Lesson No. 8 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 lyrical poetry, is subject to embodiment emotional states, human experiences with all their changes.

The word "portrait" in relation to musical art, especially for 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.

ROERICH. Sketch of the set of the opera “Prince Igor”

Character, lyrical hero, narrator, narrator - these concepts are important not only in literary work, but also musically. 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 with characteristic types person. “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).

GOLOVIN. Set design for the opera "Boris Godunov"

Artistic and creative task

Make sketches of portraits of characters from your favorite musical compositions, and give them a verbal description.

Creative works of students:

Vorontsova Anastasia

After listening W.A. Mozart Symphony No. 6", I imagined the image of a girl who is gentle, kind and affectionate. But suddenly, she is worried and worried about something, but then she finds out something sad and sad. She is upset and speechless.

Peace in Worry

Somewhere on the edge of this life

My soul will be brighter...

And the sleeping thoughts will groan...

Leave, leave quickly...

I break through the window of hearts,

Where does my soul fly now...

Finding peace in anxiety...

So the soul is resurrected again...

After every line written

I remember you alone...

After the phrase there are three eternal dots...

And like a candle I quietly burn out...

You can barely hear the beating of life...

I just don't understand why...

And any movement is deadly...

I will accept it without reserve...

Lorchenko Sergey

After listening to Prokofiev’s “Dance of the Knights,” I imagined a dry clearing in the evening, where there was a lonely old dried tree, and nearby a large stone. And here in this clearing two knights meet, they incinerate each other with evil glances, and so they take out their swords from their knives and a long and deadly fight begins. And the knight wounded his opponent right in the shoulder, he slowly fell to the ground, but the wounded knight found strength and bravely became he did death blow in heart. Wounded in the shoulder, the knight returned home to his children and wife.

Vorontsova Ekaterina

After listening V.A. Mozorta Serenade No. 13, I imagined the image of a reserved and decisive person who shows some kind of sympathy for another person, but tries not to show it. A poem was written about this feeling:

I hide my love for you at the bottom of my soul,

But you still can’t hide it, -

It comes through in everything,

And people notice

And they even ask: “What are you sad about?”

Kanemori Taira

Ulyana Lomakina

IN Symphonies No. 40 by W.A. Mozart"Bold" I “saw” a portrait of a child who never sits still. He jumps, has fun, jumps, runs, frolics. After listening to the work of S.S. Prokofiev’s “Waltz”, I saw a portrait of a man who was also a very perky person. He is captivated by this melody and dances.

Of all the portraits, I would choose a portrait of a child. In this portrait (“Symphony No. 40 by W.A. Mozart”) I see a little girl, about 5-7 years old, playing. The smile never leaves her face, she is very cheerful and sincere. Her eyes seem to fill the gray world around her with fun, her eyes seem to invite us to play with her, forget ourselves and return for a second to childhood.

Lena Novoselova

After listening to the work Mozart's "Lament for Love", I imagined the image of a couple in love, who are in a quarrel, but love each other very much. I imagine how they are fighting: the girl is crying, the guy, barely holding back his tears, is trying to explain the whole situation to her. But she doesn't seem to hear him. And so they decide to break up. They are taking this separation hard. But, when the feelings seem to have passed and thoughts about him or her no longer constantly wander in their heads, they try to find a replacement, but they understand that there is no such or such person in the world anymore. In the hope that he or she will forgive each other, talk again and make up! In the future, I just want to imagine them happy and with several children!

You can part with love,

The pain will disappear little by little,

But only by deceiving myself,

We cannot deceive God.

These are lines from Talkov's song "My Love"....

Danya Vershinina

After listening to the piece Mozart "Turkish March", I saw a parade, a large bright crowd of people, with drums, pipes, horns and other musical instruments. I imagined one young soldier standing at the end of the line, stammering, terribly positive, cheerful, trying to play an instrument. And another person introduced himself, completely opposite to the man, sitting in the stands, a grandfather, a grandfather of about eighty years old, sitting and tears flowing from his eyes, he looks at the young soldier and sees himself....sees himself in his youth....I imagined an ordinary parade, an ordinary parade for our time, for that young man, but very bitter and touching for that sick veteran who defended our Motherland.

Anya Ivashina

After listening to the song W.A. Mozart "Allegro", I imagined some kind of cheerful court ball, many noble people were dancing there, they were having fun, talking and eating. I saw" young guy who liked the girl. He didn't dare approach. But, daring and gaining confidence, he approached her and asked for her hand. And then... this very moment... she agrees. Everyone congratulates them, everyone is happy for them.

