Music and Ballet
Π§Π°ΠΉΠΊΠΎΠ²ΡΠΊΠΈΠΉ Π±ΡΠ» ΠΎΠ΄Π½ΠΈΠΌ ΠΈΠ· ΡΡΠ΅Π½ΠΈΠΊΠΎΠ² Π‘Π΅ΡΠ³Π΅Ρ Π’Π°Π½ΠΈΠ΅Π²Π°, ΠΊΠΎΡΠΎΡΡΠΉ ΠΈΠ·ΠΌΠ΅Π½ΠΈΠ» ΠΎΠ±ΡΡΠ΅Π½ΠΈΠ΅ Π‘Π΅ΡΠ³Π΅Ρ Π Π°Ρ ΠΌΠ°Π½ΠΈΠ½ΠΎΠ²Π°, Π²Π΅Π»ΠΈΠΊΠΎΠ»Π΅ΠΏΠ½ΠΎΠ³ΠΎ ΠΏΠΈΠ°Π½ΠΈΡΡΠ° ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ°ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΠΊΡΡΠ±ΠΈΠ½Π°. ΠΡΡΠ³ΠΎΠΉ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡ ΠΠ»Π΅ΠΊΡΠ°Π½Π΄Ρ ΠΠ»Π°Π·ΡΠ½ΠΎΠ² ΠΎΠΊΠ°Π·Π°Π» Π²Π°ΠΆΠ½ΠΎΠ΅ Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π½Π° Π½ΠΎΠ²ΠΎΠ΅ ΡΠ΅ΡΠ΅Π½ΠΈΠ΅ Π² ΠΌΡΠ·ΡΠΊΠ΅ ΠΊΠ°ΠΊ ΡΡΠΈΡΠ΅Π»Ρ ΠΈ ΡΠΏΡΠ°Π²Π»ΡΡΡΠΈΠΉ ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³ΡΠΊΠΎΠΉΠΠΎΠ½ΡΠ΅ΡΠ²Π°ΡΠΎΡΠΈΠΈ. ΠΠΎΡΠ»Π΅ ΠΎΠ½ ΠΏΠ΅ΡΠ΅Π΅Ρ Π°Π» ΠΈΠ· Π ΠΎΡΡΠΈΠΈ Π²ΠΎ Π€ΡΠ°Π½ΡΠΈΡ Π² 1928 Π³ΠΎΠ΄Ρ. His financial circumstances took a turn for the better… Π§ΠΈΡΠ°ΡΡ Π΅ΡΡ >
Music and Ballet (ΡΠ΅ΡΠ΅ΡΠ°Ρ, ΠΊΡΡΡΠΎΠ²Π°Ρ, Π΄ΠΈΠΏΠ»ΠΎΠΌ, ΠΊΠΎΠ½ΡΡΠΎΠ»ΡΠ½Π°Ρ)
Music and Ballet
Music and Ballet.
It was Mikhail Glinka (1804 — 1857) who laid the foundation for modernRussian music. After three years of study in Italy, he began to suffer from the wish to hear music expressing the temperament of his own people. His two best-known operas, Ivan Susanin and Ruslan and Lyudmila, were based on Russian folklore and historical legend.
Glinka’s works inspired a group of five younger composers who emerged as an extraordinary musical phenomenon in the late nineteenth century: Miliy Balakirev (1836 — 1910), Alexander Borodin (1833 — 1887), ModestMussorgsky (1839 — 1881), Caesar Cui (1835 — 1918), and Nicholai Rimsky-Korsakov (1844 — 1908).
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Pyotr Ilyich Tchaikovsky (1840 — 1893) the best-known of all Russian composers, gave up a position in the civil service at the age of twentythree to devote himself entirely to music, much against the wishes of his father. After completing his studies at St Peterburg Conservatoire, he set out for Moscow in 1866 to take up a Teaching post.
