What is the difference between musical and literary portraits? Portrait in literature and music. Questions and tasks
Musical portrait
It is interesting to compare the features of recreating the appearance of a person in literature, fine arts, music.
In music there cannot be a resemblance to a specific person, but at the same time it is no coincidence that it is said that “a person is hidden in intonation.” Since music is a temporary art (it unfolds, develops in time), it, like lyric poetry, subject to the embodiment of emotional states and experiences of a person with all their changes.
The word “portrait” in relation to the art of music, especially instrumental non-program music, is a metaphor. At the same time, sound recording, as well as the synthesis of music with words, stage action and extra-musical associations expand its capabilities. Expressing the feelings and moods of a person, embodying his various states, the nature of movement, music can evoke visual analogies that allow us to imagine what kind of person is in front of us.
Character, lyrical hero, storyteller, narrator - these concepts are important not only in a literary work, but also in a musical one. They are necessary for understanding the content of program music, music for the theater - opera, ballet, as well as instrumental and symphonic music.
The intonation of the character more clearly reproduces external signs, manifestations of a person in life: age, gender, temperament, character, unique manner of speaking, moving, national characteristics. All this is embodied in music, and we seem to see a person.
Music can help you meet people from a different era. Instrumental works create images of various characters. F. Haydn admitted that he always composed music keeping in mind the characteristic types of people. “Mozart’s themes are like an expressive face... You could write a whole book about female images in the instrumental music of Mozart" (V. Medushevsky).
Listen to excerpts from works by different composers: V.-A. Mozart and S. Prokofiev, A. Borodin and B. Tishchenko, J. Bizet and R. Shchedrin, A. Schnittke and V. Kikty. What portraits of people did you “see” in music? What means of expression give you the opportunity to present the characteristics of the characters and characters?
Artistic and creative task
Make sketches of portraits of characters from your favorite musical compositions and give them a verbal description.
Portrait in music and painting
Target: The children's awareness of the relationship between the two forms of art, music and painting, through portraiture.
Tasks:
- Introduce the “musical portraits” created by M.P. Mussorgsky and S.S. Prokofiev and portraits created by artists I.E. Repin and R.M. Volkov.
- Continue working on developing your analysis skills piece of music and works of fine art.
- Contribute to the formation of interest in the history of your Fatherland.
Vocal and choral work:
- When learning musical fragments, try to portray the character of the hero in his voice.
- Work on clear pronunciation of the text.
Lesson equipment:
Computer (disc, presentation with reproductions of paintings).
Lesson structure
- Listening: Song of Varlaam from the opera by M.P. Mussorgsky “Boris Godunov”.
- Discussion of “musical portrait”.
- Learning an excerpt from “The Song of Varlaam.”
- Comparison of the “musical portrait” and the portrait of I. Repin “Protodeacon”.
- Learning an excerpt from “Kutuzov’s Aria”.
- Acquaintance with the portrait of R.M. Volkov “Kutuzov”.
- Comparison of two “portraits”.
- Learning a song
- Conclusion.
Form of work
- Frontal
- Group
Lesson progress
Teacher
Musical portrait. Mikhail Yavorsky.
There are a lot of strange things in our lives,
For example, I dreamed for many years
I even tried more than once,
Write a musical portrait.
For nature I found a man -
The standard of nobility and honor,
A contemporary from our century,
He lived his life without lies and without flattery.
And today, I “draw” a portrait,
It's not an easy job, believe me,
My music stand will replace my easel
Instead of paints and brushes - only notes.
The staff will be better than the canvas,
I’ll 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 music science.
The score will not be simple,
But I won’t break the law of music,
And this portrait will be like this:
Everyone will hear his heart and soul.
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 theme “Can we see music”, today’s lesson will focus on, as you may have guessed from the poem, portraits in music and painting. What is a portrait?
Students.
A portrait is an image of a bottom person.
Teacher.
And so, let's listen to the first portrait.
Hearing: Varlaam's song from the opera by 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 and has a sense of strength.
Repeated listening.
Learning a fragment.
Teacher.
Is the force good or evil?
Students.
The force is, after all, evil. The music is powerful, which means the hero is very powerful, at the same time riotous, cruel, everyone is afraid of him.
