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learning goals(goals of the LE of students):

To master the knowledge of the concept of “portrait” in a piece of music;

To master the knowledge of the concept of "expressiveness" and "figurativeness";

To develop the ability to determine by ear what kind of musical “portrait” the composer created using the example of S. S. Prokofiev’s work;

The student correctly reproduces the definition of the concept of “portrait” in music;

The student correctly reproduces the definition of the concept of “expressiveness” and “pictoriality”;

He will be able to determine by ear what kind of portrait, image the music has drawn for us.

Pedagogical goals:

learning:

1. Organize the UD of students:

By mastering the concept of “portrait” in music;

By mastering the concepts of “expressiveness” and “pictoriality”;

By mastering various expressive means used by composers to create “portraits” in music;

By developing the skills to hear various musical images of heroes in specific musical works;

2. Development: to promote the development of the imagination and fantasy of students when they realize “portraits” in music;

3. Education: to create conditions for the formation of an emotional and value attitude to works of art based on the perception and analysis of musical and literary images.

Pedagogical tasks.

Organize:

• familiarization of students with the definition of the concept of “portrait” in music;
• understanding the features of the musical image;
• the activity of students in developing the ability to identify a musical image by ear;
• discussion with students about what feelings, emotions, impressions they have when listening to certain pieces of music;
• reflective assessment of the results of students' learning activities

Lesson type: combined

Lesson equipment: a audio and video equipment; presentation.

During the classes

Children enter the office to the music “Morning” from the suite “Peer Gynt” by E. Grieg (slide No. 1 - background)

Teacher		students
- Hello guys! Today we continue to talk with you about how many interesting things await us every day. Let's listen and sing one wonderful melody ... (slide number 1) Melody is ...? Well done boys! Chanting: performance of E. Grieg's melody “Morning” on the instrument.	- Good afternoon! Soul of Music (chorus)
- What was the melody? Have you heard it before? Let's sing to the syllable "la" (F major). And now we sing with the words: (slide number 2) The sun is rising and the sky is brightening. Nature woke up and the morning came	Yes, last lesson. This is "Morning" by Edvard Grieg.
- What picture did the composer paint for us in this work?	- a picture of the morning, painted how the sun rises, dawn, the day comes ...
- Well done! Music can really draw pictures of nature for us - this is musical depiction. Let's sing the song that I asked you to learn at home. What is she telling us?	- she depicts us a picture of nature
Performance of the song “Morning Begins” (minus on slide No. 2) (text - Appendix 1) What else do you think music can tell us? So what do you think the topic of our lesson today will be? What are we going to talk about today?	- children's answers About how music can portray a person .... Draw his portrait
- You are great fellows! The topic of our lesson today sounds like this: “Portrait in Music” (slide No. 3). Very often in musical works we seem to meet with different characters - funny and... mischievous and... boastful and... It can be both adults and children, men or women, girls or boys, as well as animals or birds. By musical theme we can imagine what kind of character they have and even what appearance sometimes, how they walk, how they talk, what their mood is. Music can express the feelings, thoughts and characters of a person, i.e. she is able to tell us about them - this is musical expressiveness. Open your textbook to page 26-27. Below on page 26 we see the concepts of “expressiveness” and “pictoriality”. (The same on the board - slide number 4). How did you understand what “Depictiveness” is? expressiveness"? You are great fellows! Let's listen to an excerpt from piece of music the well-known composer S. S. Prokofiev (slide No. 5)	- sad Calm modest
We listen to music and choose which character it belongs to (slide 6). Why did you decide that this is this character? What is a portrait in music? How do you think?	- children's answers Children's answers The portrait in music is image of a man, his character with the help of sounds, melodies
- That's right, guys! (slide number 7) Today we will observe how composers create musical portraits with the help of melodies and expressive intonations. Now I will read you a poem by A.L. Barto "Chatterbox" (slide number 8). Listen carefully and tell about the features of this poem after listening (I read). What are the features? Choose a portrait of a girl from the illustrations presented (slide number 9). Why this particular picture? For what? How did you determine? Guys, such a fast pace of reading, speaking is called PATTER (slide number 10)	- quickly...
Why do you think the author used a tongue twister in his poem? Imagine that you were asked to write the music for this poem. What would she be? Do you like this girl? Let's hear how S. S. Prokofiev painted a portrait of this girl. Listen to the song "Chatter"	- children's answers... to show that the girl likes to talk Fast...
So, was the composer able to paint us a portrait of a talker? With the help of what?	- Yes! Fast paced, fun...
- Do you think the composer likes Lida? Scenes from the ballet "Romeo and Juliet" and a portrait of G. Ulanova as Juliet are on the screen. I talk about this to children (slide number 11).	- Like!!!
- Think about who is hidden behind this intonation? Playing the beginning of Juliet Girl What is her character? What she does? This intonation is built on the scale of C major, which quickly rises up. We sing the scale to major, gradually speed up the syllable “la” (slide 12) Watch the video “Juliet-girl” (Appendix 2, 21 min.)	Juliet! Naughty, she runs
- Tell me, did only one theme sound in the portrait of Juliet? Correctly. Why do you think?	- some Children's answers.
- Let's try, while listening to music, to depict her mood and actions with facial expressions and movements. Tell me, do you like Juliet?	The children get up and show Juliet with plastic movements to the music. She is light, dreamy, in love
So, tell us, what did we talk about today? What is a portrait in music? (slide number 13) You are right, music is an expressive art. It expresses the feelings, thoughts, and characters of people. Through them we can see animals, and a girl chattering incessantly, and a light and dreamy Juliet. Did you enjoy our lesson today? (slide number 14) Homework for the next lesson

Portrait in music and painting

Target: Children's awareness of the relationship between the two types of art, music and painting through a portrait.

Tasks:

1. To acquaint with the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
2. Continue work on developing the skill of analyzing a musical work and a work of fine art.
3. Contribute to the formation of interest in the history of their Fatherland.

Vocal and choral work:

1. When learning musical fragments, achieve the image of the character of the hero by voice.
2. Work on clear pronunciation of the text.

Lesson equipment:

Computer (disk, presentation with reproductions of paintings).

Lesson structure

1. Hearing: Song of Varlaam from the opera by M.P. Mussorgsky "Boris Godunov".
2. Discussion of the “musical portrait”.
3. Learning an excerpt from "The Song of Varlaam".
4. Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
5. Learning an excerpt from "Kutuzov's Aria".
6. Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
7. Comparison of two "portraits".
8. Song learning
9. Conclusion.

Work form

1. Frontal
2. group

During the classes

Teacher

Musical portrait. Mikhail Yavorsky.

We have a lot of strange things in life,
For example, I dreamed for many years
Even tried more than once
Write a musical portrait.

For nature, I found a person -
The standard of nobility and honor,
A contemporary from our century
Lived a life without lies and without flattery.

And today, I'm painting a portrait,
Not an easy job, believe me
The music stand will replace my easel
Instead of paints, brushes - only notes.

The stave will be better than the canvas,
I will write everything on it and play it,
This drawing will not be simple,
But I don't lose my hope.

To make the features look softer,
There will be more minor sounds,
And the opportunities here are great.
Not to the detriment of musical science.

The score will not be simple,
Only I will not break the musical law,
And this portrait will be like this -
Everyone will hear his heart and soul in him.

It won't hang on the wall
He is not afraid of moisture and light,
And, of course, I would like
May he live for many years.

Continuing the topic “Can we see music”, today in the lesson we will talk, as you might have guessed from the poem, about portraiture in music and painting. What is a portrait?

Students.

A portrait is an image of a bottom man.

Teacher.

And so, we listen to the first portrait.

Hearing: Varlaam's song from M.P. Mussorgsky "Boris Godunov".

Teacher.

Based on the nature of the musical work, what can be said about this character? What qualities does he have?

Students.

This hero is cheerful, you can feel the strength in him.