His financial circumstances took a turn for the better in 1877 when he acquired a wealthy patroness, Nadezhda Filaretovna von Meck, who for the next fourteen years was to support him. By 1878 he had already composed the music for the ballet Swan Lake and one of his most famous operas, EugeneOnegin. These were followed by the opera The Queen of Spades (1890) and the ballets Sleeping Beauty (1889) and The Nutcracker (1892). Now internationally famous, he spent much of his time travelling around abroad to hear his works performed.
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Tchaikovsky was followed by his pupil Sergei Taneyev (1856 — 1915), who in his turn taught Sergei Rachmaninov (1873—1943), the great pianist and composer, Alexander Scryabin (1872 — 1915) and Rein-gold Gliere (1875 —1956). Another composer, Alexander Glazunov (1865 — 1936), had an important influence on the new generation of Russian composers during his time as a teacher and director of the St Petersburg Conservatoire, before he leftRussia for France in 1928.
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Igor Stravinsky was in his middle twenties when he met Sergei Diaghilev, the celebrated impressario of the Ballets Russes and went with him toParis. In his works, particularly in the ballets Firebird and Petrushka, he was inspired by the Russian folk music. Stravinsky became a French citizen in 1934, but during the Second World War he moved to the UnitedStates.
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Like many other composers of the younger generation, Sergei Prokofiev (1891 — 1953) and Dmitry Shostakovich (1906—1975) owed a debt to Glazunov. He persuaded Prokofiev’s father to send him to the Conservatoire to develop his musical talent, and defended young Shostakovich’s right to a scholarship there.
In the thirties, along with Prokofiev and others, Shostakovich fell into disgrace for «ideological deficiencies» and for a number of years almost all his works were banned and not performed in public.
Another Russian composer of the twentieth century to gain wide international popularity, is Aram Khachaturian (1903 — 1978), whose works include symphonies, ballet music and concertos for piano, violin and violoncello. One of his most famous works is the ballet Spartacus.
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It was a Frenchman, Marius Petipa (1819 — 1910), who laid the foundation of Russian dance and influenced the development of classical ballet inRussia in the nineteenth century. Petipa cooperated with Tchaikovsky on TheSleeping Beautu and The Nutcracker. He himself created 57 full-length ballets, and directed 17 revivals.
In 1909 Russian ballet suddenly burst upon Europe, when SergeiDiaghilev, the brilliant producer, and Mikhail Fokine, a leading choreographer, took a company of dancers from the Imperial School of itPetersburg to Paris. His Ballets Russes were wonderful productions with colorful sets designed by some of Russia" s finest artists, such asAlexander Benois and Lev Bakst, but the greatest sensation were the male dancers, Vazlav Nijinsky and Sergei Lifar.
After the Revolution ballet schools throughout the Soviet Union received strong state support. Some outstanding new works were produced, such asProkofiev" s Romeo and Juliet (1946) and Khachaturian" s Spartacus (1968).
In the Fifties Moscow" s Bolshoi Ballet and the Kirov Ballet (formerly the Imperial Ballet of St Petersburg) made their first, highly appreciated tours in the West. Today Russian dancers are still unsurpassed in their mastery of the pure classical style.
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ΠΡΠΎ Π±ΡΠ» ΠΠΈΡ Π°ΠΈΠ» ΠΠ»ΠΈΠ½ΠΊΠ°, ΠΊΠΎΡΠΎΡΡΠΉ Π·Π°Π»ΠΎΠΆΠΈΠ» ΠΎΡΠ½ΠΎΠ²Ρ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ ΡΡΡΡΠΊΠΎΠΉ ΠΌΡΠ·ΡΠΊΠΈ. ΠΠΎΡΠ»Π΅ ΡΡΠ΅Ρ Π»Π΅Ρ ΡΡΠ΅Π±Ρ Π² ΠΡΠ°Π»ΠΈΠΈ, ΠΎΠ½ Ρ ΠΎΡΠ΅Π» ΡΡΠ»ΡΡΠ°ΡΡ ΠΌΡΠ·ΡΠΊΡ, Π²ΡΡΠ°ΠΆΠ°ΡΡΡΡ Ρ Π°ΡΠ°ΠΊΡΠ΅Ρ Π»ΡΠ΄Π΅ΠΉ. ΠΠ²Π΅ Π΅Π³ΠΎ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡΠ΅ ΠΎΠΏΠ΅ΡΡ «ΠΠ²Π°Π½ Π‘ΡΡΠ°Π½ΠΈΠ½», «Π ΡΡΠ»Π°Π½ ΠΈ ΠΡΠ΄ΠΌΠΈΠ»Π°» Π±ΡΠ»ΠΈ ΠΎΡΠ½ΠΎΠ²Π°Π½Ρ Π½Π° ΡΡΡΡΠΊΠΎΠΌ ΡΠΎΠ»ΡΠΊΠ»ΠΎΡΠ΅ ΠΈ ΠΈΡΡΠΎΡΠΈΡΠ΅ΡΠΊΠΈΡ Π»Π΅Π³Π΅Π½Π΄Π°Ρ .