Teacher.
What means of musical expression does the composer use when portraying this “hero”?
Students.
Teacher.
And what song's intonation is used by the composer to portray this character?
Students.
Russian folk dance
Teacher.
Based on the means of musical expression you listed, what do you think this person looks like externally?
Students.
This man is elderly, with a beard, an angry and domineering look.
The 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 so, which one?
Students.
There are similarities. The man depicted in the picture is also elderly, with a beard.
Teacher.
Guys, pay attention to this man's gaze. Try to portray this look. What is he like?
Students.
The look is sharp, predatory, evil. The eyebrows are thick, black, and splayed, which makes the look heavy and authoritative. The picture, like in music, is in dark colors.
Teacher.
We compared two portraits - musical and artistic. The musical portrait was written by 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.
View 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 artist saw such people and depicted them.
Teacher.
Listening to the “song of Varlaam” and looking at the painting “Protodeacon,” how do you think the artist and composer treat such people, the same or differently. Justify your answer.
Students.
Both the composer and the artist do not like such people.
Teacher.
Indeed, when Mussorgsky saw “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, gaping and roaring...”.
Teacher.
Tell me, did we get the attitude of the authors towards their characters?
Students.
Con
Teacher.
Have you come across such portraits in our time?
Students.
No.
Teacher.
Why don’t they create such portraits in our time?
Students.
Because in our time there are no such people. In past centuries there were many such “heroes”. Such priests were typical of that time. There are no such clergymen these days.
Teacher.
That is, art reflects the reality around us.
Now we will introduce you to another musical portrait.
Listening to Kutuzov's aria from the opera by S.S. Prokofiev “War and Peace”.
Learning an aria.
The class is divided into three groups and given the following tasks:
1st group – gives verbal portrait character (external and “internal”);
2nd group – selects one portrait corresponding to a given piece of music from the proposed video sequence, substantiates the answer;
3rd group – compares the resulting portrait with a given piece of music.
Students justify their answers based on the means of musical and artistic expression used by the composer and artist.
Teacher.
We have become acquainted with another portrait, directly opposite to Varlaam. Kutuzov's aria from the opera by S.S. was performed. Prokofiev’s “War and Peace” and before us is a painting by Roman Maksimovich Volkov “Kutuzov”.
Who is Kutuzov?
Students.
The commander who defeated Napoleon in the War of 1812.
Teacher.
Which character traits of the hero are emphasized by the composer, and which by the artist?
Students.
The composer emphasizes majesty, strength, nobility, and concern for the Motherland. The artist emphasizes his services to the Motherland, nobility, and intelligence.
Teacher.
How do both the composer and the artist feel about this hero?
Students.
They respect him and are proud that he is their compatriot.
Teacher.
Students.
Certainly
Teacher.
Which previously studied piece of music is this aria close in spirit to?
Listening to or performing an excerpt from an aria.
Students.
To “The Heroic 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 he combines all three qualities - Strength, Intelligence, Goodness.
Teacher.
Can Varlaam be called a hero?
Students.
No, he has Strength, Intelligence, but no Good.
(Both portraits are on the board)
Teacher.
And why were the portrait of Kutuzov created by Prokofiev and Volkov and Borodin’s “Heroes” symphony and Vasnetsov’s painting “Bogatyrs”?
Students.
Because such people, heroes, actually existed.
Teacher.
Today we will learn a song whose heroes have Strength, Intelligence, and Goodness. And their main strength is friendship. Song from the movie “Midshipmen, forward!” “Song of Friendship.”
Learning a song.
Conclusion:
- What portraits and their authors did we meet in class?
- How are the same characters portrayed in music and painting?
- What does this “kinship” between music and painting give us to understand?
It turns out that a person can sound... In notes, musical phrases, melodies, his character is revealed and his “face” is depicted. It is known that a portrait painted by an artist is able to convey the essence of a person, leaving a certain secret. Every part of the face, every curve of the body on the canvas resurrects us as a person, while preserving something intimate.
Music, like any other form of art, brings something beautiful to life. It conveys the mood, charging a person with positivity. Very often we look for ourselves in the lines of songs, trying to catch any note and compare it with our personality.
Imagine these two greatest forms of art together - painting and music! Portrait of a man in music. Interesting?
