What does music rhythm tell about

1. A variety of triples in the dance genres.
2. The originality of the rhythm of the Mazurka (on the example of the Mazurka Si-Bf Major, Op. 7 No. 1 F. Chopin).
3. The ceremonial flow, expressed in the music of Polionisa (on the example of Polionize in Major, Op. 40 No. 1 F. Chopin).
4. The implementation of Spanish folk rhythms in Bolero M. Ravel.

Music material:

1. F. Chopin. Mazurka Si-Barol Major, Op. 7 No. 1. Fragment (hearing);
2. F. Chopin. Polonza la major, op. 40 No. 1. Fragment (hearing);
3. M. Ravel. "Bolero" (hearing);
4. Struve, verses A. Barto. "Battama" from cantata for choir and soloist "Pigeon of the World" (singing, musical and rhythmic movements).

Feature activities:

1. Realize intonational-shaped, genre features of music (taking into account the criteria submitted in the textbook).
2. Compare and identify musical works of different genres and styles (taking into account the criteria presented in the textbook).
3. Creatively interpret the content of musical works in singing, in a musical and rhythmic movement.

Just as musical rhythms, as diverse and musical dimensions. For example, size 3/4, just called the main sign of the Waltz, to the same extent is mandatory for the Mazurka, and for Polionize, and for Bolero! At the same time, despite the overall size, these genres are very difficult to confuse each other.

Let us turn to the genres of Mazurka and Polionize.

Mazurka

Mazurka is an ancient Polish dance, performed in the fast pace. He arose in the XII century in the peasant environment among Mazurov, bold Polish riders, and therefore in the Mazurka we see movements resembling prison. The dance was accompanied by a play on a voyage. Usually four, eight or twelve couples participated in it.

As it often happened, the people's dance came to the dance halls, the salons, elegant living rooms and changed her appearance there. Starting from the XIII century, Mazurka is known as a ball dance not only in Poland, but also in many European countries.

But it was not so easy to "cope" with Mazurka. It is very characteristic of her music. Does not dance smoothly and apartely. Fire dance!

... when the Mazurka thunder thunder,
In a huge hall, everything trembled,
Parquet cracked under the heel ...

So describes Mazurka Alexander Sergeevich Pushkin.

But Mazurka is not only musical accompaniment of dance. Like waltz, she became instrumental music. Very loved Mazurki Polish composer F. Chopin. In the form of this folk dance, he composed a lot of piano plays.

This is how the Mazurka Si-Flat Major F. Chopin sounds.

Rhythmic drawing of the Mazurka far from the size of the smoothness of the Waltz. It is full of sharp and angular intonations, sharp accents.

Polonaise

Another three-tong dance is polona. He also has a Polish origin, which is visible even from his name. In French, the word Polonaise means "Polish", it is also written in Italian - Polacca, the name "Polish" was distributed in Russia

Polonaise is a solemn ball dance-procession, so in his three-headedness, not a light circle of the Waltz, and the ceremonial flow of the court ladies and their cavaliers - a semi-forgotten picture of the long-lasting time.

I wonder what Polonaise, like a Mazurka, at first was not a ballroom dance. In the XVI century, he was performed at weddings and solemn ceremonies, accompanied by singing. Only later, Polonaise became courtier and purely instrumental dance - a symbol of the Polish National Spirit.

In full-range, which composed for Piano F. Chopin, we hear "the arrival of people speaking with the valiant courage against all the most unfair" - so said Ferenz Sheet of Polionize F. Chopin.

Bolero

Let us turn to one dance - Bolero.

Three-hearty Bolero - dance born in Spain, in his rhythm concluded a characteristic knock of the kastaniet, expressed in rhythmic sound-painting.

The traditions of Music Bolero with a huge brightness embodied in his "bolero" for the Orchestra M. Ravel. Thin, deep comprehending of the National Spirit of this Spanish dance was so accurate that the name of the Retal is the French composer of the first half of the twentieth century - still binds to Spain.