Re-listening.

Fragment learning.

Teacher.

Is the force good or evil?

Students.

The power is still evil. The music is powerful, which means that the hero is very powerful, at the same time rampant, cruel, everyone is afraid of him.

Teacher.

What means of musical expression does the composer use when depicting this “hero”?

Students.

Teacher.

And the intonation of which song is used by the composer to portray this character?

Students.

Russian folk dance

Teacher.

Based on the means of musical expression you have listed, what do you think this person looks like outwardly?

Students.

This man is elderly, with a beard, the look is angry and domineering.

A portrait of I. Repin "Protodeacon" is shown.

Teacher.

Let's think, is there any similarity between our “musical hero” and the person depicted in this picture? And if there is, then which one?

Students.

There is a resemblance. The man depicted in the picture is also elderly, with a beard.

Teacher.

Guys, pay attention to the look of this man. Try to portray this look. What is he?

Students.

The look is sharp, predatory, evil. Eyebrows are thick, black, wide apart, which makes the look heavy and domineering. The picture, as in music, is in dark colors.

Teacher.

We have compared two portraits - musical and artistic. The musical portrait belongs to the pen of the Russian composer M.P. Mussorgsky (Varlaam's song from the opera "Boris Godunov"), the second portrait belongs to the brilliant Russian portrait painter I. Repin (the portrait is called "Protodeacon"). Moreover, these portraits were created independently of each other.

Viewing an excerpt from the opera “Boris Godunov” (“Song of Varlaam”).

Teacher.

Guys, why do you think such portraits as Varlaam, the archdeacon, appeared?

Students.

The composer and the artist saw such people and portrayed them.

Teacher.

Listening to the “Song of Varlaam” and looking at the painting “Protodeacon”, what do you think, how do the artist and composer treat such people, equally or differently. Justify your answer.

Students.

Both the composer and the artist do not like such people.

Teacher.

Indeed, when Mussorgsky saw the “Protodeacon,” he exclaimed: “Yes, this is my Varlaamishche! This is a whole fire-breathing mountain!”

I.E. Repin in the portrait of “Protodeacon” immortalized the image of deacon Ivan Ulanov, from his native village of Chuguevo, about whom he wrote: “... nothing spiritual - he is all flesh and blood, pop-eyed, yawning and roaring ...”.

Teacher.

Tell me, did we get the attitude of the authors towards their characters?

Students.

Kon

Teacher.

Have you met such portraits in our time?

Students.

No.

Teacher.

And why don't they create such portraits in our time?

Students.

Because there are no such people today. There were many such “heroes” in past centuries. Such priests were typical for that time. Today there are no such priests.

Teacher.

That is, art reflects the reality around us.

Now we will get acquainted with one more musical portrait.

Listening to Kutuzov's aria from S.S. Prokofiev "War and Peace".

Learning an aria.

The class is divided into three groups and receives the following tasks:

1st group - gives verbal portrait character (external and “internal”);

2nd group - selects one portrait corresponding to the given piece of music from the proposed video sequence, substantiates the answer;

3rd group - compares the resulting portrait with the given piece of music.

Students justify their answers based on the means of musical and artistic expression used by the composer and artist.

Teacher.

You and I met with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. Prokofiev's "War and Peace" and before us is the painting by Roman Maksimovich Volkov "Kutuzov".

Who is Kutuzov.

Students.

General who defeated Napoleon in the War of 1812.

Teacher.

What character traits of the hero are emphasized by the composer, and which ones by the artist?

Students.

The composer emphasizes majesty, strength, nobility, feeling for the Motherland. The artist emphasizes his services to the Motherland, nobility, mind.

Teacher.

And how do both the composer and the artist relate to this hero?

Students.

They respect him, are proud that he is their compatriot.

Teacher.

Students.

Of course

Teacher.

To what previously studied piece of music is this aria close in spirit?

Hearing or singing an excerpt from an aria.

Students.

To the “Bogatyr Symphony” by A.P. Borodin.