A musical portrait is...
First of all, this is art that reveals your soul, musically conveys the emotions and character of a person. It is yours, personal, unique, like the person himself. With the help of a musical portrait, you look at yourself from different sides, revealing ever deeper facets of your inner world. A melody actually copied from your “I” helps improve your spiritual state - you can’t argue with that! After all, listening to certain music, you experience emotions. What if this is the music of your soul? Did you have to look at it from the outside? This is an indelible impression - reality takes on different shapes: love, beauty, limitlessness...
How do you create a musical portrait?
Have you ever wondered what peace is? Sometimes, at some moments, you feel some kind of peace of mind. Nothing worries you, you walk along endless paths, there, deep inside. When thoughts are lost and you are immersed in something more that cannot be described. This something rises deep from within, from the most secret chambers of the heart.
How many people are able to read the unknown world?
A musical portrait can only be created by a genius, a genius of the soul. He can not only read, but also reproduce it into music, feel, understand your thinking, consciousness, open your will. Play the music that plays inside you.
The fullness of the art of creating a musical portrait lives in the unique environment of the intuitive world. In order to create it, the composer needs personal contact with a person or a personal photograph or video recording. When all the information about the person is collected, the musician records the portrait in the studio, providing the melody with high-quality sound. It has also happened in practice that a composer writes a musical portrait in the presence of the person he is writing about. But in any case, with or without a personal meeting, the quality will not change. In any case, this will be what is called a musical image of the inner world.
Do you want to hear what a musical portrait sounds like?
A musical portrait has two types of creation:
1) Improvisation (impromptu) is the recreation of the author’s feelings directly into the recording
2) A written piece is a complex, meticulously developed composition in notes. This kind of composition can later be arranged. This melody has the form of a piece that needs to be worked on for a certain time.
Musical portrait - historical heritage and exclusive gift
It’s very hard to surprise a modern person, isn’t it? Imagine that you receive yourself as a gift - your inner world, feelings and experiences that have long been familiar and dear to you?.. Only expressed in the language of music. This is not only relevant and new for our world, it seems incredible and unimaginable!
By ordering a musical portrait, you can give a gift to your loved one. After all, the author can write a musical portrait of you personally or, for example, express your feelings for a loved one - portray him the way you see him! A musician can paint a portrait about love, friendship, etc. In a musical portrait you can embody all the versatility of your personality!
You can learn about the service and order a musical portrait
Mikheeva Margarita Eduardovna, teacher of the highest qualification category, Novouralsk School No. 59, Novouralsk
Art lesson (music) in 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 an imaginative perception of the world.
Tasks:
- teaching:
- to develop thinking skills - generalization, the ability to listen and prove;
- development of the ability to compare and contrast;
- formation of integration skills various types art;
- consolidate the concept - means of musical expressiveness: character, intonation, melody, mode, tempo, dynamics, image, form;
- learn to compare works of music and painting;
- introduce the works of M.P. Mussorgsky;
- teach children to feel poetry, musicality and picturesqueness artistic images;
- developing: to develop emotions, fantasy, imagination of students in the comparative perception of musical, artistic and literary works;
- correctional:
- creating conditions for optimizing students' creative abilities;
- educational: to teach children to feel the poetry of musical and pictorial artistic images.
- verbal-inductive (conversation, dialogue);
- visual-deductive (comparison);
- partially search (improvisation);
Equipment: Audio and video equipment. ICT. Portrait of M.P. Mussorgsky, reference cards, POWER POINT presentation.
Musical material:
"Baba Yaga" M.P. Mussorgsky, song "Captain Nemo" music. Ya. Dubravina, lyrics. V. Suslova.
Presentation on the works of M. Mussorgsky, cartoon "Pictures at an Exhibition".
Form of work: group, individual.
LESSON PROGRESS:
Organizational moment.
Musical greeting.
Students are offered an associative series: a portrait of “Alyonushka” by Vasnetsov, a portrait of Mussorgsky, a fragment of the song “Captain Nemo” by music. Ya. Dubravina, lyrics. V. Suslova.
Students must formulate the topic of the lesson themselves based on the associations they see.
U.: Our topic today is “Portrait in Music.” What is a "portrait" in fine art?
