N.P. Ogarev - M.Yu. Lermontov: musical-poetic dialogue

Subject of the article: N.P. Ogarev - M.Yu. Lermontov: musical-poetic dialogue. The object of the article: the intellectual life of Russia of the XIXth century through the prism of musical interests of the advanced people of that time. Purpose of the project: to update for the scientific and educational world the information of N.P. Ogarev’s composer’s experiments (a famous thinker, poet and publicist), focusing on the breadth and depth of his interests: how the life of the soul was highlighted through the sphere of music; how the immersion in art, enjoyment of music, freedom of artistic and aesthetic expressions, as well as composing creativity contributed to a special type of thinking and philosophizing. Methodology of work: the inclusion of Ogarev’s composing experiments (seven romances on Lermontov’s poems) in the general picture of the formation of musical consciousness in the middle of the 19th century in Russia made it possible to see in this phenomenon music as wealth, beneficence, as a free stream, as one of the important hypostases in the spiritual life of a person. This context of studying the musical interests of Ogarev is possible with comparative-historical and culturological approaches, as well as art analysis methods. Results of the work : the consideration of Ogarev’s musical compositions based on Lermontov’s poems makes it possible to construct a concept for the context of a unique phenomenon in Russian culture - amateurism in music. Scope of the results: Ogarev’s composing experiments as an amateur in music become the basis for the formation of a new scientific paradigm, stimulate research interest, and open up the possibilities of a comparative methodology in the study of the life and work of an individual. The comprehension of Ogarev’s appeal to Lermontov’s poetry for writing romances makes it possible to clarify/detail the general laws of the development of Russian musical thought for art historians and culturologists. Conclusion: the scientific novelty of the study lies in a comprehensive analysis of the materials of Ogarev’s composing creativity in the context of Russian culture. This allows improving the database reflecting Ogarev’s life and work, including these materials in the scientific circulation as unique, changing the perception of the state of history and man of the middle of the XIXth century and folding Ogarev’s work into the Russian musical culture, including his name in the ranks of musical figures. Thus, the conclusions presented in the article are reasoned and logical.