Teacher.

Listening to the aria and looking at the picture, can Kutuzov be called a hero. Justify your answer.

Students.

Yes, because it combines all three qualities - Strength, Mind, Good.

Teacher.

Can Varlaam be called a hero?

Students.

No, it has Strength, Mind, but no Good.

(Both portraits on the board)

Teacher.

And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin's "Bogatyr" symphony and Vasnetsov's painting "Bogatyrs"?

Students.

Because such people, heroes really existed.

Teacher.

Today we will learn a song, the heroes of which have Strength, Mind, Goodness. And their main strength is friendship. Song from the movie "Midshipmen, forward!" "Song of Friendship"

Song learning.

Conclusion:

1. What portraits and their authors did we meet in the lesson?
2. How are the same characters portrayed in music and painting?
3. What makes us understand such a "kinship" between music and painting?

Mikheeva Margarita Eduardovna, teacher of the highest qualification category, "Novouralsk secondary school No. 59", Novouralsk

Art lesson (music) in the 5th grade III quarter.
Lesson topic: Musical portrait.
Lesson type: Learning new material.
The purpose of the lesson: to show the relationship between music and painting through the figurative perception of the world.

Tasks:

1. teaching:
   1. to form thinking skills - generalization, the ability to listen and prove;
   2. development of the ability to compare, compare;
   3. formation of integration skills various kinds arts;
   4. to consolidate the concept - means of musical expressiveness: character, intonation, melody, mode, tempo, dynamics, image, form;
   5. learn to compare works of music and painting;
   6. to acquaint with the work of M.P. Mussorgsky;
   7. to teach children to feel poetry, musicality and picturesqueness artistic images;
2. developing: to develop emotions, fantasy, imagination of students with a comparative perception of musical, artistic and literary works;
3. corrective:
   1. creating conditions for optimizing the creative abilities of students;
   2. educational: to teach children to feel the poetry of musical and pictorial artistic images.

• verbal-inductive (conversation, dialogue);
• visual-deductive (comparison);
• partial search (improvisation);

Equipment: Audio and video equipment. ICT. Portrait of M.P. Mussorgsky, reference cards, POWER POINT presentation.

Music material:
"Baba Yaga" M.P. Mussorgsky, the song "Captain Nemo" music. Ya. Dubravina, sl. V. Suslova.

Presentation on the work of M. Mussorgsky, cartoon "Pictures at an Exhibition".

Form of work: group, individual.

DURING THE CLASSES:

Organizing time.
Musical greeting.
Students are offered an associative series: a portrait of "Alenushka" Vasnetsov, a portrait of Mussorgsky, a fragment of the song "Captain Nemo" music. Ya. Dubravina, sl. V. Suslova.
Students must formulate the topic of the lesson on the basis of the associations they see.

W.: Our topic today is "Portrait in Music". What is a "portrait" in fine art?

D .: the image of a person in full height; to portray several people, if you depict people to the shoulders - this is a portrait.

U .: what can we see in the portrait?

D.: suit; hairstyle character; mood; young or old; rich or poor.

DW: How does a musical portrait differ from a portrait in painting?

D: You can't see it all at once, you have to listen to all the music to see it in your imagination. It lasts in time; conveys movement, mood; the picture can be viewed slowly, and the piece of music continues for some time and ends; in the picture everything is visible at once, but when you listen to music, you have to imagine something; and different people everyone can imagine...

DW: Remind me what means of expression the artist uses to create his paintings?

D: palette, color, stroke, stroke, etc.

Q: What means of expression does the composer use to create a musical image?

D: dynamics, tempo, register, timbre, intonation.

U .: in front of you on the board (cards) are written means of musical expression. Choose those that will help you understand the musical portrait. Explain their purpose.
(Recorded: form, tempo, rhythm, mode, dynamics, melody)

D: tempo is the speed of the music, it allows you to determine how the hero moved; allows you to learn something about the character of the hero.
Fret - major or minor - creates the mood of the hero. Major is usually a joyful mood, minor is sad, thoughtful.
Dynamics is loudness: the closer the hero is to us, the louder the music sounds.
Melody is the image of the hero, his thoughts; these are our thoughts on it.