When I listened to the song S. Prokofiev "Ballet Romeo and Juliet. Dance of the Knights" I imagined the area where the same dance performed by knights takes place. At first there was some tension, and then everything “subsided”. It became calmer.

Of these two portraits, I would choose about knights. This graceful violin playing and amazing organ playing. The compatibility here is amazing! As I already wrote, the dance of the knights takes place there. Clean field. Two knights, before the battle, begin to dance. Starting rough and tense, but continuing slowly and calmly. Their grace, their manner of performance. I liked it very much!

Danil Kalachev

I listened to the piece Prokofiev "Dance of the Knights" I had a vague idea war time in the Middle Ages, columns of knights in forged heavy armor with swords and spears moved into battle with foreigners. Horses pull huge guns behind them. The spirit of martial law appears thanks to the difficult musical instruments: drums, trumpet. The tension of the situation is made clear by the disturbing playing of the violin. In the middle of the work, heavy music gives way to a calm lyrical melody; at that moment I imagined women, old people and children who, with anxiety and love, were accompanying their heroes to war.

Aleshina Katya

After listening to music V.A. Mozart's "Requiem for a Dream", I was presented with a situation: when you go to your cherished dream, you overcome all the difficulties on your way, but suddenly... everything collapses, your dream never came true, it seems this is the end, because this was your goal in life. But sooner or later, every dream either comes true or doesn’t come true, but we shouldn’t be upset if something doesn’t work out for you. After all, when a dream has come true, you look for a new dream, and do everything to fulfill it, although even without doing anything, the dream can suddenly come true, because everyone’s dreams are different.

Malkov Felix

I listened to the music Rodion Shchedrin for the ballet “Anna Karenina” (last act). I imagine a woman who is rushing about in despair, making a choice between life and death, which will instantly end her mental suffering, her shame and condemnation in society. Some important decision is brewing in Anna Karenina, and this is emphasized by the orchestra, in which a real catastrophe is brewing. The power of the music increases, creating an oppressive feeling, foreshadowing something terrible. I imagine a woman driven to the limit and desperately walking towards death, just a moment more and she will take this irreversible step. The music perfectly conveys the approach of the train and, accordingly, the inevitable approach of the tragic denouement. And it happens: the last sounds (the grinding sound of a departing train) make it clear that Anna Karenina’s life was cut short.

The music made a big impression on me Alfred Schnittke "Flight", written for the film "Tale of Wanderings". I imagined a man soaring above the earth, free, in love, wanting to achieve his bright and pure dream. It’s as if he’s waving to us and inviting us to follow him, affirming by his example that every person can fly if they want, everyone who has kindness, hope, sincerity, philanthropy and compassion, in a word, who has a soul! The piercing (sound of violins) and exciting (bells) music of A. Schnittke, like a magic wand, leads us to a world where good reigns and our secret desires come true.

Safronova Natasha

Listening to the oratorio “Nagasaki” by A.G. Schnittke, before my eyes, pass the terrible consequences of the war, the losses that filled the hearts with indescribable sadness of the loss of a loved one.

For this composition. In my opinion, the poems by V.S. Vysotsky “Mass Graves” are the best fit:

There are no crosses on mass graves,

And widows do not cry for them,

Someone brings bouquets of flowers to them,

And the Eternal Flame is lit.

Here the earth used to rear up,

And now - granite slabs.

There is not a single personal destiny here -

All destinies are merged into one.

And in Eternal Flame a tank on fire is visible,

Burning Russian huts

Burning Smolensk and the burning Reichstag,

The burning heart of a soldier.

There are no tear-stained widows at mass graves -

Stronger people come here.

There are no crosses on mass graves,

But does that make it any easier?..

And I must admit, I cry reading these lines, listening to this oratorio.

Introduction

Modern musicology places high demands on the researcher. Among them, the most important is not only a deep theoretical understanding of the object under consideration, a comprehensive and versatile understanding of it, but also its practical development. To do this, it is not enough to have a good understanding of general issues history of music and master the “traditional” methods of theoretical analysis - you need your own creative experience in this field of musical art.

The idea of music, however, is developed not only through the efforts of musicologists. The works of practicing musicians occupy a prominent place in musicology. Living connection with practice, direct sensation creative process composing or performing music is what particularly attracts researchers.

In this work, attention is paid to the creative heritage of the Soviet composer and teacher M.V. Antseva. Happy rebirth choral singing In Russia, Antsev women's choirs are becoming increasingly popular, as they are distinguished by simple harmony, light texture and melody. Many of his choral works were written to poems by Russian classical poets, including the choral composition “Bells” to poems by Count A.K. Tolstoy.

