaps he did not want associations with the then-famous opera by F. Cauer “The Virgin of the Danube” - the same one that he ironized in (“And she will squeak (my God!): Come to my golden palace!”).
However, the opera needed a finale, and A. S. Dargomyzhsky, who himself wrote the libretto, chooses the most logical outcome: revenge on Natasha, insulted by the prince, who became a mermaid. When creating the libretto, the composer preserved Pushkin’s text as much as possible, but there were still some changes: Natasha became a stronger and more determined woman. New folk scenes appeared, which made it possible to create choral numbers.
By its genre nature, the opera “Rusalka” is a psychological drama with a through development of the conflict: from the beginning in the first act through the development in the second and third to the climax and denouement in the fourth. It is noteworthy that Natasha’s suicide does not become the denouement - this is just the beginning... and this is connected not only with the fantastic element of the plot (transformation into a mermaid) - after the betrayal of the Prince, the heroine “dies” spiritually, her ability to love dies, supplanted by hatred. After this, the song beginning present in the first act disappears from her part, giving way to a recitative beginning. Only once will it appear in the second act - in the song “Over the Pebbles, Along the Yellow Sand”, sounding offstage (is this the voice of a vengeful mermaid or the Prince’s haunting memory of the living Natasha?) - but in the last act there is nothing human in the heroine’s part. .
The image of the Miller at the beginning of the opera appears in a comedic light - his aria, based on the intonations of peasant dance songs, depicts a crafty old joker. In the last act, these expressive means acquire the character of a tragic grotesque, and only when the mad Miller regains his sanity for a moment does a song begin to appear in his musical speech.
The image of the Prince receives the least development: throughout the entire opera he is characterized by song melodies in the spirit of romance - too lyrical, too beautiful to be able to believe in the feelings expressed in them. It is not surprising that this image practically does not change - a weak character is incapable of development.
In the opera “Rusalka” A. S. Dargomyzhsky used a number of authentic melodies of Russian folk songs - for example, in Natasha’s address to the Queen of the Dnieper the melody of the song “Ah, a beautiful maiden” is heard, the chorus “How on the mountain we brewed beer” is based on a folk song . In many of the choral scenes, as well as in Olga's song in the third act, the composer composed his own melodies, but used folk texts. Still, there are few examples of peasant songs in the opera - and in general the intonation structure of the opera is oriented not towards it, but towards urban romance. For this reason, despite the conventionality of the time of action, the characters seem to be contemporaries of the composer.
Choral scenes do not play a big role in the development of the action - unlike operas, but they create a colorful background for it. Choreographic numbers serve the same purpose - Slavic dance and Gypsy dance in the second act.
The opera "Rusalka" was first presented to the public in May 1856 in St. Petersburg. The premiere was conducted by K. Lyadov. “How can one not joyfully welcome a large four-act opera, written to the incomparable poetic text of Pushkin, written in the independent character of the Russian opera school,” V. Serov wrote with delight. The opera was favorably received by the democratically minded intelligentsia, but the aristocracy treated it with contempt. The critics were most critical of the choreographic scenes in the second act: “If our ancestors had fun with the dancing of the gypsies, then, of course, they did not invite them to the dining room, but looked at them from the high porch.”
In general, the success of the premiere of “Rusalka” was very modest, in which an unsuccessful production played a significant role: the opera was performed with numerous bills, the scenery, costumes and props were not specially made for it, using the remains of the drama “Russian Wedding”. The performance was saved from complete failure only by the performance of Osip Petrov in the role of the Miller. The opera, which did not have much success, was removed from the repertoire in 1857 - after eleven performances. Only after the resumption of the opera in 1865 did it receive true recognition.
Musical seasons
OPERA “MERMAID” - PSYCHOLOGICAL MUSICAL DRAMA
Prokopyshina Ekaterina
class 6 specialization “Music Theory”, MAOUUDOD DSHI No. 46, RF, Kemerovo
Zaigraeva Valentina Afanasyevna
scientific supervisor, teacher of theoretical disciplines MAOU DOD "DSHI No. 46" , Russian Federation, Kemerovo
Introduction.The history of the creation of the opera "Rusalka".
