Publications in the Music section

Musical portraits

Z inaida Volkonskaya, Elizaveta Gilels, Anna Esipova and Natalia Sats are real stars of past centuries. The names of these women were known far beyond the borders of Russia; music lovers around the world were waiting for their performances and performances. "Kultura.RF" tells about the creative path of four outstanding performers.

Zinaida Volkonskaya (1789-1862)

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

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

Natalia Sats (1903-1993)

Natalia Sats. Photo: teatr-sats.ru

Since childhood, Natalia was 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), where she remained its artistic director for 16 years. Pavel Markov, one of the most respected Russian theater critics, recalled Sats as "A girl, almost a girl, who swiftly and energetically entered the complex structure of Moscow theatrical life and forever retained a responsible understanding of her life and creative recognition"... She strove to create a theater that would become for children of all ages a portal to a light and fairy-tale world, a place of unlimited imagination - and she succeeded.

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

After returning to the USSR in 1937, Natalia Sats was arrested as the wife of a "traitor to the Motherland." Her husband, Israel's People's Commissar for Internal Trade, 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 had no right to return to Moscow. In Kazakhstan, she opened the first Alma-Ata Theater for Young Spectators, where she worked for 13 years.

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

In the last years of her life, Natalia Sats taught at GITIS, founded a charitable foundation to promote the development of art for children and wrote many books and manuals on musical education.

Elizabeth Gilels (1919-2008)

Elizaveta Gilels and Leonid Kogan. Photo: alefmagazine.com

Elizaveta Gilels, the younger sister of the pianist Emil Gilels, was born in Odessa. The family of world-famous performers was by no means musical: Father Gregory served as an accountant in a sugar factory, and mother Esther was in charge of the household.

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

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

The musicians got married in 1949. Gilels and Kogan played in a duet for many years, performed compositions for two violins by Johann Sebastian Bach, Antonio Vivaldi, Eugene Isaye. Gradually, Elizabeth abandoned her solo career: in 1952, the couple had a son, Pavel Kogan, he became a famous violinist and conductor, and two years later, a 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 other talented musicians. After the death of Leonid Kogan in 1982, Gilels was engaged in systematizing his legacy: preparing books for printing and publishing records.

Portrait in music and painting

Target: Awareness by the children of the relationship between the two types of art, music and painting through a portrait.

Tasks:

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

Vocal and choral work:

1. When learning musical fragments, strive to portray the character of the hero with a voice.
2. Work on clear pronunciation of the text.

Lesson equipment:

Computer (disk, presentation with reproductions of paintings).

Lesson structure

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

Form of work

1. Frontal
2. Group

During the classes

Teacher

Musical portrait. Mikhail Yavorsky.

There are many strange things in our life,
For example, I dreamed for many years
I even tried more than once,
Write a musical portrait.

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

And today, I "paint" a portrait,
Not an easy job, believe me,
The music stand will replace the easel for me
Instead of paints, brushes - only notes.

The staff will be better than the canvas
I'll sign everything on it and play
This drawing will not be simple,
But I do not lose my hope.

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

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

It won't hang on the wall
Moisture and light are not afraid of him,
And, of course, I would like to
To live for many years.

Continuing the theme “Can we see the music”, today's lesson will focus, as you may have guessed from the poem, about a portrait in music and painting. What is a portrait?

Students.

A portrait is an image of a bottom person.

Teacher.

And so, we listen to the first portrait.

Hearing: song of Varlaam from the opera by M.P. Mussorgsky "Boris Godunov".

Teacher.

Based on the nature of the piece of music, what can you say about this character? What qualities does he possess?

Students.

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

Re-listening.

Learning a fragment.

Teacher.

Is it good or evil?

Students.

Strength, after all, is evil. The music is imperious, which means that the hero is very imperious, 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 the intonation of which song is used by the composer to depict this character?

Students.

Russian folk dance

Teacher.

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

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 is a similarity. The man in the picture is also elderly, with a beard.

Teacher.

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

Students.

The look is sharp, predatory, evil. The eyebrows are thick, black, protruding, which makes the look heavy and imperious. The painting, as in the music, is in dark colors.

Teacher.

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

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

Teacher.

Guys, why do you think such portraits as Barlaam, the protodeacon appeared?

Students.