"Spain is my second homeland," said Ravel often. Spanish theme passes red drink through his entire creative path: "Spanish Rhapsody", "Spanish Hour", "Bolero" and other Spanish motifs are constantly found in his piano and vocal plays. In his Spanish empty, Spain lives and breathes with its unique paints, the aroma of her gardens, the movements of her folk dance.

Element of dance permeates all the work of Ravel. But in no composer's product, this fascinating power of dance rhythms manifested itself so brightly and unrestrained, as in the symphonic play "Bolero".

Music "Bolero" in the shortest possible time won widespread recognition worldwide, truly popular popularity. Two or three years old, as an essay, going beyond the limits of concert halls, became the property of all sorts of arranger who had portrays for the most unexpected ensembles.

The famous theme "Bolero" was dispersed on the street, people even who did not suspect her origin. "Bolero", quite unexpectedly for Ravel, brought him such a fame to him, which only great classic composers are honored.

What is the "secret" of a huge charm of this work?

First of all, in the rare beauty of the theme.

Binding in the easiest sound of the flute against the background of an absolutely unchanged rhythmic formula (two small drums of PP), this topic repeatedly repeats all the time on the same rhythmic background, but every time in the new instrumental "clothes." From the repeat, the power of the sound increases from the repeatter with inexorable perseverance, the timbre palette flourishes, the dynamic voltage is enhanced. The new appearance of the topic is a new paint. After the flute - the clarinet, then the FAGOT in a high register, behind it the small clarinet, then the Oboe d "Cupid. When the general strength of the orchestra has already reached a famous intensity, the composer entrustes the topic with two voices - flute and pipe with Surdine. Next, the melody sounds alternately in several Saxophones, Flute, supported by the French and Crafts, Goboe, English Horn and Clarinets, finally, joined the tombone, after which the melody is transferred to the whole composition of wooden tools and saxophone. So this is growing and taking up this uncounting avalanche.

N. Zabolotsky, who devoted his poem "Bolero" to the wonderful creation of the French master, deliberately calls the "Spaniard". And it sounds like the highest award!

So raw, dance bolero!
For those who will change the music to the feather,
There is a celebration of the world in this world -
Pumping violins scary and sad
And this dance of slow peasants ...
Spain! I'm getting drunk again!
But people alive, and the song is alive.

Dance, raw, your giant dance,
Dance, Row! Do not be sad, Spaniard!
Rotary, history, cast millstones,
Be Melnichikha in the Terrible Hour of the Surf!
Oh, Bolero, sacred battle dance!

"Spaniard" Ranel in this poem of Zabolotsky appears as a musician who managed to be like a true Spaniard, to enter the initial element of Spanish folk rhythms, capture them with fascinating beauty and raise a modest peasant dance on a pedestal of universal admiration.

Questions and tasks:

1. What unites and what distinguishes the Mazurka and polonaz? Tell us on the example of Mazurki Si-Flat Major and Poloneza La Major F. Chopin.
2. What is the reason for such a strong impact of the music "Bolero" M. Ravel? Is it only rhythm involved in creating a musical image of this work?
3. "Bolero" is written in the form of variations. Is it possible to consider the selection by the composer of this form by natural? Why?
4. During listening, pay attention to the rhythmic imitation of the sound of the kastaniet. What does it bring music to the perception?
5. What do you think, why are the dances of all musical genres differ in the greatest rhythmic characterity?

Presentation

Included:
1. Presentation, PPSX;
2. Music sounds:
Ravel. Bolero, mp3;
Chopin. Mazurka B-DUR, OP. 7 No. 1, MP3;
Chopin. Polonaise A-DUR, OP. 40 No. 1, MP3;
3. Accompanying article, DOCX.

The reason for the extraordinary popularity of Bolero Ranel
hypnotic impact unchanged many times repeated rhythmic
Figures, against the background of which two topics are also held many times, demonstrating
extraordinary growth of emotional tension and introducing new and new in the sound
instruments.