Dargomyzhsky began working on the opera in 1843, after the publication of Pushkin’s unfinished dramatic poem “Rusalka”. There is a version that the impetus for writing the opera was the duet written for soprano and contralto by the Free Crowd. Characterizing his creative plan, the composer wrote to V. Odoevsky: “The more I study our folk musical elements, the more I discover their various sides...
Figure 1. Portrait of A.S. Dargomyzhsky
To the best of my ability and ability, in “Rusalka” I am working on the development of our dramatic elements.” First, he studied folk life, folklore, composing a script and libretto. Dargomyzhsky worked on the opera for 10 years (1845-1855). He especially worked on musical material in 1853-1855. The idea for the opera was born from the origins of the “Natural School”. The libretto was compiled by the composer himself, having revised four manuscripts until approximately 1848. Dargomyzhsky treated Pushkin’s drama very carefully: 1) he transferred deep and subtle psychologism to the opera; 2) developed folk elements; 3) significantly preserved Pushkin’s poems. But the composer did not leave the content of the poem intact. He found a truthful ending to the drama, preserving the integrity of the image of the main character. The first production took place in St. Petersburg at the Circus Theater on May 4, 1856 under the direction of Lyadov.
Figure 2. Recordings of the opera “Rusalka”
I. Features of opera dramaturgy.
The dramaturgy of opera is closely related to the genre of opera - psychological drama. Dramaturgy is the development of a storyline in accordance with the genre. There is an end-to-end development of the dramatic conflict. Each action has its own climax.
Act I - the beginning (the conflict between Natasha and the Prince; refusal to marry; Natasha's death.) A special direction of dramatic development.
Act II - development (the Prince's wedding; the appearance of Natasha's ghost
Act III - in the midst of the wedding; the Prince's longing on the shore for Natasha).
Act IV - climax (scene of meeting with the Little Mermaid and luring
Prince into the abyss). Denouement (the triumph of the Mermaid - revenge is accomplished).
"Rusalka" is fundamentally different from previous operas. Reality in the display of images is inherent in Dargomyzhsky in “Rusalka”.
II. Features of the “Mermaids” genre as a psychological musical drama.
A. Interpretation of the genre.
The opera genre is interpreted as a psychological drama. While remaining faithful to Pushkin in the central and secondary scenes, Dargomyzhsky psychologically deepened the drama of ordinary people. Where all the demands for efficiency in terms of dramatic situation merge with musical “truth,” there is complete triumph for the author of “The Mermaid.” The psychological conflict between Natasha and the Prince is visible throughout the entire opera. The mermaid decides to take revenge on the Prince for her love. This happens at the end of the opera, when the Little Mermaid lures the prince into the waters of the Dnieper.
B. Features of the genre in opera numbers.
Dargomyzhsky correctly determined the nature and direction of the future opera, in which the psychological drama is revealed as a social, folk drama.
The drama of the characters is shown against a bright background. The composer used the ritual side of Russian life in a variety of ways, introducing play and song elements. Striving to truthfully convey life in all its manifestations, the composer organically combines dramatic and comedic, genre, everyday and lyrical elements into opera numbers. Hence the richness of the music's content, its impressive power.
The recitative of “The Mermaid” is truthful, poetic and emotionally expressive. All the characters’ experiences are subtle and subtle, expressed truthfully and simply. The recitative is imbued with broad chanting and songfulness; at the same time, he is faithful to the principle of declamation.
B. ramaturgy of operatic images.
She revealed herself primarily in the images of Natasha and Miller.
1) end-to-end development;
2) depth of psychological characteristics;
3) integrity and consistency of individual musical portraits:
1. Development of the image of Natasha.
At the center of the opera is the image of a peasant girl (at the beginning of the opera - a lyrical tone; in a duet with the Prince - a dramatization of the image; further development in a duet with the Miller; Natasha in Act IV is the indomitable and powerful queen of mermaids).
2. Development of the image of the Miller.
Melnik's characterization is based on an evolution from genre and everyday features to deep, vivid drama. So, at the beginning of his aria there is a crafty and cunning old father. Dargomyzhsky seems to be “sculpting” Melnik’s character.