D.: image of a person in full height; to depict several people; if you depict people up to their shoulders, it is a portrait.
U.: What can you and I see in the portrait?
D.: suit; hairstyle; character; mood; young or old; rich or poor.
U.: How does a musical portrait differ from a portrait in painting?
D: You can’t see it right away, you need 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, but 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 their own...
U.: Remind me what means of expression the artist uses to create his paintings?
D: palette, color, stroke, stroke, etc.
T: 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.
The mode - major or minor - creates the mood of the hero. Major is usually a joyful mood, minor is sad, thoughtful.
Dynamics is volume: 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 about him.
U.: All this knowledge will help us understand how a composer creates musical portraits and what helps him in this.
M.P. Mussorgsky created many nationally vibrant musical images, in which he reveals the uniqueness of the Russian character.
“My music should be an artistic representation of human language in all the subtlest nuances” M.P. 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 character of the hero. It inextricably combines the expressive and figurative power of the intonations of the musical language.
Today we will get acquainted with a musical portrait, only a fabulous one.
We will have two creative groups of music experts who will try to understand the portrait image created by M.P. Mussorgsky.
The class is divided into two creative groups.
Quests:
- follow the development of music,
- analyze the means of musical expression, their use,
- give a name to the image in the portrait.
Listening: M.P. Mussorgsky "Baba Yaga" from the series "Pictures at an Exhibition."
The analysis of the listened work is carried out by representatives from two creative groups.
T: Guys, let's see how film director I. Kovalevskaya imagined the image of Baba Yaga, who created a cartoon based on the musical work "Baba Yaga" from piano cycle"Pictures from an Exhibition". Does the image of Baba Yaga from the cartoon match your presented images?
Lesson summary.
What did we talk about in class today?
Music has a visual quality. With the help of inner vision and imagination, we can imagine what the composer is telling us about.
Teacher: So you were able to express your feelings, emotions, imagination in verbal drawings.
Lesson summary.
U.: The topic of our lesson today was called “Portrait in Music.” Whose portrait did we meet today?
D.: Baba Yagi!
U.: Music has a figurative quality. With the help of inner vision and imagination, we can imagine what the composer is telling us about. This means that you were able to express your feelings, emotions, and imagination in verbal drawings.
U.: 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 in class today?
(Students are offered self-assessment sheets to fill out).
U: Our lesson is over, thank you guys, you did a very good job.
Portrait in music and fine arts
1.Music in works of fine art
Often artists and sculptors depict musicians and musical instruments, for example a violin. Portraits of violinists, genre scenes with violinists, and still lifes with a violin are known. The sound of the violin is very expressive. Her voice is often compared to a human one. The violin can sing, cry, speak...
The violin personifies the aesthetics of the sound of the human voice and is capable of conveying all the best that is in it. It is no coincidence that the highest praise for the craft of creakingcha is a comparison of his playing with the human voice:the violin sings, cries, yearns. Every violin that came to life in rukah masters, has its own character.
The violin appeared in Europe at the end of the 15th century. It was the favorite instrument of traveling musicians who entertained people at celebrations, fairs, weddings, in taverns and taverns. As a folk instrument, the violin has survived to this day in Bulgaria, Hungary, Poland, and Romania.
The violin also sounded in aristocratic circles - in palaces, castles, in rich houses - as well as in churches. Ensembles of violinists were created at the French court, who played during the king's awakening and meals and, of course, performed dance music at court balls.
The best violins were created by Italian masters Amati, Stradivari, and Guarneri.
Look at still lifes from violin - unique portraits of violins.
Sandro Botticelli (1445-1510 Italy). Angels
Raoul Dufy (1877-1953) France.Violin
Dmitry Zhilinsky (1927 USSR) violist
Agree, everyone's forehead is affected by these paintingscenturies have their own impressions. Looking at these pictures, everyone hears a different mu language Which one? The voice of the violin becomes especially audible when the artist depicts a violin in the hands of a violinist. Unity instrument and performer gives rise to high artisticexperiences and thoughts that can be called inspiration.This feeling permeates all the paintings.
Listen to the sound of musical works composed for violin by composers of different times:
Answer the question:
What did this music tell you? Determine which of the paintings is consonant with this or that work.