So,
Ravel, dancing bolero!
For those who do not change the music to the feather,
There are in this
World Holiday is initial -
Pumping violins scary and sad
And this
Dance of slow peasants ...
Spain! I'm getting drunk again!
Dream flower
sublime trembling
Again your image is on with me
For remote
Grand Pyreneev!
Alas, silence, insistered Madrid,
All in the echoes
Fly storm
And there is no Dolores Ibarrury with him!
But the people and the song are alive
alive.
Dance, raw, your giant dance.
Dance, Row! Cheer up,
Hispanic!
Rotary, history, cast millstones,
Be Melnichikhikha in a terrible hour
Surf!
Oh, Bolero, sacred battle dance!
Nikolai
Zabolotsky

Birth
This work we must intertwining two life lines in the fate of Ravel,
This Frenchman is the lines of Spanish and, oddly enough ... Russian. Russian ties
Ravel gave an external impetus to writing the second part of this ballet
representation. Spanish - that inner strength that prompted Ravel
To write exactly the "bolero", in other words, again, as he has already had,
appeal to the Spanish theme, Spanish Folklore, try to transfer Spanish
Spirit and color.
For many years, rare is connected with the figures of Russian culture,
Especially with composers who conquered Paris at the beginning of the 900s. This is before
Total, Russian Theater Worker Sergey Pavlovich Dyagilev with his "Russian
ballet "and" Russian seasons "in Paris. It is by order of Dyagileeva Ranel
1912 wrote ballet "Daphnis and Chloe".
On writing "bolero" ra
Middle of Ida Rubinstein.
Ida Rubinstein conceived to fulfill on stage
Grand Opera in Paris choreographic composition to music already then written
"Waltza" Ravel. But one of this orchestral play in order to present it
In the theatrical performance, it was not enough. And then she turned to the will with
asking him to write another work for this production. Solven
It was that it would be a "bolero".

According to some information, the Bolero dance was created by Spanish
Dancer Sebastian Hereso around 1780. Although he has always been threedoles,
Shares are in different ways in different ways: three equal shares in the first tact
(three quarters, if we are expressed by a professional music language), then on
Strong share of the next tact stop (quarter to point) and three short notes
(eighth). One of the rhythmic variants of Bolero: the first beat is crushed on
short notes; In this case, their six (eighth), and, instead of the first note
pause. The second beat is the same as in the first version. Subsequently crushing
It becomes even smaller. The tempo of the classic bolero moderate, you can say
Even discreet. Movement of full internal strength and passion. It is dancing
Bolero under the accompaniment of the guitar and the drum, and the dancing themselves are beaten on
Kastagnes additionally complex rhythmic figures flying into unusually
Whicker pattern. There are many varieties of bolero characteristic of different
Spanish regions.

Paradox,
However, it is that none of these options coincides with the rhythmic
The structure of the "Bolero" Ravel. To the remark of one musician (Cuban pianist and
Composer Hoakina Nina) about this Ravel replied: "It has no
Values \u200b\u200b"." Of course, - agrees with the René Rena Chalet, publisher of letters
composer. - And yet the work, using such great popularity
and won the whole world, with difficulty is accepted by the Spanish audience -
solely because of the name ". The circumstance noted above gives, by the way,
reason to think about the problem of authentication or as they say now
authenticity, "national flavor" in works on the national plot,
written by foreigners. The fact that in the outside world is perceived
as a kind of musical emblem of a particular country, not always
It is such for residents of this country itself.

what
applies to the actual Spanish Bolero, then this dance inspired not one
Only rage. Bolero wrote Beethoven (the processing of bolero enters his cycle "Songs
Of different nations "- Notebook 1, No. 19 and 20). This dance is included in the opera and ballets
- "Blind of Toledo" Megyul, "Preciosa" Weber, "Black Domino" and "Max
Portici "Berliozo Belliosa," Swan Lake "Tchaikovsky and
"Coppelia" Delibe. Glinka with his passion for Spain, used Bolero in
His songs and romance ("Winner" "Oh, Viherea Wonderful"). Surprisingly
(although it may be explained in mind some similarity of the rhythm of bolero with rhythm
Polonza), Chopin wrote a piano play, which is called "Bolero"
(Op.19). But despite such a harvest Bolero in European music, the first
Association arising from this dance, of course "Bolero"
Ravel.