A comprehensive analysis of this composition, presented in course work, will allow you to more accurately organize practical activities on learning a piece with a training choir of students from the Department of Choral Conducting of OGGIK. This explains the relevance of the ongoing research.

Creative portraits of authors of musical and literary texts

choral vocal antsev text

Mikhail Vasilyevich Antsev was born in Smolensk on September 30, 1895. He came from a simple family: his father was a cantonist who served as a soldier for over 25 years, his mother was a Smolensk bourgeois. In very early childhood, M. Antsev lost his father, and he was raised by his stepfather. After graduating from high school, Mikhail Vasilyevich studied violin with L. Auer at the Warsaw Conservatory. Then he entered the St. Petersburg Conservatory, from which he graduated in 1895 in composition class with Rimsky-Korsakov.

In 1896, the composer's musical and pedagogical activities began. He gave a lot of strength and energy pedagogical work as a teacher of choral singing and other musical disciplines in general education and special education educational institutions. Obviously, it was at this time that he wrote a series of teaching aids related to choral art, among them: “ Brief information for singers-choristers”, “Note terminology” (reference dictionary for teachers, singers and musicians), “Elementary theory of music in connection with the teaching of school choral singing”, “Methodological anthology of class choral singing” and others.

At the same time, M. Antsev worked fruitfully as a composer. He composed for symphony orchestra, for violin, wrote romances and children's songs. He wrote “Cantata for the 100th anniversary of A. Pushkin”, “Hymn in memory of the 100th anniversary Patriotic War 1812." Both large works are intended to be performed by a choir and orchestra.

Among the choral works of a lyrical nature created during this period, we can name: “Lotus”, “Willow”, “In Spring”, “The Air Breathes Fragrance”.

The revolutionary events taking place in Russia could not remain out of sight of the sensitive, impressionable artist. They found a response in his choral works. Full of revolutionary pathos, the chorus “Don’t cry over the corpses of fallen soldiers” was first performed in St. Petersburg in 1905.

After the Great October Revolution socialist revolution M.V. Antsev conducted extensive musical and social activities. In 1918, in Vitebsk, he organized the People's Conservatory, where he taught theoretical disciplines. There, for two years, he led the State Choir he created. On the initiative of Mikhail Vasilyevich, a circle of Belarusian folk songs arose. The circle served mainly factory areas and Red Army units.

Their last years M. Antsev lived in Moscow. Here in 1934 he was elected an honorary member of the Expert Commission at the Moscow City Committee of Circle Leaders and performed these duties on a voluntary basis for more than three years, in 1936-1938. he was a member of the Attestation and Expert Commission at the Administration for the Arts.

In the post-October period, M. Antsev actively switched to revolutionary themes. He wrote music to the words of Demyan Bedny, Yakub Kolas, Yanka Kupala and other Soviet poets. In addition, the composer showed interest in folk songs, predominantly Belarusian, arranged them for choir and solo singing with piano (Oh, share, etc.).

The range of his creativity is quite wide. He is the author of several textbooks concerning choral art and the performance of children's songs, romances, and plays for the violin. However, choral creativity most of all attracted the composer's attention. He has written over 30 a cappella and accompanied choirs, many choral arrangements folk songs.

Mikhail Vasilievich Antsev - composer-lyricist. This is already evidenced by the names of his choirs: “ Spring waters", "Sunrise", "Silence of the sea", "Brightly twinkling stars." Possessing a subtle artistic taste, the composer paid deep attention to the selection of texts. He turned to the poems of A. Pushkin, F. Tyutchev, A. Tolstoy, M. Lermontov, I. Nikitin, A. Fet and other poets. M. Antsev's choruses are imbued with free contemplation; they lack strong, dramatically intense development.

Although M. Antsev was a student of N. Rimsky-Korsakov, his work is rather close to P. Tchaikovsky. The melody in his choirs is expressive, calm, and easy to remember. It is simple, unpretentious, based on the existing intonations of a city song, hence the accessibility of its perception. Most often, the composer uses sequential development of the most expressive turns of the melody with the precise construction of the initial link.

Continuous harmonic development conceals the dismemberment inherent in sequential movement and gives the melody greater solidity.

M. Antsev worked a lot with choirs, knew the specifics of their sound and took it into account in his compositions, so the choral parts are presented in convenient tessitura.