Π Π°Π±ΠΎΡΡ ΠΠ»ΠΈΠ½ΠΊΠΈ Π²Π΄ΠΎΡ Π½ΠΎΠ²ΠΈΠ»ΠΈ Π³ΡΡΠΏΠΏΡ 5 ΠΌΠΎΠ»ΠΎΠ΄ΡΡ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠΎΠ², ΠΊΠΎΡΠΎΡΡΠ΅ ΠΏΠΎΡΠ²ΠΈΠ»ΠΈΡΡ, ΠΊΠ°ΠΊ ΠΌΡΠ·ΡΠΊΠ°Π»ΡΠ½ΡΠΉ ΡΠ΅Π½ΠΎΠΌΠ΅Π½ Π² ΠΊΠΎΠ½ΡΠ΅ XIX Π²Π΅ΠΊΠ°: ΠΠΈΠ»ΠΈ ΠΠ°Π»Π°ΠΊΠΈΡΠ΅Π² (1836 —1910), ΠΠ»Π΅ΠΊΡΠ°Π½Π΄Ρ ΠΠΎΡΠΎΠ΄ΠΈΠ½ (1833 — 1887), ΠΠΎΠ΄Π΅ΡΡ ΠΡΡΠΎΡΠ³ΡΠΊΠΈΠΉ (1839 — 1881), Π¦Π΅Π·Π°ΡΡ ΠΡΠΈ (1835 — 1918) ΠΈ ΠΠΈΠΊΠΎΠ»Π°ΠΉ Π ΠΈΠΌΡΠΊΠΈΠΉ-ΠΠΎΡΡΠ°ΠΊΠΎΠ² (1844 — 1908) .
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ΠΠ΅ΡΡ ΠΠ»ΡΠΈΡ Π§Π°ΠΉΠΊΠΎΠ²ΡΠΊΠΈΠΉ (1840 — 1893) Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡΠΉ ΡΡΡΡΠΊΠΈΠΉ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡ ΠΎΡΡΠ°Π²ΠΈΠ» Π³ΡΠ°ΠΆΠ΄Π°Π½ΡΠΊΡΡ ΡΠ»ΡΠΆΠ±Ρ Π² 23 Π³ΠΎΠ΄Π° ΠΈ ΠΏΠΎΡΠ²ΡΡΠΈΠ» ΡΠ²ΠΎΡ ΠΎΡΡΠ°Π²ΡΡΡΡΡ ΠΆΠΈΠ·Π½Ρ ΠΌΡΠ·ΡΠΊΠ΅ ΠΏΡΠΎΡΠΈΠ² Π²ΠΎΠ»ΠΈ ΠΎΡΡΠ°. ΠΠΎΡΠ»Π΅ ΠΎΠΊΠΎΠ½ΡΠ°Π½ΠΈΡ ΡΡΠ΅Π±Ρ Π² ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³ΡΠΊΠΎΠΉ ΠΊΠΎΠ½ΡΠ΅ΡΠ²Π°ΡΠΎΡΠΈΠΈ ΠΎΠ½ ΠΎΡΠΏΡΠ°Π²ΠΈΠ»ΡΡ Π² ΠΠΎΡΠΊΠ²Ρ Π² 1866 Π³ΠΎΠ΄Ρ ΠΈ Π·Π°Π½ΡΠ» ΡΡΠΈΡΠ΅Π»ΡΡΠΊΠΈΠΉ ΠΏΠΎΡΡ. ΠΠ³ΠΎ ΡΠΈΠ½Π°Π½ΡΠΎΠ²ΠΎΠ΅ ΠΏΠΎΠ»ΠΎΠΆΠ΅Π½ΠΈΠ΅ ΡΠ»ΡΡΡΠΈΠ»ΠΎΡΡ, ΠΊΠΎΠ³Π΄Π° ΠΎΠ½ ΠΏΠΎΠ·Π½Π°ΠΊΠΎΠΌΠΈΠ»ΡΡ Ρ Π±ΠΎΠ³Π°ΡΠΎΠΉ ΠΏΠ°ΡΡΠΎΠ½Π΅ΡΡΠΎΠΉ ΠΠ°Π΄Π΅ΠΆΠ΄ΠΎΠΉ Π€ΠΈΠ»Π°ΡΠ΅ΡΠΎΠ²Π½ΠΎΠΉ ΡΠΎΠ½ ΠΠ΅ΠΊ, ΠΊΠΎΡΠΎΡΠ°Ρ 14 Π»Π΅Ρ ΠΎΠΊΠ°Π·ΡΠ²Π°Π»Π° Π΅ΠΌΡ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΡ. ΠΠ½Π° ΠΏΠΈΡΠ°Π»Π° Π΅ΠΌΡ, Π½ΠΎ Π½ΠΈΠΊΠΎΠ³Π΄Π° Π½Π΅ Π²ΡΡΡΠ΅ΡΠ°Π»Π°ΡΡ Ρ Π½ΠΈΠΌ. Π 1878 Π³ΠΎΠ΄Ρ ΠΎΠ½ ΡΠΆΠ΅ Π½Π°ΠΏΠΈΡΠ°Π» ΠΌΡΠ·ΡΠΊΡ ΠΊ Π±Π°Π»Π΅ΡΡ «ΠΠ΅Π±Π΅Π΄ΠΈΠ½ΠΎΠ΅ ΠΎΠ·Π΅ΡΠΎ» ΠΈ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡΡ ΠΎΠΏΠ΅ΡΡ «ΠΠ²Π³Π΅Π½ΠΈΠΉΠΠ½Π΅Π³ΠΈΠ½». Π’Π°ΠΊ ΠΆΠ΅ Π½Π΅ ΠΌΠ΅Π½Π΅Π΅ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡ: «ΠΠΈΠΊΠΎΠ²Π°Ρ Π΄Π°ΠΌΠ°», «Π©Π΅Π»ΠΊΡΠ½ΡΠΈΠΊ», «Π‘ΠΏΡΡΠ°Ρ ΠΊΡΠ°ΡΠ°Π²ΠΈΡΠ°». Π‘Π΅ΠΉΡΠ°Ρ Π§Π°ΠΉΠΊΠΎΠ²ΡΠΊΠΈΠΉ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡ Π²ΠΎ Π²ΡΠ΅ΠΌ ΠΌΠΈΡΠ΅.