U .: All this knowledge will help us understand how the composer creates musical portraits and what helps him in this.
M.P. Mussorgsky created many nationally vivid musical images, in which he reveals the uniqueness of the Russian character.
"My music should be an artistic transmission of the human language in all the subtlest nuances" MP Mussorgsky.
Mussorgsky is the creator of various musical portraits.
We will talk about such images - musical portraits - in our lesson. Let's remember what a musical portrait is?
A musical portrait is a portrait of the hero's character. It inextricably combines the expressive and pictorial power of the intonations of the musical language.
Today we will get acquainted with a musical portrait, only fabulous.
We will have two creative teams of music experts who will try to understand the portrait created by M.P. Mussorgsky.

The class is divided into two creative groups.
Tasks:

• follow the evolution of music
• analyze the means of musical expression, their use,
• give a name to the image in the portrait.

Hearing: MP Mussorgsky "Baba Yaga" from the series "Pictures at an Exhibition".
The analysis of the listened work is carried out by representatives of two creative groups.

U: guys, let's see how the film director I. Kovalevskaya imagined the image of Baba Yaga, who created the cartoon based on the musical work "Baba Yaga" from piano cycle"Pictures at an Exhibition". Does the image of Baba Yaga from the cartoon match your presented images?

Summary of the lesson.
What did we talk about in class today?
Music is visual. With the help of inner vision, imagination, we can imagine what the composer tells us about.
Teacher: So you managed to express your feelings, emotions, fantasy in word drawings.
Summary of the lesson.

U .: The topic of our today's lesson was called "Portrait in Music." Whose portrait did we meet today?

D: Baba Yaga!

DW: Music is visual. With the help of inner vision, imagination, we can imagine what the composer tells us about. It means that you managed to express your feelings, emotions, fantasy in word drawings.

W: And now... homework: 1) draw Baba Yaga the way you imagined her from Mussorgsky's work. 2) compose a song or ditty about Baba Yaga.
Reflection.

T: Guys, what new did you learn at the lesson today?
(Students are offered to fill out self-assessment sheets).

T: Our lesson is over, thank you guys, you did a very good job.

Portrait in literature and music

A good painter must paint two main things: a person and a representation of his soul.

Leonardo da Vinci

We know from experience in the fine arts how important the appearance of the model is to a portrait. Of course, the portrait painter is interested in the latter not in itself, not as an end, but as a means - an opportunity to look into the depths of the personality. It has long been known that the appearance of a person is associated with his psyche, his inner world. Based on these relationships, psychologists, doctors, and just people with developed powers of observation and the necessary knowledge “read” information about a person’s mental properties from the iris of the eye (the eyes are the “mirror of the soul”, “window of the soul”, “gate of the soul”), features face, hand, gait, mannerisms, favorite posture, etc.

Most of all, a person's face can tell. not without reason believed that the face is the "soul of man"; as the Russian philosopher said, "it's like a navigator's map." Lido is the "plot" of the book "Personality". It is no coincidence that changing a face sometimes means turning into a different person. This interdependence of the external and internal gave impetus to the artistic imagination of writers - V. Hugo in "The Man Who Laughs", M. Frisch in "I Will Call Myself Gantenbein". It is the disfigurement of the face that seems to the hero of D. Oruzll's novel "1984" to be the final destruction of his personality. The hero of Kobo Abe's novel Alien Lido, forced by circumstances to make himself a mask, begins to live a double life under its influence. The mask that hides the face is the right to a different “image”, a different character, a different value system, a different behavior (remember Souvestre and M. Allen and film versions of their books, the plot “ bat»I. Strauss...).

Given how much physical description can tell, writers often use it to characterize a character. A masterfully made description makes the appearance of the character almost “alive”, visible. We seem to see individually unique provincials " dead souls". The heroes of L. Tolstoy are embossed.