The composer and artist saw such people and portrayed them.

Teacher.

Listening to “the song of Barlaam” and looking at the painting “Protodeacon”, how do you think, how do the artist and the composer treat such people in the same or different way? Justify your answer.

Students.

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

Teacher.

Indeed, when Mussorgsky saw the “Protodeacon,” he exclaimed: “Yes, this is my Varlaamische! It's a whole fire-breathing mountain! ”

IE Repin in the portrait of "Protodeacon" immortalized the image of deacon Ivan Ulanov, from his native village Chuguevo, about which he wrote: "... nothing spiritual - he is all flesh and blood, pop-eyed, mouth and roar ...".

Teacher.

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

Students.

Kon

Teacher.

Have you met such portraits in our time?

Students.

No.

Teacher.

Why aren't such portraits made in our time?

Students.

Because in our time there are no such people. In the past centuries, there were many such “heroes”. Such priests were typical of that time. There are no such priests these days.

Teacher.

That is, art reflects the reality around us.

Now we will get acquainted with one more musical portrait.

Hearing Kutuzov's aria from the opera by S.S. Prokofiev "War and Peace".

Learning the aria.

The class is divided into three groups and receives 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, justifies the answer;

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

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

Teacher.

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

Who is Kutuzov.

Students.

The commander who defeated Napoleon in the war of 1812.

Teacher.

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

Students.

The composer emphasizes the majesty, strength, nobility, concern for the Motherland. The artist emphasizes his services to the Motherland, nobility, intelligence.

Teacher.

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

Students.

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

Teacher.

Students.

Sure

Teacher.

To what previously studied musical composition is this aria close in spirit?

Hearing 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 it combines all three qualities - Strength, Mind, Good.

Teacher.

Can Varlaam be called a hero?

Students.

No, there is Power, Mind in him, but there is no Good.

(Both portraits on the board)

Teacher.

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

Students.

Because such people, heroes actually existed.

Teacher.

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

Learning a song.

Conclusion:

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

Lesson number 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 can be no resemblance to a specific person, but at the same time it is not by chance 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, is subject to the embodiment of emotional states, human experiences with all their changes.

The word "portrait" as applied to musical art, especially to instrumental non-programmed music, is a metaphor. At the same time, sound writing, as well as the synthesis of music with words, stage action and extra-musical associations, expand its possibilities. Expressing the feelings, 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. Set design for the opera "Prince Igor"

Character, lyric 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 theater - opera, ballet, and instrumental-symphonic music.

The character's intonation more vividly 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, bearing in mind the characteristic types of a person. "Mozart's themes are like an expressive face ... You can write a whole book about female images in Mozart's instrumental music" (V. Medushevsky).

GOLOVIN. Set design for the opera "Boris Godunov"

Artistic and creative task

Listen to excerpts from works by various composers: V.-A. Mozart and S. Prokofiev, A. Borodin and B. Tishchenko, J. Bizet and R. Shchedrin, A. Schnittke and V. Kikta. What kind of portraits have you "seen" in music? What means of expression give you the opportunity to represent the characteristics of the characters of the heroes and characters?

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

Creative work of students:

Vorontsova Anastasia

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

Rest in worry

Somewhere on the edge of this life

It will be brighter in my soul ...

And sleepy thoughts will groan ...

Leave, leave soon ...

I break through a window through the hearts

Where my soul flies today ...

I find peace in worry ...

So the soul is resurrected again ...

After every line written

I remember you alone ...

After the phrase - three eternal dots ...

And like a candle I burn out quietly ...

I can barely hear the beat of life ...

But I don’t understand why ...

And any movement is deadly ...

I will accept it without a trace ...

Lorchenko Sergey

After listening to Prokofiev's "Dance of the Knights" I imagined a dry meadow in the evening, where there is a lonely old withered tree, and nearby a large stone. And here in this clearing two knights meet, they incinerate each other with evil glances, and now they draw their swords from their knives and a long and deadly fight begins. And the knight wounded his opponent right in the shoulder, he slowly falls to the ground, but the wounded knight finds strength and bravely becoming he made a fatal blow to the heart. The knight, wounded in the shoulder, returned home to his children and his wife.