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Π§Π°ΠΉΠΊΠΎΠ²ΡΠΊΠΈΠΉ Π±ΡΠ» ΠΎΠ΄Π½ΠΈΠΌ ΠΈΠ· ΡΡΠ΅Π½ΠΈΠΊΠΎΠ² Π‘Π΅ΡΠ³Π΅Ρ Π’Π°Π½ΠΈΠ΅Π²Π°, ΠΊΠΎΡΠΎΡΡΠΉ ΠΈΠ·ΠΌΠ΅Π½ΠΈΠ» ΠΎΠ±ΡΡΠ΅Π½ΠΈΠ΅ Π‘Π΅ΡΠ³Π΅Ρ Π Π°Ρ ΠΌΠ°Π½ΠΈΠ½ΠΎΠ²Π°, Π²Π΅Π»ΠΈΠΊΠΎΠ»Π΅ΠΏΠ½ΠΎΠ³ΠΎ ΠΏΠΈΠ°Π½ΠΈΡΡΠ° ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ°ΠΠ»Π΅ΠΊΡΠ°Π½Π΄ΡΠ° Π‘ΠΊΡΡΠ±ΠΈΠ½Π°. ΠΡΡΠ³ΠΎΠΉ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡ ΠΠ»Π΅ΠΊΡΠ°Π½Π΄Ρ ΠΠ»Π°Π·ΡΠ½ΠΎΠ² ΠΎΠΊΠ°Π·Π°Π» Π²Π°ΠΆΠ½ΠΎΠ΅ Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π½Π° Π½ΠΎΠ²ΠΎΠ΅ ΡΠ΅ΡΠ΅Π½ΠΈΠ΅ Π² ΠΌΡΠ·ΡΠΊΠ΅ ΠΊΠ°ΠΊ ΡΡΠΈΡΠ΅Π»Ρ ΠΈ ΡΠΏΡΠ°Π²Π»ΡΡΡΠΈΠΉ ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³ΡΠΊΠΎΠΉΠΠΎΠ½ΡΠ΅ΡΠ²Π°ΡΠΎΡΠΈΠΈ. ΠΠΎΡΠ»Π΅ ΠΎΠ½ ΠΏΠ΅ΡΠ΅Π΅Ρ Π°Π» ΠΈΠ· Π ΠΎΡΡΠΈΠΈ Π²ΠΎ Π€ΡΠ°Π½ΡΠΈΡ Π² 1928 Π³ΠΎΠ΄Ρ.
D.
ΠΠ³ΠΎΡΡ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠΌΡ Π±ΡΠ»ΠΎ ΠΏΠΎΡΡΠΈ 18, ΠΊΠΎΠ³Π΄Π° ΠΎΠ½ Π²ΡΡΡΠ΅ΡΠΈΠ» Π‘Π΅ΡΠ³Π΅Ρ ΠΠΎΠ³ΠΈΠ»Π΅Π²Π°, Π±Π»Π΅ΡΡΡΡΠ΅Π³ΠΎ ΠΈΠΌΠΏΡΠ΅ΡΠ°ΡΠΈΠΎ ΡΡΡΡΠΊΠΎΠ³ΠΎ Π±Π°Π»Π΅ΡΠ°, ΠΈ ΡΠ²Π΅Π· Π΅Π³ΠΎ Π² ΠΠ°ΡΠΈΠΆ. ΠΠ° Π΅Π³ΠΎ ΡΠ°Π±ΠΎΡΡ"ΠΠ°Ρ-ΠΏΡΠΈΡΠ°" ΠΈ «ΠΠ΅ΡΡΡΡΠΊΠ°» Π΅Π³ΠΎ Π²Π΄ΠΎΡ Π½ΠΎΠ²ΠΈΠ»Π° Π½Π°ΡΠΎΠ΄Π½Π°Ρ ΠΌΡΠ·ΡΠΊΠ°. Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈΠΉ ΡΡΠ°Π» Π³ΡΠ°ΠΆΠ΄Π°Π½ΠΈΠ½ΠΎΠΌ Π€ΡΠ°Π½ΡΠΈΠΈ Π² 1934, Π½ΠΎ Π² ΡΠ΅ΡΠ΅Π½ΠΈΠ΅ ΠΡΠΎΡΠΎΠΉ ΠΠΈΡΠΎΠ²ΠΎΠΉ Π²ΠΎΠΉΠ½Ρ ΠΎΠ½ ΠΏΠ΅ΡΠ΅Π΅Ρ Π°Π» Π² Π‘Π¨Π.
Π.