Unfortunately, creative heritage Mikhail Vasilyevich Antsev has not yet been studied, but it is undoubtedly of great interest.

After October revolution was one of the first composers to turn to revolutionary themes in his work (choirs “In Memory of Heroes”, “Song of Struggle”, 1922). Author of works for violin and piano, choirs, romances, arrangements of folk songs, textbooks, including the books “Brief information for choir singers...” (1897), “Preparatory course in elementary music theory in connection with the teaching of choral singing” (1897), “Note terminology. Reference dictionary..." (Vitebsk 1904).

Of his choral works, cantatas, women's and children's choirs a cappella and with piano accompaniment (“The Waves Slumbered,” “Bells”), and arrangements of folk songs are popular in choirmaster pedagogical practice. His mixed choirs such as “Sea and Cliff”, “Willow”, “Tears”, “Collapse”, “Song of Struggle” are especially famous. The Requiem “Do not cry over the corpses of fallen soldiers” (1901) to the words of L. Palmin stands out for its expressiveness and civic pathos. The composer also has spiritual compositions - a cycle of chants Divine Liturgy and individual chants.

Author literary text choral composition"Bells" - famous poet and playwright Count Alexei Konstantinovich Tolstoy. Born on August 24, 1817 in St. Petersburg. Early childhood spent in Ukraine, on the estate of his uncle A. Perovsky, a writer famous in the 20s. under the pseudonym Pogorelsky. He received a home education and was close to court life. He traveled widely throughout Russia and abroad, from 1836 he served in the Russian mission in Frankfurt, and in 1855 he participated in the Sevastopol campaign. He died on his Chernigov estate.

As Tolstoy himself believed, his penchant for poetry was unusually facilitated by the nature among which he grew up: “The air and the sight of our large forests, which I passionately loved, made a deep impression on me. Which left its mark on my character and my life...” Admiration for splendor native land can be clearly heard in Tolstoy’s poems, especially in his landscape lyrics. The colors of his poetic sketches are bright and rich. In his lyrics, Tolstoy likes to turn to folk poetry for images and verbal formulas. Hence the frequent comparison of natural phenomena with human life, hence the special melodiousness, special language, close to a folk song.

Love to folk art, interest in folklore was reflected not only in Tolstoy’s lyrical poems. The poet's appeal to the epic, to the ballad genre, beloved by the romantics, is also largely explained by his attention to Russian folk poetry, to its ancient roots. In the epic “Ilya Muromets” (1871), Tolstoy resurrects the image of the famous hero, “Grandfather Ilya,” who yearns for freedom and independence even in old age and therefore leaves the princely court of Vladimir the Red Sun. Drawing heroes Kievan Rus, Tolstoy admires their courage, dedication and patriotism, but does not forget that these are living people, ready to love and enjoy the beauty of the world. That’s why many of his ballads and epics sound sincere, and their characters are attractive.

Tolstoy writes ballads and epics not only based on folk epic epic, he also turns to Russian history. In his ballads, Tolstoy admires old rituals and customs (“Matchmaking,” 1871) and glorifies the Russian character, which even the Mongol-Tatar yoke could not change (“Snake Tugarin,” 1867).

Alexey Konstantinovich Tolstoy tried his pen not only in the genre of poetry. The image of Kozma Prutkov and his famous aphorisms is Tolstoy with his cousins Alexei, Alexander and Vladimir Zhemchuzhnikov. His pen belongs famous plays historical content“The Death of Ivan the Terrible”, “Tsar Fyodor Ioannovich”, “Tsar Boris”. Tolstoy's satire was striking in its boldness and mischief.

Tolstoy began writing poetry very early. Tolstoy always valued the mastery of verse, although critics sometimes reproached him for “bad” (inaccurate) rhyme, or for an unsuccessful, too prosaic, in their opinion, turn of phrase. Meanwhile, it is precisely thanks to these “shortcomings” that the impression of improvisation is created; Tolstoy’s poetry acquires a special liveliness and sincerity. Tolstoy himself understood this feature of his work: “Some things should be minted, but others have the right and should not even be minted, otherwise they will seem cold.”

In the late 30s - early 40s, two were written (in French) fantastic stories- “Family of the Ghoul” and “Meeting after Three Hundred Years.” In May 1841, Tolstoy first appeared in print, publishing a separate book under the pseudonym “Krasnorogsky” (from the name of the Krasny Rog estate), fantastic story"Ghoul". He spoke very favorably about the story by V.G. Belinsky, who saw in her “all the signs of a still too young, but nevertheless remarkable talent.” Tolstoy was in no hurry to publish his poems. The first major collection of his poems appeared only in 1854 on the pages of Nekrasov’s Sovremennik, and the only collection during his lifetime was published in 1867. It included many now widely known poems, including “Bells”.