Not only how a person looks, but also the environment around him, the circumstances in which he exists, also carry information about the character. This was well understood, for example, by Pushkin, introducing Onegin to the reader in the first chapter of his novel, in verse. The author has few expressive touches of the character’s personal “I” (“a young rake”, “dressed like a dandy in London”), and it is supplemented by many details of Onegin’s upbringing, his secular life with balls, theatres, flirtations, fashions, salons, dinners.

Obviously, the ability of the "circumstances of action" to testify about people found its extreme expression in the short story of the modern German writer Hermann Hesse " last summer Klingsor." The artist Klingsor, in order to write a self-portrait, refers to photographs of himself, parents, friends and lovers, for successful work he needs even stones and mosses - in a word, the whole history of the Earth. However, art has also tried another extreme - the complete cutting off of the environment from the person, which we see on the canvases of the great painters of the Renaissance: in Leonardo da Vinci, Raphael, the pictures of nature are deliberately distant from the large faces that attract the attention of the viewer. Or we hear in operas: the central aria-portrait of Onegin “You wrote to me, don’t deny it” is in no way connected with the everyday sketches surrounding it - the song of the girls “Girls, beauties, darlings, girlfriends”; confessing his feelings to Lisa Yeletsky in Tchaikovsky's The Queen of Spades, as if he does not notice the bustle of the noisy ceremonial St. Petersburg ball. Contrast organizes the attention of the viewer or listener, directing it to the “close-up” and relaxing it in the “background”.

Describing the color of hair and eyes, height, clothes, gait, habits, circumstances of the hero's life, the writer does not at all seek to create a "visual range" artwork. His true goal in this case (and completely conscious) lies much further: to consider the human soul in external signs. Here is how the great French portrait painter of the 18th century, Quentin de Latour, said about this: “They think that I capture only the features of their faces, but without their knowledge I plunge into the depths of their soul and take it entirely.”

How does music portray a person? Does it embody the visible? To understand this, let's compare three portraits of the same person - an outstanding German composer late XIX- the beginning of the 20th century by Richard Strauss.

This is how (by no means an angel, but a living person) Romain Rolland saw him: “He still looks like an adult distracted child with pouted lips. Tall, slender, rather elegant, arrogant, he seems to belong to a finer race than the other German musicians among whom he is found. Disdainful, satiated with success, very demanding, he is far from being with the rest of the musicians in peace-loving modest relations, like Mahler. Strauss is no less nervous than he is... But he has a great advantage over Mahler: he knows how to rest. it has features of Bavarian looseness. I am sure that after the expiration of those hours when he lives an intense life and when his energy is expended extremely, he has hours, as it were, of non-existence. Then you notice his wandering and half-asleep eyes.

Two other portraits of the composer - sound ones - were "painted" by him in the symphonic poem "The Life of a Hero" and in the "Home Symphony". Musical self-portraits are in many ways similar to the description of R. Rolland. However, let's think about which aspects of the personality are "voiced". It is unlikely that, listening to music, we would have guessed that the prototype is “tall, slender, rather elegant”, that he has “the appearance of an adult sensible child with pouted lips” and “wandering and sleepy eyes”. But here are other features of Strauss-man, revealing his emotional world (nervousness, slight excitability and drowsiness) and important character traits (arrogance, narcissism) are convincingly conveyed by music.

Comparison of the portraits of R. Strauss illustrates a more general pattern. The language of music is not particularly conducive to visual associations, but it would be reckless to completely discard such a possibility. Most likely, the external, physical parameters of the personality can only partially be reflected in the portrait, but only indirectly, indirectly, and to the extent that they are in harmony with the mental properties of the personality.

It is easy to make one more observation. A picturesque portrait seeks to capture the deepest personality traits through appearance, while a musical portrait has the opposite possibility - “grasping the essence” of a person (his emotional nature and character), allows enrichment with visual associations. Literary portrait, occupying an intermediate place between them, contains an informative description and appearance, and the emotional-characteristic "core" of the personality.