At first
It was a kind of composer experiment: what effect can be achieved with
Use only one composer tool - orchestration. After all, play, sounding
fifteen minutes (very much, in order to keep the attention of the listener in
constant voltage), built only on two persistently repeated without any
Development topics. In addition, it has no modulations, that is, transitions in different
tonality, other words, shift harmonic paints. And finally hard
Restriction puts rates - according to the composer's plan, it should remain
unchanged throughout the work.

So,
"Bolero" - a real composer focus Ravel. Composer himself
Desterived its work: "This is a dance in a very restrained pace,
completely unchanged as melodically, so harmonically and rhythmically, and
Rhythm is continuously chopped by a drum. The only element of diversity is entered
Orchestra Crescendo. In the hard repetition of two theels of Arabic
The element is characteristic of this dance.

Premiere
"Bolero" as a ballet performance took place in Paris on November 20, 1928.
Dancing Ida Rubinstein, the scenery wrote Alexander Benoit. Triumph was full.
Here is the evidence of one of the eyewitnesses: "weakly lit room in Spanish
tavern; Along the walls, in the dark, the walks are chatting; in the middle of the room
Big table, on him the dancer starts the dance ... Futs do not turn to her
attention, but gradually begin to listen, revived. They are more and more
captures rhythm pouring; They rise from their places, approach
table; extraordinarily excited, they surround a dancer who with triumph
finishes performance. At that evening, 1928, we ourselves felt these
walks. At first we did not understand what was happening, and only then realized ...
".

We need
say that although this scenario was naturally agreed with the raw
The composer was different imagined what he portrayed with sounds. The main thing
The difference was that, according to the plane, the action should have passed on
Outdoors. Moreover, the raid knew exactly where it was (and it should have been
Reflected in the scenery) - on the background of the wall of the factory hull! Unexpected I.
Apparent strange art decision. But if you know the circumstances
Biographies Ravel, you will not be surprised. The composer has always made addiction to
industrial landscape. He triggered factories in Belgium and the Rhine Region,
which he saw when in his time - in the summer of 1905 - traveled aboard
Yachts "Eme".

One
The statement will take on this subject: "What I saw yesterday crashed into my memory
and will continue forever, like the Antwerp port. After a boring day on a wide
The river, between hopelessly flat inseparable shores, opens a whole
The city of pipes, the communion, spraying flames and clubs of reddish and blue smoke. it
Hum, a giant foundry, where 24,000 work around the clock
workers. Since the rircuit is too far away, we are approaching here. All the better,
Otherwise, we would not see this amazing spectacle. We were stood with the factories,
When it was already felt. How to give you the impression of this Metal Kingdom,
these filmed fires of cathedrals, from this wonderful symphony whistles, noise driven
Belts, the screamer of the Molotov, who collapsed on you! Above them - red, dark
And the blazing sky, and also a thunderstorm broke out. We returned scary
wet, in different mood: Ida was suppressed and almost cried, I, too
I was ready to cry, but from delight. How all this is musical! .. certainly
I use. "
The plant, drawn to the will of the "Bolero", existed in
reality and was not far from the place where the composer acquired
A small house near Paris, named by the Belvedere. Walking here with friends
Ravel often said, pointing to this plant: "Plant from" Bolero ".

Leon
Leitz, artist, sculptor and decorator, close to each other, made a layout
Decorations to "Bolero". This layout was demonstrated in the cabin
Artists-decorators still during the lifetime of the composer and received his full approval.
Knowing this, the Directorate of the Hard-Opera, the "Bolero", after the death of Ravel,
Related to the leaf of the performance of the performance. Serge Lifhar, balletmaster "Russians
seasons "Dyagileva, and at the time of this statement (1938) the former main
Opera balletmaster, resolutely protested against this plant. But brother
composer Eduard Ravel, who knew the artistic intentions of the author,
showed hardness and threatened that it would not give permission to formulate if not
Will will be fulfilled his brother. The will of Ravel was executed, and success was complete.