Task 1.
Listen again:
1.“Chaconne” I.-S. Bach.
2. “Melody I” by P. Tchaikovsky
3. Sopseg t o g th ss o No. 1 for two violins,harpsichord, piano and strings by A. Schnittke. See links above.
Definewhich picture matchesthis or that essay. Now let's analyze it together musical the language of the essays, after listening to them again.
While listening to Bach's Chaconne (finale of Partita No. 2), notice that this composition was written by the composer for solo violins. This bannerthat piece, the power of which reaches the organ and even the orchestratronic sound, one of the musicologists (F. Wolfrum) comparedNeil with a "sonic giant threatening to break the delicate body violins." Determine the character of the play.
Pay attention to how the sound of the violin combines the melodyworks with chords. This polyphonic texture is performed by one instrument - the violin, and the listener gets the impressionsimultaneously sounding melody and accompaniment.
Think about whether the emotional state of the main theme remains until the end of the work? You have certainly noticed that in the process of music development, various shades of feelings appear - sorrow, impulse, anxiety. Several melodies, as if growing from the initial intonations, constantly change their appearance. The line of development of the image can be compared to large waves. The main principle of the development of musical thought in this work is variation.
Chaconne is originally a folk dance, known in Spain since the end of the 16th century, of a lively nature, accompanied by singing and playing castanets. Over time, the chaconne spread throughout Europe and became a slow dance of a majestic nature. In France, the chaconne becomes a ballet dance and is included in the finales of stage works. In the XVII-XVIII centuries. included in multi-movement instrumental works (suite, partita). The themes of the chaconne are small, with a clear dance-metric basis. Bach wrote works for the violin in various genres - concertos with orchestra, sonatas, partitas.
“Melody” for violin and piano by P. Tchaikovsky is an example of a lyrical-dramatic image. This essay has the author’s subtitle (“Memories of a Native Place”).
The trepidation and spontaneity of the lyrical statement-revelation is emphasized not only by the repetitions of the main melody (the return of the same thought), its wave-like movement, soaring passages of the violin, but also by the syncopated rhythm of the piano accompaniment.
Obviously, you heard the contrast in the middle part of the “Melody”: the tempo accelerates, the rhythmic movement becomes more frequent, elements of dance appear, the melody resembles the finest lace (high register, melodic patterns), the expressive echoes of the piano seem to finish (finish) the violin melody. At the climax of the piece - the expressive trill of the violin - the piano plays the main theme, entering into dialogue with the violin. Remember the similar dialogue between the soloist and the piano part that arose in S. Rachmaninov’s Vocalise.
The major scale, which remains unchanged throughout the entire play, also has a certain expressive meaning.
Why does the composer, using the three-part form of the play, leave the light major coloring unchanged?
Tchaikovsky’s “Melody” can be compared with D. Zhilinsky’s painting “Violist”.
Is there common features in music and painting?
What distinguishes these two artistic images?
3. Consegto ggosso No. 1 by Alfred Schnittke
Sopseg t o g th ss o No. 1 for two violins,harpsichord, piano and strings by Alfred Schnittke -music by a modern composer.
Listen to the opening bars of Schnittke's concerto, which feature violins, and then compare this sound with the main melody of Bach's Chaconne. Are there any similarities between them? Both themes are similar to each other in their passion, excitement, energy, and drama. The same tragic minor, the same recitative melody.
Surely, you are convinced that the composer contrasts the strong-willed, purposeful initial theme (according to Schnittke, this theme was created by him under the influence of the style of A. Vivaldi) with another world - an evil, hostile one. The “swells” that distort the sound of the pure timbres of the violin are perceived by listeners as an invasion of forces opposing the activity of the main theme.
What similarities (or differences) will you find when comparing Schnittke’s concerto with Pugni’s painting “The Violin”?
You probably noticed that the figurative structure of two modern works of art - a concert and a painting - is different. The loneliness of the violin on a light background, the contrast of blue, light beige and green (with a pattern) tones. The static, stillness of the picture differs from the dynamic, energy-filled intonations and rhythms of modern music.