Figure 3. Miller's Aria, act 1
With the development of events, the worldly traits in his characterization disappear; he is already a suffering and loving father. In Act III, the Miller is a crazy old man.
3. Development of the image of the Prince.
The image of the Prince develops more modestly. In Act I, the Prince is both a compassionate man and a selfish master. Then, indulging in the influence of lyrical opera, the composer embellishes the Prince - he has repented, he loves Natasha again.
4. Development of the image of the Princess.
This image was distinguished by its integrity and consistency of character. Her part is lyrical. The aria from Act III gives the image completeness.
D. Interpretation of choral and ensemble numbers.
Their interpretation is subordinated to dramatic purposes. The purpose of the choral scenes is to recreate the everyday environment in which the action takes place.
Three choruses from Act I convey a rural flavor and serve as a contrast to the main dramatic development of the plot. Act II - suite of wedding choirs (“Like in the Upper Room”; glorification of the newlyweds - “Long live our young prince”; play scene with the choir “Matchmaker”) and a large final ensemble with the choir.
In acts III and IV, choirs and ensembles play a “shading” role.
“Rusalka” is written in a mixed form, that is, along with traditional solo and ensemble numbers, there are cross-cutting scenes.
Among the ensemble numbers there are also traditional ones, for example,
Duet of Natasha and the Prince (“With a kind word”), Duet of the Princess and the Prince
(“From now on I will be yours”). They carry certain dramatic functions, being a musical and psychological generalization of situations. (Terzetto “Ah, that time has passed” from Act I;
Quartet with choir from Act II.)
But Dargomyzhsky’s main innovative achievement in this area are the duets and terzets from acts I and III, which play a central role in the development of the drama. Dargomyzhsky's ensembles have some features: 1) the predominance of dialogic singing; 2) the importance of recitatives; 3) fluidity, turning into end-to-end development. Such scenes consist of a sequence of solo, recitative, dialogical, ensemble “numbers”.
D. The role of the orchestra in exacerbating psychological conflict.
When you first look at the score, you can say that it is no different from the scores of the 19th century. Dargomyzhsky's accompaniment is dominated by the vertical harmonic principle. The principles of vocality certainly dominate instrumentalism. The accompaniment is dominated by the orchestra's string section, which is occasionally joined and even brought to the fore by wind instruments. Dargomyzhsky foreshadows Tchaikovsky's principle - emotional upsurge. The role of woodwinds is great in the fantastic scenes of mermaids from Act IV. There is nothing individual about the use of brass, harp and drums.
III.Use of quotes in opera.
Dargomyzhsky used the texts for folk choirs from Sakharov’s collection of Russian folk songs, “The Legend of the Russian People.”
1) “In the middle of the courtyard from under the tree” - Act I “Like on a mountain”
2) “Oh, the maiden is a beauty...” (“Oh, you, great grief” (cry)) – Act I of “The Queen of the Dnieper”
3) “The horned goat is coming” - Act IV Calling Natasha (in the orchestra) “I call on you, dear Prince.”
IV.Generalization and conclusion.
There have been no analogues to “Rusalka” in Russian opera music. Although this plot has already been used several times by Russian composers. (Davydov “Lesta - Dnepr. Mermaid”). Serov wrote: “Here is a deep heartfelt drama between four persons with the marvelous intervention of the fantastic world.”
“Rusalka” is the only one of Dargomyzhsky’s four stage works to be given an orchestral overture.
The genre of the opera is a folk-everyday lyrical-psychological social drama, which is clearly proven by the musical material.
References:
1.Gozenpud A.A. A brief opera dictionary. Kyiv: Muzychna Ukraina, 1986. - 295 p.
2. Kandinsky A.I. History of Russian music: textbook. allowance. M.: Music, 1980. - 440 p.
3. Pekelis M.S. Alexander Sergeevich Dargomyzhsky and his entourage. T.2. M.: Muzyka, 1983. – 313 p.
4. Serov A.N. Mermaid // Contemporary. 1856. No. 1-10.
5. Smirnova E.S. Russian musical literature: textbook. allowance. M.: Muzyka, 2002. - 141 p.
6. Shornikova M.I. Musical literature. Russian musical classics: textbook. allowance. Rostov-n/D.: Phoenix, 2014 - 286 p.