Spain, plant, Bolero Toroo ... (French Ravel). Unwittingly in consciousness
Another series arises: Spain, tobacco factory, habanner, Toroo ... Of course,
"Carmen" (French Bizeta).

A life
"Bolero" as a brilliant orchestral, and not just ballet and scenic
Pieces, gave Aturo Tuscanini. 1930. Tuscanini is preparing the execution of "Bolero" in
Paris. At the same time, the "Bolero" conducts the rage itself. Composer as I already
mentioned, gave a very great importance to the pace of plays withstand
unchanged from beginning to end. It is this - with continuously increasing
the sound of the orchestra and is soaked (that is, too, continuous) chopping one and that
The drum rhythmic figure - has a hypnotic impact on
listeners. And so, Rowel came to the rehearsal of Tuscany. Famous conductor on
The entire play has made a noticeable acceleration. Then Rave went to the stage and
Drew the attention of the conductor to it. Tuscany is very calm and strong Italian
The emphasis answered: "You do not understand anything in your music. This is the only one
the way to make her listen "." After the concert, on which Tuscanini repeated it
Acceleration, - I quote Ren with Shale, - Ravel decided not to go to it in artistic with
Congratulations, but Portuguese Conductor Freitas Branko
Retail persuaded not to attract universal attention to such an obserst. Retow
allowed himself to convince, but, shaking the hand of Maestro, told him: "So it is allowed
Just you! And anyone else! "He did not want - and was completely right - to
Among the musicians, a false tradition of execution was approved. However, contrary to opinion
Tuscanini, the audience listened to the "Bolero" and without any acceleration of the pace, and yes as
Listened! "

Bolero / Maurice Ravel - Bolero (Maurice Bezhar; Maya Plisetskaya)

http://youtu.be/nrxq_cbtvti.

Artists
Fabian
Perez
Jeremy Suteton
Raynold Reech
Andrew Atroshenko.
Mark.
Fielding.
Yanira Collado.
Karen Bierteldt.

Text
Alexander
Mike Par

http://www.liveinternet.ru/users/arin_levindor/post73974687/

Task Source: Decision 2952. EGE 2017. Russian. I.P. Tsybulko. 36 options.

Task 17.Arrange all punctuation signs: Specify the number (s), on the site of which (s) should stand the comma (s).

Dance (1) Ravel (2) His Goligan (3) Dance,

Dance (4) Ravel! Do not lose (5) Spaniard!

Rotary (6) History (7) cast millstones,

Be Melnichikha in the Terrible Hour of the Surf!

Oh Bolero (8) Sacred Dance Battle!

(N. A. Zabolotsky)

Decision.

In this task you need to put commas that allocate introductory words or circulation.

1. Find the word in the text that answer the question "Who, what?". If such a word is in the nominative case, but is not in the proposal to be subject to, this appeal. We allocate commas.

Dance (1) Retow(2) His GICH (3) dance (accusative case),

Dance (4) Retow! Don't be sad (5) hispanic!

Rotary (6) History (7) cast millstones (accusative case),

Be Melnichikha in the Terrible Hour of the Surf!

ABOUT bolero (8) sacred dance Fight!

2. Find input words in the text.

In this passage there are no introductory words

3. We write out the numbers in which the commas should stand in the sentence.

From ptiz_siniz
(Olga Vedotchina)

A. Pushkin

(Fragment from Evgeny Onegin)

Brilliant, half-up,
Bow Magic obedient
The crowd of the nymph is surrounded,
Standing foreman; she is,
By one foot touching the floor,
Another slowly circles
And suddenly the jump, and suddenly flies,
Flies like fluff from the mouth of Eol;
Then the Stan Counters, it will definitely
And the rapid leg beats the leg.

P. Vyazemsky

Quarters under Figure L.I. Kiel (leg of Mary Taloni)

Sorry, the wizard! Sylphide fleet
She swayed for the clouds. Happy way!
But the prose here called poetry with an infretest:
Tell me why the wing in the shoe shoe?