ΠΡΡΠ³ΠΈΠ΅ ΠΌΠΎΠ»ΠΎΠ΄ΡΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΡ Π½ΠΎΠ²ΠΎΠ³ΠΎ ΠΏΠΎΠΊΠΎΠ»Π΅Π½ΠΈΡ Π‘Π΅ΡΠ³Π΅ΠΉ ΠΡΠΎΠΊΠΎΡΡΠ΅Π² ΠΈ ΠΠΌΠΈΡΡΠΈΠΉΠ¨ΠΎΡΡΠ°ΠΊΠΎΠ²ΠΈΡ ΠΎΠ±ΡΠ·Π°Π½Ρ ΠΠ»Π°Π·ΡΠ½ΠΎΠ²Ρ. ΠΠ½ ΡΠ±Π΅Π΄ΠΈΠ» ΠΎΡΡΠ° ΠΡΠΎΠΊΠΎΡΡΠ΅Π²Π° ΠΎΡΠ΄Π°ΡΡ Π΅Π³ΠΎ Π² ΠΊΠΎΠ½ΡΠ΅ΡΠ²Π°ΡΠΎΡΠΈΡ Π΄Π»Ρ ΡΠ°Π·Π²ΠΈΡΠΈΡ ΠΌΡΠ·ΡΠΊΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΡΠ°Π»Π°Π½ΡΠ° ΠΈ Π·Π°ΡΠΈΡΠ°Π» ΠΏΡΠ°Π²ΠΎ Π¨ΠΎΡΡΠ°ΠΊΠΎΠ²ΠΈΡΠ° Π½Π° ΠΏΠΎΠ»ΡΡΠ΅Π½ΠΈΠ΅ ΡΡΠΈΠΏΠ΅Π½Π΄ΠΈΠΈ. Π 30-Π΅ Π³ΠΎΠ΄Ρ ΠΡΠΎΠΊΠΎΡΡΠ΅Π², Π¨ΠΎΡΡΠ°ΠΊΠΎΠ²ΠΈΡ ΠΈ Π΄ΡΡΠ³ΠΈΠ΅ ΠΏΠΎΠΏΠ°Π»ΠΈ Π² Π½Π΅ΠΌΠΈΠ»ΠΎΡΡΡ Π·Π° ΠΈΠ΄Π΅ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΠ΅ Π½Π΅Π΄ΠΎΡΡΠ°ΡΠΊΠΈ ΠΈ Π² ΡΠ΅ΡΠ΅Π½ΠΈΠ΅ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΈΡ Π»Π΅Ρ Π²ΡΠ΅ ΠΈΡ ΡΠ°Π±ΠΎΡΡ Π±ΡΠ»ΠΈ Π·Π°ΠΏΡΠ΅ΡΠ΅Π½Ρ ΠΈ Π½Π΅ ΠΈΡΠΏΠΎΠ»Π½ΡΠ»ΠΈΡΡ ΠΏΠ΅ΡΠ΅Π΄ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠΉ. ΠΡΡΠ³ΠΈΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΡXIX Π²Π΅ΠΊΠ° ΠΏΠΎΠ»ΡΡΠΈΠ»ΠΈ ΡΠΈΡΠΎΠΊΡΡ ΠΈΠ·Π²Π΅ΡΡΠ½ΠΎΡΡΡ ΠΈ ΠΌΠ΅ΠΆΠ΄ΡΠ½Π°ΡΠΎΠ΄Π½ΡΡ ΠΏΠΎΠΏΡΠ»ΡΡΠ½ΠΎΡΡΡ: ΠΡΠ°ΠΌΠ₯Π°ΡΠ°ΡΡΡΡΠ½, ΡΡΠΈ ΡΠ°Π±ΠΎΡΡ Π²ΠΊΠ»ΡΡΠ°ΡΡ ΡΠΈΠΌΡΠΎΠ½ΠΈΡ, ΠΊΠΎΠ½ΡΠ΅ΡΡΡ Π½Π° ΡΠΎΡΡΠ΅ΠΏΠΈΠ°Π½ΠΎ, ΡΠΊΡΠΈΠΏΠΊΠ΅, Π²ΠΈΠΎΠ»ΠΎΠ½ΡΠ΅Π»ΠΈ. ΠΠ΄Π½Π° ΠΈΠ· ΡΠ°ΠΌΡΡ Π·Π½Π°ΠΌΠ΅Π½ΠΈΡΡΡ ΡΠ°Π±ΠΎΡ — Π±Π°Π»Π΅Ρ «Π‘ΠΏΠ°ΡΡΠ°ΠΊ».