So, any portrait contains emotion, but it is especially significant in a musical portrait. We are convinced of this by a noticeable phenomenon in the world musical culture- miniatures by the French composer of the late 17th - early 18th centuries Francois Couperin, composed for the forerunner of the modern piano, the harpsichord. Many of them depict people well known to the composer: the wife of one of the organists of the royal church, Gabriel Garnier ("La Garnier"), the wife of the composer Antoine Forcret ("Magnificent, or Forcret"), the bride of Louis XV Maria Leszczynska ("Princess Marie") , the young daughter of the Prince of Monaco, Antoine I Grimaldi ("Princess de Chabay, or the Muse of Monaco"). Among the “models” there are people who obviously surrounded the composer (“Manon”, “Angelica”, “Nanette”), and even relatives. In any case, the method of recreating a human personality is the same: through individual emotion. His Manon is cheerful and carefree, solemnly majestic appears in the ceremonial portrait of Antonin, Mimi's appearance is painted in more lyrical tones. And all of them are like a continuation of the portrait gallery collected in the book of the great writer and philosopher Jacques de La Bruyère "Characters, or Morals of the present century."

To detailed description The emotional world of a person is also located an opera aria. It is curious that in the Italian opera of the 17th - early 18th centuries, a tradition developed to single out the main emotion of the character in the aria, the main affect. The main emotions gave life to the types of arias: arias of sorrow, arias of anger, arias of horror, arias-elegies, bravura arias and others. Later, composers try to convey not one all-encompassing state of a person, but a complex of emotions inherent in him, and thereby achieve a more individual and deep characterization. Such as in the cavatina (that is, the exit aria) of Lyudmila from the opera Ruslan and Lyudmila by Glinka. The composer is clearly inspired by Pushkin's image:

She is sensitive, modest,

Faithful conjugal love,

A little windy ... so what?

She is even cuter.

Ludmila's aria consists of two sections. The first, introductory, - an appeal to the father - is imbued with light sadness, lyricism. The wide melody, sounding at a slow pace, is interrupted, however, by flirtatious phrases.

In the second, main section, we learn the main features of the heroine: cheerfulness, carelessness. Accompanied by "dancing" polka chords, the melody quickly overcomes complex leaps and rhythmic "slips" (syncopes). Ringing, shimmering high coloratura soprano Lyudmila.

Here is another musical portrait, "written" already without the participation of the voice - the play "Mercutio" by Sergei Prokofiev from the piano cycle "Romeo and Juliet". Music radiates overflowing energy. Fast tempo, elastic rhythms, free transfers from the lower register to the upper register and vice versa, bold intonation breaks in the melody “revive” the image of a merry fellow, a “daring young man” who “talks more in one minute than he listens to in a month”, a joker, a joker, not able to remain idle.

Thus, it turns out that a person in music is not simply endowed with some emotion invented by the author, but certainly with one that is especially indicative of the original (literary prototype, if such, of course, exists). And one more important conclusion: realizing that “one, but fiery passion” nevertheless schematizes the personality, “drives” it into a two-dimensional planar space, the composer tries to come to a certain set of emotional touches; the multi-colored "palette" of emotions allows us to describe not only the emotional world of the character, but, in fact, something much more - the character.

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Musical portraits

Zinaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond the borders of Russia, music lovers all over the world were waiting for their performances and productions. Kultura.RF talks about creative way four outstanding performers.

Zinaida Volkonskaya (1789–1862)

Orest Kiprensky. Portrait of Zinaida Volkonskaya. 1830. State Hermitage

After the death of his teacher, Sergei Prokofiev wrote: “I turned out to be her last winning student from that colossal phalanx of laureates that she prepared at her factory”.

Natalia Sats (1903–1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia has been surrounded by people of creativity. Family friends and frequent guests of the Moscow home were Sergei Rachmaninov, Konstantin Stanislavsky, Evgeny Vakhtangov and other artists. And her theatrical debut took place when the girl was barely a year old.

In 1921, 17-year-old Natalia Sats founded the Moscow Theater for Children (modern RAMT), artistic director which remained for 16 years. One of the most respected domestic theater critics Pavel Markov recalled Sats as a “to a girl, almost a girl, who swiftly and energetically entered the complex structure of the Moscow theater life and forever retained a responsible understanding of her life and creative recognition". She aspired to create a theater that would become for children of all ages a portal to a bright and fabulous world, a place of unlimited fantasy - and she succeeded.

The cult German conductor Otto Klemperer, after seeing the directorial work of Sats in children's theater, invited her to Berlin and offered to stage Giuseppe Verdi's opera Falstaff at the Kroll Opera. For Sats, this production turned out to be a real breakthrough: she became the world's first female opera director - and, without exaggeration, a world-famous theatrical figure. Her other foreign opera performances have also become successful: Der Ring des Nibelungen by Richard Wagner and The Marriage of Figaro by Wolfgang Amadeus Mozart at the Argentine Teatro Colon. The newspapers of Buenos Aires wrote: "Russian artist-director created new era in the art of opera. The performance [“The Marriage of Figaro”] is deeply psychological, as it happens only in drama, and this is new and attractive to the viewer.”.

After returning to the USSR in 1937, Natalia Sats was arrested as the wife of a "traitor to the motherland." Her husband, People's Commissar for Internal Trade of Israel Weitzer, was accused of counter-revolutionary activities. Sats spent five years in the Gulag, and after her release she left for Alma-Ata, as she had no right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata Theater for Young Spectators, where she worked for 13 years.

In 1965, Natalia Sats, having already returned to the capital, founded the world's first Children's Musical Theatre. She staged not only children's performances, but also "adult" operas by Mozart, Puccini, and included "serious" musical classics in symphony subscriptions.

AT last years life Natalia Sats taught at GITIS, founded a charitable foundation for the promotion of art for children and wrote many books and manuals on musical education.

Elizaveta Gilels (1919–2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

Elizaveta Gilels, the younger sister of pianist Emil Gilels, was born in Odessa. Family worldwide famous performers was by no means musical: her father Grigory served as an accountant at a sugar factory, and her mother Esther was a housewife.

Lisa Gilels picked up the violin for the first time at the age of six, and the famous Odessa teacher Peter Stolyarsky taught her the basics of musical art. As a teenager, Gilels declared herself to be a child prodigy: in 1935, the young violinist received second prize at the All-Union Competition of Performing Musicians. And in 1937, when she was 17, Elizaveta, as part of a delegation of Soviet violinists, made a splash at the Eugene Ysaye Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second prize was awarded to a performer from Austria, and Gilels and her colleagues shared places from third to sixth. This triumphant victory glorified Elizabeth Gilels both in the Soviet Union and beyond.

When Soviet musicians returned from Belgium, they were met by a solemn procession, in which the talented, but in those years still unknown violinist Leonid Kogan was a participant. He handed his bouquet to Elizabeth Gilels, whose talent he always admired: this is how the future spouses met. True, they did not immediately become a couple. Gilels recently became a star, actively performed and toured, besides she was older. But one day she heard the performance of an unknown violinist on the radio. The virtuoso game struck her, and when the announcer announced the name of the performer - and he was Leonid Kogan - Gilels already became his big fan.

The musicians got married in 1949. Gilels and Kogan played in a duet for many years, performed compositions for two violins by Johann Sebastian Bach, Antonio Vivaldi, Eugene Ysaye. Gradually, Elizabeth abandoned her solo career: in 1952, the couple had a son, Pavel Kogan, he became a famous violinist and conductor, and two years later, daughter Nina, a gifted pianist and talented teacher, appeared.

Since 1966, Elizaveta Gilels began to teach at the Moscow Conservatory. Violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and other talented musicians were her students. After the death of Leonid Kogan in 1982, Gilels was engaged in the systematization of his heritage: preparing books for printing and releasing records.