Emily Dickinson

I dance on pointe
Science did not pass -
But sometimes fun spirit
So in me the wedding -

What - Know Ballet I Aza -
All troupe - whims -
I would have looked at my flight -
And I will see anger.

Let in the chimka of gas and in colors
I'm not a slop to the ramp -
Let the leg in the air - easily -
Like a bird - do not hold -

Let in Pirouet do not get back -
So that the wind is in a foam -
Until I blown away
Furious "bis" -

And may nobody knows -
Posters do not GalDyat -
But the dance is full of my theater -
Gala performs play.

Translation of faith Markova

A. Akhmatova

Tamara Platonovna Karsavina

Like a song, you are aligning a light dance -
He told us about glory -
On pale cheeks pose a blush,
Dark and dark eyes.

And with every minute more and more prisoners,
Forgot their being,
And clones again in the sounds of blissful
Your flexible body.

N. Gumilev

Tamara Platonovna Karsavina
Long prayed for dance we are you, but prayed in vain,

You smiled and refused impassively.

Loves the high sky and the ancient stars poet,
Often he writes ballads, but rarely he goes to ballet.

I went sad home to look into the eyes of silence.
The rhythms of movements are not the former ranks and sang in me.

Only so sweetly familiar suddenly bloomed silence.
As if the mystery of Ile became the sun of the moon.

Angelic harp string broke, and sound hears me.
I see two white stems of highly thrown hands.

Night lips like velvet red flowers ...
So dancing after all you refused there!

In the blue tunic from the sky at night tightened
Suddenly bursts the fog rapidly flooded.

Quick snake zipper light draws leg -
Sees, probably, such visions Blessed Degas,

If for bitter happiness and sweet flour
He adopted in the blue-crystal high Lord paradise.

... I woke up in the morning, and the morning got up on that day radiant.
Was I happy? But the heart was languishing thanks thanks.

M. Kuzmin

T.P. Karsavina

Fullba in the street is far
Swamp dawn crawl,
Only Skater Lonely
Dreads lake glass.
Capricious jigsaws:
Still fly, one, the other ...
As the edge of diamond sword
Rustzan monogram dear.
In cold glow, not
And you lead your pattern,
When in the brilliant performance
Do your feet have the slightest eyes?
You are Colombin, Salome,
You are no longer the one
But everything is clearer flames,
The word "beauty" is evil.

Ivanov

In the album T. P. Karsavina

Gaze of balletoman
Green semicircle scenes,
In the cloud of light fog
Shoulders outline and hands.

Violins and sonor
As if exhausted by the struggle,
But golden and spacious
Dome, like the sky above you.

Wings invisible believe
Heart is worn, trembling,
Upwards where the Amours pose
Horny horn holding.

V. Khodasevich

Giselle

Yes Yes! In blind and gentle passion
Breaking, beyond,
RVI heart, as a letter, part,
Go crazy, then die.

And what? Mogree stone move
Again will have on yourself,
Loving again and shoot a leg
On the scene lunar blue.

A. Tarkovsky

Ballet

Violin pilics, drum buzzed,
And flute whistles in Elzass
The scene enters the cardboard ridavan
With a painted doll from a fairy tale.

From there it takes out a partner,
Under the pillar substitched her hand,
And drags with a silk on the hotel courtyard
To pirates on faithful flour.

Those accurate daggers, and cool mustache,
And put in tact with heels,
Pocket gaze take out hours
And wildly sparkle proteins -

Like, it's time to cut! But in Strawberry Triko,
In his swan starch
Over the ramp of Prima takes off easily,
And something vibrates in the hall.

Scenic Chushi Magic Current
Finds like a nightingale whistling
And tries to the will of your teeth
Cold calculation of the ballerina.

And all this sweat, this makeup, this glue,
Confused taste of your and feelings
Already seized your soul.
So what is art?

Probably, communication will be guess
Between the scene and dutov hell,
Otherwise, where did the square come from
With all this shuster nearby?

I. Brodsky

Mikhail Baryshnikov

Classic ballet is a beauty castle,
whose gentle tenants from prose days of harsh
sleeping pit orchestra
separated. And the bridges are thrown.