4. Portrait of Niccola Paganini in music, painting, sculpture
Look at the portrait of Niccola Paganini (1782 - 1840) - an Italian, embodied in sculpture by S. Konenkov (1874-1971 USSR)
and in painting by E. Delacroix (1798-1863) France
The unusualness of his appearance is associated with the transmission of the main quality of his nature - his passion for playing his favorite musical instrument.
Niccolo Paganini (1782-1840) is the name of this Italian composer and virtuoso violinist XIX V. known all over the world. His skill on the violin was so perfect and inimitable that there were rumors that he helped him perform the most difficult passages of his works. evil spirits. It is no coincidence that one of the playsPaganini received the name “Devil's Trills”.
One of Paganini's most famous works was Caprice No. 24. Caprice translated from French -whim, whim.His melody was repeatedly repeated in their compositions as a tribute to the memory of the violin virtuoso by various composers. As well as
and Bach's Chaconne, Caprice No. 24 written by Paganini for solo violin. The expressive capabilities of the instrument in solo sound are revealed especially clearly.
Repeating a short initial intonation with an active rhythmic pattern allows you to quickly remember it.
You became acquainted with this work in elementary school. Listen again
Artists and sculptors reflected Paganini’s bright, unusual personality in their works. A musical portrait of Paganini was created by S. Rachmaninov, writing “Variations on a Theme of Paganini.” To this music in Bolshoi Theater A ballet was staged in Moscow.
In “Variations on a Theme of Paganini” or “Rhapsody on a Theme of Paganini” by S. Rachmaninov (the work was written in 1934), you will hear the features of such a genre as a concert for piano and orchestra. Listen Firstly, two images clearly stand out here. The first is based on variations of Paganini's theme, which sounds each time in a new form - sometimes lightly and gracefully, sometimes assertively and menacingly. Secondly, the performance of this theme moves from the orchestra, its individual groups (violins) to the piano. The second image is a lyrical one, built on a truly Russian, song, Rachmaninoff theme. This theme - an image of inspired light lyrics - begins calmly and serenely. You can hear its development yourself. Gradually it gains strength, sounds passionately and solemnly, like a bright hymn to Beauty and Man. At the endthe sound of the theme seems to fade, freezing to formtripartite construction. It was the contrast of images, their symphonic development that served as the reason for creating a ballet to this music.
Fragment of the ballet to the music of S.V. Rachmaninov "Rhapsody on a Theme of Paganini"
Answer the question:
1. In what form is the interpretation of the caprice written?
(b. 1913)
Pay attention to the similarities and differences with the main theme of Paganini's Caprice No. 24. The beginning of the “Variations” sounds menacing and decisive, then the composer uses a variety of development techniques in which main topic sometimes it sounds the same as Paganini’s, sometimes it acquires new features. A characteristic feature of the development of the theme of Caprice No. 24 is
this work is its constant recognition. The sound of the orchestra and solo piano gives us reason to assume that this is a genre of concerto for piano and orchestra (like Rachmaninoff).
In "Variations" we hear great dramatization
imagery, the invasion of active rhythms into the sound, giving the music anxiety and severity, the emergence of new orchestral colors, harsh sonorities (harmonies).
Lyrical implementation of the theme of Caprice No. 24 is practically absent. Thus, the composer Lutosławski “read” the famous theme of Paganini’s Caprice No. 24 in a new way, creating, under the influence of his time, the intense rhythms of life of the 20th century, another version
interpretations of a timeless classical melody.
Answer the questions:
2. What features of Paganini’s theme does he emphasize?
the composer in his variations?
3. What brings something new to its sound?
How did V. Zinchuk hear and perform a masterpiece of world musical classics? Pay attention to the exact repetition of the Caprice melody No. 24 by the solo guitar. At the same time, the rock treatment emphasizes non-stop movement, which gives the music an assertive and often aggressive character.The emotional intensity of the sound is facilitated by the fast tempo, which accelerates even more at the end of the piece. The excited nature of the piece is supported by a hard, elastic rhythm of the accompaniment, highlighting the function of the percussion tools.
What remains unchanged compared to
Caprice Paganini? Form of variations. Pay attention to the final section of the play - the coda. It has several handlers
once again emphatically repeats the sound of the tonic, dot. Such completion may have certain meaning: classical music understandable to modern listeners!