Vorontsova Ekaterina

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

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

But still you can't hide it, -

It shines through 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 type " I "saw" a portrait of a child who never sat still. He jumps, has fun, jumps, runs, frolics. After listening to the work of S.S. Prokofiev "Waltz", I saw a portrait of a man who is also a very perky person. He is captured by this melody, he 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, 5-7 years old, playing. A smile never leaves her face, she is very cheerful and sincere. Her eyes seem to fill the surrounding gray world with fun, her eyes seem to call us to play with her, forget and return for a second to childhood.

Lena Novoselova

After listening to the work Mozart's "Cry for Love", I saw the image of a couple in love who are in a quarrel, but love each other very much. It seems that they are fighting: the girl is crying, the guy, slightly holding back tears, is trying to explain the whole situation to her. But she doesn't seem to hear him. And so they decide to leave. They are going through this separation hard. But, when the feelings seem to have passed and the thoughts about him or her have ceased to constantly wander in the head, they try to find a replacement, but they understand that this or that is no longer in the world. In the hope that he or she will forgive each other, talk and reconcile again! In the future, I just want to present them happy and with a few kids!

You can part with love,

The pain will dissipate little by little

But only, having deceived myself,

We cannot deceive God.

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

Danya Vershinina

After listening to the work 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, stumbling, eerily positive, cheerful, trying to play the instrument. And he introduced himself to another, completely opposite to the person, sitting in the stands, grandfather, grandfather of about eighty, sitting and tears flowing, he looks at a 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 are dancing there, they are having fun, talking and eating. I "saw" a young guy who liked the girl. He did not dare to 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 very dance performed by the knights takes place. At first there was a certain tension, and then everything "subsided". It became calmer.

Of these two portraits, I would choose about the knights. This graceful violin play and delightful organ play. Compatible here is amazing! As I already wrote, there is a dance of knights. Empty field. Two knights, before the battle, start dancing. Starting rough and tense, but continuing slowly and calmly. Their grace, their manner of execution. I really liked it!

Danil Kalachev

I listened to the piece Prokofiev "Dance of the Knights" I imagined a troubled wartime in the Middle Ages, columns of knights in forged heavy armor with swords and spears, moving into battle with foreigners. Horses pull huge guns behind them. The spirit of martial law is represented by heavy musical instruments: drums, trumpet. The tension of the situation makes it possible to understand the disturbing play of the violin. In the middle of the piece, heavy music gives way to a calm lyrical melody at that moment I saw women, old people and children who, with anxiety and love, escort their heroes to the war.

Aleshina Katya

After listening to music V.A. Mozart's "Requiem for a Dream", I imagined a situation: when you go to your cherished dream, overcome all difficulties on your way, but suddenly ... everything collapses, your dream never came true, it seems this is the end, because it was your goal in life. But sooner or later every dream either comes true or does not come true, but we should not be upset if something does not work out for you. After all, when a dream has come true, you are looking for a new dream, and you do everything to fulfill it, although you can even do nothing, the dream can suddenly come true, because everyone has different dreams.

Malkov Felix

I listened to music Rodion Shchedrina for the ballet "Anna Karenina" (last act)... It seems to me a woman who rushes about in despair, making a choice between life and death, with which her mental suffering, her shame and condemnation in society will instantly end. An important decision is ripening in Anna Karenina, and this is emphasized by the orchestra, in which a real catastrophe is brewing. The power of the music grows, creating an oppressive feeling, foreshadowing something terrible. I imagine a woman, pushed to the limit and desperately going towards death, for another moment, and she will take this irreversible step. The music perfectly conveys the approach of a train and, accordingly, the inevitable approach of a tragic denouement. And it happens: the last sounds (the rattle of a departing train) make it clear that Anna Karenina's life was cut short.

Music made a big impression on me Alfred Schnittke's "Flight", written for the film "The Tale of Wanderings". I imagined a man hovering above the earth, free, in love, who wants to achieve his bright and pure dream. It is as if he waves to us and invites us to follow him, claiming by his example that every person can fly if he wants, everyone who has kindness, hope, sincerity, philanthropy and compassion, in a word, who has a soul! The piercing (sounding of violins) and disturbing (bells) music by A. Schnittke, like a magic wand, leads to a world where good reigns, and our secret desires are embodied.