In the imperial soft plush we rubbing the ass,
and, the wing of the Sphoropus of Lyazhek,
beauty, with whom you do not lie,
one jump is falling into the garden.

We see the forces of evil in Brown Triko,
and the angel of good in an inexpressible pack.
And in the power awaken from the Elizian hibernation
ovation Tchaikovsky and Co.

Classic ballet! The art of the best days!
When hipe your grog, and kissed in both,
and Lihachi rushed, and fucked bobobi,
and if the enemy was, he was - Marshal her.

In the pupils of city gasts of the dome.
In which born, in those and died nests.
And if something takes off into the air,
that was not a bridge, and Pavlova was.

How nicely impoverish, Alive Russia,
Baryshnikov Triya. Talent does not erase it!
Torso leg and cramp
with the rotation of the Own axis

born that flight that soul
how in girls was beneficial, ready to spin!
And what about where it comes to land, -
earth is hard everywhere; Recommend US.

N. Zabolotsky
(hardly seeing Idu Rubinstein in 1928 and anticipating the appearance of ballet performances to the music of Ravel)

Bolero

So raw, dance bolero!
For those who will change the music to the feather,
There is a celebration of the world in this world -
Pumping violins scary and sad
And this dance of slow peasants ...
Spain! I'm getting drunk again!
Flower Dreams sublime trembling,
Again your image is on with me
For the remote Grand Pyreneev!
Alas, silence, insistered Madrid,
All in the echoes of the flying storm,
And there is no Dolores Ibarrury with him!
But people alive, and the song is alive.
Dance, raw, your giant dance,
Dance, Row! Do not be sad, Spaniard!
Rotary, history, cast millstones,
Be Melnichikha in the Terrible Hour of the Surf!
Oh, Bolero, sacred battle dance!

V. Gaft.

"Fuete"

E. Maximova

It all started with Foute,
When the land, starting the rotation,
As a virgin in the nation,
Promoting embarrassed
Suddenly spun in the dark.
Ah, just without stop,
Do not dissolve in bustle
Let my head spin
With earth together in Foute.
Ah, just without stop,
And if it only dreams,
Let it last as long as possible
Wonderful dream My - Foute!
It all started with Foute!
Life is an eternal movement,
Do not refer to beauty
Take a moment
When she is height.
Stop sometimes
For a moment - dangerous
She always in motion
And therefore it is beautiful!
Ah, just would not stop ...

Tate Esch

Baltic choreography

... In the fingers, a hawthorn's liveshift awoke
Joseph Brodsky
fill.
gloomy Palace Hunger Solna Feel Outside,
even the honorable staircase is predatory in the panels.
people ended.
the sky fell into the puddles a few days ago.
so it lies - near the rubble, on the bottom of the bottom,
peering in the roof ...

squeezing a firefly in a handhide,
wandering hawthorn along Parapets -
looking for
where he will increment.

the darkness is walking, the bridge is trembling, and it is.
black Zipple spleens water.
bird swollen from wetting, will
sleep on the shoulder of the bush.

sometimes flashed
near balcony odors
the same hawthorn (essence, habits, shadow of the same length).
call, talk,
but thoughts similar individuals are equally removed.

light.
building cobblestones are preparing to capture the road.
but not yet cracked asphalt shell,
in the light of the headlight, the branch of the hawthorn will suddenly be engaged as the lamers -
remembered -
and straighten in a wild spiket pa.

"Bolero" ra

Alexander Makapara

Written: 1928.

What is: work for the orchestra; It was originally conceived as music for ballet formulation; Popularity has acquired as a brilliant orchestral play.

Duration: about 15 minutes.

The reason for extraordinary popularity: hypnotic impact of a constant multiple times of a repeated rhythmic figure, against the background of which two topics are also conducted many times, demonstrating the extraordinary growth of emotional voltage and introducing new and new tools into the sound.

Nikolay Zabolotsky

So raw, dance bolero!

For those who do not change the music to the feather,

There is a celebration of the world in this world -

Pumping violins scary and sad

And this dance of slow peasants ...