F.
Π€ΡΠ°Π½ΡΡΠ·Ρ, ΠΠ°ΡΠΈΡΡ ΠΠ΅ΡΠΈΡΠ°, ΠΎΡΠ½ΠΎΠ²ΠΎΠΏΠΎΠ»ΠΎΠΆΠ½ΠΈΠΊ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΡΠ°Π½ΡΠ°, ΠΎΠΊΠ°Π·Π°Π» Π²Π»ΠΈΡΠ½ΠΈΠ΅ Π½Π° ΡΠ°Π·Π²ΠΈΡΠΈΠ΅ ΡΡΡΡΠΊΠΎΠ³ΠΎ Π±Π°Π»Π΅ΡΠ° XIX Π²Π΅ΠΊΠ°. ΠΠ΅ΡΠΈΡΠ° ΡΠΎΠ²ΠΌΠ΅ΡΡΠ½ΠΎ ΡΠ°Π±ΠΎΡΠ°Π» Ρ Π§Π°ΠΉΠΊΠΎΠ²ΡΠΊΠΈΠΌ Π½Π°Π΄ «Π‘ΠΏΡΡΠ΅ΠΉ ΠΊΡΠ°ΡΠ°Π²ΠΈΡΠ΅ΠΉ». ΠΠ½ ΡΠΎΠ·Π΄Π°Π» 57 Π±Π°Π»Π΅ΡΠΎΠ² ΠΈ ΡΡΠΊΠΎΠ²ΠΎΠ΄ΠΈΠ» Π²ΠΎΡΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΠ΅ΠΌ17 ΠΏΠΎΡΡΠ°Π½ΠΎΠ²ΠΎΠΊ.
Π 1909 Π³ΠΎΠ΄Ρ ΡΡΡΡΠΊΠΈΠΉ Π±Π°Π»Π΅Ρ Π½Π΅ΠΎΠΆΠΈΠ΄Π°Π½Π½ΠΎ ΠΏΠΎΡΠ²ΠΈΠ»ΡΡ Π² ΠΠ²ΡΠΎΠΏΠ΅, ΠΊΠΎΠ³Π΄Π° Π‘Π΅ΡΠ³Π΅ΠΉΠΡΠ³ΠΈΠ»Π΅Π², Π±Π»Π΅ΡΡΡΡΠΈΠΉ ΠΏΠΎΡΡΠ°Π½ΠΎΠ²ΡΠΈΠΊ ΠΈ ΠΠΈΡ Π°ΠΈΠ» Π€ΠΎΠΊΠΈΠ½, Π²Π΅Π΄ΡΡΠΈΠΉ Ρ ΠΎΡΠ΅ΠΎΠ³ΡΠ°Ρ Π²Π·ΡΠ»ΠΈ ΡΠ°Π½ΡΠ΅Π²Π°Π»ΡΠ½ΡΡ Π³ΡΡΠΏΠΏΡ ΠΠΌΠΏΠ΅ΡΡΠΊΠΎΠΉ ΡΠΊΠΎΠ»Ρ ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³Π° Π² ΠΠ°ΡΠΈΠΆ. ΠΡ ΡΡΡΡΠΊΠΈΠΉ Π±Π°Π»Π΅Ρ Π±ΡΠ» Π·Π°ΠΌΠ΅ΡΠ°ΡΠ΅Π»ΡΠ½ΠΎ ΠΏΠΎΡΡΠ°Π²Π»Π΅Π½ Ρ ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½ΠΈΠ΅ΠΌ ΠΊΡΠ°ΡΠΎΡΠ½ΡΡ Π΄Π΅ΠΊΠΎΡΠ°ΡΠΈΠΉ Π»ΡΡΡΠΈΡ ΡΠΎΡΡΠΈΠΉΡΠΊΠΈΡ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠ² ΡΠ°ΠΊΠΈΡ , ΠΊΠ°ΠΊ ΠΠ»Π΅ΠΊΡΠ°Π½Π΄Ρ ΠΠ΅Π½ΠΎΠΈΡ ΠΈ ΠΠ΅Π² ΠΠ°ΠΊΡΡ, Π½ΠΎ Π³ΡΠ°Π½Π΄ΠΈΠΎΠ·Π½ΠΎΠ³ΠΎ ΡΡΠΏΠ΅Ρ Π° Π΄ΠΎΠ±ΠΈΠ»ΡΡ ΠΌΡΠΆΡΠΊΠΎΠΉ Π±Π°Π»Π΅Ρ, ΠΠ°ΡΠ»Π°Π² ΠΠΈΠΆΡΠΊΠΈΠΉ ΠΈ Π‘Π΅ΡΠ³Π΅ΠΉ ΠΠΈΡΠ°Ρ.