It is no coincidence that Zinchuk released several CDs under the name
"Neoclassic". Neo means “new”, classic means “exemplary”.
In the endwe came to the concept -interpretation.
After all, it is creative development works of art, associated with its special, selective reading: in processing and transcription, in artistic reading, director's script, acting role, musical performance.
You yourself, when you try to penetrate the intention of the composer, the artist, also interpret the work.
Interpretations like the ones you encountered in this lesson are transcriptions of a piece of music (Paganini's Caprice) for other instruments:
piano and orchestra, rock bands - and combine the trinity “composer-performer-listener”. In fact, they are a portrait of the outstanding violinist N. Paganini, whose music was heard and recreated by each composer in his own way. different countries, in this case, being at the same time performers.
5.Task 2
You listened to the interpretation of Caprice No. 24 by N. Paganini.
Compare three interpretations of Caprice No. 24 by N. Paganini.
Answer the questions:
1. What features of N. Paganini’s masterpiece are emphasized by composers and performers?
2. Which of the three interpretations did you like best and why?
6.Task 3
Readexcerpt from K. Paustovsky's story "String".
A shell fragment broke the strings on the violin. There is only one left, the last one. The musician Egorov did not have spare strings, and there was nowhere to get them, because it happened in the fall of 1941 on a besieged island in the Baltic Sea, where soldiers fought off continuous attacks by the Germans.
The war found several actors in Ezel - men and women. During the day, men and soldiers dug trenches and repelled German attacks, while women bandaged the wounded and washed the soldiers’ clothes. At night, if there was no battle, the actors staged concerts and performances in small clearings in the forest.
Well, you say, of course, in the dark you can
listen to music, but it’s unclear how the actors managed to perform performances in the forest at night. What could the audience see in this darkness? ...As soon as the performance began, the audience pointed narrow beams of pocket electric flashlights at the actors. These rays flew all the time, like little fiery birds, from one face to another...
Spectators never pointed their flashlights at Egorov. He always played in the dark, and the only point of light that he often saw in front of him was a large star. She lay on the edge of the sea, like a forgotten lighthouse.
The strings on the violin were broken, and Egorov could no longer play. At the first night concert, he told the invisible audience about this. Suddenly, from the darkness of the forest, someone’s young voice answered uncertainly:
And Paganini played on one string...
Paganini! How could Egorov compare with him, with a great musician!
Still, he slowly raised the violin to his shoulder. The star burned calmly on the edge of the bay. Its light flickered, and did not shimmer, as always. Egorov began to play. And suddenly one string began to sing with the same strength and tenderness as all the strings could sing.
The electric torches immediately flashed. For the first time their rays hit Egorov’s face, and he closed his eyes. It was easy to play, as if Paganini’s dry, light fingers were moving the bow over a mutilated violin.
During the short intermission of the war, in the deep forest, where there was a smell of heather and burning, Tchaikovsky’s melody rang and grew, and from its languid melody it seemed that the heart would burst and could not stand it. And the last string really couldn’t withstand the force of the sounds and broke. Immediately the light of the flashlights flew from Egorov’s face to the violin. The violin fell silent for a long time. And the light of the lanterns went out. The crowd of listeners just sighed.
Egorov had nothing to play on. He became an ordinary fighter in an ordinary squad. And during one night battle he gave his life for his homeland. He was buried in rough sandy soil. The fighters handed Egorov’s violin to the pilot who was flying to Leningrad. ...The pilot took the violin to the famous conductor. He took it with two fingers, weighed it in the air and smiled: it was an Italian violin that had lost weight from old age and many years of singing.
“I will give it to the best violinist of our orchestra,” the conductor told the pilot.
Where is this violin now - I don’t know. But wherever she is, she plays beautiful melodies, familiar to us and loved by us, like every word of Pushkin, Shakespeare and Heine. She plays Tchaikovsky's melodies, making the hearts of listeners tremble with pride for the genius of her country, for the genius of man.
Answer the questions:
1. Which melody from P. Tchaikovsky’s works familiar to you could be heard at a night concert?
2. What do you know about the Italian violinist Paganini?
3. Which one of it famous works were you listening?
4. Remember literary works, in which music is one of the main characters.