Spain! I'm getting drunk again!

Flower Dreams sublime trembling,

Again your image is on with me

For the remote Grand Pyreneev!

Alas, silence, insistered Madrid,

And there is no Dolores Ibarrury with him!

But the people alive and the song is alive.

Dance, raw, your giant dance.

Dance, Row! Do not be sad, Spaniard!

Rotary, history, cast millstones,

Be Melnichikha in the Terrible Hour of the Surf!

Oh, Bolero, sacred battle dance!

Ravel in 1928

This year, fifty-three years later. Behind the recent tour of America - "Crazy Tour", as the rage himself described it, in Canada and the United States ("I see magnificent cities, delicious landscapes, but tired of the triumphs" - from the letter to Helen Jourdan-Moramon from February 10, 1928) . Ahead is awarded the honorary degree of Dr. Oxford University. Ravel on top of composer skill. His masterpieces such as piano cycles "Reflection" (1905) and "Night Gaspar" (1908) and Suite "Cucumbnic Cuppene" (1917), Opera Spanish Hour (1907), "Spanish Rhaseodia" (1907), ballet "Daphnis and Chloe" (1912), Rapseody "Gypsy" (1924) and other works. After 1928, he will have to write two of his piano concert (1931) - one for the left hand, which will be rated by the Austrian Pianist Paul Wittgenstein (who lost his right hand in war - the First World War), and the second - Sol Major - "not only for one right hand "(As a composer joked) - an amazing masterpiece with which the world introduced a wonderful pianist Margarita Long and the unsurpassed interpreter of which is the Italian pianist Arturo Benedetti Miklangelget. She prepared a concert under the leadership of the author and with the triumph performed him during his concert tour of Europe and America, together with the raw, who then spent as a conductor.

But this one - the 28th - year was the year of "bolero".

Spanish and Russian ties rates

By the birth of this work, we are obliged to weave two life lines in the fate of Ravel, this Frenchman is the lines of Spanish and, oddly enough ... Russian. Russian ties rates gave an external impetus to writing the second part of this ballet presentation. Spanish - the inner force that prompted Ravel to write exactly the "Bolero", in other words, again, as he had already had, to appeal to the Spanish theme, Spanish folklore, try to pass the Spanish spirit and color. But I'll tell you in order and start with the most external reasons, that spark that I buried the inspiration of Ravel.

For many years, rare is connected with the figures of Russian culture, especially with composers who conquered Paris at the beginning of the 900s. This is, first of all, a Russian theater figure Sergey Pavlovich Dyagilev with his "Russian ballet" and "Russian seasons" in Paris. It was by order of Dyagileeva Ravel in 1912 he wrote a ballet "Daphnis and Chloe". But not only the customer was the Russian patron, although his role, both in this project, and in many others associated with the largest composers of that time, completely exceptional. No wonder the area in front of the theater of the Grand Opera in Paris wears his name - Place Diaghilev! The libretto of the ballet was also written by the Russian balletmaster Mikhail Fokin. Daphnis performed Russian dancer Vaclav Nizhinsky, the scenery wrote Leon Bakst. You can tell a lot about the impression that the Russian art and, particular, musical culture has been made on Ravel. One is just the brightest example - orchestration to the raw "pictures from the exhibition" Musorgsky.

But now it's not about this, but only one representative of the Russian intelligentsia in Paris is a wonderful dancer Ide Rubinstein. Who just admired her talent. Valentin Serov captured her on the famous portrait stored in the Russian Museum in St. Petersburg. It was she who walked Ravel to writing "Bolero."

Ida Rubinstein conceived to fulfill the Grand Opera in Paris the choreographic composition on music already then written "Waltz" Ravel. But one of this orchestral play in order to present it in the theater play, it was not enough. And then she turned to the Ravill with a request to write another work for this production. It was decided that it would be a "bolero".

So we approached the issue of Spanish ties Ravel. First of all, they gave themselves to know in the literal sense of the word at the genetic level: the mother's mother was Spanish (by the way, the father of this French composer was an outcomes from Switzerland). The future composer appeared in a small Spanish