ΠΠΎΡΠ»Π΅ ΡΠ΅Π²ΠΎΠ»ΡΡΠΈΠΈ Π±Π°Π»Π΅ΡΠ½Π°Ρ ΡΠΊΠΎΠ»Π° Π²ΡΠ΅Π³ΠΎ Π‘ΠΎΠ²Π΅ΡΡΠΊΠΎΠ³ΠΎ Π‘ΠΎΡΠ·Π° ΠΏΠΎΠ»ΡΡΠΈΠ»Π° Π²ΡΠ΅ΠΎΠ±ΡΡΡ ΠΏΠΎΠ΄Π΄Π΅ΡΠΆΠΊΡ. ΠΡΠ»ΠΈ ΠΏΠΎΡΡΠ°Π²Π»Π΅Π½Ρ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ Π½ΠΎΠ²ΡΡ Π²ΡΠ΄Π°ΡΡΠΈΡ ΡΡ ΡΠ°Π±ΠΎΡ ΡΠ°ΠΊΠΈΡ , ΠΊΠ°ΠΊ"Π ΠΎΠΌΠ΅ΠΎ ΠΈ ΠΠΆΡΠ»ΡΠ΅ΡΡΠ°" ΠΡΠΎΠΊΠΎΡΡΠ΅Π²Π° ΠΈ «Π‘ΠΏΠ°ΡΡΠ°ΠΊ» Π₯Π°ΡΠ°ΡΡΡΡΠ½Π°.
ΠΡΡΡΠΉ ΠΠΎΡΠΊΠΎΠ²ΡΠΊΠΈΠΉ ΠΠΎΠ»ΡΡΠΎΠΉ ΠΠ°Π»Π΅Ρ ΠΈ ΠΠΈΡΠΎΠ²ΡΠΊΠΈΠΉ ΠΠ°Π»Π΅Ρ (ΡΠ°Π½Π΅Π΅ ΠΠΌΠΏΠ΅ΡΡΠΊΠΈΠΉ ΠΠ°Π»Π΅ΡΠ‘Π°Π½ΠΊΡ ΠΠ΅ΡΠ΅ΡΠ±ΡΡΠ³Π°) ΡΡΠ°Π»ΠΈ ΠΏΠ΅ΡΠ²ΡΠΌΠΈ ΠΏΠΎΡΠ»Π΅ Π³Π°ΡΡΡΠΎΠ»ΠΈ Π½Π° ΠΠ°ΠΏΠ°Π΄. Π‘Π΅ΠΉΡΠ°Ρ ΡΡΡΡΠΊΠΈΠΉ Π±Π°Π»Π΅Ρ ΠΎΡΡΠ°Π΅ΡΡΡ Π½Π΅ΠΏΡΠ΅Π²Π·ΠΎΠΉΠ΄Π΅Π½Π½ΡΠΌ Π² ΠΌΠ°ΡΡΠ΅ΡΡΡΠ²Π΅ ΠΈ ΡΠΈΡΡΠΎΠΌ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΎΠΌ ΡΡΠΈΠ»Π΅.