Safronova Natasha

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

For this composition. In my opinion, the poems of V.S. Vysotsky "Mass graves" are the best fit:

No crosses are placed on mass graves,

And widows do not weep for them,

Someone brings bouquets of flowers to them,

And the eternal flame is kindled.

The ground here reared up before,

And now - granite slabs.

There is not a single personal destiny here -

All destinies are merged into one.

And in the Eternal Flame, a flared tank is visible,

Burning Russian huts

Burning Smolensk and burning Reichstag,

The burning heart of a soldier.

Mass graves do not have widows in tears -

Stronger people come here.

No crosses are placed on mass graves,

But does it make it easier? ..

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

Musical portrait

It is interesting to compare the features of recreating the appearance of a person in literature, fine arts, music.

There can be no resemblance to a specific person in music, but at the same time

it is no coincidence that it is said that "a person is hidden in intonation." Since music is an art of temporary O e (it unfolds, develops in time), it, like lyric poetry, is subject to the embodiment of emotional states, human experiences with all their changes.

The word "portrait" in relation to musical art, especially to instrumental non-programmed music, is a metaphor. At the same time, sound writing, as well as the synthesis of music with words, stage action and extra-musical associations, expand its possibilities. Expressing the feelings, 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.

N. Roerich. Russian artist (1874-1947) Set design for the opera "Prince Igor"

Character, lyric 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 theater - opera, ballet, and instrumental-symphonic music.

The character's intonation more vividly 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, bearing in mind the characteristic types of a person. “Mozart's themes are like an expressive face ...

You can write a whole book about female images in Mozart's instrumental music ”(V. Medushevsky).

Portrait of a composer in literature and cinema

A portrait of any cultural and artistic figure is created primarily by his works: music, paintings, sculptures, etc., as well as his letters, memoirs of contemporaries and works of art about him that arose in subsequent eras.

"Universe of Mozart" (Irina Yakushina) this is the name of one of the books about life and work Wolfgang Amadeus Mozart(1756-1799), Austrian composer, author of immortal musical compositions - Symphonies No. 40, "Little Night Serenade", "Rondo in Turkish Style", "Requiem".

NS Why does Mozart's music compare to the Universe? Apparently, because in it various phenomena of life, its eternal themes: good and evil, love and hate, life and death, beautiful and ugly, are revealed in various and deep ways. Contrasts of images and situations constitute the main driving force of his music, which helps listeners to understand his life credo: "Life is incomparably beautiful on the beloved land!"

The tragic death of Mozart at the age of 35 gave rise to many speculations about the death of the composer, who was in his prime. One of them - the poisoning of Mozart by his contemporary, recognized in society as court composer Antonio Salieri (1750-1825), formed the basis for A. Pushkin's little tragedy "Mozart and Salieri", N. Rimsky-Korsakov's opera, modern films and dramatic performances.

A different interpretation of the relationship between the two composers is given to the audience. filmmaker M. Foreman - creator of the film "Amadeus" awarded five Academy Awards: a distraught old man Salieri, who is rescued after a suicide attempt, in confession tells the priest about his feelings and experiences, which he experienced, watching the flowering of Mozart's talent. The final part of the film captures the moments of the staging of the opera The Magic Flute and the creation of Requiem.

Read a little tragedy

A.S. Pushkin. Mozart and Salieri. Listen Here.

Consider the illustrations by M. Vrubel.

Watch fragments of the movie "Amadeus". What features of the characters of Mozart and Salieri reveal to you in these works?

What experience of relationships between people do you gain as a result of acquaintance with works of art?

Listen to excerpts from the works of Mozart you know.

Mozart Figaro's aria from the opera "The Marriage of Figaro". Listen Here.

What feelings expressed in Mozart's music are in tune with the feelings of the modern listener?

Hear a modern adaptation of one of Mozart's works. Why are famous performers turning to creative interpretations of Mozart's music?

Mozart Symphony No. 40 in a modern arrangement. Listen Here.

Read literary works in which the image-portrait of the composer is drawn (excerpts from the novel by D. Weiss "The Sublime and the Earthly" Listen Here, poems by L. Boleslavsky, V. Bokov, etc.).

Yu.Voronov Mozart. Listen Here.

Mozart Fantasia in D minor. Listen Here.

Mozart Fantasia in D minor, liter. Listen Here.

Lev Boleslavsky. Requiem. Listen Here