Publications in the Music section

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 Russia; their performances and productions were awaited by music lovers around the world. "Kultura.RF" talks about creative path four outstanding performers.

Zinaida Volkonskaya (1789–1862)

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

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

Natalia Sats (1903–1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia has been surrounded by creative people. Friends of the family and frequent guests of the Moscow house 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 she remained for 16 years. One of the most authoritative Russian theater critics, Pavel Markov, recalled Sats as “to a girl, almost a girl, who quickly and energetically entered into the complex structure of the Moscow theatrical life and forever retained a responsible understanding of her life and creative recognition". She sought to create a theater that would become for children of all ages a portal into a bright and fairy world, a place of unlimited imagination - and she succeeded.

The cult German conductor Otto Klemperer, having watched Satz’s directorial works 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, world famous theatrical figure. Her other foreign opera productions also became successful: “The Ring of the Nibelung” by Richard Wagner and “The Marriage of Figaro” by Wolfgang Amadeus Mozart at the Argentine Teatro Colon. Buenos Aires newspapers wrote: “The Russian artist-director created new era in the art of opera. The play [The Marriage of Figaro] is deeply psychological, as is only the case 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 of Domestic 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, since she did not have the right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata theater young viewer, 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 and Puccini, and included “serious” musical classics in her symphony tickets.

In the last years of her life, Natalia Sats taught at GITIS, founded charitable foundation promoting the development of art for children and has written many books and manuals on music education.

Elizaveta Gilels (1919–2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

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

Lisa Gilels first picked up the violin at the age of six, and she was taught the basics of musical art by the famous Odessa teacher Pyotr Stolyarsky. While still a teenager, Gilels declared herself 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 Ysaïe Competition in Brussels. The first prize of the competition was awarded to David Oistrakh, the second - to a performer from Austria, and Gilels and her colleagues shared places from third to sixth. This triumphant victory glorified Elizaveta Gilels both in the Soviet Union and abroad.

When Soviet musicians returning from Belgium, they were greeted by a solemn procession, a participant of which was the talented, but in those years still unknown violinist Leonid Kogan. He presented his bouquet to Elizaveta Gilels, whose talent he always admired: this is how the future spouses met. True, they did not immediately become a couple. Gilels had recently become a star, actively performed and toured, and was also older. But one day she heard a performance by an unknown violinist on the radio. The masterly performance amazed 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 long years played in a duet, performed works for two violins by Johann Sebastian Bach, Antonio Vivaldi, Eugene Ysaï. Elizabeth gradually abandoned solo career: in 1952, the couple had a son, Pavel Kogan, he became a famous violinist and conductor, and two years later their daughter Nina, a gifted pianist and talented teacher, appeared.

Since 1966, Elizaveta Gilels began teaching at the Moscow Conservatory. Her students were violinists Ilya Kaler, Alexander Rozhdestvensky, Ilya Grubert and others talented musicians. After the death of Leonid Kogan in 1982, Gilels was engaged in systematizing his legacy: preparing books for publication and releasing recordings.

>>Musical portrait

Musical portrait

It is interesting to compare the features of recreating a person’s appearance in literature, fine arts, and 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 and develops over time), it, like lyrical poetry, is subject to the embodiment of emotional states and human experiences 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.

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 with characteristic human types in mind. “Mozart’s themes are like an expressive face... You could write a whole book about female images in Mozart’s instrumental music” (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.

Lesson content lesson notes supporting frame lesson presentation acceleration methods interactive technologies Practice tasks and exercises self-test workshops, trainings, cases, quests homework discussion questions rhetorical questions from students Illustrations audio, video clips and multimedia photographs, pictures, graphics, tables, diagrams, humor, anecdotes, jokes, comics, parables, sayings, crosswords, quotes Add-ons abstracts articles tricks for the curious cribs textbooks basic and additional dictionary of terms other Improving textbooks and lessonscorrecting errors in the textbook updating a fragment in a textbook, elements of innovation in the lesson, replacing outdated knowledge with new ones Only for teachers perfect lessons calendar plan for a year guidelines discussion programs Integrated Lessons

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 to work on developing the skill of analyzing a piece of music and a work 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

During the classes

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 musical expressiveness 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 a verbal portrait of the 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 a given piece of music.

Students justify their answers based on 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: